A lasting classic from drummer Doug Hammond – maybe one of his most widely-circulated records, even though the whole set is still relatively obscure! That doesn't stop the music from being great, though – and the whole thing is a great bridge between the New York loft jazz years of the 70s, where Doug was a key performer – and some of the later soulful styles of jazz expression that would flourish in the 80s – a kind of new confidence brought back to the mainstream, with subtle messages really creating power in the music! Much of the record is more inside than you might expect, but still swings with a real edge – very much in the early 80s spirit of Black Saint/Soul Note – and Hammond works with a very cool shifting lineup of musicians, which creates a special flavor for each track on the set. Musicians include Marvin Blackman on alto and tenor, Hubert Eaves on piano, Cecil McBee on bass, Byard Lancaster on alto, Karen Joseph on flute, and Muneer Abdul Fataah on cello – and the record features vocal performances from both Bessie Carter and Angie Bofill – the later of whom is a real surprise on a record like this. Titles include "Togetherness", "What's Happening Now", "Folks", "Perspicuity", "Pony Pone", and "Kone Pone". LP, Vinyl record album

Doug Hammond on drums – with Dwight Adams on trumpet and Pablo Nahar on bass. Tracks include "Treat For Reggie", "Little Time", "Ebony Soul", and "Real Deal". CD

An incredible session from the legendary Tribe Records scene – an equal effort from leader Doug Hammond and keyboardist David Durrah, who contributes some groundbreaking Fender Rhodes and moog work to the set! Hammond handles drums plus a bit of vocals and synthesizer on the session – working alongside Durrah in a groove that mixes electric and acoustic instrumentation into a totally righteous sound with lots of heavy Afro Jazz leanings. A number of tracks feature great vocals from Hammond – righteous, and with a beautifully soulful message-oriented approach – and a few other tracks, such as the classic "Space I" and "Space II", feature a sparer all-electric sound. The whole thing's wonderful – skittishly rhythmic, warmly flowing, and righteously beautiful. Titles include "Sea Of Nurnen", "Fidalgo Detour", "Reflections", "Space II", and "For Real". LP, Vinyl record album

A beautiful return to acoustic soul jazz work for Wendell Harrison – after a string of more electrified albums in the 80s. Wendell's working here on tenor sax and clarinet – the latter of which he plays in these spiraling long lines that use the instrument in a searching, soprano sax-like manner – getting a sound that's really fantastic, and a depth of soul that really links the record back to the tradition of Wendell's work of the 70s. The group is great too – with players that include Kirk Lightsey and Pamela Wise on piano, Cecil McBee & Jaribu Shahid on bass, Doug Hammond on drums, and Robert Pipho on vibes – all working with Harrison on some creatively inventive tunes that sparkle with soulful energy! Titles include "Changing The Scene", "Merciful", "Fly By Night", "In Your Own Sweet Way", "Spank", and "Tons & Tons Of BS". CD

A beautiful return to acoustic jazz for Wendell Harrison – after a string of more electrified albums in the 80s! Wendell's working here on tenor sax and clarinet – the latter of which he plays in these spiraling long lines that use the instrument in a searching, soprano sax-like manner – getting a sound that's really fantastic, and a depth of soul that really links the record back to the tradition of Wendell's work of the 70s. The group is great too – with players that include Kirk Lightsey and Pamela Wise on piano, Cecil McBee and Jaribu Shahid on bass, Doug Hammond on drums, and Robert Pipho on vibes – all working with Harrison on some creatively inventive tunes that sparkle with soulful energy! Titles include "Changing The Scene", "Merciful", "Fly By Night", "In Your Own Sweet Way", "Spank", and "Tons & Tons Of BS". LP, Vinyl record album

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

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

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". LP, Vinyl record album

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". LP, Vinyl record album

A rare one for Sonny Stitt – an album for Pacific Jazz recorded on the west coast, but done with some hard-burning organ work by Charles Kynard that easily matches any of Stitt's best soul jazz sides from the east! There's a tightly cooking feel to the entire set that's really great – a style that's slightly different than Sonny's work for Argo or Prestige, but which is equally great – thanks to fluid lines on Hammond from Kynard, and some great guitar from the under-rated Ray Crawford. The group's completed by Doug Sides on drums – and titles include "Blue Skies", "Sitt In Time", "Summer Special", "My Mother's Eyes", and "SOP Blues". LP, Vinyl record album

A triple-tenor powerhouse – as Doug Webb invites Walt Weiskopf and Joel Frahm in for the sessions – and things really begin to cook! The trio get this raw, spare accompaniment from Brian Charette on Hammond and Rudy Royston on drums – which leaves the tenors plenty of room to open up, stretch out, and really do their thing – coming together as unified voices on the heads, then breaking out into really well-crafted, well-defined individual solos. The feel is a bit like some of those great Don Patterson albums of the 60s, but even more modern – and titles include "Jazz Car", "Giant Steps", "Three's A Crowd", "Jones", "Pail Blues", and "Triple Play". CD

A great new showcase for the legendary keyboard work of Doug Carn – and a set that's very different both from his famous albums for the Black Jazz label, and some of his organ jazz records in more recent years too! The set's maybe got a more pronounced influence from Adrian Younge and Ali Shaheed Muhammad than some of the others in this series – as Carn's Hammond B3 and Fender Rhodes still get center stage, but the grooves are very much in the heavy funk style of Younge's legacy of recent recordings – sharp drums, strong basslines, and horns that are sometimes jazzy, sometimes seemingly touched by currents of Ethiopian work from the past. All tracks are originals, and titles include "Processions", "Dimensions", "Windfall", "Down Deep", "Freedom At Sunset", "Nunca Um Malandro", and "Lion's Walk". (Deep Funk, Jazz) CD

A great new showcase for the legendary keyboard work of Doug Carn – and a set that's very different both from his famous albums for the Black Jazz label, and some of his organ jazz records in more recent years too! The set's maybe got a more pronounced influence from Adrian Younge and Ali Shaheed Muhammad than some of the others in this series – as Carn's Hammond B3 and Fender Rhodes still get center stage, but the grooves are very much in the heavy funk style of Younge's legacy of recent recordings – sharp drums, strong basslines, and horns that are sometimes jazzy, sometimes seemingly touched by currents of Ethiopian work from the past. All tracks are originals, and titles include "Processions", "Dimensions", "Windfall", "Down Deep", "Freedom At Sunset", "Nunca Um Malandro", and "Lion's Walk". (Deep Funk, Jazz) LP, Vinyl record album

A great presentation of work from the legendary Tribe Records of Detroit – all handled by DJ Muro, who's posed on the front in a way that recalls one of the label's rarest albums! The style here is different than other collections of Tribe Records material – as Muro goes for cuts that showcase some of the more soulful, funky sides of the label – still very righteous overall, but with less of the longer or more avant-oriented tracks that came from the Detroit underground at the time. Muro's been giving us amazing collections for many years, and this one is no exception – a fantastic demonstration of his magical ear, as he makes his way through cuts that include "The Wok" by Wendell Harrison, "Ode To Africa" by Harold McKinney, "Why Don't Love Make Everything Right" by Cosmic Force, "Ginseng Love" by Wendell Harrison, "Freedom Jazz Dance" by Harold McKinney, "For Real" by Doug Hammond, "Glue Fingers (part 2)" by Marcus Belgrave, "Vibes From The Tribe (prelude)" by Phil Ranelin, "What We Need" by Wendell Harrison & Phil Ranelin, "In The Moog" by Harold McKinney, "Farewell To The Welfare" by Wendell Harrison & The Tribe, "Wake Up Brothers" by Doug Hammond, "Sounds From The Village" by Phil Ranelin, and "Belle Isle" by Wendell Harrison. (Funky Compilations, Jazz) CD

Spiritual jazz both old and new – a collection that really gets past the obvious sides of the genre, and brings together a range of unusual work from the 70s onward! The tracks here are a great antidote to the well-traveled territory of labels like Impulse or Strata East Records – and are mostly from lesser-known sources that include tiny indies from the 80s, and a few ground breaking imprints from recent years! There's definitely a vibe here that holds strongly in the spirit of John Coltrane, Pharoah Sanders, and other innovators from the end of the 60s – but the sound is especially fresh given the obscurity of the tunes. Titles include "For Our Souls" by Doug Hammond, "Amazona" by Francisco Mora Catlett, "The Mystery Of Man" by Sarah Vaughan, "Better Than That" by Nomo, "Gol E Gandom" by Lloyd Miller, "Motherless Child" by Brother Ah, "A Love Supreme" by Dwight Trible, "Why" by Woody Shaw with Carter Jefferson, "Rwanda" by Francis Bebey, "Come Sunday" by Stanley Cowell, and "En El Amanecer Del Tiempo". (Funky Compilations, Jazz) CD

Spiritual jazz both old and new – a collection that really gets past the obvious sides of the genre, and brings together a range of unusual work from the 70s onward! The tracks here are a great antidote to the well-traveled territory of labels like Impulse or Strata East Records – and are mostly from lesser-known sources that include tiny indies from the 80s, and a few ground breaking imprints from recent years! There's definitely a vibe here that holds strongly in the spirit of John Coltrane, Pharoah Sanders, and other innovators from the end of the 60s – but the sound is especially fresh given the obscurity of the tunes. Titles include "For Our Souls" by Doug Hammond, "Amazona" by Francisco Mora Catlett, "The Mystery Of Man" by Sarah Vaughan, "Better Than That" by Nomo, "Gol E Gandom" by Lloyd Miller, "Motherless Child" by Brother Ah, "A Love Supreme" by Dwight Trible, "Why" by Woody Shaw with Carter Jefferson, "Rwanda" by Francis Bebey, "Come Sunday" by Stanley Cowell, and "En El Amanecer Del Tiempo". (Funky Compilations, Jazz) LP, Vinyl record album