An expanded, remastered version of the album Prophecy – early work by Albert Ayler, recorded live in 1964 at the Cellar Cafe in New York, but not issued by ESP until years later, after his untimely early death. The performance is a trio outing – with Ayler's tenor alongside the bass of Gary Peacock and drums of Sunny Murray – all freely skirting around each other's space on the date, in a way that allows Ayler to take the bold lead with his sharp-toned solos, but which also allows for free interplay between the bass and percussion. Ayler's tone and wide swaths of sound are simply amazing – and titles include two variations on "Ghosts", plus "Spirits", "Prophecy", and "Wizard". Newly remastered version of the full concert – with 10 tracks in all! CD

An expanded, remastered version of the album Prophecy – early work by Albert Ayler, recorded live in 1964 at the Cellar Cafe in New York, but not issued by ESP until years later, after his untimely early death. The performance is a trio outing – with Ayler's tenor alongside the bass of Gary Peacock and drums of Sunny Murray – all freely skirting around each other's space on the date, in a way that allows Ayler to take the bold lead with his sharp-toned solos, but which also allows for free interplay between the bass and percussion. Ayler's tone and wide swaths of sound are simply amazing – and titles include two variations on "Ghosts", plus "Spirits", "Prophecy", and "Wizard". Newly remastered version of the full concert – with 10 tracks in all! CD

Legendary recordings from Albert Ayler's 1966 ESP set at Slugs Nightclub – located in his home turf of the East Village, a very fervent setting for avant jazz at the time! The material has a feel that's a lot like Ayler's studio recordings for ESP, but the tracks are longer overall, and feature a bit more interplay between the group members at times – individual solo space that's occasionally a bit more pronounced, running back into some tighter energies from the rest of the group. Ayler's blowing with a lineup that includes his brother Donald Ayler on trumpet, Lewis Worrell on bass, Michel Sampson on violin, and a very young Ronald Shannon Jackson on drums and percussion – and titles include "Truth Is Marching On", "Bells", "Ghosts", "Initiation", and "Our Prayer". CD

A crucial European performance by Albert Ayler in the mid 60s – one that wasn't issued until many years after the recording, but which has become one of the sharpest pictures of his genius at the time! The vibe here is different than the Ayler albums for ESP – still very much in the same territory, but with this approach that's really reaching out with a deeply spiritual consciousness – an energy to embrace the whole history of jazz, both very old and very new – and re-form its entire ideology into a richly personal expression. Ayler's tremendous on tenor, but Don Ayler is often equally great on trumpet – and the unusual group features Michel Samson on violin, William Fowell on bass, and Beaver Harris on drums. Titles include really unique readings of "Bells", "Prophet", "Our Prayer/Spirits Rejoice", "Ghosts", "Truth Is Marching In", and "Spiritual Rebirth/Light In Darkness/Infinite Spirit". CD

A crucial European performance by Albert Ayler in the mid 60s – one that wasn't issued until many years after the recording, but which has become one of the sharpest pictures of his genius at the time! The vibe here is different than the Ayler albums for ESP – still very much in the same territory, but with this approach that's really reaching out with a deeply spiritual consciousness – an energy to embrace the whole history of jazz, both very old and very new – and re-form its entire ideology into a richly personal expression. Ayler's tremendous on tenor, but Don Ayler is often equally great on trumpet – and the unusual group features Michel Samson on violin, William Fowell on bass, and Beaver Harris on drums. Titles include really unique readings of "Bells", "Prophet", "Our Prayer/Spirits Rejoice", "Ghosts", "Truth Is Marching In", and "Spiritual Rebirth/Light In Darkness/Infinite Spirit". CD

A pair of classic Albert Ayler albums from 1964 – back to back on a single CD! First up is Spirits – only the second album ever recorded by Albert Ayler, but a tremendous statement of music that clearly marks the tenorist as one of the most important jazz talents of the 60s! The set was recorded in New York, and only ever got initial exposure overseas – but has grown to become one of the best-remember Ayler albums over the years – thanks in part to a rock-solid lineup of equal visionaries in the group, a lineup that include Sunny Murray on drums, Norman Howard on trumpet, and both Henry Grimes and Earl Henderson on bass – playing together on the title track, which gives the whole thing a really tremendous power. Ayler's clearly the spotlight, though – shining his light with brilliance both in his phrasing of the tenor, and his sense of timing and inherent rhythm – which opens the door to whole new pathways in jazz. Titles include "Spirits", "Prophecy", "Holy Holy", and "Witches & Devils". Next is Ghosts – a seminal early moment from the legendary Albert Ayler – an important session recorded overseas in Copenhagen – where enthusiasm for Ayler's music caught fire more strongly than in the US! The group's got an edge that's maybe even sharper than some of Ayler's ESP material, but no less powerful – with Don Cherry on cornet, Gary Peacock on bass, and Sunny Murray on drums – working through tremendous readings of six Ayler classics that include "Ghosts", "Children", "Holy Spirit", "Vibrations" and "Mothers". A wonderful precursor to the ESP years – and equally great! CD

A huge 2CD set – one that features important European work that saxophonist Albert Ayler recorded with trumpeter Don Cherry! CD1 brings together six tracks from Albert Ayler's Hilversum Radio sessions from 1964 – plus an additional three tracks recorded in Denmark a few months earlier! The first six titles are a famous performance by a famous group set loose on a European tour in 1964 – Ayler on tenor, Don Cherry on cornet, Gary Peacock on bass, and Sunny Murry on drums – recorded in The Netherlands for a small audience in a Dutch radio studio! The setting is a wonderful one – a mix of the live freedoms that would really let Ayler stretch out – especially when playing overseas – but recorded with the clarity of some of his studio albums for ESP – that sharp-edged sound that really highlights the groundbreaking style of his playing! The rest of the group here is equally great, and Murray is completely freed up from rhythm at points, to fly beautifully with the rest – on titles that include "Angels", "CAC", "Infant Happiness", "Ghosts", and "No Name". The same group performs on the final three tracks – recorded in Copenhagen for Danish Radio, with an equally great level of clarity – on "Saints", "Spirits", and "Vibrations". The interplay between Ayler and Cherry is especially great – echoing the latter's material with Ornette Coleman, but with a different sort of edge! CD2 features amazing live material from 1964 – work that was recorded at the Club Montmartre in Copenhagen, right around the same time that Albert Ayler recorded his album for Debut Records – and a set that has his quartet in even more firey formation overall! The tracks are long, and Ayler is completely unbridled – at a level that really shows not only how much of a leader he was to the American avant underground, but what an inspiration he was to the European free scene too – who could only help but take a big cue from his work here on tenor! The group also features equally wonderful work from Don Cherry on cornet – sounding quite different than when with Ornette Coleman – plus bass from Gary Peacock, whose dark tones really set the mood – and drums from Sunny Murray, who is also at an explosive point in his career. The material is remastered wonderfully, with permission from Albert Ayler's estate – and titles include "Mothers", "Saints", "Vibrations", Spirits", "Children", and a shorter "Spirits". CD

A huge 2CD set – one that features important European work that saxophonist Albert Ayler recorded with trumpeter Don Cherry! CD1 brings together six tracks from Albert Ayler's Hilversum Radio sessions from 1964 – plus an additional three tracks recorded in Denmark a few months earlier! The first six titles are a famous performance by a famous group set loose on a European tour in 1964 – Ayler on tenor, Don Cherry on cornet, Gary Peacock on bass, and Sunny Murry on drums – recorded in The Netherlands for a small audience in a Dutch radio studio! The setting is a wonderful one – a mix of the live freedoms that would really let Ayler stretch out – especially when playing overseas – but recorded with the clarity of some of his studio albums for ESP – that sharp-edged sound that really highlights the groundbreaking style of his playing! The rest of the group here is equally great, and Murray is completely freed up from rhythm at points, to fly beautifully with the rest – on titles that include "Angels", "CAC", "Infant Happiness", "Ghosts", and "No Name". The same group performs on the final three tracks – recorded in Copenhagen for Danish Radio, with an equally great level of clarity – on "Saints", "Spirits", and "Vibrations". The interplay between Ayler and Cherry is especially great – echoing the latter's material with Ornette Coleman, but with a different sort of edge! CD2 features amazing live material from 1964 – work that was recorded at the Club Montmartre in Copenhagen, right around the same time that Albert Ayler recorded his album for Debut Records – and a set that has his quartet in even more firey formation overall! The tracks are long, and Ayler is completely unbridled – at a level that really shows not only how much of a leader he was to the American avant underground, but what an inspiration he was to the European free scene too – who could only help but take a big cue from his work here on tenor! The group also features equally wonderful work from Don Cherry on cornet – sounding quite different than when with Ornette Coleman – plus bass from Gary Peacock, whose dark tones really set the mood – and drums from Sunny Murray, who is also at an explosive point in his career. The material is remastered wonderfully, with permission from Albert Ayler's estate – and titles include "Mothers", "Saints", "Vibrations", Spirits", "Children", and a shorter "Spirits". CD

Solo, duo, and trio recordings from Paul Bley – all done in an amazingly inventive mode that takes us back to his key sessions of the early 70s! Bley's in great company here – with Hans Koch on reeds and Franz Koglmann on flugelhorn – both musicians who share Paul's sense of sound as shapes, shaped by the space in between – yet always in ways that still have a beating heart underneath – and are never too academic for their own sakes. The blend is a careful one, but it rings true here right from the very first note – on a beautifully recorded batch of 18 tracks! CD

A CD that brings together some important early work from altoist Marion Brown – two long tracks from the sessions for his Quartet album on ESP – and a later album issued only overseas! The set begins with the long tracks "Capricorn Moon" and "Mephistopheles" from Marion Brown Quartet – one of our favorite albums ever on the legendary ESP label – a rhythmic, soulful, early session by Marion Brown – recorded before his own albums on Impulse, but with a similar feel to the best new thing sessions of that label at the time! The group is superb – with Benny Maupin on sax, Alan Shorter on trumpet, Rashied Ali on drums, and Ronnie Boykins on bass, often playing in tandem with Reggie Johnson – for a unique double-pulsing feel that makes for a nice rhythmic thrust. Next are the tracks "Juba Lee" and "Iditus", from the album Juba Lee – brilliant work from Marion Brown – one of his first albums, and a great set of tracks that have a fragile New York avant style – almost ESP, but not as raw, and with the kind of soulful emotion that's always made Brown's work stand out from the rest of his crowd. The group on the album is a septet, with Beaver Harris on drums, Dave Burrell on piano, Bennie Maupin on tenor, Alan Shorter on trumpet, and Grachan Moncour III on trombone. CD

Sublime solo piano from the great Dave Burrell – maybe one of his best records ever! CD

Taylor Ho Bynum on cornet, Matt Bauder on tenor saxophone and bass clarinet, Jessica Pavone on viola, Evan O'Reilly and Mary Halvorson on electric guitar, and Tomas Fujiwara on drums. CD

Fantastic material from an important early tour of Europe by the John Coltrane Quartet – tracks recorded in Graz, Austria – and a perfect example of the group as they were really beginning to stretch out and explore! At some level, the vibe here is like the famous first run of Village Vanguard sessions by Coltrane – but the sound shows just how much the players had opened up since the previous year – really tremendous work from the leader on both soprano sax and tenor, McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums! Coltrane's solos are long and freewheeling, with a beautifully exploratory, yet soulful vibe – and titles include "Mr PC", "Every Time We Say Goodbye", "Bye Bye Blackbird", and a great 24 minute take of "My Favorite Things". CD

A set that features music from three different sessions recorded by trumpeter Bill Dixon in the mid 60s – all pretty groundbreaking work, even all these many years later! First up is a quartet co-led by Archie Shepp and Bill Dixon – easily one of the greatest modern jazz pairings of the 60s! If you only know Shepp from his later work, you'll hear something very different here – as his tenor's often brought into tight focus with the trumpet of Dixon – in a blend of arrangement and freedom that's like that of Ted Curson and Bill Barron, but a lot more powerful overall! The tunes still have a sense of structure – and get great help from the bass of Don Moore and drums of Paul Cohen – but there's also some tremendously unbridled energy from the leaders, especially Dixon, who might not have sounded this great ever again. Titles include "Quartet" and "Trio". Next up is one side of an album that Dixon split with Shepp for Savoy – and Dixon's material here features a septet, with a great lineup that includes Ken McIntyre on alto and oboe, George Barrow on tenor, and both Hal Dodson and David Izenzon on basses. Titles include "Winter Song 1964" and "The 12th December". Last up is the seminal Intents & Purposes record – one of the few rare records cut by Bill Dixon during the 60s, and a perfect example of "new thing" jazz in action. Trumpeter Dixon plays in 3 different ensembles – a nonet, a quintet, and a duet – with players like Byard Lancaster, Reggie Workman, Robert Pozar, and Jimmy Garrison. The tracks are long, with an approach that begins with compositional structures, but which also showcases the avant solo talents of the players – in a manner that's similar to some of the Blue Note work by Anthony Williams or Grachan Moncur III. A darn tough record to find – and with the tracks "Voices", "Nightfall Pieces I & II", and "Metamorphosis". CD

Dave Douglas on trumpet, Brad Schoeppach on guitar, and Jim Black on drums. CD

Ellery Eskelin on tenor saxophone, Drew Gress on double bass, and Phil Haynes on drums. CD

Guillermo Gregorio on clarinet, Eric Pakula and Guillermo Gregorio on alto saxophone, Eric Pakula on tenor saxophone, John Lockwood on bass, Pandelis Karayorgis on piano, and Mat Maneri on violin. CD

Guillermo Gregorio on alto and tenor saxophone and clarinet, Gene Coleman on bass clarinet, Jim O'Rourke on acoustic guitar and accordion, Carrie Biolo on vibes, and Michael Cameron on acoustic bass. CD

Includes Michael Moore on sax and clarinet, Wolter Wierbos on trombone, Ernst Reijseger on cello, Mark Dresser on bass and Gerry Hemingway on drums. CD

A massive double-length set from saxophonist Steve Lacy – and maybe one of the strongest 70s statements from his legendary European quintet! The album features two different live performances – each of which open up in the brilliant freedoms allowed by the European scene since the end of the 60s, but restructured by Lacy in that fantastic energy he shared with Steve Potts on alto, Irene Aebi on cello and voice, Kent Carter on bass, and Oliver Johnson on drums. The group display a masterful balance between united energy and individual expression – and the synchronicity between Lacy and Potts is especially striking. Titles include "Stamps", "Wickets", "The Dumps", "The Blinks", "Duckles", "Ire", and "Existence". Also features the bonus track "Follies". CD

Breathily-blown brilliance from tenor saxophonist Rodrigo Amado – working here in a very well-matched frontline that features the mighty Joe McPhee on pocket trumpet and soprano sax – both instruments he uses with a deftness that takes us back to is early albums on Hat Hut! Both musicians have this great sense of texture – an almost-earthy vibe at times, which is certainly echoed by the deep-toned bass work of Kent Kessler – a player we don't hear from as much as we used to, but who makes a really strong appearance here, especially when balancing out some of the freer moments on drums from Chris Corsano. Both McPhee and Amado sometimes have very close-up, almost mouthy elements to their music at points – and titles include "Wild Flowers", "The Hiddend Desert", "Legacies", and "A History Of Nothing". CD features the bonus track "Theory Of Mind II". CD

One of Steve Lacy's great late 70s recordings for Hat Hut – a searing live performance that was one of his boldest efforts from the time! The group here are a quintet of familiar players – Steve Potts on alto and soprano sax, Irene Aebi on cello and voice, Kent Carter on bass, and Oliver Johnson on drums – all working together as a tremendously cohesive unit, with a dexterously angular feel on most of the numbers. Titles are all quite long, and with lots of choppy saxophone interplay – and Aebi performs a piece by Brion Gysin on the track "Dreams" 2CD set seems greatly expanded from the original album – and titles include "Raps", "The Way", "The Breath", "Stamps", "Bone", "Life On Its Way", and "Name". CD

A tremendous look at the early years of the legendary Joe McPhee – a set that's based around his classic Nation Time album, and which features other live material from the same time – including a Hat Hut album, and two CDs' worth of previously unissued work! The core album is legendary – a gritty set that features a mighty funky drummer, and some of the most soulful work that Joe ever recorded. Joe plays tenor and trumpet in sweet lineup that features bubbling organ, vamping rhythms, and some sweet modal elements mixed together in percussion, guitar, and Fender Rhodes. Titles include the hard wailing "Nation Time" – plus "Shakey Jake", an excellent 13 minute funk number – and the moodier "Scorpio's Dance". Next is the searing Black Magic Man album – an early release on the Hat Hut label, but recorded during the same December 1970 performance as Nation Time – almost showing the bolder, freer sound of the group – but still coming across with some surprising soulful elements too. The original album is expanded by the addition of the unreleased "Song For Lauren" alternate takes – and the core record includes "Black Magic Man", "Hymn Of The Dragon Kings", and "Song For Lauren". The next two CDs feature material recorded in 1969 and 1970 – at Vassar and in Poughkeepsie – with Joe and group working through some similar spiritual and soul jazz territory as on the Vassar CD issue from the same label. The music is heavy on elements you'd hear from the Nation Time album – Hammond, guitar, and even some electric bass and vibes – used in styles that run from soul jazz, to modal, to more experimental – all on very long tracks that have McPhee really stretching out on tenor and trumpet! Titles include "Cold Sweat", "Breakaway Theme", "Untitled", "Nation Time", "Sunshower", "Spring Street", and "Contemplation". All 4CDs come in very cool LP sleeves, in a slipcover box, a 60 page booklet of notes, photos, and information on the music! CD

A seminal early set on the Okka Disk label – the important Chicago avant imprint who began documenting an important stretch of the career of Joe McPhee – much as the Hat Hut label had begun 20 years before! The set features performances recorded during McPhee's first appearance in Chicago during the mid 90s – the start of a beautiful relationship that would continue for decades to come – and McPhee blows both reeds and trumpet, in a trio with Ken Vandermark on saxes and Kent Kessler on bass – all working together in a very open studio format that has the players shifting between trio work, to solo and duo performances too. The recording is crucial – as McPhee's sensitivity brings out a whole new side of both Chicago players – on titles that include "Heart Of The Matter", "A Meeting In Chicago", "Breakneck Ridge", "Lalibela", "Empty Bottle Blues", "Fourteen Years Later", and "I Leave You Love". CD

A tremendous moment for the great George Adams as a leader – a record that won the reedman widespread attention after some key work in the bigger groups of Gil Evans and Charles Mingus! Adams is a searing, soulful player right from the start – stepping out strongly on tenor at the kickoff of the record, but also blowing some flute with this moodier, more spiritual tone that really deepens our appreciation of his talents as a musician. The rest of the group is filled with similar spiritual energy – and includes Ron Burton on piano, Don Pate on bass, Al Foster on drums, and Azzedin Weston on percussion. The style is nicely different than some of George's later work with Don Pullen – maybe a bit more straightforward, but in a great way that really unlocks his voice as a leader – and titles include "Funk A Roonie Peacock", "Metamorphosis for Mingus", "Paradise Space Shuttle", and "Intentions". CD

Quite possibly the freshest vibist we've heard in years – a player whose records are always exploding with amazing sounds on his instrument – and the kind of intensity we'd reserve for a rare few on the vibes – maybe Bobby Hutcherson, Walt Dickerson, or Steve Nelson! Jason Adasiewicz has a talent that's been building and building for the past few years – and here, he really knocks it out of the park – showing a melodic conception that's as bold as his rhythmic inspiration – and control enough to get free, yet swing inside beautifully at just the right moment! The balance is one that's really been bringing some great sounds to the Chicago scene in recent years – and Jason's trio here features very like-minded cats – Mike Reed on drums and Nate McBride on bass, both players who ensure that the record is far more compelling than most other vibes trio sets you'll hope to find. Titles include "Stake", "Life", "Rose Garden", "Overtones Of China", "Warm Valley", and "Off My Back Jack". CD

A hokey kind of cover, but a great little album – another easy winner from the team of Eric Alexander and Harold Mabern, easily one of the greatest pairs working together in jazz for the past decade or so! Alexander's got a tremendous tone on the tenor – finely-honed with the maturity of a later Dexter Gordon, but also open to fluid, free moments too – with a sense of joy and exploration that recall our favorite moments on mid 60s Blue Note or Prestige. Mabern is great too – warm on the keys, but never sloppy – a player more filled with soul these days than ever, and always a great accompanist to Alexander's shifting range of modes in a set like this. Drums are by Joe Farnsworth, another trustworthy regular partner to the pair – and Nat Reeves completes the quartet on bass. Titles include 3 excellent Alexander originals (always his best work on record) – "Typhoon 11", "Little Lucas", and "Open & Shut" – plus versions of "Where Is The Love", "Where Or When", "Ruby My Dear", and "It's All In The Game". CD

One of the best Curtis Amy records for Pacific Jazz – and an album that really has him stretching out, hitting some of the more openly soulful modes that would develop further in the 60s! The set's a partnership with drummer Frank Butler, who himself is a pretty hip cat – and together, the pair break past the organ/tenor modes of the initial albums by Amy – really stretching out with help from trumpeter Carmell Jones, pianist Frank Strazzeri, and a young Bobby Hutcherson on vibes! Bassist Jimmy Bond ensures that things groove tightly – and titles include "Very Frank", "Groovin Blue", "Bobblin", and "Gone Into It". CD

A stunning surprise from Andre 3000 – at least if you only know him as part of Outkast – and a record that finally gives us an audio document of the sounds that Andre has really been involved with in recent years – a beautiful blend of spiritual jazz with mellower currents, aided here by some members of the contemporary LA scene! There's a resonance here with some of the more laidback projects on the International Anthem label, and with the work of Carlos Nino – and no surprise, Nino is on board to deliver great production work throughout, and co-produced the album with Andre too. Andre delivers a lot of work on flute, as hinted at by the cover – and also serves up beautiful sounds on wind controller too – as the set moves between contributions from other artists who include Nate Mercereau on guitars, and Diego Gaeta and Surya Botofasina on keyboards – as well as guest vocals from Mia Doi Todd on two tracks, and shakuhachi from Shabaka Hutchings on one more. Titles include "That Night In Hawaii When I Turned Into A Panther & Started Making These Low Register Purring Tones That I Couldn't Control", "Ninety Three Til Infinity & Beyonce", "Dreams Once Buried Beneath The Dungeon Floor Slowly Sprout Into Undying Gardens", "Ants To You Gods To Who", and "I Swear I Really Wanted To Make A Rap Album But This Is Literally The Way The Wind Blew Me". CD

A stunning surprise from Andre 3000 – at least if you only know him as part of Outkast – and a record that finally gives us an audio document of the sounds that Andre has really been involved with in recent years – a beautiful blend of spiritual jazz with mellower currents, aided here by some members of the contemporary LA scene! There's a resonance here with some of the more laidback projects on the International Anthem label, and with the work of Carlos Nino – and no surprise, Nino is on board to deliver great production work throughout, and co-produced the album with Andre too. Andre delivers a lot of work on flute, as hinted at by the cover – and also serves up beautiful sounds on wind controller too – as the set moves between contributions from other artists who include Nate Mercereau on guitars, and Diego Gaeta and Surya Botofasina on keyboards – as well as guest vocals from Mia Doi Todd on two tracks, and shakuhachi from Shabaka Hutchings on one more. Titles include "That Night In Hawaii When I Turned Into A Panther & Started Making These Low Register Purring Tones That I Couldn't Control", "Ninety Three Til Infinity & Beyonce", "Dreams Once Buried Beneath The Dungeon Floor Slowly Sprout Into Undying Gardens", "Ants To You Gods To Who", and "I Swear I Really Wanted To Make A Rap Album But This Is Literally The Way The Wind Blew Me". LP, Vinyl record album

A great set from the always-soulful Kenny Barron – stepping out here with a sense of soulful interplay that recalls his best recordings of the 70s! The group on the album's a quintet, graced by some extremely strong work on vibes by Stefon Harris – who brings an almost Bobby Hutcherson-like feel to the album, working in rich tones and colors next to Barron's keys, edged in by some sharper flute and alto work by Anne Drummond. The set's awash in great originals, plus a few well-chosen covers – and titles include "Song For Abdullah", "Images", "Miss Missy", "Inside Out", "Jasmine Flower", "The Lost Ones", "So It Seems", and "Footprints". CD

Jon Batiste is looking mighty righteous on the cover, and he's sounding mighty righteous within – imbued with a new spirit of consciousness from the events of 2020, which brings a whole new sort of focus to his music – and makes for an album that's every bit a soul set as it is a jazz record! Jon sings on every track, with this raspy power that pushes the rest of the music forward very strongly – igniting the proceedings with the kind of fire you'd hope for, given the album's dedication to "the dreamers, seers, griots, and truth tellers who refuse to let us fully descend into madness". Batiste can definitely add himself to that list – as can guests who include Zadie Smith, Hot 8 Brass Band, PJ Morton, and Trombone Shorty – on titles that include "Cry", "Boy Hood", "Movement 11", "Show Me The Way", "We Are", "Tell The Truth", "Sing", "Until", "Mavis", and "Whatchutalkinbout". CD

A strong double dose live set for Smoke Sessions led by guitarist Peter Bernstein – in a quartet setting with Christian McBride on bass, Brad Mehldau on piano and Gregory Hutchinson on drums – reconvening the the line-up that recorded Bernstein's Signs album on Criss Cross back in the mid 90s! It's wonderful for several reasons – for one, in getting these amazing, incredibly busy players back together after all these years – and for fleshing out the material so greatly in a live setting! The Signs tunes really breathe here, with lots of air and space for each player to shine, most tracks running nice on long on the 2CD set. They're all Bernstein originals save for 3 Thelonious Monk numbers, and the titles include "Blues For Bulgaria", "Hidden Pockets", "Dragonfly", "Jive Coffee", "Pannonica", "Useless Metaphor", "Let Loose", "All Too Real", "Resplendor", "Crepuscule With Nellie/We See" and "Cupcake". CD

A sublime tribute to the music of Bobby Hutcherson – put together by drummer Brian Blade with a group that really lives up to the soulful spirit of some of Bobby's best Blue Note material of the early 70s! Monte Croft is on vibes, and really gets that sense of color right that we love in Hutcherson's music – yet the record also has a nice sense of flavor of its own – thanks to strong use of congas from Rogerio Boccato, guitar from John Hart, and some especially nice flute, tenor, and alto from Myron Walden. John Cowherd colors in things nicely on piano and Wurlitzer piano, Doug Weiss plays bass, and titles include "Now", "Black Heroes", "The Final Four", "Love & Hate", "Hello To The Wind", and "Slow Change". CD

A set recorded many years back by Chicago spiritualist David Boykin – but one that's finally getting its debut on record, as part of the ever-evolving rich tapestry of sounds that Boykin's been giving us since the 90s! The set here captures David at a key moment – when he was maybe turning towards even more spiritual currents from more outside performances – working with an excellent lineup that features Nicole Mitchell on flute, Josh Abrams on bass, James Baker on piano, Mike Reed on drums, Renee Baker on violin, Chinatsu Nakano on alto, and Shirazette Tinnin on congas. Both Abrams and Reed are also at key points of their development, and together with Boykin and Mitchell, they beautifully point the way forward for a new generation of Chicago expression. The piece is one long live performance, over 45 minutes in length – with segments that include "Midnight", "Sunrise", "Herukhuti", and "Enocturnal Sun". CD

A set recorded many years back by Chicago spiritualist David Boykin – but one that's finally getting its debut on record, as part of the ever-evolving rich tapestry of sounds that Boykin's been giving us since the 90s! The set here captures David at a key moment – when he was maybe turning towards even more spiritual currents from more outside performances – working with an excellent lineup that features Nicole Mitchell on flute, Josh Abrams on bass, James Baker on piano, Mike Reed on drums, Renee Baker on violin, Chinatsu Nakano on alto, and Shirazette Tinnin on congas. Both Abrams and Reed are also at key points of their development, and together with Boykin and Mitchell, they beautifully point the way forward for a new generation of Chicago expression. The piece is one long live performance, over 45 minutes in length – with segments that include "Midnight", "Sunrise", "Herukhuti", and "Enocturnal Sun". CD

A powerful and righteous album from Brother Moves On – as you might guess from the title – a group led by singer Siyabonga Mthembu, who's worked with Shabaka & The Ancestors – in a lineup that also features some contributions from Shabaka Hutchings as well! The group span their South African roots with some of the contemporary London vibe – mixing jazz elements with vocals and other production elements – in a lineup that also features work from Mthunzi Mvubu on alto and Muhammad Dawjee on tenor. Shabaka Hutchings adds in some flute and clarinet to the group's songs – and titles include "Bayakhala", "Sphila", "Puleng (ext version)", "Sweetie Love Oh", "Mazel", "Ta Tom", "Itumeleng Revisited", and "Hamba The Reprise". LP, Vinyl record album

Sure it's not the Blue Note years, but this is an excellent late set by Byrd that shows he was still one hell of a leader! Byrd's at the head of a strong group that includes Bobby Hutcherson on vibes, Joe Henderson on tenor, Donald Brown on piano, and Rufus Reid on bass – and the tracks are a blend of modal and soul jazz styles, awash with color and warmth, really stretching past earlier work by Byrd. Lorice Stevens sings soprano vocals on two tracks – "A City Called Heaven" and "Remember Me" – and the other tracks include "Del Valle", "King Arthur", "Not Necessarily The Blues", and "Buck Down In Lu Easy Anna". CD

A never-heard live set from the mighty Donald Byrd – recording here with live accompaniment from the Mizell Brothers – at a level that's every bit as wonderful as their work with the trumpeter in the studio! The material was originally recorded during a same series of albums that Blue Note issued with live material from Marlena Shaw, Bobby Hutcherson, and Bobbi Humphrey – and the approach here is wonderfully similar, with long tracks that really showcase a hip, creative quality that may well beat that of Byrd's studio albums of the time! There's some many wonderful elements going on in the music – Fender Rhodes from Kevin Toney, bass from Henry Franklin, and both tenor and soprano sax from Nathan Davis – a wonderful surprise in the lineup. And while Larry Mizell adds in a bit of electronics, Fonce Mizell is alongside Donald on a second trumpet – on titles that include "Kwame", "Poco Mania", "The East", "Black Byrd", and a sweet remake of the Stevie Wonder tune "You've Got It Bad Girl". CD

A never-heard live set from the mighty Donald Byrd – recording here with live accompaniment from the Mizell Brothers – at a level that's every bit as wonderful as their work with the trumpeter in the studio! The material was originally recorded during a same series of albums that Blue Note issued with live material from Marlena Shaw, Bobby Hutcherson, and Bobbi Humphrey – and the approach here is wonderfully similar, with long tracks that really showcase a hip, creative quality that may well beat that of Byrd's studio albums of the time! There's some many wonderful elements going on in the music – Fender Rhodes from Kevin Toney, bass from Henry Franklin, and both tenor and soprano sax from Nathan Davis – a wonderful surprise in the lineup. And while Larry Mizell adds in a bit of electronics, Fonce Mizell is alongside Donald on a second trumpet – on titles that include "Kwame", "Poco Mania", "The East", "Black Byrd", and a sweet remake of the Stevie Wonder tune "You've Got It Bad Girl". LP, Vinyl record album

Sweet electric funk from trumpeter Donald Byrd – one of his first forays into an electric mode, and done in a style that's very different than his better-known soul fusion of the mid 70s! Before Byrd hooked up with Larry Mizell and started recording his smooth fusion grooves on records like Blackbyrd and Street Lady – he recorded this gem, kind of a "lost" album that has Donald working in an open-ended electric sound – one that's clearly inspired by the experiments of Miles Davis, but which has a generally funkier feel overall! The tracks are very long – with lots of spiraling keyboard and trumpet solos – and the hip players on the set include Bobby Hutcherson on vibes, David T Walker on guitar, Harold Land on tenor, and Joe Sample on organ – a very cool combo that's got a cross between The Crusaders and the Hutcherson/Land quintet! We love the tracks on this set – especially "The Emperor" and "The Little Rasti", which are both over 15 minutes long, and have a haunting spacey sound that's a departure from Donald's usual work! CD

Sweet electric funk from trumpeter Donald Byrd – one of his first forays into an electric mode, and done in a style that's very different than his better-known soul fusion of the mid 70s! Before Byrd hooked up with Larry Mizell and started recording his smooth fusion grooves on records like Blackbyrd and Street Lady – he recorded this gem, kind of a "lost" album that has Donald working in an open-ended electric sound – one that's clearly inspired by the experiments of Miles Davis, but which has a generally funkier feel overall! The tracks are very long – with lots of spiraling keyboard and trumpet solos – and the hip players on the set include Bobby Hutcherson on vibes, David T Walker on guitar, Harold Land on tenor, and Joe Sample on organ – a very cool combo that's got a cross between The Crusaders and the Hutcherson/Land quintet! We love the tracks on this set – especially "The Emperor" and "The Little Rasti", which are both over 15 minutes long, and have a haunting spacey sound that's a departure from Donald's usual work! LP, Vinyl record album

Saxophonist Chelsea Carmichael has a really beautiful sound here – a style that's spiritual, but spacious too – so that her flow is one that often has a nice sense of space between the notes, as she moves through tracks that effortlessly blend live instrumentation with a few additional production elements! Shabaka Hutchings produced the set, but nicely lets the vibe flow from Chelsea's own inspiration – as she works with lean instrumentation from a lineup that features David Okumu on guitar, Tom Herbert on bass, and Edward Wakili Hick on drums – the last of whom has this great way of crackling gently underneath the tenor! Titles include "There Is A Place (It's Not Here)", "Bone & Soil", "Myriad", "The River Doesn't Like Strangers", "Hiaro/Hadali", "There Is You & You", and "All We Know". LP, Vinyl record album

An undisputed 70s soul jazz classic – and arguably the best album that Doug Carn ever cut for the Black Jazz label! The set is a masterpiece of spiritual jazz – with Carn on keyboards setting up the groove, and wife Jean singing some incredible vocals – very different than her later soul work as a solo act, and with a vibe that's like Dee Dee Bridgewater at her soulful 70s best. Jean does a killer job with the album's classic vocal version of Bobby Hutcherson's "Little B's Poem" – done here with sweet lyrics that really open the song up a lot, and make it into an anthem of love and joy that we'd be hard pressed to match with any other tune! And all other tracks are great too – with titles that include "Moon Child", "Passion Dance", and a great version of Wayne Shorter's "Infant Eyes". CD