Donald Byrd's second foray into the "with voices" genre – done in the same style as his groundbreaking New Perspective album – and with similar choral work from lyrical modernist Coleridge Perkinson! The vibe here is slightly different than the previous record – in that there's Hammond from the great Freddie Roach on a few cuts, and piano from Herbie Hancock throughout – in a stunning lineup that also includes Stanley Turrentine on tenor and Grant Green on guitar – both great players in a larger lineup like this. As before, Byrd's solos are wonderfully – soaring out over the vocals and instrumentation – with a soulful vibe that really works well with the rhythms at the core. Donald Byrd and Duke Pearson wrote all of the tunes – all really great numbers – and titles include "Pearly Gates", "March Children", "Brother Isaac", and "I'm Tryin' To Get Home". CD

One of those rare treasures that was recorded by Blue Note in the 60s, but not issued at the time – a great late Hank Mobley set from 1967 that only saw the light of day in 1980! The album's got Hank really opening things up – using some of those more inventive rhythms and articulate phrasing that really graced his late years at Blue Note – a bold step forward, given his already-great run of material for the label! The core group is a quintet – with Lee Morgan on trumpet and Cedar Walton on piano – both of whom add to the lyrical edge of the playing – and most tracks feature additional work from James Spaulding on alto and flute, and the wonderful Sonny Greenwich on guitar – a player whose unique phrasing really helps shape the record's sound! Rhythms are from Walter Booker on bass and Billy Higgins on drums – again both great choices for the sometimes-modal qualities of the record – and titles include "Don't Cry Just Sigh", "Steppin Stone", "Third Season", "Boss Bossa", and "An Apertif". CD

A classic of spiritual jazz! The album is one of the few rare pairings of Sonny Simmons and Prince Lasha from the 60s – and it's arguably the greatest album they ever cut! The set was recorded for the Contemporary label in LA, but it's far far different than the cool jazz that was the label's stock in trade during most of the 50s – done instead with a pulsating spiritual feel that really takes off as the album progresses! The lineup features the twin-reed frontline of Lasha on flute and Simmons on alto, plus an amazing rhythm section that includes 2 bass players (Gary Peacock and Mark Procter), who really give the tunes a pulsating feel overall – plus drums by Gene Stone. Titles include the famous groover "Congo Call", plus the tracks "AY", "Lost Generation", "Red's Mood", and "Green & Gold". CD

An album of mixed vocal and instrumental cuts, some with Nancy in the lead, backed by Shearing's combo, others with Shearing's group alone. The vocal tracks are quite nice jazz ones – and include "On Green Dolphin Street", "Born To Be Blue", "All Night Long", and "Let's Live Again". Shearing's backing is pretty nice, and gives Nancy's style a really moody feel that's different than her pop work! The CD contains 5 previously unreleased bonus tracks, including "Evansville", "My Gentleman Friend", and "Whisper Not". (Vocalists, Jazz) CD

A really unique take on the music of The Beatles – one that starts in the classic 60s years of the Blue Note label, and which moves into the more recent vocal work that's become the label's strongest calling card! All tracks are Lennon/McCartney numbers (sorry George & Ringo!) – and titles include "Can't Buy Me Love" by Grant Green, "Yesterday" by Lee Morgan, "Norwegian Wood" by Buddy Rich, "Hello Goodbye" by Bud Shank & Chet Baker, "A Day In The Life" by Grant Green, "Eleanor Rigby" by Stnaley Jordan, "Blackbird" by Tony Williams, "I've Just Seen A Face" by Holly Cole, and "Come Together" by Dianne Reeves & Cassandra Wilson. (Funky Compilations, Jazz) CD

One of the most wonderful albums by one of our favorite jazz artists of all time! For this unique session, George Braith offers up "two souls in one" – by playing both soprano sax and "stritch" simultaneously – in a two-reed mode that recalls the work of Roland Kirk during the 60s! The sound is incredible – as soulful as it is exotic – and matched here by some excellent backing that includes Grant Green on guitar, Donald Bailey on drums, and Billy Gardner on organ! Gardner's work on the set is especially nice – with a Larry Young-ish free approach to the organ, one that makes for lots of modal grooves that really work perfectly with Braith's sound! Titles include "Braith-A-Way", "Mary Ann", and "Home Street". CD

Donald Byrd's second foray into the "with voices" genre – done in the same style as his groundbreaking New Perspective album – and with similar choral work from lyrical modernist Coleridge Perkinson! The vibe here is slightly different than the previous record – in that there's Hammond from the great Freddie Roach on a few cuts, and piano from Herbie Hancock throughout – in a stunning lineup that also includes Stanley Turrentine on tenor and Grant Green on guitar – both great players in a larger lineup like this. As before, Byrd's solos are wonderfully – soaring out over the vocals and instrumentation – with a soulful vibe that really works well with the rhythms at the core. Donald Byrd and Duke Pearson wrote all of the tunes – all really great numbers – and titles include "Pearly Gates", "March Children", "Brother Isaac", and "I'm Tryin' To Get Home". CD

Donald Byrd's second foray into the "with voices" genre – done in the same style as his groundbreaking New Perspective album – and with similar choral work from lyrical modernist Coleridge Perkinson! The vibe here is slightly different than the previous record – in that there's Hammond from the great Freddie Roach on a few cuts, and piano from Herbie Hancock throughout – in a stunning lineup that also includes Stanley Turrentine on tenor and Grant Green on guitar – both great players in a larger lineup like this. As before, Byrd's solos are wonderfully – soaring out over the vocals and instrumentation – with a soulful vibe that really works well with the rhythms at the core. Donald Byrd and Duke Pearson wrote all of the tunes – all really great numbers – and titles include "Pearly Gates", "March Children", "Brother Isaac", and "I'm Tryin' To Get Home". CD

The last album in a legendary run of music from keyboardist Doug Carn – his final album for the Black Jazz label, and a set that pushes even farther than his previous efforts! Jean Carn isn't in the group this time around, but the set does feature a totally great twin-vocal approach – with singing by Joyce Green and John Conner, blending their voices together in a style that's right up there with the most righteous 70s jazz experiments by Horace Silver or Billy Gault! This vocal balance really brings a new sort of power to Carn's music – furthering the righteous spirit of earlier years with a hell of a lot of energy – also aided by great instrumental work from Ronnie Laws on tenor and soprano sax, Thurman Green on trombone, Calvin Keys and Nathan Page on guitars, and Big Black on percussion. Titles include the classic "Higher Ground" – plus "Adam's Apple", "Western Sunrise", "Chant", "Sanctuary", "The Messenger", and "Mighty Mighty". CD

Plenty of spirit, and plenty of soul – a 70s classic from organist Doug Carn, and a record that took his instrument, and jazz in general, to a whole new level for the decade! Carn's got this burning, righteous quality on his keys – a vibe that certainly owes something to Larry Young, but also takes off even further – working in a spiritual ensemble that also features his wife Jean Carn on vocals – sounding way more like a righteous jazz singer than on her later soul sides for Philly International! Other players are great, too – and include Charles Tolliver on flugelhorn, Garnett Brown on trombone, George Harper on tenor and soprano sax, Buster Williams on bass, and Alphonse Mouzon on drums. Tracks include "New Moon", "Trance Dance", "My Spirit", "Blue In Green", and "Arise & Shine". CD

One of the few later recordings we've seen from tenorist Eddie Chamblee – a player who first rose to prominence on the Chicago scene of the 50s, and one who's got a well-bitten style that creates a deeply soulful tone! Eddie's roots are more in swing than bop, but there's also a quality here that recalls some of the earliest soul jazz sides on Prestige – especially as Eddie's working in a combo that includes organ and vibes from Milt Buckner. Other players on the session include Earl Warren on alto sax, Arnett Cobb on tenor, and Buster Cooper on trombone – and titles include "New Green Onions", "Gone", "Jacques That's The Blues", "Pour Chamblee", "Soul Food Boogie", "A Pretty Song", and "Twenty Years After". CD features a number of bonus tracks! CD

A classic set to feature the Bill Evans Trio with the great Scott Lafaro on bass and Paul Motian on drums! Listening to the set we're reminded of what always brings us back to Evans' playing – a quality that's often described as moody, but which is really is quite spry and lively throughout this set, without ever giving up its lyrical approach. Titles are mostly standards – but really transformed by the touch of the trio – and tunes include "Come Rain Or Come Shine", "Autumn Leaves", "Witchcraft", "When I Fall In Love", "Peri's Scope", "What Is This Thing Called Love", "Spring Is Here", "Some Day My Prince Will Come", and "Blue In Green". CD features 1 bonus track! CD

A sweet collection and one the label could have called The Diverse Yusef Lateef if that title wasn't already taken. This anthology goes way past Yusef Lateef's Atlantic years and includes material recorded for Savoy, Prestige, and Impulse – it even has a track recorded with Grant Green for Blue Note! CD

2 jazzy gems from Michel Legrand – back to back on a single CD! Michel Legrand Big Band Plays Richard Rodgers is a pretty wonderful album by Legrand – way better than you'd guess from the title! Sure, the tunes are mostly numbers by Richard Rodgers, but Legrand handles them here with the best of his soundtrack skills – really opening them up with some amazingly deft arrangements, and working with a stellar set of American jazz players to give the tunes a sound that's as jazzy as possible – and swinging them with the inherent lyricism that always makes us love his music! Players are a great lineup – with Clark Terry and Ernie Royal on trumpets, Urbie Green and Bob Brookmeyer on trombones, Paul Gonsalves on tenor, Jerry Dodgion and Phil Woods on alto, Julious Watkins on French horn, Gary Burton on vibes, and Tommy Flanagan and Hank Jones on piano. Titles include "This Can't Be Love", "Falling In Love With Love", "Bali Hai", "Have You Met Miss Jones", "There's A Small Hotel", and "The Lady Is A Tramp". On the second album, Broadway is the beat, but the sound has plenty of Parisian touches, too – thanks to arrangements from the mighty Michel Legrand! Legrand's in a mode here that's somewhere between his earliest soundtracks, and the European-themed records he cut for Columbia in the late 50s – styles that are a bit more warm and sentimental than in later years, with evocative elements designed to coax the Broadway-based listener out on a voyage across the Atlantic! Strings are relatively full, and sometimes used with great dynamic energy – and titles include "Bewitched", "There's A Boat Dat's Leavin Soon For New York", "Old Devil Moon", "With A Little Bit Of Luck", "Smoke Gets In Your Eyes", and "Yesterdays". CD

Classic 60s work from Thelonious Monk – featuring his incredible quartet with Charlie Rouse on tenor, certainly Monk's best-ever musical soulmate! The album features some newer versions of older tunes, and a few written just for the album – but the source of the material is not important, as the Monk/Rouse treatment always transforms whatever is handled, and recreates the work as an an angular sculpture of modernist beauty. Other players include Larry Gales on bass and Ben Riley on drums – and titles include "Locomotive", "Blue Sea", "We See", "Japanese Folk Song", and "Straight No Chaser". Features previously unreleased versions of "Green Chimneys" and "I Didn't Know About You". CD

Gerry Mulligan meets up with a great array of 50s modernists here – in specially setting dedicated to all Mulligan-penned compositions! Although a radical player himself on the baritone sax, Gerry also added something strong to the 50s jazz catalog with his great tunes from the early days – gently modern numbers that slowly became standards over the years, thanks to respect from other players. The best of these tracks are showcased here – played by Mulligan with a sax section that includes Zoot Sims on alto and tenor, Al Cohn on tenor and baritone, Lee Konitz on alto, and Allan Eager on alto and tenor. Rhythm is by the piano-less section of Freddie Green on guitar, Henry Grimes on bass, and Dave Bailey on drums – and titles include "Venus De Milo", "Revelation", "Sextet", "Turnstyle", "Four & One More", "Crazy Day", and "Disc Jockey Jump". CD also features 4 bonus tracks, too! CD

One of the most obscure sessions by Duke Pearson, and one of his first for Blue Note too! The album features Duke hitting a laidback and lyrical groove – working in a trio with Gene Taylor on bass and Lex Humphries on drums – overall pretty much in a soul jazz mode, but with more of Pearson's wonderful touches on the keys to open things up. The album's a nice counterpoint to Duke's later work for the label – much more intimate than his bigger band sides, but still put together with the depth that he'd later show more famously with his fuller arrangements. Titles include "3 AM", "On Green Dolphin Street", "I Love You", and "The Golden Striker". CD

Stunning rare material from Sonny Rollins – from a period when he wasn't doing that much work in the studio! The double-length package features Sonny blowing with a great sense of majesty and freedom – working in trio format that recalls his classic Vanguard recordings for Blue Note – but with Ruud Jacobs on bass and Han Bennink on drums – both great players who really help Rollins keep his modern edge! This isn't just a pickup overseas rhythm section – as Bennink is fantastic, at a point right before he was moving into free jazz – and Jacobs is a hell of a bassist who always makes a group sound great. The set features four studio tracks – "Blue Room", "Four", "Tune Up", and "Love Walked In" – plus more live material from the same month – long tracks "Love Walked In", "Four", "On Green Dolphin Street/There Will Never Be Another You", "Sonnymoon For Two", "They Can't Take That Away From Me/Sonnymoon For Two", and "Three Little Words". Also features a 100 page booklet – with rare photos, essays, and even an interview with Sonny! CD

Lovely duets between guitarist Ralph Towner and trumpeter Paolo Fresu – a record that really recaptures the airy brilliance of Towner's early sides for ECM, and a set that also shows a whole new side of Fresu's talents! Paolo's horn hangs wonderfully in air – often taking the lead from Towner's light guitar lines on classical, 12 string, and baritone guitars. Fresu also plays a bit of flugelhorn, too – and there's no other instrumentation, which leaves plenty of trademark ECM space for sensitive interaction between the musicians! Titles include "Sacred Place", "Postlude", "Blue In Green", "Chiaroscuro", "Punta Giara", and "Wistful Thinking". CD

A beautiful title for a beautiful little record – one that really does have Weather Report spinning out musical tales in sound – with a free-flowing and soulful sense of energy! The groove's definitely tighter than the earlier years, but it's never slick – and Joe Zawinul handled the overall orchestrations for the record, with an approach that's often highly rhythmic, vamping, and building up nicely as the tunes roll on. There's definitely some echoes here of Wayne Shorter's love of Brazilian music – although represented in a relatively subtle way – and Ndugu Chancler's working with the group here on drums and percussion. Titles include "Man In The Green Shirt", "Lusitanos", "Badia", and "Freezing Fire". CD

The pinnacle of Blue Note's "new thing" era! This amazing album was led by drummer Tony Williams (then just a wee lad, playing with Miles Davis, in his legendary 60s quintet) – but it's more of a "roundtable" session that features equal contributions by some of Blue Note's best avant garde players from the time, all of them young firey geniuses like Williams. The configurations of the players change drastically from track to track – and some feature Sam Rivers, Richard Davis, and Gary Peacock playing in a 2-bass and tenor lineup with Williams; others feature Bobby Hutcherson and Herbie Hancock playing heavily percussive vibes and piano solos next to Williams' assorted percussion playing; and one track doesn't even feature Williams at all, but has Herbie Hancock and Ron Carter in a beautifully moody bass and piano duet! The record is a treasure – and it's a landmark recording that's probably one of the greatest that Blue Note (or any other label) released during the 60s! Titles include "Barb's Song to The Wizard", "Memory", and "Two Pieces Of One: Red & Green". CD

An excellent jazz vocal album by one of the lost greats! Ernie Andrews was always a musician's singer – in that he never cracked the masses, but did have tremendous respect among jazz players in the 60s and 70s. Here, in one of his best albums, he's caught live, working with Cannon's classic quintet, and under production work by David Axelrod. The record perfectly captures the live fire of Adderley's group, and mixes it with the strong voice of Andrews in a good set of material that includes "Big City", "I'm Always Drunk In San Francisco", "Don't Be Afraid Of Love", and "I'm A Born World Shaker". Plus, CD also features 3 bonus tracks, previously unissued – "Green Door", "Work Song", and "Come On Back". CD

A rare early date as a leader from pianist Walter Bishop Jr – cut for a tiny east coast label that folded almost as soon as the record was issued – but a date that's gone onto great fame over the years, thanks to circulation in a few different formats! Bishop's got a really maturing approach here – as sharp as his work from the bop years, but with a deeper sense of tone and color too – occasional lyrical moments that get great shading from the bass of Jimmy Garrison and drums of GT Hogan – both players who make the album really something special – a real cut above the usual trio session. In that manner, the record features two tunes that run for nearly 10 minutes each – opening up in that reflectively soulful mode that Bish would be known much more for in later years – and titles include "Speak Low", "Milestones", "Green Dolphin Street", and "Blues In The Closet". CD features 4 bonus alternate takes! CD

One of the best Sonny Criss albums ever – one of our favorites from his late 60s run at Prestige – and that's really saying a lot! The set's a warmly lyrical session that really has Criss opening up, changing up his groove to display the deep growth he'd experienced as a musician in the 60s. The rhythm section is wonderful – pianist Eddie Green, over the rock-solid team of Bob Cranshaw on bass and Alan Dawson on drums – who really help Sonny Criss transform the tunes on the record. Even 60s pop tunes like "Misty Roses" and "Eleanor Rigby" come off sounding fresh and wonderful – as do older jazz nuggets "The Masquerade Is Over" and "Rockin In Rhythm" – both tunes that are recorded so often you might expect hoke, but which sparkle anew in the hands of Sonny's soulful vision! CD

Some of the greatest Miles Davis material ever recorded – and not really ever officially issued as an album until this collection! The recordings are from the magical year of 1958, a time when Miles was working in the Kind Of Blue mode – on the album of the same name, one of his all-time standout classics. The work on this set is in a very similar spirit – recorded by a sextet that includes the rhythm section of Jimmy Cobb, Paul Chambers, and a young Bill Evans, who brings a magically modal feel to the album that really gives it an edge. Added to that are the saxophones of John Coltrane and Cannonball Adderley, blowing together in two ends of the soul spectrum, really stretching the color palette from Miles' usual work. Miles himself seems very inspired by the company, and works with plenty of space to allow the saxophonists to stretch out in wonderful solos – and Evans himself is simply amazing, working wonderfully in the setting, making us wish he'd recorded more group dates like this one! The first 3 tracks on the set were briefly issued on the flipside of the Jazz Track album (an obscure Columbia LP that also included 10 songs from the soundtrack to Ascenseur Pour L'Echafaud), and a few others on later live LPs – but this is the first time the material from that group has appeared together as a full album. Includes stellar versions of "Stella By Starlight", "Green Dolphin Street", "Fran Dance", "My Funny Valentine", "Oleo", and "Love For Sale". CD

A classic set to feature the Bill Evans Trio with the great Scott Lafaro on bass and Paul Motian on drums! Listening to the set we're reminded of what always brings us back to Evans' playing – a quality that's often described as moody, but which is really is quite spry and lively throughout this set, without ever giving up its lyrical approach. Titles are mostly standards – but really transformed by the touch of the trio – and tunes include "Come Rain Or Come Shine", "Autumn Leaves", "Witchcraft", "When I Fall In Love", "Peri's Scope", "What Is This Thing Called Love", "Spring Is Here", "Some Day My Prince Will Come", and "Blue In Green". CD features alternate takes of "Autumn Leaves" and "Blue In Green". CD

Wonderful mellowness recorded by Art during the 70s – a beautiful little session done in Stockholm with some really great touches! At the beginning, things start out in typical Farmer ballad mode, but as the album moves on, Sabu Martinez comes in with some added percussion – and the lineup of guitar, bass, and two drummers picks things up with a nice little pace. The whole thing hits its stride on the tune "Green Witch" – a track that has a slight Latin pulse on the bottom, and which almost threatens to go modal – but enjoys its skittish approach to percussion and the way it keeps things edgey! Other tracks include "Smiling Billy", "A Bitty Ditty", and "A Sleeping Bee". CD

A great set from Red – one of his best for Prestige! Side one of the album has him leading a quintet with Oliver Nelson on alto and tenor, and the great Richard Williams on trumpet. Williams' solos are always a treat at this point – and his lyrical shimmering blowing on the tracks "Green Dolphin Street" and "If You Could See Me Now" is really great. Side two features all trio material – with Art Taylor on drums and Sam Jones on bass – and the groove is nice and lowdown, rolling along on tracks that include "Soul Burnin", and "Rocks In My Bed". CD

One of Stan's last truly great albums – a wonderful concert recorded in Copenhagen in 1987, with his late quartet that featured Kenny Barron on piano, Rufus Reid on bass, and Victor Lewis on drums. The soulful searching quality of the players is right in line with Stan's unfettered tone at the time – a honing down of his post-Coltrane wail, into more of lyrical one, with slight modal touches. All tracks are very long – and titles include "Voyage", "I Remember You", "I Love You", and "On Green Dolphin Street". CD

Beautiful work from bassist Charlie Haden and his Quartet West – a lovely look back at the styles and chanteuses of the 50s & 60s noirish jazz – with some lush strings accompaniment and guest vocalists including Cassandra Wilson, Melody Gardot, Norah Jones, Ruth Cameron and Diana Krall! It's the kind of thing that could come of hokey without a genuine love if the material in the mix, and the Haden & co. pull it off wonderfully. The quartet players include Ernie Watts on tenor, Alan Broadbent on piano and Rodney Green on drums. Includes "If I'm Lucky" with Melody Gardot, "Sophisticated Lady", "Today I Am A Man", "Ill Wind" with Norah Jones, "My Love And I" with Cassandra Wilson, "Theme From 'Markham'", "Angel Faces", "Goodbye" with Diana Krall, "Wahoo" and more. CD

One of the greatest lost sessions ever! Legendary vibist Bobby Hutcherson recorded this set of tracks in his early days with Blue Note – but the set's never come out until now, and its release is cause for rejoicing! The material shows Hutcherson playing in a straight-ahead format, tinged with some of the modernist new thing elements of other recordings from the time, but mostly filled with a soulfulness not always heard on his Blue Note albums at the time. The group includes Duke Pearson on piano, whose lovely lyrical approach works perfectly with Hutcherson's vibes. Joe Henderson plays some great hard-edged tenor, cutting nicely through all the tracks – and Grant Green sits in on half of the material, playing some nice spiralling modal lines on guitar. Many of these titles have been recorded in other versions on later Blue Note albums – but they're all in fantastic versions here, including "Bedouin", "The Kicker", "Step Lightly", and "Mirrors". CD

Vibes and orchestrations – a combination that makes for one of the coolest Bobby Hutcherson albums of the 70s – a really magical set that expands the sound of Bobby's work in ways we wouldn't have expected! The style is similar to that used with Grant Green and Lou Donaldson at the time on Blue Note – a style that's clearly trying for the more sophisticated sounds of CTI, and which beautifully balances the modes of presentation – so that there's still plenty of soulful moments and slyly funky bits alongside the strings and woodwinds in the orchestrations – proof that a record like this can be really brilliant if scored properly! Some moments get a bit modern and dark – almost in a William S Fischer kind of way – and titles include the great track "Rain Every Thursday", which begins with an excellent break – plus "The Folks Who Live On The Hill", "Sophisticated Ladies", "When You're Near", "Shirl", and "Lush Life". CD

A previously unreleased live date from west coast vocalist Bev Kelly – captured here at the end of the 70s in a great small club setting! The album's quite different than Bev's earlier work of the 60s – more dynamic, but never too over the top – just enough sense of freedom and presence to show a great evolution in her music over the course of the 70s. A number of the album's best tracks are originals penned by Kelly – and as before, she shows a lot more of a jazz-based sensibility in her music – a style that's not content to just sing standards in traditional torch modes, and which instead really takes off with the tunes – in the way you might expect from a more dynamic horn player! The group's great too – a combo headed by drummer Al Williams, who also happened to own the club the set was recorded in – with piano and electric piano by Dwight Dickerson, tenor by Rudy Johnson, guitar by Richard Madariaga, and bass by Leroy Vinnegar. Titles include "Lament", "One Day", "Welcome To My Heart", "Nonchalantly", "Drinking Again", "Reflections", "Our Time To Love", "Bein Green", and "Soul Eyes". (Vocalists, Jazz) CD

5 albums from Lee Morgan – one of the coolest cats to ever handle a trumpet for Blue Note! First up is Delightfulee – really unique album from the great Lee Morgan – a set that features the trumpeter in two different settings, but in a way that really works well together! Most of the album has Lee blowing in a very cool quintet – with Joe Henderson on tenor, McCoy Tyner on piano, Bob Cranshaw on bass, and Billy Higgins on drums – a group who maybe bring out a slightly hipper vibe that really points the way to the rest of Morgan's direction in the late 60s, when he was really letting some more spiritual currents loose. The other two tracks on the record feature a hip larger band directed by Oliver Nelson – swinging hard in a really soulful style! Nelson's arrangements on these two tracks are great – quite progressive, with a soul jazz big band style that seems to point the way towards the 70s – and the band provides a raging backdrop that lets Lee's trumpet soar over the top in beautiful crystal clear solos. Titles include "Nite Flite", "Delightful Deggie", "Ca-Lee-So", and "Zambia". Also features a few bonus tracks. The Cooker is a very appropriate title for a very cooking little album – one of Lee Morgan's first efforts as a leader, cut back during his first years of late 50s fame! The style here is a bit less Morgan-esque than some of Lee's later 60s classics – but the record is rock-solid throughout, and proof that Morgan was every bit as great a leader in a hardbop session as Hank Mobley or some of the other emerging heavyweights at Blue Note! The strength of the group really helps keep the fire stoked on the set – and Bobby Timmons turns in some amazing piano work alongside a lineup that includes Pepper Adams on baritone sax, Paul Chambers on bass, and Philly Joe Jones on drums. The Adams presence gives the record a bit of the feel of some of Pepper's sessions with Donald Byrd – but the sparkling, soaring sound of Morgan makes the record way more than just a copycat set. Titles include "New-Ma", "Night In Tunisia", "Lover Man", "Just One Of Those Things", and "Heavy Dipper". Lee Way is an undisputed masterpiece by Lee Morgan – and one of the first records in which he shed his straight bop sensibility, and began evolving into a soulful genius for the 60s! The album's got 4 long tracks that all build beautifully – really extended numbers that break the format of some of Lee's earlier work, and hint a bit at some of the more complicated touches he'd use on later sessions. All players are great – and include fellow Jazz Messengers Bobby Timmons on piano and Art Blakey on drums, plus Jackie McLean on alto and Paul Chambers on bass. Titles include the sublime "These Are Soulful Days" – a perfect model of soulful lyricism – plus "Midtown Blues", "Nakatini Suite", and "The Lion & The Wolff". Rumproller often gets too easily lumped next to The Sidewinder – because of an obvious title and cover similarity to that hit record – but like that one, the album's far more than jazz cliche – and shows Lee Morgan to be one of the greatest jazz musicians of the 60s. The set starts off with the title cut, "The Rumproller" – hard-wailing soul bop, in the manner of Lee's most popular work – but then it easily flows into more sensitive material that has a freer, lyrical feel – like the great original tune "Eclipso" and Wayne Shorter's "Edda" – both of which are superb. Lee is astounding, as always, on trumpet – and the rest of the group includes the great Ronnie Matthews on piano, plus Joe Henderson, Victor Sproles, and Billy Higgins. Search For The New Land is a brilliant album that proves that even at the height of his success, Lee Morgan was one of the freest thinkers on Blue Note – always coming up with fresh ideas that continued to grow his talents! The first cut on the album is keen poof of that fact – the title track "Search For The New Land" – a beautiful 16 minute exploration of modal jazz themes, with an unusual stop/start device as a means of ushering solos by different bandmates – including Wayne Shorter on tenor, Grant Green on guitar, and Herbie Hancock on piano! The approach is unlike anything that Morgan ever did before – and unlike most of other Blue Note as well – and it also benefits from great rhythmic help from Reggie Workman on bass and Billy Higgins on drums. Other tunes are a bit more conventional, but still pretty special – like some of Morgan's inventive work on the Rajah albums – with titles that include "The Joker", "Melancholee", "Mr. Kenyatta" and "Morgan The Pirate". CD

Gerry Mulligan meets up with a great array of 50s modernists here – in specially setting dedicated to all Mulligan-penned compositions! Although a radical player himself on the baritone sax, Gerry also added something strong to the 50s jazz catalog with his great tunes from the early days – gently modern numbers that slowly became standards over the years, thanks to respect from other players. The best of these tracks are showcased here – played by Mulligan with a sax section that includes Zoot Sims on alto and tenor, Al Cohn on tenor and baritone, Lee Konitz on alto, and Allan Eager on alto and tenor. Rhythm is by the piano-less section of Freddie Green on guitar, Henry Grimes on bass, and Dave Bailey on drums – and titles include "Venus De Milo", "Revelation", "Sextet", "Turnstyle", "Four & One More", "Crazy Day", and "Disc Jockey Jump". CD also features 4 bonus tracks, too! CD

One of the most obscure sessions by Duke Pearson, and one of his first for Blue Note too! The album features Duke hitting a laidback and lyrical groove – working in a trio with Gene Taylor on bass and Lex Humphries on drums – overall pretty much in a soul jazz mode, but with more of Pearson's wonderful touches on the keys to open things up. The album's a nice counterpoint to Duke's later work for the label – much more intimate than his bigger band sides, but still put together with the depth that he'd later show more famously with his fuller arrangements. Titles include "3 AM", "On Green Dolphin Street", "I Love You", and "The Golden Striker". CD

Long live tracks from pianist Bert Seager – a player who may well be at his best in a setting like this, as the performance really lets him open up with a sense of flow and imagination that we don't always hear on his studio sessions! The group also features tenor from Billy Drewes and trumpet from Tim Hagans – players who can hit sharper edges when they want, but who fold nicely right into the lyrical vibe of Seager for the session – alongside the bass of Dan Greenspan and drums of Ian Froman. Titles include "Doloroso", "Manteca", "Monk's Mood", "Blues For Suz", and "Zatnin". CD

A really fantastic album from guitarist Grant Green – a set that's every bit as great as his other Blue Note funk albums from the time – but in a very different way! First off, the group has vibes – played by the more obscure Willie Bivens, sometimes with this hard chromatic sound that's really wonderful – especially when combined by the organ work on the set by Ronnie Foster and Neal Creque – both very cool players with an unusual conception – which sends the whole thing off in very hip territory! The mighty Idris Muhammad plays drums – ensuring a very tight bottom – and the group also features Claude Bartee on tenor, who has a strong, soulful vibe. The set includes a fantastic live version of "Down Here On the Ground" – famously sampled by Tribe Called Quest – and other highlights include heavy funk takes on "Let The Music Take Your Mind" and "Sookie Sookie", and the Creque original "Time To Remember". CD

One of the greatest albums ever recorded by hardbop trombone legend Bennie Green – an all-star sextet session that cooks like a mofo! The group features the twin tenors of Billy Root and Gene Ammons (billed just as "Jug" on the session, because of contractual reasons) – and it crackles with electricity from a rhythm section that features Ike Isaacs on bass, Sonny Clark on piano, and Elvin Jones on drums. There's some fantastic tracks on here, including Babs Gonzales' "Lullaby of the Doomed", and a monster jam called "We Wanna Cook", which was once described to us as "all you ever need to have a house party" – to which we wholeheartedly agree! Other tracks include "Black Pearl", "BG Mambo", and "Soul Stirrin" – and the album's one of the heaviest duty Blue Notes from the time! Features a bonus mono take of "Soul Stirrin". CD

The genius of Joe Chambers knows no bounds – and record after record, his recent stretch has really continued to blow our mind! Chambers was always a hell of a talent back in the day – even at his start as a 60s Blue Note sideman – but in the past decade or so, he's really found his voice – and shows a talent for larger-concept projects that's really amazing – such as this project with his Moving Pictures Orchestra! The group's a largeish jazz ensemble with some top-shelf players – and they work together on Chambers arrangements that definitely have a cinematic feel – but there's also a richer jazz-based approach too – one that almost reminds us of classic charts from Gil Evans or Ralph Burns. Players include Craig Handy on tenor and soprano sax, David Weiss and Frank Greene on trumpets, Conrad Herwig and Steve Davis on trombones, Xavier Davis on piano, Steve Berrios on percussion, Dwayne Burno on bass, and Joe Chambers on drums and vibes. Titles include the "Moving Pictures Suite", plus "Lonesome Lover", "Power To The People", "Theme From M Squad", and "Mendacity" – which features vocals from Nicole Guiland. CD

With Peter Washington, Sammy Figueroa, Eddie Gladden, Greg Bandy, Roger Humphries, Victor Jones, Winard Harper, Bill Saxton, John Patton, Lonnie Smith, Lawrence Killian, Benny Green, Mark Soskin, Geary Moore, Houston Person & James Anderson. CD

A fantastic early record from tenor giant Stanley Turrentine – a set that's completely hard-hitting, and which has a very different vibe than the sweeter sets he'd cut later in the 70s! Instead, this record is pure hardbop all the way through – with Turrentine matching labelmate Hank Mobley for depth of tone and freshness of ideas – stretching out on these long, live tracks with a very cool combo that also features Grant Green on guitar and Horace Parlan on piano – both of whom are superb, and hit some real Blue Note heights on the set. Parlan brings this sinister edge to some of the best tunes, and Green's guitar rings out with these fantastically soulful chromes – providing a great balance to the deep runs that Stanley takes on the tenor. This double-length package brings together volumes 1 and 2 of the LP releases – and titles include a long moody reading of "Yesterdays", plus the hard bop original "Stanley's Time" – as well as the tracks "Later at Minton's", "Come Rain or Come Shine", "Love for Sale" and "Summertime". CD

A beautiful little record from Matt Ulery – double-length in size, and even more than double in terms of feeling and depth! Matt's a figure on the Chicago scene – and in a way, his music represents the return to arrangements in the city's recent avant jazz world – yet his music is also even more compellingly concise, and handled with a strong ear towards thoughtful, tuneful compositions that have fluid, expressive feel – hardly outside at all, although always with an edge – and handled with a soundtrack-like sense of color and scene. In a way, there's almost a Kip Hanrahan sort of vibe to the music – especially in the way it goes way past familiar jazz – especially on the few vocals numbers, which feature lyrics sung by the lovely Grazyna Agusick. Other musicians include Ulery on bass, Ben Lewis on piano, Zach Brock on violin, James Davis on trumpet, Matthew Duval on vibes, and Jon Deitmeyer on drums. Titles include "Dark Harvest", "Processional", "By A Little Light", "To Lose Your Mind", "Wilder Years", "Sow The Deep Seeds", and "To The Brim". CD

A beautiful little record by Miles Davis – oft overlooked next to some of the better-titled Prestige sessions of the 50s, but a great one nonetheless! The session features Miles working with trio backing from Red Garland on piano, Oscar Pettford on bass, and Philly Joe Jones on drums – often in a mellow mode that fits the "musings" in the title, but which also provides a wonderful showcase for Davis to further intensify his vision on a set of longer tracks. Most tunes are familiar, but they're really transformed here – and titles include "I Didn't", 'Will You Still Be Mine?", "Green Haze", "I See You Face Before Me", "A Night In Tunisia" and "A Gal In Calico". CD

Charlie Haden on bass joined by Bela Fleck on banjo, Jerry Douglas on dobro, Stuart Duncan on fiddle, Russ Barenberg on guitar and mandolin, Bryan Sutton, John Leventhal, and Pat Metheny on guitar, Buddy Greene on harmonica, Sam Bush on mandolin, Buck White on piano, Elvis Costello, Jack Black, Josh Haden, Rachel Haden, Rosanna Cash, and Vince Gill on vocals, Tanya Haden on vocals and vocals, Ricky Skaggs on vocals, guitar, mandolin and banjo, Dan Tyminski on vocals and mandolin, and Bruce Hornsby on piano and vocals. CD

A killer set from Count Basie – recorded during the height of his years at Roulette! The back cover of the record proclaims that "Basie Is Back Home" – clearly a bit by Birdland to lay claim to being the Count's home address, which is a bit of a challenge to his KC roots! Whatever the back story, though, the set's a nice one – swinging hard in that completely tight 60s mode, with a great lineup that includes Frank Foster and Budd Johnson on tenor, Thad Jones on trumpet, Bennie Powell on trombone, and Freddie Green on guitar – a really great group who definitely make the record a cooker! Tracks include "Good Time Blues", "Segue In C", "Little Pony", "Discommotion", and "Whirly Bird", which has a vocal by Jon Hendricks! CD features 8 more bonus tracks – recorded at the same time, and first issued on the Mosaic set Complete Roulette Live Recordings – titles that include "Easin It", "Corner Pocket", "Discommotion", "Whirly Bird (inst)", "I Needs To Be Bee'd With", and "A Little Tempo Please". CD

One of the most righteous albums ever from Archie Shepp – a beautiful late Impulse set of grooves, and a record that matches the genius of Attica Blues! Shepp's working with a losse collective of players that includes Charles Greenlee, Harold Mabern, and Beaver Harris – plus vocalists like Joe Lee Wilson and Peggie Blue – all to craft a set of tunes that are as righteous and political as they are spiritual and soulful! The great Cal Massey handled arrangements on a number of the tracks on the set – bringing together the players with a wonderfully unified feel, pushing away the easy spirituality of earlier records to forge a massively powerful sound – and Shepp matches his great efforts by blowing some of his most soulful lines on record! Titles include the wonderful "African Drum Suite (parts 1 & 2)", plus "A Prayer", "Cry Of My People", "The Lady", "All God's Children Got A Home In The Universe", and "Rest Enough". CD

Although he was the consummate high-class hipster at the start of his career, for some reason Jimmy Smith seemed to hit a forced sort of rootsy style about halfway through his years at Verve. The style worked well for him, even if it sometimes languished in bluesy tones that seemed a bit forced – and on this album, his basic trio of Grady Tate and Kenny Burrell are augmented by arrangements by Oliver Nelson. Nelson keeps things from getting too hokey, and Jimmy's organ lines are free and sharp on the best cuts. Titles include "Mustard Greens", "Hobson's Hop", "Got My Mojo Workin", and "High Heel Sneakers". Jimmy pays tribute to an earlier generation of R&B – in a hard-wailing set of soul jazz, done with backings from the legendary Oliver Nelson! A few tracks feature vocals by Jimmy, in a rough bluesy style, and others have some harmonica by Buddy Lucas – in a raspy, hard-wailing mode that still fits in nicely with the jazzier style of the album. Jimmy's organ is right up front on most numbers – recorded with that full, dynamic sound that makes so many of his Verve albums a treasure – and the best numbers have a more contemporary 60s groove alongside the older bluesy roots. Grady Tate plays drums – surprisingly funky at times – and other players include Melba Liston and Tom McIntosh on trombones, Billy Butler on guitar, Bob Cranshaw on Fender bass, and Joe Newman on trumpet. Titles include "Hi Heel Sneakers", "TNT", "Boom Boom", "Ain't That Just Like A Woman", and "One Mint Julep". CD

One of the high points in Basie's long career – backed by a great band that features Frank Wess, Thad Jones, Billy Mitchell, Frank Foster, Freddie Green, and vocals from Joe Williams. CD

A great collection of live material recorded during one of the high points in Basie's long career – his collaboration with arranger Neal Hefti! The band is great and features Frank Wess, Thad Jones, Billy Mitchell, Frank Foster, Freddie Green, and vocals from Joe Williams – and if that wasn't enough it also features a guest appearance by Sammy Davis Jr! CD

A trio of modern talents, working beautifully together on a set of extended live tracks! The group features guitar from Peter Bernstein, Hammond from Larry Goldings, and drums from Bill Stewart – coming together in ways that remind us of the hipper side of 60s organ combos – those moments when Grant Green and Larry Young really opened things up with a long-flowing groove! There's still a nice undercurrent of soul in the mix, but the rhythms are relatively free and unfettered too – moving forth with energy that might be called modal by some, but which is even less constricted by a simple tag like that – more just pure, beautiful waves of sound from both the organ and guitar. Titles include "The Danger Zone", "Milestones", "Just A Thought", "Molto Molto", and "Chant". CD

Cannonball Adderley and Earle Warren on alto saxophone, Jerome Richardson on baritone saxophone and flute, Ray Brown and Sam Jones on bass, Ray Brown on cello, Nat Adderley on cornet, Albert Heath, Grady Tate, and Osie Johnson on drums, Kenny Burrell on guitar, Wild Bill Davis on organ, Hank Jones and Tommy Flanagan on piano, Danny Bank, Jimmy Heath, Phil Woods, and Robert Ashton on reeds, Budd Johnson and Seldon Powell on tenor saxophone, Yusef Lateef on tenor saxophone and flute, Britt Woodman, Jimmy Cleveland, Melba Liston, Paul Faulise, Tom McIntosh, Tony Studd, and Urbie Green on trombone, Clark Terry, Ernie Royal, Joe Newman, and Snooky Young on trumpet, Milt Jackson on vibraphone, and Marion Williams on vocals. CD

One of the best albums we've heard in years from trumpeter Dave Douglas – a really in the pocket session that's filled with rhythmic intensity, and some of the boldest music we've heard from Dave in years! There's plenty of edges to the set – especially the trumpet of Douglas and tenor of Jon Irabgon – but there's also a groove to many numbers too – a kind of forward-rolling energy that really takes the whole thing to great points throughout the set, and which makes a great progression from the somber tone of Dave's last album – almost a musical rebirth of sorts! Crack rhythms flow from the trio of Matt Mitchell on piano, Linda Oh on bass, and Rudy Royston on drums – and titles include "Time Travel", "Beware Of Doug", "Little Feet", "Garden State", and "Bridge To Nowhere". CD

Incredible work by the great Eddie Harris – an album that was initially recorded for Vee Jay during his early tenure at the label, but not issued for years! The album's one of Eddie's greatest from the time – a really far-reaching blend of soul jazz, hardbop, and some of the more exotic influences running through the Chicago scene from whence he came. Two tracks on the album are especially long groovers – "Cuttin Out" and "Shakey Jake" – both in the 15 minute mark, and extended jammers with Ira Sullivan on trumpet, Bunky Green on alto, and Melvin Rhyne on organ. The first two tracks on the set feature Eddie in a lineup with Willie Pickens, Raphael Don Garrett, and Ira Sullivan – on the modal groovers "The Dancing Bull" and "Antidote". And the last 4 tracks on the CD are pulled from the album "Half & Half" – an 8 track release that initially featured 4 tunes with Eddie blowing with a vocal group, and these other 4 that have him working with a very hip group that includes Charles Stepney on piano, Melvin Jackson on bass, Joe Dorio on guitar, and Marshall Thompson on drums. Titles include "Half & Half", "KC Blues", "Lawrence Of Arabia", and "Yea Yea Yea". CD

Features Frank Wess and James Moody on saxophones and flute, Gary Smulyan on baritone sax, Urbie Green on trombone, Johnny Coles and Harry "Sweets" Edison on trumpet, Herb Ellis and Kenny Burrell on guitar, and guest vocals from Ernestine Anderson and Ernie Andrews. CD

A classic set of soul jazz guitar tracks – recorded at the start of the 90s, but with a vibe that goes back to much earlier years on Muse Records! As with his other dates for the label, guitarist Randy Johnston's managed to gather a really wonderful group for the record – saxes by Bill Easley, and rock-solid rhythm from the trio of Benny Green on piano, Ray Drummond on bass, and Kenny Washington on drums – three players who really keep things in the pocket throughout, and make the record sparkle strongly! Houston Person produced, and his work in the studio is nicely understated – really keeping a clean, clear focus on the instruments. Titles include "Walk On", "Crazy He Calls Me", "The Queen's Samba", "Moanin", and "Jumping The Blues". CD

One of the hippest projects we've heard from drummer Ben Riley in awhile – a big band project devoted to the music of Thelonious Monk, and one that gets most of its angular changes from the saxophone section! There's a great post-Monk quality to this one that makes it way more than just a copycat of the old days – a re-interpolation of the music and inspirations of Monk for a slightly different jazz idiom, presented with 4 saxophones, 1 trumpet, guitar, bass, and drums – and no piano at all! Riley's on drums, and saxophones include Bruce Williams on alto and soprano, Wayne Escoffery and Jimmy Greene on tenor, and Jay Brandford on baritone – working alongside guitar from Freddie Bryant, bass from either Kiyashi Kitagawa or Peter Washington, and trumpet from Don Sickler, who sometimes blasts out in the lead. Titles include "Gallop's Gallop", "Green Chimneys", "Shuffle Boil", "Straight No Chaser", "Rhythm-A-Ning", and "Let's Call This". CD

One of the most righteous albums ever from Archie Shepp – a beautiful late Impulse set of grooves, and a record that matches the genius of Attica Blues! Shepp's working with a loose collective of players that includes Charles Greenlee, Harold Mabern, and Beaver Harris – plus vocalists like Joe Lee Wilson and Peggie Blue – all to craft a set of tunes that are as righteous and political as they are spiritual and soulful! The great Cal Massey handled arrangements on a number of the tracks on the set – bringing together the players with a wonderfully unified feel, pushing away the easy spirituality of earlier records to forge a massively powerful sound – and Shepp matches his great efforts by blowing some of his most soulful lines on record! Titles include the wonderful "African Drum Suite (parts 1 & 2)", plus "A Prayer", "Cry Of My People", "The Lady", "All God's Children Got A Home In The Universe", and "Rest Enough". CD

A great little trio session – one of Jimmy's hippest, featuring Grant Green on guitar and Donald Bailey on drums. The talents of Green are quite welcome here – as his lighter touch on the strings makes Jimmy open up a bit more than with some of his other compatriots in this format – creating a groove that's less bluesy, with slight modal touches. The set includes a nice long original called "Back Talk", plus the cuts "T'Ain't No Use", "I'm Movin On", and "Hotel Happiness". Cool cover, too, with Jimmy posed in front of the wheel of a Jaguar! CD