A pretty great album of mellow jazz tracks – recorded in a very spare setting that has trumpeter Ruby Braff playing with pianist Ellis Larkins, and no other accompaniment! The setting's quite unusual for the time, and it makes for a relaxed intimate meeting between two strong talents that really differs from the work that either of them were recording elsewhere. But even more incredible is the way that the two players come together without additional support – working beautifully in a format that would have others faltering – always swinging the tunes despite the lack of bass or drums, and clearly very at home here with the extra space that lets both of them open up creatively! Titles include "Where Or When", "I Could Write A Book", "The Girl Friend", "Little Girl Blue", and "Thou Swell". CD

A pretty great album of mellow jazz tracks – recorded in a very spare setting that has trumpeter Ruby Braff playing with pianist Ellis Larkins, and no other accompaniment! The setting's quite unusual for the time, and it makes for a relaxed intimate meeting between two strong talents that really differs from the work that either of them were recording elsewhere. But even more incredible is the way that the two players come together without additional support – working beautifully in a format that would have others faltering – always swinging the tunes despite the lack of bass or drums, and clearly very at home here with the extra space that lets both of them open up creatively! Titles include "Where Or When", "I Could Write A Book", "The Girl Friend", "Little Girl Blue", and "Thou Swell". LP, Vinyl record album

Ruby Braff on cornet and Roger Kellaway on piano. CD

A great set of trad jazz grooves from the Boston scene of the 50s – recorded with an easygoing groove that's totally great, and put together by George Wein in the same spirit as some of his better-known live events of the time! Players include Ruby Braff on trumpet, Vic Dickenson and Dick Lefave on trombones, Al Drootin on clarinet, Sam Margolis on tenor, Buzzy Drootin on drums, and Wein himself on piano – and the tunes are open-ended swing-based numbers, with titles that include "High Society", "You Took Advantage Of Me", "Swinging The Blues", "At The Jazz Band Ball", and "After You've Gone". LP, Vinyl record album

With Braff on cornet and Hyman on piano. LP, Vinyl record album

... LP, Vinyl record album

A beautiful tribute to New York from jazz arranger Ralph Burns – perhaps one of the best of that odd postwar genre – the LP-long salute to the Big Apple! This set's got an unusual approach – great instrumentation from Burns, on a par with his more famous jazz scoring of the 50s – mixed with sound effects from all over the city – bits of voices, traffic, crowds, ships, and more – a wonderful pastiche of music and moments! LP, Vinyl record album

A classic from the undisputed master of the swing jazz jam session! Jumpin' At The Woodside has Buck Clayton recreating a Count Basie vibe, but in a much more open-ended, and long-grooving way! Most of the tracks on the record are nice and long – really opening up with a solo-heavy, jam session sort of style – and players shift from track to track, and include Woody Herman on clarinet, Coleman Hawkins on tenor, Al Cohn on tenor, Urbie Green on trombone, and Ruby Braff on trumpet. Titles include "Broadway", "Rock A Bye Basie", "Jumpin At The Woodside", and "Blue & Sentimental". LP, Vinyl record album

A nice pairing of a couple of trad greats on the trumpet, with both Buck Clayton and Ruby Braff sharing the front line, alongside Buddy Tate and Benny Morton in a sweet little octet. The session's produced with the high level of quality you'd expect from this brief series of Vanguard trad albums – with four numbers in all, including "I Can't Get Started", "Love Is Just Around The Corner", "Just A Groove", and "Kandee". LP, Vinyl record album

Vic Dickenson on trombone, Edmond Hall on clarinet, Ruby Braff on trumpet, Steve Jordan on guitar, Sir Charles Thompson on piano, and others. CD

Two different duets between reedman Sylvain Kassap and percussionist Hamid Drake – one live, one studio – recorded six years apart, but sounding wonderful together in this double-length package! The first section is live – and features some very long, open improvisations – with Kassap on a range of clarinets, mostly in the bass range, plus chalumeau as well – as Drake opens up his drum kit with that special sort of magic that's made him a key percussionist in the legacy of rhythm-free drummers like Andrew Cyrille or Pierre Favre. The studio tracks are shorter, but no less beautiful – and have a way of conveying a lot with just a little, thanks especially to some surprisingly soulful expressions by Kassap. Titles include "Sharp Bend", "Wood Splinters", "Mutual Respect", "Black Walnuts", "Heavy Traffic", "Of Course", and "Sharp Light". CD

Gil plays Jimi? Sounds like a gimmick, but it comes off pretty darn great – and it helps you forgive him for trying to convince the kids that he's not as old as his grey hair might make you think! As always with Evans, the key to the album is a beautiful balance between the strength of the players and vision of the arrangements – a hip mix of musicians who include Billy Harper on tenor and flute, Marvin Hannibal Peterson on trumpet, and both Ryo Kawasaki and John Abercrombie on guitars! Arrangements are great too – handled by Tom Malone, Warren Smith, and Howard Johnson – all of whom make the album way more than just an instrumental reading of Jimi Hendrix tunes – and instead a great platform for improvisation that uses tunes that include "Up From The Skies", "Foxy Lady", "Gypsy Eyes", "Voodoo Chile", "Angel", "Crosstown Traffic", and "Castles Made of Sand". Plus, the CD features 4 bonus alternate tracks – not on the original album! CD

A real 70s stormer from Frank Foster – recorded with the Loud Minority ensemble used for the Mainstream album of the same name, done in a style that's a bit more straight ahead, yet still plenty darn soulful! Frank's hanging here between the two sides of his career – working in a larger band mode at one level, yet also scoring some charts that are a lot hipper than anything the Basie generation might have imagined! The rhythm section on the set features Mickey Tucker on piano, Earl May on bass, and Charlie Persip on drums – augmented by a bit of extra percussion and guitar from time to time, in a way that really makes the tunes skip along nicely. Frank himself is on both soprano and tenor sax – sounding great on the album's title remake of his "Manhattan Fever" – and also stretching out on longer tunes that include Ronnie Matthews' great "Marie Jean", and Frank's originals "Thruway Traffic" and "Four Five Six". LP, Vinyl record album

An assortment of work from the team of Urbie Green and Jimmy Raney – two players who rarely worked together in such small group settings! First up is the full ABC album Blues & Other Shades Of Green – one of the most obscure small group sessions by trombonist Green – a heck of a great player who was too often lost amidst larger ensembles! The album's got Urbie playing both slide and valve trombone, in a quintet that includes Jimmy Raney on guitar, Dave McKenna on piano, Percy Heath on bass, and Kenny Clarke on drums – and the tracks have a tightly arranged approach, but also still allow plenty of room for the individual instrumentalists to express themselves. Titles include "Reminiscent Blues", "One For Dee", "Am I Blue", "Dirty Dan", "Warm Valley", "Paradise", and "It's Too Late Now". Added to that album are 3 more tracks from the Vinnie Burke All Stars album for ABC – truly an all-star session, as the record boasts a lineup that includes Jimmy Raney on guitar, Al Cohn on tenor, Urbie Green on trombone, Eddie Costa on piano, and Joe Morello on drums! The sound is in keeping with Burke's album for Bethlehem, but fleshed out a bit more with the extra horn players – kind of a loosely swinging take on the chamber jazz sound of the mid 50s, with room for plenty of gentle solos from the key players in the set. The sound excellent – recorded with that crispness and focus that made the best mid 50s ABC jazz sides so great – and the 3 titles include "Lulu's Back In Town", "Blue Jeans", and "I'm Getting Sentimental Over You". Last up are 4 more titles from a rare 10" LP – Urbie Green & His Band, featuring Freddie Green on guitar (instead of Raney), Ruby Braff on trumpet, Med Flory on alto, Frank Wess on tenor and flute, and Sir Charles Thompson on piano. The sound is somewhat more traditional, but never too much so – and tracks include "Med's Tune", "Lullaby Of Birdland", "Old Time Modern", and "I Got It Bad". CD

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

Ruby Braff on cornet and Dick Hyman on piano. CD

Elvin Jones towers above his bandmates on the cover of this 70s classic – and really leads them onward to some great sounds within! The record has a bit more focus and soul than some of Jones' other albums of the period – still quite powerful and dynamic, but with a good adherence to melody, and plenty of room for the group members to open up and make some beautiful sounds – including Pat LaBarbera and Michael Stuart on soprano and tenor sax, and Roland Prince on guitar! The twin reed players are wonderful – and work together in ways that are different than some of Elvin's records at the start of the 70s – and titles include "Kalima", "Section 8", "Giraffe", and "Familiar Ground". CD

A great and groovy early album from Volker Kriegel – the German guitarist who'd cut some very trippy work for the MPS label in the 70s – but a player who steps out here in a sweet soul jazz mode at the end of the 60s! Volker's still got the same wickedly sharp style on guitar you'd know from his later fame – but here, it's turned towards the kind of soulful guitar work you'd hear on Verve Records at the time – somewhere in the territory of George Benson, or maybe a bit in that of Wes Montgomery – but also with some occasional freewheeling moments that hint at the changes to come! The group's a trio on side one – with Peter Trunk on bass and Cees See on drums – but side two moves into wilder material with a quartet that features vibes by Claudio Szenkar, who adds in just the kind of psychedelic touches to really make the music open up! These cuts are much more modal, and show Kriegel's growing love of Eastern sounds – and titles include "Na Na Imboro", "Morandi", "Interpunctuation", "Traffic Jam", and "With A Little Help From My Friends". LP, Vinyl record album

If you've only ever thought of Gary McFarland as the composer of groovy bossa nova-oriented work, you owe it to yourself to check this one out – as McFarland wrote and arranged the whole thing, with a modernist approach that's very sympathetic with the piano of a young Steve Kuhn. The session mixes Kuhn's piano with strings and woodwinds – never too stale or academic, but definitely different than McFarland's usual work, with odd little twists and turns that are really beautiful, a mixture of warm, memory, and the love of life that would show up in Gary's most brilliant moments. Kuhn is fantastic too – not nearly as overindulgent as in later years – fresh on the keys with the spirit of a young Bill Evans, but also willing to work more with the larger format of the record. Titles include "Remember When", "Traffic Patterns", "Open Highway", and "Childhood Dreams". CD

Bennie Maupin's first LP for Mercury, and a great bit of spiritual funky jazz that recalls a lot of the sound of his work with The Headhunters. The first track, "It Remains to Be Seen", is an excellent groover, with some very dark keyboard work by Patrice Rushen, and the rest of the tracks are pretty great too. Pat Gleeson produced and plays synth on the LP, and the cuts include "Quasar", "You Know the Deal", "Water Torture", and "Lament". LP, Vinyl record album

A set of incredible records from Charles Mingus – all presented together in one mighty nice package! First up is Mingus Moves – a fantastic fresh new chapter in the career of Charles Mingus – a set that features the addition of two key players who would really shape his sound in the 70s – Don Pullen on piano and George Adams on tenor, both completely wonderful here! The group also features excellent trumpet from Roland Hampton, a player we don't know from many other settings – and the set also features some really nice vocal work from Honi Gordon and Doug Hammond. Titles include "Canon", "Moves", "Wee", "Flowers For A Lady", "Opus 3", and "Newcomer". CD also features bonus tracks – "Big Alice" and "The Call". Changes is key 70s work from Charles Mingus – an album that was recorded over the course of three days of creative activity at the end of 1974, but somehow split into two different albums under the Changes name! The lineup here is prime 70s Mingus – George Adams on tenor, Jack Walrath on trumpet, and Don Pullen on piano – young players who really give a fresh voice to Mingus' musical ideas, and help him find this beautiful late life sense of color, tone, and timing that's completely sublime! Titles on this second volume include "Sue's Changes", "Devil Blues", "Remember Rockefeller At Attica", "Free Cell Block F Tis Nazi USA", "Black Bats & Poles", "For Harry Carney", and "Duke Ellington's Sound Of Love" – which features a guest appearance by Marcus Belgrave on trumpet and Jackie Paris on vocals. On 3 Or 4 Shades Of Blues, Charles Mingus is returning to the soulful gospel-influenced mode he swung big in the early 60s! The record's something of a later predecessor of the classics Blues & Roots for Atlantic and Mingus (x5) for Impulse – and the style is slightly less dramatic, but still quite steeped in soulful explorations that feature plenty of notes from the bluer side of the spectrum! Players include George Coleman and Ricky Ford on tenor, Jack Walrath on trumpet, and Larry Coryell on guitar – and titles include new takes on "Better Git Hit In Your Soul" and "Goodbye Porkpie Hat" – plus"Nobody Knows", "Noddin Ya Head Blues", and "Three Or Four Shades Of Blues". Next is Cumbia & Jazz Fusion – one of the most enigmatic albums that Charles Mingus ever recorded – especially in his later years! The set features two very long tracks done by Mingus for use in a film about cocaine traffic between New York and Columbia – but considering the nature of the music, and the freely exploratory style, both numbers here stand very well on their own! Although touched with some of the Latin influences you might expect from the title, the sounds are often darker and more brooding than, say, the Mingus style on the classic Tijuana Moods set. And instead, there's a very serious soundtrack-like vibe going on through most of the set – larger jazz orchestrations used to beautifully underscore subtle themes, and breakout solo moments from players who include Mauricio Smith on flute, Paul Jeffrey on tenor sax, Jack Walrath on trumpet, and Jimmy Knepper on trombone. The album also features a fair bit of added percussion – and features two long tracks, "Cumbia & Jazz Fusion" and "Music For Todo Modo". Me Myself An Eye is complicated later work from Charles Mingus – a great illustration of the way his power to command a large ensemble never wavered as the years went on! The album features two different large groups of players – filled with modernists young and old – including Ricky Ford, George Coleman, and Michael Brecker on tenors; Ronni Cuber and Pepper Adams on baritone; Randy Brecker and Jack Walrath on trumpets; Lee Konitz on alto, Larry Coryell on guitar, Slide Hampton on trombone, and Eddie Gomez on bass. Side one features the 30 minute track "Three Worlds Of Drums", and side two contains a remake of "Wednesday Night Prayer Meeting", plus "Devil Woman" and "Carolyn Keki Mingus". Something Like A Bird is one of the last albums Charles Mingus ever gave us – before departing this planet way way too soon! The set shows the increasing sophistication of Mingus' music in these later years – a mode that almost echoes the path that Duke Ellington would take in his final decade – a move towards some larger-form material that still holds onto all the raw energy of the early days, but finds a way to not only bridge larger musical ideas – but musical generations as well! As part of this, the set's got a wonderful lineup – with Lee Konitz on alto, Pepper Adams on baritone sax, George Coleman on tenor, Eddie Gomez on bass, and Joe Chambers on drums – and titles include the long title track, "Something Like A Bird", split up over 2 sides of the LP, plus "Farewell Farwell". CD

A set of incredible records from Charles Mingus – all presented together in one mighty nice package! First up is Mingus Moves – a fantastic fresh new chapter in the career of Charles Mingus – a set that features the addition of two key players who would really shape his sound in the 70s – Don Pullen on piano and George Adams on tenor, both completely wonderful here! The group also features excellent trumpet from Roland Hampton, a player we don't know from many other settings – and the set also features some really nice vocal work from Honi Gordon and Doug Hammond. Titles include "Canon", "Moves", "Wee", "Flowers For A Lady", "Opus 3", and "Newcomer". CD also features bonus tracks – "Big Alice" and "The Call". Changes is key 70s work from Charles Mingus – an album that was recorded over the course of three days of creative activity at the end of 1974, but somehow split into two different albums under the Changes name! The lineup here is prime 70s Mingus – George Adams on tenor, Jack Walrath on trumpet, and Don Pullen on piano – young players who really give a fresh voice to Mingus' musical ideas, and help him find this beautiful late life sense of color, tone, and timing that's completely sublime! Titles on this second volume include "Sue's Changes", "Devil Blues", "Remember Rockefeller At Attica", "Free Cell Block F Tis Nazi USA", "Black Bats & Poles", "For Harry Carney", and "Duke Ellington's Sound Of Love" – which features a guest appearance by Marcus Belgrave on trumpet and Jackie Paris on vocals. On 3 Or 4 Shades Of Blues, Charles Mingus is returning to the soulful gospel-influenced mode he swung big in the early 60s! The record's something of a later predecessor of the classics Blues & Roots for Atlantic and Mingus (x5) for Impulse – and the style is slightly less dramatic, but still quite steeped in soulful explorations that feature plenty of notes from the bluer side of the spectrum! Players include George Coleman and Ricky Ford on tenor, Jack Walrath on trumpet, and Larry Coryell on guitar – and titles include new takes on "Better Git Hit In Your Soul" and "Goodbye Porkpie Hat" – plus"Nobody Knows", "Noddin Ya Head Blues", and "Three Or Four Shades Of Blues". Next is Cumbia & Jazz Fusion – one of the most enigmatic albums that Charles Mingus ever recorded – especially in his later years! The set features two very long tracks done by Mingus for use in a film about cocaine traffic between New York and Columbia – but considering the nature of the music, and the freely exploratory style, both numbers here stand very well on their own! Although touched with some of the Latin influences you might expect from the title, the sounds are often darker and more brooding than, say, the Mingus style on the classic Tijuana Moods set. And instead, there's a very serious soundtrack-like vibe going on through most of the set – larger jazz orchestrations used to beautifully underscore subtle themes, and breakout solo moments from players who include Mauricio Smith on flute, Paul Jeffrey on tenor sax, Jack Walrath on trumpet, and Jimmy Knepper on trombone. The album also features a fair bit of added percussion – and features two long tracks, "Cumbia & Jazz Fusion" and "Music For Todo Modo". Me Myself An Eye is complicated later work from Charles Mingus – a great illustration of the way his power to command a large ensemble never wavered as the years went on! The album features two different large groups of players – filled with modernists young and old – including Ricky Ford, George Coleman, and Michael Brecker on tenors; Ronni Cuber and Pepper Adams on baritone; Randy Brecker and Jack Walrath on trumpets; Lee Konitz on alto, Larry Coryell on guitar, Slide Hampton on trombone, and Eddie Gomez on bass. Side one features the 30 minute track "Three Worlds Of Drums", and side two contains a remake of "Wednesday Night Prayer Meeting", plus "Devil Woman" and "Carolyn Keki Mingus". Something Like A Bird is one of the last albums Charles Mingus ever gave us – before departing this planet way way too soon! The set shows the increasing sophistication of Mingus' music in these later years – a mode that almost echoes the path that Duke Ellington would take in his final decade – a move towards some larger-form material that still holds onto all the raw energy of the early days, but finds a way to not only bridge larger musical ideas – but musical generations as well! As part of this, the set's got a wonderful lineup – with Lee Konitz on alto, Pepper Adams on baritone sax, George Coleman on tenor, Eddie Gomez on bass, and Joe Chambers on drums – and titles include the long title track, "Something Like A Bird", split up over 2 sides of the LP, plus "Farewell Farwell". CD

A set of incredible records from Charles Mingus – all presented together in one mighty nice package! First up is Mingus Moves – a fantastic fresh new chapter in the career of Charles Mingus – a set that features the addition of two key players who would really shape his sound in the 70s – Don Pullen on piano and George Adams on tenor, both completely wonderful here! The group also features excellent trumpet from Roland Hampton, a player we don't know from many other settings – and the set also features some really nice vocal work from Honi Gordon and Doug Hammond. Titles include "Canon", "Moves", "Wee", "Flowers For A Lady", "Opus 3", and "Newcomer". CD also features bonus tracks – "Big Alice" and "The Call". Changes is key 70s work from Charles Mingus – an album that was recorded over the course of three days of creative activity at the end of 1974, but somehow split into two different albums under the Changes name! The lineup here is prime 70s Mingus – George Adams on tenor, Jack Walrath on trumpet, and Don Pullen on piano – young players who really give a fresh voice to Mingus' musical ideas, and help him find this beautiful late life sense of color, tone, and timing that's completely sublime! Titles on this second volume include "Sue's Changes", "Devil Blues", "Remember Rockefeller At Attica", "Free Cell Block F Tis Nazi USA", "Black Bats & Poles", "For Harry Carney", and "Duke Ellington's Sound Of Love" – which features a guest appearance by Marcus Belgrave on trumpet and Jackie Paris on vocals. On 3 Or 4 Shades Of Blues, Charles Mingus is returning to the soulful gospel-influenced mode he swung big in the early 60s! The record's something of a later predecessor of the classics Blues & Roots for Atlantic and Mingus (x5) for Impulse – and the style is slightly less dramatic, but still quite steeped in soulful explorations that feature plenty of notes from the bluer side of the spectrum! Players include George Coleman and Ricky Ford on tenor, Jack Walrath on trumpet, and Larry Coryell on guitar – and titles include new takes on "Better Git Hit In Your Soul" and "Goodbye Porkpie Hat" – plus"Nobody Knows", "Noddin Ya Head Blues", and "Three Or Four Shades Of Blues". Next is Cumbia & Jazz Fusion – one of the most enigmatic albums that Charles Mingus ever recorded – especially in his later years! The set features two very long tracks done by Mingus for use in a film about cocaine traffic between New York and Columbia – but considering the nature of the music, and the freely exploratory style, both numbers here stand very well on their own! Although touched with some of the Latin influences you might expect from the title, the sounds are often darker and more brooding than, say, the Mingus style on the classic Tijuana Moods set. And instead, there's a very serious soundtrack-like vibe going on through most of the set – larger jazz orchestrations used to beautifully underscore subtle themes, and breakout solo moments from players who include Mauricio Smith on flute, Paul Jeffrey on tenor sax, Jack Walrath on trumpet, and Jimmy Knepper on trombone. The album also features a fair bit of added percussion – and features two long tracks, "Cumbia & Jazz Fusion" and "Music For Todo Modo". Me Myself An Eye is complicated later work from Charles Mingus – a great illustration of the way his power to command a large ensemble never wavered as the years went on! The album features two different large groups of players – filled with modernists young and old – including Ricky Ford, George Coleman, and Michael Brecker on tenors; Ronni Cuber and Pepper Adams on baritone; Randy Brecker and Jack Walrath on trumpets; Lee Konitz on alto, Larry Coryell on guitar, Slide Hampton on trombone, and Eddie Gomez on bass. Side one features the 30 minute track "Three Worlds Of Drums", and side two contains a remake of "Wednesday Night Prayer Meeting", plus "Devil Woman" and "Carolyn Keki Mingus". Something Like A Bird is one of the last albums Charles Mingus ever gave us – before departing this planet way way too soon! The set shows the increasing sophistication of Mingus' music in these later years – a mode that almost echoes the path that Duke Ellington would take in his final decade – a move towards some larger-form material that still holds onto all the raw energy of the early days, but finds a way to not only bridge larger musical ideas – but musical generations as well! As part of this, the set's got a wonderful lineup – with Lee Konitz on alto, Pepper Adams on baritone sax, George Coleman on tenor, Eddie Gomez on bass, and Joe Chambers on drums – and titles include the long title track, "Something Like A Bird", split up over 2 sides of the LP, plus "Farewell Farwell". LP, Vinyl record album

One of the most enigmatic albums that Charles Mingus ever recorded – especially in his later years! The set features two very long tracks done by Mingus for use in a film about cocaine traffic between New York and Columbia – but considering the nature of the music, and the freely exploratory style, both numbers here stand very well on their own! Although touched with some of the Latin influences you might expect from the title, the sounds are often darker and more brooding than, say, the Mingus style on the classic Tijuana Moods set. And instead, there's a very serious soundtrack-like vibe going on through most of the set – larger jazz orchestrations used to beautifully underscore subtle themes, and breakout solo moments from players who include Mauricio Smith on flute, Paul Jeffrey on tenor sax, Jack Walrath on trumpet, and Jimmy Knepper on trombone. The album also features a fair bit of added percussion – and features two long tracks, "Cumbia & Jazz Fusion" and "Music For Todo Modo". CD

One of the most enigmatic albums that Charles Mingus ever recorded – especially in his later years! The set features two very long tracks done by Mingus for use in a film about cocaine traffic between New York and Columbia – but considering the nature of the music, and the freely exploratory style, both numbers here stand very well on their own! Although touched with some of the Latin influences you might expect from the title, the sounds are often darker and more brooding than, say, the Mingus style on the classic Tijuana Moods set. And instead, there's a very serious soundtrack-like vibe going on through most of the set – larger jazz orchestrations used to beautifully underscore subtle themes, and breakout solo moments from players who include Mauricio Smith on flute, Paul Jeffrey on tenor sax, Jack Walrath on trumpet, and Jimmy Knepper on trombone. The album also features a fair bit of added percussion – and features two long tracks, "Cumbia & Jazz Fusion" and "Music For Todo Modo". CD

Soaring sounds from Nucleus – one of the few UK jazz/rock combos from the start of the 70s who really found a way to keep growing and changing as the years moved on! Here, the lineup is nice and large – the mighty trumpet of Ian Carr in the lead, next to keyboards from both Gordon Beck and Geoff Castle, both of whom bring plenty of Fender Rhodes into play – with more work from Jocelyn Pitchen and Ken Shaw on guitars, and Bob Bertles on alto, baritone, bass clarinet, and flute – really great reedwork that's always a great match for Carr's energy. There's some really great drums on the set from Bryan Spring, which make the best tracks quite funky – and titles include "In Procession", "The Addison Trip", "Pastoral Graffiti", "New Life", and "A Taste Of Sasparilla". LP, Vinyl record album

Small group material from the 50s – most of which was initially issued on 10" albums! Features Powell on piano with Skeeter Best on guitar, Ruby Braff and Buck Clayton on trumpets, and Henderson Chambers on trombone. CD

Notable sidemen include Mundell Lowe, Oscar Pettiford, Ruby Braff, and Paul Quinichette. CD

Sun Ra's first album as a leader – originally issued on the Transition label, but presented here in its better-known incarnation by Delmark Records! Even at this early point, Ra had a sound unlike any of his contemporaries – large group and modern, but not in a way that showed any similarities to work going on in New York or LA – a voice that was all his own, and already quite boldly stated, even in these early years! The format might be somewhat familiar – an ensemble with horns and rhythm – but the overall execution really starts to open up as the album moves on – with odd phrasings, timings, and unusual moments that live up to all the promise you might expect from Ra. Even Mingus and some of his better-known contemporaries weren't heading in these directions in the mid 50s – and the record is a proud showcase of the freedoms that players were often accorded in the less-trafficked Chicago scene of the time. Horns include Art Hoyle & Dave Young on trumpets, John Gilmore on tenor sax, Pat Patrick on baritone, Julian Priester on trombone, and James Scales on alto sax – and rhythm includes Jim Herndon on tympani, Robert Barry on drums, Wilbur Green on electric bass, and a young Richard Evans on acoustic bass! Titles include "Brainville", "Call For All Demons", "Transition", "Lullaby For Realville", "Street Named Hell", "New Horizons", "Fall Off The Long", "Possession", and "Future". LP, Vinyl record album

Sun Ra's first album as a leader – originally issued on the Transition label, but presented here in its better-known incarnation by Delmark Records! Even at this early point, Ra had a sound unlike any of his contemporaries – large group and modern, but not in a way that showed any similarities to work going on in New York or LA – a voice that was all his own, and already quite boldly stated, even in these early years! The format might be somewhat familiar – an ensemble with horns and rhythm – but the overall execution really starts to open up as the album moves on – with odd phrasings, timings, and unusual moments that live up to all the promise you might expect from Ra. Even Mingus and some of his better-known contemporaries weren't heading in these directions in the mid 50s – and the record is a proud showcase of the freedoms that players were often accorded in the less-trafficked Chicago scene of the time. Horns include Art Hoyle & Dave Young on trumpets, John Gilmore on tenor sax, Pat Patrick on baritone, Julian Priester on trombone, and James Scales on alto sax – and rhythm includes Jim Herndon on tympani, Robert Barry on drums, Wilbur Green on electric bass, and a young Richard Evans on acoustic bass! Titles include "Brainville", "Call For All Demons", "Transition", "Lullaby For Realville", "Street Named Hell", "New Horizons", "Fall Off The Long", "Possession", and "Future". This CD reissue is really well-done too – with pages of writings by Ra, including some poetry! Also features the bonus track "Swing A Little Taste". CD

With Ruby Braff on trumpet, Ephy Resnick on trombone, and Red Richards on piano. LP, Vinyl record album

With Ruby Braff on trumpet, Ephy Resnick on trombone, and Red Richards on piano. LP, Vinyl record album

One of the boldest albums we've heard from trumpeter Wadada Leo Smith in years – a set that takes us right back to his key contributions of the 70s! The recent performance has Smith's trumpet in the company of an Italian quartet – with tenor and sopranino sax from Edoardo Marraffa, piano from Alberto Braida, bass from Antonio Borghini, and drums from Fabrizio Spera – all players who are never entirely free, and instead have the cohesion of some of the best New York groups from the loft jazz years – right drown to the overall conception of each track, and even the way the material was recorded. Smith sounds brilliant in the setting – still attuned to the textural experiments that have made other recent records great, but playing with a power that's definitely old school, and wonderfully soulful too. Titles include "Red Earth", "The Zebra Goes Wild", "Decision Says The Source", "Full Moon", and "Above The Tree Line". CD

An incredible album from one of the greatest talents on the Chicago soul scene of the late 60s – guitarist Phil Upchurch, a player with an amazing sound! Phil could work in worlds that were equal parts soul and psychedelia – making his guitar a perfect accompaniment for the best Chicago soul of Curtis Mayfield, Donny Hathaway, Minnie Riperton, and other greats of the time. This album's easily one of Phil's best – a mindblowing set of arrangements put together by the groundbreaking producer Charles Stepney – bringing together bits of jazz, rock, soul, and funk – all providing the perfect genre-blending space for Upchurch to solo! Given that there's no singer on the set, Phil's work on guitar is a lot freer than you're used to hearing – in a really great way, one that puts him in a space somewhere between Shuggie Otis and Jimi Hendrix! Brilliant all the way through, with tracks that include "Adam & Charlene", "You Wouldn't You Couldn't Be True", "Crosstown Traffic", "More & More", "Black Gold", "America", and "As You Said". (Soul, Jazz) LP, Vinyl record album

Beautiful solo recordings from saxophone genius Ken Vandermark – music that we don't normally hear in such a setting from Ken, given what a strong collaborator he is – and a set that's just a further reminder of the endless depths of his talents! The material was recorded at Vandermark's apartment during the pandemic, but hardly feels like one of those beat-down sessions from that time – as while solo, it's clear that the reedman was driven by a new sense of creativity – as you'll hear these selections of varying length, on a variety of horns, dedicated to some of Vandermark's key inspirations – a long list of heavyweights that includes William S Burroughs and Willem De Kooning. Titles include "Portable Nowhere", "Shared Testament", "Looking Back At Looking Forward", "End The Giraffe Lottery", "Feet On Main", and "Imagine The Paper". CD

Trad jazz tunes played by a group led by Newport Jazz Fest impresario George Wein, and featuring players that include Ruby Braff, Marshall Brown, Bud Freeman, Pee Wee Rusell, and Bill Takas. Titles include "The Bends Blues", "Ja-Da", "Keepin Out Of Mischief Now", and "Blue Turning Grey Over You". LP, Vinyl record album

A beautiful little concept for a beautiful little album – a "duologue" in which Lee Wiley sings one track, then Ellis Larkins plays the next, and so on – making for a split LP, but one with a lot of variety along the way! Wiley sings on about two thirds of the tracks on the set – working with a small combo that features Jimmy Jones on piano, Ruby Braff on trumpet, Jo Jones on drums, and Bill Pemberton on bass – all of whom provide gentle accompaniment to Lee's traditionally styled vocals. Ellis Larkins plays piano on the rest of the tracks – solo, with that wonderful late nite style of his – an approach that's more complicated than cocktail piano, but a bit more laidback than straighter jazz. Wiley numbers include "My Heart Stood Still", "Give It Back To The Indians", "My Romance", "You Took Advantage Of Me", and "My Funny Valentine". Larkins numbers include "Perfume & Rain", "By Myself", "Looking At You", and "Then I'll Be Tired Of You". (Vocalists, Jazz) CD

A beautiful little concept for a beautiful little album – a "duologue" in which Lee Wiley sings one track, then Ellis Larkins plays the next, and so on – making for a split LP, but one with a lot of variety along the way! Wiley sings on about two thirds of the tracks on the set – working with a small combo that features Jimmy Jones on piano, Ruby Braff on trumpet, Jo Jones on drums, and Bill Pemberton on bass – all of whom provide gentle accompaniment to Lee's traditionally styled vocals. Ellis Larkins plays piano on the rest of the tracks – solo, with that wonderful late nite style of his – an approach that's more complicated than cocktail piano, but a bit more laidback than straighter jazz. Wiley numbers include "My Heart Stood Still", "Give It Back To The Indians", "My Romance", "You Took Advantage Of Me", and "My Funny Valentine". Larkins numbers include "Perfume & Rain", "By Myself", "Looking At You", and "Then I'll Be Tired Of You". (Vocalists, Jazz) LP, Vinyl record album

A wealth of spiritual sounds from more recent years – served up in a killer compilation that focuses on all the great new sounds that have been emerging from different global scenes – a sublime blend of jazz, soul, Latin, and other modes – all at a level that gives us plenty of hope for both modern music, and the future of humanity too! The set follows in the spirit of nuggets from the past we've always dug from the Right Tempo/Easy Tempo label – but work here is instead all new, and represents a great outpouring of contemporary talents who draw inspiration from the best currents of 60s and 70s righteous expression, the find a way to make bold new statements of their own. Titles include "Envoy" by Mary Ancheta Quartet, "Subway" by Azar Azar, "Let The Sunshine In" by Jimetta Rose & Voices Of Creation, "Formative Stages" by Organic Pulse Ensemble, "Who Will Save The World" by Anthony Joseph, "Naboro" by Tino Contreras, "For Horace" by Raffy Bushman, "Cut To The Chase" by Malcolm Strachan, "Ruptura" by Mama Terra, "Seasons In My Mind (Patchworks version)" by Yellowtail with Mark Murphy, and "Afro Blue" by Francesco Sotgiu. (Funky Compilations, Jazz) LP, Vinyl record album

Music from Benny Goodman Sextet, Joe Carroll, Billie Holiday, Sarah Vaughan, Ruby Braff & Coleman Hawkins, JJ Johnson, Erroll Garner, Stan Getz & Bob Brookmeyer, Teddy Wilson, Ella Fitzgerald, and more. CD

A great overview of a really fantastic label for jazz and avant garde material in the late 70s – the Japanese-only Why Not imprint, which was briefly a great home for some of the best work by key American players from both the AACM and the loft jazz generation! The label only issued a small amount of albums, most of which never saw release in the US – records that provided a key bridge for important artists in the years between earlier material for labels like Demark or Strata East, and some of the new wave of jazz recordings that would take place in Europe during the 80s. The quality level here is top-shelf all the way – and the tracks are some of the best by these artists from the period – a selection of 16 titles that include "To Yaisa & Wanda With Luv" by Donald Smith, "Ted Tempo" by Ted Curson, "Re-Entry" by Charles Sullivan, "Pepe's Samba" by Chico Freeman, "Mode For Trane" by Joe Lee Wilson, "Triangle" by Joe Bonner, "Gratitude" by Don Pullen, "On Green Dolphin Street" by Manhattan Graffiti Four, "Raindrops" by Andrew Cyrille, "Tell Us Only The Beautiful Things" by Walt Dickerson, "The Black Cat" by Monty Waters, and "Invitation" by Sonny Fortune. (Funky Compilations, Jazz) CD