How can we even begin to describe the genius of Lambert Hendricks and Ross? The group was a jazz vocal supergroup that merged three talents that had already made a big name in the bebop vocalese field – Dave Lambert, Jon Hendricks, and the lovely Annie Ross – and the project was an attempt to completely work the emerging vocalese style onto a full-blown jazz group. Previously, the singers had only sung vocal solos for one instrument – but with a trio of players, they were suddenly able to take over the solos of all the frontline instruments in a group, such as the piano, trumpet, and tenor solos in their incredible version of "Home Cookin". That track alone is a perfect summation of the group's genius – as it offers a true vocal interplay, with words in place of notes and changes, and opens the already great soul jazz classic into a whole new level of meaning and wonder. It also helps that that track, like most of the ones on this CD, features excellent rhythm backing by Gildo Mahones, Ike Isaacs, and Walt Bolden, plus the occasional alto solo by Pony Poindexter. Their Columbia work's always been their best – and this CD brings together all 3 LPs (Hottest Group In Jazz, Sing Ellington, and the amazing High Flying), plus 7 previously unissued tracks! There's a whopping 39 cuts in all – and the set's one of the best jazz vocal CDs you could ever buy! (Vocalists, Jazz) CD

2 lost sides of soul jazz – both of them rare gems on vinyl, and back-to-back here in one nicely priced CD package! Doin The Thang is an excellent bit of lost soul jazz piano work – featuring the highly underrated Ronnie Mathews, with a quartet that includes Freddie Hubbard on trumpet and Charles Davis on baritone. The sound is very groovy, and very funky, with a feel that's more like some of the classic Blue Notes from the time than it is like the other Prestige recordings. Mathews' piano playing is perfect, and he grooves with a soulful firey edge, and lays down solos that blow away Hubbard and Davis. Tracks include "The Thang", "Ichi Ban", and "The Orient". Pleasure Bent is one of the few albums ever cut by the incredible tenor player Roland Alexander – an artist who appeared briefly on the scene during the early 60s, and the few recording's he's left us with are the consummate picture of hip soulful playing. This 1961 session features Alexander leading a group that includes Marcus Belgrave on trumpet, Ronnie Matthews on piano, Gene Taylor on bass, and Clarence Stroman on drums – and it's a laidback batch of lyrical tunes, nearly all penned by Alexander. Titles include "I'll Be Around", "Dorman Road", "Lil's Blues", and "Orders To Take Out". CD

One of the greatest Blue Note albums of all time – a record that's even better than the look of it's cover – which is already pretty darn classic! Hank Mobley had been making records for Blue Note for a number of years before this set – but Caddy For Daddy is one in which he really takes off – mixing earlier hardbop modes with a more complex approach to both rhythm and lyricism – matched with some wonderful work from Lee Morgan in the frontline, who was also really hitting new heights at the time – in a group that also includes Curtis Fuller on trombone, McCoy Tyner on piano, Bob Cranshaw on bass, and Billy Higgins on drums. The group plays this amazing mix of soul jazz and modal grooves that sets a whole new standard in the Blue Note catalog – and every cut is a winner, with titles that include "Venus Di Mildew", "The Morning After", "3rd Time Around", and "Ace Deuce Trey". Fantastic material all the way through, with tracks that will stay in your head for years – and one of the greatest jazz album covers ever! CD

One of the best-ever Hank Mobley albums on Blue Note – and a killer batch of soulful hardbop that was cut right around the same time as the classic No Room For Squares LP. In fact, the album contains work from 2 different sessions that filtered over to the Squares album – one that featured Mobley with Freddie Hubbard, Barry Harris, Paul Chambers, and Billy Higgins; and another that included Herbie Hancock, Donald Byrd, Butch Warren, and Philly Joe Jones. The work is incredibly sharp – with that wonderful mix of soul jazz, hardbop, and nascent spiritualism that Mobley brought to his best work of the 60s. Titles include "My Sin", "Straight Ahead", "The Turnaround", and "Pat N Chat". CD

A surprisingly nice album of straight ahead tenor tracks from David Murray – playing here in a quartet with guitarist Stanley Franks, drummer Andrew Cyrille, and the great Don Pullen, who plays organ on the session! The album's not exactly in the classic soul jazz organ/tenor mode – but it is one of the few that Murray ever recorded, and it's quite interesting to hear him in this sort of a format. Plus, it was also one of the few recorded during that magic year of 1991 – when DIW really seemed to be getting things right, turning out some of the few truly genius albums in the history of the label. Titles include "Milano Strut", "Black February", "At The Cafe Central", "In The Spirit", and "High Priest". CD

Tremendous saxophone interplay throughout – and 2 great 50s sessions that both feature Art Pepper and Warne Marsh! The first half of the CD is the legendary Vanguard album Free Wheeling – one of the few sessions ever cut by tenorist Ted Brown – working here with a group that features Warne Marsh and Art Pepper in the frontline, with rhythm by Ronnie Ball on piano, Ben Tucker on bass, and Jeff Morton on drums. The session's got the outward appearance of a west coast session, but has much more soul overall – the kind of Back Bay Boston sound you'd hear in 50s sessions by Charlie Mariano or Dick Johnson – with plenty of rasp on Pepper's horn, and some nice edges on Brown's as well! Tracks are short, and often with ensemble heads – but the production is beautiful, and the interplay between the three saxophonists comes through with amazing quality! Titles include "Crazy She Calls Me", "Arrival", "Once We Were Young", "Avalon", "Foolin Myself", "Aretha", and "Long Gone". The remaining 7 tracks on the CD were recorded on the same day, but with a lineup that features Ted Brown dropping out, so that the main interplay is between Pepper's alto and Warne Marsh's tenor. Again, the sound is incredible – far fresher than most of Pepper's so-called "classic" sessions, and it shows the edge and creativity of his alto playing in a way that few other albums ever do. We really recommend this one if you've ever been disappointed by another Pepper album – because there's a sharpness here that really comes through. Titles include "All the Things You Are", "What's New", "Avalon", "Warnin", "Stompin At The Savoy", and "Tickle Toe". CD

One of Oscar Peterson's biggest records ever – one of those albums we turn up time and time again when digging through classic jazz collections – and for good reason too, given the lasting power of the set! The album's got a rock-solid sound that's filled with soul – almost a bit more down and dirty than some of Peterson's earlier work, very much in the spirit of the group's hit performance of the title track. In a way, the album's almost Oscar's answer to some of the rising younger stars in the soul jazz scene – and is proof that the master still can do things as great as the artists he inspired. Ray Brown is on bass and Ed Thigpen is on drums – and tracks include "Bag's Groove", "Georgia On My Mind", "Easy Does It", "Band Call", and "Night Train". CD

Beautiful – simply beautiful – one of the greatest Wayne Shorter albums for Blue Note, and one of our favorite jazz albums ever! The record is a masterpiece of lyrical delight – soul jazz mixed with slight touches of experimentalism – but still warm, swinging, and personal enough to captivate even the most novice jazz listener. A players are at the top of their game – and in addition to Shorter's tenor, the group features Lee Morgan on trumpet, McCoy Tyner on piano, Reggie Workman on bass, and Elvin Jones on drums. The tracks unfold in lyrical, modal beauty in a really wonderful way that was barely ever duplicated again – and titles include "Night Dreamer", "Oriental Folk Song", "Virgo", "Charcoal Blues", "Armageddon", and "Black Nile". The CD also includes an alternate take of the cut "Virgo". CD

One of the few live recordings ever done by Horace Silver during his Blue Note years – a real surprise, considering what a crowd pleaser he was at the time! The set catches Horace working with that great quintet that graced most of his best early Blue Notes – with Blue Mitchell on trumpet, Junior Cook on tenor, Gene Taylor on bass, and the always-amazing Roy Brooks on drums. The groove is tight tight tight, and the live set crackles with the same sort of energy as the live sessions by the Jazz Messengers on Blue Note – rolling soul jazz, but with a bit of a lyrical touch to flesh things out. Because of the live setting, tracks are a bit longer than the usual Silver session – which makes for freer soloing, and a bit of a rougher edge that keeps things lively throughout. Titles include "The Gringo", "Filthy McNasty", and "Doin' The Thing". CD

Way more than just a Gershwin Songbook sort of record – thanks to some tremendous blowing here by Zoot Sims, who's mellowed nicely with age, and comes up with a wonderful sound for the record! It may just be us, but there seems to be a lot more soul in Zoot's horn than ever before – more humanity, and a sort of pausing, almost faltering approach to the tunes that takes them way past their overdone versions. The rest of the group includes Oscar Peterson, Joe Pass, George Mraz, and Grady Tate – but the Sims' sound is the main star of the set – and it's really wonderful! Titles include "The Man I Love", "Embraceable You", "Summertime", "Isn't It A Pity", "I've Got A Crush On You", and "Lady Be Good". CD

Way more than just a Gershwin Songbook sort of record – thanks to some tremendous blowing here by Zoot Sims, who's mellowed nicely with age, and comes up with a wonderful sound for the record! It may just be us, but there seems to be a lot more soul in Zoot's horn than ever before – more humanity, and a sort of pausing, almost faltering approach to the tunes that takes them way past their overdone versions. The rest of the group includes Oscar Peterson, Joe Pass, George Mraz, and Grady Tate – but the Sims' sound is the main star of the set – and it's really wonderful! Titles include "The Man I Love", "Embraceable You", "Summertime", "Isn't It A Pity", "I've Got A Crush On You", and "Lady Be Good". CD features three bonus tracks – "They Can't Take That Away From Me", and previously-unissued alternate takes of "Oh Lady Be Good" and "I've Got A Crush On You". CD

Way more than just a bop-heavy set – a landmark record that shows a side of the Chicago scene that hardly ever made it on record! In the years after Charlie Parker passed away, tributes to his greatness were a very common thing in local jazz scenes across the US. This is a prime example of that tradition, but way more than that, it's also a killer Chicago jazz session from the old days – featuring trumpeter Ira Sullivan at his best, along with some great local players that include tenorist Nicky Hill, pianist Jodie Christian, and bassist (Raphael) Don Garrett. The music is what you'd expect – loving renditions of Bird standards like "Klacktoveedesesteene" and "Love Letters" – but there's also a lot more going on underneath, and the album's as much a Charlie Parker tribute as it is a batch of bop and soul jazz numbers with a good underground feel. Titles include "Si Si", "Inchworm", "Milestones", "Sketches", "Fly Me To The Moon", and "Shaw Nuff" – and this 2CD reissue adds a heck of a lot more material to the original album – for a total of 15 tracks in all! CD

Legendary recordings from the mighty Art Tatum – captured here in some late night studio sessions from early 50s LA – produced with just the right sort of laidback vibe by a young Norman Granz! Tatum could really shine the most in a setting like this – open, yet still very focused too – able to do a hell of a lot in a very short amount of space – with this inherent sense of rhythm that few of his contemporaries (or predecessors or followers) could ever ever hope to match! Titles include "Moonglow", "Love For Sale", "Body & Soul", "It's Only A Paper Moon", "My Last Affair", and "Have You Met Miss Jones". CD

Very cool work from vibist Cal Tjader – sounds that are different than some of the larger arrangements and concepts of his Verve Records albums of the mid 60s, and material that appears here for the first time ever! The set features a range of appearances that Tjader made on radio in Seattle – really well-recorded dates, done at the city's famous Penthouse nightclub – and featuring Cal's vibes in a stripped-down setting that's almost more of a throwback to his pre-Verve material for Fantasy records. There's excellent players throughout, especially on piano – as the keys are handled by Clare Fischer, Al Zulaica, and Lonnie Hewitt – all of whom did great work with Cal – working here in combos that feature plenty of percussion from Armando Peraza, and drums and timbales from Johnny Rae and Carl Burnett. The tunes are a nice mix of modes – some Latin, some bossa, lots straighter jazz – and titles include "Insight", "Davito", "Pantano", "Leyte", "Half & Half", "Bag's Groove", "Mambo Inn", "Morning", "Soul Burst", "Cuban Fantasy", "Love For Sale", "Reza", "On Green Dolphin Street", "O Morro Nao Tem Vez", "Fuji", and "Along Comes Mary". CD

One of the best dates ever as a leader from trumpeter Joe Wilder – and one of the few to have a really relaxed, open sort of format! Joe's not tied up in gimmicks or larger groups here – and he really sparkles in the company of a quartet that features Hank Jones on piano, Wendell Marshall on bass, and Kenny Clarke on drums – players that really match Wilder's inherent sense of soul and lyricism, as he waxes some beautiful solos on the set. There's a nice sort of blueness in Joe's tone, but one that's never too forced or cliched – and titles include "Mad About The Boy", "Six Bit Blues", "Darn That Dream", "Prelude To A Kiss", and "My Heart Stood Still". CD

One of the most righteous albums to ever bear the name of King Britt – a selection of spiritual jazz tracks from the 70s, all of which show a definite inspiration for Britt's recent work in the 21st Century! There's no remixes or remakes here – and the collection features all original gems from a few decades back – stretched out and cosmic grooves from some of the leading lights of the soul jazz underground in the post-Coltrane years! Most numbers are obscure tracks licensed from smaller indie labels – brought together beautifully with a sense of depth and darkness that goes way beyond the usual King Britt groove. Titles include "Space Spy" by Grachan Moncur III, "Beyond Yourself" by Brother Ahh, "Scorpio Libra" by Eddie Henderson, "Kawaida" by Herbie Hancock, "Ekim" by Michal Urbaniak, "Yebo" by Mtume, "Conviction" by Dane Belany, "Naima" by Doug & Jean Carn, "The Time Now For Change" by Phil Ranelin, "Moving Pictures 4 The Ear" by Don Cherry, and "Encounter" by Flora Purim. (Funky Compilations, Jazz) CD

A searing entry into the Mojo Club series – and one that really shows the way the compilations have evolved over the years! The album's heavier on soul music than ever before – but also features some tremendous jazz, Brazilian, and European gems as well – a wonderful set list that really keeps things fresh! Titles include "Give Me Your Love" by The Sisters Love, "Wouri" by Manu Dibango, "Maracaibo" by Michel Legrand, "Take Us Down To The River" by Michael Naura, "Sambao" by Walter Wanderley, "Roots" by Willie Bobo, "Soul Soul Soul" by Wild Magnolias, "Strange Games & Things" by Love Unlimited Orchestra, "Praise The Lord" by Mary Lou Williams, "In Memory Of" by Randy Weston, "Nao Bate O Coracao" by Astrud Gilberto, "Mundo Deserto" by Elis Regina, and the great "El Soul Condor" by Certain Lions & Tigers (a very rare German release from 1970!) (Funky Compilations, Jazz) CD

Rare material from Dave Bailey – a set that's filled with fire, soul, and imagination – recorded as part of the drummer's amazing (and amazingly short) early 60s run as a leader! The date smokes with the same sort of energy as Dave's great "Gutter" albums for Epic – a groove that's part Blue Note, part Prestige, and carried off with so much precision, we wonder why Bailey never recorded more as a leader. Players are all wonderful – Kenny Dorham's on trumpet, Curtis Fuller's on trombone, Frank Haynes is on tenor, and Tommy Flanagan's on piano. Ben Tucker provides excellent basswork, and proves that him and Bailey were one of the best hardbop rhythm teams ever! Cuts include "Grand Street", "Osmosis", "Soul Support", and "An Oscar For Oscar". CD features 5 bonus tracks – alternates of "Grand Street", "Osmosis", "Like Someone In Love", "BMT Express", and "Soul Support". CD

Early soul jazz brilliance from a young Gary Bartz – music that pre-dates his Ntu Troup, and his work with Larry Mizell! Libra is fantastic early work from Gary – and probably his rarest record ever! The album was cut at a time when the young Bartz was first coming to prominence in the hip late 60s soul jazz group of Max Roach – and Bartz's playing at the time is a perfect model of mid-Coltrane searching with some of the tighter sides of soul jazz that were being forged at labels like Blue Note by players like Hank Mobley or Lee Morgan. The record's a masterpiece of youthful soulful energy – and the group includes Jimmy Owens on trumpet, Richard Davis on bass, Albert Dailey on piano, and Billy Higgins on drums, all players who are perfectly matched to fit Bartz's stridently creative vision. His solos on alto are impeccable – some of the most meaningful we've ever heard on the instrument from the time – and the album's a great one all the way through! Titles include "Air & Fire", "Eastern Blues", "Libra", "Freedom Of The Day", and "Cabin In The Sky". Another Earth is amazing too – one of the first that Gary Bartz ever cut – done during a time when he'd been working with Max Roach and a super-hip group of younger soul jazz players who would go onto shape the sound of the 70s. Bartz leads a group that includes Stanley Cowell, Freddy Waits, Charles Tolliver, Pharoah Sanders, and Reggie Workman – and the music sounds like it was lifted from one of the best albums on Strata East from the 70s. There's no funk, no vocals, no weird rhythms – just pure spiritual jazz, played to perfection, and filled with a creative vitality that most of the players had lost a few years later. Tracks include the album-side "Another Earth", plus "Dark Nebula", "UFO", and "Perihelion & Aphelion". Note: CD omits the track "Disjunction" from Libra – due to space restrictions. CD

Bassist Paul Brusger heads up this quartet, but the group's got strong contributions on all its four corners – tremendous baritone work from Gary Smulyan, who's becoming one of our favorite contemporary players on the instrument – plus soulful piano from Mike Ledonne, and just the right sort of swing from the great Louis Hayes! The players come together with a freshness that's noteworthy – really standing apart from even their other recent recordings – quite possibly due to the fact that every tune on the set (save one) is an original composition by Brusger, a writer with a really old school way of balancing lyricism and soul – a compositional strength that almost takes us back to Horace Silver or Duke Pearson. Titles include "In A Minor Funk", "When Will You Ever Learn", "All But One", "Bringin Home The Silver", "Waiting For The Next Trane", and "Andrea's Delight". CD

One of the only albums ever cut as a leader by soul jazz guitarist Ray Crawford – a contemporary of Grant Green and Wes Montgomery, but a player who's hardly ever gotten his due! This rare date was originally recorded for the short-lived Candid label back in 1961, but was only issued two decades later as part of the Candid revival – a fact that makes the album even more noteworthy! The set's got a really solid groove that reminds us a fair bit of Grant Green's best early 60s work for Blue Note – as Ray's playing in a tight, single-line format on most numbers – working with a very hip group that includes Johnny Coles on trumpet, Cecil Payne on baritone sax, Junior Mance on piano, Ben Tucker on bass, and Frankie Dunlop on drums. Tracks are all nice and long – very open, with plenty of solo space – and are all originals by Crawford as well. Titles include "Smooth Groove", "I Knew Prez", "Impossible", "Miss April", and "The Compendium Suite". Shoulda been a 60s classic – but at least we've finally gotten it released! CD

The only Blue Note album ever cut by pianist Walter Davis Jr – but a heck of a hard-swinging set, and possibly his greatest album ever! Although Davis is more frequently heard in trio formation as a leader, this set brings him back to the mode used during some of his bop sideman dates of some years before – two completely solid horn players in the frontline, Donald Byrd on trumpet and Jackie McLean on alto – both blowing with a tremendous amount of soul and spirit on each track! Jackie's nicely sharp edges helps push Davis strongly – and rhythm work by Sam Jones on bass and Art Taylor on drums also add strongly to the punch of the set as well. Titles are all original compositions by Walter – and tracks include "Smake It", "Rhumba Nhumba", "Minor Mind", and "Millie's Delight". CD

A cool cooker from the great Lou Donaldson – and a record that's ever bit as tasty as its cover! Lou's really hitting his soul jazz stride here – stepping off his 50s bop years, and moving into a more gutbuckety groove that's delivered with wonderful accompaniment from a quartet that features Grant Green on guitar, John Patton on Hammond, and Ben Dixon on drums! The style is loose and open – and tracks are long, with tight solos, especially from Patton and Green, always a winning combination – really stepping out here with an early raw fury! Titles include "Caracas", "Bad John", "Holy Ghost", and "Good Gracious!". Nice cover, too, with a photo of Lou checking out a sexy model, while speaking the title! CD

Wonderful explorations of the sound of the didjeridu – done at a level that's quite different than any other use of the instrument we've ever heard – no surprise, given that the music here is all created by AACM legend Douglas Ewart! The performances bridge Ewart's two worlds of organic improvisation and more serious tonal composition – both of which prove to be perfect settings for the instrument – which is used here at a level that's completely respectful, and without any sense of gimmick at all. Different variations on the didjeridu are used on different tracks – mostly solo in the lead, but with occasional accompaniment on string bass, bells, and electronics. Titles include "Walk & Drop", "Ginep", "Seeds Of War", "Mud Bath III", and "Dancing Inside Of Soul". CD