Drummer Andrew Cyrille is a man of many modes – a player we first grew to love on his 60s recordings with Walt Dickerson, then his 70s percussion records from the underground – and over the decades, he's just kept on surprising us with his musical versatility! Here, he's definitely continuing that trend – working at a nicely subtle level with a sound that's surprisingly more in the ECM mode than anyone might have expected if you tried to pair Cyrille with the label years back – these openly-flowing numbers that draw every bit as much from the guitar of Bill Frisell as they do from Cyrille's leadership and drums – performed here by a group that also features David Virelles on piano and Ben Street on bass. Titles are all originals by group members – and include "Mountain", "Happy Lucky", "The News", "Incienso", "Baby", and a version of the Adegoke Steve Colson song "Leaving East Of Java". CD

Drummer Andrew Cyrille is a man of many modes – a player we first grew to love on his 60s recordings with Walt Dickerson, then his 70s percussion records from the underground – and over the decades, he's just kept on surprising us with his musical versatility! Here, he's definitely continuing that trend – working at a nicely subtle level with a sound that's surprisingly more in the ECM mode than anyone might have expected if you tried to pair Cyrille with the label years back – these openly-flowing numbers that draw every bit as much from the guitar of Bill Frisell as they do from Cyrille's leadership and drums – performed here by a group that also features David Virelles on piano and Ben Street on bass. Titles are all originals by group members – and include "Mountain", "Happy Lucky", "The News", "Incienso", "Baby", and a version of the Adegoke Steve Colson song "Leaving East Of Java". CD

A pair of early 80s gems from this Brazilian keyboard legend – back to back on a single CD! Night Cruiser is a key record in Deodato's move from funky jazz in the 70s to modern soul in the 80s – and one that showcases the best of his talents in both genres! The approach here is more tightly arranged and produced than that of his earlier CTI sides – but in a mode that's still plenty nice to our ears – as Deodato's uncanny sense of rhythm and timing is still very firmly in place, making the set way way more than just a smooth jazz album – and pushing it strongly into the realm of soulful spacey fusion! There's some really great tracks on the set – like the amazing "Skatin", a sweet keyboard number that's a perfect roller skating jam (in case you couldn't guess from the title) – plus "Love Magic", "Uncle Funk", "East Side Strut", and "Night Cruiser". Happy Hour is a classic from Deodato's soul-based years with a nice little R&B-inspired groove! Happy Hour was done at a time when Deodato was really getting into a lot of modern soul production and arranging work with other groups – and here, he tries his hand wonderfully at the style himself – transforming his 70s jazz funk groove into a tightly snapping 80s soul approach! Most tracks on the set feature vocals – by singers who include Kelly Barretto, Eban Kelly, and Candi Staton – but the instrumentation behind them is still plenty jazzy too, thanks to some nice work by Deodato on Fender Rhodes, mini moog, Arp, and other keyboards. Titles include "I Never Get Enough", "Keep On Movin", "Happy Hour", "Just This One Night", "Tears Of A Clown", "Sweet Magic", and "Keep It In The Family". CD features two bonus tracks – "Uncle Funk (7" mix)" and "Keep On Movin (7" mix)". CD

Hard to be unhappy in a setting like this – a classic RCA session from the 60s, and one that matches the sublime icy alto sax of Paul Desmond with the perfectly airy guitar of the great Jim Hall! The pair work simple wonders with familiar tunes on the set – bringing together a love of the understated, mixed with a desire to delight and surprise – a quality that plays out wonderfully throughout the course of the record, and keeps us hanging with a sense of joy and delight. The group's completed by bass and drums – with no piano for rhythm, leaving the guitar and alto suspended in mid-air – and titles include "Any Other time", "Glad To Be Unhappy", "Poor Butterfly", "Stranger In Town", and "Taste Of Honey". CD features 3 bonus tracks! CD

Classic set of European recordings – made by Dolphy in 1961, before the fateful 1964 European tour that would later claim his life. The group features Swedish piano giant Bent Axen, plus a rhythm section that includes Erik Moseholm on bass and Jorn Elniff on drums. Like most Dolphy recordings from the time, however, the main focus is on Dolphy himself, and the long tracks feature some beautiful extended solos on alto and flute. Tracks are long, and titles include "Hi Fly", "Oleo", and "Glad To Be Unhappy". CD

A beautiful set of quest-driven songs from Kurt Elling – material directed by inspiration from a passage by Rainer Maria Rilke, then given a spin by Elling that's completely his own! For more than two decades, the singer has redefined the role of the voice in jazz – and here, he's still very much at the top of his game – a fantastic expressionist when singing "straight", and even more compelling when he opens up the full range of his creative process – which he does here often, in the company of a great lineup that includes Marquis Hill on trumpet, Branford Marsalis on tenor, Stu Mindeman on piano, and Jeff Tain Watts on drums. You'll definitely recognize a number of the tunes, but taken together like this – and handled by Kurt – they really have a completely different vibe, as you'll find on "Lonely Town", "Endless Lawns", "The Enchantress", "A Hard Rain's Gonna Fall", "A Happy Thought", and "Washing Of The Water". (Vocalists, Jazz) CD

Collects Musicraft, V-Disc, and Columbia recordings – titles include "Sultry Sunset", "Happy-Go-Lucky Local", "Flippant Flurry", "Jam-A-Ditty", "Overture To A Jam Session", "Lady Of The Lavender Mist", and more – 24 tracks total. CD

Did Ellington ever record in concert and it not be great? This wonderful double-length set from the 60s is key proof of his genius in an unfettered live setting – recorded in Paris in 1963 with plenty of dark edges! The tracks are short overall, but Duke's really at the head of the group on piano – playing with those angular, modern tones he picked up in the post Money Jungle years – and clearly in charge of the group from the keyboard, not the podium. Horn players include Harry Carney, Ray Nance, Lwarence Brown, Cootie Williams, Johnny Hodges, and Paul Gonsalves – all bringing in some special tones and unique performances to an extended set list that includes both Ellington standards and a few lesser-known numbers. Titles include "Rockin In Rhythm", "Concerto For Cootie", "Suite Thursday", "Tone Parallel To Harlem", "Bula", "Cop Out", "Happy Go Lucky Local", "Theme From Asphalt Jungle", and "Star-Crossed Lovers". CD

Did Ellington ever record in concert and it not be great? This wonderful double-length set from the 60s is key proof of his genius in an unfettered live setting – recorded in Paris in 1963 with plenty of dark edges! The tracks are short overall, but Duke's really at the head of the group on piano – playing with those angular, modern tones he picked up in the post Money Jungle years – and clearly in charge of the group from the keyboard, not the podium. Horn players include Harry Carney, Ray Nance, Lawrence Brown, Cootie Williams, Johnny Hodges, and Paul Gonsalves – all bringing in some special tones and unique performances to an extended set list that includes both Ellington standards and a few lesser-known numbers. Titles include "Rockin In Rhythm", "Concerto For Cootie", "Suite Thursday", "Tone Parallel To Harlem", "Bula", "Cop Out", "Happy Go Lucky Local", "Theme From Asphalt Jungle", and "Star-Crossed Lovers". LP, Vinyl record album

An open-ended live date from Bill Evans – recorded at the auspicious venue of Town Hall, but recorded with a warmth that matches Evans' smaller club sessions of the 60s! The sound here is possibly a bit more focused and direct than some of the moodier, mellower Evans live records – well pointed at the start, but then moving into some gentler chromatic modes as the set moves on – all with gentle accompaniment from Chuck Israels on bass and Arnold Wise on drums. Titles include trio versions of "I Should Care", "Spring Is Here", 'Who Can I Turn To" and "Make Someone Happy" – then Evans takes a 13 minute solo turn, dedicating a suite to the memory of his father! CD

Beautiful work from the legendary Art Farmer – sounds from a time when the trumpeter was really coming into his own, and finding a way to carve out a special space for himself in modern jazz! The sounds here are fresh, but never overstated – blown with that compact mode that makes Farmer's phrasing so distinct, and set up here with a perfect quartet that features Jim Hall on guitar, Steve Swallow on bass, and Walter Perkins on drums. All players are masters of understatement – and the band is sort of a perfect extension of some of Jimmy Guiffre's earlier work on Atlantic with Hall – as they've perfected a simple style that leaves the instrumental solos floating in air, interacting with each other in subtle complex ways that never cease to amaze. Tracks are longer than on some of the studio albums by the group – and titles include "Swing Spring", "I Want To Be Happy", and "What's New". CD

Beautiful work from the legendary Art Farmer – sounds from a time when the trumpeter was really coming into his own, and finding a way to carve out a special space for himself in modern jazz! The sounds here are fresh, but never overstated – blown with that compact mode that makes Farmer's phrasing so distinct, and set up here with a perfect quartet that features Jim Hall on guitar, Steve Swallow on bass, and Walter Perkins on drums. All players are masters of understatement – and the band is sort of a perfect extension of some of Jimmy Guiffre's earlier work on Atlantic with Hall – as they've perfected a simple style that leaves the instrumental solos floating in air, interacting with each other in subtle complex ways that never cease to amaze. Tracks are longer than on some of the studio albums by the group – and titles include "Swing Spring", "I Want To Be Happy", and "What's New". LP, Vinyl record album

A real lost treasure from Art Farmer – a tremendous album that hardly ever shows up in the history books, and which, to our knowledge, has never properly been reissued! The set's a rare jazz side for the mostly-pop Scepter label – featuring Farmer at the head of a small group working with Tommy Flanagan on piano, Charles McPherson on alto, and either Steve Swallow or Ron Carter on bass. The album was done under the direction of Tom McIntosh – the brilliant young composer who had a magical talent for blending together modern and lyrical modes while still keeping a strong degree of soul. McIntosh contributed a few tunes to the set, as did Dennis Sandole – the nearly-forgotten trumpeter from the Philly scene of the 50s. There's a dark beauty to this session that surpasses even many other Farmer sides from the time – and titles include "Hyacinth", "Ally", "Happy Feet", "Minuet In G", and "Saucer Eyes". LP, Vinyl record album

A real lost treasure from Art Farmer – a tremendous album that hardly ever shows up in the history books, and which, to our knowledge, appears here on CD for the first time ever – plus a bonus album of earlier Farmer work with the Mundell Lowe Septet! Many Faces is a rare 1964 jazz side for the mostly-pop Scepter label – featuring Farmer at the head of a small group working with Tommy Flanagan on piano, Charles McPherson on alto, and Steve Swallow or Ron Carter alternating on bass. The album was done under the direction of Tom McIntosh – the brilliant young composer who had a magical talent for blending together modern and lyrical modes while still keeping a strong degree of soul. McIntosh contributed a few tunes to the set, as did Dennis Sandole – the nearly-forgotten trumpeter from the Philly scene of the 50s. There's a dark beauty to this session that surpasses even many other Farmer sides from the time – and titles include "Hyacinth", "Ally", "Happy Feet", "Minuet In G", and "Saucer Eyes". 1958's Porgy & Bess finds Farmer playing trumpet for guitarist Mundell Lowe's Septet on a nice set of material from Gershwin – including lesser known numbers from the original play. Players include Tony Scott on clarinet and baritone, Ben Webster on tenor and either George Duvivier or Osie Johnson on the kit. Titles include "Summertime", "Bess, You Is My Woman", "I Love You Porgy", "Redhead Woman", "There's A Boat That's Leaving Soon For New York", "It Ain't Necessarily So" and more. CD

Drummer Steve Fidyk is a hell of a sharp talent on the kit – and he's working here with a mighty tight group that features Terell Stafford on trumpet and Tim Warfield on tenor! Fidyk's got a way of propelling things forcefully one minute, then stepping back and providing this carefully compelling rhythm the next – a quality that really makes him a well-balanced player, but also one with an inherently rhythmic focus even in the mellower moments. All players really seem to catch the fire of his leadership – including guitarist Shawn Purcell, who rings out with some beautiful tones at times, in a group that also features Regan Brough on bass. Titles include the originals "Untimely", "Might This Be Bop", "TTJ", and "The Bender" – plus versions of "Make Someone Happy" and "Love For Sale". CD

Genius live work from tenor saxophonist Jonas Kullhammar – working here in trio formation with bass and drums, freely creating on the fly – and evoking the power of Sonny Rollins live classics for Blue Note and RCA! We've raved elsewhere on these pages about Kullhammar's tone and musical vision on the tenor – but it steps out even more strongly on this set, thanks to firm support from drummer Daniel Fredriksson and bassist Torbjorn Zetterberg – who both match Jonas' inventive energy on the record. As with Sonny Rollins Vanguard recordings for Blue Note, there's a tremendous depth of spirit and sound here, and one record is not nearly enough to capture the scope of talent – which is why we're happy they've decided to issue 3 albums worth of material from this date! Titles on this first volume include "One Down One Up", "Have Horn Will Blow", "Apex", and "Blessing In Disguise". CD

Genius live work from tenor saxophonist Jonas Kullhammar – working here in trio formation with bass and drums, freely creating on the fly – and evoking the power of Sonny Rollins live classics for Blue Note and RCA! We've raved elsewhere on these pages about Kullhammar's tone and musical vision on the tenor – but it steps out even more strongly on this set, thanks to firm support from drummer Daniel Fredriksson and bassist Torbjorn Zetterberg – who both match Jonas' inventive energy on the record. As with Sonny Rollins Vanguard recordings for Blue Note, there's a tremendous depth of spirit and sound here, and one record is not nearly enough to capture the scope of talent – which is why we're happy they've decided to issue 3 albums worth of material from this date! Titles on this second volume include "Inchworm", "Sweet Georgia Bright", "J Blooz", "You Don't Know What Love Is", and "Oleo". CD

A wealth of piano trio material from the west coast scene of the 50s and early 60s – tracks pulled not only from long-lost albums by pianists Russ Freeman, Richard Twardzik, Jimmy Rowles, and Clare Fischer – but also even more obscure recordings that only appeared on Pacific Jazz collections! The scope of the package is really tremendous – as it begins with some of the first Pacific Jazz trio sides by Russ Freeman and Richard Twardzik – both done during their years with Chet Baker – then runs through Jimmy Rowles' full album Rare But Well (recorded for Liberty in 1954), a variety of shorter trio sessions by Freeman and Rowles, and Clare Fischer's early trio sides – First Time Out (1962) and Surging Ahead (1963). And as always with Mosaic, the whole thing's incredibly well done – put together with tremendous care in both the mastering and notes, so that the whole thing's not just some happy accident in jazz. 51 tracks, 3CDs, and beautiful throughout! CD

American bassist Oscar Pettiford left our planet on the other side of the Atlantic – after just a few years of making some big waves on the European scene, where this tribute to his genius was recorded in 1960! The material here appears for the first time – and the bulk of the set features tremendous performances from very hip European groups who were following in the legacy of modern jazz that Pettiford and some of his generation helped unlock on the scene. The set begins with a trio that includes pianist Finn Savery and bassist Erik Moseholm, on titles that include "Bohemia After Dark" and "Willow Weep For Me". Baritone saxophonist Max Bruel leads a quartet through a reading of his own "Blues For Oscar" – followed by four tracks from the trio of pianist Bengt Hallberg, one with vocals from Alice Babs – titles that include "Blues By Alice" and "Dinah". Next is the legendary Jazz Quintet 60 – with Allan Botschinsky on trumpet, Bent Jaedig on tenor, and Bent Axen on piano – doing their renditions of Pettiford tunes "Why Not That's What" and "Blues In The Closet". Vibist Louis Hjulmand follows in a quartet with pianist Finn Savery on the Pettiford tune "Now See How You Are" – then the great Stan Getz comes in to finish things off in a quartet with Bengt Hallberg's trio – serving up takes of "Without A Song", "Get Happy", "Spring Can Really Hang You Up The Most", and "Nobody's Sweetheart". CD

Three later live sets from Dizzy Gillespie – all in a single package! Sesjun Radio Shows 1 is great, and if you like Dizzy Gillespie as much as us, you'll know that he kept on getting better and better as the years went on – continuing to evolve as a musician, into territory that's always very different than what he was giving the world a few years before! That's definitely the case here, on two live performances done for Dutch Radio in the late 70s – both of which feature a guitar as the key partner – with Rodney Jones on the first half, Ed Cherry on the second, and bass from Benjamin Brown and drums from the great Mickey Roker. Tracks are long, and open up in this really wonderful way – and the group is joined by percussionist Sheyvonne Wright on the second half, who also sings a bit too. There's a quality here that's much more in the best 70s work on the Muse label than you might expect – and titles include "Barcelona", "Diddy Wah Diddy", "Toccata", "The Truth", "Night In Tunisia", "Manha De Carnaval", and Round Midnight". Sesjun Radio Shows 2 is further proof that the genius of Dizzy Gillespie knows no bounds, even in later years – as these two different radio performances feature Diz with very unique saxophonists – both of whom really transform the sound of the group! The first half of the set has Gillespie on trumpet with a young Paquito D'Rivera on soprano and alto sax – a young player really coming into his own here, in an unusual group that also features Canadian guitarist Ed Cherry, bassist Michael Howell, and drummer Ignacio Berroa – on titles that include the funky "Unicorn", plus "All The Things You Are" and "Cripple Crapple Crutch". The second half will be even more surprising to fans of avant jazz – as the legendary Sam Rivers joins the group on tenor and soprano sax – blowing straighter than on his free improv records, but definitely adding an edge! The rest of the group features Cherry and Berroa, with John Lee in on bass for Howell – and titles include "Tanga", "Manteca", and "Birk's Works". Concert Of The Century is a record with a title that's a hell of a claim to make – but it's also a hell of a concert, too – one that features Dizzy Gillespie blowing with an all-star small group lineup – in really stretched-out takes on the tunes, at a level that rivals his best 70s material on the Pablo label! In addition to Gillespie on trumpet, players also include Milt Jackson on vibes, James Moody on tenor and flute, Hank Jones on piano, Ray Brown on bass, and Philly Joe Jones on drums – all working together as seamlessly as you'd expect! Titles include "Darben The Redd Foxx", "The Shadow Of Your Smile", "Get Happy", "Blues N Boogie", "If I Should Lose You", and "Bass Solo/Manha De Carnaval/Work Song". CD

Two great albums in the Verve Jam Session tradition – both featuring twin-trumpet leadership from Dizzy Gillespie and Roy Eldridge! Diz and Roy come together in a nice blend of two traditions – blowing in a relaxed mode that's less of the "battle" you might expect from the title – and more of a friendly exchange of solos, recorded in the open and laidback style of Verve at the time. The group features Oscar Peterson on piano, Herb Ellis on guitar, Ray Brown on bass, and Louis Bellson on drums – and Dizzy himself even vocalizes a bit on the set! Tracks are mostly longish, with plenty of solo space, and the 10 titles include "Sometimes I'm Happy", "Algo Bueno", "The Heat's On", "The Ballad Medley", "Trumpet Blues", and "Blue Moon". CD

A real moment of genius for Joe Henderson from the 80s – a spare trio session, recorded live at the Village Vanguard, in a mode that recalls Sonny Rollins classic sets there for Blue Note! And while Sonny often performed heavily in a trio setting, unfettered by chords in the rhythm section – this is a unique date for Joe, and he sounds brilliant throughout! Ron Carter and Al Foster provide a crisp but elastic foundation for Henderson's burnished melodies and solos in a very spacious setting – and this first volume features the tracks "Beatrice", "Friday The Thirteenth", "Happy Reunion", "Loose Change", "Ask Me Now", and "Isotope". CD

A real moment of genius for Joe Henderson from the 80s – a spare trio session, recorded live at the Village Vanguard, in a mode that recalls Sonny Rollins classic sets there for Blue Note! And while Sonny often performed heavily in a trio setting, unfettered by chords in the rhythm section – this is a unique date for Joe, and he sounds brilliant throughout! Ron Carter and Al Foster provide a crisp but elastic foundation for Henderson's burnished melodies and solos in a very spacious setting – and this first volume features the tracks "Beatrice", "Friday The Thirteenth", "Happy Reunion", "Loose Change", "Ask Me Now", and "Isotope". LP, Vinyl record album

A real moment of genius for Joe Henderson from the 80s – a spare trio session, recorded live at the Village Vanguard, in a mode that recalls Sonny Rollins classic sets there for Blue Note! And while Sonny often performed heavily in a trio setting, unfettered by chords in the rhythm section – this is a unique date for Joe, and he sounds brilliant throughout! Ron Carter and Al Foster provide a crisp but elastic foundation for Henderson's burnished melodies and solos in a very spacious setting. CD features 14 tracks from both volumes of the LP releases – including "The Bead Game", "Soulville", "Portrait", "Beatrice", "Friday The Thirteenth", "Happy Reunion", "Loose Change", "Ask Me Now" and "Isotope". CD

The grooviest work so far from the Hi-Fly Orchestra – a set that moves even farther past the sublime territory of their debut, into a really classic blend of soul jazz and Latin rhythms – produced to perfection with a wonderfully solid feel! Instrumentation here is all live – a blend of sax, flute, trombone, Fender Rhodes, piano, and plenty of percussion – all handled with a feel that takes us back to some of our favorite territory on Verve Records from the 60s, those wonderful records that blended elements from the Latin underground with some of the harder jazz leanings of the period – a legacy these guys are happy to add to with their wonderful grooves. Miriam Aida guests on vocals on two cuts, but most titles are instrumental – and tunes include "Afro Boo", "Carioquinha", "Polonesa", "SP Samba", "Mrs Shing A Ling", "Hi Fly Stomp", "Mambo Atomico", and a surprisingly groovy cover of "Crosstown Traffic". (Deep Funk, Jazz) CD

A beautiful album that we'd rank as one of Freddie Hubbard's greatest recordings ever – a truly sublime set that's quite different than his Blue Note work of the 60s, and which really shows him emerging as a major talent on the trumpet! The set features a core sextet of key players – the legendary John Gilmore on tenor sax, making a rare appearance here away from the Sun Ra Arkestra – plus Curtis Fuller on trombone, Tommy Flanagan on piano, Art Davis on bass, and Louis Hayes on drums – the last three of whom provide a soulful, almost spiritual rhythm to the record – elevating Freddie's horn to tremendous heights, possibly for the first time in his career. All tracks are nice and long – and titles include the Hubbard originals "Bob's Place", "Happy Times", and "The 7th Day", all of which roll along on a groove that's not what you'd expect – plus versions of "Summertime" and "Caravan". CD

One of the best-known 50s jazz sessions from the Savoy label – a laidback classic that's a great illustration of the label's shift in modes after the early bop years! The setting here is relatively informal – with Milt Jackson as the ersatz leader, working almost in blowing session mode with hip players who include Frank Wess on flute and tenor, Hank Jones on piano, Eddie Jones on bass and Kenny Clarke on drums – all players who relax into a groove wonderfully, and really open up on the album's four long tracks. Titles include the classic reading of "Opus De Funk", plus "Opus Pocus", "You Leave Me Breathless", and "Opus & Interlude". A great little set from Milt Jackson – not just for his work on vibes, but also for some great tenor from Lucky Thompson! Thompson's raspy edge brings a nice degree of soulfulness to the set – a sound that adds depth to the sometimes mellower moments set down by Jackson and the rhythm section of Hank Jones, Wendell Marshall, and Kenny Clarke! The small group setting and the longer tracks make the record a good showcase for Thompson's talents at the time – and his way of building a solo gets plenty of room to do its thing here – on tracks that include "Lover", "Angel Face", "Can't Help Lovin That Man", "Sometimes I'm Happy", and "What's New". CD

A great set that brings together early material that trombone giant JJ Johnson cut for Blue Note as a leader – sides that already mark his approach to the instrument as one of the most distinct of the time, and which pave the way for all the greatness that Johnson would bring to jazz in years to come! JJ's got a way of blowing his horn here that's almost trumpet-like at time – tight and focused, and perfect for the young bop generation – as he's paired on these cuts with players who include Hank Mobley and Jimmy Heath on tenor, Clifford Brown on trumpet, and either Wynton Kelly, John Lewis, or Horace Silver on piano, depending on the volume. There's plenty of other great surprises too – including a bit of bass from Charles Mingus, on a few cuts that also feature congas from Sabu Martinez – plus drums from Kenny Clarke on all tracks too. Titles on this first volume include include "Turnpike", "Sketch 1", "Capri", "Lover Man", "Get Happy", and "Coffee Pot". LP, Vinyl record album

A great set that brings together early material that trombone giant JJ Johnson cut for Blue Note as a leader – sides that already mark his approach to the instrument as one of the most distinct of the time, and which pave the way for all the greatness that Johnson would bring to jazz in years to come! JJ's got a way of blowing his horn here that's almost trumpet-like at time – tight and focused, and perfect for the young bop generation – as he's paired on these cuts with players who include Hank Mobley and Jimmy Heath on tenor, Clifford Brown on trumpet, and either Wynton Kelly, John Lewis, or Horace Silver on piano, depending on the volume. There's plenty of other great surprises too – including a bit of bass from Charles Mingus, on a few cuts that also feature congas from Sabu Martinez – plus drums from Kenny Clarke on all tracks too. Titles on this first volume include include "Turnpike", "Sketch 1", "Capri", "Lover Man", "Get Happy", and "Coffee Pot". CD features alternate takes, too. CD

A great set that brings together early material that trombone giant JJ Johnson cut for Blue Note as a leader – sides that already mark his approach to the instrument as one of the most distinct of the time, and which pave the way for all the greatness that Johnson would bring to jazz in years to come! JJ's got a way of blowing his horn here that's almost trumpet-like at time – tight and focused, and perfect for the young bop generation – as he's paired on these cuts with players who include Hank Mobley and Jimmy Heath on tenor, Clifford Brown on trumpet, and either Wynton Kelly, John Lewis, or Horace Silver on piano, depending on the volume. There's plenty of other great surprises too – including a bit of bass from Charles Mingus, on a few cuts that also feature congas from Sabu Martinez – plus drums from Kenny Clarke on all tracks too. Titles on this first volume include include "Turnpike", "Sketch 1", "Capri", "Lover Man", "Get Happy", and "Coffee Pot". CD

Stone funky work from the late 60s – a landmark batch of tracks by Quincy Jones – originally recorded for the soundtrack of the first Bill Cosby show, and issued here to the public for the first time ever! The show's famous theme "Hikky-Burr" is a well-known groover with a sinister snapping edge that sums up all the best of Quincy's funky jazz soundtrack work in the 60s – and the rest of the tracks on the set follow in a blend of California soul jazz modes that's mighty mighty nice! Players on the tunes include Milt Jackson, Monty Alexander, Joe Sample, Eddie Harris, Ray Brown, and Paul Humphrey – and the tracks have a loose, improvised feel that's a nice contrast from a lot of Quincy's tighter soundtrack work. Along with 2 different versions of "Hikky-Burr" (one with vocal by Cosby, one without), the set also features tracks that include "Toe Jam", "Jive Den", "Monty Is That You", and "Eubie Walkin" – plus a loosely disguised version of "Listen Here", and a take on "Oh Happy Day". Great stuff – and wonderful to finally have out on CD! CD

A tribute to the great drummer Elvin Jones – the "EJ" in the title – but a set that's very different than the sort of work you might know from Jones as a leader! The legendary Japanese drummer Takeo Moriyama is one of the co-leaders of the group, but his partner, the pianist Fumio Karashima, has this wonderfully round, full, rich sound that almost takes over at more times than the drums – holding that majestic sense of flow we've loved from Fumio's albums from the 70s onward! The group also has some great tenor from Masanori Okazaki, but playing in ways that are different than some of the freewheeling tenorists that Jones would regularly welcome to a session – and the quartet also features nice work from Ryu Kawamura on bass. Titles include Karashima originals "One For Him", "Hangin Out", and "Be Happy Please" – plus the tracks "EJ Blues", "Blood Count", and "Waltz For Monk". CD

A record that revolutionized the concept of jazz vocals in the 50s – thanks to famous performances by Annie Ross and King Pleasure! The tracks on the LP include Ross' early interpretations of Wardell Gray's classics "Twisted" and "Farmer's Market", and the King Pleasure set includes classics like "Red Top", "This Is Always", "Sometimes I'm Happy", and his great duet with Jon Hendricks, "Don't Get Scared". A landmark LP of jazz vocal sides, and one that no fan of vocalese should be without. (Vocalists, Jazz) LP, Vinyl record album

A record that revolutionized the concept of jazz vocals in the 50s – thanks to famous performances by Annie Ross and King Pleasure! The tracks on the LP include Ross' early interpretations of Wardell Gray's classics "Twisted" and "Farmer's Market", and the King Pleasure set includes classics like "Red Top", "This Is Always", "Sometimes I'm Happy", and his great duet with Jon Hendricks, "Don't Get Scared". A landmark LP of jazz vocal sides, and one that no fan of vocalese should be without. CD reissue includes 4 extra bonus tracks! (Vocalists, Jazz) CD

"Jazz For The Thinker" – a great title for this mind-expanding set of tunes from Yusef Lateef, recording here from the Detroit underground of the late 50s, with a really cosmic and exotic approach to his work! The album's one of the best of Lateef's sides for Savoy – a blend of hardbop influences with some Africanist leanings – never too over the top, but subtly snuck into more conventional elements of the tunes. The group's a quintet with Curtis Fuller, Louis Hayes, and Ernie Farrow – and titles are all originals, and include "Space", "Midday", "Polarity", and "Happyology". LP, Vinyl record album

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

Very very very groovy stuff by this masterful jazz vibist, recorded with a sort of late 60s swingin' feel – but still very much in the pocket and warm as a summer breeze! Lytle has a pretty remarkable way of playing the vibes with speed and energy, yet the overall feel still has kind of a relaxed West Coast vibe – a beautiful blend that rivals, if not beats, the sound of Cal Tjader on late 60s Verve! Jimmy Foster grooves along on organ, and the interplay with Lytle is key to the classic sound – but the whole group is great here – Major Holley on bass, Peppy Hinant on drums and Don Alias on conga, which brings in plenty of Latin kick. 6 of the 10 numbers are Lytle originals, including "Done It Again", "Sleepy Dozier", "Zote", "Jungle Child" and "Happy Preacher" – plus "If Ever I Should Leave You", "People" and "The Nearness Of You". LP, Vinyl record album

Very very very groovy stuff by this masterful jazz vibist, recorded with a sort of late 60s swingin' feel – but still very much in the pocket and warm as a summer breeze! Lytle has a pretty remarkable way of playing the vibes with speed and energy, yet the overall feel still has kind of a relaxed West Coast vibe – a beautiful blend that rivals, if not beats, the sound of Cal Tjader on late 60s Verve! Jimmy Foster grooves along on organ, and the interplay with Lytle is key to the classic sound – but the whole group is great here – Major Holley on bass, Peppy Hinant on drums and Don Alias on conga, which brings in plenty of Latin kick. 6 of the 10 numbers are Lytle originals, including "Done It Again", "Sleepy Dozier", "Zote", "Jungle Child" and "Happy Preacher" – plus "If Ever I Should Leave You", "People" and "The Nearness Of You". CD

Pure wonderfulness from Dave Mackay & Vicky Hamilton – one of the hippest duos ever to record a jazz record! The duo are a bit like Jackie & Roy at their best – in that Dave plays piano (including a bit of Fender Rhodes) and sings duet vocals with Vicky Hamilton in a sweetly swinging way that sounds very very groovy. Yet the overall sound is even groovier than Jackie & Roy – touched with influences from Sunshine Pop and the hipper side of the jazz spectrum – in a style that's extremely inventive, and unlike anything else we can think of! Tunes are mostly originals penned by the pair, and instrumentation on the record includes flute and saxes from Ira Schulman and guitar from Joe Pass – alongside keyboards from Dave, plus bass and drums. There's a beautifully breezy feel to the whole record – really the blueprint for countless 70s jazz vocal efforts to come from others – and titles include "Happying", "If I Ask You", "4 Ira", "See My Rainbow", "Peek A Boo", "Free", "Silent", and "Reach Out". (Vocalists, Jazz) LP, Vinyl record album

An incredible record from Shelly Manne – one of his only dates recorded at The Manne Hole, even though it was his own club – and a killer live recording that was issued in a rare 2LP format for the time! The style here is similar to Manne's excellent recordings at the Blackhawk – open-ended, stretched out, and more freely expressive hardbop than on his 50s sides – played by a group that features plenty of excellent tenor from the great Richie Kamuca, plus trumpet from Conte Cantoli, piano from Russ Freeman, bass from Chuck Berghofer, and drums from Manne himself. As with the Blackhawk date, many of the tunes are familiar, but open up mostly as longer solo vehicles – completely transformed by the efforts of the group and their freewheeling lines. Titles on this second volume include "Love For Sale", "The Champ", "How Could It Happy To A Dream", and "Softly As In A Morning Sunrise". CD

Two classic greasy grooves – hot off the grill from chef Jack McDuff! Hot Barbeque is one of our favorite all-time Jack McDuff albums, and one that features his classic quartet in totally amazing form. George Benson's wailing on guitar, and proving that he was a genius, even at this tender young age (and in fact, maybe only at this age!), Red Holloway's on tenor, and the amazing Joe Dukes' is skipping away on drums, dancing all over the place under Brother Jack's great groovy solos. With the short vocal ditty that comprises the title cut, plus other long groovers including "The Party's Over", "Happy Dip", and "Cry Me A River". All this, and the cover's got a great photo of Jack chompin' on a slab of ribs! The other half of this CD is one of three live sides McDuff cut, all with similar covers, but this one's got the red and orange lettering. Red Holloway blows and hollers over the fingerpoppin' grooves delivered by a young George Benson on his first major gig, and the soulful drums of Joe Dukes. Features cookin' live versions of "Rock Candy", "Sanctified Samba" and "A Real Goodun'". Jack McDuff Live is a killer, and one of three live sides McDuff cut for Prestige during the 60s – a monster session of stretched-out jazzy grooves, with many fine little dancers, and a raw soulful feel throughout! The group's one of Jack's best – as Red Holloway's tenor blows and hollers over the fingerpoppin' grooves delivered by a young George Benson on his first major guitar gig – and the soulful drums of Joe Dukes scatter across the place, taking the whole band into some incredible rhythms! Titles include cookin' live versions of "Rock Candy", "Sanctified Samba", "Undecided", and "A Real Goodun'". CD

A damn funky little album – even if we can't read any of the titles or notes on the cover! The whole thing's completely in Japanese – leaving our English-skilled eyes at a loss – but our ears are more than happy with the sounds coming out of the disc – some incredible funk with a very majestic feel – almost an MPS-type big band funky record, but with these deep inflections of soul that really send the whole thing home! Arrangements are complicated, yet always forceful enough to keep on the groove – and the horns move from roles as tight punch upfront to softer colors in the background – really creating a dynamism in the instrumentation that keeps the whole thing very unique. The whole record works together as a single sonic piece – maybe even more so since we can't distill things down on the basis of language – and there's great funky bass, guitar, and keyboards mixed in with the larger set of horns! LP, Vinyl record album

An obscure set of tracks – but some really wonderful material from the catalog of Pacific Jazz Records! The CD's title clearly showcases the presence of Wes Montgomery on the sides – but Wes was actually more of a sideman on these tracks, and the real credit for the greatness goes to the leaders! The first 10 tracks on the CD are from the album Good Git Together by Jon Hendricks – a rare early non-LHR session by the jazz vocalist – one cut in a very different style than his more famous group vocalese work. Hendricks is laidback, open, and very soulful – working with Wes, Buddy, and Monk Montgomery – as well as Cannonball and Nat Adderley, Pony Poindexter, and Gildo Mahones – all coming together in a "git together" session that features some of Hendricks' best vocals on record! The session features great readings of Hendricks originals that include "Minor Catastrophe", "I'll Die Happy", and "I'm Gonna Shout" – as well as Gigi Gryce's "Music In The Air" and "Social Call", plus a great take on Randy Weston's "Pretty Strange" and Gildo Mahones' "The Shouter". Next up on the set are 8 more tracks from a jazz version of Kismet – recorded by The Mastersounds group which featured Buddy Montgomery on vibes and Monk Montgomery on bass – joined here by Wes on guitar! The source of the tunes is a musical, but the presentation is all jazz – and the group craft some real magic in their exotic style, with tracks that include "Fate", "Olive Tree", "Not Since Nineveh", and "Gesticulate & Rhymes Have I". CD

Funky, fuzzy, and outta site – a really wonderful set of extended psychedelic jazz numbers from twin tenorists Takeru Muraoka and Takao Uematsu! The set's billed as a live tenor "battle" on the cover – but it's hardly the sort of record that you'd hear from American players in this mode – no bebop jams, and instead some great soul and funk-influenced lines on the horns, served up over rhythm from a trio that features electric piano, electric bass, and drums from the mighty Motohiko Hino! There's a nice degree of fuzz on the saxes at times (are they using some effects pedals?) – and the long tunes really open up with a wicked groove that feels like some lost US jazz funk album from the early 70s. Titles include "Happy Birth", "Listen Here", "Hot Sunday", and "CC Rider". LP, Vinyl record album

A legendary concert – recorded at Massey Hall in Toronto, with a previously-unmatched quintet of superstar bop players: Charlie Parker on alto, Dizzy Gillespie on trumpet, Bud Powell on piano, Charles Mingus on bass, and Max Roach on drums. This reissue set also includes the Bud Powell trio sides which were issued separately as Jazz At Massey Hall Vol 2. The quintet runs down "Perdido", "Salt Peanuts", "All The Things You Are", "Wee", "Hot House" and "A Night In Tunisia" and the trio sides are "Embraceable You", "Sure Thing", "My Devotion", "Polka Dots & Moon Beams", "Cherokee", "Jubilee", "I've Got You Under My Skin", "My Heart Stood Still", "I Want To Be Happy" and "Lullaby Of Birdland". LP, Vinyl record album

Strong work from the Peterson Trio's London House gig in Chicago in 1961 – material that offers some slightly longer than usual takes on the group's sound, especially on a few numbers that really let Oscar open up on the keys! The group here is the legendary combo with Ed Thigpen on drums and Ray Brown on bass – but on the album's long versions of "Sometimes I'm Happy", "In The Wee Small Hours" and "Chicago", it's Oscar's inventive work on the keys that really dominates the nearly 10 minute run of each track. Other shorter tunes include "Billy Boy", "Whisper Not", and "The Night We Called It A Day". Includes five bonus tracks. CD

Strong work from the Peterson Trio's London House gig in Chicago in 1961 – material that offers some slightly longer than usual takes on the group's sound, especially on a few numbers that really let Oscar open up on the keys! The group here is the legendary combo with Ed Thigpen on drums and Ray Brown on bass – but on the album's long versions of "Sometimes I'm Happy", "In The Wee Small Hours" and "Chicago", it's Oscar's inventive work on the keys that really dominates the nearly 10 minute run of each track. Other shorter tunes include "Billy Boy", "Whisper Not", and "The Night We Called It A Day". Includes five bonus tracks. CD

An amazing avant session from the Czech scene of the 70s – and a record that may well be one of the most important to come out of the Eastern Bloc during the decade! Plastic People Of The Universe are a group who managed a legend that went way past their very tight national boundaries – kind of a secret global sense of attention that was spread through the intellectual underground, and forever cemented with this masterpiece of music! The album effortlessly shifts between free jazz, avant experimentation, art rock, and other mode used in these dark and powerful ways – a strong-burning torch that let the world know that Czech innovation was alive and well, even during years of strong Soviet oppression. Instrumentation mixes alto sax, theremin, claviphone, guitar, violin, and double drums – and titles include "The Wondrous Mandarin", "Look At You, All Sound Asleep", "Past My Window", "Constipation", and "Toxica". (Rock, Jazz) LP, Vinyl record album

An amazing avant session from the Czech scene of the 70s – and a record that may well be one of the most important to come out of the Eastern Bloc during the decade! Plastic People Of The Universe are a group who managed a legend that went way past their very tight national boundaries – kind of a secret global sense of attention that was spread through the intellectual underground, and forever cemented with this masterpiece of music! The album effortlessly shifts between free jazz, avant experimentation, art rock, and other mode used in these dark and powerful ways – a strong-burning torch that let the world know that Czech innovation was alive and well, even during years of strong Soviet oppression. Instrumentation mixes alto sax, theremin, claviphone, guitar, violin, and double drums – and titles include "The Wondrous Mandarin", "Look At You, All Sound Asleep", "Past My Window", "Constipation", and "Toxica". (Rock, Jazz) LP, Vinyl record album

Classic Bud Powell trio work for Verve – recorded with Max Roach on drums, adding a nice edge to the session! The record features some of Powell's classics – like "Tempus Fugit", "Strictly Confidential", and "Celia" – plus other haunting renditions of standards like "Get Happy", "Yesterdays", and "April In Paris" – all wrapped up in a nice cover that features a moody David Stone Martin image in red! CD

That's Carl Saunders, not Colonel Sanders – and he's one heck of a great trumpeter, more than strong enough to carry off a live quartet date like this! The album has Saunders on both trumpet and flugelhorn – working with piano, bass, and drums in a set of extended tracks with plenty of room for solos. Carl's a player that we'd missed until this Sinatra Society set caught our eye, and although contemporary, the album's got a classic feel that reminds us a bit of an Art Farmer record from a few decades back – and Saunders has more than enough imagination to carry off his solos with the sort of reference that might imply. He also happens to be a good writer too – and 7 of the album's 10 tracks are originals – with titles that include "Happy Go Lucky", "Can You Dig Being Dug", "Calming Notion", "Midi Evil Blues", "Blues On The Side", and "The Girl From Cancun". CD

Jimmy Smith heard in the kind of setting that spawned him – playing live at Delaware's Club Baby Grand – just the sort of smoky little jazz room that initially fostered his talents! The liveness of the set brings a really nice edge to the album – a sound that's grittier than some of Jimmy Smith's studio work of the early Blue Note years – and which features him really stretching out on the Hammond, taking close to 10 minutes to run through each tune – and that's saying a lot, given that there's hardly any other soloists! The rest of the group features Thornel Schwartz on guitar and Donald Bailey on drums – and tracks on this second volume include "Caravan", "Get Happy", "It's All Right With Me", and "Love Is A Many Splendored Thing". CD

Jimmy Smith heard in the kind of setting that spawned him – playing live at Delaware's Club Baby Grand – just the sort of smoky little jazz room that initially fostered his talents! The liveness of the set brings a really nice edge to the album – a sound that's grittier than some of Jimmy Smith's studio work of the early Blue Note years – and which features him really stretching out on the Hammond, taking close to 10 minutes to run through each tune – and that's saying a lot, given that there's hardly any other soloists! The rest of the group features Thornel Schwartz on guitar and Donald Bailey on drums – and tracks on this second volume include "Caravan", "Get Happy", "It's All Right With Me", and "Love Is A Many Splendored Thing". CD

Material recorded early in the Blue Note career of Jimmy Smith – but not issued until the mid 60s, and often overlooked at the time! The record's still in the spare trio mode of the early Jimmy Smith years – but is a bit lighter and more lyrical than before – a nice change from the harder tones of Jimmy's early trio records, and a hint and the expansive lines he'd take on later recordings! The lineup features mostly Kenny Burrell on guitar and Philly Joe Jones on drums – plus a few additional tracks that use Eddie McFadden on guitar and Donald Bailey on drums – and titles include "These Foolish Things", "Sometimes I'm Happy", "Someone To Watch Over Me", "One For Philly Joe", and a nice version of Monk's "Hackensack". CD features 4 bonus tracks – "Willow Weep For Me", "Ain't No Use", "Angel Eyes", and "Ain't That Love" – all with vocals by Bill Henderson! CD

Material recorded early in the Blue Note career of Jimmy Smith – but not issued until the mid 60s, and often overlooked at the time! The record's still in the spare trio mode of the early Jimmy Smith years – but is a bit lighter and more lyrical than before – a nice change from the harder tones of Jimmy's early trio records, and a hint and the expansive lines he'd take on later recordings! The lineup features mostly Kenny Burrell on guitar and Philly Joe Jones on drums – plus a few additional tracks that use Eddie McFadden on guitar and Donald Bailey on drums – and titles include "These Foolish Things", "Sometimes I'm Happy", "Someone To Watch Over Me", "One For Philly Joe", and a nice version of Monk's "Hackensack". CD features 4 bonus tracks – "Willow Weep For Me", "Ain't No Use", "Angel Eyes", and "Ain't That Love" – all with vocals by Bill Henderson! CD

Blistering work from the British jazz scene of the mid 70s – a moment when there was still plenty of exciting music going on, if you just knew where to look! Pianist John Taylor works here with a fair bit of Fender Rhodes – using the instrument in these long blocks of sound that are superbly bumped forward by the bass of Chris Laurence and drums of Tony Levin – then given all these fantastic flourishes by Kenny Wheeler on trumpet and flugelhorn, Chris Pyne on trombone, and Stan Sulzman on tenor, soprano, and flute – all players who bring a stunning amount of color into the music – opening up the tunes with these really strong currents of soul! The vibe is a bit like some of the electric work by Nucleus – but more jazz, less prog – on titles that include "The Other One/1", "Interfusion", "Fragment", "For Chris", "Irene", "Room For Improvement", and "Happy Landing/Easter Eve". CD

Blistering work from the British jazz scene of the mid 70s – a moment when there was still plenty of exciting music going on, if you just knew where to look! Pianist John Taylor works here with a fair bit of Fender Rhodes – using the instrument in these long blocks of sound that are superbly bumped forward by the bass of Chris Laurence and drums of Tony Levin – then given all these fantastic flourishes by Kenny Wheeler on trumpet and flugelhorn, Chris Pyne on trombone, and Stan Sulzman on tenor, soprano, and flute – all players who bring a stunning amount of color into the music – opening up the tunes with these really strong currents of soul! The vibe is a bit like some of the electric work by Nucleus – but more jazz, less prog – on titles that include "The Other One/1", "Interfusion", "Fragment", "For Chris", "Irene", "Room For Improvement", and "Happy Landing/Easter Eve". LP, Vinyl record album

Two great albums from Lucky Thompson! First up is Plays Jerome Kern – wonderful work from that early 60s moment when Lucky Thompson was really opening up with a newly soulful sound – and mixing in some great soprano sax work with his tenor! The tunes are familiar, but the execution is wonderful – Lucky blowing easily in a quartet with Hank Jones on piano, Wendell Marshall on bass, and Dave Bailey on drums – the last of whom really keeps things moving, even when mellow. Titles include " Long Ago And Far Away", "Lovely To Look At", "No More", "Look For The Silver Lining", "Who", "Dearly Beloved", "Why Do I Love You", "Why Was I Born", and "They Didn't Believe Me". Happy Days is an overlooked gem from Lucky Thompson's mid 60s years – that wonderful time when he'd returned to the fold even stronger than ever – filled with hip new musical ideas, and a great command for the soprano sax! This set's got Lucky working on both soprano and tenor, both of which are handled with these angular, soulful tones that are totally great – right at home in a group that features Tommy Flanagan on piano, George Tucker on bass, and Walter Perkins on drums – all marvelously sensitive rhythm accompanists. Jack Melady adds harp on 2 tracks on the set – a very nice touch – and titles include "Safari", "Cry Me A River", "People", "You Don't Know What Love Is", and "As Time Goes By". CD

A rare jazz treasure from the European scene of the early 70s – killer material from a wealth of American artists and local talents – all done as special sessions for Dutch radio, and never issued to the public on record! Despite the radio origins of the music, the sound here is tremendous – easily on a par with the best MPS sessions of the time – which is no surprise, given that many of the artists here worked in similar circles! The first half of the set features the trio of pianist Louis Van Dyke augmented with guests who include Mark Murphy, Helen Merrill, Eddie Jefferson, Toots Thielemans, Herb Geller, and Dave Pike – all stepping out into the spotlight while Van Dyke's combo backs them up with lively grooves that are often heavy on bossa influences! The second half features larger orchestrations from The Metropole Orchestra – a soaring big band who groove wonderfully, often in support of vocals from Murphy or Greetje Kauffeld, but also featuring instrumental solos from European players Ack Van Rooyen, Piet Nordijk, Ferdinand Povel, and others. The whole set is worth it alone for the vocals of Murphy – because the record easily stands as some of his best work ever from this decade – and given how great Mark was at the time, that's really saying a lot! Small group titles include "Children Of The Sun", "So What", "Love Sick", "Sao Paulo", "Con Alma", "Seventh Day", and "Falling In Love With Love" – and bigger group numbers include "Out Of This World", "My Shining Hour", "Let's Fall In Love", "Get Happy", "I'll Wind", "This Time The Dream's On Me", "Paper Moon", "One For My Baby", "Come Rain Or Come Shine", and "That Old Black Magic". 37 tracks in all! CD

A killer ECM debut from Kenny Wheeler – a real standout in the label's classic 70s run, and a record that's overflowing with soul and feeling! Wheeler had already made a number of key recordings by the time of this ECM set, but the label's approach seems to unlock something new in his playing – a deeper sensitivity, yet never in the slower, too-open way of other ECM players – almost an Art Farmer sort of approach to the flugelhorn, which he uses exclusively on this set. The tracks are all quite long, but very focused and flowing – with key rhythmic support from the trio of Keith Jarrett on piano, Dave Holland on bass, and Jack DeJohnette on drums – all of whom are happy to put their own agendas aside, and let Wheeler's magnificent lines direct the album's sound. Titles include "Heyoke", "Smatter", and "Gnu Suite". CD

A killer ECM debut from Kenny Wheeler – a real standout in the label's classic 70s run, and a record that's overflowing with soul and feeling! Wheeler had already made a number of key recordings by the time of this ECM set, but the label's approach seems to unlock something new in his playing – a deeper sensitivity, yet never in the slower, too-open way of other ECM players – almost an Art Farmer sort of approach to the flugelhorn, which he uses exclusively on this set. The tracks are all quite long, but very focused and flowing – with key rhythmic support from the trio of Keith Jarrett on piano, Dave Holland on bass, and Jack DeJohnette on drums – all of whom are happy to put their own agendas aside, and let Wheeler's magnificent lines direct the album's sound. Titles include "Heyoke", "Smatter", and "Gnu Suite". CD

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

Not only a great follow-up to the first Echoes Of An Era session, but also a standout 80s performance from Nancy Wilson – quite possibly her best of the decade! The setting is nice and laidback – a live date with a core combo that features Joe Henderson on tenor, Chick Corea on piano, Stanley Clarke on acoustic bass, and Lenny White on drums – plus steller vocals from Wilson, who's really at home in the setting – stretching out beautifully on the long tracks, and coming into play with the soloists at a level that's quite different from her more polished studio records. Clarke's bass is a delight, too – a great reminder that his talents didn't always lie in the electric realm during the 80s – and Henderson, as you might guess, provides some soulful undercurrents that reallyg round the whole proceedings. Titles include "500 Miles High", "Round Midnight", "Rhythm A Ning", "My One & Only Love", "Them There Eyes", and "I Want To Be Happy". (Vocalists, Jazz) CD

Torbjorn Zetterberg has always been a hell of a bassist – but in recent years, he really seems to be exploding as a greater jazz visionary – working with a group like this in a range of explosive new ideas we never would have expected just a few years ago! The music is often incredibly dense – Zetterberg's bass in the lineup, but also part of a rich array of sounds from Susana Santos Silva on trumpet, Mats Aleklint on trombone, Jonas Kullhammar on tenor and alto, Alberto Pinto on clarinet and baritone, Jon Falt on drums, Alexander Zethson on Hammond and Fender Rhodes, and Lars Skoglund on drums – mostly players that have worked together often over the years, and who beautifully interpret the stunning arrangements and compositions by Zetterberg. There's definitely plenty of outside moments on the record, but as with much Moserobie material, things also swing at times too – a balance between freedom and structure that matches the balance between group and individual on the album. Titles include "Drommusik", "Meningen Med Vad", "Oraklet I Finnaker", "Plingplongpiano", and "Nytt Hopp Over Atlanten". CD

A wealth of rare European grooves – most recorded in the late 60s and early 70s, all making their debut on CD! The package brings together previous vinyl-only reissues from the Sonorama label – 7" singles that feature material dug from German sound library recordings of many years back – all in a great blend of jazz, funk, soul, and bossa! Given the strength of the material, the collection may be the best release so far on Sonorama – and that's saying a heck of a lot, given the already-great titles the label has brought to the market. CD features two tracks appearing here for the first time ever – "Woe's All Over Me" by Jazz Orchestra Rob Pronk and "By The Help Of You & Me" by Ray Christoph's New Sound – plus "Happy Samba", "Summertime", "The Lady Is A Tramp", and "Windmills Of Your Mind" by Mark Murphy & Louis Van Dyke; "Baby I Love You", "Fever", "Cold Sweat", "I Got A Feeling" by Kadri Six; "Love Cage", "Hard Work", "Neptune's Walk", and "Scotch & Soda" by Orchestre Pete Jacques; and "Wordless Blues", "Soul Organ", and "The Very First Day" by Ray Christoph's New Sound. (Funky Compilations, Jazz) CD

Killer guitar work from a legendary label – tracks that were all recorded for the Groove Merchant imprint in the 70s – a company that really valued the sound that a hip guitarist could bring to the funky side of jazz! Some of the tracks here feature a Hammond player in the lead, but also showcase a great guitar solo in the middle – while others are by guitarists as leaders, including some players who maybe sounded their best when recording for Groove Merchant! Titles include "Misty", "We've Only Just Begun", "Everything I Do Gonna Be Funky", and "Love Will Never Die" by O'Donel Levy – plus "Happy Fingers" and "Groovy lady" by George Freeman, "A Clue" by Jimmy Ponder, "When The Night Is Right" and "Favors" by Lonnie Smith, "Soul Sermon" by Joe Thomas, "Blues Train To Georgia" by Jimmy McGriff, and "Soft Winds" by Buddy Rich. (Funky Compilations, Jazz) CD