A perfect setting for the rich-voiced tenor of the great George Coleman – presented here as one of the best titles so far in the strongly-revived Live At Smalls series! Smalls is one of those players who's been on countless albums over the years, and turned out plenty of great work – but who also seems to come across with a freshness, a newness in a key live recording like this – much the same way that a player like Johnny Griffin could always show that at the core, jazz can be a spontaneous expression that's sometimes best presented in an unfettered sort of space. The core group is just right for Coleman, and often step back to give him plenty of space – Spike Wilner on piano, Peter Washington on bass, and Joe Farnsworth on drums – and titles include "Blues For Smalls", "When Sunny Gets Blue", "At Last", "Four", "Meditation", and "My Funny Valentine". CD

A searing live performance from Hammond legend Shirley Scott – much more on fire and longspun than her work in the 60s on Prestige Records – and an amazing showcase for the bold tenor talents of the great George Coleman! Coleman's always one of those players who seems to hit an extra something special when blowing live – and that's definitely the case here, as the richness of his tone and dexterity of his imagination – qualities that also really seem to inspire Scott on the organ as well! Unlike earlier dates, Shirley's handling all the basswork herself on the pedals of the Hammond – which only seems to open up and solidify her sense of rhythm – and the trio features excellent work on drums from Bobby Durham, whose loose touch is perfect. Titles include "Blues By Five", "Never Can Say Goodbye", "Like Someone In Love", "Impressions", "Witchcraft", and "By The Time I Get To Phoenix" – and Ernie Andrews guests on vocals on a few tracks too, including "Girl Talk" and "Don't Mess Around With Jim". LP, Vinyl record album

A searing live performance from Hammond legend Shirley Scott – much more on fire and longspun than her work in the 60s on Prestige Records – and an amazing showcase for the bold tenor talents of the great George Coleman! Coleman's always one of those players who seems to hit an extra something special when blowing live – and that's definitely the case here, as the richness of his tone and dexterity of his imagination – qualities that also really seem to inspire Scott on the organ as well! Unlike earlier dates, Shirley's handling all the basswork herself on the pedals of the Hammond – which only seems to open up and solidify her sense of rhythm – and the trio features excellent work on drums from Bobby Durham, whose loose touch is perfect. Titles include "Blues By Five", "Never Can Say Goodbye", "Like Someone In Love", "Impressions", "Witchcraft", and "By The Time I Get To Phoenix" – and Ernie Andrews guests on vocals on a few tracks too, including "Girl Talk" and "Don't Mess Around With Jim". CD

With Ben Wolfe on bass and Aaron Kimmel on drums. CD

A Cory Weeds album that's really a cut above – given that this live session has the alto saxophonist joined by two great guests – Harold Mabern on piano and Terrell Stafford on trumpet! Both Mabern and Stafford get plenty of space to solo, and their contributions are wonderful – particularly Harold, who's rock-solid approach on the keys brings some of the focused energy he's more likely to use with some of the New York scene he records more regularly with – like Eric Alexander or Jim Rotondi. The rest of the group features Michael Glynn on bass and Julian MacDonough on drums – and titles include some well-chosen numbers from old school Blue Note vintage – including "Mood Malody", "Bluesanova", "Tolypso", "The Three Minors", "Up Tight's Creek", and "Consequence". CD

A fantastic live date – one that's not just noteworthy for the piano of leader Walter Bishop, but also for the reed work of a young Harold Vick – recorded here right around the time he was first making waves in the organ combo of Jack McDuff, but coming across with a very different quality overall! Vick here is more of a spiritualist at times, ala Yusef Lateef – and he often hits a vibe that's more like his 70s work than his more soul jazz-styled recordings of the 60s – really stretching out on the album's long tracks, blowing tenor, soprano, and flute with this searching edge that's completely wonderful. The rest of the group features Lou McIntosh on bass and Dick Berk on drums – and titles include "So What", "Pfrancing", "My Secret Love", "Blues", "Quiet Nights", "Days Of Wine & Roses", and "Willow Weep For Me". CD

The second album recorded by altoist Jesse Davis at Smalls in New York, and a set that's every bit as great as the first – like that one, a record in a setting that really seems to set Davis on fire at a level that's different than some of his studio recordings! Tracks are long, and Davis is wonderful on his solos – very expressive, almost blowing the instrument like some tenorist from years back – and getting superb accompaniment from Spike Wilner on piano, Peter Washington bass, and Joe Farnsworth on drums – all great players too. Titles include "Ceora", "Cup Bearers", "Gingerbread Boy", "Juicy Lucy", "Love For Sale", and "Rhythm N Ning". CD

With Sullivan Fortner on piano. CD

Lezlie Harrison's a great singer, and she sounds especially wonderful here next to the Hammond B3 of Ben Paterson – a player who really seems to click with Lezlie's great approach! There's a slight current of soul in Harrison's music, but the music is definitely jazz – as she's got a richness of expression, and way of using her voice that we'd rank right up there with vocalists like Carmen Lundy or Dee Alexander – given plenty of space to open up and soar here in a small combo setting, with work also from Matt Chertkoff on guitar and Pete Zimmer on drums. The approach is great – very different than some straight old school Hammond/vocal session – as Harrison's take on the tunes is very fresh, with more contemporary approach to arrangements – on titles that include "Love Won't Let Me Wait", "Let Them Talk", "A Lover Is Forever", "What A Little Moonlight Can Do", "Fly Like An Eagle", and "Close Your Eyes". (Vocalists, Jazz) CD

Chris Hazelton cooks it up on the Hammond – playing here in a sweet small combo mode that's mighty nice – and with baritone from Brett Jackson in the group instead of the usual tenor! The deep sound of Jackson's horn is a nice balance with Chris' tight work on the keys, and the chromatic sounds of Jamie Anderson's guitar – as the group swings nicely on tracks that also feature drums from John Kizilarmut and occasional conga from Pat Conway! The whole thing's got a nicely different vibe from standard jazz organ sets – and titles include "The Groove Merchant", "Night Lights", "So Tired", "Amsterdam After Dark", "Easy Talk", and "Watch What Happens". CD

... CD

The album's got just the right title, as it's a wonderful album from Hammond player Mike LeDonne! Mike's got a key partner here in tenorist Eric Alexander – a player who started out in the company of older organ jazz legend Charles Earland, so he's got just the right chops for this set – working alongside Peter Bernstein on guitar and Joe Farnsworth on rock-solid drums! Perhaps the most interesting aspect of the record is the presence of a vocal group, who sing on a fair bit of the album – adding a lightly soulful touch that really sets the record apart from other Hammond jazz recordings. Titles include "Lonnie's Lament", "Ain't Nothing Like The Real Thing", "Make Someone Happy", "Genesis", "Put It Back", and "Let Us Go". CD

With Joel Mateo on drums and bells. CD

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

Reedman Dayna Stephens is always great – and this time around, he's got a very strong musical partner in the presence of guitarist Emmanuel Michael – a younger musician, but one whose sound really shapes the sound of the set! Michael has this way of careful tones and rich colors – which he can use slowly next to a mellow bassline, but also unfurl in a bolder way once things really take off – and it's clear that Stephens really values his contributions to the record, as he gets a lot of space to shine. The mixture of acoustic reeds and electric tones is great – although Dayna also plays some EWI on the album too – in a group that also includes some superb work from Kanoa Mendenhall on bass, and very thoughtful work on drums from Jongkuk Kim. Jeremy Pelt plays guest trumpet on a version of Wayne Shorter's "ESP" – and other tunes include "The Nomad", "Scrutiny", "Back Home", "Placate", "TE", and "Bubbly". CD

Erena Terakubo on alto sax, David Hazeltine on piano and Hammond organ, David Williams on bass, and Lewis Nash on drums. CD

A record from a pianist we totally love, but one who also seems to have really unfurled a bold new chapter in his life as well – with music that's very different than some of the previous albums that Spike Wilner's given us, full of joy, life, and this boundless sense of optimism that comes as a real surprise! Spike's never been one to be lazy on the keys – but here, he feels like he's bursting forth with all this fresh imagination – as if he's seen some sort of life that's driving him onward, and which is also shared by trio members Paul Gill on bass and Anthony Pinciotti on drums – a group who seem to move effortlessly, driven by the vision of the leader. Titles include "Contrafactus", "Happy Ending", "Cognitive Dissonance", "At First Blush", "Kinetic Neurosis", and "Ants Go Marching". CD

With Jimmy MacBride on drums. CD

Mike Clement on guitar with John Lee on hammond B3 organ and Herlin Riley on drums. CD

Lezlie Harrison's a great singer, and she sounds especially wonderful here next to the Hammond B3 of Ben Paterson – a player who really seems to click with Lezlie's great approach! There's a slight current of soul in Harrison's music, but the music is definitely jazz – as she's got a richness of expression, and way of using her voice that we'd rank right up there with vocalists like Carmen Lundy or Dee Alexander – given plenty of space to open up and soar here in a small combo setting, with work also from Matt Chertkoff on guitar and Pete Zimmer on drums. The approach is great – very different than some straight old school Hammond/vocal session – as Harrison's take on the tunes is very fresh, with more contemporary approach to arrangements – on titles that include "Love Won't Let Me Wait", "Let Them Talk", "A Lover Is Forever", "What A Little Moonlight Can Do", "Fly Like An Eagle", and "Close Your Eyes". (Vocalists, Jazz) CD

A rare late 50s live date from saxophonist Harold Land – released here for the first time ever! But the set's not as noteworthy for the rarity of the date as it is for the strength of the group – an amazing quartet of modernists that includes Elmo Hope on piano, Scott LaFaro on bass, and Lennie McBrowne on drums – all working with Land's tenor on a batch of incredibly long tracks that have a looser, freer feel than anything Harold did in the studio during the 50s! The performance took place at the Cellar Club in Vancouver in November of 1958 – and there's an open-ended, well-blown quality that reminds us of Land's work with Max Roach a few years before – somewhat boppish, and always soulful. Titles include "Just Friends", "The Scene Is Clean", "Big Foot", "Come Rain Or Come Shine", and "Cherokee". CD

An expanded, remastered version of the album Prophecy – early work by Albert Ayler, recorded live in 1964 at the Cellar Cafe in New York, but not issued by ESP until years later, after his untimely early death. The performance is a trio outing – with Ayler's tenor alongside the bass of Gary Peacock and drums of Sunny Murray – all freely skirting around each other's space on the date, in a way that allows Ayler to take the bold lead with his sharp-toned solos, but which also allows for free interplay between the bass and percussion. Ayler's tone and wide swaths of sound are simply amazing – and titles include two variations on "Ghosts", plus "Spirits", "Prophecy", and "Wizard". Newly remastered version of the full concert – with 10 tracks in all! CD

A double-length set that brings together 2 key early live sets by Albert Ayler – both recorded on the New York scene of the mid 60s! Bells was an unusual one-sided record that featured only 20 minutes of music, performed with an intensity that hardly leaves room for complaints about the shortness of the album! The single track "Bells" was performed at Town Hall by Ayler with a group that includes Donald Ayler on trumpet, Charles Tyler on alto sax, Lewis Worrell on bass, and Sunny Murray on percussion – all coming together in a raw, real sense of freedom – beautifully explored here without ever getting too overindulgent. The tune may well be one of the greatest illustrations of the ESP format at its best – as Ayler and company never stray too far, but carve out some incredibly imaginative space through their starkly-blown horn solos! Prophecy is longer – a full album that was recorded live in 1964 at the Cellar Cafe in New York, but not issued by ESP until years later, after Ayler's untimely early death. The performance is a trio outing – with Ayler's tenor alongside the bass of Gary Peacock and drums of Sunny Murray – all freely skirting around each other's space on the date, in a way that allows Ayler to take the bold lead with his sharp-toned solos, but which also allows for free interplay between the bass and percussion. Ayler's tone and wide swaths of sound are simply amazing – and titles include two variations on "Ghosts", plus "Spirits", "Prophecy", and "Wizard". CD

A double-length set that brings together 2 key early live sets by Albert Ayler – both recorded on the New York scene of the mid 60s! Bells was an unusual one-sided record that featured only 20 minutes of music, performed with an intensity that hardly leaves room for complaints about the shortness of the album! The single track "Bells" was performed at Town Hall by Ayler with a group that includes Donald Ayler on trumpet, Charles Tyler on alto sax, Lewis Worrell on bass, and Sunny Murray on percussion – all coming together in a raw, real sense of freedom – beautifully explored here without ever getting too overindulgent. The tune may well be one of the greatest illustrations of the ESP format at its best – as Ayler and company never stray too far, but carve out some incredibly imaginative space through their starkly-blown horn solos! Prophecy is longer – a full album that was recorded live in 1964 at the Cellar Cafe in New York, but not issued by ESP until years later, after Ayler's untimely early death. The performance is a trio outing – with Ayler's tenor alongside the bass of Gary Peacock and drums of Sunny Murray – all freely skirting around each other's space on the date, in a way that allows Ayler to take the bold lead with his sharp-toned solos, but which also allows for free interplay between the bass and percussion. Ayler's tone and wide swaths of sound are simply amazing – and titles include two variations on "Ghosts", plus "Spirits", "Prophecy", and "Wizard". And then, if that's not enough, the 2CD package also features more material from the Prophecy sessions – 6 more tracks originally issued on the Albert Smiles With Sunny album – with titles that include "Saints", "Children", "Ghosts", "Spirits", and "Wizard" – all in different versions. CD

An expanded, remastered version of the album Prophecy – early work by Albert Ayler, recorded live in 1964 at the Cellar Cafe in New York, but not issued by ESP until years later, after his untimely early death. The performance is a trio outing – with Ayler's tenor alongside the bass of Gary Peacock and drums of Sunny Murray – all freely skirting around each other's space on the date, in a way that allows Ayler to take the bold lead with his sharp-toned solos, but which also allows for free interplay between the bass and percussion. Ayler's tone and wide swaths of sound are simply amazing – and titles include two variations on "Ghosts", plus "Spirits", "Prophecy", and "Wizard". Newly remastered version of the full concert – with 10 tracks in all! CD

Early work by Albert Ayler, recorded live in 1964 at the Cellar Cafe in New York, but not issued by ESP until years later, after his untimely early death. The performance is a trio outing – with Ayler's tenor alongside the bass of Gary Peacock and drums of Sunny Murray – all freely skirting around each other's space on the date, in a way that allows Ayler to take the bold lead with his sharp-toned solos, but which also allows for free interplay between the bass and percussion. Ayler's tone and wide swaths of sound are simply amazing – and titles include two variations on "Ghosts", plus "Spirits", "Prophecy", and "Wizard". LP, Vinyl record album