Earl Hines on piano. CD

Gerry Mulligan with Paul Desmond, the University Of Illinois Orchestra with Gerry Mulligan & Al Belleto, Freddy Gray & Loyola Stage University Band. CD

Titles include "Minor Swing", "Nocturne", "Daphne", "Nuages", "Viper's Dream", "Souvenirs", and "Honeysuckle Rose" – 20 tracks total. CD

Music from Jeri Southern, Peggy Lee, Chris Connor, Mildred Bailey And Her Orchestra, Gloria Lynne, Sarah Vaughan, Nancy Wilson, Lena Horne With Lou Bring And His Orchestra, Etta Jones, Billie Holiday, and more - 18 songs in all. (Vocalists, Jazz) CD

24 tracks that perfectly illustrate all that was great about Gene Ammons in his early days – a set of singles and 78s recorded for Chess in the late 40s and early 50s, featuring players that include Tom Archia, Matthew Gee, Junior Mance, Sonny Stitt, and Bill Massey. Titles include "Do You Really Mean It", "Swingin For Xmas", "The Battle", "Jam For Boppers", "Bless You", "Cha Bootie", "Goodbye", " Tenor Eleven", "Don't Do Me Wrong", "Happiness Is A Thing Called Joe", and "Can Anyone Explain". LP, Vinyl record album

Benny Carter plays with The American Jazz Orchestra, directed by John Lewis, with John Eckert, Virgil Jones, Bob Millikan, and Marvin Stamm on trumpets, Eddie Bert, Jack Jeffers, Jimmy Knepper, and Britt Woodman on trombones, Bill Easley and John Purcell on alto and flute, Loren Schoenberg on tenor, Lew Tabackin on tenor and flute, Danny Bank on baritone and bass clarinet, Dick Katz and John Lewis on piano, Ron Carter on bass, and Mel Lewis on drums. CD

Sonny Clark on piano, George Duvivier on bass, and Max Roach on drums. Titles include "Sonny's Crib", "Blue Mambo", "Minor Meeting", "My Conception", and "Sonia". CD

Miles Smiles, but his grin is a wry one – given the angular energy of the set! The album's a landmark effort from the mid 60s quintet that includes Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams – all of whom work without fail to capture Davis' newly emerging approach to jazz – a style that's touched with some of the light lyricism of the late 50s, but which has much sharper edges overall – and really approaches some of the best "new thing" modes that were going down at labels like Blue Note or Impulse! Many tunes have a subtly spare quality, but nonetheless work with a tremendous amount of power – and titles include a classic version of "Freedom Jazz Dance", a haunting take on Shorter's "Footprints", and the titles "Orbits", "Circle", "Dolores", and "Gingerbread Boy". CD

Late work from Eddie Harris – but a great session too, and one that cooks with raw soulful energy that shows he was still at the top of his game! The date's a quartet session, with that spare, back-to-basics approach Eddie was using in the years after his bigger 70s fame – a great reminder of the tenor roots from which he sprang in the Chicago scene, where he could still make some compellingly complicated moments, even without any electricity or tricks. Other players include Jacky Terrasson on piano, George Mraz on bass, and Billy Hart on drums – and titles include "Little Sunflower", "Freedom Jazz Dance", "For All We Know", "Georgia On My Mind", and "Lisa Marie" CD

Includes the songs "Jeep's Blues", "Castle Rock", "(A Flower Is A Lovesome Thing) Passion Flower", "Duke's In Bed", "Little Rabbit Blues", "Early Morning Rock", "Honey Hill", "The Last Time I Saw Paris", "Not So Dukish", "Back Beat", "Gal From Joe's", "Rosetta", "Don't Sleep In The Subway", "Funky Blues", and "Squatty Roo". CD

Ruby Braff on cornet and Dick Hyman on piano. CD

Featuring "Autumn in New York", "Crazy Rhythm", "My Funny Valentine", "I've Got You Under My Skin", and more! 43 tracks on 2 discs! CD

... LP, Vinyl record album

Includes the songs "You Took Advantage Of Me", "Manoir De Mes Reves ("Django's Castle")", "Lady Chatterly's Mother", "Barbara's Theme", "Blueport", "Weep", "All About Rosie", "Chuggin'", "Summer's Over", "Israel", "Ballad", and "Big City Blues". CD

Pulled from his Decca, Barclay, and Blue Star sessions – other players include Stephane Grappelli, Pierre Michelot, and Joseph Reinhardt. 16 tracks total. CD

... CD

A landmark album from Sonny Rollins – one that marked his comeback in the early 60s, after a brief period of retirement, and which also initiated a string of incredible recordings with guitarist Jim Hall. Given Hall's gentleness and spare modernity on the guitar, a fan of Rollins' hard-blowing late 50s sessions might not expect the album to work – but instead, it sets up his playing in a whole new mode that brings out a leaner, more confident, more sophisticated solo mode that shows that his time woodshedding in retirement was well spent. Rollins playing is impeccable, with a maturity not heard in his late 50's work, and the whole album is a beautiful study in measured, thoughtful soloing. Tracks include "John S.", "The Bridge", and "God Bless the Child". CD

One of the best Stitt sessions from the 70's, and a sweet batch of electric tracks with Eddie Russ on the piano. In a way, this is his best album on the Jazz Master label – better than the Tornado album, which seems to show up more. It's got a very nice version of "We've Only Just Begun" that has a super-sample intro, with a jazzy Tribe Called Quest vibe. Other nice ones include the group's version of "Ain't No Sunshine", and a nice long take of "Hill Where The Lord Hides". LP, Vinyl record album

An incredible blend of Fender Rhodes and soulful saxophone – a late record from saxophonist Sonny Stitt, but one that also features the young Eddie Russ on keyboards! The record's got a laidback and funky sound that goes deeper than any of Stitt's earlier sides of the 70s – and it sounds a fair bit like Eddie Russ' own record for the Jazz Masters label, thanks to a pretty heavy focus on the keys. Electric piano starts off most of the tracks before Stitt comes in for his solos – and the arrangements are relatively full, with added horns, guitar, and percussion on a fair number of tunes. Larry Nozero plays flute on the record, and some tracks even seem to feature more of him than Stitt – and the range of grooves here is really great. "Tornado" is a rolling funky tune with lots of conga on the bottom, "Escanaba Beat" is a slightly Latin-styled number, "Spinning Wheel" is taken in a jazzily stepping groove that runs for nearly ten minutes, "By My Side" has a nice chunky drum pattern under the Rhodes, and even the album's version of "We've Only Just Begun" is great – with a wicked rolling bassline sample on the intro, and lots of jazzy changes in the groove! LP, Vinyl record album

Features early jazz drum work – from Sonny Greer, Baby Dodds, Jimmy Bertrand, James Lent, Tony Sbarbaro, Zutty Singleton, Vic Berton, and others! CD

Possibly the best entry in Art Ensemble Of Chicago's Dreaming Of The Masters series – as the set's devoted to the work of John Coltrane, and has a really unified feel throughout! About half the tunes are Coltrane compositions, and the rest are originals by the Art Ensemble – done with fluid, open sounds that are less a strict tribute to Coltrane, than an expression of the ideas in jazz he allowed! As you might guess, the reeds play strongly in the sound of the set – and both Joseph Jarman and Roscoe Mitchell hit some great moments on the Coltrane tunes especially – notes that are quite different than any Trane might have played, but which he would no doubt appreciate in his music. Titles include "Dreaming Of The Masters", "Impressions", "Spiritual", "Naima", "Song For Atala", and "Go Head". CD

One of a handful of late 50s albums that Chet Baker recorded for Riverside – all of which are some of his last great 50s work in the studio, before a shift in the 60s to a wider-ranging approach to his music! The style here is definitely in the "classic" Baker mode set down for Pacific Jazz – but a bit more fleshed out by the other players in the set – who seem to push a bit more personality into the tunes, and not just let Chet's trumpet dominate. The sound is soft and gentle – as you'd expect from the title – and other players include Bill Evans, Pepper Adams, Kenny Burrell, Paul Chambers, Connie Kay and Philly Joe Jones – all bringing a bit of a New York undercurrent to the west coast Baker solo style. Titles include "How High the Moon", "It Never Entered My Mind", "If You Could See Me Now", "You'd Be So Nice To Come Home To", "Time On My Hands", and "You And The Night And Music". LP, Vinyl record album

Quite a great session for Chet Baker – one that has him recording in New York, with a hip lineup that includes some incredibly soulful players! The tunes on the set feature Chet in either quartet or quintet formation – working with Johnny Griffin on tenor, Al Haig on piano, Paul Chambers on bass, and Philly Joe Jones on drums. Tracks are longish, and the sound is much more in the mode of Riverside at the time, than the sound of Chet's earlier Pacific Jazz records – and Chet holds his own nicely in this company, giving a hint of the style to come in a few more years. Titles include "Fair Weather", "Hotel 49", "When Lights Are Low", "Solar", and "Blue Thoughts". LP, Vinyl record album

One of Chet Baker's most classic albums of the 50s – a record that features both vocals and strong trumpet solos – all from a time when Baker was one of the hottest things going in jazz! The album's different from records from previous years, in that it moves Baker from LA to New York – where he works with a great quartet that features Kenny Drew on piano, George Morrow or Sam Jones on bass, and Philly Joe Jones or Danny Richmond on drums – all players who have a slightly different approach than some of Baker's compatriots on Pacific Jazz sessions, which also seems to bring out a bit more bite in Chet too. Tracks are still shortish, with those breathy Baker vocals we love so much, balanced with really well-crafted trumpet solos – and titles include "It Could Happen To You", "Do It The Hard Way", "Old Devil Moon", "Dancing On The Ceiling", and "The More I See You". LP, Vinyl record album

George Benson's first LP for Columbia – a hard, heavy, soul jazz slammer that bears no resemblance to his overproduced work of the 70s! The album's a real cooker – recorded hot on the heels of Benson's classic work on Prestige with the Jack McDuff group, and sounding a lot like McDuff's hard wailing organ jazz of the same time. George is working with a group that features a young Lonnie Smith on organ, plus Blue Mitchell on trumpet, Ronnie Cuber on sax, and Charlie Persip on drums – all tightly coming together, and jamming hard on the album's short cooking tracks. Tracks include "Clockwise", "Jaguar", "Hello Birdie", and "Bullfight". This is the earlier version of the CD – without the bonus tracks on the later reissue. CD

The fifth album from the Chicago Underground Duo – Chad Taylor on drums, vibes, mbira and electronics and Rob Mazurek on coronet and electronics – a hypnotic aural experience from a pair of modern masters who seamlessly craft a world of influences into their own dynamic sound! It's pretty amazing stuff, with the pair working with sounds from the avant jazz underground of the previous several decades,jazz and world folk music that reaches from Africa to Brazil, and the subtle manipulations of the electronic experimentalists. Some movements build to a dexterous intensity, with Taylor sometimes playing different instruments simultaneously, but it's not about the brazen display of skill and craft, the compositions and the improvisations feel natural and vital. Wonderful stuff, we're very proud of the Chicago underground jazz scene that inspired both players and their title! Titles include "Spy On The Floor", "Green Ants", "Left Hand Of Darkness", "Quantum Eye", "Vergence", "Conflicition", "Roots And Shooting Stars", "Hermeto" and more. 10 tracks on the CD. CD

Rare gems from the early years of Nat King Cole at Capitol Records – pulled from the vault by the label, and issued on the occasion of Nat's 10th Anniversary at Capitol! The work often represents the best early sound of the King Cole Trio – that sweet blend of jazz and slightly bluesy modes that made the group a huge standout on the LA scene of the mid 40s – echoes of styles used by other classy R&B singers, but put together with the undeniable class and poise that Nat had right from the start. Other recordings are from the late 40s and early 50s – and have Capitol adding in a bit more in the way of backings – yet still without any of the overly-commercial styles that would hold Cole back a bit in later years. Titles include "Dream Of Me", "Too Soon", "Lovelight", "The Story Of My Wife", "Peaches", "But All I've Got Is Me", and "I'm An Errand Boy For Rhythm". (Vocalists, Jazz) LP, Vinyl record album

A seminal 70s side from Miles Davis – originally a Japanese recording, and one that returns to the solid push of the initial electric years! The record's a completely cooking little session – one that mixes the raw, noisier styles of other Davis albums with a focus, funked-up energy that's really set loose in the freer standards of the Japanese scene – all to come up with a sound that's completely otherworldly, and which is light years ahead of most mainstream fusion from the period. Pete Cosey plays some really wicked guitar and synthesizer, Al Foster kicks tremendous energy on his drums, Sonny Fortune brings a soulful depth on soprano sax and flute, and Michael Henderson creates massive flow on the bass. Titles include "Prelude", "Interlude", and a long version of "Theme From Jack Johnson". CD

An album of dark and subtle beauty – and still one of our favorite Miles Davis albums of all time! The set's not as earth-shattering as some of Davis' other work of the 60s, but that's why we like it so much – because the emerging genius of the group with Wayne Shorter, Herbie Hancock, and Tony Williams is held in a really special place here – one that ruminates quietly on space and soul, while Davis majestically directs tones and colors that he'd never gotten in a small group format before! Titles include the amazing "Iris", one of Miles' most haunting themes – plus "Little One", "RJ", "ESP", "Mood", and "Agitation". CD

A dark blend of acoustic and electric modes from Miles Davis – a set that still has him working with elements of the classic 60s quintet, but which also brings in a stronger emphasis on electric piano too! The rhythms here are really fantastic – ready to burst forth into a whole new direction, yet still not hitting the Bitches Brew level of freedom – and drummer Tony Williams may well be the real star of the set for his tremendous work on the kit – even though, as stated, the album's got some heavy electric piano contributions both from Herbie Hancock and Chick Corea! All titles feature Miles on trumpet, Wayne Shorter on tenor, and Tony Williams on drums – and the titles with Herbie feature Ron Carter on bass, while the rest with Chick Corea feature Dave Holland. Titles include "Frelon Brun", "Tout De Suite", "Petits Machins", "Mademoiselle Mabry", and "Filles De Kilimanjaro". CD

Dark genius from the always-amazing Miles Davis Quintet of the 60s – a set that's a bit more subtle than some of the group's other efforts, but no less powerful – and virtually a blueprint for countless changes to come in jazz during the next few decades! The interplay of Davis' trumpet, Wayne Shorter's tenor, and Herbie Hancock's piano is worth the price of admission alone – a force that seems to flow of its own direction, pulled three ways equally, but always emerging as a sound greater than its parts. And adding in the subtle pulse of Ron Carter on bass and nearly melodic drums of Tony Williams, the sound is even more incredible – a well-crafted and evocative sound that's far more than jazz! Titles include versions of Herbie's "Riot" and "Madness", Shorter's "Nefertiti" and "Pinocchio", and Williams' "Hand Jive". Plus, the CD reissue features 4 bonus alternate takes from the original session! CD

Japanese electric Miles, featuring 2 long tracks – "Zimbabwe" and "Gondwana" – spread out over the course of a sweet double live set! The album gives Miles and the group plenty of room to groove and stretch out – hitting notes that are both funky and noisy, often at the same time! Michael Henderson lays down some great bass work on the set, and major solos are by Sonny Fortune, Pete Cosey, and Reggie Lucas! Great stuff – and more proof that Miles in the 70s was a very very deep place! CD

A masterful tribute from one bad cat to another – and easily one of Miles Davis' greatest electric albums ever! The album's got a powerful, epic sort of feel – a renewed focus after the looser style of Bitches Brew, and the 70s live albums – and one that mixes a deeper funky sound with the raw, exploratory style Davis had let loose a few years before. Michael Henderson's bass is a big part of the power of the record, and John McLaughlin's guitar has never sounded better, or sharper. Teo Macero made the whole thing magic in the studio, and titles include two sidelong funkdafied jams – "Right Off" and "Yesternow". CD

Overlooked genius from reedman Nathan Davis – a later session that's a bit more straight ahead than some of his 70s work, and a date that really gets back to some of the best soulful energy of his records from the 60s! Davis is recorded here in very sympathetic company – players who share some of the best energies he picked up on the expatriate scene during his famous time overseas – Dusko Goykovich on trumpet, Kenny Drew on piano, Jimmy Woode on bass, and Al Leavitt on drums! There's an easygoing soul jazz groove to the whole set, with a slight touch of modernism – and in addition to tenor, Davis also plays some wonderful soprano sax – handling the horn with stretched-out soulfulness that makes him one of the undisputed masters of the instrument. Titles include "Noite Em Leblon", "Rio De Janeiro", "Dr Bu", "London By Night", and "Shades". CD

A cool jazz classic from altoist Paul Desmond and guitarist Jim Hall! The album was recorded under Desmond's name, but Hall's the guitarist throughout, and his playing lends an indescribably wonderful edge to the set, making the album a real team effort! Unlike other RCA sides by Hall and Desmond, this one features the pair with larger string backings by Bob Prince, which create a dreamy pillow for alto and guitar to solo across. Titles include the Desmond originals "Late Lament" and "Desmond Blue" – plus "Ill Wind", "My Funny Valentine", and "Like Someone In Love". CD features 7 bonus tracks – masters and alternates, but tunes not on the album, including "Autumn Leaves", "Imagination", and "Advise & Consent". New notes, and extra photos too! CD

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

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

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

The Great Jazz Trio really stretch out here – taking each of the album's four songs at a mighty relaxed pace – which allows even more room than ever for the creative expression of Hank Jones on piano, Ron Carter on bass, and Tony Williams on drums! The cover's got a slick look that might be more at home on a fusion record – but the set's all acoustic, and has this warm, personal vibe that's really tremendous – that special sound that the three legendary musicians brought to their great run of albums in this format! Titles include "Satin Doll", "My Funny Valentine", "Night In Tunisia", and "Round Midnight". CD

A wonderful live set from the legendary Great Jazz Trio of Ron Carter, Tony Williams, and Hank Jones – one of the group's key Japanese albums of the 70s! As the title implies, the set was recorded live at the Village Vanguard – in a setting that has the trio stretching out even more than on their already-spacious studio sides of the time. Williams is especially nice on the record – light and free on the kit, and miles away from some of his fusion work of the 70s. Jones' tones are warm and soulful, and Carter's bass work is always a treat in a setting like this. The album features a great take on "Naima", plus the tracks "Moose The Mooche", "Favors", and "12+12" – all done in nice long versions. CD

Pre-Atlantic work from Ornette Coleman – one of his first recorded statements in jazz – and one of his boldest! At some level, the complete Coleman sound isn't entirely in place here – as there's a bit of a trace of hardbop in the mix – not entirely, but just a bit. But at another level, the record's still way darn bolder than just about anything coming out of LA at the time – proof that amidst all the cool jazz ruminations of the 50s, there was a second wave of modernism about to explode! The group here features Don Cherry on trumpet, Walter Norris on piano, Don Payne on bass, and Billy Higgins on drums – and while the core harmelodic rhythmic approach isn't always in place, it's more than made up for by some surprisingly free energy. Titles include "Invisible", "The Blessing", "Alpha", and "The Sphinx". CD

An excellent set that brings together 2 rare albums from the 50s! Sonny Criss At The Crossroads is an obscure 1959 session recorded by Criss in Chicago, and it's one of the only jazz records ever on the Peacock label, which put out mostly gospel and blues. Criss is joined by Joe Scott on piano, and the Chicago rhythm section of Bob Cranshaw and Walter Perkins, both fresh from the MJT+3. Great tone, warm solos, and a nice vibe throughout. Tracks include "You Don't Know", "Butts Delight", "Softly", and "Sylvia". Kenny Dorham & The Jazz Prophets is a fantastic lost hard bop album, featuring Kenny Dorham leading a tight quintet that stars J.R. Monterose on Tenor. Monterose and Dorham are great, and really open up on the 5 tracks on the album – all of which are long enough to give the players plenty of room to blow. Probably one of the best jazz records ever recorded for ABC, and with the titles "The Prophet", "DX", "Tahitian Suite", and "Blues Elegante". LP, Vinyl record album

Killer grooves from the Jazztet – lean, lanky, and plenty darn soulful! CD

Features John Faddis and Roy Hargrove on trumpet, Antonio Hart on soprano and alto sax, Jimmy Heath on tenor, David Sanchez, on saxophones and flute, Steve Turre on trombone, and others! CD

Always-beautiful work from the Mastersounds – the unique late 50s group that featured Buddy Montgomery on vibes and Monk Montgomery on bass! The pair work together wonderfully with pianist Richie Crabtree and drummer Benny Barth – in a well-crafted approach to jazz that borrows a bit from the MJQ, but which also has a more exotic, and more soulful approach. Monk's work on electric bass is especially striking, and the live setting of the record gives them a bit more room to muse around than usual – on tracks that include "Love For Sale", "Our Very Own", "Star Eyes", "Somebody Love Me", and "These Foolish Things". LP, Vinyl record album

What better way to describe Wes' playing than an easy groove! Also released under the Montgomery Brothers name, this side has a nice breezy quality to it, with backing by his brothers Buddy & Monk on piano & bass, plus Harold Land on tenor. The sides were recorded a few years earlier, in the 50s, with a nice crisp quality to the playing, though there are a few pieces recorded at other sessions, one number with Freddie Hubbard, "Bock to Bock" and another in a more Mastersounds mode, "Baubles, Bangles & Beads". Also includes "Far Wes", "Leila" & "Hymn for Carl". LP, Vinyl record album

An excellent addition to any collection of Wes Montgomery's work – a rare album of live material from his early years, recorded in a style that really enriches an understanding of his work! 4 tracks with Billy Hart and brothers Buddy and Monk Montgomery – grooving with Wes in that soulful easy mode that the latter two used often in their Mastersounds group. The set's well recorded – and Wes has a fat tone that really points the way towards his later work. Includes lengthy takes on "All Of You" and "Back To Bach To Boch", plus "Heartstrings" and "Summertime". LP, Vinyl record album

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

Tremendous early work from trumpeter Hannibal Marvin Peterson – an artist you might know from his long-spun spiritual jazz work of the 70s – but who sounds nicely different here on a rare early set from the 60s! The record was done when Marvin was part of the ultra-hip jazz program at North Texas State University – which you may know from their own label and albums – and the vibe here is more soul and funk than Peterson of a few years later – served up with a very cool combo that features organ, bass, and drums chugging out a mighty sweet groove – while Marvin solos over the top on trumpet, alongside Mike Campbell on alto, Cleveland Gay on trombone, and Tim Peterson on saxes and flute. There's definitely a few deeper currents here, but mixed with soul-inspired material as well – which even sees a bit of vocals from Marvin too. Titles include "Our Groove", "I Can't Stand It", "Groove For Otis", "Five Foot Even", and "Conversation". LP, Vinyl record album

One of the biggest hits ever for Weather Report – thanks to Joe Zawinul's leadoff track "Birdland" – one of those tunes that entered the canon immediately, and saw countless covers pop up over the years – kind of a rare thing for a jazz tune at this point in time! The track's driving, building energy shows a newly focused side to Weather Report – one that's traded some of the spacier, more experimental moments of the past for a dynamic energy that still puts them ahead of most other 70s fusion supergroups. The presence of Jaco Pastorius is felt quite strongly here – especially on the way the colors ebb and flow up from the bottom – and the way that Jaco's using his bass with the energy of a solo jazz guitar! Alex Acuna and Manolo Badrena are on percussion, and Wayne Shorter's reeds still crackle with a nice degree of soul – on titles that include "Harlequin", "Rumba Mama", "A Remark You Made", "Teen Town", "Palladium", "Havona", and "The Juggler". CD