A real killer from Gato Barbieri – part of an excellent run of early 70s sessions for the Flying Dutchman label! The album was recorded live, and it's one of those real cookers that have him sounding a heck of a lot like Pharoah Sanders – blowing with these sharp, soulful tones – and really stretching out in this amazingly spiritual way – quite different than some of his more mainstream playing in later years, and his freer sounds of the 60s. The group features Pretty Purdie on drums, Sonny Morgan and Na-Na on percussion, Chuck Rainey on bass, and Lonnie Liston Smith on piano – and Smith lays out these modal spiraling lines that really work wonders with a groove – and Gato solos over them in searing ripping blasts of sound, never going too far out, but hitting that great soulful mode that made Sanders' best work so great. Titles include "El Pampero", "Mi Buenos Aires Querido", and "El Arreiro" – and all tracks are long. CD

Tremendous work from one of the greatest pairings in 50s jazz – the crack later group of Count Basie and the amazing arranging talents of the great Neal Hefti! Hefti later went onto greater fame as a 60s soundtrack composer, but back in the day him and Basie were an incredible team together – as Hefti's talent for quirky, witty, whimsical horn passages really opened up the Basie sound of earlier years – and took the band far past any Kansas City cliches, into a groove that was much more suited for a modern audience! This album's one of the best the two ever cut together – and it's overflowing with Hefti gems that include "Cute", "Pensive Miss", "Sloo Foot", "Scoot", "A Little Tempo Please", "Count Down", and "Pony Tail". CD

Tremendous work from one of the greatest pairings in 50s jazz – the crack later group of Count Basie and the amazing arranging talents of the great Neal Hefti! Hefti later went onto greater fame as a 60s soundtrack composer, but back in the day him and Basie were an incredible team together – as Hefti's talent for quirky, witty, whimsical horn passages really opened up the Basie sound of earlier years – and took the band far past any Kansas City cliches, into a groove that was much more suited for a modern audience! This album's one of the best the two ever cut together – and it's overflowing with Hefti gems that include "Cute", "Pensive Miss", "Sloo Foot", "Scoot", "A Little Tempo Please", "Count Down", and "Pony Tail". CD

An excellent gimmick from the United Artists label – a way of mixing their strong run of 60s soundtrack hits with the world of jazz – thanks to Count Basie and his group taking on a whole host of themes from the successful James Bond films! Count Basie brings a soulful swing to the work of John Barry, who scored most of these cuts – hitting hard on the tracks with his own smoking piano, and an orchestra filled with some of his best players – including Al Grey on trombone, Eric Dixon on saxes, and Freddie Greene on guitar – plus guest tenor work from Eddie Lockjaw Davis, an artist who wasn't credited on the session at he time. Arrangements are by Chico O'Farrill and George Williams – and titles include "Thunderball", "From Russia With Love", "007", "Girl Trouble", and "Goldfinger". LP, Vinyl record album

One of the greatest jazz soundtracks of all time! Elmer Bernstein wrote the score to Otto Preminger's chilling film version of Nelson Algren's book The Man With The Golden Arm – a sad tale of jazz, gambling, and heroin addiction on the streets of Chicago (not far from Dusty Groove, in fact!) – and in doing so, he came up with one of the first jazz soundtracks to really work strongly with a dramatic narrative. The film's striking theme is played in a number of variations, either with orchestral backing, or in small combo format by Shorty Rogers & His Giants, a crack west coast group that features work by Bud Shank, Shelly Manne, Bob Cooper, and Pete Candoli. The tracks work perfectly together as a suite of tracks, even without the images of the film – telling a tale of temptation, sadness, tragedy, and rebirth. Titles include "Clark Street", "Breakup", "The Fix", "Zosh", "Frankie Machine", and "Audition". Worth the price for the Saul Bass cover alone! (Soundtracks, Jazz) LP, Vinyl record album

Very early work from Jose Roberto Bertrami – the keyboardist who rose to fame with Azymuth in the 70s, but who's working here in an all-acoustic bossa mode! In keeping with Bertrami's later talent for an unusual groove, the album's got a feel that's slightly different than the other bossa records of the time – styles that are sometimes less percussive, but still quite flowing – and which are graced by a depth of tone and color that's really wonderful! At some points, Bertrami almost hits modes that are straighter jazz – with traces of Horace Silver or other American players in the mix – even though the tracks are nearly all numbers by Brazilian composers. Titles include "Balansamba", "Taluhama", "Lilos Walts", "Dorme Profundo", "Impulso", and "Da Me". (Brazil, Jazz) CD

Two very unusual albums from the great Graham Bond – back to back in a single set! Holy Magick is quite spiritual, almost supernatural at times – very much what you'd expect from the cover and title! The record's light years away from Bond's British beat group work of a few years before – and has a quality that almost mixes headier rock influences with the spiritualism of the post-Coltrane generation – as the record almost goes farther in a direction that was somewhat initiated by Albert Ayler's more rock-like leanings at the end of his life. Many numbers have chorus vocals rising up behind Bond's lead – and while his own work on alto sax is somewhat displaced by strong use of guitar on many tracks, there's still a fair bit of jazzy elements going on in the mix – particularly on side two, which features Graham laying down some strong lines on the Hammond. Titles include "Aquarius Mantra", "Praise City Of Light", "12 Gates To The City", "Invocation To The Light", "The Qabalistic Cross", "The Pentagram Ritual", "The Holy Words", "The Judgement", and "The Magician". Holy Magick is an equally unusual record from a very unusual player! Altoist Graham Bond had a long and varied career before he made this groovy rock/jazz album in the early 70s. He started as a committed Brit modernist, playing in Don Rendell's early group, then moved into the Beat Group era, with his Graham Bond Organization that featured him on organ and alto. This session recorded with his group Magick shows a similar extension from the Beat Group sound that was taken by Brian Auger – lots of longer jamming cuts, still with the R&B tinged jazzy playing at its base, but with spiritual jazz on the vocals at times, and almost a bit of prog as well. The heart of the whole thing's still nice and jazzy, though – and titles include "Druid", "Ajama", "Forbidden Fruit", and "Moving Towards The Light". (Rock, Jazz) CD

A simply amazing session by pianist Joe Bonner – arguably his best ever! The album is one of a rare few that were cut for the Japanese Why Not label during the mid 70s, and like the others in the series, it features an American spiritual jazz player working far far past his usual mode. Bonner's in amazing form in a trio with Clint Houston and Billy Hart, and the tracks are filled with a fire and energy that you won't find on most of his American recordings from the time – as Bonner runs up and down the keys in a fury of passion, blending perfectly with Houston's deep soulful basslines, and Hart's dancing lyrical drums. Titles include "Triangle", "The Wind & The Rain", "Vega", "Mr PC" and "Invitation". CD

That's the middle finger of David Boykin on the front cover – bidding a bold farewell to the year of 2016 – with a record that offers up some of the most soul-nourishing sounds we've ever heard from the reedman! The album's got a sharper, almost funkier sound than some of Boykin's other work – a double-length performance that features David on tenor, in a group that also has James Baker on a piano that sounds electric, and which is often played in these blocky chords that fit well with the bass of Alex Wing and drums of Isaiah Spencer – all working as a cohesive trio unity, while Boykin takes off with these searing, searching solos! The mix of spiritual reeds and chunkier rhythms is almost a bit like some of the early "funk" work of Joe McPhee – but Boykin's clearly got his own agenda in the music, and comes off with a mindblowing positive sound. All tracks are long, and titles include "Coronal Mass Ejection", "Wherever You At", "Make It Count", "You Know Who You Are", and "Jaglavak". CD

One of the last recordings ever made by the genius trumpeter Jaimie Branch – and a set that shows the bold new direction she was going in, right before she left our planet all too soon! The music here leaps forward from any of Branch's earlier recordings – with harder rhythms, more focus in the driving quality of the music, and even some lyrical passages that are quite stunning – vocals that add a lot to the music, and which could have had Jaimie finding an audience in a world far past just jazz! The core group is incredible – the drums of Chad Taylor have never been so powerful, urged on by the bass work of Jason Ajemian – and folded beautifully with the cello, voice, marimba, and keyboards of Lester St Louis. Branch herself also plays keyboards and percussion – and Daniel Villareal guests on some additional percussion too – and the whole thing comes together with an incredible sense of energy and vision, at a level that has us missing Jaimie's presence on the planet even more than before. Titles include "Aurora Rising", "Take Over The World", "Baba Louie", "Burning Grey", "The Mountain", and "Borealis Dancing". CD

One of the last recordings ever made by the genius trumpeter Jaimie Branch – and a set that shows the bold new direction she was going in, right before she left our planet all too soon! The music here leaps forward from any of Branch's earlier recordings – with harder rhythms, more focus in the driving quality of the music, and even some lyrical passages that are quite stunning – vocals that add a lot to the music, and which could have had Jaimie finding an audience in a world far past just jazz! The core group is incredible – the drums of Chad Taylor have never been so powerful, urged on by the bass work of Jason Ajemian – and folded beautifully with the cello, voice, marimba, and keyboards of Lester St Louis. Branch herself also plays keyboards and percussion – and Daniel Villareal guests on some additional percussion too – and the whole thing comes together with an incredible sense of energy and vision, at a level that has us missing Jaimie's presence on the planet even more than before. Titles include "Aurora Rising", "Take Over The World", "Baba Louie", "Burning Grey", "The Mountain", and "Borealis Dancing". LP, Vinyl record album

An incredible album of jazz tracks by one of Brazil's greatest reed players of the 70s – the mighty Victor Assis Brasil – a free-thinking spirit who really took Brazilian jazz in bold new directions at the time! The record shows Victor absorbing a lot of post-Coltrane influences, and blending them with a tight approach to rhythm – laid down here by Dom Salvador on piano (and organ), Edison Lobo on bass, and Edson Machando on drums. The group is completed by Helio Delmiro on guitar, and Claudio Roditi plays trumpet on one track – but the real highlight is the amazing reed work by Brasil, which is filled with soul and warmth, plus a deep sense of exploration. The whole session was put together by Roberto Quartin in 1970 – and it's still extremely fresh today. Titles include "Children", "Gingerbread Boy", "Senegal", and "Marilia", which is a bonus track that wasn't on the original LP. (Brazil, Jazz) LP, Vinyl record album

A fantastic double-length set – two full albums of music, essential for any fan of Brazilian jazz – or even jazz in general! First up is Esperanto – an incredible album from one of Brazil's greatest reed players of the 70s – the mighty Victor Assis Brasil – a free-thinking spirit who really took Brazilian jazz in bold new directions at the time! The record shows Victor absorbing a lot of post-Coltrane influences, and blending them with a tight approach to rhythm – laid down here by Dom Salvador on piano (and organ), Edison Lobo on bass, and Edson Machando on drums. The group is completed by Helio Delmiro on guitar, and Claudio Roditi plays trumpet on one track – but the real highlight is the amazing reed work by Brasil, which is filled with soul and warmth, plus a deep sense of exploration. The whole session was put together by Roberto Quartin in 1970 – and it's still extremely fresh today. Titles include "Children", "Gingerbread Boy", "Senegal", and "Marilia". Next is Toca Antonio Carlos Jobim – a fantastic album from this legendary Brazilian saxophonist – and one that's way different than the usual instrumental reading of the music of Antonio Carlos Jobim! The setting is less of a bossa-inspired one than a post-Coltrane mode – as Victor Assis Brasil blows alto sax, and a bit of soprano – on long, stretched out versions of Jobim compositions – often given a bit of modal energy, thanks to the group's strong piano and organ performances by Dom Salvador. The rest of the players are all great, too – Helio Delmiro on guitar, Edson Lobo on bass, and Edison Machado on drums – all players who grew up in the bossa jazz years of the 60s, but who here are set free to explore new territory by producer Roberto Quartin. The whole thing's wonderful – and titles include "Bonita", "Wave", "So Tinha De Ser Come Voce", and "Dindi". CD also features two bonus tracks – alternate takes of "Ao Amigo Quartin" and "Marilla". (Brazil, Jazz) CD

Wonderful work from Anthony Braxton – an album that has him playing straight ahead jazz – but at a time when he was also making some of his most complex recordings of the 70s! The approach here is sublime – as Braxton's reputation has ears already anticipating some far-out playing, but then marvel at his restraint – his care for keeping alto and bass clarinet work inside a straight jazz tradition, yet always hinting at the modern inflections he can bring to his music! Tunes are almost all jazz standards, blown beautifully – with a tone that's crisp, cool, and very inviting – surprisingly soulful, and never cold at all – matched well with the rhythm trio of Tete Montoliu on piano, Niels Henning Orsted Pedersen on bass, and Albert Tootie Heath on drums. Titles include "Goodbye Porkpie Hat", "Ornithology", and "Marshmallow". LP, Vinyl record album

Wonderful work from Anthony Braxton – an album that has him playing straight ahead jazz – but at a time when he was also making some of his most complex recordings of the 70s! The approach here is sublime – as Braxton's reputation has ears already anticipating some far-out playing, but then marvel at his restraint – his care for keeping alto and bass clarinet work inside a straight jazz tradition, yet always hinting at the modern inflections he can bring to his music! Tunes are almost all jazz standards, blown beautifully – with a tone that's crisp, cool, and very inviting – surprisingly soulful, and never cold at all – matched well with the rhythm trio of Tete Montoliu on piano, Niels Henning Orsted Pedersen on bass, and Albert Tootie Heath on drums. Titles include "Body & Soul", "Donna Lee", "My Funny Valentine" and "Half Nelson". LP, Vinyl record album

Anthony Braxton heads up a saxophone quartet here, in case you couldn't guess from the title – and the group features some especially great work from Ingrid Laubrock, who blows soprano and tenor on three of the album's four CDs! The set features four different performances recorded in 2022, all live and in Europe – with a lineup that also features James Fei on sopranino and alto saxes, Chris Jonas on alto and tenor, and Andre Vida on baritone, tenor, and soprano on the one CD that does not feature Laubrock. The tunes are all Braxton compositions – numbered 436 through 439 – but as always with his work, the performances are very improvised and free, with some interplay between the reeds that goes way farther than earlier sax quartet modes! That is, nobody feels as if they have to provide rhythm or melody at all – and Braxton himself really lets loose – adding some electronics to his work on alto, soprano, and sopranino. 4CD set includes a great 40 page book, with photos and an essay on the music! CD

A sweet mix of Brazilian grooves and New York attitude – an overlooked session from the end of the 90s – recorded in the US by Brazilian saxman Leo Gandelman, with soulful help from a variety of American players – including Reuben Wilson on organ and both Charlie Hunter and Grant Green Jr on guitar! There's a rich sort of 70s vibe to the record – a tight, funky blend of jazzy riffing and Brazilian percussion, all put together at a level that almost reminds us of Kudu Records at its best – lean, soulful, and surprisingly focused throughout – a great step forward for Gandelman, and for percussionist Juliano Zanoni, who co-arranged the set with Leo, and also wrote most of the tunes. Supposedly, the record never saw the light of day when it was recorded – making this sweet Far Out package its first-ever release! Titles include "Safari", "Pau Grande", "April 7th", "Dance", "Prince Samba", "Groove In The Head", "Pirulito", and "Charlie 1". (Brazil, Jazz) CD

Very rare, very obscure material from this important free jazz trio of the German scene in the 70s – a set that features one long performance originally issued on the JG label, despite the FMP-like image on the cover – plus two more tracks from the same year that appear here for the first time ever! "Just For Altena" offers up the power trio at their best – very freewheeling piano from Fred Van Hove, drums from Han Bennink, and tenor from Peter Brotzmann – with intensity that may well surpass the Machine Gun years, and an understanding of each players strengths that means that there's almost no tentative moments at all in the improvisation! "Filet Americain" and "ICP No 17" are from earlier in 1971 – and showcase a different, more sonic side of the trio – some tones that are at the farther end of hearing, which ruminate then blossom into bolder statements, but still often with a very abstracted approach to each instrument. Great stuff – and every bit as essential as any of the better-known Brotzman recordings of the time! CD

Alto saxophonist Rob Brown really shines in a setting like this – a record with a very open-ended vibe, as Brown improvises freely in tandem with Juan Pablo Carletti on the drums – spinning things out over two very long tracks that are full of delightful surprises at every twist and turn! Brown has a really great way of handling his horn – blowing freely, but almost with an inherent sense of structure – not playing changes, or hitting a rhythm, but creating these patterns that really hold the whole thing together – still the farther side of tuneful, but almost there at times. Titles include "6BC" and "Children's Magical Garden" – both nice and long! CD

A treasure trove of lost material from Jaki Byard – recorded during a time when he was at the height of his powers! The 7 tunes on this set were originally cut for the 2 volume series of live recordings Byard did for Prestige in the mid 60s – and of those 7, only 1 was ever issued, and even then, never on CD. The work is quite striking – with Byard on piano, leading a quartet that features a very young Joe Farrell on tenor, soprano, and flute, with crack rhythm by the team of George Tucker on bass and Alan Dawson on drums. All the tracks were recorded during one set at Lennie's in Massachusetts in 1965, and overall, the performances have a longer, more unbridled feel than most of Byard's studio work of the time. The range of his work on piano is incredible – modern one moment, soulful another, and trad the next – and Farrell's playing is surprisingly strong for such an early point, especially on the longer tunes on the set, which really let him open up in exploratory solos. Titles include "Dolphy #1", "King David", "Twelve (alt)", "St Mark's Place Among The Sewers", and "Jaki Byard's Ballad Medley". CD

A really early nugget from the Detroit jazz scene of the 50s – and a record that marks a key moment for players who would soon become huge on a variety of different labels! The group here features a very young Donald Byrd on trumpet, with Yusef Lateef on tenor, Barry Harris on piano, Alvin Jackson on bass, and Frank Gant on drums – plus Bernard McKinney blowing euphonium – an instrument he would use on a number of other important recordings over the years to really deepen their sound. The date was originally issued by the Transition label, and very quickly disappeared when they quickly closed up show – brought back over the years in a few variations by Delmark, to keep the memory of this moment alive. Tracks include "Yusef", "Parisian Thoroughfare", "Blues", "Dancing In The Dark", and "Tortion Level". CD

Two nice Prestige blowing sessions from the 50s – featuring Donald Byrd right up front. The first LP of the set was issued as Two Trumpets with Art Farmer joining Byrd, set in a sextet with Jackie McLean, Doug Watkins, Barry Harris, and Art Taylor. The harder sound of Byrd is a nice mix with the lyricism of Farmer, and the open-ended nature of the set lets them get a bit more open in their solos than usual. 5 numbers are included: "Contour", "Round Midnight", "The Third", "When Your Lover Has Gone" and "Dig". The second set was issued as The Young Bloods, with Byrd accompanied by sidemen he's not often heard with, Phil Woods, Al Haig, Teddy Kotick and Charlie Persip. Like the first side, it's a rousing set of bop, played with a great deal of fire. 6 numbers make up that set, including "Dewey Square", "Dupeltook", "Once Moore", "House Of Chain", "In Walked George" and "Lover Man". LP, Vinyl record album

A pair of great albums back to back – both rare albums from a percussionist who worked with Sun Ra! First up is Mora volume 1 – a legendary early set from percussionist Francisco Mora Catlett – and a really sublime blend of spiritual jazz and Latin rhythms! Mora's percussion is definitely at the core – but the set also features wonderful contributions from Vincent Bowens on tenor and soprano sax, Jerome LeDuff on berimbau, Alberto Nacif on quinto, and Detroit jazz legend Kenny Cox on piano! There's a balance here that really matches the best Strata East energy of the 70s – an open, flowing approach that's completely sublime, and very righteous too – even more so than anything Mora's done since the 70s – making this record one of his greatest achievements ever. Tersa Mora sings a bit of vocals at times – and titles include "Afra Jum", "Five AM", "Rumba Morena", "Samba De Amor", and "Cultural Warrior". Mora 2 is a set recorded in Detroit, but one that's got a globe's worth of elements in the mix – originally recorded in the mid 80s, but not released until a brief CD issue in the early part of the 21st Century! Despite that history, the album's a really timeless record that encompasses a world's worth of elements in jazz! Francisco Mora Catlett's at the height of his powers here – leading the group with a sense of righteous majesty that takes us back to some of the most ambitious heirs of the post-Coltrane generation, but with perhaps an oddly rhythmic twist as well – such as you might find in some of the 70s classics of Bobby Vince Paunetto. Echoes of Latin, Afro, and spiritual jazz come together as one – soaring to the skies on soulful waves of sound – brought together with a sense of focus and spirit that really moves us a lot. Players include Marcus Belgrave and John Douglass on trumpets, Sherman Mitchell on trombone, Vincent Bowens on tenor and flute, Alex Harding on baritone and bass clarinet, Kenny Cox on piano, and Rodney Whitaker on bass – and titles include "Samba/Conga De Amor", "Amazona Prelude/Dawn", "Old Man Joe", "Por Que Paro", and "Afra-Jum (parts 2 & 3)". CD

A richly complex album from vibist Teddy Charles – easily one of his greatest albums ever, and certainly one with the boldest sound! The groups here are filled with hip players – all working under Charles' direction in a set of tracks that shimmers with dark sounds and moody colors – often as textural as it is jazz-based – with a level of sophistication that goes beyond even Charles key modernist work from the early 50s. Teddy's on vibes, alongside Art Farmer on trumpet, Eddie Bert on trombone, Hal Stein on alto, Don Butterfield on tuba, George Barrow on baritone, Hall Overton on piano, and Jimmy Raney on guitar – and while some tracks feature a tentet, 4 of the album's numbers feature a smaller quartet with Charles Mingus on bass! Titles include the 10 minute composition "Word From Bird" – plus "Blue Greens", "Laura", "Showtime", and "Just One Of Those Things". CD

8 tracks that do a pretty darn good job of summing up the genius of pianist Sonny Clark during his years at the Blue Note label! The recordings feature Clark in the company of some fierce hardbop groups – with players that include John Coltrane, Hank Mobley, Paul Chambers, Donald Byrd, and Art Farmer. Titles include "Junka", "Cool Struttin", "Dial S For Sonny", "Shoutin On A Riff", and "Sonny's Crib". CD

The complete work of pianist Sonny Clark as a leader for the Blue Note label – masterful material that really helped define the sound of the hardbop generation, and records that are still classics and still filled with fantastic energy after all these many years! In some way, Sonny Clark was the perfect figure to help Blue Note step into this generation – both a modernist and a soulful player, a strong group leader and an intimate soloist in a trio setting – clearly the lynchpin of the new energy during Blue Note's explosion in the LP generation – as you'll hear on classic albums that include Dial S For Sonny, Sonny's Crib, Sonny Clark Trio, Cool Struttin, Leapin & Lopin, Sonny Clark Quintets, Blues In The Night, My Conception, and the Art Of The Trio! Some of these albums were recorded in the late 50s, but only issued years later – and the package also includes all the bonus material that was added to later CD versions as well. Players include John Coltrane, Clifford Jordan, Charlie Rouse, and Hank Mobley on tenors – plus Art Farmer and Donald Byrd on trumpets, Curtis Fuller on trombone, Jackie McLean on alto, and Kenny Burrell on guitar – top-shelf Blue Note Groups on every record – and the set features 61 tracks in all, and the usual Mosaic booklet of notes! CD

One of the most legendary albums on Blue Note – or maybe THE most legendary albums on Blue Note – a stunning session that shows what the label was capable of when it was really hitting on all burners – from the lineup to the music to the production – and even the classic cover art on the front! The album's a crowning achievement for pianist Sonny Clark – a player who'd already brought greatness to the world before the record, but really knocks it out of the park during the session – leading a razor sharp lineup that includes Art Farmer on trumpet, Jackie McLean on alto, Paul Chambers on bass, and Philly Joe Jones on drums – all coming together with some magic in the studio, crafting a sound that forever put Blue Note on the map! Tracks are long, open-ended, and almost effortlessly soulful – and titles include Clark's classics "Cool Struttin" and "Blue Minor", plus versions of "Sippin At Bells" and "Deep Night". LP, Vinyl record album

One of the most legendary albums on Blue Note – or maybe THE most legendary albums on Blue Note – a stunning session that shows what the label was capable of when it was really hitting on all burners – from the lineup to the music to the production – and even the classic cover art on the front! The album's a crowning achievement for pianist Sonny Clark – a player who'd already brought greatness to the world before the record, but really knocks it out of the park during the session – leading a razor sharp lineup that includes Art Farmer on trumpet, Jackie McLean on alto, Paul Chambers on bass, and Philly Joe Jones on drums – all coming together with some magic in the studio, crafting a sound that forever put Blue Note on the map! Tracks are long, open-ended, and almost effortlessly soulful – and titles include Clark's classics "Cool Struttin" and "Blue Minor", plus versions of "Sippin At Bells" and "Deep Night". LP, Vinyl record album

This one will confuse the discographers out there – but it's great Blue Note material by this legendary hardbop pianist! The CD reissues a previous Japanese-only set of unreleased material – called Sonny Clark Quintets – but some of the tracks have since come out on other CDs. 2 tracks – "Royal Flush" and "Lover" – feature Clark with a group that includes Art Farmer and Jackie McLean, recorded in 1957. The other 3 tracks – "Minor Meeting", "Eastern Incident", and "Little Sonny" – are from a 1958 session that was cut with Clifford Jordan and Kenny Burrell. Both sets of tracks are great – and although Clark recorded some of these tunes in other versions, the quality on this CD's still extremely high, and is proof that Clark was one of Blue Note's greatest players, worthy of all the extra sessions that were cut in the old days! CD

A wickedly funky album from Stanley Clarke – perhaps his most fully-formed album of the Columbia years, and a set that really brings together his jazz and soul styles! There's a definite R&B vibe going on, but it's also one that's still quite heavy on bass work from Stanley – a groove that's not far from Bootsy Collins at times, but perhaps with a bit more jazz inflections. Jamming is kept to a minimum, which is fine by us – and the album's filled with really tuneful tunes that have an almost George Duke-like appeal. Guests include Tom Scott and Stan Getz on saxes, George Duke on piano, Harvey Mason and Steve Gadd on drums, and Dee Dee Bridgewater on vocals. Titles include "I Wanna Play For You", "Just A Feeling", "Strange Weather", "My Greatest Hits", "School Days", and "Blues For Mingus". LP, Vinyl record album

Great live material from the best years of this amazing ensemble that included some of the finest American and European players of the 60s! The band's at its best here – wailing away in a firey live setting, recorded with high quality by Europe 1 Radio in 1969. Players include Tony Coe, Johnny Griffin, Benny Bailey, Art Farmer, Sahib Shihab, and Derek Humble – plus the great rhythm team of Jimmy Woode, Francy Boland, and Kenny Clarke! Most of the tunes are classics of the band – and titles include "All Through The Night", "Now Hear My Meaning", "New Box", "Volcano", "Box 702", "Sax No End", "Sonor", "The Jamfs Are Coming", "Doing Time", and "Evanescence". CD

One of the greatest records ever by this hip jazz ensemble – and one of their most unique! The record has the band grooving hard through two incredible suites of Latin music – Gary McFarland's "Latin Kaleidoscope" and Francy Boland's "Cuban Fever" – each of which takes up a side of the record, both driving the band to new solo heights with a very hip edge! Players include the usual cream of the crop of European jazz residents – like Sahib Shihab, Dusko Goykovich, Jimmy Deuchar, Phil Woods, Tony Coe, and Benny Bailey – and the tracks include "Uno Graso De Areia", "A Rosa Negra", "Olhos Negros", "Cara Bruja", and "Fiebre Cuban". Wonderful all the way through – and always a treasure! One of the shining jewels in the crown of MPS – and a Gilles P classic all the way through! CD

Al Cohn is one of those players who continued to stay great, even as the years went on – still growing and developing his amazing skills on tenor, although often without all the flair and fanfare of his contemporaries! But when Cohn got the right setting to show his skills, he could really take off – as he does in this overlooked gem for Concord Records – an album that really lives up to the promise of its title! Al blows these long, creative solos that don't hit you over the head at first, but really continue to amaze as they move along – and he's got some very sympathetic backing on the set, from a trio that features Herb Ellis on guitar, Monty Budwig on bass, and Jimmie Smith on drums. Titles include "O Grande Amor", "Russian Lullaby", "When Your Lover Has Gone", "I Remember You", and "When Day Is Done". CD

A perfect setting for the rich-voiced tenor of the great George Coleman – presented here as one of the best titles so far in the strongly-revived Live At Smalls series! Smalls is one of those players who's been on countless albums over the years, and turned out plenty of great work – but who also seems to come across with a freshness, a newness in a key live recording like this – much the same way that a player like Johnny Griffin could always show that at the core, jazz can be a spontaneous expression that's sometimes best presented in an unfettered sort of space. The core group is just right for Coleman, and often step back to give him plenty of space – Spike Wilner on piano, Peter Washington on bass, and Joe Farnsworth on drums – and titles include "Blues For Smalls", "When Sunny Gets Blue", "At Last", "Four", "Meditation", and "My Funny Valentine". CD

One of the most compelling albums we've ever heard from Ornette Coleman – and a set that's very different than some of his other work for different labels – particularly his better-known material for Blue Note and Atlantic! The album's got a righteous feel that's right up there in the best spirit of the Flying Dutchman label of the early 70s – a mode that's still on the far reaches of avant jazz that Ornette explored on earlier sessions – but which also has a warmer, almost more spiritual quality at times too. The core group features legendary partners Charlie Haden on bass, Dewey Redman on tenor, and Ed Blackwell on drums – but part of the record features an unnamed group of "Friends & Neighbors", who join in on the title cut with this collaborative spirit that really sets the tone for the whole record. Coleman plays trumpet and violin in addition to his usual alto sax – and titles include the mindblowing two part "Friends & Neighbors", plus "Let's Play", "Long Time No See", "Forgotten Songs", and "Tomorrow". CD

One of the most compelling albums we've ever heard from Ornette Coleman – and a set that's very different than some of his other work for different labels – particularly his better-known material for Blue Note and Atlantic! The album's got a righteous feel that's right up there in the best spirit of the Flying Dutchman label of the early 70s – a mode that's still on the far reaches of avant jazz that Ornette explored on earlier sessions – but which also has a warmer, almost more spiritual quality at times too. The core group features legendary partners Charlie Haden on bass, Dewey Redman on tenor, and Ed Blackwell on drums – but part of the record features an unnamed group of "Friends & Neighbors", who join in on the title cut with this collaborative spirit that really sets the tone for the whole record. Coleman plays trumpet and violin in addition to his usual alto sax – and titles include the mindblowing two part "Friends & Neighbors", plus "Let's Play", "Long Time No See", "Forgotten Songs", and "Tomorrow". LP, Vinyl record album

A rare session as a leader from trumpeter Johnny Coles – a player who cut some great work in the groups of James Moody and Gil Evans, but who shines even more brightly on this classic Blue Note album! Coles really has an ear for finding the hippest side of his instrument – and he blows with a style that's unlike anyone else we can think of – and certainly far from the mellower tones of his previous leader set for Columbia. This album's got a great mix of hardbop and modern ideas – right up there with the best Blue Note had to offer at the time – and the group's filled with equally hip players who include Joe Henderson on tenor, Leo Wright on alto and flute, Duke Pearson on piano, Bob Cranshaw on bass, and either Pete LaRoca or Walter Perkins on drums. Titles include "Heavy Legs", "Hobo Joe", "Jano", and "Little Johnny C". Very hip, very hard, and very swingin! CD

A rare session as a leader from trumpeter Johnny Coles – a player who cut some great work in the groups of James Moody and Gil Evans, but who shines even more brightly on this classic Blue Note album! Coles really has an ear for finding the hippest side of his instrument – and he blows with a style that's unlike anyone else we can think of – and certainly far from the mellower tones of his previous leader set for Columbia. This album's got a great mix of hardbop and modern ideas – right up there with the best Blue Note had to offer at the time – and the group's filled with equally hip players who include Joe Henderson on tenor, Leo Wright on alto and flute, Duke Pearson on piano, Bob Cranshaw on bass, and either Pete LaRoca or Walter Perkins on drums. Titles include "Heavy Legs", "Hobo Joe", "Jano", and "Little Johnny C". Very hip, very hard, and very swingin! CD

A rare session as a leader from trumpeter Johnny Coles – a player who cut some great work in the groups of James Moody and Gil Evans, but who shines even more brightly on this classic Blue Note album! Coles really has an ear for finding the hippest side of his instrument – and he blows with a style that's unlike anyone else we can think of – and certainly far from the mellower tones of his previous leader set for Columbia. This album's got a great mix of hardbop and modern ideas – right up there with the best Blue Note had to offer at the time – and the group's filled with equally hip players who include Joe Henderson on tenor, Leo Wright on alto and flute, Duke Pearson on piano, Bob Cranshaw on bass, and either Pete LaRoca or Walter Perkins on drums. Titles include "Heavy Legs", "Hobo Joe", "Jano", and "Little Johnny C". Very hip, very hard, and very swingin! CD

Early work by Alice Coltrane – somewhat under the shadow of her late husband, as you'd guess from the use of his name on the front cover – but really stepping out here with a voice of her own! The Monastic Trio of the set features Alice on harp and piano – alongside bass from Jimmy Garrison and drums by either Ben Riley or Rashied Ali – both really fluid players who open up nicely in this way that's never to far out, at least in the way that John Coltrane was using rhythms at the time – but which allow Alice to really take the lead as a bold musical visionary of her own! Perhaps most exciting, Pharoah Sanders sits in on one of the album's longest tracks – blowing tenor with a force that's enough to bring back The Great One – but the real charm of the set is Alice's piano work, bubbling out here with a sensitivity that we never would have expected from the harder-edge sessions cut with Coltrane – that new level of spirituality she instantly brought to her own solo sessions. Titles include "Ohnedaruth", "Lovely Sky Boat", and "Atomic Peace". LP, Vinyl record album

Mindblowing work from Alice Coltrane – an album of incredible beauty that easily sits with the best of her classic early recordings for Impulse! The album's got a spare, contemplative quality, but it's also never sleepy – and instead steps forth with the tonal building and modal moving styles of classics albums like Ptah The El Daoud and Huntington Ashram Monastery. Most tracks feature a trio or quartet – with players that include Ravi Coltrane on saxes, Jack DeJohnette on drums, and Charlie Haden on bass. Alice plays some great Wurlitzer organ on a few cuts – getting this really wonderful "flat" tone to the instrument, one that almost has the same spiritual undertones as a harmonium. The whole thing's great – far better than we could have expected – and titles include "Sita Ram", "Translinear Light", "This Train", "Blue Nile", "Triloka", and "Crescent". CD

Rare material from John Coltrane – tracks that were done for Bethlehem Records at a time when he was just rising up as a leader, and still contributed work as a sideman! The album features Trane playing tenor on only four of the album's eight tracks – making it kind of surprising that they used his name in the title – but the album is a lesser-known batch of large group recordings that offer an interesting early chapter in his career! The main force behind the album is arranger Harry Tubbs – possibly not a name that's as sexy as John Coltrane, hence the billing – but a worthy leader for the date, given the quality of the music. Many of the other players here are small combo heroes who can also shine brightly in bigger groups – such as Donald Byrd and Art Farmer on trumpets, Kenny Burrell on guitar, Al Cohn on baritone sax, Eddie Costa on piano and vibes, and Oscar Pettiford on bass – plus Rolf Kuhn, making an early American appearance on clarinet. Coltrane gets in some nice, but short moments on the date – but the bigger charm is the full ensemble work – on titles that include "She Didn't Say Yes", "Turtle Walk", "At Home With The Blues", "Seabreeze", and "Love & The Weather". CD

A great collection of tunes from Coltrane's seminal work at Impulse – and a much needed look at his spiritual approach to jazz. The package features Trane working with players that include Eric Dolphy, Alice Coltrane, Mc Coy Tyner, Elvin Jones, and others – and it does a good job of picking out the soulful numbers from albums that sometimes go a bit farther outside. Together, the tracks make a strong collection of work that shows Trane's influence on the soul jazz sound of the 70s, and the wealth of players who were undeniably influenced by his genius. Titles include "Tunji", "Wise One", "Dear Lord", "Song Of Praise", "Welcome", "Love Supreme – Part 1", "Spiritual", and "Ogunde". CD

Richly soulful sounds from Nicola Conte – his first album for Far Out Records, but a set that shows the spiritual journey he's been on for the past decade or so on a variety of other labels! Conte has really matured into a jazz visionary – using the same energy here with live musicians that he used to bring to studio projects – in a warm blend of classic soulful styles, with work from an excellent lineup that includes Zara McFarlane and Myles Sanko on vocals, Alberto Parmegiani on guitar, Timo Lassy on tenor, Simon Mullier on vibes, Milena Jancuric on flute, and Ameen Saleem on bass. All players are wonderful – pushing past anything we might have expected – and McFarlane is especially great on the record, almost hitting heights that feel like Dee Dee Bridgewater back in the day! Titles include "Arise", "Dance Of Love & Peace", "Flying Circles", "Freedom & Progress", "Soul Of The People", "Into The Light Of Love", "Umoja Unity", and "Heritage". (New Grooves, Jazz) LP, Vinyl record album

Really mindblowing work from legendary drummer Ivan "Mamao" Conti – a key part of Azymuth through that group's many years – and still going strong here as a solo artist on his own! The album's almost a 21st Century realization of the sound that Azymuth was going for back in the day – cascading percussion with plenty of influences from Brazilian music and jazz, often given some electric elements along the way – but always in a style that's warmly organic, and right on the groove! Conti gets help from younger Azymuth and Incognito generations – as Alex Malherios plays bass on the record and Daniel Maunick handles keyboards, more percussion, and production – all at a level that never stomps on Ivan's vision at all – and which instead makes the whole thing as rewarding as any Azymuth session we've heard over the past few decades. Most tracks are instrumental, save for some airy wordless vocals – but Thiago Martins sings lead on "Que Legal", and other titles include "Aroeira", "Bacurau", "Poison Fruit", "Jemburi", "Ecos Da Mata", "Encontro", and "Tempestades". CD features bonus mixes – "Ilha Da Luz (Tenderlonius rmx)", "Encontro (Glenn Astro rmx)", "Que Legal (Reginald Omas Mamode IV rmx)", "Encontro (Max Graef rmx)", and "Poison Fruit (Dokta Venom's digital dub rmx)". (Brazil, Jazz) CD

Warmly wonderful work from guitarist Larry Coryell – an album that's got a simple, straightforward feel – and a rock-solid rhythm section in the form of Stanley Cowell on piano, Buster Williams on bass, and Beaver Harris on drums! Despite the far-reaching resumes of all the players, things are pretty straight here – but always handled with a style that's informed by the deeper prospects of the musicians – especially Cowell, who throws in a few offbeat moments to keep the album on edge at some of its best points. Titles include "Toku Do", "Just Friends", "Sophisticated Lady", "Round Midnight", and "Moment's Notice". CD

An extremely great session from Eddie Costa and Art Farmer – arguably more so, because the cover and label make you think it's going to be a cheap knockoff! In what is an odd meeting of players, especially for the label, Eddie's piano and vibes meet up with Art's trumpet, the alto of Phil Woods, bass of Teddy Kotick, and drums of Paul Motian – all of whom work together with the fluidity and soulfulness of some of the best Prestige sessions of the time. The horn work is tremendous – and it's hard to remember Woods sounding this great on other albums of the time, really cutting an edge next to Farmer's trumpet – which also has an incredible tone for the album, right up there with his Farmer's Market record. Titles include "Big Ben", "Blues Plus Eight", "Stretch In F", and "Get Out Of The Road". LP, Vinyl record album

An overlooked late 60s treasure on Blue Note – 2 rare albums by Kenny Cox & The Contemporary Jazz Quintet – one of the few new groups to work on the label at the time, and an up-and-coming modern combo from Detroit! The first album's quite unique for a number of reasons – not just because the group was a little-known new signing to the label, but also because the work is quite far-reaching at times – some of the most free-thinking jazz recorded for Blue Note during the time, with a sense of boldness that almost stretches back to Jackie McLean's first few records of the new thing years, or a sense of lyrical invention that's a bit like Wayne Shorter when he made a shift towards the outside. Some numbers are awash in fast colors and changes, while others are a bit more in the pocket, with echoes of soul jazz – but the whole thing's incredibly fresh and free, a wonderful little record that only gets better and better over the years! The group features pianist Kenny Cox as the leader, plus Charles Moore on trumpet, Leon Henderson on tenor, Ron Brooks on bass, and Danny Spencer on drums. Titles include "Mystique", "You", "Trance Dance", "Eclipse", and "Number Four". The CD also features the group's second Blue Note album, Multidirection – a session of work that builds strongly on the colors and changes explored by Miles Davis earlier in the 60s, but which takes things off into a whole new direction! (A Multidirection?) The horns on the record have incredible interplay – trumpet by Charles Moore and tenor from Leon Henderson, playing together with a sense of dexterity that may even beat the team of Davis and Wayne Shorter – angular one moment, softly lyrical the next, and always in pursuit of fresh tones and righteous sounds. Kenny Cox's piano is great too – an exercise in understatement at times – getting as much done with one note as other players would with five – as he slowly guides the group along, and grounds their freer expressions with a good sense of humanity. Titles include "What Other One", "Gravity Point", "Spellbound", "Snuck In", and "Sojourn". CD

Sweet soulful jazz from reedman Hank Crawford – one of his killer Kudu sessions from the 70s – all of which really helped Hank redefine his sound! The setting here is large and full – put together beautifully by Bob James, with that sense of space for the soloist that makes his CTI/Kudu arrangements so crucial – and light years ahead of what other arrangers were doing at the time. The tracks are longish, but never overdone – and the record has all the soulful alto sounds of Crawford's 60s work at Atlantic, but with a definite 70s bent overall. James plays Fender Rhodes, Arp, and clavinet – and other players include Joe Farrell on tenor and flute, Idris Muhammad and Bernard Purdie on drums, and Richard Tee on additional keyboards. Titles include "Jana", "Sho Is Funky", "Don't You Worry Bout A Thing", "Groove Junction", and "All In Love Is Fair". LP, Vinyl record album

Sweet soulful jazz from reedman Hank Crawford – one of his killer Kudu sessions from the 70s – all of which really helped Hank redefine his sound! The setting here is large and full – put together beautifully by Bob James, with that sense of space for the soloist that makes his CTI/Kudu arrangements so crucial – and light years ahead of what other arrangers were doing at the time. The tracks are longish, but never overdone – and the record has all the soulful alto sounds of Crawford's 60s work at Atlantic, but with a definite 70s bent overall. James plays Fender Rhodes, Arp, and clavinet – and other players include Joe Farrell on tenor and flute, Idris Muhammad and Bernard Purdie on drums, and Richard Tee on additional keyboards. Titles include "Jana", "Sho Is Funky", "Don't You Worry Bout A Thing", "Groove Junction", and "All In Love Is Fair". CD

A fantastically beautiful album that strongly proves the old jazz adage "It's not the song, but the singer"! The "singer" in this case is alto player Sonny Criss – and the songs are a middle of the road batch of compositions, like "Sunny", "Willow Weep For Me", "Up Up & Away", and "Scrapple From the Apple". Forget the songs, in this case, because it's the "singer" who adds all the genius, as Criss' solos are fantastically warm, lyrical, and imaginative – far more so than you could imagine by just reading the titles on the album. We love all of the late 60s albums by Criss on Prestige, but this one's one of our favorites, and is a beautiful example of the late altoists sheer creative power in action. Other players include Cedar Walton, Tal Farlow, and Bob Cranshaw. CD

Man, it's like a talent bomb exploded! This set's stuffed with work by some of the greatest jazz funk players of the early 70s – Johnny Hammond, Bob James, Deodato, George Benson, Joe Farrell, Stanley Turrentine, Freddie Hubbard, Grover Washington Jr, Hubert Laws, and others – all playing together at a massive live concert recorded in Hollywood in 1972! And although you might worry that the collection of so many great talents on one stage might just create confusion – don't! The quality of the work is excellent – almost better than the best of the CTI studio sides, with a lean, clean sound that's really really tight – never overblown, just sweet electric funk with loads of great space for solo work. This second volume of the 3 LP set includes takes of "Blues Force", "Rock Steady", "People Make The World Go Round" and a medley of "Ithe From Love Story", "Pavane" and "Fire & Rain". LP, Vinyl record album

A great set – cut when Curson was at the height of his youthful powers, and inspired by modernist ideas he'd picked up from Mingus and other contemporary jazz outsiders – including tenorist Bill Barron, who also plays on the LP! The recording is a perfect document of a time when the hard bop was folding into the new thing – in modes that were experimentally, yet never too far out – and always remembering to swing when needed, as in the case of some of Jackie McLean's best Blue Note work of the early 60s! The album's quite an obscure one – given to its original issue on the mostly-pop Old Town label – but it's a real gem in Curson's catalog, and includes the tracks "Antibes", "Nosruc", "Ahma (See Ya)", and "Flatted Fifth", a composition that went on to become one of Curson's classics! CD

A great set – cut when Curson was at the height of his youthful powers, and inspired by modernist ideas he'd picked up from Mingus and other contemporary jazz outsiders – including tenorist Bill Barron, who also plays on the LP! The recording is a perfect document of a time when the hard bop was folding into the new thing – in modes that were experimentally, yet never too far out – and always remembering to swing when needed, as in the case of some of Jackie McLean's best Blue Note work of the early 60s! The album's quite an obscure one – given to its original issue on the mostly-pop Old Town label – but it's a real gem in Curson's catalog, and includes the tracks "Antibes", "Nosruc", "Ahma (See Ya)", and "Flatted Fifth", a composition that went on to become one of Curson's classics! LP, Vinyl record album

One of the true soul jazz classics of the 90s! Although Andrew Cyrille is better known for some of his more "out" material, we totally dig this 1992 album – because it's got a sweeping spiritual feel, and a very soulful groove that recalls 70s work by players like Billy Harper or Marvin Hannibal Peterson! Tracks are long and very open-ended, but never go too far out – just progress along with a great sense of vision, courtesy of a group of players that includes Hannibal on trumpet, Oliver Lake on soprano and alto sax, Adegoke Steve Colson on piano, Reggie Workman on bass, and Cyrille on drums. The group is impeccably tight, and the whole thing sounds like a lost session from Strata East – with just the right mix of outside soloing and inside grooving – and titles include "Soul Brother", "The Prophet", "Shell", "Tap Dancer", "South Of The Border Serenade", and "Where's Nine". CD

One of the true soul jazz classics of the 90s! Although Andrew Cyrille is better known for some of his more "out" material, we totally dig this 1992 album – because it's got a sweeping spiritual feel, and a very soulful groove that recalls 70s work by players like Billy Harper or Marvin Hannibal Peterson! Tracks are long and very open-ended, but never go too far out – just progress along with a great sense of vision, courtesy of a group of players that includes Hannibal on trumpet, Oliver Lake on soprano and alto sax, Adegoke Steve Colson on piano, Reggie Workman on bass, and Cyrille on drums. The group is impeccably tight, and the whole thing sounds like a lost session from Strata East – with just the right mix of outside soloing and inside grooving – and titles include "Soul Brother", "The Prophet", "Shell", "Tap Dancer", "South Of The Border Serenade", and "Where's Nine". CD

A previously unissued album from Indian guitarist Amancio D'Silva – recorded during his legendary run of work at Lansdowne Studios, but making its first-ever appearance here! The work on the set is every bit as far-reaching and progressive as some of D'Silva's official releases – and like those sides, this one does a tremendous job of blending complicated guitar lines, unusual rhythms, and some super-hip instrumentation! Amancio has a way of playing guitar that's a bit like Gabor Szabo – airy and exotic at times, with a free-flowing quality that's really explored nicely here on the longish tunes on the set. Players include Don Rendell on saxophone, Stan Tracey on piano, and Alan Branscombe on flute, vibes, and electric piano – but best of all is the use of sitar and tabla on the record – often employed sparingly, but in a way that adds some great echoes of Indian music. Titles include "A Street In Bombay", "What Maria Sees", "A Song For Francesca", and "Konkan Dance". LP, Vinyl record album

Ted Daniel may be one of the most compelling sound-shapers we've ever heard on the trumpet – a very under-acknowledged musician whose playing of the 70s and 80s continues to really grab us over the years! This unissued live set is from 1981, and it features Ted on a variety of horns – blowing in a special way that both links to more conventional trumpet modes, yet also shows a knowledge of the more open phrasing that some of his generation were using – like Lester Bowie or Leo Smith. Yet unlike some of those artists, Ted's performance, although free, is never that far from the more familiar roots of trumpet expression – a fantastic balance that really comes through beautifully in the music. There's a few unusual approaches here – one track features a trumpet played into a grand piano, another a flugelhorn through a phase shifter – but even these never go too far out. Titles include "Sunny Side Up", "Closer & Closer", "Vicissitudes Of A Lover", "Al Fine", "Ciao Bene", and "Deac's Ceremonial Testimonial". CD

The decoy here might be in the rhythms, which are often electric, but still played live – handled by Robert Irving III on many tracks, with a cool 80s fusion sound that's mighty nice! The style of the album's a nice change from the Miles groove of the 70s – a bit leaner, with almost a Weather Report influence at times, but far less jamming – and still prone to the darker tones that always make Davis' music of these later years surprisingly good. Al Foster handles acoustic drums on some tracks, and other players include Bill Evans on soprano sax and Mino Cinelu on percussion – on titles that include "Decoy", "Robot 415", "Code MD", "Freaky Deaky", "What It Is", "That's Right", and "That's What Happened". LP, Vinyl record album

A surprisingly nice set of tracks that were recorded for Columbia during the 60s, but not issued until the time of this 1981 compilation. Tunes run the gamut from early modal to freer electric – and Miles works with players that include Joe Zawinul, Tony Williams, Airto, Hank Mobley, Bennie Maupin, Dave Holland, Steve Grossman, Herbie Hancock, Gil Evans, and Chick Corea. Tracks include "Ascent", "Willie Nelson", "Konda", "Duran", "Fun", "Directions 1 & 2", "Limbo", "So Near, So Far", and "Song Of Our Country". LP, Vinyl record album

A key point in the development of the Miles Davis sound of the 60s – his first album to feature work from Herbie Hancock, Ron Carter, and Tony Williams – augmented by some equally nice work on other tracks from Victor Feldman and Frank Butler! The sound here is beautifully spare – a wonderful exploration of ideas that Miles had been putting forth on some other albums for Columbia, but crafted here with a vision that's apparent in the very first note – and which transforms both the tunes and the work of the players into a focused, near-perfect sound all the way through. Titles include "So Near So Far", "Seven Steps To Heaven", "I Fall In Love Too Easily", "Joshua", and "Basin Street Blues" – which even sounds great in this setting! LP, Vinyl record album

Wilbur DeParis may be working at Symphony Hall in Boston, but the sound here is pure New Orleans jazz all the way through – played in a tight small combo setting that features Wilbur on both slide and valve trombone, alongside Sidney DeParis on cornet, Omer Simeon on clarinet, Sonny White on piano, and Bennie Moten on bass! The hall gives a nicely echoey feel to the performance – almost an audio quality that's more vintage than the date of the recording – although all players come through with great clarity overall. Drummer Wilbert Kirk also plays a bit of harmonica – and titles include "Banjoker", "Sister Kate", "Cielito Lindo", "Farewell Blues", and "Juba Dance". LP, Vinyl record album

A surprisingly nice little record – a set in which Prestige Records collected together a number of unissued Eric Dolphy tracks after his death – but still a strong full album – as the record features music that's even a bit more far-reaching than some of the studio albums on the label! Dolphy plays a solo bass clarinet version of "God Bless The Child"; he plays with Booker Little and Mal Waldron on "Status Seeking"; he's on flute in a quartet with Jaki Byard on "April Fool"; and he plays with a pickup Danish rhythm section on an alternate take of "Don't Blame Me". CD

A seminal set from Eric Dolphy – one of his most perfectly realized moments at the head of a larger ensemble – and a record that definitely set the tone for countless spiritual jazz sessions of the 70s! Dolphy recorded this session for Alan Douglas in 1962, and it features a larger array of players than you'll find on most of his records for other labels – the cream of the "new thing" players that were around New York at the time, including Bobby Hutcherson on vibes, Woody Shaw on trumpet, Prince Lasha on flute, Sonny Simmons on alto, and even Clifford Jordan on soprano sax – making a rare appearance on record on that instrument! Together, the players create a set of soundscapes that lies somewhere between Dolphy's Out To Lunch album, and some of the more modernist work by Mingus – a stunning batch of tracks that go out, but never too far. Titles include "Ode to CP", "Burning Spear", "Iron Man", and "Mandrake". LP, Vinyl record album

A pair of classic early 60s modern jazz sets – back to back in this great 70s package! First up is the album Far Cry from Eric Dolphy – Eric Dolphy's first meeting in the studio with trumpeter Booker Little – a brilliant batch of modernism that's easily one of the hippest records Little ever worked on! The Dolphy heard here is Eric at his most inventive – sharp-edged and angular one minute, then spiritually lyrical the next – playing flute, bass clarinet, and alto sax equally well on the record – and somehow managing to get Little to share his inspiration perfectly on every number. Other players include Jaki Byard on piano, Ron Carter on bass, and Roy Haynes on drums – a rhythm team whose abilities are a big part of the success of the record – and titles include "Far Cry", "Mrs Parker Of KC", "Left Alone", "Ode To Charlie Parker", and "Miss Ann". Next is Where – a haunting and unusual batch of tracks from bassist Ron Carter – working here with a group that includes spiritual modernists Eric Dolphy on reeds and Mal Waldron on piano – both players who really add a lot to the set! In a way, the album's more like Dolphy's own work as a leader from the time than the sort of music usually associated with Carter – and Ron really seems to let the reedman shape the overall sound of the set with his tremendous work on alto, flute, and bass clarinet. Carter plays a bit of cello in addition to his bass – giving the record a nicely eerie sound at points – and Waldron's piano, as always, is excellent during this point in his career. Titles include Randy Weston's "Where" and "Saucer Eyes", plus "Bass Duet", which features Carter dueting with George Duvivier, and a very nice version of "Softly As In A Morning Sunrise". LP, Vinyl record album

Eric Dolphy's first meeting in the studio with trumpeter Booker Little – a brilliant batch of modernism that's easily one of the hippest records Little ever worked on! The Dolphy heard here is Eric at his most inventive – sharp-edged and angular one minute, then spiritually lyrical the next – playing flute, bass clarinet, and alto sax equally well on the record – and somehow managing to get Little to share his inspiration perfectly on every number. Other players include Jaki Byard on piano, Ron Carter on bass, and Roy Haynes on drums – a rhythm team whose abilities are a big part of the success of the record – and titles include "Far Cry", "Mrs Parker Of KC", "Left Alone", "Ode To Charlie Parker", and "Miss Ann". CD features 1 bonus track – "Serene". CD

A hokey cover and title, but a hip little record from Duke Ellington – kind of a story of percussion and jazz, all wrapped together with some great vocals and narration! The format is kind of far-reaching, but never too stuffy – and in a way, the album offers a great opportunity to hear some of the Ellington players stepping out in a slightly different vibe than the usual Columbia date from the decade. Duke does a bit of narration himself – and singers include Margaret Tynes, Joya Sherrill, and Ozzie Bailey – who beautifully illustrate the shifting passages of the longer suite. Solos are by Johnny Hodges on alto, Clark Terry on trumpet, and Paul Gonsalves on tenor – and titles include "Congo Square", "Madam Zajj", "Drum is A Woman", "You Better Know It", "Rhythm Pum Te Dum", and "Rhumbop". LP, Vinyl record album

One of Ellington's greatest albums of the 60s – and a record tinged with Eastern themes and darkly angular modern arrangements. The group here features Ellington stalwarts Johnny Hodges, Paul Gonsalves, Harry Carney, Cootie Williams, Mercer Ellington, and Rufus Jones – and the players work together tightly to craft the suite of tracks based on Ellington's impressions of recent travels through the Mid and Far East during the 60s. Titles include "Tourist Point Of View", "Isfahan", "Depk", "Mount Harissa", "Amad", "Agra", and "Blue Pepper". CD

One of Ellington's greatest albums of the 60s – and a record tinged with Eastern themes and darkly angular modern arrangements. The group here features Ellington stalwarts Johnny Hodges, Paul Gonsalves, Harry Carney, Cootie Williams, Mercer Ellington, and Rufus Jones – and the players work together tightly to craft the suite of tracks based on Ellington's impressions of recent travels through the Mid and Far East during the 60s. Titles include "Tourist Point Of View", "Isfahan", "Depk", "Mount Harissa", "Amad", "Agra", and "Blue Pepper". LP, Vinyl record album

One of Ellington's greatest albums of the 60s – and a record tinged with Eastern themes and darkly angular modern arrangements. The group here features Ellington stalwarts Johnny Hodges, Paul Gonsalves, Harry Carney, Cootie Williams, Mercer Ellington, and Rufus Jones – and the players work together tightly to craft the suite of tracks based on Ellington's impressions of recent travels through the Mid and Far East during the 60s. Titles include "Tourist Point Of View", "Isfahan", "Depk", "Mount Harissa", "Amad", "Agra", and "Blue Pepper". LP, Vinyl record album

One of the last records that Booker Ervin ever recorded, and one of the best! There's a depth of tone and conception here that goes far beyond even Ervin's already-great albums for Prestige – a mix of modernism and soulful expression that really points the way towards jazz expression in the 70s – although sadly, Booker was to leave the planet before getting a chance to stretch out in that era. All 6 tracks on the album are originals – and they sparkle with the imagination found on some of the most top-shelf Blue Notes of the time – work by Lee Morgan, Hank Mobley, or Wayne Shorter – played by a group that includes the amazing Richard Williams on trumpet (almost worth the price of the record alone), Bobby Few on piano, Lenny McBrowne on drums, and the little-known Cevera Jefferies on bass. Loads of dark edges, searing solos, and plenty of free flights into the sky – on titles that include "The In Between", "Tyra", "The Muse", "Mour", "Sweet Pea", and "Largo". CD

One of Bill Evans' landmark sessions with the young bassist Scott LaFaro – a player who made key contributions on every record he touched, then left this earth far too soon in his career! The live session's a perfect demonstration of the way that the Evans trio format not only re-worked the use of the piano in jazz, but also the bass and drums as well – as LaFaro's deeply evocative playing is paired with the equally fresh drum work of Paul Motian – heard here at his youthful early best, before some of his contributions to jazz had become cliche in the hands of other players. Pulled from the afternoon and evening sessions caught live at the Village Vanguard on June 25, 1961 – and titles include longish takes on "Solar", "Jade Visions", and "Gloria's Step". CD

The Bill Evans trio with Scott LaFaro on bass and Paul Motian on drums – a near-perfect lineup that forever raised the bar for jazz piano expression! The title here is certainly apt – because even though many of the tunes are shortish, Evans has a sense of exploration in the way he's approaching the keys – one that still retains some of the lyrically rhythmic traces of his first few records – but which also glides forth into territory that was virtually untapped on record for the time. The revolution here is so subtle, it's easy to miss from the perspective of our generation – but give it a few listens, and the record will open up beautifully! Titles include "Israel", "Haunted Heart", "Elsa", "Nardis", and "I Wish I Knew" – CD adds two bonus tracks. CD

A classic set to feature the Bill Evans Trio with the great Scott Lafaro on bass and Paul Motian on drums! Listening to the set we're reminded of what always brings us back to Evans' playing – a quality that's often described as moody, but which is really is quite spry and lively throughout this set, without ever giving up its lyrical approach. Titles are mostly standards – but really transformed by the touch of the trio – and tunes include "Come Rain Or Come Shine", "Autumn Leaves", "Witchcraft", "When I Fall In Love", "Peri's Scope", "What Is This Thing Called Love", "Spring Is Here", "Some Day My Prince Will Come", and "Blue In Green". LP, Vinyl record album

A classic set to feature the Bill Evans Trio with the great Scott Lafaro on bass and Paul Motian on drums! Listening to the set we're reminded of what always brings us back to Evans' playing – a quality that's often described as moody, but which is really is quite spry and lively throughout this set, without ever giving up its lyrical approach. Titles are mostly standards – but really transformed by the touch of the trio – and tunes include "Come Rain Or Come Shine", "Autumn Leaves", "Witchcraft", "When I Fall In Love", "Peri's Scope", "What Is This Thing Called Love", "Spring Is Here", "Some Day My Prince Will Come", and "Blue In Green". LP, Vinyl record album

A classic set to feature the Bill Evans Trio with the great Scott Lafaro on bass and Paul Motian on drums! Listening to the set we're reminded of what always brings us back to Evans' playing – a quality that's often described as moody, but which is really is quite spry and lively throughout this set, without ever giving up its lyrical approach. Titles are mostly standards – but really transformed by the touch of the trio – and tunes include "Come Rain Or Come Shine", "Autumn Leaves", "Witchcraft", "When I Fall In Love", "Peri's Scope", "What Is This Thing Called Love", "Spring Is Here", "Some Day My Prince Will Come", and "Blue In Green". CD features 1 bonus track! CD

Two slices of never-issued work from pianist Bill Evans – material recorded on two different dates in Denmark in 1964, both featuring work from his fantastic trio that featured Chuck Israels on bass and Larry Bunker on drums! Both players were key to helping Evans develop the sound that he would carry forth strongly into the 70s – Bunker with a very subtle, open touch on the drums – and Israels with a modern conception of basswork that followed strongly from some of the experiments that Scott LaFaro had begun with Evans a few years before. The set features one batch of tracks recorded for Danish Radio, another for TV in Copenhagen – and titles include "Give", "I Didn't Know What Time It Was", "Waltz For Debby", "Sweet & Lovely", "My Foolish Heart", and "How My Heart Sings". CD also features a bonus track – a 1969 Denmark recording of "Round Midnight", with Eddie Gomez on bass and Marty Morell on drums. CD

Fantastic Verve Records material from Bill Evans – a set that follows the no-nonsense trio style of his Riverside material, but which definitely shows the evolving Evans style of the 60s! The group here is a nicely mellow one – bassist Chuck Israels, whose sound is tremendous – and drummer Larry Bunker – a player you might know from percussion work on other albums, which seems to give him a very sensitive touch on the drum kit here! Both players have a dancing quality that goes far beyond strict rhythmic timekeeping – and this approach opens up Evans' solos in to a freer mode than on some of his early 60s sets. The result is a wonderful album that really transforms the tunes – as you'll hear on the set of tracks that include "Round Midnight", "Israel", "Elsa", and "How My Heart Sings". LP, Vinyl record album