Stunning work from one of England's greatest jazz artists ever! West Indian sax player Joe Harriott was one of the brightest spots on the UK's jazz scene of the late 50s and 1960s – and although a few of his more famous albums have been issued on CD, there's a wealth of great work by Joe that's never seen the light of day since the 60s. This long-overdue set features some excellent rare work by Joe – most recorded live, either with his own group, or that of Michael Garrick, who produced the set. The first four tracks feature Harriott Quintet tunes from 1961 – two straight numbers, versions of "Moanin" and "Round Midnight", plus two examples of Joe's "abstract" style of jazz, "Coda" and "Tempo". Next up are some wonderful angular solo recordings of standards like "Confirmation", "Love For Sale", and "Body & Soul" – all of which show Joe's deep roots in soulful jazz tradition, embellished slightly by some added piano by Coleridge Goode. Lastly, Joe blows incredibly with Garrick's groundbreaking groups of the 60s – wailing hard on the hardbop groover "Shiva", and his own modal jammer "Calypso Sketches". Wonderful work all around – and an essential bit of Harriott to fill your all-too-empty collection! CD

A sweet session of laidback trio material – recorded by Dutch pianist Pim Jacobs in the early 80s, with a much more expansive sound than his more famous recordings from the 50s! In the postwar years, Pim was one of the bigger new talents on the European scene – famous for his backing work with a number of singers – but this set from later years shows that he hasn't lost an ounce of his talent, and has really developed a way of stretching out, even in a small space – to make the most of whatever tune he takes on! The album has Pim on acoustic piano – working across the keys with a nice light touch that almost shows the influence of the electric generation – and tracks include "Come Fly With Me", "I've Got The World On A String", "I Love You", "Body & Soul", and "Sultry Serenade". CD

A classic session of modernist jazz – and some of Mingus most groundbreaking early work! The album was recorded for Savoy with 2 different groups – one's got Mingus leading John LaPorta on alto, Teo Macero on tenor, and Mal Waldron on piano, and the other group's a quartet with Macero, Kenny Clarke, and Wally Cirillo. The set marks a strong shift for Mingus – into tightly composed tracks that arc out in complex lines, hinting at the ferocity of later years – and it offers a showcase for a strong set of soloists carefully picked to match Mingus' rich vision. Titles include "Gregarian Chant", "Rose Geranium", "Purple Heart", "Transeason", "Smog L.A.", and "Level Seven". CD also features one bonus track not on the original LP – a previously unissued version of "Body & Soul" cut during the same sessions! CD

One of the first Modern Jazz Quartet albums on Atlantic – a 1957 set that finds the crew in one of their freshest periods – laying down their soon-to-be trademark style in a fashion that warrants the self-titled tag! The set kicks off with a stellar medley of standards, all given the tight MJQ touch! The crew strolls through "They Say It's Wonderful", "How Deep Is The Ocean", "Body And Soul" and more in that 10 minute stretch. Other album highlights include the drum-heavy "La Ronde", a sweet reading of "Night In Tunisia", "Baden Baden", "Bag's Groove" and "Yesterdays". CD

A great Paris live set from Gerry Mulligan – with his Concert Jazz Band at L'Olympia in 1960 – a tight affair with great solo work from a larger group of players that includes Don Ferrara and Conte Candoli on trumpet, Bob Brookmeyer on valve trombone, Zoot Sims on tenor, Buddy Clark on bass, and Mel Lewis on drums. A real triumph! Titles include "You Took Advantage Of Me", "Black Nightgown", "Body And Soul", "Barbara's Theme", "Apple Core", and "Spring Is Sprung". CD

One of David Murray's straighter sides from the early 80s – and exactly the kind of record to prove to the world that he could be a strong tenor traditionalist while still bringing an inventive sound to play! Murray's tone is deep and soulful, and often quite lyrical – set nicely in a quartet that features warm piano from John Hicks, bass from Reggie Workman, and drums from Ed Blackwell. The Workman/Blackwell component ensure that things still have an edge at times, even when swinging – and the tunes are a mix of Murray originals and a few standards. Titles include "Morning Song", "Light Blue Frolic", "Off Season", "Duet", "Body and Soul", and "Jitterbug Waltz". CD

One of the nicest records we've heard from Jeff Parker in years – a trio date with some wonderfully rich sounds, and a great showcase for some of the more lyrical sides of his music! Parker plays in these great chromatic modes throughout – using some slight effects with his hollow-body electric, in the company of bassist Chris Lopes and drummer Chad Taylor – the latter of whom really helps make the album great, thanks to a fluid, open sense of rhythm – yet one that still always knows how to swing! There's more of a groove here than you might usually expect from Jeff, and a sensitivity too – and the album almost feels like the beginning of a rich new chapter in his career. Titles include "Mainz", "Swept Out To Sea", "Freakadelic", "Istvan", "Occidental Tourist", and "The Morning Of The 5th". CD

A pair of later jazzy vocal LP gems by Teresa Brewer, both backed by jazz greats – Songs Of Bessie Smith with Count Basie and Thad Jones, and It Don't Mean A Thing If It Ain't Got That Swing with Duke Ellington – both released by Flying Dutchman in 1973! Teresa's popularity peaked a couple decades earlier as a girlish pop singer, and she succeeds strongly on both records – not just because of the jazz heavies in the band, but because she has the pipes and genuine affection for the material to pull it off. It's lovely stuff! Songs Of Bessie Smith have the bluesy overtones necessary to make it work, without trying the hide Teresa's naturally softer approach. Basie on piano throughout, with arrangements by Jones, and a great big band on half and more intimate arrangements on the other half. It Don't Mean A Thing. . .works just as wel, with Duke Ellington and Ernie Wilkins arrangements, and great Flying Dutchman players that include Bernard Purdie, Joe Beck and Mtume. 20 tracks in all, including "Trombone Cholly", "Gmme A Pigfoot", "I Ain't Got Nobody", "St Louis Blues", "I Ain't Got Nothing But The Blues", "Mood Indigo", "I'm Beginning To See The Light", "I've Got To Be A Rug Cutter", "Tulip Or Turnip", "I'ts Kinda Lonesome Out Tonight" and more. (Vocalists, Jazz) CD

Early bop material from the great Sonny Criss – a collection of rare early live sessions, done at a time when he was one of the leading lights of the Central Ave scene! The first 3 tracks on the set feature Sonny blowing away on a set of longer tunes – recorded in 1947 with Howard McGhee, Teddy Edwards, and Hampton Hawes – on tracks that include "The Man I Love", "Orinithology", and "Body & Soul". The next 4 tracks are from 1949, and already show Sonny maturing into the soulful player of later years – working with Hampton Hawes in a quartet, on tracks that include "Calidad", "Tornado", "The First One", and "Blues For Boppers". Next up are 4 tracks from the classic Charlie Parker/Chet Baker date from June 1952 at the Tradewinds – a session that alto featured some great work from Criss on tracks that include "The Squirrel", "They Didn't Believe Me", "Indiana", and "Liza". Last up is one more Tradewinds recording from September of 1952 – with Sonny leading a quartet on a great reading of "Strike Up The Band". CD

One of the best albums in years from altoist Jesse Davis – recorded in a relaxed, open-ended style that really unlocks some new magic in his horn! Davis' studio records are all quite nice, but this live date really takes him to places we've never heard before – a really old school exploration of alto modes that brings us back to Stitt or Criss, and shows a long-winded creativity we hardly knew that Jesse had. The rhythm section really helps the feel of the record, too – with a lot of humanity in the piano of Spike Wilner, mixed with the impeccable work of Peter Washington on bass and Billy Drummond on drums. Ryan Kisor's trumpet adds one more horn to the mix – and titles include "I'll Close My Eyes", "Piece Of The Apple", "Pray Thee/Beyond The Storm", "Journey From The Lighthouse", and "Body & Soul". CD

Progressive piano from a young Kenny Drew – already swinging here with a sound that's unlike anybody else at the time! The album follows nicely from Drew's early work for Blue Note – and like those sides, the groove here is a mix of creatively compelling solo lines, and a slight soulful undercurrent in the rhythms – kind of a blend of bop inspiration and some of the more creative 50s piano modes, all wrapped together with just a hint of the generation of players to come. The group features Eugene Wright on bass and Charles Wright on drums – and titles include "Angie", "Bluesville", "Four & Five", "Lo Flame", "Chartreuse", "Kenny's Blues", "Many Miles Away", and "My Beautiful Lady". CD

Includes the songs "After You've Gone", "The Gasser", "Jump Through the Window", "Minor Jive", "Stardust", "Oh, Lady Be Good", "I Surrender, Dear", "Body And Soul", "I Can't Get Started", "After You've Gone", "Fish Market", "Twilight Time", "St. Louis Blues", "Embraceable You", "All The Cats Join In", "Poor John", "Hi Ho Trailus Boot Whip", "Yard Dog", "Lover, Come Back to Me", "Rockin' Chair", "It's the Talk of the Town", and "Christopher Columbus". CD

Includes the songs "Sittin' In", "Sittin' In No. 2", "Stardust", "Body And Soul", "Forty Six West Fifty Two", "Forty Six West Fifty Two No. 2", "The Gasser", "Jump Through The Window", "Minor Jive", "Stardust", "Don't Be That Way", "I Want To Be Happy", "Fiesta In Brass (Alt. Take)", "Fiesta In Brass", "St. Louis Blues (Alt. Take)", "St. Louis Blues", "I Can't Get Started", "After You've Gone", "Body And Soul", "Fish Market", and "Twilight Time". CD

Includes the albums New Jazz Conceptions, Everybody Digs Bill Evans, The Ivory Hunters, Portrait In Jazz, Explorations, Sunday At The Village Vanguard, Waltz For Debby, Undercurrent, Moon Beams, Interplay, Empathy, and How My Heart Sings. CD

Includes the songs "The Way You Look Tonight", "C-Jam Blues", "The Man I Love", "To Harry From Family - "Ladies And Gentlemen"", "To Harry From Family - "Improvising"", "Embraceable You", "Body & Soul", "The Best Man", "I May Be Wrong", "Alamo", "It's Love, It's Christmas", "Body & Smoke Medley", "Toccata", "Moonlight Medley", and "Just You, Just Me". CD

Tremendous guitar work from the great Tal Farlow – easily one of our favorite jazz guitarists ever, and a player with a wonderful sense of tone and timing! This early album has Tal declaring himself loudly and firmly – using a style that's got some slightly raspy edges, and which is a nice change from some of the too-clean modes of other 50s guitarists. The album features a core original 10" album session with a group that includes Oscar Pettiford on bass, Barry Galbraith on guitar, and Joe Morello on drums – plus 4 more tracks from a trio with Red Mitchell on bass and Claude Williamson on piano. Titles include "This Is Always", "Tea For Two", "Blues In The Closet", "Gibson Boy", "My Old Flame", "Is There Somebody Lovelier Than You", "Everything I've Got", "You And The Night and Music", "Love Nest", and "When The Wind And The Rain Are In Your Hair". CD

An obscure little quartet session from Red Garland – recorded with Les Spann on both guitar and flute, caught at a time when he was just starting to make waves on the New York scene! The presence of Spann gives the record a decidedly different feel than most of Garland's work on Prestige – as the hollow-body guitar tones bring some much bluesier inflections to some of the tunes, offset by more chromatic runs that really illuminate others. Red's own piano is still wonderfully soulful, and presented here with a pointed sense of economy on some numbers – and rhythm is by Sam Jones on bass and Frank Gant on drums. Titles include "Marie's Delight", "This Can't Be Love", "Blues For News", "I Just Can't See For Looking", and "Solar". CD

One of the few albums ever cut as a leader by pianist Lorraine Geller – a player who's probably best remembered for her work with saxophonist (and husband) Herb Geller, but who also really swings nicely on her own! The album has Lorraine working with an LA trio that features Leroy Vinnegar on bass and drumming by either Lawrence Marable or Bruz Freeman – all of whom bring in a very soulful undercurrent to the record, helping bridge the two sides of the LA scene of the time, and making the album way deeper than you'd expect from the slightly elegant cover and title! The tracks aren't as strikingly modern as work cut by her husband during the 50s, but are quite strong nonetheless – with many unusual titles that include "Clash By Night", "Madam X", "Mystery Theatre", and "Everybody's Blues". CD

With 14 tracks including "Body & Soul", "Serenade In Blue", "Detour Ahead", "It Never Entered My Mind", "Corcovado", "Moonlight In Vermont", and "Girl From Ipanema". CD

Early genius from the legendary pianist Hasaan – an artist most people know for his famous Atlantic album with Max Roach, but who steps out here in a set of earlier material that's completely amazing! The set begins with six trio tracks – performed in a group with Henry Grimes on bass and Kalil Madi on drums – a combo who carve out space that's completely their own, taking some of the 50s modern piano ideas of Herbie Nichols and Thelonious Monk, but letting them loose with even more imagination – yet also avoiding any too-free modes as well. The balance is incredible – on all original titles that include "Viceroy", "Pay Not Play Not", "Off My Back Jack", "Almost Like Me", and "Dinka Street". Next are three long tracks that feature the vocals of Muriel Gilliam (aka Muriel Winston from her Strata East days), singing alongside Hasaan's piano on these really amazing takes on standards – stretched out, and given lots of sharp edges – on takes of "Embraceable You", "Stella By Starlight", and "Body & Soul". Last up are two very long solo tracks – stunningly imaginative versions of "After You've Gone" and "End Of A Love Affair". CD

Pivotal work from trumpeter Freddie Hubbard – eleven full albums recorded by the young jazzman as a leader, together showing a really incredible scope of his talents in just a few short years in the studio! The Blue Note albums here already show an incredible evolution – from initial hardbop crackle at the best level of the label, to a slight shift into new thing territory that marks a more experimental side of Freddie's work that would take off later in the 60s. There's also two Impulse Records releases in the package – the completely sublime sextet outing of The Artistry Of Freddie Hubbard – a great date with Curtis Fuller on trombone, Tommy Flanagan on piano, and John Gilmore on tenor – making a rare appearance in the studio away from the Sun Ra Arkestra! The other Impulse album is titled Body & Soul – and has Hubbard amidst a larger group of modernists on most tracks, with these incredible Wayne Shorter arrangements – then in a small group with shorter on tenor and Eric Dolphy on alto and flute. Blue Note albums include Breaking Point, Blue Spirits, Open Sesame, Going Up, Hub Cap, Ready For Freddie, Hub Tones, and Here To Stay – with players who include Tina Brooks, Jimmy Heath, and Wayne Shorter on tenors; McCoy Tyner, Cedar Walton, and Herbie Hancock on pianos; Paul Chambers, Sam Jones, and Reggie Workman on basses; and James Spaulding making a key early appearance on alto and flute. 70 long tracks in all – and a very detailed booklet of notes with rare photos! CD

Three albums from Dutch drummer Eric Ineke – served up in a single set! Dexternity is a tribute to the music of Dexter Gordon, one that's led by drummer Eric Ineke, and which features the reed talents of Sjoerd Dijkhuizen on Dexter's role – blowing both tenor and a bit of soprano sax! The rest of the group features Rik Mol on trumpet, Rob Van Bavel on piano, and Marius Beets on bass – and titles include "The Panther", "Body And Soul", "Soy Califa", "Cheese Cake", "Boston Bernie", and "Fried Bananas". Meets The Tenor Players is a selection of tracks from different sessions, all of which feature drummer Eric Ineke interacting with a range of famous tenorists – including some key American players recording overseas! The set features work from Dexter Gordon, Eddie Lockjaw Davis, Clifford Jordan, Johnny Griffin, Lucky Thompson, Goerge Coleman, and Grant Stewart – each of whom play on their own tracks – with piano work from players who include Rein De Graaff, Rob Agerbeek, and Rob Madna. Titles include "Let There Be Life Love & Laughter", "Prayer To The People", "Walkin", "Lady Bird", "Stablemates", and "Wee". Cruisin is a later date from Dutch drummer Eric Ineke, but one that maybe burns with even more fire than some of his earlier albums – thanks to the work of some great musicians in the quintet! At some points, the group takes off in strongly soulful hardbop formation – but at others, they can equally slide into a slightly modern mode, but all without losing their swing at all – a performance that's given plenty of focus from Ineke's drumming, and topped with these warmly lyrical piano lines from Rob Van Bavel, plus trumpet from Rik Mol, tenor and bass clarinet from Sjoerd Dijkhuizen, and bass from Marius Beets. Titles include "Oak City", "When We Were One", "Just A Tune For You", "What Is This", "Cruising", and "Seven On The Richter Scale". CD

Sweet sweet Quincy! Although the Q's probably best remembered round these parts for his funky 70s work or classic 60s soundtracks, we also have to admit that we love him for his mellow grooves – the sly and seductive tunes that often hid out amidst his albums of the 70s and 80s, and which also featured early work by singers that later went onto much greater fame. This excellent set brings together 17 of those wonderful mellow moments – stretching back to some of Quincy's important collaborative A&M efforts of the 70s, and running up to some of his best work of more recent vintage. Titles include "Superwoman" and "Love Me By Name", with Patti Austin; "Body Heat", with Leon Ware; "I'm Gonna Miss You In The Morning", with Luther Vandross & Patti Austin; "Velas" and "The Getaway", with Toots Thielemans; "How Do You Keep The Music Playing" and "Baby Come To Me", with Patti Austin & James Ingram; "The Places You Find Love", with Siedah Garrett, Chaka Khan, & Herbie Hancock; "The Secret Garden", with El DeBarge, James Ingram, Al B Sure, & Barry White; "Sax In The Garden", with Barry White & Kirk Whalum; "Turn Out The Lamplight", with George Benson; and "Just Once", with James Ingram. CD

Tremendous work from the legendary Prince Lasha – a rare UK-only date from 1966 – and one that has the reedman working away from more familiar contemporaries like Sonny Simmons and Eric Dolphy! The approach on this session is very unique – as Lasha includes harp with the instrumentation, played by David Snell in a style that's right up there with Dorothy Ashby's best jazz work. Pianist Stan Tracey is also on board – playing beautiful notes that have a sharp modern edge, while still falling on the inside of the spectrum – and Lasha himself is especially great – blowing plastic alto sax and wooden flute, both of which have a slightly offbeat sound – but one that's surprisingly warm, which makes the album one of his most sensitive and soulful sessions ever! The tunes are a mix of standards and originals – and there's a wonderful sense of balance here – sounds that are sometimes more inside than other records from Lasha, but which have a really Dolphy-like sense of expression – right at home amidst a wider history of jazz, yet also reaching for new ideas at the same time. Pure genius throughout, and a record that was never made available to audiences in the US. Titles include "Nuttin Out Jones", "Impressions Of Eric Dolphy", "Out Of Nowhere", "Just Friends", "Body & Soul", and "Everything Happens To Me". CD

Ronnie Mathews is a pianist we always love, no matter what the context – but here he's in this extra-great trio with bassist Stafford James, who almost seems to take center stage at times! James' deep, round tone is a perfect match for Mathews' approach to piano – and while Ronnie takes off on lyrical flights at times, Stafford has this grounding that balances things out beautifully – given some extra inspiration by the drums of Tony Reedus, who is the third key member of the trio. The title track alone – "Selena's Dance" – is worth the price of admission, and is this nine minute modal workout that shows everyone at top form. Some other numbers are mellower, but no less captivating – and tunes include "Stella By Starlight", "Blue Bossa", "Fee Fi Fo Fum", and "Body & Soul". CD

Fantastic unreleased work from the great Joe McPhee – material recorded around the same time as his legendary Nation Time set, and done with a similar blend of spiritual jazz and occasional funky undercurrents! This work shows McPhee to already be an amazing talent, even in the years before his wider reputation grew on record – and the work here is from a series of recordings in the Hudson River valley, where Joe was constantly creative, and very open to exploring new musical ideas! Two thirds of the set feature a version of the Contemporary Improvisational Ensemble – a group led by Joe on trumpet, tenor, and soprano saxophone, and who were clearly inspired by the later work of John Coltrane – with additional work on one group from Ernest Bostic on vibes, Tyrone Crabb on bass, and Bruce Thompson on drums – plus work in another group from Crabb and Thompson, plus Reggie Marks on tenor and flute. Titles from that group include long takes on "Afro Blue", "Naima", "Juju For John Coltrane", and "Black Is The Color" – plus two untitled "Improvisation" tracks. The last batch features slightly more soul-styled work – as McPhee's tenor works alongside the vocals of Octavius Graham – in a lineup that also has piano, drums, and electric bass – on versions of "I Don't Want Nobody" and "Funky Broadway", plus Joe's long original "Blues For The People". CD

A set of incredible records from Charles Mingus – all presented together in one mighty nice package! First up is Mingus Moves – a fantastic fresh new chapter in the career of Charles Mingus – a set that features the addition of two key players who would really shape his sound in the 70s – Don Pullen on piano and George Adams on tenor, both completely wonderful here! The group also features excellent trumpet from Roland Hampton, a player we don't know from many other settings – and the set also features some really nice vocal work from Honi Gordon and Doug Hammond. Titles include "Canon", "Moves", "Wee", "Flowers For A Lady", "Opus 3", and "Newcomer". CD also features bonus tracks – "Big Alice" and "The Call". Changes is key 70s work from Charles Mingus – an album that was recorded over the course of three days of creative activity at the end of 1974, but somehow split into two different albums under the Changes name! The lineup here is prime 70s Mingus – George Adams on tenor, Jack Walrath on trumpet, and Don Pullen on piano – young players who really give a fresh voice to Mingus' musical ideas, and help him find this beautiful late life sense of color, tone, and timing that's completely sublime! Titles on this second volume include "Sue's Changes", "Devil Blues", "Remember Rockefeller At Attica", "Free Cell Block F Tis Nazi USA", "Black Bats & Poles", "For Harry Carney", and "Duke Ellington's Sound Of Love" – which features a guest appearance by Marcus Belgrave on trumpet and Jackie Paris on vocals. On 3 Or 4 Shades Of Blues, Charles Mingus is returning to the soulful gospel-influenced mode he swung big in the early 60s! The record's something of a later predecessor of the classics Blues & Roots for Atlantic and Mingus (x5) for Impulse – and the style is slightly less dramatic, but still quite steeped in soulful explorations that feature plenty of notes from the bluer side of the spectrum! Players include George Coleman and Ricky Ford on tenor, Jack Walrath on trumpet, and Larry Coryell on guitar – and titles include new takes on "Better Git Hit In Your Soul" and "Goodbye Porkpie Hat" – plus"Nobody Knows", "Noddin Ya Head Blues", and "Three Or Four Shades Of Blues". Next is Cumbia & Jazz Fusion – one of the most enigmatic albums that Charles Mingus ever recorded – especially in his later years! The set features two very long tracks done by Mingus for use in a film about cocaine traffic between New York and Columbia – but considering the nature of the music, and the freely exploratory style, both numbers here stand very well on their own! Although touched with some of the Latin influences you might expect from the title, the sounds are often darker and more brooding than, say, the Mingus style on the classic Tijuana Moods set. And instead, there's a very serious soundtrack-like vibe going on through most of the set – larger jazz orchestrations used to beautifully underscore subtle themes, and breakout solo moments from players who include Mauricio Smith on flute, Paul Jeffrey on tenor sax, Jack Walrath on trumpet, and Jimmy Knepper on trombone. The album also features a fair bit of added percussion – and features two long tracks, "Cumbia & Jazz Fusion" and "Music For Todo Modo". Me Myself An Eye is complicated later work from Charles Mingus – a great illustration of the way his power to command a large ensemble never wavered as the years went on! The album features two different large groups of players – filled with modernists young and old – including Ricky Ford, George Coleman, and Michael Brecker on tenors; Ronni Cuber and Pepper Adams on baritone; Randy Brecker and Jack Walrath on trumpets; Lee Konitz on alto, Larry Coryell on guitar, Slide Hampton on trombone, and Eddie Gomez on bass. Side one features the 30 minute track "Three Worlds Of Drums", and side two contains a remake of "Wednesday Night Prayer Meeting", plus "Devil Woman" and "Carolyn Keki Mingus". Something Like A Bird is one of the last albums Charles Mingus ever gave us – before departing this planet way way too soon! The set shows the increasing sophistication of Mingus' music in these later years – a mode that almost echoes the path that Duke Ellington would take in his final decade – a move towards some larger-form material that still holds onto all the raw energy of the early days, but finds a way to not only bridge larger musical ideas – but musical generations as well! As part of this, the set's got a wonderful lineup – with Lee Konitz on alto, Pepper Adams on baritone sax, George Coleman on tenor, Eddie Gomez on bass, and Joe Chambers on drums – and titles include the long title track, "Something Like A Bird", split up over 2 sides of the LP, plus "Farewell Farwell". CD