Kathy, we'd follow you anywhere – not just for your sultry look on the cover of this album, but for your warm and wonderful vocals throughout the set! The notes describe Barr as "vibrant, vivacious, vital, and full of volcanic tenderness too" – and given the presentation of the tunes here, we'd certainly find it hard to disagree. Kathy's got a great way with a torchy mellow tune, but shines even better on some of the more uptempo numbers – scored nicely by Jerry Fielding with a slightly jazzy undercurrent that really pushes the dynamic edge in Barr's vocals. Titles include "Love Is Here To Stay", "Cuddle Up A Little Closer", "How Long Has This Been Going On", "I'm Just Wild About Harry", "Bye Bye Blackbird", "Day In Day Out", and "Fine & Dandy". (Vocalists, Jazz) LP, Vinyl record album

Funky wonderfulness from Gary Bartz – one of his hip sets from the early 70s recorded with his NTU group – a very righteous blend of soul, jazz, and funky elements! Huber Eaves plays some great electric piano on the record – and so does Bartz, alongside his usual soprano and alto sax – and the wonderful Andy Bey is on vocals, bad-rapping his way through an incredibly positive, powerful batch of tunes. Stafford James plays these nice phat funky basslines – and the album's got kind of a mix of modal jazz and shakey soul – that unusual Gary Bartz sound of the time! Cuts include "Sing Me A Song Today", "Sifa Zote", "Standin' On The Corner", and "Etoiles Des Neiges". LP, Vinyl record album

US 2-fer CD that brings together two of Gary Bartz's harder to find LPs on one CD – Juju Street Songs and Follow The Medicine Man. Both LPs feature a lineup that includes Hubert Eaves on electric piano, Stafford James on bass, and Andy Bey on vocals; and the material is pivotal stuff for Gary as he moves from his straight jazz spiritual stuff into a vein that is slightly more electric – but not too electric. Lots of nice funky moments with a righteous vibe, and the track list includes "Dr. Follow's Dance", "Standin' On The Corner", "Sing Me A Song Today", "Black Maybe", "Sifa Zote", and "Africans Unite". CD

The complete recording of Tony Bennett and Bill Evans as a duo – the Tony Bennett/Bill Evans Album from '75 and the '76 follow up Together Again – back to back, plus a bonus CD of alternate takes! If you've ever doubted the real jazz sensibility of Tony Bennett, the Tony Bennett/Bill Evans Album is the one to change your mind – because Tony's working here in a marvelously unadorned setting – with only the piano of Bill Evans to back him up! The record's a rare gem from years after Bennett was cracking the pop charts, but was willing to pull back to the jazz of his roots – and the session's equally rare for Evans, who rarely worked with vocalists at this point in his career. The simplicity of the album is its strength – and together, the pair really sound tremendous – slightly faltering at times, but in a way that exposes a sense of humanity you might not find in other records, especially those by Bennett. Titles include "When In Rome", "Some Other Time", "The Touch Of Your Lips", "My Foolish Heart", "Waltz For Debby", and "Young & Foolish". Together Again is another gem, following the form of the first duos record exceptionally well, perhaps with Evan's piano a bit more prominent in the sound, and another fine batch of tunes, including "The Bad And The Beautiful", "Lucky To Be Me", "A Child Is Born", "Lonely Girl", "You Must Believe In Spring" and more. The bonus CD features alternate takes of material from the 2 albums, with versions of "You And Foolish", "The Touch Of Your Lips", "Some Other Time", "When In Rome", "Waltz For Debbie" and multiple versions of "The Bad And The Beautiful", "A Child Is Born", and more. (Vocalists, Jazz) CD

A sublime blend of jazz and organic sounds from multi-instrumentalist Bex Burch – a record that sounds as if it might have come from the studio of Carlos Nino, but which almost has a more personal, poetic sort of quality! There are some sounds of nature here – including bird calls from a sanctuary in Illinois – and even the more familiar instruments, like piano, drums, reeds, violin, or bass are often mixed with some "room" elements that really locate the recording in a special place – in ways that also seem to have some of that post-studio touches around the edges that we love from the International Anthem label. Burch clearly delivers most of the sound herself, almost doing an "in residence" to create the music – but she gets help along the way from guests who include Ben LaMar Gay, Dan Bitney, Rob Frye, Anna Butterss, and Macie Stewart – on titles that include "When Love Begins", "Don't Go Back To Sleep", "Dawn Blessings", "Follow Me I Make You Happy", "Start Before You're Ready", "Pardieu", and "If I Was You I'd Be Doing Exactly The Same". CD

A sublime blend of jazz and organic sounds from multi-instrumentalist Bex Burch – a record that sounds as if it might have come from the studio of Carlos Nino, but which almost has a more personal, poetic sort of quality! There are some sounds of nature here – including bird calls from a sanctuary in Illinois – and even the more familiar instruments, like piano, drums, reeds, violin, or bass are often mixed with some "room" elements that really locate the recording in a special place – in ways that also seem to have some of that post-studio touches around the edges that we love from the International Anthem label. Burch clearly delivers most of the sound herself, almost doing an "in residence" to create the music – but she gets help along the way from guests who include Ben LaMar Gay, Dan Bitney, Rob Frye, Anna Butterss, and Macie Stewart – on titles that include "When Love Begins", "Don't Go Back To Sleep", "Dawn Blessings", "Follow Me I Make You Happy", "Start Before You're Ready", "Pardieu", and "If I Was You I'd Be Doing Exactly The Same". LP, Vinyl record album

A sublime blend of jazz and organic sounds from multi-instrumentalist Bex Burch – a record that sounds as if it might have come from the studio of Carlos Nino, but which almost has a more personal, poetic sort of quality! There are some sounds of nature here – including bird calls from a sanctuary in Illinois – and even the more familiar instruments, like piano, drums, reeds, violin, or bass are often mixed with some "room" elements that really locate the recording in a special place – in ways that also seem to have some of that post-studio touches around the edges that we love from the International Anthem label. Burch clearly delivers most of the sound herself, almost doing an "in residence" to create the music – but she gets help along the way from guests who include Ben LaMar Gay, Dan Bitney, Rob Frye, Anna Butterss, and Macie Stewart – on titles that include "When Love Begins", "Don't Go Back To Sleep", "Dawn Blessings", "Follow Me I Make You Happy", "Start Before You're Ready", "Pardieu", and "If I Was You I'd Be Doing Exactly The Same". LP, Vinyl record album

A funky concept album from George Duke – and one that's filled with some mighty nice grooves! Guardians Of The Light is a full-on "musical fantasy" – with the story line laid out in the liner notes, yet still a bit difficult to follow – but we can't fault him for that when it's done in his masterful R&B-fusion-funk approach! George sings on all cuts, but he also gets some stellar vocal assistance from Jeffrey Osborne, Portia Griffin, and Patti Austin. The record also has some surprisingly sweet mellow moments that bring a deeper level of spacey soul to the out-there concept – those laidback lines that George could always do better than anyone else! Titles include "Born To Love You", "You Are The Light", "Reach Out", "Give Me Your Love", "Stand", "Soon", and "Fly Away". LP, Vinyl record album

A sublime set of soul instrumentals – very funky work, and sort of a 70s follow-up to the Soulful Strings albums on Cadet Records from the 60s! Maestro Richard Evans is at the top of his game here – stepping out with that hip Chisoul mode he first forged at Chess, tuned here towards some even more sophisticated modes for Atlantic Records! Many of Evan's previous players are on board to make the record great – including Lennie Druss on flute, Paul Serrano on trumpet, Odell Brown on organ, and Phil Upchurch on guitar. Evans himself plays bass for the record – using a very funky bottom sound – and the set also features some wicked vibes from the legendary Billy Wooten, working away from his Nineteenth Hole group on a rare major label date! The sound is blacksploitation soundtrack, part Curtom funk – and titles include the great originals "Pie Daddy's Dream", "Wado City", "Angela My Sister", and the great "Patutu" – which was done by the Soulful Strings – plus a few nice covers like "Mercy Mercy Me" and "Ellie's Love Theme", by Isaac Hayes. (Soul, Jazz) CD

If you don't think Hal Galper's a hell of a pianist, this may be the record to change your mind – as Hal's in top form throughout – really focused and full of power in his approach to the piano, but never in a way that's flashy or overdone! Instead, there's this organic sensibility to the record that makes everything feel just right – very personal, and with very fresh arrangements on familiar tunes – but in a way that makes us feel like we can follow Galper every step of the way, and smile with warm approval at each new twist and turn. There's few pianists that can make us say "oh yeah" with that kind of regularity – and titles include "Dreamsville", "Don't Blame Me", "High Fly", "Lament", and "Sweet Pumpkin" – played with a trio that includes Steve Gilmore on bass and Bill Goodwin on drums. CD

Maybe the most haunting project to date from Ruth Goller – an important collaborator on the contemporary London scene, but one who's got a style that's much more than jazz – one that's definitely pushed to the limits here! The set features Goller on electric and acoustic bass, with overdubbed vocals that are often layered in very cool ways – and augmented track to track by guest work on drums, electronics, vibes, and sanza – instruments that are often used in ways that bring a slight touch of organic acoustic energy to the more layered proceedings. The textures of the vocals are very evocative – almost a blend of an older 4AD aesthetic with improvised music – and titles include "Next Time I Keep My Hands Down", "Below My Skin", "How To Be Free From It", "Don't Follow Me", "She Was My Own She Was Myself", and "All The Light I Have I Hand To You". CD

Maybe the most haunting project to date from Ruth Goller – an important collaborator on the contemporary London scene, but one who's got a style that's much more than jazz – one that's definitely pushed to the limits here! The set features Goller on electric and acoustic bass, with overdubbed vocals that are often layered in very cool ways – and augmented track to track by guest work on drums, electronics, vibes, and sanza – instruments that are often used in ways that bring a slight touch of organic acoustic energy to the more layered proceedings. The textures of the vocals are very evocative – almost a blend of an older 4AD aesthetic with improvised music – and titles include "Next Time I Keep My Hands Down", "Below My Skin", "How To Be Free From It", "Don't Follow Me", "She Was My Own She Was Myself", and "All The Light I Have I Hand To You". LP, Vinyl record album

Maybe the most haunting project to date from Ruth Goller – an important collaborator on the contemporary London scene, but one who's got a style that's much more than jazz – one that's definitely pushed to the limits here! The set features Goller on electric and acoustic bass, with overdubbed vocals that are often layered in very cool ways – and augmented track to track by guest work on drums, electronics, vibes, and sanza – instruments that are often used in ways that bring a slight touch of organic acoustic energy to the more layered proceedings. The textures of the vocals are very evocative – almost a blend of an older 4AD aesthetic with improvised music – and titles include "Next Time I Keep My Hands Down", "Below My Skin", "How To Be Free From It", "Don't Follow Me", "She Was My Own She Was Myself", and "All The Light I Have I Hand To You". LP, Vinyl record album

A set that has the sweet alto sax of Johnny Hodges working with great arrangements from Claus Ogerman – a mode that's a bit more groovy and 60s than some of Johnny's previous work – in a setting that offers up a nice change for his sound! Claus is in fine form here – swinging with the same style as his own instrumental records for RCA in the 60s – echoes of his German roots, especially in the use of bass at the bottom – which gives even some of the gentler tunes a nice kick we're not used to hearing in Johnny Hodges material. Johnny's got a sound that's soulful, yet sweet too – almost pop, but still very strongly rooted in jazz – on titles that include "Again", "Sandy's Gone", "Monkey Shack", "Scarlett O'Hara", "Candy's Theme", and "Follow Me". LP, Vinyl record album

Great work from one of the grooviest pianists of the 60s – a player who could always keep things lively and swinging, even in a small combo session! The album's one of Pete Jolly's gems for the Ava label – a follow-up to his semi-hit Little Bird, and like that one, a record done with some slight additional help from Howard Roberts on a few tracks. But this time around, Roberts' work is only on a few of the titles – leaving Pete's core trio to take over most of the grooves themselves, building strongly from warmly rolling rhythms by Chuck Berghofer on bass and Larry Bunker on drums, topped by Jolly's surprisingly soulful lines on piano – all in a blend that reminds us of the great balance between lyricism and groove we always find in the best work of Vince Guaraldi. Titles include "Sweet September", "Can't We Be Friends", "Any Number Can Win", "Soft Winds", "Oleo", "Yours Is My Heart Alone", "I'm Beginning To See The Light", and "Kiss Me Baby". LP, Vinyl record album

Great stuff from Gary – one of his more obscure albums, and a record dedicated to the signs of the Zodiac! The tracks are a mixture of Gary's usual easy jazz approach – with vibes, whistling, and bossa-style rhythms showing up a lot – plus a few more driving numbers that are more like his arranged work for other players, and which even include some nicely funky tunes! A real gem – lost amidst most of his catalog – possibly because the marketplace wasn't ready for such zodiacary! Titles include "Sad Eyes", "Long Live The King", "Close Your Eyes & Follow Me", "Can't Help Dancing", "Runaway Heart", "Thanks But No Thanks", and "Days Dipped In Dreams". LP, Vinyl record album

A brilliant little record, and one that really lives up to the heady claim of its title! The lineup here is spare, but the sound is really full – swelling with complicated colors, images, and tones that delight us with each new track – a masterpiece in understatement, and one of the most perfectly realized blends of acoustic and electric jazz instrumentation from the late 70s! The sound is really a perfect "fusion" of modes – with guitar from Vic Juris and keyboards from Barry Miles dancing alongside the bass of John Burr and drums of Terry Silverlight – never too jamming or too rock-influenced, but always filled with energy and a sense of imagination. Titles include the beautiful "Tandoori" – a stone jazz dance groover with some great scatted vocals alongside the guitar – and other tracks include "Sunrise", "Streams", "Routes", "Follow Me", and "Country Miles". LP, Vinyl record album

The third volume in Strata East's Dolphy Series, and a hard to find recording by the great baritone saxophonist Cecil Payne! Although Payne had his roots in earlier bop material, by the time of this recording, he'd emerged as an outspoken modernist – although few labels would give him the chance to prove himself in this respect – save for the legendary Strata East imprint, which gives Payne this chance to show a whole new side of his talents! The group is a perfect one to bridge the generations – with Kenny Dorham on trumpet, Wilbur Ware on bass, Wynton Kelly on piano, and Albert Heath on drums – stretching out beautifully in a set of original compositions that are easily some of Payne's best work on record ever. Tracks include "Follow Me", "Flying Fish", "Slide Hampton", and "Girl You Got a Home". LP, Vinyl record album

The last-ever album from this legendary duo – and a set that's maybe their funkiest record too! Of course, that's probably no surprise, given that they're playing the Curtis Mayfield tunes from Superfly here – great tracks that make for a really wonderful setting for the pair's highly rhythmic style – Eldee Young on bass and Isaac Redd Holt on drums – plus great Fender Rhodes lines from pianist Ken Chaney! The set also features a bit of congas from Derf Reklaw, and organ and guitar as well – and the whole thing's a long overdue follow up to the funky electric jazz style of their earlier album Oh Girl, on Atlantic. Titles include great takes on "Freddie's Dead", "Give Me Your Love", "Pusher Man", and "Superfly" – plus a few of the group's own numbers, like "Hey Pancho" and "Mystical Man" – as well as a super-dope cover of "People Make the World Go Round". (Soul, Jazz) LP, Vinyl record album

The last-ever album from this legendary duo – and a set that's maybe their funkiest record too! Of course, that's probably no surprise, given that they're playing the Curtis Mayfield tunes from Superfly here – great tracks that make for a really wonderful setting for the pair's highly rhythmic style – Eldee Young on bass and Isaac Redd Holt on drums – plus great Fender Rhodes lines from pianist Ken Chaney! The set also features a bit of congas from Derf Reklaw, and organ and guitar as well – and the whole thing's a long overdue follow up to the funky electric jazz style of their earlier album Oh Girl, on Atlantic. Titles include great takes on "Freddie's Dead", "Give Me Your Love", "Pusher Man", and "Superfly" – plus a few of the group's own numbers, like "Hey Pancho" and "Mystical Man" – as well as a super-dope cover of "People Make the World Go Round". (Soul, Jazz) LP, Vinyl record album

A whole new kind of trio session for the 70s – one that has the airy, open lines of guitarist John Abercrombie stretching out nicely in the company of drummer Jack DeJohnette and bassist Dave Holland! The music is archetypal ECM work of the time – a complete contrast to a guitar trio session from a decade before, or even a few years before on any different sort of label. Abercrombie's got a bit of bite at a few moments, but mostly keeps things spare and spacious – and Holland and DeJohnette are more than happy to follow suit. Titles include "Backwoods Song", "May Dance", "Waiting", "Jamala", and "Sorcery 1". LP, Vinyl record album

Fantastic work from the massive electric years of the Cannonball Adderley Quintet – one of the group's last records to feature the keyboards of Joe Zawinul – and also one of the heaviest from the time! The set's a double-length gem that presents the group in an open live setting – one that really displays the full charm of their approach at the time, and that wonderfully crowd-winning mode that made Cannon a key act at this time for rock and soul audiences too! Adderley raps a bit at key points, and brings some righteous energy to the concert – while the rest of the group follow up with performances that really send the whole thing home – Nat Adderley on cornet, Zawinul on Fender Rhodes and piano, Walter Booker on bass, and Roy McCurdy on drums. Cannon plays some soprano sax, in addition to his familiar alto – and titles include "Alto Sex", "Lonesome Stranger", "Wild Cat Pee", "Soul Virgo", "Painted Desert", "Directions", "Pra Dizer Adeus", "Rumplestiltskin", "Price You Got To Pay To Be Free", "Esquisition", "Get Up Off Your Knees", "Down In Black Bottom", and "The Scene". Produced by David Axelrod too! LP, Vinyl record album

Easily one of the greatest records that Brazilian percussionist Airto ever recorded – a stunning blend roots and jazzy currents, and a set that follows strongly off his work in the group Quarteto Novo! The set's got contributions from one of his key partners in that combo – reedman Hermeto Pascoal – and like Pascoal's material at this point, the whole thing is maybe one of the most perfect realizations of the musical vision that Airto was going for! There's none of the tighter, more polished sounds of his later fusion years – and this is the record that will show you just why his arrival on the American scene made such big waves at the time. Flora Purim also sings on the record – and titles include "Andei", "On Sonho", Papo Furado", and "O Galho da Rosiera". (Brazil, Jazz) LP, Vinyl record album

A fantastic album from trumpeter Ambrose Akinmusire – a set that really kicks his career up to the next level, and which is easily the most powerful record he's ever given us! The music finds Ambrose in many moods, all of them righteous – sometimes blowing hard and fierce in a small combo, sometimes issuing out more personal statements in a more stripped-down setting – working with players that include Harish Raghavan on bass, Justin Brown on drums, and Sam Harris on piano – plus vocalist Genevieve Artadi on one especially beautiful number that features Akinmusire on Fender Rhodes! We've loved the music of Ambrose for many years – and this is one of those faith-rewarding sets that always makes it so wonderful to follow the career of any key jazz musician – as we hope you'll also find on titles that include "Roy", "4623", "Moon", "Tide Of Hyacinth", "Cynical Sideliners", and "Mr Roscoe". CD

Clear, clean, and tremendous tenor work from a young Eric Alexander – working here in one of his early partnerships with pianist Harold Mabern – in a way that really helps to re-direct Mabern's energy, and take him back to the glory days of his recordings in the 60s! Alexander's tenor has a classic sound here that's wonderful – focused and very sure of itself, and able to roll out on longer numbers with a great sense of imagination that avoids any too-easy notes or hackneyed choices. Mabern follows suit strongly – sounding better than on any of his trio records from the same period, and matching Alexander's youthful energy with some soaring lines of his own – often in a modal mode that seems to bring out the best in both players. Drums are by the rock-solid Joe Farnsworth, and bass is by John Ore – on tracks that include "Up Over & Out", "Eronel", "Flying Fish", "Blues For Mabe", "I Remember Clifford", and "Bewitched". CD

Really wonderful work from a perfectly-matched trio – an all-star lineup, even though pianist Geri Allen was just at the start of her career – and a group who'd already given the world a few different studio albums on other labels! The set follows up with more material from the group's sessions for DIW at the Village Vanguard – and trust us, the material here is every bit as great as the work that was first issued decades back – a perfect balance between the lyrical flights of Geri Allen on the piano, the warmly round basslines of Charlie Haden, and the measured drum work of Paul Motian – a set that's free of ego, and which really has all three players working in wonderfully sympathetic company. Titles include "Fiasco", "In Walked Bud", "Obtuse Angles", "Two Women From Padua", "Mambo Jumbo", "Song For The Whales", "Dance Of Infidels", "Dancing In The Dark", and "I Didn't Know What Time It Was". CD

Early Atlantic Records work from the great Mose Allison – easily one of the most unique jazz artists of his time! Most started out as a pianist with a nicely bluesy vibe, but soon added in this excellent vocal approach that was maybe part New Orleans, part New York hipster – delivered here with a vibe that follows nicely from his earlier recordings for Columbia and Prestige Records! The sound is nice and stripped-down – none of the larger arrangements that Mose would soon use on Atlantic – and the set features accompaniment from Addison Farmer on bass and Osie Johnson on drums. Titles include the classic "Your Mind Is On Vacation" – plus "I Don't Worry About A Thing", "It Didn't Turn Out That Way", "Stand By", "Meet Me At No Special Place", and "The Song Is Ended". (Vocalists, Jazz) LP, Vinyl record album

A nice little 2-fer collecting two great meetings of two greats! Jug and Stitt go head to head on Boss Tenors, a classic album of tracks that perfectly captures the joy and fury of their live performances from years before! The record was cut in Chicago with a very hard rhythm section that includes John Houston on piano, Charles Williams on bass, and George Brown on drums – and it's way heavier than the usual Verve "meeting of the masters" session, and feels more like a record that should have been issued on Prestige or Argo. Both players are impeccable, and the solos stretch out for a long long very live time. Titles include "Blues Up & Down", "The One Before This", and "Counter Clockwise" – but these guys even groove amazingly on standards like "Autumn Leaves" and "No Greater Love". Boss Tenors In Orbit was a follow up one year later, an obscure little session with the pair once again recreating the energy of their live shows – as they stretch out nicely on very long tracks that have spare backing by the Don Patterson trio! The cuts are mostly standard stuff – "John Brown's Body", "Walkin", "Long Ago And Far Away" – but the twin-tenor sound is great, and Patterson's free organ lines riff away nicely! LP, Vinyl record album

One of the headiest albums ever recorded by the Art Ensemble of Chicago – a brilliant mix of noise and silence that rivals some of the greatest genius of the 20th century avant composition! The album's lead track "Ohnedaruth" builds slowly with a variety of percussion – traveling in People In Sorrow territory that shows a remarkable sense of sound and space. All members of the group pick up some percussion to build the track as it goes along – then follow suit with a more reed-based approach on the other extended tune on the album, "Lebert Aaly" – the group's brilliant tribute to the late Albert Ayler! The sound is incredibly deep and textured – and draws a clear line between creative improvisation and technical composition that puts the group alongside Cage and Hindemuth! LP, Vinyl record album

The cover's got a classic FMP look, and the album follows suit nicely – a set of solo acoustic guitar improvisations from Duck Baker, played in a spirit that recalls the 70s generation of improvisers, such as Derek Bailey or Henry Kaiser – yet played with a nice undercurrent of warmth! Baker really uses the full range of the instrument – still sticking mostly to the strings, but plucking, strumming, and knocking them in some very cool and creative ways. Titles include "Peace", "Juxta Pose", "Pole Ska", "The Idea Of San Francisco", "Instant Opus", "Allah Perhaps", and "Adolescent Ballad". CD

Searing live work from Gato Barbieri – a brilliant little album that follows on the spirit of his other Latin America sessions for Impulse! The format here is similar to those studio outings – an organic blend of percussion, keyboards, and sax – all bubbling together in a highly rhythmic mode that easily shifts between electric and acoustic statements, all in a jazz-based pursuit of older Latin American rhythms and expressions! Eddie Martinez plays some great Fender Rhodes on the album – ringing out with warm tones that are strongly offset by Gato's sharp-edge tenor lines – and all tracks are nice and long, and flow with a sense of creative energy that almost surpasses the studio albums in the series! Titles include "Milonga Triste", "La China Leoncia", "Baihia", and "Lluvia Azul". CD

Searing live work from Gato Barbieri – a brilliant little album that follows on the spirit of his other Latin America sessions for Impulse! The format here is similar to those studio outings – an organic blend of percussion, keyboards, and sax – all bubbling together in a highly rhythmic mode that easily shifts between electric and acoustic statements, all in a jazz-based pursuit of older Latin American rhythms and expressions! Eddie Martinez plays some great Fender Rhodes on the album – ringing out with warm tones that are strongly offset by Gato's sharp-edge tenor lines – and all tracks are nice and long, and flow with a sense of creative energy that almost surpasses the studio albums in the series! Titles include "Milonga Triste", "La China Leoncia", "Baihia", and "Lluvia Azul". CD

Searing live work from Gato Barbieri – a brilliant little album that follows on the spirit of his other Latin America sessions for Impulse! The format here is similar to those studio outings – an organic blend of percussion, keyboards, and sax – all bubbling together in a highly rhythmic mode that easily shifts between electric and acoustic statements, all in a jazz-based pursuit of older Latin American rhythms and expressions! Eddie Martinez plays some great Fender Rhodes on the album – ringing out with warm tones that are strongly offset by Gato's sharp-edge tenor lines – and all tracks are nice and long, and flow with a sense of creative energy that almost surpasses the studio albums in the series! Titles include "Milonga Triste", "La China Leoncia", "Baihia", and "Lluvia Azul". LP, Vinyl record album

This isn't the first time that pianist Kenny Barron and bassist Dave Holland have played together – but there's definitely something special about the record that really grabs our ears – and it's not just the excellent work on drums by Johnathan Blake! Barron's at his roundest, most soulful sort of tone – really grabbing the notes out of the air in this wonderful way – and Holland really follows suit too, with this very personal, organic approach that's such a change from some of his more experimental work of years back – and which makes him a stunning part of the group, especially at all those many moments when he and Barron dance around each other's sound with this beautifully resonant vibe. Titles include "Until Then", "Porto Alegre", "Without Deception", "Speed Trap", "Secret Places", "Worry Later", and "Pass It On". CD

A real return to classic form for saxophone legend Gary Bartz – stepping out here with a younger group of musicians who return his sound to the spirit of his NTU Troup records from the early 70s! The group has some hard percussion at the core – and matches Gary's own work on alto and soprano with trumpet from Axel Kaner Lidstrom, keyboards from Al Macsween, and guitar from Shirley Tetteh – a really vibrant combo who help bring Bartz back to the territory of spiritual jazz funk, as he stretches out on the kind of long, snakey solos that first set him apart from the pack! The combo also features Twm Dylan on bass, Jake Long on drums, and Tim Doyle on percussion – and titles include "Harlem Haarlem" and "The Stank" – plus remakes of "Uhuru Sasa", "Dr Follow's Dance", and "Leta's Dance". LP, Vinyl record album

With players like these, the life of a trio must be a great one – and the album's one part of a two-day recording session done by pianist Paul Bley, bassist Steve Swallow, and saxophonist Jimmy Giuffre! The "trio" tag is somewhat misleading at times – because the album's often a gathering of all three players in the studio, rather than a continuous collaborative effort. Some tracks have a single player, working alone – while others sneak in a duet, and others then follow a trio format – and the album's a great illustration of the sharp talents that all players still had at this point in their career! Giuffre's especially great – and works here on both clarinet and soprano sax – and given that Swallow had been a key part of Jim's trio in years back, many moments often sound like a revival of the more "out" Giuffre trio sides, with the addition of Bley's great tones on piano. This first volume features the "Saturday" recordings – with 12 titles that include "Endless Melody", "Foreplay", "Black Ivory", "Owl Eyes", "Clarinet Zone", and "By The Way". CD

With players like these, the life of a trio must be a great one – and the album's one part of a two-day recording session done by pianist Paul Bley, bassist Steve Swallow, and saxophonist Jimmy Giuffre! The "trio" tag is somewhat misleading at times – because the album's often a gathering of all three players in the studio, rather than a continuous collaborative effort. Some tracks have a single player, working alone – while others sneak in a duet, and others then follow a trio format – and the album's a great illustration of the sharp talents that all players still had at this point in their career! Giuffre's especially great – and works here on both clarinet and soprano sax – and given that Swallow had been a key part of Jim's trio in years back, many moments often sound like a revival of the more "out" Giuffre trio sides, with the addition of Bley's great tones on piano. This second volume features the "Sunday" session – with titles that include "Things", "Fallen Statue", "Play Ball", "Scrambled Legs", "Where Were We", "Mephisto", and "Tango Del Mar". CD

TK Blue on alto and soprano saxophone, flute and kalimba, Steve Turre on trombone, James Weidman and Onaje Allan Gumbs on piano, Essiet Okon Ossiet on bass, Willie Martinez on bass, and Kevin Jones on percussion. CD

A wonderful record from saxophonist Arthur Blythe – a set that features his group working through a number of tunes by Thelonious Monk – but with very different arrangements and instrumentation that change things up completely! The set came at a time when Monk was receiving a lot of new attention in the world of jazz, and at a time when Arthur's star had risen too – and the meeting of forces is wonderful – as Blythe brings all sorts of new rhythms and tonal combinations to play with familiar tunes that really transform in the process. The group is a familiar one for Blythe – and features Abdul Wadud on cello, Kelvyn Bell on guitar, Bob Stewart on tuba, and Bobby Battle on drums! And while you might scratch your head at the tuba, the instrument is often used in ways that might follow older bassline styles – but with a quality that bridges the alto and cello in a great way. Titles include "Nutty", "Coming On The Hudson", "Light Blue", "Epistrophy", and "We See". LP, Vinyl record album

A huge book on the equally-huge creative legacy of bassist William Parker – a musician who first arose in the loft jazz scene in New York during the 70s, but who's gone on to be one of its greatest surviving players, and one who's transformed the inspirations of that world into so many different modes of expression over the decades! Author Cisco Bradley really digs deep – following Parker from his southern roots to his childhood in the South Bronx, to his strong contributions to avant scenes, first in New York, then around the globe – all with a sensitivity to community and context that shows that Parker isn't just some genius musician, but both an evolving participant in creative activity, and one whose contributions have transformed the landscape as well! The book is softcover, 402 pages, and has copious notes, a discography, and even some black and white images as well. (Books, Jazz) Book