Never-heard music from one of the hippest groups ever led by flute man Herbie Mann – a killer lineup that includes Roy Ayers on vibes, Sonny Sharrock on guitar, and Steve Marcus on tenor! The tracks here are all previously unreleased – pulled from the same recordings that gave the world the Live At The Whiskey A Go Go album, but much more far-reaching overall – in a way that not only shows the full range of sounds the group could produce, but which also really brings out some individual moments of genius from each player! Roy's vibes are wonderful – with some very bold chromes, but his usual sense of warmth, too – which can make for a striking comparison with the edges in Sharrock's guitar and the soulfulness of Marcus' tenor. Linda Sharrock sings a bit on the record, but most of the album features long, extended jams from a group that also includes Miroslav Vitous on bass and Bruno Carr on drums – on titles that include "Untitled Jam", "Black Woman", "All Blues", "Portait Of Linda In Three Colors All Black", "Chain Of Fools", "Tangier/If I Were A Carpenter", "Scarborough Fair", "Philly Dog", and "Comin Home Baby/Battle Hymn Of The Republic". CD

A real treasure from reedman Maulawi Nurudin – originally recorded as part of the Strata Records scene in Detroit, but done in Chicago in 1973 – and issued here for the first time ever! The vibe here is almost more Tribe Records than some of the other Strata sides – as Maulawi blows tenor and other reeds over these modal grooves with drums from Tani Tabbal, plus bass and keyboards from other unknown musicians – all in a laidback style that's rich and soulful – almost a spiritual jazz take on territory that would later be explored by Grover Washington Jr, especially given Maulawi's use of soprano sax! Titles include great takes on "Maiden Voyage", "People Make The World Go Round", and "I Say A Little Prayer" – plus the originals "Orotunds", "Where Is The Place", and an "Unknown Track". LP, Vinyl record album

One of the most ambitious albums ever from Rob Mazurek – and a set that really continues the legacy of community building and world healing that's become such an important part of his music! Rob's a player who was great at the start – a hell of a trumpeter, and a great experimentalist with electronics – but in recent years, he's matured to become a real messenger for the farther, future reaches of jazz – with an energy that makes a collaborative project like this come off in a way that might never have occurred in the hands of any other musician! Mazurek is at the head – director, composer, arranger, and instrumentalist too – and the large lineup is filled with heavyweights from the Chicago scene that Rob helped shape over the past few decades – plus others as well – players who include Damon Locks on voice and electronics, Nicole Mitchell on flutes, Tomeka Reid on cello, Joel Ross on vibes, Jaimi Branch on trumpet, Jeff Parker on guitar, Ingebrigit Haker Flate on bass, and Chad Taylor, John Herndon, and Mikel Patrick Avery on a variety of drums and percussion. There's a richness here that tops other Exploding Star Orchestra performances – and more of a focus, too – so that the whole thing comes together as even more than the sum of its mighty parts, as one of the best International Anthem releases to date. Titles include "Galaxy 1000", "Parable Of Inclusion", "Autumn Pleiades", "Minerals Bionic Stereo", "Dimensional Stardust", "Abstract Dark Energy", and "The Careening Prism Within". CD

No filters here, as Hank Mobley's sound is clean, lean, and right on the money – hitting that newly-sophisticated groove of the Caddy For Daddy years in this sweet unissued set! The date was recorded in the 60s, but unissued by Blue Note for many years – another one of those head-scratching mysteries from the label, yet also a real treat to 80s jazz fans who finally got their hands on the sides – a whole new discovery of Hank Mobley's genius, further appreciated at a time when we weren't hearing more from him. The players are top-shelf all the way through – and include Freddie Hubbard or Donald Byrd on trumpet, Herbie Hancock or Barry Harris on piano, Paul Chambers or Butch Warren on bass, and Philly Joe Jones or Billy Higgins on drums. Titles include "Chain Reaction", "Soft Impressions", "Up A Step", "Old World, New Imports", "East Of The Village", "Yes Indeed", and "The Good Life" CD

2 great Paris live sets from Gerry Mulligan – with his Concert Jazz Band at L'Olympia in 1960 – followed by a 1962 quartet set at the same venue serving as bonus tracks! The 11 titles on the first CD and the first titles on the second CD are culled from the 1960 set – a tight affair with great solo work from a larger group of players – which includes Don Ferrara and Conte Candoli on trumpet, Bob Brookmeyer on valve trombone, Willie Dennis and Alan Raph on trombone, Bob Donovan and Gene Quill on alto, Jim Reider and Zoot Sims on tenor, Buddy Clark on bass and Mel Lewis on drums. A real triumph! Titles include "You Took Advantage Of Me", "Black Nightgown", "Body And Soul", "Barbara's Theme", "Apple Core", "Out Of This World", "Go Home", "I'm Gonna Go Fishing", "Blueport" and more! The second CD is closed out by a 1962 set by the the Gerry Mulligan Quartet – originally released as the LP Gerry Mulligan & His Quartet Live At The Olympia Theatre 1962! The tracks are long, and the setting fluid – as Gerry plays baritone on most tracks, but piano on a couple; and Bob Brookmeyer does the same, taking a break from valve trombone to play piano for one track as well. Rhythm is by the team of Bill Crow on bass and Gus Johnson on drums – and titles include "Spring Is Sprung", "Five Brothers", "Subterranean Blues", "Blue Port", and "Utter Chaos". More than 2 1/2 hours of music on 2CDs! CD

The amazing first album from Brazilian modern musical genius Hermeto Pascoal – a set that would change the world of jazz and Brazilian music for years to come! By the time of the set, Hermeto was no stranger to the scene – he'd recorded famously in Quarteto Novo with Airto, and in some other key groups – yet this set also marks a real transformation, the rise of Pascoal as a new visionary, with endless fresh ideas for sounds, rhythms, and instrumental possibilities! And yet, the album's still very groovy – it follows nicely off the spirit of Quarteto Novo, and mixes tight rhythmic changes with all sorts of incredible instrumental inflections – work by Pascoal on keyboards and flute – augmented with drums and percussion from Airto, and a range of reeds from American jazz musicians Jerome Richardson, Maurico Smith, Joe Farrell, Jerry Dodgion, and Hubert Laws – as well as trombone from the great Garnett Brown, and trumpets from Thad Jones and Joe Newman. The mix of American players and Brazilian inspiration is wonderful – and Airto and Flora Purim produced the set – and the latter sings a bit on the record. Titles include "As Marianas", "Alicate", "Hermeto", "Coalhada", "Fabiola", "Guizos", and "Flor Do Amor". (Brazil, Jazz) CD

The amazing first album from Brazilian modern musical genius Hermeto Pascoal – a set that would change the world of jazz and Brazilian music for years to come! By the time of the set, Hermeto was no stranger to the scene – he'd recorded famously in Quarteto Novo with Airto, and in some other key groups – yet this set also marks a real transformation, the rise of Pascoal as a new visionary, with endless fresh ideas for sounds, rhythms, and instrumental possibilities! And yet, the album's still very groovy – it follows nicely off the spirit of Quarteto Novo, and mixes tight rhythmic changes with all sorts of incredible instrumental inflections – work by Pascoal on keyboards and flute – augmented with drums and percussion from Airto, and a range of reeds from American jazz musicians Jerome Richardson, Maurico Smith, Joe Farrell, Jerry Dodgion, and Hubert Laws – as well as trombone from the great Garnett Brown, and trumpets from Thad Jones and Joe Newman. The mix of American players and Brazilian inspiration is wonderful – and Airto and Flora Purim produced the set – and the latter sings a bit on the record. Titles include "As Marianas", "Alicate", "Hermeto", "Coalhada", "Fabiola", "Guizos", and "Flor Do Amor". (Brazil, Jazz) LP, Vinyl record album

A pretty darn incredible record from Sun Ra – with a soulful, spiritual approach that's missing from most of his other albums of the time! The album features Ra playing a good deal of organ (dubbed "intergalactic organ" in this case!) – grooving soulfully on some short tracks that almost hit a soul jazz mode, and which recall the late 60s experiments of organist Freddie Roach. One track, "Pleasant Twilight", is actually a pretty catchy groover with some great ensemble vocals – and other nice ones in this mode include "Somewhere Else", "Otherness Blue", and "Somebody Else's World". After those tunes, the album actually gets a bit "out" – with Ra switching to moog, which he uses in a very tripped-out sci-fi sort of way! The moog tracks are spare and spooky – with a real outer space approach, and lots of chunky analogue bits that still manage to be quite tuneful. Titles include "Sun Thoughts", "The Wind Speaks", "World Of The Myth I", and "The Design – Cosmos II". CD

One of Gerald Wilson's hippest albums for World Pacific – and all of them are pretty darn hip! This set is one of Gerald's last for the label – cut in a run of very successful, and very strong big band soul jazz albums that brought together the cream of the crop of the LA underground. Like the other sets, this one's got a great lineup – with players that include Anthony Ortega, Hadley Caliman, Harold Land, Ernie Watts, and Bobby Hutcherson – but the real strength of the album lies with Groove Holmes, who cuts some pretty fantastic solos on the album's best tracks – bubbling his Hammond through the larger arrangements with the space and expression that Wilson allowed his individual players on these sessions. Titles include great versions of "Aquarius" and Coltrane's "Equinox" – plus the original tunes "Celestial Soul", "Scorpio Rising", "Pisces", and "Bluesnee". LP, Vinyl record album

An incredible album from the man that changed the way the world hears the Hammond! This album was Larry Young's first for Blue Note – and it's a mindblowing batch of tunes that push the organ into realms that had never been heard of in jazz. Young's got a real penchant for a modal groove – no doubt inspired by his friend and sometimes collaborator John Coltrane – and he's working here with a totally hip group that includes Sam Rivers, Grant Green, and Elvin Jones. The tunes are amazing – dancing with delight as they push the envelope, but never go too far to get overindulgent – and the album's filled with classics that include Green's wonderful composition "Plaza De Toros", plus originals by Young like "Tyrone", "Backup", and "Ritha". CD

A real lost treasure from Pacific Jazz – a rare late 50s west coast session from Pepper Adams, featuring the amazing baritonist in a group with Lee Katzman on trumpet, Jimmy Rowles on piano, Doug Watkins on bass, and Mel Lewis on drums! The sound is incredible – on a par with that rare few of Adams' other magnificent albums as a leader – modern, yet soulful, and with a fluid feel that makes it hard to believe that Pepper's working with a baritone sax. Adams' work is always top-shelf, but this album's an even further cut above – and its proof that Pepper was one of the strongest talents burning in jazz in the late 50s! Tracks are all longish, and feature some nice unusual numbers that include "Minor Mishap", "Blackout Blues", "High Step", "5021", and "Zec". CD also features the bonus track "Four Funky People". CD

A real mindblower from the Japanese scene of the 70s – a perfect illustration of why that world of records was so incredible during the decade! The music here is spiritual, but also somewhat free – served up by musicians who'd clearly been inspired by John Coltrane and the Impulse Records generation, but who've clearly moved to their own plane of existence as a unit – really feeling each others' impulses automatically, and creating this cohesive vision of music that's simply fantastic from start to finish! All tracks are long, and often quite spiritual too – especially when the tenor and soprano sax of Kyoichiroh Morimura soar out in the lead – driven on by the fantastic piano of leader Tohru Aizawa, and the bass of Kohzoh Watanabe and drums of Tetsuya Morimura. None of the players achieved the same fame as some of their bigger contemporaries, but really sound wonderful here – on titles that include "Dead Letter", "Sacrament", "Philosopher's Stone", and a great version of the Chick Corea tune "La Fiesta". LP, Vinyl record album

One of the most ambitious albums ever from Rob Mazurek – and a set that really continues the legacy of community building and world healing that's become such an important part of his music! Rob's a player who was great at the start – a hell of a trumpeter, and a great experimentalist with electronics – but in recent years, he's matured to become a real messenger for the farther, future reaches of jazz – with an energy that makes a collaborative project like this come off in a way that might never have occurred in the hands of any other musician! Mazurek is at the head – director, composer, arranger, and instrumentalist too – and the large lineup is filled with heavyweights from the Chicago scene that Rob helped shape over the past few decades – plus others as well – players who include Damon Locks on voice and electronics, Nicole Mitchell on flutes, Tomeka Reid on cello, Joel Ross on vibes, Jaimi Branch on trumpet, Jeff Parker on guitar, Ingebrigit Haker Flate on bass, and Chad Taylor, John Herndon, and Mikel Patrick Avery on a variety of drums and percussion. There's a richness here that tops other Exploding Star Orchestra performances – and more of a focus, too – so that the whole thing comes together as even more than the sum of its mighty parts, as one of the best International Anthem releases to date. Titles include "Galaxy 1000", "Parable Of Inclusion", "Autumn Pleiades", "Minerals Bionic Stereo", "Dimensional Stardust", "Abstract Dark Energy", and "The Careening Prism Within". LP, Vinyl record album

One of the most ambitious albums ever from Rob Mazurek – and a set that really continues the legacy of community building and world healing that's become such an important part of his music! Rob's a player who was great at the start – a hell of a trumpeter, and a great experimentalist with electronics – but in recent years, he's matured to become a real messenger for the farther, future reaches of jazz – with an energy that makes a collaborative project like this come off in a way that might never have occurred in the hands of any other musician! Mazurek is at the head – director, composer, arranger, and instrumentalist too – and the large lineup is filled with heavyweights from the Chicago scene that Rob helped shape over the past few decades – plus others as well – players who include Damon Locks on voice and electronics, Nicole Mitchell on flutes, Tomeka Reid on cello, Joel Ross on vibes, Jaimi Branch on trumpet, Jeff Parker on guitar, Ingebrigit Haker Flate on bass, and Chad Taylor, John Herndon, and Mikel Patrick Avery on a variety of drums and percussion. There's a richness here that tops other Exploding Star Orchestra performances – and more of a focus, too – so that the whole thing comes together as even more than the sum of its mighty parts, as one of the best International Anthem releases to date. Titles include "Galaxy 1000", "Parable Of Inclusion", "Autumn Pleiades", "Minerals Bionic Stereo", "Dimensional Stardust", "Abstract Dark Energy", and "The Careening Prism Within". LP, Vinyl record album

An incredible album from the man that changed the way the world hears the Hammond! This album was Larry Young's first for Blue Note – and it's a mindblowing batch of tunes that push the organ into realms that had never been heard of in jazz. Young's got a real penchant for a modal groove – no doubt inspired by his friend and sometimes collaborator John Coltrane – and he's working here with a totally hip group that includes Sam Rivers, Grant Green, and Elvin Jones. The tunes are amazing – dancing with delight as they push the envelope, but never go too far to get overindulgent – and the album's filled with classics that include Green's wonderful composition "Plaza De Toros", plus originals by Young like "Tyrone", "Backup", and "Ritha". LP, Vinyl record album

Proof that Milt Jackson was easily the hippest member of the Modern Jazz Quartet – and one of the few who could really open up into different sounds away from that combo! This sweet 70s set for CTI is totally great – a whole new chapter for Jackson's vibes, and a real re-setting of the soulful modes he'd explored as a leader in the 60s. There's a wonderfully warm and chromatic feel to the set from the start – as Milt's vibes are set in fuller arrangements from Don Sebesky – with added instrumentation from Herbie Hancock on electric piano, Freddie Hubbard on trumpet, and Phil Bodner on reeds. The highlight of the album is a nice long take on "People Make The World Go Round", but it's all pretty sweet, and other titles include nice versions of "Sunflower" and "What Are You Doing For The Rest Of Your Life" – and Jackson's own "SKJ" and "For Someone I Love". LP, Vinyl record album

The title says it all – as Yusef Lateef works here in that wonderful mixture of hardbop, soul jazz, and Eastern stylings that he brought to all of his best early sessions as a leader! Lateef himself is playing tenor, flute, and oboe – which he uses to craft these eerie snakecharmer lines that work perfectly with the modal grooves of the tracks – very unusual rhythms for the time, and a real precursor to some of the world jazz experiments to come from overseas. The rest of the group features pianist Barry Harris, drummer Lex Humphries, and bassist Ernie Farrow, who also plays a strange instrument called a rabat – which further adds to the charm of the record. Titles include "Plum Blossom", "Purple Flower", "Three Faces Of Balal", and "Chinq Miau". LP, Vinyl record album

The title says it all – as Yusef Lateef works here in that wonderful mixture of hardbop, soul jazz, and Eastern stylings that he brought to all of his best early sessions as a leader! Lateef himself is playing tenor, flute, and oboe – which he uses to craft these eerie snakecharmer lines that work perfectly with the modal grooves of the tracks – very unusual rhythms for the time, and a real precursor to some of the world jazz experiments to come from overseas. The rest of the group features pianist Barry Harris, drummer Lex Humphries, and bassist Ernie Farrow, who also plays a strange instrument called a rabat – which further adds to the charm of the record. Titles include "Plum Blossom", "Purple Flower", "Three Faces Of Balal", and "Chinq Miau". CD

Includes the songs "Once Upon A Time", "Old Days / Old Ways", "Dream A Little", "Journey", "Once Upon A Time (For Real)", "I Wish You Were", "You Knew", "DLT", "Wonderland", "Another World", "Old Days / Old Ways (Instrumental)",and "Once Upon A Time (Instrumental)". CD

Nice one! Although Evidence and other labels have been reissuing lots of work from Ra's classic years, there's been a real dearth of material from the crucial early 70's period – when the band was hitting lots of strange grooves, and going way way out, farther than ever before. This essential 2 CD set reissues the rare MPS album It's After The End Of The World, and adds a lot of unreleased material that wasn't on the original album, but which was also recorded on the same date at the Donaueschigen Musik Festival in 1970. Plus, the package also contains a full set of live recordings from Berlin, recorded only a month after the MPS release, and never before released to the public! The whole set's chock full of rare Ra material, and it's packaged with a great set of notes to help you make it through the whole thing! CD

A major label set, but one that stays very true to the new ideals that James Blood Ulmer was trying to bring to jazz guitar at the time – a really revolutionary style that moves beyond simple genre conventions, and embraces a whole world of new ideas that would inspire others in the decade to come! Ulmer plays with a real frenzy at points – deep currents that reflect the bluesy touches of his early work in jazz organ combos, but given a skittish energy that reflects his association with the downtown crowd – and which was very fitting for his record with Rough Trade! The core group here features James, bassist Amin Ali, and drummer G Calvin Weston – and some tracks feature work from David Murray on tenor, Oliver Lake on alto, and Olu Dara on trumpet. Titles include "Timeless", "Pleasure Control", "Night Lover", "Happy Time", "Rush Hour", "Stand Up To Yourself", and "High Time". LP, Vinyl record album

The music of Egbergo Gismonti means many things to many people – as the Brazilian music legend worked in so many styles and settings, he really offered a lot to the world with his many albums! And here, arranger Gaia Wilmer approaches Gismonti's music with a real love of his work in a larger setting – those sublime, soaring arrangments that Egberto did so well, and which really helped elevate Brazilian music to new heights on important albums in the 70s! The setting here is nicely different than those, though – with arrangements by Wilmer, and a great instrumental lineup that even includes guest piano from Egbergo himself, plus work from Jacques Morelenbaum on cello and Gabriel Gross on harmonica. Titles include "Em Familia", "Folia", "Loro", "Karate", "Maracatu", "Baiao Malandro", "Infancia", and "7 Aneis". CD

A real treasure through and through – one of the most unusual Blue Note albums you'll ever hear, and a set that's one of the best-remembered from the team of pianist Jack Wilson and vibist Roy Ayers! Long before Roy struck out on his own in the world of funky soul, he worked often in the 60s with Wilson – and the pair have this unique way of blending vibes and piano that's completely fresh, and still unmatched all these many years later! Wilson's natural lyrical style blends with Roy's modal approach to a groove – and the pair soar out in space with these long-flowing lines that make the whole album a treasure. There's no horn players at all – as with Wilson's other small combo Blue Note date – and rhythm is from Varney Barlow on drums, and either Roy Brown or Buster Williams on bass. Titles include a wonderful version of "Sernata", an unusual take on Ornette Coleman's "The Sphinx", and the wonderful Wilson originals "CFD", "Most Unsoulful Woman", and "Harbor Freeway 5pm". CD

A real treasure through and through – one of the most unusual Blue Note albums you'll ever hear, and a set that's one of the best-remembered from the team of pianist Jack Wilson and vibist Roy Ayers! Long before Roy struck out on his own in the world of funky soul, he worked often in the 60s with Wilson – and the pair have this unique way of blending vibes and piano that's completely fresh, and still unmatched all these many years later! Wilson's natural lyrical style blends with Roy's modal approach to a groove – and the pair soar out in space with these long-flowing lines that make the whole album a treasure. There's no horn players at all – as with Wilson's other small combo Blue Note date – and rhythm is from Varney Barlow on drums, and either Roy Brown or Buster Williams on bass. Titles include a wonderful version of "Sernata", an unusual take on Ornette Coleman's "The Sphinx", and the wonderful Wilson originals "CFD", "Most Unsoulful Woman", and "Harbor Freeway 5pm". LP, Vinyl record album

A fantastic live set from 1968 – recorded after Blakey's classic Blue Note years, with a unique lineup that includes a young Billy Harper on tenor, Ronnie Matthews on piano, and Julian Priester on trombone! Harper alone is worth the price of the LP – as his firey solos are great, really stretching out here with a bold vision that would explore more prominently a few years later – and which is heard here at an extremely early date. Tracks are all long and very live – the Jazz Messengers vibe, but with some of the freedoms of the Coltrane era, especially on Harper's solos. The set features a number of nice long tracks – like Slide Hampton's "New World" and "Slide No 2", and a great reading of "Angel Eyes", done by Harper in real Coltrane Ballad mode! CD features the best-ever issue of the material – with great notes and remastering! CD

Important 70s work from Don Cherry – one of the first albums to bring his overseas experiments to a larger US audience! The set builds nicely off of styles that Don forged earlier in France and Scandinavia – a freer style of music than his work with Ornette Coleman, and a richly organic groove that builds up strongly from the bottom, often with elements of world music settled in alongside the jazz – but there's also some funkier moments here too, a bit like the Brown Rice album, but looser overall! The groups on most numbers are relatively large and spiritual – almost like Alice Coltrane at times, but a bit more electric and funky at others – and players include Collin Walcott on sitar, Michael Brecker on saxes, Cliff Carter on keyboards, Lenny White and Tony Williams on drums, Lois Colin on harp, and Raphael Cruz on percussion. Cherry himself plays conch shells, bells, and flute in addition to his usual trumpet – and he even sings a bit on a few numbers, in a soulful, scatting sort of groove. Narada Michael Walden produced, and the whole set's got a very righteous feel – with tracks that include "Universal Mother", "Buddah's Blues", "Eagle Eye", "Mahakali", "Karmapa Chenno", "Surrender Rose", and "Journey Of Milarepa". LP, Vinyl record album

Important second chapter work from Ornette Coleman – a record that marked a real shift in his sound from the Atlantic Records years – issued by Blue Note at a level that gave the rest of the world a chance to see what Ornette had been cooking up on the underground scene! The album was recorded in Stockholm – in the tradition of European live performances that saw Coleman grow so strongly in the mid 60s – and the tracks are long, free, and full of improvised moments – with Ornette adding in trumpet and violin next to his familiar alto – in a trio with David Izenzon on bass and Charles Moffett on drums – both fantastic players who can be loose at the right moments, and bring things back at others. Tracks are long and unbridled – with less of the rhythmic changes that you'd hear in work by the classic quartet, and more of a full-on fierce soloing mode. Titles include "Faces & Places", "Dee Dee", and "Dawn" – plus two alternate takes and the cut "Doughnuts". CD

Important second chapter work from Ornette Coleman – a record that marked a real shift in his sound from the Atlantic Records years – issued by Blue Note at a level that gave the rest of the world a chance to see what Ornette had been cooking up on the underground scene! The album was recorded in Stockholm – in the tradition of European live performances that saw Coleman grow so strongly in the mid 60s – and the tracks are long, free, and full of improvised moments – with Ornette adding in trumpet and violin next to his familiar alto – in a trio with David Izenzon on bass and Charles Moffett on drums – both fantastic players who can be loose at the right moments, and bring things back at others. Tracks are long and unbridled – with less of the rhythmic changes that you'd hear in work by the classic quartet, and more of a full-on fierce soloing mode. Titles include "Snowflakes & Sunshine", "Morning Song", "The Riddle", and "Antiques". CD

George Duke at the end of the century – still going strong with the wonderful mix of jazz, funk, and soul that he pioneered in the 70s – a style that really grows and shifts in mighty nice way over the course of the material in the set! Duke moved from Epic to Elektra and Warner during the time of these tracks – and while some of the material has George picking up more 80s-styled keyboard elements and rhythms, the set also progresses towards other material that's maybe even more back to basics in a jazz sort of way – first electric, then more acoustic – but with some nice variations that show that Duke, one of the real pioneers, was still doing a lot more with soulful jazz than most of his contemporaries! You'll definitely find a few vocal cuts here – George always had a great ear for a singer – and throughout, the man's skills on the keyboard continue to be strong – especially tilted towards that nice sense of space that Duke picked up after his jamming years in the mid 70s. As with other titles on the Soulmusic label, the choice of cuts is great – really focusing on the kind of special album tracks that show a deeper side of the artist than the singles – with a total of 45 tracks that include "Mystery Eyes", "Say Hello", "The Touch", "From Dusk To Dawn", "It's Our World", "So I'll Pretend", "Montreux Nights", "Love Can Be So Cold", "No Rhyme No Reason", "6 O'Clock", "Fame", "560 SL", "Rise Up", "Guilty", "I Surrender", "Thief In The Night", "The Times We've Known", "All About You", "If You Will", "She's Amazing", "Thinin About You", "Fill The Need", and "Never Be Another". CD

Amazing early work from Paul Horn – recorded way before he got all noodly, and started walking around in pyramids and stuff! The album captures Horn at the height of his early brilliance – interested in world rhythms, especially Indian, and showing a real penchant for a modal groove. He's working here on alto and flute, and grooving incredibly well with a group that includes Paul Moer on piano, Emil Richards on vibes, and the great Jimmy Bond on bass – all pulsating with a great deal of energy, and creating these catchy little tunes that dip, turn, dip, and allow Horn to really take off on his solos. A brilliant set throughout – with tracks that include "Benny's Buns", "Yazz Per Favore", "Mirage For Miles", "Moer Or Less", "Blue On Blue", and "Short Politician". LP, Vinyl record album

Proof that Milt Jackson was easily the hippest member of the Modern Jazz Quartet – and one of the few who could really open up into different sounds away from that combo! This sweet 70s set for CTI is totally great – a whole new chapter for Jackson's vibes, and a real re-setting of the soulful modes he'd explored as a leader in the 60s. There's a wonderfully warm and chromatic feel to the set from the start – as Milt's vibes are set in fuller arrangements from Don Sebesky – with added instrumentation from Herbie Hancock on electric piano, Freddie Hubbard on trumpet, and Phil Bodner on reeds. The highlight of the album is a nice long take on "People Make The World Go Round", but it's all pretty sweet, and other titles include nice versions of "Sunflower" and "What Are You Doing For The Rest Of Your Life" – and Jackson's own "SKJ" and "For Someone I Love". CD

Two CTI label gems from vibist Milt Jackson – back to back on a single CD! Sunflower is proof that Milt Jackson was easily the hippest member of the Modern Jazz Quartet – and one of the few who could really open up into different sounds away from that combo! This sweet 70s set for CTI is totally great – a whole new chapter for Jackson's vibes, and a real re-setting of the soulful modes he'd explored as a leader in the 60s. There's a wonderfully warm and chromatic feel to the set from the start – as Milt's vibes are set in fuller arrangements from Don Sebesky – with added instrumentation from Herbie Hancock on electric piano, Freddie Hubbard on trumpet, and Phil Bodner on reeds. The highlight of the album is a nice long take on "People Make The World Go Round", but it's all pretty sweet, and other titles include nice versions of "Sunflower" and "What Are You Doing For The Rest Of Your Life" – and Jackson's own "SKJ" and "For Someone I Love". Goodbye is classic work from vibist Milt Jackson – opening up his bag a lot for the 70s, in a way that makes for some wonderfully casual grooves! The album's not as moodily funky as some of Jackson's other CTI records, but it is a nice batch of laidback tunes played with a distinctly soulful edge – handled by a group that features Cedar Walton on piano, Hubert Laws on flute, Ron Carter bass, Steve Gadd drums – and some guest trumpet from Freddie Hubbard on the track "SKJ". Other titles include "Opus De Funk", "Detour Ahead","Goodbye", and "Old Devil Moon". CD

Beautifully soulful work from drummer Victor Lewis – and a record that introduced the world to the tremendous tenor talents of Seamus Blake! The set's got a relaxed, flowing vibe that reminds us a lot of some of Lewis' collaborations with Bobby Watson – although Blake's tenor tone gives the record a deeper twist overall – set up beautifully alongside piano from Eduardo Simon and bass from Christian McBride, and also featuring a bit of trumpet and flugelhorn from Eddie Henderson – although honestly, Blake's the real standout horn talent on this date. Lewis wrote most of the tunes himself – somewhat poetic numbers, but with a lot of soul and swing – and titles include "The Loss Of A Moment", "Know It Today Know It Tomorrow", "Between Two Worlds", "The Truce", and "If You Only Knew Me". CD

One of the rarest albums on the Groove Merchant label – and one of the best! Ramon Morris has a sweet tone on the tenor that works very well with the electric piano in his tight little combo – grooving with a style that's like the best Black Jazz funk records of the time – mixing together bright notes, funky rhythms, and plenty of great chord changes! Cecil Bridgewater's on trumpet, and the band has a really righteous feel – with lots of real soul and thoughtful playing mixed into the jazz funk grooves of the record. Massive – with titles that include "Sweat", "Lord Sideways", "Sweet Sister Funk", and a nice version of "People Make The World Go Round". LP, Vinyl record album

One of the rarest albums on the Groove Merchant label – and one of the best! Ramon Morris has a sweet tone on the tenor that works very well with the electric piano in his tight little combo – grooving with a style that's like the best Black Jazz funk records of the time – mixing together bright notes, funky rhythms, and plenty of great chord changes! Cecil Bridgewater's on trumpet, and the band has a really righteous feel – with lots of real soul and thoughtful playing mixed into the jazz funk grooves of the record. Massive – with titles that include "Sweat", "Lord Sideways", "Sweet Sister Funk", and a nice version of "People Make The World Go Round". LP, Vinyl record album

Two rare Charlie Parker albums in a single set! First up is Bird On 52nd Street – one of the more obscure Charlie Parker sessions of the 40s – at least in the original release! The material was recorded in 1948, on a home tape recorder, but not issued until after his death – part of a huge wave of Charlie Parker material that hit the market at the end of the 50s and start of the 60s! The sound here is quite raw – made even more so by the recording quality – but it also offers up a good illustration of the sheer power of Bird back in the day, the kind of bold, bracing energy that made even more than the regular jazz world sit up and take notice. The group's a quintet – with Miles Davis on trumpet, Duke Jordan on piano, Tommy Potter on bass, and Max Roach on drums – and there's been a few tape tricks in the mastering, in order to come up with a better version of some of the recordings. Tracks are short – in true bebop format – and titles include "Night In Tunisia", "Dizzy Atmosphere", "Out Of Nowhere", "My Old Flame", "How High The Moon", "This Time The Dream's On Me", "Hot House", and "Chasin The Bird". Next is Bird At St Nicks – a posthumous issue of an early 50s live set by Charlier Parker – one of the many that were rushed to the public in the years after his early death. The set, like many of the other live ones from the time, isn't recorded that well – but the music is still pretty wonderful. There's a real focus on Bird in the way the microphone was set up – so although you hear the rest of the band comping in the background, the album almost works like a session of solo sax work by Parker – as his alto is right out front in the mix, playing with a faltering style at times – but in a way that only seems to deepen our vision of his genius. Players include Red Rodney on trumpet and Al Haig on piano – and titles include "Ornithology", "Star Eyes", "Visa", "I Didn't Know What Time It Was", and "Confirmation". LP, Vinyl record album

A real breakout set from the young Joshua Redman – the kind of record that made some mighty big ripples in the jazz world at the time – and which ended up in more record collections than we can count – and for good reason, too! The group's a rock-solid quartet – with Redman on tenor, Brad Mehldau on piano, Christian McBride on bass, and Brian Blade on drums – and titles include "Sweet Sorrow", "Chill", "Rejoice", "Faith", "Alone In The Morning", "Mischief", "Dialogue", "The Oneness Of Two (In Three)", "Past In The Present", "Obsession", and "Headin' Home". CD

Three great albums in one package! Steam is a later set from Archie Shepp and a real lost gem – quite different from his earlier works, especially the better known late 60s sessions – and a surprisingly nice album that runs through some truly excellent longer takes – filled with warmth and tenderness you wouldn't expect! Steam was recorded in early 1976, in a stripped down setting, with Cameron Brown on bass and Beaver Harris on drums. The group wonderfully rolls through Ellington's "Solitude", Shepp's "Steam", and the epic "A Message From Trane", a tremendous number written by the great Cal Massey – and Shepp plays both tenor and piano on the record. CD reissue includes bonus tracks not on the original album – "Ah Leu Cha" and "52nd Street Theme". Lover Man is an overlooked treasure from his years as a straight jazz musician – a time we come to appreciate more and more as the years go by! The Shepp heard here is one who's still got all the raw tone and bite of the old days, but also finds a way to swing things on a set of familiar standards – so that he's cutting these great raspy lines out of tunes you might already know – but which are taking on a whole new life in the process. The small combo also features Dave Burrell on piano – another player who could go out, but instead here hangs inside, yet uses all the knowledge of his reach to keep things interesting. A few of the tracks feature vocals from Anne Lowman – with Shepp alongside on tenor – and the rest of the group features Herman Wright on bass and Steve McCraven on drums. Titles include "Brand New World/Breaking A New Day", "My Funny Valentine", "Stars Are In Your Eyes", "Lush Life", and "Yesterdays". Something To Live For is a set of standards from Archie Shepp – but one that's done in a much less traditional way than you might expect – that new standard of returning to roots, but doing them differently that Shepp first began in the 70 – and which really colored the rest of his recording career in a really strong way! Shepp plays tenor, but also vocalizes on many tracks – almost more talking than singing at times, with a raspy, almost bluesy style – but not blues at all – an element that's warmed up by the sparkling trumpet and flugelhorn of Eddie Henderson, whose role in the lead is equally as important as Archie! The rest of the group features John Hicks on piano, George Mraz on bass, and Idris Muhammad on drums – all players who make great contributions in more subtle ways – on tunes that include "You're Blase", "California Blues", "My Foolish Heart", "A Flower Is A Lovesome Thing", and "Something To Live For". CD

A real treasure, and a record that may well be our favorite Jimmy Smith album for Verve – a masterful meeting of his smoking Hammond work with some swingingly sophisticated arrangements by Oliver Nelson and Claus Ogerman! Both Nelson and Ogerman bring a fuller spectrum of horn work to the album than heard on other Smith sides of the time – using an almost orchestral approach to the backings, one that pushes Jimmy even further into the stratosphere as he solos madly on the organ! But don't think that the larger backings are clunky at all – because they're not – and there's a surprisingly deep soul to all the proceedings on the album, making it one of the tightest, grooviest, and deeply soulful records that Jimmy cut after leaving Blue Note! The LP includes two very long cuts – killer versions of "Who's Afraid Of Virginia Wolf" and "Slaughter On 10th Avenue" – plus shorter takes on "Bluesette", "Women Of The World", and "Wives & Lovers" that are all plenty amazing too! LP, Vinyl record album

A real mindblower from the Japanese scene of the 70s – a perfect illustration of why that world of records was so incredible during the decade! The music here is spiritual, but also somewhat free – served up by musicians who'd clearly been inspired by John Coltrane and the Impulse Records generation, but who've clearly moved to their own plane of existence as a unit – really feeling each others' impulses automatically, and creating this cohesive vision of music that's simply fantastic from start to finish! All tracks are long, and often quite spiritual too – especially when the tenor and soprano sax of Kyoichiroh Morimura soar out in the lead – driven on by the fantastic piano of leader Tohru Aizawa, and the bass of Kohzoh Watanabe and drums of Tetsuya Morimura. None of the players achieved the same fame as some of their bigger contemporaries, but really sound wonderful here – on titles that include "Dead Letter", "Sacrament", "Philosopher's Stone", and a great version of the Chick Corea tune "La Fiesta". CD features bonus tracks – live versions of "Sundance" and "Samba De Orfeu". CD

Important second chapter work from Ornette Coleman – a record that marked a real shift in his sound from the Atlantic Records years – issued by Blue Note at a level that gave the rest of the world a chance to see what Ornette had been cooking up on the underground scene! The album was recorded in Stockholm – in the tradition of European live performances that saw Coleman grow so strongly in the mid 60s – and the tracks are long, free, and full of improvised moments – with Ornette adding in trumpet and violin next to his familiar alto – in a trio with David Izenzon on bass and Charles Moffett on drums – both fantastic players who can be loose at the right moments, and bring things back at others. Tracks are long and unbridled – with less of the rhythmic changes that you'd hear in work by the classic quartet, and more of a full-on fierce soloing mode. Titles include "Faces & Places", "Dee Dee", and "Dawn". LP, Vinyl record album

Important second chapter work from Ornette Coleman – a record that marked a real shift in his sound from the Atlantic Records years – issued by Blue Note at a level that gave the rest of the world a chance to see what Ornette had been cooking up on the underground scene! The album was recorded in Stockholm – in the tradition of European live performances that saw Coleman grow so strongly in the mid 60s – and the tracks are long, free, and full of improvised moments – with Ornette adding in trumpet and violin next to his familiar alto – in a trio with David Izenzon on bass and Charles Moffett on drums – both fantastic players who can be loose at the right moments, and bring things back at others. Tracks are long and unbridled – with less of the rhythmic changes that you'd hear in work by the classic quartet, and more of a full-on fierce soloing mode. Titles include "Faces & Places", "Dee Dee", and "Dawn". CD

A tremendous package of work from Ornette Coleman – five albums issued under his own name, and one collaboration with Jackie McLean too! First up are At The Golden Circle Vols 1 & 2 – important second chapter work from Ornette Coleman – a record that marked a real shift in his sound from the Atlantic Records years – issued by Blue Note at a level that gave the rest of the world a chance to see what Ornette had been cooking up on the underground scene! The album was recorded in Stockholm – in the tradition of European live performances that saw Coleman grow so strongly in the mid 60s – and the tracks are long, free, and full of improvised moments – with Ornette adding in trumpet and violin next to his familiar alto – in a trio with David Izenzon on bass and Charles Moffett on drums – both fantastic players who can be loose at the right moments, and bring things back at others. Tracks are long and unbridled – with less of the rhythmic changes that you'd hear in work by the classic quartet, and more of a full-on fierce soloing mode. Titles include "Snowflakes & Sunshine", "Morning Song", "Faces & Places", "Dee Dee", "Dawn", "The Riddle", and "Antiques". Next is Empty Foxhole – one of our favorite Ornette Coleman albums of the post-Atlantic 60s years – a set that still hangs onto some of the bold rhythmic conception of his previous records, but also points the way towards his freer jazz modes to come! The group's a trio – with really tremendous work from Charlie Haden on bass, able to match Coleman's energy with effortless ease, and really getting a lot of room to leave his mark on the music – plus the very young (10!) Denardo Coleman, who plays drums here with this stark, simple style that's not only completely unique, but which also leaves a lot of open room left for Haden and Ornette to really stretch out. Ornette plays his usual alto, plus trumpet and violin – and titles include "Good Old Days", "The Empty Foxhole", "Zig Zag", and "Freeway Express". Next is New York Is Now – a pretty bold statement from saxophonist Ornette Coleman, but one that definitely shows his shift in role – from a major force on the LA underground of the early 60s, to an artist who was helping pave the way for a huge wave of growth on the New York downtown scene in years to come! Ornette's at his most late 60s unbridled here – freer than before, and working with a lineup that includes Jimmy Garrison on bass and Elvin Jones on drums – still no piano at all – plus great work from Dewey Redman on tenor, who really burst into new prominence with this album. Ornette plays a bit of violin alongside alto sax – and tracks include "Toy Dance", "Round Trip", "Broad Way Blues", and "We Now Interrupt For A Commercial". Then comes Love Call – a really great late 60s session from Ornette Coleman – one that shows is increasing expansion in sounds and styles, and which also offers a bridge between avant jazz generations too! That bridge comes in the presence of Jimmy Garrison on bass and Elvin Jones on drums – a surprising Coltrane rhythm duo, working here with Ornette's mindblowing work on alto sax, and tenor from a young Dewey Redman – already a crucially intense player here next to Coleman, as both are set free in a group without any piano – that Ornette melding of rhythm and melody, but with a very different vibe than the Atlantic years! Coleman blows trumpet on one tune – and titles include "Love Call", "Airborne", "Check Out Time", and "Open To The Public". The set also includes the album New & Old Gospel – one of Jackie McLean's last "new thing" albums for Blue Note – and a very unique record that features Ornette Coleman on trumpet! The sound here is stark and hard – slight hints of the soulfulness that the "gospel" in the title might imply, mixed with the angular exploratory sound that McLean had been forging at Blue Note during the mid 60s – a wonderful balance that really gives the record a lot of bite! The album's easily one of the most "out" that McLean ever recorded, and the group also includes Lamont Johnson on piano, Scott Holt on bass, and Billy Higgins on drums – all pushing themselves in the company of the avant jazz giants. Tracks include the extended "Lifeline" suite, which takes up all of side one – plus "Old Gospel" and "Strange As It Seems". LP, Vinyl record album

A real step forward for saxophonist Muriel Grossmann – as the set seems to have a new sort of fire that wasn't there on her debut – as Grossmann and quartet open up to embrace the world of modal rhythms! The tunes here all have this fantastic sense of pulse – energy that comes from these sublime basslines by Gina Schwarz, balanced with open-ended drumming from Uros Stamenkovic, and given all these warm colors by guitarist Radomir Milojkovic – a player who's equally brilliant on the record as Grossmann – who blows both soprano sax and alto, each with this amazingly intuitive sense of a solo – as if her spirit is effortlessly flowing through the horns. Titles include "African Dance", "Peace For All", "Bliss", "Natural Time", "Lightning", "Your Pace", and "Happiness". LP, Vinyl record album

The amazing full length debut of Hypnotic Brass Ensemble – a cool combo from the Chicago scene who've been making some big waves around the world over the past few years! The brass-heavy group have a family legacy that links them to the Artistic Heritage Ensemble of Phil Cohran – and an approach to their music that mixes spiritual jazz, deep funk, and elements of New Orleans music too – a really unique style that has earned the group's rare singles some tremendous praise – and which is finally ready to step out fully in this wonderful album! The horns are even harder and heavier than before – honed through some touring around the globe, and brought into focus here beautifully – bristling with energy from the very first note. The set features guest appearances from Malcolm Catto, Tony Allen, Flea, and Damon Albarn – but the real strength of the record lies in the group's amazing horns and rhythms – on titles that include "War", "Gibbous", "Alyo", "Ballicki Bone", "Jupiter", "Marcus Garvey", "Party Started", "Sankofa", "Satin Sheets", "Hypnotic", and 2 versions of "Rabbit Hop". (Deep Funk, Jazz) LP, Vinyl record album

A late 50s stormer from Japanese drummer Hideo Shiraki – caught here at a great point in his early career! The album's got a bit more of a swing-based feel than some of Shiraki's later sides – a bit more Verve-like energy than Blue Note style – which is a-ok with us, because the sound of the set is so great! But even more than Hideo's work on drums, the real star of the album is almost saxophonist Akira Miyazawa – who gets in some great solo moments on nearly every track, blowing tenor with a great sense of soul that really lights up the record and makes things shine. Titles include "The Man I Love", "Moritat", "Night In Tunisia", "Drum Boogie", "Around The World", and "I Got Rhythm". CD

A landmark album from vocalist Betty Carter – not her first time in the recording studio, but maybe one of the first full length sets to really communicate all the genius she was bringing to the field of jazz vocals in the postwar years! The record is one of Carter's more sophisticated sessions, and it's one of the few from the old days to really capture her jazzy vocals well in a large group setting – using arrangements from Richard Wess to bring some nice modern currents to the proceedings. As always, Betty handles the material with a great deal of class, and an incredible sense of poise and emotion – and thee set list is nice, too, and includes many lesser-known tracks – like "For You", "Jazz (Ain't Nothin' But Soul)", "Don't Weep For the Lady", "My Reverie", and "I Don't Want To Set The World On Fire". (Vocalists, Jazz) LP, Vinyl record album

A landmark album from vocalist Betty Carter – not her first time in the recording studio, but maybe one of the first full length sets to really communicate all the genius she was bringing to the field of jazz vocals in the postwar years! The record is one of Carter's more sophisticated sessions, and it's one of the few from the old days to really capture her jazzy vocals well in a large group setting – using arrangements from Richard Wess to bring some nice modern currents to the proceedings. As always, Betty handles the material with a great deal of class, and an incredible sense of poise and emotion – and thee set list is nice, too, and includes many lesser-known tracks – like "For You", "Jazz (Ain't Nothin' But Soul)", "Don't Weep For the Lady", "My Reverie", and "I Don't Want To Set The World On Fire". (Vocalists, Jazz) 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

A really back to basics album from trumpeter Don Cherry – or maybe a set that goes back to basics that Don didn't even have, given that most folks initially heard him in the freewheeling group of Ornette Coleman! The album's straighter than his work with Ornette, and also different than his 70s experiments with world cultures and fusion – as the record has a tight, acoustic vibe – Cherry blowing these great solos on pocket trumpet, in the company of a swinging lineup that also features James Clay on tenor, Charlie Haden on bass, and Billy Higgins on drums! The lack of piano is definitely a nod to Don's roots, and there's certainly an open vibe to the record at times – but things are mostly straight and swinging, in a way that opens up another level in Cherry's long and varied career. Titles include "Art Deco", 'When Will The Blues Leave", "Body & Soul", "Bemsha Swing", "Maffy", "Folk Medley", "The Blessing", "Passing", "I've Grown Accustomed To Your Face", and "Compute". CD

A really back to basics album from trumpeter Don Cherry – or maybe a set that goes back to basics that Don didn't even have, given that most folks initially heard him in the freewheeling group of Ornette Coleman! The album's straighter than his work with Ornette, and also different than his 70s experiments with world cultures and fusion – as the record has a tight, acoustic vibe – Cherry blowing these great solos on pocket trumpet, in the company of a swinging lineup that also features James Clay on tenor, Charlie Haden on bass, and Billy Higgins on drums! The lack of piano is definitely a nod to Don's roots, and there's certainly an open vibe to the record at times – but things are mostly straight and swinging, in a way that opens up another level in Cherry's long and varied career. Titles include "Art Deco", 'When Will The Blues Leave", "Body & Soul", "Bemsha Swing", "Maffy", "Folk Medley", "The Blessing", "Passing", "I've Grown Accustomed To Your Face", and "Compute". LP, Vinyl record album

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

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

A great one from this all-star group – an incredibly righteous combo that's given Billy Harper one of his best chances to play in years! As with the previous album by The Cookers, the Harper influence really runs strong – not just in the use of some of his great tracks in the performance, but also in the way the tunes build and work together – that bold, powerful energy that Billy first unleashed on the world in the 70s – driven to new heights here by a lineup that also includes Eddie Henderson on trumpet, Craig Handy on alto sax, George Cables on piano, Cecil McBee on bass, and Billy Hart on drums! But key thanks should also go to trumpeter David Weiss – also in the group, and producer for the record – a great talent for getting these guys to work together so well. Titles include tunes by McBee, Cables, and Hart as well – with tracks that include "Ebony Moonbeams", "Believe For It Is True", "Free For All", "Quest", "But He Knows", "Tight Squeeze", and "Naaj". CD

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

A beautiful tribute to one of the first great pairings of Hammond and tenor – the saxophone of Eddie Lockjaw Davis and the organ of Shirley Scott – presented here in four classic albums that would forever change the face of jazz! The "cookbook" in the title is a reference to the name of the first three records in the set – The Eddie Lockjaw Davis Cookbook records, volumes 1 to 3 – and the set is completed with the great album Smokin, which also pairs Scott and Davis together! The records were key dates for both players – for Davis, a way to firmly move into the world of jazz after roots in more R&B-styled recordings – on long tracks that really showed the world what a tremendous soloist he could be when he had the chance to stretch out. And for Scott, a way to showcase her budding talents on the Hammond – in ways that have a lot more bite than her later trio sides, and which also mark her as a different organ jazz stylist from contemporary Jimmy Smith. All four records here are presented with a new set of notes, and in a really wonderful package overall – finally together after all these years! CD