A fantastic trans-Pacific meeting of avant jazz talents – a set recorded on the mid 70s New York scene, right at the height of the loft jazz years – with a lineup that includes Ahmed Abdullah on trumpet, Yorikuki Harada on piano, Kazuotoki Kappo Umezu on alto, William Parker on bass, and Rashid Shinan on drums! We mostly know Umezu from later Japanese recordings, some of which are a bit more tightly controlled – but he's really on fire here, working with a very free lineup that embraces all the youth and energy the group has to offer! The set features two long tracks – "Stravizauls" and "Kim" – both over 20 minutes, with lots of freewheeling solos by the players. CD

A brilliant later set from Lee Konitz – recorded for Blue Note, after many years of Lee's mighty talents being ignored by US labels! Konitz first rose up as a modernist in the postwar years, recorded important records for Atlantic, Verve, Prestige, and other labels – then mostly gave his gifts to the overseas market during the 70s, and especially the 80s. Yet during that time, he grew tremendously as a player – something that's almost hard to imagine given the genius of his youth – and received this excellent showcase courtesy of bassist Charlie Haden, who co-produced with Lee, and plays in the trio alongside pianist Brad Mehldau. The format is open and fluid – never too free, but with that exploratory vibe that Konitz and the rest of the Tristano school opened up in the 50s. Titles include nice long takes on "Alone Together", "The Song Is You", "You Stepped Out Of A Dream", "What Is This Thing Called Love", and "Round Midnight". LP, Vinyl record album

Trumpeter Enrico Rava was a man of bold sounds in his youth – but as the years have gone on, he's definitely become one of those players who's really learned that less is more – serving up well-chosen, well-pointed moments on his horn that can make a record like this so great! Pianist Fred Hersch is in relatively familiar territory – especially on some of the darker, moodier passages on the set – but he also seems set free a bit from his conventions at times by Rava, as the pair work more in sound painting territory than some overly musical pursuit on some of the album's best tracks – definitely in the best ECM tradition, but very strongly flavored by the individuality of the two improvisers. Titles include "Child's Song", "The Trial", "Improvisation", "Retrato Em Branco E Preto", "The Song Is You", and "Misterioso". LP, Vinyl record album

The trumpet of Chet Baker was hard pressed to find a better accompanist than the piano of Russ Freeman – and the pair made some incredible recordings during Baker's early years at Pacific Jazz. This lovely set by Mosaic brings together all of the recordings cut during the time, and although it includes a reasonable number of alternate takes, the bulk of the set is totally tight, totally together master recordings that show Baker in all his youthful power. There's a total of 4LPs in all, and the set's packaged with a booklet that provides good notes on the material. Tracks include "Imagination", "Russ Job", "Bea's Flat", "Love Nest", "Fan Tan", "Say When", "Lush Life", "Amblin", "The Thrill Is Gone (vocal)", and "But Not For Me". LP, Vinyl record album

2 later albums by Johnny Griffin – both recorded after his return to the US during the late 70s! Bush Dance is a pretty interesting little set – one that features Griffin working in an easygoing combo with slight electric touches – a group that features George Freeman on guitar, alongside Cedar Walton's acoustic piano, plus bass by Sam Jones, drums by Albert Heath, and percussion and congas from Kenneth Nash. The mixture of guitar and congas gives the album a very different feel than some of Griffin's other work – almost a lighter soul jazz touch that recalls some of the best Muse Records sides from the time. Tracks are long, and rhythms get nice and free at times – and titles include a 17 minute take on "Night In Tunisia" that really gets a bit wild, plus "Since I Fell For You", "Bush Dance", "Knucklebean", and "The JAMFs Are Coming". Call It Whatchawanna is a more straight-ahead album, and a great one too – recorded with a youthful and soulful rhythm combo that features Mulgrew Miller on piano, Curtis Lundy on bass, and Kenny Washington on drums – all supporting Griffin with warm round tones that work perfectly with his open solo style. Titles include "I Mean You", "Lover Man", "Call It Whachawanna", and "A Waltz With Sweetie". CD

Very early work from Japanese saxophonist Sachi Hayasaka – a set that's a bit late in the catalog of the Three Blind Mice label, but one that's also a very special session for the label! Sachi blows alto and soprano sax, and the group here is a very free, open trio – just bass from Toshiki Nagata, and trumpet work from the great Wadada Leo Smith – a partner who really matches the youthful imagination that Hayasaka brings to her horn. The work is all improvised, but with a loose sense of structure at times – and there's a spiritual current to the music that almost makes it feel like Sachi could have been a member of the AACM back in the 70s. Most titles are in Japanese – and the set features 10 numbers in all, of varying length. CD

Wonderful early work from Jimmy Smith! The album is one of two great sessions that capture Smith in all his youthful prime, playing with other Blue Note greats like Art Blakey, Kenny Burrell, and Lou Donaldson – and nicely constructed tracks that take standard tunes and open them up into a whomping good soul jazz groove, thanks to Jimmy's monster organ playing. The solos are pretty free and gosh darn creative – and titles on this volume include "Plum Nellie", "Billie's Bounce", "The Duel", and "Buns A Plenty". 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

A great Wayne Shorter session from the mid 60s – recorded then, but not issued until 1979, for some incredibly unexplained reason – especially given the strength of the set! The group is distinctly modern, and features Freddie Hubbard on trumpet, James Spaulding on alto, and McCoy Tyner on piano – all of who were committed to heavily pushing the boundaries of their playing at the time. Added to the mix is the youthful Tony Williams on drums, fresh from work with Miles Davis, and playing with an incredibly free hand on the kit – plus the great Ron Carter on bass. The resulting mix of tracks is a beautiful example of how these mid-60s Blue Note sessions could keep firmly in touch with modern developments in jazz, yet never lapse into the kind of sloppiness that could sometimes ruin sets like these on other labels – always with a keen sense of timing and rhythm, and a sharpness that made Blue Note's "new" newer-sounding than most. Titles include "Lost", "Angola", "The Big Push", and an amazing jazz take on Sibelius' "Valse Triste"! LP, Vinyl record album

A great Wayne Shorter session from the mid 60s – recorded then, but not issued until 1979, for some incredibly unexplained reason – especially given the strength of the set! The group is distinctly modern, and features Freddie Hubbard on trumpet, James Spaulding on alto, and McCoy Tyner on piano – all of who were committed to heavily pushing the boundaries of their playing at the time. Added to the mix is the youthful Tony Williams on drums, fresh from work with Miles Davis, and playing with an incredibly free hand on the kit – plus the great Ron Carter on bass. The resulting mix of tracks is a beautiful example of how these mid-60s Blue Note sessions could keep firmly in touch with modern developments in jazz, yet never lapse into the kind of sloppiness that could sometimes ruin sets like these on other labels – always with a keen sense of timing and rhythm, and a sharpness that made Blue Note's "new" newer-sounding than most. Titles include "Lost", "Angola", "The Big Push", and an amazing jazz take on Sibelius' "Valse Triste"! CD also features a bonus alternate take of "Angola". 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

A great Wayne Shorter session from the mid 60s – recorded then, but not issued until 1979, for some incredibly unexplained reason – especially given the strength of the set! The group is distinctly modern, and features Freddie Hubbard on trumpet, James Spaulding on alto, and McCoy Tyner on piano – all of who were committed to heavily pushing the boundaries of their playing at the time. Added to the mix is the youthful Tony Williams on drums, fresh from work with Miles Davis, and playing with an incredibly free hand on the kit – plus the great Ron Carter on bass. The resulting mix of tracks is a beautiful example of how these mid-60s Blue Note sessions could keep firmly in touch with modern developments in jazz, yet never lapse into the kind of sloppiness that could sometimes ruin sets like these on other labels – always with a keen sense of timing and rhythm, and a sharpness that made Blue Note's "new" newer-sounding than most. Titles include "Lost", "Angola", "The Big Push", and an amazing jazz take on Sibelius' "Valse Triste"! CD

A great Wayne Shorter session from the mid 60s – recorded then, but not issued until 1979, for some incredibly unexplained reason – especially given the strength of the set! The group is distinctly modern, and features Freddie Hubbard on trumpet, James Spaulding on alto, and McCoy Tyner on piano – all of who were committed to heavily pushing the boundaries of their playing at the time. Added to the mix is the youthful Tony Williams on drums, fresh from work with Miles Davis, and playing with an incredibly free hand on the kit – plus the great Ron Carter on bass. The resulting mix of tracks is a beautiful example of how these mid-60s Blue Note sessions could keep firmly in touch with modern developments in jazz, yet never lapse into the kind of sloppiness that could sometimes ruin sets like these on other labels – always with a keen sense of timing and rhythm, and a sharpness that made Blue Note's "new" newer-sounding than most. Titles include "Lost", "Angola", "The Big Push", and an amazing jazz take on Sibelius' "Valse Triste"! Also features a bonus alternate of "Angola". CD

A very different album than usual from the great tenorist Nat Birchall – a set that's no less soulful than his other records, but in a completely different way! The album's a collaboration with producer Al Breadwinner – and has this approach that feels like a lost Jamaican instrumental session from the start of the 70s – as if Nat's playing the role of saxophonist Tommy McCook over some nicely laidback Kingston-styled rhythms! Birchall solos on tenor on most tracks, but also blows a bit of melodica too – and even handles a bit of organ and percussion too – all swept up in a dubby mix handled by Breadwinner, who contributes drums, guitars, and keyboards. There's a bit of trumpet and trombone on the set too, plus baritone sax from Stally – and the quality of the record is excellent, every bit up to the range of the Jamaican legends listed as inspiration on the cover – a lineup that includes McCook, Lee Perry, Augustus Pablo, and Cedric Brooks. Titles include "In The Hills", "Ancient Wisdom", "Youth Iron Rock", "Freedom Style", "Amlak Dub", "Hail Don D Jr", and "Igziabeher". LP, Vinyl record album

A very different album than usual from the great tenorist Nat Birchall – a set that's no less soulful than his other records, but in a completely different way! The album's a collaboration with producer Al Breadwinner – and has this approach that feels like a lost Jamaican instrumental session from the start of the 70s – as if Nat's playing the role of saxophonist Tommy McCook over some nicely laidback Kingston-styled rhythms! Birchall solos on tenor on most tracks, but also blows a bit of melodica too – and even handles a bit of organ and percussion too – all swept up in a dubby mix handled by Breadwinner, who contributes drums, guitars, and keyboards. There's a bit of trumpet and trombone on the set too, plus baritone sax from Stally – and the quality of the record is excellent, every bit up to the range of the Jamaican legends listed as inspiration on the cover – a lineup that includes McCook, Lee Perry, Augustus Pablo, and Cedric Brooks. Titles include "In The Hills", "Ancient Wisdom", "Youth Iron Rock", "Freedom Style", "Amlak Dub", "Hail Don D Jr", and "Igziabeher". Includes bonus tracks "Iron Rock Dub" and "Igziabeher Dub". CD

A really incredible album – a set that's filled with far more soul and feeling than you might guess from the youthful image on the cover! Matthew Halsall's a pretty young player, but his sound here is really amazing – not just on his own trumpet solos, but on the overall feel of the album – which is beautifully composed, and put together with a sense of spirit that takes us back to Strata East at its most sophisticated in the 70s! There's a really beautiful balance here – ambition in the writing that recalls other UK efforts from The Heritage Orchestra or Nostalgia 77 Octet – but an execution that's much leaner overall, deeply personal lines played by a relatively small combo – quintet formation on all numbers, featuring Halsall's trumpet alongside great reedwork on soprano sax, flute, alto, and tenor – supported by soaring rhythms on piano, bass, and drums – all handled with the majesty of an early 70s McCoy Tyner album, or some of the other great modally-inspired work of the American post-Coltrane generation. Tremendous stuff throughout – a record that held us rapt from start to finish – with 5 original compositions that include "On The Other Side Of The World", "Reflections", "Freedom Song", "Sending My Love", and "Sachi". LP, Vinyl record album

Speed, space, and plenty more – all going on in the hands of a quartet led by drummer Masahiko Togashi – a Japanese player who's at his most youthfully creative on this album! Togashi was part of a new generation of musicians on his scene who were moving past conventional jazz modes – not just the free jazz styles that European improvisers were bringing to the music, but also maybe a more organic approach that was years ahead of its time, and not as widely recognized by the rest of the world until many years later. Togashi himself plays a big range of percussion instruments and vibes next to his drums – and the rest of the group features the great Masahiko Sato on piano, Mototeru Takagi on tenor and bass clarinet, and Yoshio Ikeda on bass – all moving effortlessly through a variety of modes of expression, on titles that include "Presage", "Speed & Space", "Expectation", and "Panorama". LP, Vinyl record album