An excellent set that spans the gamut of Miles' work on Columbia – from his early hardbop sides to his later experimental ones! All of the material on the 2LP set was unreleased until the time of this release in 1979 – and the album features Miles in the company of a wide variety of players that include George Benson, Cannonball Adderley, Bennie Maupin, Hank Mobley, Joe Zawinul, Herbie Hancock, Bill Evans, Red Garland, and Joe Beck. Titles include "Teo's Bag", "Side Car (1 & 2)", "Sanctuary", "Guinnevere", "Circle In The Round", and "Two Bass Hit". CD

An excellent set that spans the gamut of Miles' work on Columbia – from his early hardbop sides to his later experimental ones! All of the material on the 2LP set was unreleased until the time of this release in 1979 – and the album features Miles in the company of a wide variety of players that include George Benson, Cannonball Adderley, Bennie Maupin, Hank Mobley, Joe Zawinul, Herbie Hancock, Bill Evans, Red Garland, and Joe Beck. Titles include "Teo's Bag", "Side Car (1 & 2)", "Sanctuary", "Guinnevere", "Circle In The Round", and "Two Bass Hit". LP, Vinyl record album

A surprisingly nice set of tracks that were recorded for Columbia during the 60s, but not issued until the time of this 1981 compilation. Tunes run the gamut from early modal to freer electric – and Miles works with players that include Joe Zawinul, Tony Williams, Airto, Hank Mobley, Bennie Maupin, Dave Holland, Steve Grossman, Herbie Hancock, Gil Evans, and Chick Corea. Tracks include "Ascent", "Willie Nelson", "Konda", "Duran", "Fun", "Directions 1 & 2", "Limbo", "So Near, So Far", and "Song Of Our Country". CD

A surprisingly nice set of tracks that were recorded for Columbia during the 60s, but not issued until the time of this 1981 compilation. Tunes run the gamut from early modal to freer electric – and Miles works with players that include Joe Zawinul, Tony Williams, Airto, Hank Mobley, Bennie Maupin, Dave Holland, Steve Grossman, Herbie Hancock, Gil Evans, and Chick Corea. Tracks include "Ascent", "Willie Nelson", "Konda", "Duran", "Fun", "Directions 1 & 2", "Limbo", "So Near, So Far", and "Song Of Our Country". LP, Vinyl record album

There's nothing "silent" here – as the album's a bold entry in the electric years of Miles Davis – one that still features contributions from Herbie Hancock, Wayne Shorter, and Tony Williams – but which also expands the lineup considerably – really reaching out towards the sound of Bitches Brew! Herbie's on electric keys here, working alongside Chick Corea and Joe Zawinul, who really help increase the flow of the tunes and enforce the "directions in music" stated on the cover of the set! Shorter's on soprano sax, playing in an even more angular way – and Dave Holland is on bass, replacing the sound of Ron Carter, getting some rhythmic assistance at times from John McLaughlin, whose sound really helps to shape the record! Titles include 2 side-long tracks – "Shhh/Peaceful" and "In A Silent Way/It's About Time" – both long, and both beautiful! LP, Vinyl record album

Legendary early live work from Miles Davis – one of the first examples on record of the way that Davis could really stretch out in a concert setting! The music's a bit more straight ahead than later live dates, but still pretty open and exploratory – and in addition to Davis' sparkling work on trumpet, the album also features some killer tenor lines from Hank Mobley – working here as a key part of Miles' group, and blowing with a hell of a lot of soul. Rhythm is by the rock-solid trio of Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – and titles include "All Of You", "No Blues", "Bye Bye" and "Walkin". CD

Legendary early live work from Miles Davis – one of the first examples on record of the way that Davis could really stretch out in a concert setting! The music's a bit more straight ahead than later live dates, but still pretty open and exploratory – and in addition to Davis' sparkling work on trumpet, the album also features some killer tenor lines from Hank Mobley – working here as a key part of Miles' group, and blowing with a hell of a lot of soul. Rhythm is by the rock-solid trio of Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – and titles include "All Of You", "No Blues", "Bye Bye" and "Walkin". LP, Vinyl record album

Legendary early live work from Miles Davis – one of the first examples on record of the way that Davis could really stretch out in a concert setting! The music's a bit more straight ahead than later live dates, but still pretty open and exploratory – and in addition to Davis' sparkling work on trumpet, the album also features some killer tenor lines from Hank Mobley – working here as a key part of Miles' group, and blowing with a hell of a lot of soul. Rhythm is by the rock-solid trio of Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – and titles include "Neo", "So What", "Fran Dance", and "Well You Needn't". LP, Vinyl record album

Extra material from the 1961 date at Carnegie Hall, an astounding live set that featured Miles in a transitional quintet with Hank Mobley, Wynton Kelly, Paul Chambers and Jimmy Cobb, and also with the Gil Evans Orchestra. The performance is rendered with a subtle grace, an excellent portrait of Miles at a pivotal point in his career, moving on from his early command of bop and explorations of the cool, but not yet exploding his sound altogether with the modal approach that he would soon adopt. Side one features "Concierto De Anranjuez", and side two features "Teo", 'Walkin" and "I Thought About You". LP, Vinyl record album

Sparkling live work from Miles Davis – and a set that captures both sides of his talents on Columbia at the time! Half the material features a smoking quintet – with Hank Mobley on tenor, Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – and the other half of the date features a larger orchestra led by Gil Evans – in the modern mode that make the Miles/Evans collaborations sound so great on some of the pair's studio records! Together, the material offers up a beautiful live portrait of Davis' early 60s genius – allowed a bit more space to roam in the live setting, on titles that include "So What", "New Rhumba", "Lament", and "No Blues" – all taken at a bit of a faster clip than in the studio, as Miles was wont to do in a live performance! 2CD set features the full concert in one package – including material issued on the More From Carnegie Hall record – 11 tracks in all. CD

Sparkling live work from Miles Davis – and a set that captures both sides of his talents on Columbia at the time! Half the material features a smoking quintet – with Hank Mobley on tenor, Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – and the other half of the date features a larger orchestra led by Gil Evans – in the modern mode that make the Miles/Evans collaborations sound so great on some of the pair's studio records! Together, the material offers up a beautiful live portrait of Davis' early 60s genius – allowed a bit more space to roam in the live setting, on titles that include "So What", "New Rhumba", "Lament", and "No Blues" – all taken at a bit of a faster clip than in the studio, as Miles was wont to do in a live performance! 2CD set features the full concert in one package – including material issued on the More From Carnegie Hall record – 11 tracks in all. CD

Sparkling live work from Miles Davis – and a set that captures both sides of his talents on Columbia at the time! Half the material features a smoking quintet – with Hank Mobley on tenor, Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – and the other half of the date features a larger orchestra led by Gil Evans – in the modern mode that make the Miles/Evans collaborations sound so great on some of the pair's studio records! Together, the material offers up a beautiful live portrait of Davis' early 60s genius – allowed a bit more space to roam in the live setting, on titles that include "So What", "New Rhumba", "Lament", and "No Blues" – all taken at a bit of a faster clip than in the studio, as Miles was wont to do in a live performance! CD

Sparkling live work from Miles Davis – and a set that captures both sides of his talents on Columbia at the time! Half the material features a smoking quintet – with Hank Mobley on tenor, Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – and the other half of the date features a larger orchestra led by Gil Evans – in the modern mode that make the Miles/Evans collaborations sound so great on some of the pair's studio records! Together, the material offers up a beautiful live portrait of Davis' early 60s genius – allowed a bit more space to roam in the live setting, on titles that include "So What", "New Rhumba", "Lament", and "No Blues" – all taken at a bit of a faster clip than in the studio, as Miles was wont to do in a live performance! 8 tracks in all. CD

Originally a 2LP set, but now a 4CD package – with 14 previously unissued tracks! Legendary early live work from Miles Davis – one of the first examples on record of the way that Davis could really stretch out in a concert setting! The music's a bit more straight ahead than later live dates, but still pretty open and exploratory – and in addition to Davis' sparkling work on trumpet, the album also features some killer tenor lines from Hank Mobley – working here as a key part of Miles' group, and blowing with a hell of a lot of soul. Rhythm is by the rock-solid trio of Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – and titles include "Neo", "So What", "Fran Dance", and "Well You Needn't". CD

A sublime bit of Miles Davis electric funk – one of the best-remembered electric sets from the 70s, and for good reason too! The tracks are long, the jams are hard, and the whole thing has a lot more funk than some of the noise you'd get on other Miles albums of the time – thanks to killer keyboards from Herbie Hancock and Chick Corea, guitar from John McLaughlin, and reeds from Dave Liebman – plus some standout drums from the legendary Jack DeJohnette – easily at the top of his powers here. These top-shelf players jam together beautifully – really cooking on the album's long tracks – "On The Corner" and "Helen Butte/Mr Freedom X" – and tightening up on the slightly shorter cuts "Black Satin" and "One & One". LP, Vinyl record album

The tenor sax here makes the album a standout – as John Coltrane still works with Miles Davis on 2 tracks for the record, but Blue Note stalwart Hank Mobley joins in on the rest! The approach is similar to that of the classic Coltrane/Davis years – and in a way, the record's kind of a swan song to that period – one of the last studio session that Miles would cut in such an unabashedly sweet and lyrical way. And while Mobley's always better known for his harder-blown notes at Blue Note, he sounds totally great here next to Davis – really keeping up the gentle spirit and spaciousness of the record, and working with a gentleness that surpasses even his work on the legendary Soul Station album. Rhythm is by the trio of Wynton Kelly, Paul Chambers, and Jimmy Cobb – and titles include Miles' classic version of "Someday My Prince Will Come", plus "Old Folks", "Teo", "Drad-Dog", and "Pfrancing". LP, Vinyl record album

The tenor sax here makes the album a standout – as John Coltrane still works with Miles Davis on 2 tracks for the record, but Blue Note stalwart Hank Mobley joins in on the rest! The approach is similar to that of the classic Coltrane/Davis years – and in a way, the record's kind of a swan song to that period – one of the last studio session that Miles would cut in such an unabashedly sweet and lyrical way. And while Mobley's always better known for his harder-blown notes at Blue Note, he sounds totally great here next to Davis – really keeping up the gentle spirit and spaciousness of the record, and working with a gentleness that surpasses even his work on the legendary Soul Station album. Rhythm is by the trio of Wynton Kelly, Paul Chambers, and Jimmy Cobb – and titles include Miles' classic version of "Someday My Prince Will Come", plus "Old Folks", "Teo", "Drad-Dog", and "Pfrancing". CD

The tenor sax here makes the album a standout – as John Coltrane still works with Miles Davis on 2 tracks for the record, but Blue Note stalwart Hank Mobley joins in on the rest! The approach is similar to that of the classic Coltrane/Davis years – and in a way, the record's kind of a swan song to that period – one of the last studio session that Miles would cut in such an unabashedly sweet and lyrical way. And while Mobley's always better known for his harder-blown notes at Blue Note, he sounds totally great here next to Davis – really keeping up the gentle spirit and spaciousness of the record, and working with a gentleness that surpasses even his work on the legendary Soul Station album. Rhythm is by the trio of Wynton Kelly, Paul Chambers, and Jimmy Cobb – and titles include Miles' classic version of "Someday My Prince Will Come", plus "Old Folks", "Teo", "Drad-Dog", and "Pfrancing". LP, Vinyl record album

The tenor sax here makes the album a standout – as John Coltrane still works with Miles Davis on 2 tracks for the record, but Blue Note stalwart Hank Mobley joins in on the rest! The approach is similar to that of the classic Coltrane/Davis years – and in a way, the record's kind of a swan song to that period – one of the last studio session that Miles would cut in such an unabashedly sweet and lyrical way. And while Mobley's always better known for his harder-blown notes at Blue Note, he sounds totally great here next to Davis – really keeping up the gentle spirit and spaciousness of the record, and working with a gentleness that surpasses even his work on the legendary Soul Station album. Rhythm is by the trio of Wynton Kelly, Paul Chambers, and Jimmy Cobb – and titles include Miles' classic version of "Someday My Prince Will Come", plus "Old Folks", "Teo", "Drad-Dog", and "Pfrancing". CD

The tenor sax here makes the album a standout – as John Coltrane still works with Miles Davis on 2 tracks for the record, but Blue Note stalwart Hank Mobley joins in on the rest! The approach is similar to that of the classic Coltrane/Davis years – and in a way, the record's kind of a swan song to that period – one of the last studio session that Miles would cut in such an unabashedly sweet and lyrical way. And while Mobley's always better known for his harder-blown notes at Blue Note, he sounds totally great here next to Davis – really keeping up the gentle spirit and spaciousness of the record, and working with a gentleness that surpasses even his work on the legendary Soul Station album. Rhythm is by the trio of Wynton Kelly, Paul Chambers, and Jimmy Cobb – and titles include Miles' classic version of "Someday My Prince Will Come", plus "Old Folks", "Teo", "Drad-Dog", and "Pfrancing". Includes the bonus tracks "Blues No. 2" and "Someday My Prince Will Come (alt take)". CD

A huge breakout album for Def Leppard – and a record that maybe set the style for so many other mainstream hard rock acts in the mid 80s – thanks to a mix of crisp drums, searing guitars, and screaming vocals with an anthemic feel that really sends things over the top! And sure, it's not art rock by any stretch of the imagination – but it's also a bit fresher than some of the hair rock imitators that copped the sound a few years later – with titles that include "Rock Rock Till You Drop", "Photograph", "Rock Of Ages", "Foolin'", "Billy's Got A Gun", "Action Not Words", "Die Hard The Hunter", and "Stagefright". CD

Two seminal albums from Doug Dillard and Gene Clark – back to back in a single set! Fantastic Expedition is a mellow masterpiece of sunshine country rock from Dillard & Clark – a duo that featured Gene Clark of the Byrds and Doug Dillard of the Dillards – in a wonderful blend of Cali longhair harmonies, back porch psych, and expert Byrds-y tunefulness! Dillard provides lots of great banjo and some chirping fiddle – along with mandolin and chiming acoustic guitars that bring a bit of bluegrass into the sound – but the record has California written all over it thanks to the vocal harmonies and wistful tune craft. Really close to perfection – and deserves as much praise as the better known country rock benchmarks of the era – including the early two classics by Flying Burrito Brothers. Tracks include "Out On The Side", "She Darked The Sun", "Train Leaves Here This Mornin", "With Care From Somewhere", "Git It On Brother", "In The Plan", and "Don't Come Rolling". Through The Morning Through The Night is the amazing second album from the great duo of Gene Clark and Doug Dillard – and a record that's maybe even better than the first! Even though the set's a key part of the late 60s Byrds and Flying Burrito Brothers legacy – the vibe is probably more like the latter than the former – that is, more country than rock – in a way that really has the Clark/Dillard team getting even more confident with that side of their sound – drawing both on Doug's roots, and pointing the way toward his years to come. Clark provides some excellent songwriting, and his vocals are what really set the album apart – and the album also features some backing vocals from Donna Washington, amidst a mostly acoustic lineup that includes bluegrass instrumentation – and guest work from Sneaky Pete Kleinow on steel guitar, Chris Hillman on mandolin, and Bernie Leadon on guitar. Titles include "So Sad", "Corner Street Bar", "I Bowed My Head & Cried Holy", "Kansas City Southern", "No Longer A Sweetheart Of Mine", "Polly", "Four Walls", and "Through The Morning Through The Night". CD

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A completely unique little session – and a record that's every bit as musically striking as you might guess from its title and cover! The date's a rare Latin-tinged one for trumpeter Kenny Dorham – a record that takes his usually smooth sound and sets it up against octet backings with horns from JJ Johnson on trombone, Cecil Payne on baritone sax, and Hank Mobley on tenor – plus piano from Horace Silver, bass from Oscar Pettiford, and drums from Art Blakey – plus added congas from Patato Valdes! The expanded group plays with a great sense of power – really pushing Kenny's sound tremendously – and although the album also features a few tracks by a smaller group with less percussion, these also have a bit of a Latin/exotic tinge too. Titles include "Basheer's Dream", "Lotus Flower", "KD's Motion", "Venita's Dance", "Minor's Holiday", "La Villa", and "Afrodisia". LP, Vinyl record album

A completely unique little session – and a record that's every bit as musically striking as you might guess from its title and cover! The date's a rare Latin-tinged one for trumpeter Kenny Dorham – a record that takes his usually smooth sound and sets it up against octet backings with horns from JJ Johnson on trombone, Cecil Payne on baritone sax, and Hank Mobley on tenor – plus piano from Horace Silver, bass from Oscar Pettiford, and drums from Art Blakey – plus added congas from Patato Valdes! The expanded group plays with a great sense of power – really pushing Kenny's sound tremendously – and although the album also features a few tracks by a smaller group with less percussion, these also have a bit of a Latin/exotic tinge too. Titles include "Basheer's Dream", "Lotus Flower", "KD's Motion", "Venita's Dance", "Minor's Holiday", "La Villa", and "Afrodisia". CD features 2 bonus tracks too – "Echo Of Spring (aka KD's Cab Ride)" and "Minor's Holiday (alt take)". CD

A completely unique little session – and a record that's every bit as musically striking as you might guess from its title and cover! The date's a rare Latin-tinged one for trumpeter Kenny Dorham – a record that takes his usually smooth sound and sets it up against octet backings with horns from JJ Johnson on trombone, Cecil Payne on baritone sax, and Hank Mobley on tenor – plus piano from Horace Silver, bass from Oscar Pettiford, and drums from Art Blakey – plus added congas from Patato Valdes! The expanded group plays with a great sense of power – really pushing Kenny's sound tremendously – and although the album also features a few tracks by a smaller group with less percussion, these also have a bit of a Latin/exotic tinge too. Titles include "Basheer's Dream", "Lotus Flower", "KD's Motion", "Venita's Dance", "Minor's Holiday", "La Villa", and "Afrodisia". CD features 2 bonus tracks too – "Echo Of Spring (aka KD's Cab Ride)" and "Minor's Holiday (alt take)". CD

A completely unique little session – and a record that's every bit as musically striking as you might guess from its title and cover! The date's a rare Latin-tinged one for trumpeter Kenny Dorham – a record that takes his usually smooth sound and sets it up against octet backings with horns from JJ Johnson on trombone, Cecil Payne on baritone sax, and Hank Mobley on tenor – plus piano from Horace Silver, bass from Oscar Pettiford, and drums from Art Blakey – plus added congas from Patato Valdes! The expanded group plays with a great sense of power – really pushing Kenny's sound tremendously – and although the album also features a few tracks by a smaller group with less percussion, these also have a bit of a Latin/exotic tinge too. Titles include "Basheer's Dream", "Lotus Flower", "KD's Motion", "Venita's Dance", "Minor's Holiday", "La Villa", and "Afrodisia". CD features 2 bonus tracks too – "Echo Of Spring (aka KD's Cab Ride)" and "Minor's Holiday (alt take)". CD

Maybe one of the greatest albums ever from trumpeter Kenny Dorham – a set that has him really stretching out as a musician – not just showing off that impeccable sense of tone that marked his important records of the 50s, but also coming up with new ways of phrasing, and a sometimes-unique approach to rhythm as well! The set's about as all-star as you can get for a Blue Note date of the time – and that's really saying a lot – with the mighty Hank Mobley on tenor, whose work here is as important as Dorham's – and the rock-solid rhythm trio of Kenny Drew on piano, Paul Chambers on bass, and Philly Joe Jones on drums – who perfectly echo Kenny's new sense of changes in his music. Titles include the great "Sunrise In Mexico" – a very unique tune – plus "Buffalo", "Sunset", "Windmill", "Philly Twist", and "Dorham's Epitaph". CD

Maybe one of the greatest albums ever from trumpeter Kenny Dorham – a set that has him really stretching out as a musician – not just showing off that impeccable sense of tone that marked his important records of the 50s, but also coming up with new ways of phrasing, and a sometimes-unique approach to rhythm as well! The set's about as all-star as you can get for a Blue Note date of the time – and that's really saying a lot – with the mighty Hank Mobley on tenor, whose work here is as important as Dorham's – and the rock-solid rhythm trio of Kenny Drew on piano, Paul Chambers on bass, and Philly Joe Jones on drums – who perfectly echo Kenny's new sense of changes in his music. Titles include the great "Sunrise In Mexico" – a very unique tune – plus "Buffalo", "Sunset", "Windmill", "Philly Twist", and "Dorham's Epitaph". CD

Maybe one of the greatest albums ever from trumpeter Kenny Dorham – a set that has him really stretching out as a musician – not just showing off that impeccable sense of tone that marked his important records of the 50s, but also coming up with new ways of phrasing, and a sometimes-unique approach to rhythm as well! The set's about as all-star as you can get for a Blue Note date of the time – and that's really saying a lot – with the mighty Hank Mobley on tenor, whose work here is as important as Dorham's – and the rock-solid rhythm trio of Kenny Drew on piano, Paul Chambers on bass, and Philly Joe Jones on drums – who perfectly echo Kenny's new sense of changes in his music. Titles include the great "Sunrise In Mexico" – a very unique tune – plus "Buffalo", "Sunset", "Windmill", "Philly Twist", and "Dorham's Epitaph". CD

The "new" thing here is that Kenny's playing with horns – always a refreshing change from his trio sides, and a setting that really brings out an edgier side to his playing. About half the record features a quintet with Donald Byrd and Hank Mobley, plus Wilbur Ware on bass and GT Hogan on drums – and the other half of the set features the same group without Mobley. Titles include "Carol", "Little T", "Paul's Pal", and "This Is New". LP, Vinyl record album

One of the greatest albums ever by pianist Kenny Drew – a record that's as noteworthy for the contributions of the sidemen as it is for the efforts of the leader! Drew's a player who often worked mostly in trio formats – but here, he's hitting hard with a righteous Blue Note power – thanks to the presence of Hank Mobley on tenor and Freddie Hubbard on trumpet, both of whom really give the record an edge! Drew's lyrical sensibilities are shifted to darker, more modern moments at times – and the rest of the group features Sam Jones on bass and Louis Hayes on drums. An essential addition to the Blue Note legacy of Mobley and Hubbard – and the set's filled with original tunes by Kenny, including "The Pot's On", "Undercurrent", "Funk-Cosity", and "Lion's Den". CD

One of the greatest albums ever by pianist Kenny Drew – a record that's as noteworthy for the contributions of the sidemen as it is for the efforts of the leader! Drew's a player who often worked mostly in trio formats – but here, he's hitting hard with a righteous Blue Note power – thanks to the presence of Hank Mobley on tenor and Freddie Hubbard on trumpet, both of whom really give the record an edge! Drew's lyrical sensibilities are shifted to darker, more modern moments at times – and the rest of the group features Sam Jones on bass and Louis Hayes on drums. An essential addition to the Blue Note legacy of Mobley and Hubbard – and the set's filled with original tunes by Kenny, including "The Pot's On", "Undercurrent", "Funk-Cosity", and "Lion's Den". CD

One of the greatest albums ever by pianist Kenny Drew – a record that's as noteworthy for the contributions of the sidemen as it is for the efforts of the leader! Drew's a player who often worked mostly in trio formats – but here, he's hitting hard with a righteous Blue Note power – thanks to the presence of Hank Mobley on tenor and Freddie Hubbard on trumpet, both of whom really give the record an edge! Drew's lyrical sensibilities are shifted to darker, more modern moments at times – and the rest of the group features Sam Jones on bass and Louis Hayes on drums. An essential addition to the Blue Note legacy of Mobley and Hubbard – and the set's filled with original tunes by Kenny, including "The Pot's On", "Undercurrent", "Funk-Cosity", and "Lion's Den". CD

Bob's fourth record, and close runner up to Freewheelin' as the masterpiece of this early stage of his career. While the overly arch Times They Are A Changin' pretty much stood as the cornerstone of classifiable folk rock at the time, Another Side is just that. Dense, elliptical, and downright surreal at times, with some of the protesty stuff that made the media so happy & hungry, but much more layered and poetic. Another side is also much more reverent of and indebted to the Harry Smith field recordings that Bob studied so hard, the stuff that finally caught on with the general public in the early 90s. Titles include "Spanish Harlem Incident", "It Ain't Me Babe", "Ballad In Plain D", "Black Crow Blues", "I Don't Believe You", "Motorpsycho Nitemare", "To Ramona", "Chimes Of Freedom", "My Back Pages", and "I Shall Be Free No 10". CD

A landmark album from the mighty Bob Dylan – a 2LP set of studio work, which was quite rare at the time – and a set that has Dylan stretching out all his creative powers in newly different directions! The album had a long genesis in the studio – some early work with The Band, then Dylan breaking off with Al Kooper and Robbie Robertson to head down to Nashville – where they interacted with key country session musicians to make this masterful blend of music – work that's not country at all, but which is also moving past Dylan's folk roots too – with a blend of music that still as mindblowing today as it was back in the mid 60s! This is definitely one of those double-length sets that makes fantastic use of all the extra space – overflowing with gems that include "Rainy Day Women # 12 & 35", "Visions Of Johanna", "Pledging My Time", "Stuck Inside Of Mobile With The Memphis Blues Again", "Leopard-Skin Pill Box Hat", and "Just Like A Woman". CD

A landmark album from the mighty Bob Dylan – a 2LP set of studio work, which was quite rare at the time – and a set that has Dylan stretching out all his creative powers in newly different directions! The album had a long genesis in the studio – some early work with The Band, then Dylan breaking off with Al Kooper and Robbie Robertson to head down to Nashville – where they interacted with key country session musicians to make this masterful blend of music – work that's not country at all, but which is also moving past Dylan's folk roots too – with a blend of music that still as mindblowing today as it was back in the mid 60s! This is definitely one of those double-length sets that makes fantastic use of all the extra space – overflowing with gems that include "Rainy Day Women # 12 & 35", "Visions Of Johanna", "Pledging My Time", "Stuck Inside Of Mobile With The Memphis Blues Again", "Leopard-Skin Pill Box Hat", and "Just Like A Woman". LP, Vinyl record album

Titles include "Meet Me In The Morning", "Shelter From The Storm", "Idiot Wind", "You're A Big Girl Now", "If You See Her, Say Hello", "Buckets Of Rain", and "Tangled Up In Blue". CD

Titles include "Meet Me In The Morning", "Shelter From The Storm", "Idiot Wind", "You're A Big Girl Now", "If You See Her, Say Hello", "Buckets Of Rain", and "Tangled Up In Blue". LP, Vinyl record album

Seminal work from Bob Dylan – one of his early electric sides, and a record that moved the singer from folk stardom to an even more explosive force in the mainstream! This is the record that forever made Dylan as influential on rock music as he was on underground styles – and the whole thing is a perfect blend of the complexity of his earlier songwriting with some tunes and messages that made his politics even more powerful than ever! The album's brimming over with genius – nearly every cut is a classic – and titles include "Subterranean Homesick Blues", "Maggie's Farm", "Mr Tambourine Man", "Gates Of Eden", "It's All Over Now Baby Blue", "It's Alright Ma", "Love Minus Zero/No Limit", "She Belongs To Me", and "Bob Dylan's 115th Dream". CD

A live document of the mid 70s Rolling Thunder Revue era! The best of it recasts classic Dylan songs as well as ones from the then recent Blood On The Tracks as raucous rock & roll tunes, which might've puzzled a lot of longtime fans, critics, and maybe even casual concertgoers at the time, but like so many initially confusing creative left turns in Dylan's career, it's a lot more fascinating in retrospect. Includes a rave-up version of "Maggie's Farm", plus "Shelter From The Storm", "Idiot Wind", "I Threw It All Away", "Stuck Inside Of Mobile With The Memphis Blues Again", "Lay Lady Lay", "You're A Big Girl Now" and more. LP, Vinyl record album

... LP, Vinyl record album

... LP, Vinyl record album

With guest spots by Sauce Money, Goodie Mobb, Gang Starr, Rah Digga, Kool G Rap, Da Nation, Snoop Dogg and Glaze NYC, Flipmode Squad and American Cream Team, Angie Martinez and Doo Wop, and Cocoa Brovas. LP, Vinyl record album

Daniel Erdmann on saxophone, Frank Mobus on guitar, Vincent Courtois on cello, and Samuel Rohrer on drums. CD

Daniel Erdmann on tenor saxophone, Frank Mobus on guitar, Johannes Fink on bass, and John Schroder on drums. CD

One of the last records that Booker Ervin ever recorded, and one of the best! There's a depth of tone and conception here that goes far beyond even Ervin's already-great albums for Prestige – a mix of modernism and soulful expression that really points the way towards jazz expression in the 70s – although sadly, Booker was to leave the planet before getting a chance to stretch out in that era. All 6 tracks on the album are originals – and they sparkle with the imagination found on some of the most top-shelf Blue Notes of the time – work by Lee Morgan, Hank Mobley, or Wayne Shorter – played by a group that includes the amazing Richard Williams on trumpet (almost worth the price of the record alone), Bobby Few on piano, Lenny McBrowne on drums, and the little-known Cevera Jefferies on bass. Loads of dark edges, searing solos, and plenty of free flights into the sky – on titles that include "The In Between", "Tyra", "The Muse", "Mour", "Sweet Pea", and "Largo". CD

One of the last records that Booker Ervin ever recorded, and one of the best! There's a depth of tone and conception here that goes far beyond even Ervin's already-great albums for Prestige – a mix of modernism and soulful expression that really points the way towards jazz expression in the 70s – although sadly, Booker was to leave the planet before getting a chance to stretch out in that era. All 6 tracks on the album are originals – and they sparkle with the imagination found on some of the most top-shelf Blue Notes of the time – work by Lee Morgan, Hank Mobley, or Wayne Shorter – played by a group that includes the amazing Richard Williams on trumpet (almost worth the price of the record alone), Bobby Few on piano, Lenny McBrowne on drums, and the little-known Cevera Jefferies on bass. Loads of dark edges, searing solos, and plenty of free flights into the sky – on titles that include "The In Between", "Tyra", "The Muse", "Mour", "Sweet Pea", and "Largo". CD

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An essential Art Farmer session from the mid 50s – and a magnificent batch of hardbop tracks that we'd rank with some of our favorite work on Blue Note! The group is incredibly strong – with Hank Mobley on tenor, Kenny Drew on piano, Addison Farmer on bass, and Elvin Jones on drums – all coming together with a magical in-the-pocket groove that persists on nearly every track. Farmer's still at a formative stage here – and he's going for a much harder sound than usual, with an excellent tone and extremely well calculated solos throughout. Mobley's at his best from this period, and his playing puts this session more in the tightly executed Blue Note camp (ala some of the Horace Silver late 50s recordings), than it does the Prestige/New Jazz blowing session mode. The whole thing's great – and titles include "Ad-Dis-Un", "By Myself", "Farmer's Market", "With Prestige", and "Wailin' With Hank". CD

An essential Art Farmer session from the mid 50s – and a magnificent batch of hardbop tracks that we'd rank with some of our favorite work on Blue Note! The group is incredibly strong – with Hank Mobley on tenor, Kenny Drew on piano, Addison Farmer on bass, and Elvin Jones on drums – all coming together with a magical in-the-pocket groove that persists on nearly every track. Farmer's still at a formative stage here – and he's going for a much harder sound than usual, with an excellent tone and extremely well calculated solos throughout. Mobley's at his best from this period, and his playing puts this session more in the tightly executed Blue Note camp (ala some of the Horace Silver late 50s recordings), than it does the Prestige/New Jazz blowing session mode. The whole thing's great – and titles include "Ad-Dis-Un", "By Myself", "Farmer's Market", "With Prestige", and "Wailin' With Hank". CD

Maynard Ferguson cut an undue number of excellent records in his early years – and this smoking set is definitely part of that group! At the time, Maynard was one of the few cats trying to find a way to move the larger band forward in jazz – finding ways to groove like Basie, but also add in some higher ideals, too – all with a surprisingly soulful current that definitely earns the title, and hints at his funky work to come in the 70s! Here, things are more shaded in blue tones and given a nice rhythmic kick – and as always with Maynard, the choice of band members is great – as the lineup features Charlie Mariano on alto, Don Rader on trumpet, Phil Bodner on reeds, Richard Davis on bass, and Mel Lewis on drums – working with strong creative energy on titles that include "What'd I Say", "Baltimore Oriole", "I Believe To My Soul", "I've Got A Woman", and "Alright OK You Win". CD

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Lean, righteous blowing from the legendary Frank Foster – one of a handful of extremely hip sessions he cut in the 60s under his own name! The album's the only record Foster ever did for Blue Note – and we dare say it's even better than his previous 60s work on Prestige and Impulse – with a quality that's even darker, even deeper, even more advanced from his earlier years with Basie. There's a rolling, joyous groove to many numbers – that late 60s take on soul jazz that made for so many great tracks on albums by Hank Mobley or Lee Morgan near the end of the decade. Foster keeps things tight, but he's also got an expansive vision too – an edge in the horns that points the way towards some of the chances he'd take in the 70s, but which is still wrapped around a leanly leaping soul jazz groove! Foster wrote 5 of the 6 tracks on the album, and he's working here with a sextet that includes Garnett Brown on trombone, Marvin Stamm on trumpet, and Richard Wyands on piano, who brings in some offbeat notes and colors throughout. Rhythm is by the excellent team of Bob Cranshaw on bass and Mickey Roker on drums – and titles include "Seventh Avenue Bill", "Stammpede", "Little Miss No Nose", "Manhattan Fever", and "Loneliness". Added to the core album is a full bonus album – recorded by Foster nearly a year after the first, and even more far-reaching! There's a quality to the date that mixes together Frank's previous soulful vamping with some more introspective, more lyrical moments – almost modern at times, but not entirely so – and played by a septet that includes Ed Pazant on alto and flute, Burt Collins on trumpet, George Cables on piano, and Jimmy Cleveland on trombone. Foster himself plays a bit of alto clarinet alongside his usual tenor – and titles include "Fly By Night", "Slug's Bag", "What's New From The Monster Mill", and "Hip Shakin". CD

Includes remixed versions of "Woo-Hah!!" by Busta Rhymes, "Masta IC" by Mic Geronimo, "Danger" by Blahzay Blahzay, "Shook Ones Pt III" by Mobb Deep, "Fakin Jax" by INI, "Microphone Master" by Das EFX, "If I Ruled The World" by Nas, and "PLO Style" by Method Man. LP, Vinyl record album

A completely cooking little live set from Aretha Franklin – and a crowning moment not just in her career, but for Atlantic Records soul in general! Aretha's working here before a very enthusiastic crossover crowd at the Fillmore West in San Francisco – getting tight backing from the combo of King Curtis (Memphis Horns, Billy Preston, and Pretty Purdie in tow!) – and hitting a groove that's often rawer, grittier, and more deep-soul tuned than some of her studio sides from the time! The recording quality is totally great – and goes out of its way to preserve the presence of the audience, and showcase Aretha's own interaction and strong sense of personality. Ray Charles makes a surprising guest appearance on one track, but the whole show is really Franklin's own – a majestic little live date that features the tunes "Spirit In The Dark", "Respect", "Make It With You", "Don't Play That Song", "Dr Feelgood", and "Love The One You're With". CD

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A landmark record – both in 60s jazz and bossa nova – and a set that not only bridged worlds of music, but set the tone for so many other albums to come! By the time of this 1964 set, Stan Getz had already issued a few bossa nova experiments on Verve – but this pairing with guitarist Joao Gilberto really pushed the format over the top – thanks in part to the vocals of Gilberto's lovely wife Astrud, who'd never sung in the studio before this famous recording! The record created a sound that was copied endlessly, and which catapulted Astrud to unbelievable fame worldwide – even though she was only included in the session at the last minute, because Joao couldn't sing in English – and the mix of Stan's tenor and Joao's guitar is wonderful – and backed throughout by this light, lilting bossa nova rhythms. Titles include the classic recording of "Girl From Ipanema", plus loads of other bossa classics like "Desafinado", "Cocovado", "O Grande Amor", and "Vivo Sonhando". CD

Mid 50s recordings with Dizzy's big bands, with sidemen that include Quincy Jones, JJ Johnson, Hank Mobley, Lucky Thompson, Lee Morgan, Benny Golson, Wynton Kelly, Billy Mitchell, Candido, Al Grey, and many more. LP, Vinyl record album

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The first album attempt to recreate the live Dead experience! Long jams as only Jerry and crew could play them – with cuts that include "Dark Star", "The Eleven", "Feedback", "Turn On Your Love Light", and "We Bid You Goodnight". LP, Vinyl record album

A set titled after a Beatles hit of the 60s, but one that's got a lot more depth than that – as the record is a landmark moment in the development of organ/guitar jazz at the time – a set that features the key pairing of guitarist Grant Green and Hammond modernist Larry Young! As with other records from the duo, there's a sense of rhythmic progression and tonal inflection here that's quite different than more standard soul jazz of the time – a complexity that also comes from the drum work of Elvin Jones, and which is topped by the soulful expressions of Hank Mobley on tenor – the last member of this all-star quartet! The whole thing's great – based around loose, free rhythms – and featuring searching solos that also still remain nicely swinging and in the pocket! Titles include "Corcovado", "Stella By Starlight", "I Want To Hold Your Hand", and "At Long Last Love". CD

A set titled after a Beatles hit of the 60s, but one that's got a lot more depth than that – as the record is a landmark moment in the development of organ/guitar jazz at the time – a set that features the key pairing of guitarist Grant Green and Hammond modernist Larry Young! As with other records from the duo, there's a sense of rhythmic progression and tonal inflection here that's quite different than more standard soul jazz of the time – a complexity that also comes from the drum work of Elvin Jones, and which is topped by the soulful expressions of Hank Mobley on tenor – the last member of this all-star quartet! The whole thing's great – based around loose, free rhythms – and featuring searching solos that also still remain nicely swinging and in the pocket! Titles include "Corcovado", "Stella By Starlight", "I Want To Hold Your Hand", and "At Long Last Love". CD

A set titled after a Beatles hit of the 60s, but one that's got a lot more depth than that – as the record is a landmark moment in the development of organ/guitar jazz at the time – a set that features the key pairing of guitarist Grant Green and Hammond modernist Larry Young! As with other records from the duo, there's a sense of rhythmic progression and tonal inflection here that's quite different than more standard soul jazz of the time – a complexity that also comes from the drum work of Elvin Jones, and which is topped by the soulful expressions of Hank Mobley on tenor – the last member of this all-star quartet! The whole thing's great – based around loose, free rhythms – and featuring searching solos that also still remain nicely swinging and in the pocket! Titles include "Corcovado", "Stella By Starlight", "I Want To Hold Your Hand", and "At Long Last Love". LP, Vinyl record album

A set titled after a Beatles hit of the 60s, but one that's got a lot more depth than that – as the record is a landmark moment in the development of organ/guitar jazz at the time – a set that features the key pairing of guitarist Grant Green and Hammond modernist Larry Young! As with other records from the duo, there's a sense of rhythmic progression and tonal inflection here that's quite different than more standard soul jazz of the time – a complexity that also comes from the drum work of Elvin Jones, and which is topped by the soulful expressions of Hank Mobley on tenor – the last member of this all-star quartet! The whole thing's great – based around loose, free rhythms – and featuring searching solos that also still remain nicely swinging and in the pocket! Titles include "Corcovado", "Stella By Starlight", "I Want To Hold Your Hand", and "At Long Last Love". CD

A stellar early Johnny Griffin recording for Blue Note, and one that features the young tenor genius from Chicago working alongside the equally fantastic John Coltrane and Hank Mobley – plus some additional trumpet from Lee Morgan, and rock-solid rhythm from Wynton Kelly, Paul Chambers, and Art Blakey! As the "blowing session" title might imply, this set features long tracks that let the players get in plenty of soloing (and, we might add, in a very competitive way!) The record is similar to the Prestige sessions of the same vintage and style, but recorded with a little bit more of the care and rehearsal that Blue Note provided. Cuts include "Ball Bearing", "All The Things You Are", and "Smoke Stack. CD

A stellar early Johnny Griffin recording for Blue Note, and one that features the young tenor genius from Chicago working alongside the equally fantastic John Coltrane and Hank Mobley – plus some additional trumpet from Lee Morgan, and rock-solid rhythm from Wynton Kelly, Paul Chambers, and Art Blakey! As the "blowing session" title might imply, this set features long tracks that let the players get in plenty of soloing (and, we might add, in a very competitive way!) The record is similar to the Prestige sessions of the same vintage and style, but recorded with a little bit more of the care and rehearsal that Blue Note provided. Cuts include "Ball Bearing", "All The Things You Are", and "Smoke Stack. LP, Vinyl record album

A great collection of early Herbie Hancock work for Blue Note Records – done in his pre-electric years, but with a sound that's already ahead of the pack – as Herbie's mixing modernism with 60s soul jazz – alongside players that include Freddie Hubbard and Donald Byrd on trumpet, Hank Mobley and Joe Henderson on tenor, Hubert Laws on flute, Thad Jones on flugelhorn, Grachan Moncur on trombone, Ron Carter and Butch Warren on bass, and Billy Higgins and Tony Williams on drums! Titles include "Cantaloupe Island", "Blind Man Blind Man", "Maiden Voyage", "Empty Pockets", "Speak Like A Child", "Toys", "Three Bags Full", "Triangle", "And What If I Don't", "Drifitin", "Goodbye To Childhood", and "The Prisoner". LP, Vinyl record album

Classic Herbie Hancock from the early years – and a great mix of soul jazz and modernist inspiration! The record include a nice groovy "hit" – Herbie's "Blind Man Blind Man" – an obvious follow-up to "Watermelon Man", but still a standout track with a lot of imagination, and a fierce soul jazz hook that just won't quit! The rest of the record, while also groovy, starts to show many more signs of Herbie's far-reaching conception – especially shared with players like Tony Williams on drums, Grachan Moncur on trombone, and Chuck Israels on bass – who all work with Herbie in a larger than usual group that also includes Grant Green on guitar, Donald Byrd on trumpet, and Hank Mobley on tenor. The lineup is as great as it sounds on paper – and the larger setting really helps expand Herbie's new ideas – on tunes that include "Blind Man Blind Man", "And What If I Don't", "A Tribute To Someone", "King Cobra", and "The Pleasure Is Mine". LP, Vinyl record album

Tim Hardin's last album for Verve – and a record that has a bit of a different vibe than his previous three sets! Although still in folksy territory, Tim's really drawn a lot from blues as well – and the set adds in some electric guitar riffing and harmonica, to emphasize the blusier currents of the new tunes that Hardin penned for the album! Most of the tracks have a different spirit than before – maybe more of sense of pride and person than some of the bluer-tinged material that Tim first gave us – but amidst the brasher phrasing, there's still that unmistakable Hardin quality of humanity – a vibe that gives the whole thing a very different feel than other bluesy material of the time. Titles include "I Can't Slow Down", "Airmobile", "Whiskey Whiskey", "Ain't Gonna Do Without", and "Hello Baby" – plus versions of "Bo Diddley" and "Seventh Son". LP, Vinyl record album

2 rare large group sets – back to back on one CD! First up is Saxes Inc – a unique sax-heavy session done by Warner Brothers, and a blaring batch of tracks played by an all-star all-sax group that includes Herb Geller, Phil Woods, Gene Quill, Al Cohn, Zoot Sims, Seldon Powell, Hal McKusick, and Georgie Auld! Bob Prince arranged and conducted, and the approach is surprisingly modernist, with the saxes carrying the bulk of the rhythm and melody, as well as the solos – a really great approach that makes for plenty of unique moments – all handled with a sound that's a lot more fluid than you might expect! Titles include "Four Brothers" (of course!), "The Gypsy", "Night In Tunisia", "Jumpin With Symphony Sid", and "Axmobile". The second album here is the even rarer 1956 set Trombone Scene – a session done with a much smaller group arranged by pianist Elliot Lawrence, and featuring the talents of four key trombonists – Eddie Bert, Jimmy Cleveland, Urbie Green, and Jimmy Knepper. The sound isn't nearly as full or wide as other records of the type – and there's almost a style that's similar to the JJ Johnson/Kai Winding four trombone project for Debut – except that this one's a bit more tightly arranged. Tracks are shortish, but feature plenty of personality from all players – and titles include "Plungin In", "Hackin Around", "Slim Jim", "Sorta Rumbish", "Hambone", "Sonny's Side", and "Up & Out". CD

2 massive Isaac Hayes soundtracks in one set – both from the magical cinematic year of 1974! Truck Turner is a hard and heavy soundtrack that we like even more than his classic work on Shaft! Unlike Shaft, Ike actually starred in the film Truck Turner – which may be one reason why he brought his full game to the table for the record – and scored a batch of badass tunes that still stand with some of the best funky soundtrack work of the 70s! The rhythm's especially hard on the best cuts – really crackling with a lot of intensity, and a stark, hard funky sound that's made the record a favorite of beatheads for years! Ike kicks it hard on cuts like "Pursuit Of The Pimpmobile", "House Full Of Girls", "Drinking", "Give It To Me", "Now We're One", "Breakthrough", "House of Beauty", and the massive title cut "Truck Turner". Tough Guys is deeper and more complicated than the groove of Shaft and Truck Turner, and filled with some great tunes that glow with color, life, and imagination – showing an Isaac Hayes that almost seems to be moving beyond the usual blackploitation groove! The album sports 2 really classic tunes – the title theme "Tough Guys", and the classic "Hung Up On My Baby" – both of which have a solidly funky feel that will more than please the usual soundtrack beathead crowd. But overall, the other tunes twist and turn in a delightful mix of modes – expanding on the soulful territory Ike first explored in his original soundtracks, and offering up a great range of moods and emotion. The album's got some especially great chromatic guitar work – and other titles include "Joe Bell", "Randolph & Dearborn", "Buns O Plenty", "Run Fay Run", and "Red Rooster". CD

Massive work from Isaac Hayes – a hard and heavy soundtrack that we like even more than his classic work on Shaft! Unlike Shaft, Ike actually starred in the film Truck Turner – which may be one reason why he brought his full game to the table for the record – and scored a batch of badass tunes that still stand with some of the best funky soundtrack work of the 70s! The rhythm's especially hard on the best cuts – really crackling with a lot of intensity, and a stark, hard funky sound that's made the record a favorite of beatheads for years! Ike kicks it hard on cuts like "Pursuit Of The Pimpmobile", "House Full Of Girls", "Drinking", "Give It To Me", "Now We're One", "Breakthrough", "House of Beauty", and the massive title cut "Truck Turner". LP, Vinyl record album

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One of the first true moments of genius from tenorist Joe Henderson – his debut as a leader for Blue Note, and a set that already has him knocking it out of the park, and setting a tone for a whole new generation! Right at the start, Joe was as distinct a saxophonist as recent predecessors like Wayne Shorter or Hank Mobley – but like both of them, he had a voice that was all his own – and already stretching past more familiar tenor modes, at a level that would make Henderson one of the most important players in years soon to come! But he's already great here – and is working in a suberpb group with Kenny Dorham on trumpet, McCoy Tyner on piano, Butch Warren on bass, and Pete LaRoca on drums. LaRoca's very free on the drum kit, and gives the set a rhythmic looseness that's a bit of a hint at some of Joe's 70's recordings – and that style's even further supported by Tyner's long flowing lines on piano, and Dorham's sparkling work on the trumpet! Includes the classic reading of Kenny's "Blue Bossa", plus the titles "Recorda-Me", "Jinrikisha", "La Mesha", and "Homestretch". CD

One of the first true moments of genius from tenorist Joe Henderson – his debut as a leader for Blue Note, and a set that already has him knocking it out of the park, and setting a tone for a whole new generation! Right at the start, Joe was as distinct a saxophonist as recent predecessors like Wayne Shorter or Hank Mobley – but like both of them, he had a voice that was all his own – and already stretching past more familiar tenor modes, at a level that would make Henderson one of the most important players in years soon to come! But he's already great here – and is working in a suberb group with Kenny Dorham on trumpet, McCoy Tyner on piano, Butch Warren on bass, and Pete LaRoca on drums. LaRoca's very free on the drum kit, and gives the set a rhythmic looseness that's a bit of a hint at some of Joe's 70's recordings – and that style's even further supported by Tyner's long flowing lines on piano, and Dorham's sparkling work on the trumpet! Includes the classic reading of Kenny's "Blue Bossa", plus the titles "Recorda-Me", "Jinrikisha", "La Mesha", and "Homestretch". LP, Vinyl record album