We're not sure why David Boykin couldn't name the club for this performance – as the set's every bit as great as his other live recordings in other venues, and is a testament to the continuing development of this underground saxophone giant of the 21st century! The group is a quartet, with Jim Baker on piano, Alex Wing on bass, and Isaiah Spencer on drums – and at points, Baker's presence on the record is as strong as the raspy tenor of Boykin – even on one track where David vocalizes a bit too. Titles include "Despair", "Big & Fine", and "Fantasy Island". CD

The great Bobby Bradford recorded famously for the Nessa label back in the 70s – but here he's heard in the company of some younger players on a contemporary recording – one that shows that his fire hasn't dimmed at all! The group's a quartet – with Frode Gjerstad on alto and clarinet, Ingebrigt Haker Flaten on bass, and Frank Rosaly on drums – and the three tracks are all relatively long and quite free – but have this organic sense of building that really matches some of Bradford's energy from the early days – a style that's not as rhythmic or modal as before, but partly because Rosaly and Flaten are such amazingly complex musicians! Titles include "The Silver Cornet Tells", "A Story About You", and "And Me Me & You". CD

A fantastic set of Fender Rhodes from the Italian scene of the 70s – not a record that got the kind of mainstream play as American classics by Bob James and Ramsey Lewis – but a set that definitely shares their spirit! Cabildos Three were a studio group as much as a jazz combo – a trio with Cabildo on Fender Rhodes, working alongside tight bass and percussion – on jazzy tunes that were originally only done as a sound library session, but which have attained legendary status when pulled together in this full length album. The whole thing is every bit as great as the words "Fender Rhodes", "Italy", and "percussion" might suggest – and titles include "Castenada Drive", "Yuxtaposicion", "Collection Samba", "Two Types Of Complexion", "Jesus Maria District", "African Penta Song", and "Akorin". CD

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

An album that really lives up to its title – as the record sets out to prove to the world that Isaiah Collier is one of the most almighty talents on the saxophone in recent years! The album has a spiritual majesty that tops even the previous album with the Chosen Few group – as in addition to work from the quartet that includes Julian Davis Reid on piano, Jeremiah Hunt on bass, and Michael Shekwoaga Ode on drums – the group adds in extra instrumentation, light strings, and added horns at times too – all of which push the music into territory that's right up there with Nimbus or Strata East back in the glory days! Collier is a true jazz visionary, and his message here is bold and brilliant – given some key support from older Chicago legends who include saxophonist Ari Brown on one track, and vocalist Dee Alexander on another – getting maybe one of her most beautiful showcases ever on record. Titles include "Love", "Compassion", "Duality Suite", "The Almighty", and "Perspective (Peace & Love)". CD

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

An amazing blend of free jazz and fusiony touches – a partially electric session that's a real standout in the New York loft jazz scene! The album was produced by Noah Howard at Ornette Coleman's Artist House studio – but it's got a sound that's quite different from work by either of those big names associated with the set. Daniel plays trumpet and flugelhorn on the record – always with an open, spacious tone that soars one minute, meanders the next – allowing plenty of room for contributions from other group members who include Khan Jamal on vibes, Jerome Cooper on drums, Tim Ingles on electric bass with wah wah, and Richard Daniel on Fender Rhodes – again played with wah wah and echoplex! The added processing really does cool things to the electric sides of the music – spacing them out nicely, and creating a wide-toned sound that's a nice contrast to Jamal's vibes and Daniel's horn. All tracks are long, and titles include "Tapestry", "Sweet Dreams", and "Mozambique". CD also features the previously unreleased bonus track "Asagefo". CD

Yussef Dayes works here under a title that was first coined by Rahsaan Roland Kirk to refer to jazz – but Dayes takes the term to a whole new level with this groundbreaking set – really moving past jazz to unlock a whole field of soulful expression – served up an excellent group at the core, and key contributions from very hip guests throughout! Dayes has always been someone who defies expectations, but here he's going past just some sort of unconventionality to really make his own mark in music – letting an instrumental solo take center stage when needed, or working through vocals in another moment – but all with this effortless flow that really comes together over the course of the album! The group features Charlie Stacey on keyboards, Alexander Bourt on percussion, and Venna on tenor – and guests include Shabaka Hutchings, Leon Thomas, Miles James, Theon Cross, Chronixx, and others. Titles include "Early Dayes", "Afro Cubanism", "Black Classical Music", "Rust", "The Light", "Pon Di Plaza", "Marching Band", "Tioga Pass", "Cowrie Charms", "Crystal Palace", and "Presidential". CD

One of the few albums we've ever seen by keyboardist Hubert Eaves – a great player whose work crops up on some of our favorite 70s soul jazz and jazz funk sides, but who rarely got a chance to lead his own group! Fortunately, he did get the chance to cut this one – as the session's a real doozy – sweet mellow fusion, handled very soulfully, with a kicked-back feel that's right up there with the most righteous soulful fusion of the time. Players include Mtume, John Lee, Reggie Lucas, Malachi Thompson, and Rene McLean – and Cheryl Alexander sings vocals on the track "Under Standing". A great blend of laidback funk and soulful grooves – in the manner of Bobby Lyle at his best – and titles include "Slow Down", "Painful Pleasure", "Call To Awareness", and "Flead Dancing". CD

Quite possibly the greatest record that Don Ellis ever recorded – and his hippest too! The trumpeter's playing here with a quartet that includes Jaki Byard on alto and piano, Ron Carter on bass, and Charlie Persip on drums – coming together perfectly in that arch-modern style that you'd find on the best Candid albums from the time. Ellis tone is skittish and fragile – and sounds here almost like he's working in a Mingus-y mode, quite possibly because Byard's influence on the session is pretty strong. Titles include "Waste", "A Simplex One", and "Sallie" – and an extended "Improvisational Suite #1". CD

Some of the finest Peruvian grooves of the 60s and 70s – served up by three different groups headed by reedman Nilo Espinosa, plus a few other combos as well! Nilo's got a way with a groove that's totally unique – a bit soul jazz a times, influenced by bossa at others, and sometimes even moving into sweet electric fusion – always with a very pronounced sense of rhythm that makes nearly all of his numbers into the kind of groovers that can easily traverse the globe far from their roots in the Peruvian scene! The package features work from the mid 60s Los Hilton's, the early 70s Bossa 70, and the mid 70s Nil's Jazz Ensemble – the last of whom have been favorites for years with crate-diggers, due to their use of electric keyboards and very tasty drums! Titles include "Here Come The Hilton's" and "Sherezade" by Los Hilton's; "El Gato", "Think", "Get Out Of My Way", and "Las Mariopsas" by Bossa 70; "Reflexiones", "Summer Love", "Hard Work", "Looking For A Blues", and "Somos Nada" by Nil's Jazz Ensemble; "El Bueno El Feo Y El Malo" by Nilo Espinosa Con Los 007; "Light My Fire" by Charlie Guerrero; "Gotas De Miel" by Nilo Espinosa Y Orquesta; and "People Got To Be Free" by Charlie & Many. CD

Lawrence Fields is a pianist with a wonderful blend of complexity and rhythm – a player who can spin out quick lines that almost verge into modern jazz territory, yet one who also holds things back to reach the right sort of interplay with bassist Yasushi Nakamura and Corey Fonville – trio members who really set fire to the lyrical ideas in Lawrence's music! Fields is young, but comes on here with a depth that almost makes us think of mature Cedar Walton at his best – and the set's full of original tunes that showcase Field's strong powers as a composer as well. Titles include "LBF", "New Season Blues", "Moving On", "Parachute", "Yasorey", "Vision", and "Sketches". CD

The second part of a great Japanese-only session recorded in 1980 – one that features a later edition of the Great Jazz Trio – with Eddie Gomez on bass and Al Foster on drums, next to piano by usual group member Hank Jones! The set's got a hipper feel than usual for the group – partly because Jones plays Fender Rhodes on part of the record, and partly because Gomez's work on bass gives the proceedings a warm and soulful sound – that deep-flowing groove we first came to love in Eddie's work with Bill Evans and Jeremy Steig. Foster's drums are great too – and have a sense of sharpness that changes the Great Jazz Trio sound nicely. Titles include "Peedlun", "Light Listened", "Duplex", "Just Before Dawn", and "Sublime". CD

A set titled after a Beatles hit of the 60s, but one that's got a lot more depth than that – as the record is a landmark moment in the development of organ/guitar jazz at the time – a set that features the key pairing of guitarist Grant Green and Hammond modernist Larry Young! As with other records from the duo, there's a sense of rhythmic progression and tonal inflection here that's quite different than more standard soul jazz of the time – a complexity that also comes from the drum work of Elvin Jones, and which is topped by the soulful expressions of Hank Mobley on tenor – the last member of this all-star quartet! The whole thing's great – based around loose, free rhythms – and featuring searching solos that also still remain nicely swinging and in the pocket! Titles include "Corcovado", "Stella By Starlight", "I Want To Hold Your Hand", and "At Long Last Love". CD

An incredible record – and virtually the blueprint for countless other keyboard records to come! At the height of his 70s powers, Herbie really takes off into space with this set – moving away from more commercial music, and hitting a groove that's totally righteous, totally electric, and completely mindblowing! The album's got a bit of a Headhunters vibe, but it also veers off into some very wild analogue electronics too – a mix of Fender Rhodes, clavinet, melotron, and echoplex processing – augmented by additional work on Arp from Patrick Gleeson. Other players on the set include Bennie Maupin on reeds, Eddie Henderson on trumpet, Julian Priester on trombone, Buster Williams on bass, and Billy Hart on drums – and the great Buck Clarke rounds out the combo on percussion. The album only features three long tracks – "Rain Dance", "Hidden Shadows", and "Hornets" – but all of them are killers! CD

Lezlie Harrison's a great singer, and she sounds especially wonderful here next to the Hammond B3 of Ben Paterson – a player who really seems to click with Lezlie's great approach! There's a slight current of soul in Harrison's music, but the music is definitely jazz – as she's got a richness of expression, and way of using her voice that we'd rank right up there with vocalists like Carmen Lundy or Dee Alexander – given plenty of space to open up and soar here in a small combo setting, with work also from Matt Chertkoff on guitar and Pete Zimmer on drums. The approach is great – very different than some straight old school Hammond/vocal session – as Harrison's take on the tunes is very fresh, with more contemporary approach to arrangements – on titles that include "Love Won't Let Me Wait", "Let Them Talk", "A Lover Is Forever", "What A Little Moonlight Can Do", "Fly Like An Eagle", and "Close Your Eyes". (Vocalists, Jazz) CD

The seminal debut of Hatfield & The North – a group that maybe came a bit late in the UK prog scene of the early 70s, but who had a huge influence for decades to come! The quartet are a late transformation of the earlier Canterbury sound – leaner, maybe jazzier, and with a great ear for warm tones and organic elements that help hold the complexity of their music to the surface of the planet. Plus, there's this more open, honest quality to some of the work – especially the vocals – that quality, say, that made Matching Mole so different than Soft Machine. The whole lineup is an all-star affair – Richard Sinclair on bass and vocals, Pip Pyle on drums, Phil Miller on guitars, and Dave Stewart on organ, piano, and tone generator – plus some nice guest sax and flute from Geoff Leigh of Henry Cow, and vocals from Robert Wyatt on one track. Titles include "The Stubbs Effect", "Calyx", "Licks For Ladies", "Bossa Nochance", "Big Jobs No 2", "Lobster In A Cleavage Probe", and "Rifferama". This CD edition includes the bonus tracks "Let's Eat Real Soon", "Fitter Stoke Has A Bath" and "Your Majesty Is Like A Cream Donut". (Rock, Jazz) CD

An obscure set of solo tunes from modernist Andrew Hill – originally recorded for the Japanese East West label in 1975, and a very different side of Andrew's music than his Blue Note work of the 60s – but one that's equally great!. Hill's playing a grand piano – with a complex approach to chords that's really compelling – this sense of flow and majesty that we really love, as Andrew tries out some sharp edges at points – but still retains some of that soulfulness he rediscovered as the 70s approached. There's a darkness to the material that we didn't always hear in Hill's other sides – and the intimacy of the recording shows that his talents are still extremely rich at this point in his career. Titles include "Naked Spirit", "Rambling", "Vision", "Clayton Gone", and "Insanity Riff". CD

A trio of later gems from this legendary South African pianist! Mindif is a great set that features Abdullah Ibrahim's soundtrack music for the 1988 Clair Denis film Chocolat – some of his best group recordings of the 80s! The feel here is a bit more African-styled than usual – even for Ibrahim – with strong use of reeds to inflect the tunes with the right degree of color and tone for their use in the film. The ensemble on the record features Ricky Ford on tenor and soprano, Craig Handy on flute and tenor, Benny Powell on trombone, David Williams on bass, and Billy Higgins on drums – and the tracks have a languid groove that recalls some of Dollar Brand's best South African recordings with Kippie Moketsie. Titles include "Earth Bird", "African Market", "Pule", "Star Dance", and "Serenity". African River is one of the great larger group recordings that pianist Abdullah Ibrahim gave us in the 80s – from a moment when he was able to use added horns to really expand that amazing sense of color and rhythm he'd brought to his music on earlier trio recordings! There's a sense of musical vision here that really lives up to Abdullah's majestic look on the cover – a fantastic merging of flute and tenor from John Stubblefield, soprano and alto from Horace Alexander Young, tuba and baritone from Howard Johnson, and trombone from Robin Eubanks – all vibrant horn players who seem to have just about every tone and mood covered with their horns – given this wonderfully warm support from Buster Williams on bass, and Brian Adams on drums. All titles are originals by the leader – and tunes include "Chisa", "Sweet Samba", "Duke 88", "The Wedding", and "Joan Capetown Flower". Yarona is a beautifully sensitive set from Abdullah Ibrahim – recorded live at the Village Vanguard, and with an open, lyrical sound that almost seems to recall some of Bill Evans' magical moments in the venue! Ibrahim's quite a different player, of course – but there's an open, exploratory quality to his music that's a bit unusual here – maybe not as rhythmically based as it is balanced between sound and silence – given very respectful company in the bass of Marcus McLaurine and drums of George Johnson. Titles include "Cherry/Mannenberg", "Duke 88", "African River", "Stardance", "Tuang Guru", "Tintinyana", and "African Marketplace". CD

A landmark record from the Dutch jazz scene – one that takes all the strong 70s years of free improvisation in that world, and helps it find a new sort of focus! As fans of the scene know, ICP stands for Instant Composers Pool – writing while improvising on the spot – a notion that's applied here to a completely amazing tentet, with a lineup that moves even beyond the core scene – to include Misha Mengelberg on piano, John Tchicai on alto and soprano, Gilius Bergeyk on alto, Peter Bennink on alto and sopranino, Peter Brotzmann on alto and tenor, Bert Koppelaar on trombone, Tristan Honsinger on cello, Alan Silva on bass, Han Bennink on drums and bass clarinet, and Michel Waisisz on the very cool "crackle box". The force of the individual players is already amazing – but the way they come together here is breathtaking – sometimes with a full blast that should be chaos, but which finds an amazing sense of song, thanks in part to the strength of Mengelberg on piano. Titles include "Valse Trovee", "Ludvig's Blue Note", "Dank", "Alexander's Marschbefehl", "Rumboon", and five "Tetterettet" selections. CD

Not the first album from this fantastic group, but a set that's their initial outing for Impulse Records – the old home to John Coltrane, Sun Ra, and Pharoah Sanders – and a very fitting place for their boundless sense of expression! The group really seem to have upped their game for this album – finding a way to move into darker, deeper territory that really blows us away – really layering their sound with a richness that's almost weaponized at times, especially given the message in their songs – as if these guys have drunk deep of the complexity of ESP Albert Ayler material, the fused it to a spaceship towards the cosmos! Moor Mother delivers some spoken passages of knowledge on the album – alongside the saxes of Keir Nueringer, trumpet of Aquiles Navarro, bass of Luke Stewart, and drums of Tcheser Holmes. Titles include "Our Land Back", "Free Love", "Celestial Pathways", and "Root Branch". CD

One of the most beautiful records to come out of the early 70s – a tremendous indie effort from a young Weldon Irvine! Irvine put this album together as sort of a musical "time capsule" of his generation – an effort to capture the era's thoughts, feelings, and emotions through a mix of music, vocals, and a few spoken bits – all woven together in a way that changes moods nicely, but always keeps the same righteously spiritual vibe! Weldon plays keys that are both electric and acoustic throughout – and he's joined by a very hip batch of players who include Jimmy Owens, Lenny White, Alex Blake, George Cables, and others – all working here in a very rough-edged and soulful mode. Titles include the classic break track "Bananas", the sweet vocal number "Deja Vu",and the soul classic "Feelin' Mellow" – also covered by Fatback Band, but even better here in the original! Other tracks include "Soul Sisters", "Watergate Don't Bug Me", "Spontaneous Interaction", and "I Am". CD

Trumpeter Goran Kajfes has been giving us great sounds in a variety of formats over the years, but this album may well be one of his most inventive – a session of spare, slow-growing sounds done with some very like-minded musicians – Alex Zethson on piano and organ, Johan Berthling on bass, and Johan Holmegard on drums – all sharing the same spacious sensibility that Goran's bringing to the session! Both Kajfes and Zethson add in some especially cool electronics – building things nicely from the background to the front – and the record also features beautiful guest work on violin and cello, both elements whose contributions here are crucial. The set features three long, beautifully-flowing tracks – "Magmatique", "Prije I Posle", and "Unity In Diversity". CD

The debut album by a guitarist who might well go into the realm of the classics – as he plays here with a sense of care and balance of tone that's very much his own – handling a hollow-body electric with a sound that's simply stunning from the very first note! Hugo Lippi isn't one of those "too clean" guitarists from the vintage years – as he loves to get some richer sounds out of the guitar, while also never rasping the strings or pushing distortion at all either – always playing with a sense of clarity that's great, while also touching on the complexity of acoustic players with an effortless touch! Lippi handles his instrument with the skills of Baden Powell or Paco DeLucia – although he sounds nothing like either of them – while also using the electric side of the instrument to effortlessly create amazing colors throughout. Titles include "A Child Is Born", "Reflections In B", "Land Of Hope & Glory", "Girl", "La Ballade De Johnny Jane", "Be Yourself", "Choros No 1/Bossa Antigua", and a surprising medley of "Wuthering Heights/Babooshka". CD

Two rare albums from Dutch reedman Theo Loevendie – both amazing little records that sound beautiful here on a single CD! Mandela features complicated lines from a hip Netherlands combo of the late 60s – one headed up by Theo Loevendie on alto sax, but which acts a lot more like a collective of modernists working together – Hans Dulfer on tenor and bamboo flute, Willem Van Manen on trombone, Nedly Elstak on trumpet, Joop Mastenbroek on baritone and clarinet, Maarten Altena on bass, and Martin Van Dunhoven and John Engels on drums. The tunes all have a nice sense of structure – energy that's more like the early 60s modernism of the European scene – particularly some of the more rhythmic styles – than the looser freedoms that some of Loevendie's contemporaries were hitting at the same time. There's definitely plenty of offbeat sounds in the mix – but the group also knows how to swing, too – on titles that include "Trombomanie", "Mr Brook", "Timbuktu", "Trompedly", and "Pepy". Chess is a really playful outing from a very cool Dutch combo – one with lead alto from Theo Loevendie, but a rich array of sounds from the other members too! The reeds are especially nice – often coming together with a complexity that goes back to older European modern traditions, yet with a swinging sensibility that's still plenty jazz, too – kind of a mix of composition, arrangement, and inherent swinging – with standout work from Hans Dulfer on tenor, Leon Van Oostrom on baritone, Leo Cuypers on piano, and Willem Van Manen on trombone – a player we barely know at all, but whose bold tones really bring a lot to the record. Titles include "Lapsang Souchong", "Scratch", "Brasilia", and "Tremolo". CD

The great Harold Mabern kicks it hard with a key core group – then finds a way to open up with some surprise guest artists as well – including singers Gregory Porter, Kurt Elling, Jane Monheit, and Norah Jones! The core of the album features Mabern's piano rocketing out with rhythm from John Webber on bass and Joe Farnsworth on drums – and getting some strong tenor work from the mighty Eric Alexander – and as the set goes on, the group also brings in Jeremy Pelt on trumpet, Peter Bernstein on guitar, and Steve Turre on trombone. But the key force here is the singers – especially Porter and Elling, who seem to find an old school space with the group that really takes them back to their roots. Elling sings on "You Needed Me", "Portrait Of Jennie", and "Billie's Bounce"'; Porter sings on "Afro Blue" and "The Man From Hyde Park"; Monheit sings on "I'll Take Romance" and "My One & Only Love"; and Norah Jones sings on "Don't Misunderstand" and "Fools Rush In". CD also features Alexis Cole on "Such Is Life" – and the instrumental tracks "The Chief", "Mozzin", and "Bobby Benny Jymie Lee Bu". CD

Insanely wonderful early work from Charlie Mariano – some of the freshest, cleanest alto sax work of its time – blown with a tone and sense of soul that goes way beyond some of Mariano's contemporaries at the time! The album was recorded for Bethlehem Records, and is relatively straight – but Charlie already shows a sense of complexity in his presentation that hints at all the greatness to come – and which bursts out here with some refreshing energy that really makes the whole thing sparkle. Charlie's tone is impeccable – somewhere between Lee Konitz and Charlie Parker, with that back bay Boston blend of soul and modernism, making the city one of the best scenes for alto players in the 50s – and he gets some strong rhythm support from the trio of John Williams on piano, Max Bennett on bass, and Mel Lewis on drums. Titles include "Blues", "Floormat", "I Heard You Cried Last Night", "Johnny One Note", and "King For A Day". CD

One of the best of the early 60s comeback albums by the legendary bop trumpeter Howard McGhee – and a record that really has the player finding a whole new groove in his music! At this point, Maggie's got a fantastic tone that was missing from his earlier records, filled with pain and raw emotion – but also measured with a maturity that gives his solos an incredible sense of economy that delivers a whole hell of a lot with just a few simple notes – a balance that comes through beautifully here, maybe even more so than on any other record by Howard from the time! He's playing here in a great group that includes Roland Alexander on tenor, Bennie Green on trombone, Tommy Flanagan on piano, and Pepper Adams on baritone – and tracks include "Dusty Blue", "Groovin High", "Cottage For Sale", "Flyin Colors", and "With Malice Towards None". CD

Jimmy McGriff in a very cool 70s mode – hitting some of the fuller, more soul-based styles that Johnny Hammond and Jimmy Smith were exploring in the middle of the decade – while still also displaying a hell of a talent on the organ as well! The album has extra keyboards from Pat Rebillot and Paul Griffin – which makes for a nice mix of organ and electric piano sounds, plus some occasional moog that's very nicely placed – all backed by a largeish group that has tight horns, and some occasional soul vocals from Al Downing and Denise Wooten. The vocals are often an augmentation of the tunes, and there's still plenty of room for solos by Jimmy in the middle – on titles that include "Tailgunner", "Flexible Flyer", "Sky Hawk", "Grandma's Toe Jam", and "Bullfrog". CD

A wonderful live set – and one that really reflects the rebirth of a legend! Ethiopian keyboardist Hailu Mergia cut some fantastic records back in the day, but had spent years driving a cab in Washington, DC – before the reissue of some of his older gems led the musician to come back out of retirement and play live again – which he does on this really fantastic set recorded in New York! The group's a trio – just bass and drums behind Hailu's keyboards, melodica, and occasional accordion – and the vibe is nicely different than some of his earlier material, with more complexity on some of the solos, and maybe a deeper sort of sophistication in the overall approach – as if Mergia spent all that time away from music cooking up new ideas that burst forth in the performance! Titles include "Yetewat Hil", "Yegle Nesh", Abichu Nega Nega", "Belew Beduby", and "Tizita". (Global Grooves, Jazz) CD

A seminal session from Roscoe Mitchell – beautiful work recorded for the small Nessa label, and a real testament to the fragile beauty of his music! Some of the tracks are solo, and others feature Roscoe in shifting groups with other AACM players – a duet with bassist Malachi Favors, another with reedman Anthony Braxton, a trio with Muhal Richard Abrams on piano and George Lewis on trombone, and a quartet with Joseph Harman, Henry Threadgill, and Wallace McMillan. The sound's about as haunting as you can get for the AACM in the 70s – sensitive sounds, complex tones, and a rich approach to creative music that goes far beyond jazz – a really stark contrast to the styles of New York or European avant players from the same period! Titles include "Off Five Dark Six", "A1 Tal 2LA", "Nonaah", "Sing", "Chant", "Ericka", and "Tahquemenon". CD

One of the greatest Blue Note albums of all time – a record that's even better than the look of it's cover – which is already pretty darn classic! Hank Mobley had been making records for Blue Note for a number of years before this set – but Caddy For Daddy is one in which he really takes off – mixing earlier hardbop modes with a more complex approach to both rhythm and lyricism – matched with some wonderful work from Lee Morgan in the frontline, who was also really hitting new heights at the time – in a group that also includes Curtis Fuller on trombone, McCoy Tyner on piano, Bob Cranshaw on bass, and Billy Higgins on drums. The group plays this amazing mix of soul jazz and modal grooves that sets a whole new standard in the Blue Note catalog – and every cut is a winner, with titles that include "Venus Di Mildew", "The Morning After", "3rd Time Around", and "Ace Deuce Trey". Fantastic material all the way through, with tracks that will stay in your head for years – and one of the greatest jazz album covers ever! CD

Tremendous work from the great Mark Murphy – a great reminder that he's still one of the greatest jazz vocalists to come our way in the past 50 years! The short set's a loving tribute to the late Shirley Horn – delivered by Mark in some of his most personal, poetic modes in years – with backing from a trio that features Alex Minasian on piano and Curtis Lundy on bass – plus guest trumpet from Til Bronner on two of the album's tracks! Bronner's trumpet rings out warmly alongside Murphy's vocals – which have the same edge we've loved for so many years. The pairing is one that would definitely make Shirley Horn smile – and titles include "A Beautiful Friendship", "Get Out Of Town", "Here's To Life", and "But Beautiful". (Vocalists, Jazz) CD

That's Antonio Neves wielding a trombone on the cover – but the set's got elements that move way past his great work on that horn – drawn from very collaborative contributions from different members of the contemporary scene in Rio! The record's got a jazz basis at the core, but quickly explodes into a real style-shifting approach – that legacy of easily mixing modes that has been the hallmark of some of the most creative work from Brazil in recent decades – guided perfectly here by Neves on drums as well as trombone! Antonio sings on one track, and the record also features vocals at points from Leda, Alice Caymmi, Ana Frango Eletrico, and Marcos Esgulera – amidst a whole host of guest musicians too, including Edu Neves on flute, Leo Gandelman on alto, and Hamilton De Holanda on mandolin. Titles include "Lamento De Um Perplexo", "Forte Apache", "Simba", "A Pegada Agora E Essa", "Noite De Temporal", and "Jongo No Feudo". (Brazil, Jazz) CD

Legendary tenorist George Coleman adds his voice to the One For All combo on a number of tracks here – making the already-great combo even better! For years, One For All has always boasted tremendous tenor work from the mighty Eric Alexander – but more recently, Alexander has also begun to play alto work – which he does here on a few tracks that then allow Coleman to step up strongly – blowing with that soulful depth that he's been bringing to recording sessions from the 60s onwards, maybe even better here with the passage of years! And the rest of the all-star lineup is equally great – Jim Rotondi on trumpet, Steve Davis on trombone, David Hazeltine on piano, John Webber on bass, and Joe Farnsworth on drums. Coleman blows on the titles "Oscar Winner", "This I Dig Of You", and "My Foolish Heart" – and other tracks include "Chainsaw", "In The Lead", and "Edgerly". CD has three bonus tracks – "Leemo", "Cove Island Breeze", and "The Nearness Of You". CD

Trumpeter Jeremy Pelt is always a player who finds a way to bring a little something extra to a record – shifting his sound, changing his tone, and always finding a way to offer us a fresh approach – but all while really holding strong to his core principles! Here, Plet's a sonic master – blowing both muted and unmuted, in a very cool lineup that includes excellent work on vibes from Jalen Baker and guitar from Alex Wintz – players whose combinations come across wonderfully – augmented at a few spots by Fender Rhodes and piano from Frank LoCrasto. Leighton McKinley Harrell plays both acoustic and electric bass, drums are by Allan Mednard or Deantoni Parks, and titles include "No AI", "Earl J", "Ante Meridiem", "Basquiat", "Milocraft", and "Amma Is Here". CD

Seminal sounds from Placebo – one of the hippest electric groups going on the European scene of the early 70s, thanks to some great keyboards and electronics from the legendary Marc Moulin! Placebo's sound here is a unique approach to funky jazz – one that certainly draws from the electric modes of the American scene, and without any of the jamming elements of other Euro fusion groups – but there's also a touch of rockish inflection at points too – especially in the way the rhythms have a tightly pulsating groove. There's none of the indulgence of prog, but there's definitely a lineage going on somewhere in the mix too – and in addition to Moulin's keyboards, the group also features great horns from Nick Fissette, Alex Socrier, and Richard Rousselet. Titles include "Bolkwush", "Temse", "Balek", "Phalene", "Re-Union", and "Only Nineteen". CD

Massive work from one of the funkiest drummers of all time – the legendary Bernard Pretty Purdie, stepping out here in a batch of instrumentals that may well be his greatest album ever! Bernard's drums are right up front in the mix – leading off all tunes with a full, funky, echoey sort of approach that's unlike anything else we can think of – and certainly different from any other late 60s albums of this type! The production is totally great – and has a way of pulling out some of the weirdest aspects of the music – which itself features guitar from Billy Butler and Eric Gale, bass from Bob Bushnell, tenor and flute from Seldon Powell, and organ and piano from Richard Tee – who also handled all the arrangements on the set! The centerpiece is the hit single "Funky Donkey", but just about every track's a groover in its own way – and titles include "Soul Drums", "Bill's Groove", "Jimmy's Back", "Testifyin", "Modern Jive", "Blow Your Lid", "Bee N Tee", and "Soul Bossa Nova". This new edition includes 8 bonus tracks, with a couple rare 45 tracks and more that have never been released – all soulful & funky – well paired with the Soul Drums album! Bonus tracks are in stereo, and include "Alexander's Rag Time Band", "Genuine John", "Soul Clappin", "If You Never Cried", "Stop" and "Time Is Tight". Also comes with a nice booklet with new liner notes, and choice quotes from Purdie's peers and those he influenced, from Galt MacDermot to Large Professor. CD

A perfect illustration of the rich new directions Wayne Shorter was taking at the start of the 70s – an amazing flurry of sounds and styles that's light years ahead of where he began in the 60s! Shorter's one of those players who was already great at the start – an amazing tenorist, both on his own and with the groups of Art Blakey and Miles Davis – yet by the time of this record, he'd absorbed a huge amount of influences from Brazilian music, modal jazz, the spiritual underground, and even the free European scene – all of which come to play on the long, complex tunes on the set! The record has Shorter working with some other key contemporaries of this new moment in jazz – John McLaughlin on 12 string guitar, Chick Corea on marimba and percussion, Dave Holland and Miroslav Vitous on bass, and Ron Carter on cello – all players who have the same open, exploratory vibe as Wayne's own lines on tenor and soprano sax. Titles include an excellent cover of Milton Nascimento's "Vera Cruz", plus the tracks "Antiqua", "Iska", and "Montezuma". CD

A record that definitely lives up to its promised title – as the whole thing brims over with excellent work from players you might know from other albums on the Posi-Tone label! The group name doesn't get at the heart of the sound, though – as there's a sharp, soulful focus to the music throughout – kind of a classic hardbop approach, but with maybe a more contemporary sense of freshness, especially on the solo voices – which is no surprise, given that the sextet features Nick Finzer on trombone, Alexa Tarantino on alto, Sam Dillon on tenor, Art Hirahara on piano, Boris Kozlov on bass, and Rudy Royston on drums! The album's also brimming over with original material – tunes composed by group members or their labelmates – with tracks that include "Coppertone", "Slick", "New Directions", "Why Aren't You Excited", "Breeze", "Vast", and "Overcooked". CD

Terrell Stafford's one of those musicians who started out great, and just seems to keep on maturing over the years – to a point where a record like this really stands as such a strong testament to his power as both a player and a leader! The music has a sense of majesty to fit the image of Stafford on the cover – well-penned tunes, played by a great lineup of players who clearly want to rise up and follow Terrell's lead – really bringing their all to their solos, while also holding tight to formation to realize the larger thematic qualities of the tunes. Players include Tim Warfield on tenor and soprano, Bruce Barth on piano, David Wong on bass, Johnathan Blake on drums, and Alex Acuna on percussion – on titles that include "Blood Count", "Wruth's Blues", "Mia A Mia", "Between Two Worlds", and "Manaus At Dusk". CD

Beautiful improvised work from legendary Polish trumpeter Tomasz Stanko – work that's much more powerful and bracing than the atmospheric recordings he would do for ECM in later years! The work here comes right at a key moment for free jazz on the European scene – and Stanko works with some of the modern structures of his important 60s material with Kryzstof Komeda, but with looser styles that really lets the organic energy of the group take over from more compositional directions – especially on the two very long tracks that comprise the core of the material. The music has never been issued to the public before – and represents a key look at these important years when Poland was one of the most important jazz scenes behind the Iron Curtain – thanks to experimental work from Stanko on trumpet, Janusz Muniak on flute and soprano, Zbigniew Seifert on violin, Bronislaw Suchanek on bass, and Janusz Stefanski on drums and flexatone. Titles include "Calme", "6 & 8 1", and "6 & 8 2" – plus the short "Flute's Ballad". CD

A huge amount of work from a reedman we'd never heard before – Martinique-born Alexandre Stellio – a hell of a clarinet player, and one who effortlessly weaves together island rhythms and early strands of jazz! All of the recordings here were done in Paris during the mid 30s, and provide a great illustration of the way that the crumbling French colonial empire was allowing all sorts of unusual criss-crossing in sound – in this case, the already-strong Parisian love of jazz mixed with the influence of new phrasings, colors, and rhythms from the French Caribbean – very much in the spirit that would soon become known as biguine! Stellio recorded a surprising amount of music during these years – and the set brings together every session with detailed notes and excellent sound – recordings that are all awash with his amazingly deft, edgey reed lines over romping rhythms, piano, and guitar – the last of which has some slight echoes of Parisian swing. 85 tracks in all – and notes in French and English! (Global Grooves, Jazz) CD

A really compelling set from this important Japanese group of the 70s – a quartet headed up by guitarist Masayuki Takayanagi – but which features a very complex balance of work from all the individual members! The set initially begins with a traditional vibe, but then seems to step out with each new track – almost encompassing a history of modern jazz in the music, then moving past with its own sense of invention! Masayuki's guitar rings out on the spare "The Blues", which begins – but then moves aside for free flute work from Kenji Mori on a mindblowing take of "You Don't Know What Love Is" – almost handled with a late Dolphy vibe. "Sun In The East" has the ensemble moving boldly together – with double drums and percussion from Joe Mizuki and Hiroshi Yamazaki – and the set concludes with the extended "Free Form Suite" – a tune that definitely lives up to its name! CD

The fantastic first record from Chicago's Territory Band – a project headed up by saxophonist Ken Vandermark, and one that definitely builds the Transatlantic Bridge that's promised by the title! During the second half of the 90s, the Chicago avant scene really exploded with some great younger players – and also drew a lot of guests from other global scenes too – creating a lively cross-breeding of sounds, styles, and ideas – all of which are represented strongly by this group! The lineup features Jim Baker on piano, Jeb Bishop on trombone, Axel Dorner on trumpet, Dave Rempis on alto and tenor, Kent Kessler on bass, Fred Lonberg-Holm on cello, and both Paul Lytton and Tim Mulvenna play drums – which makes for a super heavy sense of energy throughout. Vandermark blows tenor, bass clarinet, and b flat clarinet – on titles that include "Collage (for Kurt Schwitters)", "RM (for Marcel Duchamp)", "Mobile (for Alexander Calder)", and "Stabile (for Hans Hoffmann)". CD

An excellent album by Mary Lou Williams – a set recorded during the 70s period when she was mixing in a bit of funk with her jazz! The sound here is wonderful – quite different than other work you might know from Williams, and much more in the sort of groove you'd expect from Junior Mance, Ray Bryant, Ramsey Lewis, or other soul jazz-oriented pianists! Williams plays acoustic piano in a very hip trio with Mickey Roker on drums and Bob Cranshaw on electric bass – the latter of whom brings in this well-rounded, soul-drenched tone that's a lot like the bass work on some of Monty Alexander's own best albums from the 70s. And Williams herself is totally great too – playing with some slightly exotic tones at points, and with a really in-the-pocket groove at others. Funky tracks include "Intermission" and "Rosa Mae" – and other titles include "Ghost Of Love", "Medi II", "Zoning Fungus", and a great version of Dizzy Gillespie's "Olinga". CD also features 2 previously unreleased tracks – "Syl-O-Gism" and an alternate of "Gloria". CD

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

A beautiful demonstration of the unique piano genius of Ahmad Jamal in the early years of his career – his way of blending together some of the complex fluidity and keyboard range of postwar pianists from more staid settings, while also picking up a warmer, more soulful groove – but in styles that are so different than soul jazz contemporaries like Ramsey Lewis and Ray Bryant! Instead, Jamal's got this way of swinging the whole trio with a beautiful sense of cohesion – pulsating enough to groove, but also light enough to be lyrical as well – qualities that are really shared by the bass of Israel Crosby and drums of Vernell Fournier – as they work here alongside Jamal in the space of his famous Alhambra nightclub. Titles include "Time On My Hands", "Angel Eyes", "You Go To My Head", "Star Eyes", and "What Is This Thing Called Love". CD

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