A great 70s soul jazz session that ranks up there with some of the best of Billy Harper's work from the decade! The session was recorded in the same style as Harper's excellent Japanese sessions for Denon, and it features a very soulful frontline of Faddis' trumpet, Harper's tenor, and the piano and electric piano of Roland Hanna. Cecil Bridgewater plays kalimba on one track, and the rhythm's by George Mraz and Motohiko Hino. Titles include "Two D's From Shinjyuku, Dig & Dug", "This All", and "Water Bridge". LP, Vinyl record album

Never-issued live material from one of our favorite jazz musicians of all time – the mighty Billy Harper, a tenor saxophonist who took the initial legacy of John Coltrane, then really ran with it in the 70s! The album is stunning right from the very first note – a perfect encapsulation of the way that Harper worked at his best – balancing order and chaos, dark and light, all with a searing, searching style that was brimming over with a sense of righteous mission! The group features the tremendous Virgil Jones on trumpet – making a really spectacular appearance, and showing the hippest side of his talents – next to Joe Bonner on piano, David Friesen on bass, and Malcolm Pinson on drums – an unusual group for Harper, and one that really makes the album stand out from his other gems of the 70s. The set was recorded live at the jazz festival in Antibes in 1975 – and each side of the record features an extended performance of a key Harper tune – the soaring "Cry Of Hunger", and the pulsating rhythmic tune "Croquet Ballet", which was first debuted on Lee Morgan's last session. LP, Vinyl record album

Seminal work from Billy Harper – one of his few albums to get wider exposure in the 70s, and searing set of righteous power all the way through! By this point in his career, Billy's really got a handle on his sound – and reaches forth here on tenor with a sense of majesty we'd rank right up there with John Coltrane or Pharoah Sanders at their best – working with beautifully matched players who include Everett Hollins on trumpet, Fred Hersch on piano, Louie Spears on bass, and Horacee Arnold on drums – a player we don't always see in this context, and who really helps drive the energy of the set. The album features a stellar reading of Harper's classic "Preistess", a 22 minute take on "Illumination", and the shorter, but equally beautiful "Calvary". LP, Vinyl record album

Stunning work from one of the greatest players of the post-Coltrane generation – a classic session recorded overseas in the mid 70s, and one that's filled with soulful expressions from the great Billy Harper! Harper's tenor kicks off the set with an immediately gripping sound – as searing as Pharoah Sanders at his Impulse best – but driven on by searching, soaring modal rhythms that are all Billy's own – the kind of grooves he first forged with Max Roach, then really expanded on when given the freedom of a record like this. Other players include trumpeter Virgil Jones, pianist Joe Bonner, bassist David Friesen, and drummer Malcom Pinson – and titles include a killer take on "Croquet Ballet", which Harper originally recorded with Lee Morgan – plus the titles "Dance Eternal Spirits Dance" and "Call Of The Wild & Peaceful Heart". LP, Vinyl record album

Stunning work from one of the greatest players of the post-Coltrane generation – a classic session recorded overseas in the mid 70s, and one that's filled with soulful expressions from the great Billy Harper! Harper's tenor kicks off the set with an immediately gripping sound – as searing as Pharoah Sanders at his Impulse best – but driven on by searching, soaring modal rhythms that are all Billy's own – the kind of grooves he first forged with Max Roach, then really expanded on when given the freedom of a record like this. Other players include trumpeter Virgil Jones, pianist Joe Bonner, bassist David Friesen, and drummer Malcom Pinson – and titles include a killer take on "Croquet Ballet", which Harper originally recorded with Lee Morgan – plus the titles "Dance Eternal Spirits Dance" and "Call Of The Wild & Peaceful Heart". LP, Vinyl record album

One of the most spiritual recordings put out by the Strata East label – and the album that put tenor giant Billy Harper on the map! Harper leads a hip group here – one that features George Cables on piano, Reggie Workman on bass, Jimmy Owens on trumpet, and Julian Priester on trombone – and they're joined by a quintet of voices that includes Eugene McDaniels, all singing behind the jazz players in an uplifting spiritual mode that cries out with the new soul jazz freedom of the 70s! Max Roach and Donald Byrd had begun experiments like this a decade before, but Harper's work here blows them all away – with a sense of righteousness and focus that's simply astounding, especially considering that the album was Billy's first as a leader! Harper's solos are worth the price of the record alone – searing with a raw, post-Coltrane energy as he darts in and out of the voices in the backings. Titles are all original compositions – and include "Capra Black", "Soulfully I Love You", "New Breed", "Sir Galahad", and "Cry of Hunger". LP, Vinyl record album

An incredible return to form for Billy Harper – and a landmark album recorded at the end of the 80s, when we'd all but given up on him! The session returns Billy to the majesty of his 70s work – placing him in the setting of long tracks, modal rhythms, and spiritual motivation – the uniquely Harper territory first forged with Lee Morgan and Max Roach, sounding better than ever here, with all the confidence of his youth. The group's a quintet – with Eddie Henderson on trumpet, Francesca Tanksley on piano, Clarence Seay on bass, and Newman Baker on drums – working perfectly as a unit, with a power level that's simply amazing. Harper's the main star, reaching towards the heavens with some incredible solos – but he also clearly knows that he wouldn't be able to do what he does without the great level of support he's getting from the rest of the group. Tracks include "Destiny Is Yours", "If One Could Only See", "Groove From Heaven", "The One That Makes The Rain Stop", and "East West Exodus". LP, Vinyl record album

Sublime work from Billy Harper – one of those rare Japanese-only sessions he cut in the 70s – really tremendous stuff that blows away most of his other (already excellent) work from other points around the globe! Billy's blowing some really mighty tenor here – at a level that makes him one of the most righteous, spiritual players of the 70s – a player we'd rank right up there with John Coltrane or Pharoah Sanders at their best, working here with a bold musical vision that's all his own! The long tracks really give Harper plenty of room to stretch out – and he never goes too far out, even with the freedom – hanging tight to some tremendous rhythms from Mickey Tucker on piano, Gregg Maker on bass, and Malcolm Pinson on drums – and getting great help from trumpeter Everett Hollins in the frontline. Titles include "Love On The Sudan", "Priestess", and "Awakening". LP, Vinyl record album

An unusual record for Randy Weston – a freewheeling live set recorded at Montreux in 1974, with Billy Harper joining Weston's group on tenor and flute, playing long spiritual solos that work wonderfully next to Weston's spiralling piano lines! Harper's searching quality really opens up the set, and Weston's rhythmic pulse keeps him from overly blowing, as on some of his own albums from the time – and the rough edges of the group give the session a nice degree of bite! The rest of the group features William Allen on bass, Don Moye on drums, and Steve Berrios on percussion and tracks include "Mystery Of Love", "Tribute To Duke Ellington", and "Carnival". LP, Vinyl record album

Later recording by Armstrong, with notable sidemen including Bernard Purdie, James Spaulding, Frank Owens, Kenny Burrell, Richard Davis, Goergoe Duvivier, Leon Thomas, Billy Harper, Al Grey, Thad Jones, Jimmy Owens, and more. LP, Vinyl record album

Mindblowing work from a tenorist we only just discovered with this amazing debut album – a deeply spiritual player who comes off beautifully on this set of original compositions! Nat Birchall blows with a range of feeling that takes us back to the 70s best of Pharoah Sanders, Billy Harper, and Clifford Jordan – and he puts his tunes together with a similar feel too – letting them build organically, often with the group just finding the rhythm at the start – then hitting a groove that lets Birchall's horn blossom wonderfully in sound – reaching forth with rich tones that are simply wonderful – over piano, bass, drums – and some guest trumpet by Matthew Halsall on one track (by the way, check out Halsall's album on the same label – it's another gem!) Titles include "Akhenaten", "Many Blessings", "Nica's Dance", and "A Prayer For". LP, Vinyl record album

With Billy Harper on tenor, Leroy Jenkins on violin, Juni Booth on bass, and Jimmy Hopps on drums – plus a bit of vocals from Linda Sharrock. LP, Vinyl record album

A really landmark album in soulful jazz for the 60s – a set that takes the already-great energy of the young trumpeter Donald Byrd, and mixes it with some voices borrowed from gospel music bur turned towards modern jazz – all in a style that's very similar to some of the Max Roach experiments from the time! The core group is really great – with tenor from Hank Mobley, guitar from Kenny Burrell, and piano from Herbie Hancock – plus vibes from the obscure Donald Best, an instrument that you don't always hear on Donald Byrd's albums! Added to this group are voices directed by Coleridge Perkinson, a very hip cat who takes the voices far away from cliched modes of earlier years – and into some very righteous territory that makes the record one of Donald Byrd's first really powerful statements as a leader. Duke Pearson handled the arrangements, and the sound is beautiful and spiritual, with a sound that mixes Blue Note hardbop with a style that would later show up on labels like Strata East, or in the experiments of Max Roach and Billy Harper. The tracks are long and moody, and the vocal group never gets in the way, but instead backs Byrd in a way that lets him hit new heights, and which gives him a stronger sense of voice. Titles include the classic "Christo Redentor", plus "Chant", "The Black Disciple", and "Elijah". LP, Vinyl record album

A really landmark album in soulful jazz for the 60s – a set that takes the already-great energy of the young trumpeter Donald Byrd, and mixes it with some voices borrowed from gospel music bur turned towards modern jazz – all in a style that's very similar to some of the Max Roach experiments from the time! The core group is really great – with tenor from Hank Mobley, guitar from Kenny Burrell, and piano from Herbie Hancock – plus vibes from the obscure Donald Best, an instrument that you don't always hear on Donald Byrd's albums! Added to this group are voices directed by Coleridge Perkinson, a very hip cat who takes the voices far away from cliched modes of earlier years – and into some very righteous territory that makes the record one of Donald Byrd's first really powerful statements as a leader. Duke Pearson handled the arrangements, and the sound is beautiful and spiritual, with a sound that mixes Blue Note hardbop with a style that would later show up on labels like Strata East, or in the experiments of Max Roach and Billy Harper. The tracks are long and moody, and the vocal group never gets in the way, but instead backs Byrd in a way that lets him hit new heights, and which gives him a stronger sense of voice. Titles include the classic "Christo Redentor", plus "Chant", "The Black Disciple", and "Elijah". LP, Vinyl record album

A great record – and on that hardly ever shows up on the radar screen of Gil's career! The session was recorded with a very hip group that includes Billy Harper on tenor and flute, Elvin Jones and Alphonze Mouzon on drums, Joe Beck on electric guitar, and Herb Bushler on Fender bass. The sound is a bit electric, but is touched with Evans' far-reaching arranging style, so that it lapses into none of the cliches you might expect. Harper is a treat, as always, and he offers up the original composition "Thoroughbred", one of the nicest on the record. "Blues In Orbit", "Variation On The Misery", "Proclamation", and "Spaced". LP, Vinyl record album

Gil Evans never stopped growing as the years went on – a leader who was always open to new ideas and new modes of expression – which he reached for strongly, even as his older "modern" contemporaries started to sound out of date! This excellent late 70s session is a key illustration of Evans' continual drive – as he works in modes that equally embrace acoustic and electric elements, but never like a funky big band record, or some of the electrification added to older groups – instead with this richly visionary way that brings all the elements together at a level that's completely sublime! The lineup features Gil on piano, alongside almost equal use of keyboards from Pete Levin – and other players include Arthur Blythe and David Sanborn on alto, George Adams on tenor, Marvin Hannibal Peterson and Ernie Royal on trumpet, Jimmy Knepper on trombone, and Keith Loving on guitar – an extremely varied group that comes together beautifully under the leadership of Evans. Side one features a brilliant reworking of the Billy Harper tune "Priestess", which runs for almost 20 minutes in length – and side two features Charles Mingus' "Orange Was The Color Of Her Dress Then Silk Blue" – plus "Lunar Eclipse" and "Short Visit". LP, Vinyl record album

A great example of the way that Gil Evans really opened up his groove in the 70s – moving here way way past the cool jazz and third stream of earlier years – into a soulful style that's far groovier than might be expected! Part of the strength of the set is because of the players – as Gil's working with a group of younger soul jazz and spiritual soloists that include Ted Dunbar, Billy Harper, and Hannibal Marvin Peterson – as well as the older soul modernist Richard Williams. But there's also some other specifically Evans-like touches to the record that stand out – like Gil's stark notes on acoustic piano and his lighter work on the electric keys – plus a bit of inventive synthesizer from David Horowitz, who makes a few tracks really crackle with energy. Tracks include "Zee Zee", "Blues In Orbit", "Cry Of Hunger", and "Thoroughbred" – the latter two of which are lovely compositions by Billy Harper! LP, Vinyl record album

A rare and beautiful Andrew Hill session, and one of the classic Blue Note entries into the "jazz and voices" sound that the label pioneered with Donald Byrd and Eddie Gale. Hill leads a core jazz group that includes Woody Shaw on trumpet, Carlos Garnett on tenor, Richard Davis on bass, and Freddie Waits on drums – and the group is backed by a vocal ensemble with a very spiritual vibe – a chorus who soar out soulfully, and really augment the jazz instrumentation of the album! The sound is a lot more hip than the Donald Byrd & Voices albums, and the playing of the core jazz group is very very soulful – along the lines of Hill's Grass Roots album, which was also from the same period. The record's similar to the Max Roach/Billy Harper vocal work around the same time, and titles include "Ghetto Lights", "Hey Hey", "Two Lullabies", and "Love Chant". LP, Vinyl record album

A bold statement by one of the best underground jazz players of the 70s! Carter Jefferson cut his chops with Art Blakey in the years after Blakey had Billy Harper in the group – and seemed to follow Harper into some of the same highly spiritual, soulful territory at the time! Jefferson's a bit more inside, but equally searching in his style – and this key album as a leader is quite possibly one of the best-ever demonstrations of his talents. Carter's recorded here on tenor and soprano sax, in two different groups – one with Terumasa Hino on trumpet, and one with Shunzo Ono on trumpet – with a great lineup that includes Harry Whitaker on piano, Clint Houston on bass, and Victor Lewis on drums! Lani Groves sings on one track – and titles include "Why", "Rise Of Atlantis", "Blues For Wood", and "Changing Trains". LP, Vinyl record album

Brilliant work throughout – the last studio album ever cut by Lee Morgan, and a mindblowing session that always leaves us wondering how massive he would have become if he hadn't been tragically murdered shortly after it was recorded! The album's a huge change from Morgan's already-great work of the 60s – and features some very extended numbers, most a side long and these free-flowing numbers that are played by a larger group than usual – but with all the intensity and focus of a small group date from Lee! The set features key work from a young Billy Harper on tenor – especially on his own fantastic compositions "Capra Black" and "Croquet Ballet" – and for many folks, the record was a key introduction to Harper's genius. But the whole lineup is wonderful too – especially Harold Mabern on piano – and other titles include "In What Direction Are You Heading", "Angela", and "Inner Passions Out". LP, Vinyl record album

Dannie Richmond is Charles Mingus' longtime drummer – working here in a rare set as a leader, leading a group with a number of other from Mingus alumni, including Don Pullen on piano, George Adams on tenor, and Jack Walrath on trumpet – along with Billy Harper's bassist, David Friesen. Side two has a long beautiful Richmond original called "I Told You So", and side one features three more originals – "Waltz for Tamia", "April Denise", and "Neata Babe Boogie". One of the better sides issued on Horo, and not easy to find! LP, Vinyl record album

A major label effort from Max, but a record that's as hip as any he was recording at the time! The set feautres Max's quartet with Cecil Bridgewater on trumpet, Odeon Pope on saxes, and Calvin Hill on bass – plus a very small bit of additional piano by Walter Bishop Jr – and it's got an approach that mixes soul jazz with some experimental touches, and the occasional freewheeling percussion part by Max. Pope's work on tenor sax is especially nice, an edgey sound that recalls some of Billy Harper's work with Roach in earlier years. Titles include "Red River Road", "Lonesome Lover", "Wefe", "Reach For It", "The Dream/It's Time", and "Giant Steps". LP, Vinyl record album

Max Roach continues the fine line of work with his fresh-voiced quartet of the early 80s – a very hip group that features a young Odeon Pope on tenor, plus Cecil Bridgewater on trumpet and Calvin Hill on bass! The work's similar to Roach's quartet sessions of the late 70s, although perhaps a bit more introspective – not as bouncing and joyous as when Billy Harper was with the group, but still freshly modern, and a good indication that Max continued to grow strongly as a player during the time – never content to just rest on his good name from the old days, and always forging forward into fresh jazz territory. Titles include "In The Light", "Good Bait", "Tricotism", "Henry Street Blues", and "Ruby My Dear". LP, Vinyl record album

Beautiful sounds from the ultra-hip Max Roach Quartet of the mid 70s – a lineup that features Billy Harper on tenor, Cecil Bridgewater on trumpet, and Reggie Workman on bass! Tracks are long – very much in the Harper style of the time – and titles include "It's Time", "Calvary", and "Round Midnight". LP, Vinyl record album

Beautiful sounds from the ultra-hip Max Roach Quartet of the mid 70s – a lineup that features Billy Harper on tenor, Cecil Bridgewater on trumpet, and Reggie Workman on bass! Tracks are long – very much in the Harper style of the time – and titles include "Mr Papa Jo" and "Scott Free (parts 1 & 2)". LP, Vinyl record album

One of the greatest albums as a leader from tenorist George Coleman – an artist who we feel often never gave us enough with himself in the lead as well! George brings in that great edge he used on earlier sessions with other leaders, while still also really establishing himself as one of the most expressive tenorists of the 70s in a mainstream mode – almost that balance between straighter swing and sharper corners that Joe Henderson brought to key recordings at the time. The group here are very fluid, and able to shift wonderfully with George's lead – Hilton Ruiz on piano, Sam Jones on bass, and Billy Higgins on drums – a masterful lineup who make magic throughout, on titles that include "Amsterdam After Dark", "New Arrival", "Lo-Joe", "Autumn In New York", "Apache Dance", and "Blondie's Waltz". LP, Vinyl record album

One of the greatest albums as a leader from tenorist George Coleman – an artist who we feel often never gave us enough with himself in the lead as well! George brings in that great edge he used on earlier sessions with other leaders, while still also really establishing himself as one of the most expressive tenorists of the 70s in a mainstream mode – almost that balance between straighter swing and sharper corners that Joe Henderson brought to key recordings at the time. The group here are very fluid, and able to shift wonderfully with George's lead – Hilton Ruiz on piano, Sam Jones on bass, and Billy Higgins on drums – a masterful lineup who make magic throughout, on titles that include "Amsterdam After Dark", "New Arrival", "Lo-Joe", "Autumn In New York", "Apache Dance", and "Blondie's Waltz". LP, Vinyl record album

A well-titled set from Chico Freeman – as the reedman definitely takes older modern modes into new territory here – moving in almost Monk-ish space, but with some sharper, bolder tones overall! The album's a surprising one for an early 80s major label release – a great reminder that some companies were still willing to take a chance on jazz at the time – and Chico's got a key assortment of players working with him on the date. In addition to his own tenor, flute, and bass clarinet, the record features Wallace Roney on trumpet, Clyde Criner on piano, Cecil McBee on bass, Billy Hart on drums, and Jack DeJohnette on either drums or piano – shifting about a bit from track to track. Titles include "Mys-Story", "At A Glance", "In Spirit", "The Trespasser", "A Prayer", and "Each One Teach One". LP, Vinyl record album

Keystone bop indeed – a smoking little set from Freddie Hubbard, recorded during his great back-to-basics years of the early 80s! The tracks here are all quite long, and informed by a strong sense of hard bop – but they also open up with some sharper, more modern moments at times – of the sort that keenly reflect Freddie's best roots during his early years at Blue Note. The other players here are all quite strong – especially well-matched for the energy of such a record – with Bobby Hutcherson on vibes and Joe Henderson on tenor, plus rhythm from Billy Childs on piano, Larry Klein on bass, and Steve Houghton on drums. 3 lengthy tracks: "The Littlest One Of All", "One Of Another Kind", and "Body & Soul". LP, Vinyl record album

A smoking little set from Freddie Hubbard, recorded during his great back-to-basics years of the early 80s! The tracks here are all quite long, and informed by a strong sense of hardbop – but they also open up with some sharper, more modern moments at times – of the sort that keenly reflect Freddie's best roots during his early years at Blue Note. The other players here are all quite strong – especially well-matched for the energy of such a record – with Bobby Hutcherson on vibes and Joe Henderson on tenor, plus rhythm from Billy Childs on piano, Larry Klein on bass, and Steve Houghton on drums. The LP presents all tracks in long, unedited takes – titles that include "Birdlike", "The Intrepid Fox", and "Sky Dive". LP, Vinyl record album

One of the best CTI albums from the early 70s – and one of Stanley Turrentine's funkiest records as well! The album's got a sharper edge than most other Turrentine albums of the time – a quality that goes beyond Stan's already soulful approach to the tenor, and which brings in some tight changes and more pronounced rhythms that really give the best cuts a great groove! The group's a sextet – with Bob James on electric piano, Milt Jackson on vibes, Cornell Dupree on guitar, Ron Carter on bass, and Billy Cobham on drums – and titles include a monster version of Weldon Irvine's "Sister Sanctified" – a great funk tune that's probably best known as the sample for "My Philosophy" by BDP! Other tracks include "Speedball", "Cherry", and "The Revs". LP, Vinyl record album

One of the best CTI albums from the early 70s – and one of Stanley Turrentine's funkiest records as well! The album's got a sharper edge than most other Turrentine albums of the time – a quality that goes beyond Stan's already soulful approach to the tenor, and which brings in some tight changes and more pronounced rhythms that really give the best cuts a great groove! The group's a sextet – with Bob James on electric piano, Milt Jackson on vibes, Cornell Dupree on guitar, Ron Carter on bass, and Billy Cobham on drums – and titles include a monster version of Weldon Irvine's "Sister Sanctified" – a great funk tune that's probably best known as the sample for "My Philosophy" by BDP! Other tracks include "Speedball", "Cherry", and "The Revs". LP, Vinyl record album

One of the best CTI albums from the early 70s – and one of Stanley Turrentine's funkiest records as well! The album's got a sharper edge than most other Turrentine albums of the time – a quality that goes beyond Stan's already soulful approach to the tenor, and which brings in some tight changes and more pronounced rhythms that really give the best cuts a great groove! The group's a sextet – with Bob James on electric piano, Milt Jackson on vibes, Cornell Dupree on guitar, Ron Carter on bass, and Billy Cobham on drums – and titles include a monster version of Weldon Irvine's "Sister Sanctified" – a great funk tune that's probably best known as the sample for "My Philosophy" by BDP! Other tracks include "Speedball", "Cherry", and "The Revs". LP, Vinyl record album