Kathy, we'd follow you anywhere – not just for your sultry look on the cover of this album, but for your warm and wonderful vocals throughout the set! The notes describe Barr as "vibrant, vivacious, vital, and full of volcanic tenderness too" – and given the presentation of the tunes here, we'd certainly find it hard to disagree. Kathy's got a great way with a torchy mellow tune, but shines even better on some of the more uptempo numbers – scored nicely by Jerry Fielding with a slightly jazzy undercurrent that really pushes the dynamic edge in Barr's vocals. Titles include "Love Is Here To Stay", "Cuddle Up A Little Closer", "How Long Has This Been Going On", "I'm Just Wild About Harry", "Bye Bye Blackbird", "Day In Day Out", and "Fine & Dandy". (Vocalists, Jazz) LP, Vinyl record album

Funky wonderfulness from Gary Bartz – one of his hip sets from the early 70s recorded with his NTU group – a very righteous blend of soul, jazz, and funky elements! Huber Eaves plays some great electric piano on the record – and so does Bartz, alongside his usual soprano and alto sax – and the wonderful Andy Bey is on vocals, bad-rapping his way through an incredibly positive, powerful batch of tunes. Stafford James plays these nice phat funky basslines – and the album's got kind of a mix of modal jazz and shakey soul – that unusual Gary Bartz sound of the time! Cuts include "Sing Me A Song Today", "Sifa Zote", "Standin' On The Corner", and "Etoiles Des Neiges". LP, Vinyl record album

US 2-fer CD that brings together two of Gary Bartz's harder to find LPs on one CD – Juju Street Songs and Follow The Medicine Man. Both LPs feature a lineup that includes Hubert Eaves on electric piano, Stafford James on bass, and Andy Bey on vocals; and the material is pivotal stuff for Gary as he moves from his straight jazz spiritual stuff into a vein that is slightly more electric – but not too electric. Lots of nice funky moments with a righteous vibe, and the track list includes "Dr. Follow's Dance", "Standin' On The Corner", "Sing Me A Song Today", "Black Maybe", "Sifa Zote", and "Africans Unite". CD

A sublime blend of jazz and organic sounds from multi-instrumentalist Bex Burch – a record that sounds as if it might have come from the studio of Carlos Nino, but which almost has a more personal, poetic sort of quality! There are some sounds of nature here – including bird calls from a sanctuary in Illinois – and even the more familiar instruments, like piano, drums, reeds, violin, or bass are often mixed with some "room" elements that really locate the recording in a special place – in ways that also seem to have some of that post-studio touches around the edges that we love from the International Anthem label. Burch clearly delivers most of the sound herself, almost doing an "in residence" to create the music – but she gets help along the way from guests who include Ben LaMar Gay, Dan Bitney, Rob Frye, Anna Butterss, and Macie Stewart – on titles that include "When Love Begins", "Don't Go Back To Sleep", "Dawn Blessings", "Follow Me I Make You Happy", "Start Before You're Ready", "Pardieu", and "If I Was You I'd Be Doing Exactly The Same". CD

A sublime blend of jazz and organic sounds from multi-instrumentalist Bex Burch – a record that sounds as if it might have come from the studio of Carlos Nino, but which almost has a more personal, poetic sort of quality! There are some sounds of nature here – including bird calls from a sanctuary in Illinois – and even the more familiar instruments, like piano, drums, reeds, violin, or bass are often mixed with some "room" elements that really locate the recording in a special place – in ways that also seem to have some of that post-studio touches around the edges that we love from the International Anthem label. Burch clearly delivers most of the sound herself, almost doing an "in residence" to create the music – but she gets help along the way from guests who include Ben LaMar Gay, Dan Bitney, Rob Frye, Anna Butterss, and Macie Stewart – on titles that include "When Love Begins", "Don't Go Back To Sleep", "Dawn Blessings", "Follow Me I Make You Happy", "Start Before You're Ready", "Pardieu", and "If I Was You I'd Be Doing Exactly The Same". LP, Vinyl record album

A sublime blend of jazz and organic sounds from multi-instrumentalist Bex Burch – a record that sounds as if it might have come from the studio of Carlos Nino, but which almost has a more personal, poetic sort of quality! There are some sounds of nature here – including bird calls from a sanctuary in Illinois – and even the more familiar instruments, like piano, drums, reeds, violin, or bass are often mixed with some "room" elements that really locate the recording in a special place – in ways that also seem to have some of that post-studio touches around the edges that we love from the International Anthem label. Burch clearly delivers most of the sound herself, almost doing an "in residence" to create the music – but she gets help along the way from guests who include Ben LaMar Gay, Dan Bitney, Rob Frye, Anna Butterss, and Macie Stewart – on titles that include "When Love Begins", "Don't Go Back To Sleep", "Dawn Blessings", "Follow Me I Make You Happy", "Start Before You're Ready", "Pardieu", and "If I Was You I'd Be Doing Exactly The Same". LP, Vinyl record album

Maybe the most haunting project to date from Ruth Goller – an important collaborator on the contemporary London scene, but one who's got a style that's much more than jazz – one that's definitely pushed to the limits here! The set features Goller on electric and acoustic bass, with overdubbed vocals that are often layered in very cool ways – and augmented track to track by guest work on drums, electronics, vibes, and sanza – instruments that are often used in ways that bring a slight touch of organic acoustic energy to the more layered proceedings. The textures of the vocals are very evocative – almost a blend of an older 4AD aesthetic with improvised music – and titles include "Next Time I Keep My Hands Down", "Below My Skin", "How To Be Free From It", "Don't Follow Me", "She Was My Own She Was Myself", and "All The Light I Have I Hand To You". CD

Maybe the most haunting project to date from Ruth Goller – an important collaborator on the contemporary London scene, but one who's got a style that's much more than jazz – one that's definitely pushed to the limits here! The set features Goller on electric and acoustic bass, with overdubbed vocals that are often layered in very cool ways – and augmented track to track by guest work on drums, electronics, vibes, and sanza – instruments that are often used in ways that bring a slight touch of organic acoustic energy to the more layered proceedings. The textures of the vocals are very evocative – almost a blend of an older 4AD aesthetic with improvised music – and titles include "Next Time I Keep My Hands Down", "Below My Skin", "How To Be Free From It", "Don't Follow Me", "She Was My Own She Was Myself", and "All The Light I Have I Hand To You". LP, Vinyl record album

Maybe the most haunting project to date from Ruth Goller – an important collaborator on the contemporary London scene, but one who's got a style that's much more than jazz – one that's definitely pushed to the limits here! The set features Goller on electric and acoustic bass, with overdubbed vocals that are often layered in very cool ways – and augmented track to track by guest work on drums, electronics, vibes, and sanza – instruments that are often used in ways that bring a slight touch of organic acoustic energy to the more layered proceedings. The textures of the vocals are very evocative – almost a blend of an older 4AD aesthetic with improvised music – and titles include "Next Time I Keep My Hands Down", "Below My Skin", "How To Be Free From It", "Don't Follow Me", "She Was My Own She Was Myself", and "All The Light I Have I Hand To You". LP, Vinyl record album

A set that has the sweet alto sax of Johnny Hodges working with great arrangements from Claus Ogerman – a mode that's a bit more groovy and 60s than some of Johnny's previous work – in a setting that offers up a nice change for his sound! Claus is in fine form here – swinging with the same style as his own instrumental records for RCA in the 60s – echoes of his German roots, especially in the use of bass at the bottom – which gives even some of the gentler tunes a nice kick we're not used to hearing in Johnny Hodges material. Johnny's got a sound that's soulful, yet sweet too – almost pop, but still very strongly rooted in jazz – on titles that include "Again", "Sandy's Gone", "Monkey Shack", "Scarlett O'Hara", "Candy's Theme", and "Follow Me". LP, Vinyl record album

Great stuff from Gary – one of his more obscure albums, and a record dedicated to the signs of the Zodiac! The tracks are a mixture of Gary's usual easy jazz approach – with vibes, whistling, and bossa-style rhythms showing up a lot – plus a few more driving numbers that are more like his arranged work for other players, and which even include some nicely funky tunes! A real gem – lost amidst most of his catalog – possibly because the marketplace wasn't ready for such zodiacary! Titles include "Sad Eyes", "Long Live The King", "Close Your Eyes & Follow Me", "Can't Help Dancing", "Runaway Heart", "Thanks But No Thanks", and "Days Dipped In Dreams". LP, Vinyl record album

The third volume in Strata East's Dolphy Series, and a hard to find recording by the great baritone saxophonist Cecil Payne! Although Payne had his roots in earlier bop material, by the time of this recording, he'd emerged as an outspoken modernist – although few labels would give him the chance to prove himself in this respect – save for the legendary Strata East imprint, which gives Payne this chance to show a whole new side of his talents! The group is a perfect one to bridge the generations – with Kenny Dorham on trumpet, Wilbur Ware on bass, Wynton Kelly on piano, and Albert Heath on drums – stretching out beautifully in a set of original compositions that are easily some of Payne's best work on record ever. Tracks include "Follow Me", "Flying Fish", "Slide Hampton", and "Girl You Got a Home". LP, Vinyl record album

The last-ever album from this legendary duo – and a set that's maybe their funkiest record too! Of course, that's probably no surprise, given that they're playing the Curtis Mayfield tunes from Superfly here – great tracks that make for a really wonderful setting for the pair's highly rhythmic style – Eldee Young on bass and Isaac Redd Holt on drums – plus great Fender Rhodes lines from pianist Ken Chaney! The set also features a bit of congas from Derf Reklaw, and organ and guitar as well – and the whole thing's a long overdue follow up to the funky electric jazz style of their earlier album Oh Girl, on Atlantic. Titles include great takes on "Freddie's Dead", "Give Me Your Love", "Pusher Man", and "Superfly" – plus a few of the group's own numbers, like "Hey Pancho" and "Mystical Man" – as well as a super-dope cover of "People Make the World Go Round". (Soul, Jazz) LP, Vinyl record album

The last-ever album from this legendary duo – and a set that's maybe their funkiest record too! Of course, that's probably no surprise, given that they're playing the Curtis Mayfield tunes from Superfly here – great tracks that make for a really wonderful setting for the pair's highly rhythmic style – Eldee Young on bass and Isaac Redd Holt on drums – plus great Fender Rhodes lines from pianist Ken Chaney! The set also features a bit of congas from Derf Reklaw, and organ and guitar as well – and the whole thing's a long overdue follow up to the funky electric jazz style of their earlier album Oh Girl, on Atlantic. Titles include great takes on "Freddie's Dead", "Give Me Your Love", "Pusher Man", and "Superfly" – plus a few of the group's own numbers, like "Hey Pancho" and "Mystical Man" – as well as a super-dope cover of "People Make the World Go Round". (Soul, Jazz) LP, Vinyl record album

A funky concept album from George Duke – and one that's filled with some mighty nice grooves! Guardians Of The Light is a full-on "musical fantasy" – with the story line laid out in the liner notes, yet still a bit difficult to follow – but we can't fault him for that when it's done in his masterful R&B-fusion-funk approach! George sings on all cuts, but he also gets some stellar vocal assistance from Jeffrey Osborne, Portia Griffin, and Patti Austin. The record also has some surprisingly sweet mellow moments that bring a deeper level of spacey soul to the out-there concept – those laidback lines that George could always do better than anyone else! Titles include "Born To Love You", "You Are The Light", "Reach Out", "Give Me Your Love", "Stand", "Soon", and "Fly Away". LP, Vinyl record album

If you don't think Hal Galper's a hell of a pianist, this may be the record to change your mind – as Hal's in top form throughout – really focused and full of power in his approach to the piano, but never in a way that's flashy or overdone! Instead, there's this organic sensibility to the record that makes everything feel just right – very personal, and with very fresh arrangements on familiar tunes – but in a way that makes us feel like we can follow Galper every step of the way, and smile with warm approval at each new twist and turn. There's few pianists that can make us say "oh yeah" with that kind of regularity – and titles include "Dreamsville", "Don't Blame Me", "High Fly", "Lament", and "Sweet Pumpkin" – played with a trio that includes Steve Gilmore on bass and Bill Goodwin on drums. CD

The complete recording of Tony Bennett and Bill Evans as a duo – the Tony Bennett/Bill Evans Album from '75 and the '76 follow up Together Again – back to back, plus a bonus CD of alternate takes! If you've ever doubted the real jazz sensibility of Tony Bennett, the Tony Bennett/Bill Evans Album is the one to change your mind – because Tony's working here in a marvelously unadorned setting – with only the piano of Bill Evans to back him up! The record's a rare gem from years after Bennett was cracking the pop charts, but was willing to pull back to the jazz of his roots – and the session's equally rare for Evans, who rarely worked with vocalists at this point in his career. The simplicity of the album is its strength – and together, the pair really sound tremendous – slightly faltering at times, but in a way that exposes a sense of humanity you might not find in other records, especially those by Bennett. Titles include "When In Rome", "Some Other Time", "The Touch Of Your Lips", "My Foolish Heart", "Waltz For Debby", and "Young & Foolish". Together Again is another gem, following the form of the first duos record exceptionally well, perhaps with Evan's piano a bit more prominent in the sound, and another fine batch of tunes, including "The Bad And The Beautiful", "Lucky To Be Me", "A Child Is Born", "Lonely Girl", "You Must Believe In Spring" and more. The bonus CD features alternate takes of material from the 2 albums, with versions of "You And Foolish", "The Touch Of Your Lips", "Some Other Time", "When In Rome", "Waltz For Debbie" and multiple versions of "The Bad And The Beautiful", "A Child Is Born", and more. (Vocalists, Jazz) CD

A sublime set of soul instrumentals – very funky work, and sort of a 70s follow-up to the Soulful Strings albums on Cadet Records from the 60s! Maestro Richard Evans is at the top of his game here – stepping out with that hip Chisoul mode he first forged at Chess, tuned here towards some even more sophisticated modes for Atlantic Records! Many of Evan's previous players are on board to make the record great – including Lennie Druss on flute, Paul Serrano on trumpet, Odell Brown on organ, and Phil Upchurch on guitar. Evans himself plays bass for the record – using a very funky bottom sound – and the set also features some wicked vibes from the legendary Billy Wooten, working away from his Nineteenth Hole group on a rare major label date! The sound is blacksploitation soundtrack, part Curtom funk – and titles include the great originals "Pie Daddy's Dream", "Wado City", "Angela My Sister", and the great "Patutu" – which was done by the Soulful Strings – plus a few nice covers like "Mercy Mercy Me" and "Ellie's Love Theme", by Isaac Hayes. (Soul, Jazz) CD

Great work from one of the grooviest pianists of the 60s – a player who could always keep things lively and swinging, even in a small combo session! The album's one of Pete Jolly's gems for the Ava label – a follow-up to his semi-hit Little Bird, and like that one, a record done with some slight additional help from Howard Roberts on a few tracks. But this time around, Roberts' work is only on a few of the titles – leaving Pete's core trio to take over most of the grooves themselves, building strongly from warmly rolling rhythms by Chuck Berghofer on bass and Larry Bunker on drums, topped by Jolly's surprisingly soulful lines on piano – all in a blend that reminds us of the great balance between lyricism and groove we always find in the best work of Vince Guaraldi. Titles include "Sweet September", "Can't We Be Friends", "Any Number Can Win", "Soft Winds", "Oleo", "Yours Is My Heart Alone", "I'm Beginning To See The Light", and "Kiss Me Baby". LP, Vinyl record album

A brilliant little record, and one that really lives up to the heady claim of its title! The lineup here is spare, but the sound is really full – swelling with complicated colors, images, and tones that delight us with each new track – a masterpiece in understatement, and one of the most perfectly realized blends of acoustic and electric jazz instrumentation from the late 70s! The sound is really a perfect "fusion" of modes – with guitar from Vic Juris and keyboards from Barry Miles dancing alongside the bass of John Burr and drums of Terry Silverlight – never too jamming or too rock-influenced, but always filled with energy and a sense of imagination. Titles include the beautiful "Tandoori" – a stone jazz dance groover with some great scatted vocals alongside the guitar – and other tracks include "Sunrise", "Streams", "Routes", "Follow Me", and "Country Miles". LP, Vinyl record album

Sweet 50s vocals from Teddi King – a set that's arranged with a fuller style than her small combo sessions from the time – but which still shows her to be one of the most distinctive singers of her time! Teddi's got a voice that's much richer than you'd guess from her small frame – a way of putting over a tune that's not really emotive, but much more deeply expressive than some of her contemporaries – yet all without resorting to any easy cliches, or familiar styles pulled from previous generations. The backings from George Siravo follow this approach nicely – never too overdone, but often with some nice little instrumental touches that add a bit of flair to the proceedings. The songs all echo the "To You" in the title – with a strong use of the second person pronoun in an intimate way – on numbers that include "The Way You Look Tonight", "You Go To My Head", "Where Have You Been", "How Come You Do Me Like You Do", "The Touch Of Your Lips", "The Very Thought Of You", and "Mr You've Gone & Got The Blues". (Vocalists, Jazz) LP, Vinyl record album

A trio of funky electric albums from Stanley Clarke's mid 80s R&B years – 1984's Time Exposure, ''85's Find Out and '86's Hideaway – in a 2CD set! Time Exposure has a lot of 80s electro funk in the mix, particularly Clarke's impeccable bass lines, which are heavy throughout. Titles include "Play The Bass '10", "Heaven Sent You", "Speedball", "Future Shock" and the great title track. Find Out follows somewhat similar territory, an 80s synth funky set with a few surprising twists – including an electro/funk/old school rap cover of "Born In The USA"! Other tracks include "Find Out", "The Sky's The Limit", "Stereotypica" and "Psychedelic". Hideaway makes a move towards more delicate synth soul for Clarke – who assembles an impressive guest list that includes Stanley Jordan, Herbie Hancock and Stewart Copeland. Titles include a cover of Stevie Wonder's "Overjoyed", plus "My Love, Her Inspiration", "Where Do We Go", "Old Friends" and "When It's Cold Outside". CD

A landmark album in the British avant garde – the first set ever issued on Incus Records, and a monumental set of improvisations between Evan Parker on saxes, Hank Bennink on percussion, and Derek Bailey on guitar! The album followed from some great energy on the British scene of the previous few years – but went onto set the tone for countless other improvisations in years to come – especially in the way that Bailey's guitar is integrated into the sharper sounds of the saxes and drums. That blend may well be the record's strongest contribution to improvisation – but even without that historic status, it's still a hell of a set from some genius players at their height. Titles include "Dogmeat", "For Peter B & Peter K", "Fixed Elsewhere", and "Titan Moon". LP, Vinyl record album

A great little record from Art Pepper – four long tracks that really have him stretching out on alto – but in a way that's maybe a bit different than some of his more burning albums on the Galaxy label at the time! The group here follows from some of the previous Artist House recordings – George Cables on piano, Charlie Haden on bass, and Billy Higgins on drums – a rhythm combo that's mighty nice – and which benefits from some great straight basswork from Haden, and Higgins' always compelling sense of rhythm! Titles include "My Friend John", "Stardust", and "Tin Tin Deo" – plus a reading of "In A Mellotone" that has Art on clarinet. LP, Vinyl record album

A great little record from Art Pepper – four long tracks that really have him stretching out on alto – but in a way that's maybe a bit different than some of his more burning albums on the Galaxy label at the time! The group here follows from some of the previous Artist House recordings – George Cables on piano, Charlie Haden on bass, and Billy Higgins on drums – a rhythm combo that's mighty nice – and which benefits from some great straight basswork from Haden, and Higgins' always compelling sense of rhythm! Titles include "My Friend John", "Stardust", and "Tin Tin Deo" – plus a reading of "In A Mellotone" that has Art on clarinet. CD features six bonus tracks – the tune "Art's Sweet Blues", and alternates of "But Beautiful", "Yesterdays", "Stardust", "In A Mellow Tone", and "You Go To My Head". CD

A reverent snapshot of the spiritual & soul jazz emanating from the Mainstream label in the early 70s – a well curated set featuring great numbers by Frank Foster, Blue Mitchell, Hadley Caliman, Roy Haynes and other giants of the scene! The material comes from a time in Mainstream label history when it was essentially relaunched as a jazz label, following some the psyche era rock albums of the previous few years. Soulful jazz sounds from a spiritual realm as well as some in a jazz funk mode, and excellent material all the way! 12 great tracks in all: The sprawling opener "The Loud Minority" by Frank Foster, "Mi Hermano" by Blue Mitchell, "Up And Down" by Harold Land, "Watercress" by Hadley Caliman, "Kamili" by Buddy Terry, "Senyah" by Roy Haynes, "EW Beautiful People" by Frank Foster, "Little One" by Hadley Caliman and "Petits Machins" by Johnny Coles/ (Funky Compilations, Jazz) CD

TK Blue on alto and soprano saxophone, flute and kalimba, Steve Turre on trombone, James Weidman and Onaje Allan Gumbs on piano, Essiet Okon Ossiet on bass, Willie Martinez on bass, and Kevin Jones on percussion. CD

An incredible collection of work from Bob Brookmeyer – tracing the development of his sound in the 50s through a variety of different settings! The package begins with material from an original 10" LP session in 1954 – featuring Brookmeyer on trombone with backing by the John Williams trio. The set then expands to feature tracks recorded by Brookmeyer, Jim Hall, and Jimmy Giuffre as material that was originally issued on the album Traditionalism Revisited, but which also features tracks from that session that came out on other more obscure sources, including a Playboy jazz album and a Brookmeyer LP on Crown. The set then follows with a beautiful guitar/trombone session that features Jim Hall, Jimy Raney, and Brookmeyer – originally issued as The Street Swingers. Next up is material from a bluesy 1958 set, recorded with vocalist Big Miller, as well as Paul Quinichette, Al Cohn, and Jim Hall – for the album Kansas City Revisited. The set's completed by material from the beautiful UA album Stretching Out – which featured Zoot Sims, Harry Edison, and Al Cohn – and the whole thing's packaged with a great booklet that gives notes on the material. 37 tracks in all – in a limited, numbered set! CD

American bassist Oscar Pettiford left our planet on the other side of the Atlantic – after just a few years of making some big waves on the European scene, where this tribute to his genius was recorded in 1960! The material here appears for the first time – and the bulk of the set features tremendous performances from very hip European groups who were following in the legacy of modern jazz that Pettiford and some of his generation helped unlock on the scene. The set begins with a trio that includes pianist Finn Savery and bassist Erik Moseholm, on titles that include "Bohemia After Dark" and "Willow Weep For Me". Baritone saxophonist Max Bruel leads a quartet through a reading of his own "Blues For Oscar" – followed by four tracks from the trio of pianist Bengt Hallberg, one with vocals from Alice Babs – titles that include "Blues By Alice" and "Dinah". Next is the legendary Jazz Quintet 60 – with Allan Botschinsky on trumpet, Bent Jaedig on tenor, and Bent Axen on piano – doing their renditions of Pettiford tunes "Why Not That's What" and "Blues In The Closet". Vibist Louis Hjulmand follows in a quartet with pianist Finn Savery on the Pettiford tune "Now See How You Are" – then the great Stan Getz comes in to finish things off in a quartet with Bengt Hallberg's trio – serving up takes of "Without A Song", "Get Happy", "Spring Can Really Hang You Up The Most", and "Nobody's Sweetheart". CD

A great statement from vibist Milt Jackson – one of his key solo sessions in a great 60s run of recordings away from the Modern Jazz Quartet! Like the classics that followed this one, the vibe is much more soulful than any of Milt's records with the MJQ – kind of an extension of the groove he hit on 50s dates for Savoy and Prestige, swung with an even tighter feel here in the Impulse Records setting! The backing's from a trio that includes Hank Jones on piano, Paul Chambers on bass, and Connie Kay on drums – and the tracks are short, but have some nice haunting themes that work well with the sensitive vibes of Jackson and piano of Jones. Titles include "Put Off", "Statement", "Slowly", "Sonnymoon For Two", and "Thrill From The Blues". CD

Really fantastic music from pianist Ahmad Jamal – a set of tracks that's a really nice change from some of the recordings he was doing for Chess Records in the early 60s, and which definitely point the way towards the more stretched-out performances to come on Impulse Records! As the title implies, the setting is live – and Jamal really stretches out here on a number of tunes – working with a free-flowing sense of lyrical beauty that's even more stunning than in the shorter space of a studio cut – really skilled with that ear for tone and timing that made his work such a fresh voice on the piano scene at the time, and a subtle hint at righteous modes to come in the following generation. Chuck Lampkin is on drums throughout, and one set features Richard Evans on bass, the other Jamil Nasser – on long takes of "Bogota", "Minor Adjustments", "All Of You", "Squatty Roo", "Keep On Keeping On", "Minor Moods", "Lollipops & Roses", "Tangerine", and "But Not For Me". CD

Dark genius from keyboardist Bob James – one of his seminal 70s classics for CTI! The album follows strongly in the spirit of the records One and Two – using James' spacious approach to Fender Rhodes alongside some backings that are electric, yet have an earthily funky quality that really sets him apart from the pack! The set includes the sample classics "Storm King" and "Westchester Lady" – both of which are examples of James at his best – plus the cuts "Jamaica Farewell", "One Mint Julep", and "Women Of Ireland". LP, Vinyl record album

Some of the most righteous sounds we've ever heard from Houston legends The Lightmen – recorded at a time when the group was at their most spiritual, and very firmly following a cosmic path set down by drummer Bubbha Thomas! The music here owes nothing to the hippest sounds coming from the coastal cities – and even the undergrounds of Chicago and Detroit in the early 70s – and in fact, there's a vibe here that would be right at home with the Tribe Records spirit of the motor city, as the group balance their freewheeling inclinations with a nice sense of rhythm as well! Players include Doug Harris on some excellent soprano, tenor, and flute – plus Virgil Solomon on flute and alto, James Hensley on trumpet and light whistle, Joe Singleton on trombone, and Marshia Frazier on electric piano. Titles include "Sorrow Bitterness & Revolution", "Hope", "Blue Tip", "On The Road Home", "Song Of Praise", and "Ujimma". 2CD version features the standard stereo mix and the unissued mono version – plus a great booklet of notes! CD

Beautifully lofty work from the great Wes Montgomery – a set that was recorded quite late in his too-short career, and really points the way towards some of the sophisticated sounds that might have followed, had Wes not left this planet all too soon! Don Sebesky is at the head of the charts this time around, and while the vibe echoes some of the other work that Montgomery did with larger backings in the period, there's also a nice current of darkness too – this intensity that can come through, even if the tune is a familiar pop number. The ensemble is filled with great players – Herbie Hancock and Hank Jones on piano, Stan Webb on flute, Grady Tate on drums, and Ray Barretto on percussion – and titles include "I'll Be Back", "Road Song", "Yesterday", "Serene", "Green Leaves Of Summer", and "Fly Me To The Moon". LP, Vinyl record album

The amazing first album from Brazilian modern musical genius Hermeto Pascoal – a set that would change the world of jazz and Brazilian music for years to come! By the time of the set, Hermeto was no stranger to the scene – he'd recorded famously in Quarteto Novo with Airto, and in some other key groups – yet this set also marks a real transformation, the rise of Pascoal as a new visionary, with endless fresh ideas for sounds, rhythms, and instrumental possibilities! And yet, the album's still very groovy – it follows nicely off the spirit of Quarteto Novo, and mixes tight rhythmic changes with all sorts of incredible instrumental inflections – work by Pascoal on keyboards and flute – augmented with drums and percussion from Airto, and a range of reeds from American jazz musicians Jerome Richardson, Maurico Smith, Joe Farrell, Jerry Dodgion, and Hubert Laws – as well as trombone from the great Garnett Brown, and trumpets from Thad Jones and Joe Newman. The mix of American players and Brazilian inspiration is wonderful – and Airto and Flora Purim produced the set – and the latter sings a bit on the record. Titles include "As Marianas", "Alicate", "Hermeto", "Coalhada", "Fabiola", "Guizos", and "Flor Do Amor". (Brazil, Jazz) CD

The amazing first album from Brazilian modern musical genius Hermeto Pascoal – a set that would change the world of jazz and Brazilian music for years to come! By the time of the set, Hermeto was no stranger to the scene – he'd recorded famously in Quarteto Novo with Airto, and in some other key groups – yet this set also marks a real transformation, the rise of Pascoal as a new visionary, with endless fresh ideas for sounds, rhythms, and instrumental possibilities! And yet, the album's still very groovy – it follows nicely off the spirit of Quarteto Novo, and mixes tight rhythmic changes with all sorts of incredible instrumental inflections – work by Pascoal on keyboards and flute – augmented with drums and percussion from Airto, and a range of reeds from American jazz musicians Jerome Richardson, Maurico Smith, Joe Farrell, Jerry Dodgion, and Hubert Laws – as well as trombone from the great Garnett Brown, and trumpets from Thad Jones and Joe Newman. The mix of American players and Brazilian inspiration is wonderful – and Airto and Flora Purim produced the set – and the latter sings a bit on the record. Titles include "As Marianas", "Alicate", "Hermeto", "Coalhada", "Fabiola", "Guizos", and "Flor Do Amor". (Brazil, Jazz) LP, Vinyl record album

Proof that Max Roach was always experimenting with his music – even in the later years! The album's one of a few 80s efforts to feature Roach's Double Quartet – a group that takes his regular four-piece jazz group and augments it with a string quartet – all in a sound that's almost an extension of modes first begun by Roland Kirk in the 60s! The Kirk reference isn't accidental – as the title track here is a great version of Kirk's "Bright Moments" – one that uses the strings to offset the core jazz work of Roach on drums, Odeon Pope on tenor, Cecil Bridgewater on trumpet, and Tyrone Brown on electric bass – all in ways that are as creative as they are playful, definitely in a Kirk-styled spirit. Other tunes follow suit – and use the strings to echo Kirk's dream of a black classical music, but also one that's always firmly jazz-based at all times. Titles include "Double Delight", "Hi Fly", "Bright Moments", "Elixir Suite", and "A Tribute To Duke & Mingus". LP, Vinyl record album

We've always loved the music of pianist Bernie Senesky – a Canadian musician with a richly lyrical, expressive style – one that doesn't always get the recognition it deserves on our side of the border! And we've also always loved the tenor of Eric Alexander – a player we've been following since his start, and who has had some amazing moments of growth in recent years – one of them on this record with Bernie, a player who seems to bring out all this warmer, more sensitive elements in Alexander's horn – as the two of them work together in a very unexpected pairing, but one that we'd love to hear more of on future recordings! Other players on the date include Kieren Overs on bass and Joe Farnsworth on drums on most tracks, save for two, which feature Morgan Childs on drums and Dave Young on bass. Titles include the originals "Blues For EJ", Alexander's Realtime Band", "Stand Pat", and "Make Believe" – plus a nice take on "Matchmaker". CD

Really great work from tenorist Joshua Redman – an artist that many have been following for decades – but who, to us, really seems to be hitting a new level of genius in recent years! There's this understated confidence going on here – as if Redman no longer has anything to prove, and can just open up beautifully on the tenor – never breaking down too many barriers in jazz, but always blowing with this distinct sound that's very much his own – and which brings an edge to his well-written compositions on the record, which have a beautiful balance of color and rhythm. Pianist Aaron Goldberg is also fantastic – a very rhythmic player, but one who also leaves a lot of space between the notes – in ways that create this glow, or maybe a sense of waves of sound from his instrument – gently rocking the performance in this strong, yet subtle way. The rest of the quartet features Reuben Rogers on bass, and Gregory Hutchinson on drums that are bold, but never overdone – and the set of all-original material includes "How We Do", "DGAF", "Stagger Beer", "Vast", "Circle Of Life", and "Come What May". CD

One of the headiest albums ever recorded by the Art Ensemble of Chicago – a brilliant mix of noise and silence that rivals some of the greatest genius of the 20th century avant composition! The album's lead track "Ohnedaruth" builds slowly with a variety of percussion – traveling in People In Sorrow territory that shows a remarkable sense of sound and space. All members of the group pick up some percussion to build the track as it goes along – then follow suit with a more reed-based approach on the other extended tune on the album, "Lebert Aaly" – the group's brilliant tribute to the late Albert Ayler! The sound is incredibly deep and textured – and draws a clear line between creative improvisation and technical composition that puts the group alongside Cage and Hindemuth! LP, Vinyl record album

The music scene in Williamsburg, Brooklyn, is one that's had an undeniable impact on cultural activity in recent decades – yet it's also one of those scenes that initially happened without most folks taking place – that is, it was a real artist and musician's scene, and not the kind that was easily open to outsiders until many years later! In this really well-done book, Cisco Bradley (who also gave us a great volume on William Parker) digs deep into the earliest days of the Williamsburg scene – that late 80s moment when Manhattan and other spots had become too expensive for the truly creative – and the other side of the East River emerged as a great place to move, live, and continue to make music. Bradley really gets at the criss-crossing elements of the scene at the time – and follows it well into the 21st Century, to a time when the changing real estate market in Brooklyn, and subsequent zoning changes, started to give Williamsburg the same creative fate as Soho, the East Village, and other important New York scenes in previous decades. Different initial chapters look at key spaces as forces – warehouses and lofts, clubs and galleries, and even pirate radio – and later chapters look at the larger forces causing change in the 21st Century. A really hefty book, as well-researched as it is well-written – 388 pages, softcover, with some black and white images. (Books, Jazz) Book