One of the greatest groups of the second generation of ECM – a post-Ornette Coleman quartet that features Don Cherry, Dewey Redman, Charlie Haden, and Ed Blackwell – all exploring space in a way that's quite different than their work with Ornette! The sound here is much freer, and atmospheric – in keeping with Cherry's work of the 70s, and the overall ECM sound of the time – and although unified, there's less of an emphasis on group dynamics than in the Coleman years, and more of a recognition of the role of the individual. Titles include unique reworkings of Ornette's "Lonely Woman" and "Open Or Close" – plus Blackwell's "Togo", Cherry's "Guinea", Redman's "Orbit Of La-Ba", and Charlie Haden's "Song For The Whales". LP, Vinyl record album

... LP, Vinyl record album

Joshua Redman on tenor sax, Aaron Goldberg on piano, Reuben Rogers on bass, and Gregory Hutchinson on drums. CD

Joshua Redman on saxophone, Christian McBride, Larry Grenadier and Reuben Rogers on bass, and Ali Jackson, Brian Blade, and Eric Harland on drums. CD

Really great work from tenorist Joshua Redman – an artist that many have been following for decades – but who, to us, really seems to be hitting a new level of genius in recent years! There's this understated confidence going on here – as if Redman no longer has anything to prove, and can just open up beautifully on the tenor – never breaking down too many barriers in jazz, but always blowing with this distinct sound that's very much his own – and which brings an edge to his well-written compositions on the record, which have a beautiful balance of color and rhythm. Pianist Aaron Goldberg is also fantastic – a very rhythmic player, but one who also leaves a lot of space between the notes – in ways that create this glow, or maybe a sense of waves of sound from his instrument – gently rocking the performance in this strong, yet subtle way. The rest of the quartet features Reuben Rogers on bass, and Gregory Hutchinson on drums that are bold, but never overdone – and the set of all-original material includes "How We Do", "DGAF", "Stagger Beer", "Vast", "Circle Of Life", and "Come What May". CD

Joshua Redman on tenor, alto and soprano saxophone, Brad Mehldau on piano, Larry Grenadier on bass, and Brian Blade on drums. CD

The first-ever album from Joshua Redman to feature vocals, yet a set that also has plenty of his own great tenor sax as well – all set up in a very unusual format wrapped around different scenes and cities in the US! The record's a bit of a statement on the America of the 21st Century, as even older songs are transformed in the setting, and mixed with some especially nice originals by the group – delivered by a lineup that features Gabrielle Cavassa on vocals, Aaron Parks on piano, Joe Sanders on bass, and Brian Blade on drums. The album also features guest work from Joel Ross on vibes, Kurt Rosenwinkel and Peter Bernstein on guitars, and Nicholas Payton on trumpets – and titles include "After Minneapolis", "Chicago Blues", "Manhattan", "That's New England", "Alabama", "Where Are You", and "My Heart In San Francisco". CD

With Joshua Redman on tenor and soprano saxophone, and Brad Mehldau on piano. CD

Features Joshua Redman on saxophones, Peter Martin on piano, Christopher Thomas on bass, and Brian Blade on drums. CD

This all-star quartet really won us over the first time around (and trust us, we can always be wary of too many cooks in the broth) – and they're equally great here, too – with a sound that's even greater than the sum of its mighty parts – almost as if each of these longtime leaders have decided it's even better to throw their collective hats in the ring and come up with something really special together! The piano of Brad Mehldau has a way of really ringing out with a brightness next to the sharper edges of Redman's horn – who himself seems to push forward with a new sense of imagination on his solos – warmed up a bit by the bass of Christian McBride, as all the players are kicked into gear by Brian Blade's work on drums. Titles include "Statuesque", "Ship To Shore", "Kite Song", "Disco Ears", and "Long Gone". LP, Vinyl record album

Dewey Redman on tenor & alto sax & musette, Joshua Redman on tenor sax, Anthony Cox on bass, Carl Allen on drums, Charles Eubanks on piano & Danny Sadownick on percussion. CD

A live large group session from Don Redman & His Orchestra featuring Don Byas, Billy Taylor, Peanuts Holland, and vocals by Inez Cavanaugh. Tracks are a mostly standards plus a few originals by Redman including "Chant of the Weeds", "Frantic Atlantic", " Dark Glasses". LP, Vinyl record album

One of those rare cases where an all-star group is really worth the weight of its talent – as this quartet really sounds wonderful together, and make you know that you're in for a treat right from the very first note in the set! The best energy of the record might come from the rhythmic conception of drummer Brian Blade, and maybe a bit of the spirit of bassist Christian McBride – because pianist Brad Mehldau and tenorist Joshua Redman come off with all these really inventive, creative elements – very much structured around a sense of rhythm, although one that's nicely complex at most moments – a less-familiar sort of swing, and we mean that in the best way possible. Titles include "Father", "Floppy Diss", "Your Part To Play", ":Moe HOnk", "Right Back Round Again", and "Undertow". LP, Vinyl record album

With Benny Carter on clarinet and alto saxophone, Coleman Hawkins on tenor saxophone, Fats Waller on piano, and John Nesbitt on trumpet! CD

A fantastic package of music that celebrates the 20 years of recording by Bugge Wesseltoft – easily one of the most compelling musical figures to emerge at the end of the 20th Century! Years back, we stocked Bugge in our New Grooves section, as he had a bit of a clubby electronic vibe – but over the years, he turned out to be not only a hell of a jazz musician, but also a budding minimalist too – a talent who completely transformed his sound, and also touched a generation of contemporaries with his strong sense of collaboration and musical stewardship! This package really showcases that legacy – and features work by artists who include Joshua Redman, Mari Boine, Erik Truffaz, Joaquin Claussell, Hakon Kornstad, Sidsel Endressen, and others – although the main focus is always Bugge's music at the core, and his incredible sense of sound and timing. The set features some old and out of print tracks, but also includes some new versions of older compositions, and a few unreleased tracks as well – making the whole thing way more than just a compilation, and instead another important addition to Bugge's catalog. Titles include "Sender", "Turner", "Breed It", "Mamullah", "You Might Say (new version)", "Yellow Is The Color", "Somewhere In Between", "Existence (new version)", "Hope (new version)", "Wy (new version)", "Kammermusik", "Den Fyrste Songen, "Try Out Here In There", and "Yoyk (new version)". CD

A record that bursts out with a sound that definitely lives up to its striking title – as Ornette Coleman explores the new frontiers of experimental jazz with one of his great groups from the end of the 60s! The album's got the intensity of the best ESP sessions of the period, but also shows the richer sonic elements that Coleman can bring to the proceedings – that way of mixing sharp edges with surprising currents – delivered by an all-star group that features Ornette on alto and violin, Don Cherry on trumpet and flute, Dewey Redman on tenor and clarinet, Charlie Haden on bass, and the young Ornette D Coleman on drums. It's especially amazing to hear Haden and Cherry take on such different roles than in the Ornette material of the early 60s – and also realize a wider vision for the music, on tunes that include a great version of Haden's "Song For Che", plus "Broken Shadows", "Trouble In The East", and "Space Jungle". LP, Vinyl record album

A collection of Ornette Coleman albums from the end of the 60s – work from two key albums, plus some interesting bonus material too! First up is the album Ornette At 12 – a set that features two generations of Ornette Coleman – making incredible music here together! The album's a freewheeling late 60s outing from the senior Ornette – who plays alto, violin, and trumpet here – working with his young son Ornette D Coleman on drums, just 12 years old at the time – but a surprisingly strong free jazz player overall! Heavyweight help comes from Dewey Redman on tenor – really tremendous here, with energy that's up there with Albert Ayler or Archie Shepp at their 60s best – plus Charlie Haden on bass, really coming strongly back into the music at this point in his career. The album's quite free overall – similar to some of Coleman's Blue Note work of the period – and titles include "COD", "Rainbows", "New York", and "Bells and Chimes". Next is Crisis – a record that bursts out with a sound that definitely lives up to its striking title – as Ornette Coleman explores the new frontiers of experimental jazz with one of his great groups from the end of the 60s! The album's got the intensity of the best ESP sessions of the period, but also shows the richer sonic elements that Coleman can bring to the proceedings – that way of mixing sharp edges with surprising currents – delivered by an all-star group that features Ornette on alto and violin, Don Cherry on trumpet and flute, Dewey Redman on tenor and clarinet, Charlie Haden on bass, and the young Ornette D Coleman on drums. It's especially amazing to hear Haden and Cherry take on such different roles than in the Ornette material of the early 60s – and also realize a wider vision for the music, on tunes that include a great version of Haden's "Song For Che", plus "Broken Shadows", "Trouble In The East", and "Space Jungle". The last two tracks are maybe the most unusual – originally issued only as a promo 7" single by Impulse Records, with the tunes "Man On The Moon" and "Growing Up" – recorded with a group that features Cherry on trumpet, Redman on tenor, Haden on bass, and Ed Blackwell on drums – plus electronics from Emmanuel Ghent on one track! CD

Features Kenny Garrett and Joshua Redman on saxes, Wallace Roney on trumpet, Christian McBride on bass, and Roy Haynes on drums! CD

Lost loft jazz work from trumpeter Ted Daniel – an important force on the east coast scene of the time, but one who was never as well-recorded as his contemporaries – which makes a set like this a real treasure! The group here is Ted's Energy Module ensemble – a group who really live up to their name, with searing work on tenor from Daniel Carter, plus lots of spiritual elements from Oliver Lake on alto, soprano sax, and flute – played in a very open-ended, freewheeling style – which also makes strong use of Richard Pierce on bass and Tasuya Nakamura on drums. All tracks are quite long – and very expressive – and the group takes on work by key contemporaries like Ornette Coleman, Albert Ayler, Dewey Redman, and Sunny Murray – as well as some of Daniel's own tunes. Ted plays flugelhorn too – and also gets amazing sounds out of a French hunting horn and Moroccan bugle – and titles include "The Probe", "Ghosts", "Jiblet", "Innerconnection", and "Entering/Congeniality/Pagan Spain". CD

One of the greatest records that Charlie Haden ever did, and a record that stands as sort of a bookend to his Liberation Music album on Impulse. As with that record, he's got a large group on here, and also like that one, he's playing a batch of tracks that have a definite political bent. Players include Don Cherry, Carla Bley, Dewey Redman, Paul Motian, Jim Pepper, and Michael Mantler; and tracks include "Ballad Of The Fallen", "Too Late", "La Pasionaria", and "The People United Will Never Be Defeated". The sound's a little bit less harsh than his Impulse recording, but it's no less impassioned, and the record's a very emotional batch of music. LP, Vinyl record album

One of the most beautiful albums that Charlie Haden ever recorded – and if he only ever appeared on one record in his life, we'd still love him tremendously for this one! The album has a feel that's very much in keeping with both the "liberation" and "orchestra" in the title – "liberation", in that the music is filled with inspiration from South American sources, and has a strongly political feel at times; and "orchestra" because the group here is somewhat large, and filled with a tremendous array of expressive players – including Gato Barbieri on tenor, Dewey Redman on alto and tenor, Don Cherry on cornet and flutes, Michael Mantler on trumpet, Roswell Rudd on trombone, Robert Northern on French horn, Paul Motian and Andrew Cyrille on percussion, Carla Bley on piano, and Perry Robinson on clarinet. Haden leads these disparate talents through a set of tremendously focused music – filled with as many ideas as it is with a sense of humanity and soul – all to brilliantly point the way forward for the new sound of Impulse Records in the years after Coltrane's death! Titles include the classic "Song For Che", plus Ornette's "War Orphans", Carla Bley's "The Interlude", and "Song Of The United Front", by Hans Eisler, and with words by Brecht! CD

A lost chapter in the all too short history of Charlie Haden's Liberation Music Orchestra – an album recorded shortly after the group's better-known album for ECM in the 80s! Like other Liberation Music outings, Carla Bley is a very strong presence on this set – penning original tunes for the album, handling arrangements, and sharing Charlie Haden's love of rhythms and inspirations from Latin and African sources – inspirations that are brought in subtly, and shaped to fit the overall spirit of the group. Players include Tom Harrell, Ken McIntyre, Joe Lovano, Dewey Redman, and Ray Anderson – and titles include "Dream Keeper", "Rabo De Nube", "Nkosi Sikelel'I Afrika", and "Sandino". CD

A genre-defining moment from pianist Keith Jarrett – a record that really set the world on fire, and which continues to charm all these many decades later! Although Jarrett had already made some amazing music in a trio setting during the 60s, and in his more freewheeling groups with Dewey Redman in the early 70s, it's this sort of format that forever put him on the map – long, extended improvised passages on solo piano – played at a level that's still extremely lyrical, tuneful, and thoughtful – quite different than the free jazz waves that were building at the time! And while so many other people copied the style over the years, nobody does it better than Jarrett – especially on this landmark outing for the style. The work is amazing – extremely compelling as little melodies drift in and out of the waves of piano improvisation – without any of the sloppiness of some of Jarrett's imitators, and a surprising sense of soul and direction throughout! LP, Vinyl record album

Keith Jarrett on piano, soprano sax, bass recorder, celeste, and drums – with Dewey Redman on tenor sax and percussion, Charlie Haden on bass, and Paul Motion on drums and percussion. CD

Mike LeDonne on piano, Jon Gordon on alto saxophone, Joshua Redman on tenor saxophone, Ryan Kisor on trumpet, Peter Washington on bass, and Lewis Nash on drums. CD

Second ECM recording of Ornette Coleman alums, once again playing a handful of newer tunes as well as Coleman repertoire. Don Cherry's on trumpet and piano, Dewey Redman on tenor sax & musette, Charlie Haden on bass and Ed Blackwell on drums. While Coleman was delving into full-on electric ensemble playing with Prime Time at the time of this recording, this group maintains the spirit of the original harmelodic quartet. 6 tracks in all: "HappyHouse", "Mopti", "New Dream", "Rushour", "Broken Shadows" and "Playing". LP, Vinyl record album

One of the freshest statements we've heard from the San Francisco scene in years – recorded by a group of players that spans the city's range of contributions to jazz! The ensemble is headed by Joshua Redman on reeds – but it also features some incredible work from Bobby Hutcherson, working here in a style that recalls some of his most adventurous recordings of the 70s – alongside piano from Renee Rosnes, drums by Brian Blade, trumpet from Nicholas Payton, bass from Robert Hurst, and sax and flute from Miguel Zenon. The set was recorded live, and has a depth of soul that really surprised us – with titles that include "Una Muy Bonita", "Rise & Fall", "March Madness", "Lingala", "Peace", and "Of This Day's Journey". CD

Features a long list of guest musicians including Roy Hargrove, Jon Hendricks, Joe Lovano, Gerry Mulligan, Joshua Redman, Christian McBride and George Shearing. CD

One of Ornette Coleman's best recordings from the 70s – and like his other album for Columbia, quite a change from the freewheeling sounds he was blowing over at Blue Note! The style here is a bit more high concept, but in a good way – with all the edges that Coleman had developed from the late 50s onward, brought into tighter focus for the Columbia setting – given a bit more complexity, although still with plenty of room for freedom – and played both with a smaller combo, and a slightly larger group. The mix of players is as striking as the sounds on the record – and includes Coleman on alto, trumpet, and violin – plus Dewey Redman on tenor, Don Cherry on pocket trumpet, Bobby Bradford on trumpet, Jim Hall on guitar, Cedar Walton on piano, Charlie Haden on bass, and Billy Higgins and Ed Blackwell on drums. Asha Puthli sings a bit on the larger ensemble tracks – making a rare appearance here before her 70s soul career in Germany – and titles include "What Reason Could I Give", "Street Woman", "The Jungle Is A Skycraper", and "All My Life". 2CD set also features all the material from the Broken Shadows album as well – plus 3 previously unissued bonus tracks. Other titles include "Happy House", "Elizabeth", "Good Girl Blues", "Broken Shadows", "Rubber Gloves", and "Written Word". CD

With Bubber Miley, Tricky Sam, Sonny Greer, Otto Hardwick, Don Redman, Charlie Irvis, Rudy Jackson, and June Clark. CD

Wild and wonderful work by Keith Jarrett – light years away from his records on ECM! The album features a quartet that includes Dewey Redman on tenor, Charlie Haden on bass, and Paul Motian on drums – but it's clearly Keith who's driving the bus here, taking lots of odd twists and turns for playful moments that come as an unexpected surprise. One of the best of these is the short percussion track "Pre Judgement Atmosphere", which almost sounds like a Moondog number – and another is the rollingly funky "Gypsy Moth", a tune that always seems to be careening out of control, but is never "outside", just percussively grooving. Side two features two longer jamming tracks that almost have a loft jazz feel – "El Juicio" and "Piece For Ornette" – and Keith plays alone on the track "Pardon My Rags". CD

Joe Lovano and Joshua Redman on tenor sax, Mulgrew Miller on piano, Christian McBride on bass, Lewis Nash on drums, and Don Alias on percussion. CD

Features Pat Metheny with Jaco Pastourus, Charlie Haden, Jack DeJohnette, Dewey Redman, Mike Brecker, Eberhard Weber, Lyle Mays, Nana Vasconcelos, and others. Tracks include "Unity Village", "Open", "Oasis", and "Sirabhorn" CD

Kurt Rosenwinkel on guitar and vocals, Joshua Redman on tenor saxophone, Brad Mehldau on piano, Larry Grenadier on drums, and Jeff Ballard and Ali Jackson on drums. CD

A bigger step into a piano led jazzy style from Allen Toussaint – grooving in a timeless Crescent City influenced sound – a wonderful record, one we'll go back to for years to come! Allen's been a huge part of the New Orleans musical landscape for many, many years, and it's not a stretch to imagine he's had the laidback, but evocative jazz of the territory in his blood for just as long – so it's a wonder that he hasn't made a record like this before now. There's nothing cliche or cheesy in Allen's work here, which has kind of an after hours vibe that suits it well, and he's put together an outstanding group of players. Marc Ribot is on guitar, Don Byron on clarinet, Nicholas Payton on trumpet, David Piltch on upright bass, Jay Bellarose on drums, and guests Joshua Redman on tenor sax and Brad Mehldau on piano. Titles include "Egyptian Fantasy", "Dear Old Southland", "St James Infirmary", "Singin' The Blues", "Winin' The Blues", West End Blues", "Blue Drag", "Bright Mississippi", "Day Dream", "Solitude" and more. (Soul, Jazz) CD

Features Dewey Redman on tenor, Larry Goldings on organ, Cecil McBee on bass, and Matt Wilson on drums. CD

Ornette Coleman on saxophone, trumpet, and violin, Dewey Redman on tenor saxophone and musette, Charlie Haden on bass, and Ed Blackwell on drums. CD

"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". CD

"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" – plus an alternate take of "Broad Way Blues"! CD

With Dewey Redman on tenor sax, Mike Cain on piano, and Billy Higgins on drums, gambre, guitar and vocals. CD

With Cedar Walton on piano, John Clayton on bass, and Billy Higgins on drums – plus Joshua Redman on tenor and guest vocals by Joe Williams. CD

Features important early material from Keith Jarrett – often more avant than his ECM sides of the 70s, thanks in part to reeds from Dewey Redman! CD

A genre-defining moment from pianist Keith Jarrett – a record that really set the world on fire, and which continues to charm all these many decades later! Although Jarrett had already made some amazing music in a trio setting during the 60s, and in his more freewheeling groups with Dewey Redman in the early 70s, it's this sort of format that forever put him on the map – long, extended improvised passages on solo piano – played at a level that's still extremely lyrical, tuneful, and thoughtful – quite different than the free jazz waves that were building at the time! And while so many other people copied the style over the years, nobody does it better than Jarrett – especially on this landmark outing for the style. The work is amazing – extremely compelling as little melodies drift in and out of the waves of piano improvisation – without any of the sloppiness of some of Jarrett's imitators, and a surprising sense of soul and direction throughout! CD

Ultra-hip work from pianist Keith Jarrett – a session that's filled with joy and life, and which has a lot more energy than some of his albums for ECM! The work here is kind of a refinement of the freer styles that Jarrett had laid down on previous albums – performed with a strongly rhythmic undercurrent, but one that also opens up to some strong top-end melodies as well – played not only by Jarrett on piano, but also by Dewey Redman on tenor, in a group with Sam Brown on guitar, Paul Motian on drums, and Guilherme Franco and Danny Johnson on percussion. Titles include "The Rich & The Poor", "Blue Streak", "Le Mistral", "Angles Without Edges", "Treasure Island", and "Sister Fortune". LP, Vinyl record album

Plenty of young blood here – a trio of powerful horn players who really make the set stand out nicely! Elvin Jones proves once again that his ear for a horn is almost as great as his work on the drums – and having chosen the trumpet of Nicholas Payton, and tenors of Javon Jackson and Joshua Redman, he really sets about making this session cook! The quintet's completed by bassist George Mraz – who's also a great component to the sound – and although some of the tunes come on with that hard-pounding approach that Jones developed in the post-Coltrane years, there's also a straighter hardbop groove going on that we like even more. Titles include "The Biscuit Man", "Lady Luck", "Ding A Ling A Ding", "Not Yet", "Have You Seen Eleveen", "My Romance", and "Youngblood". CD

Christian McBride on bass – with Joshua Redman on saxophone, Steve Turre on trombone, Roy Hargrove on trumpet and flugelhorn, Cyrus Chestnut on piano, and Lewis Nash on drums. CD

With Charles Moffett on drums, Charnett Moffett on bass, Philip Harper on trumpet, Bill Pierce on tenor sax, and James Williams on piano – plus David Sanchez, Joshua Redman and Wallace Roney. CD

The music of John Coltrane, mixed with originals from the SF Jazz Collective – a perfect combination, considering that the lineup is so hip, it features heavyweights like Bobby Hutcherson on vibes, Joshua Redman on tenor, Nicholas Payton on trumpet, Miguel Zenon on alto, and Renee Rosnes on piano! Isaac Smith is the trombonist this time around – and rhythm is rock-solid, thanks to the work of Eric Harland on drums and Matt Penman on bass – the last of whom might well be a secret hero of the group! The first half of the set features takes on the Coltrane tunes "Crescent", "Naima", "Africa", "Moment's Notice", "26 2", and "Love/Dear Lord" – followed by originals that include "Psalm For Peggy", "Love Is Enough", "Scrambled Egg", and "Development". CD

A great lineup – with Idrees Sulieman on trumpet, Benny Powell on trombone, Billy Harper on tenor, Talib Kibwe on alto, Dewey Redman on tenor, Idris Muhammad on drums, and Big Black on percussion – plus guest work from Pharoah Sanders and Dizzy Gillespie! 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

One of the greatest records that Charlie Haden ever did, and a record that stands as sort of a bookend to his Liberation Music album on Impulse. As with that record, he's got a large group on here, and also like that one, he's playing a batch of tracks that have a definite political bent. Players include Don Cherry, Carla Bley, Dewey Redman, Paul Motian, Jim Pepper, and Michael Mantler; and tracks include "Ballad Of The Fallen", "Too Late", "La Pasionaria", and "The People United Will Never Be Defeated". The sound's a little bit less harsh than his Impulse recording, but it's no less impassioned, and the record's a very emotional batch of music. CD

One of the greatest records that Charlie Haden ever did, and a record that stands as sort of a bookend to his Liberation Music album on Impulse. As with that record, he's got a large group on here, and also like that one, he's playing a batch of tracks that have a definite political bent. Players include Don Cherry, Carla Bley, Dewey Redman, Paul Motian, Jim Pepper, and Michael Mantler; and tracks include "Ballad Of The Fallen", "Too Late", "La Pasionaria", and "The People United Will Never Be Defeated". The sound's a little bit less harsh than his Impulse recording, but it's no less impassioned, and the record's a very emotional batch of music. CD

Wild and wonderful work by Keith Jarrett – light years away from his records on ECM! The album features a quartet that includes Dewey Redman on tenor, Charlie Haden on bass, and Paul Motian on drums – but it's clearly Keith who's driving the bus here, taking lots of odd twists and turns for playful moments that come as an unexpected surprise. One of the best of these is the short percussion track "Pre Judgement Atmosphere", which almost sounds like a Moondog number – and another is the rollingly funky "Gypsy Moth", a tune that always seems to be careening out of control, but is never "outside", just percussively grooving. Side two features two longer jamming tracks that almost have a loft jazz feel – "El Juicio" and "Piece For Ornette" – and Keith plays alone on the track "Pardon My Rags". CD

Wild and wonderful work by Keith Jarrett – light years away from his records on ECM! The album features a quartet that includes Dewey Redman on tenor, Charlie Haden on bass, and Paul Motian on drums – but it's clearly Keith who's driving the bus here, taking lots of odd twists and turns for playful moments that come as an unexpected surprise. One of the best of these is the short percussion track "Pre Judgement Atmosphere", which almost sounds like a Moondog number – and another is the rollingly funky "Gypsy Moth", a tune that always seems to be careening out of control, but is never "outside", just percussively grooving. Side two features two longer jamming tracks that almost have a loft jazz feel – "El Juicio" and "Piece For Ornette" – and Keith plays alone on the track "Pardon My Rags". LP, Vinyl record album

Great Impulse work from Keith Jarrett – recorded at a time when he had a lot sharper edge than later years, and was really matching the spirit of some of the post-Coltrane generation players on the label! The date's a live one, and features some relatively extended tracks – tunes that aren't exactly free, but which roll along with a very open sensibility – almost growing organically in sound from contributions by all players! Jarrett's on piano, of course – and other members of the group include Dewey Redman on tenor and Chinese Musett, Charlie Haden on bass, Paul Motian on drums, and Danny Johnson on percussion – all working wonderfully together. Titles include "De Drums", "Fort Yawuh", "(If The) Misfits (Wear It)", and "Still Life Still Life". CD

A great return to form for the legendary Mel Rhyne – the Hammond player who rose out of the same Indianapolis scene with guitar genius Wes Montgomery, and got a chance to record a bit for Riverside when Wes was at the label – then disappeared from the national scene until this killer comeback album from the early 90s! Rhyne is still very much a giant of the jazz organ – and has a clear, sharp tone here that's wonderful – set up in a quartet with a very young Joshua Redman on tenor, plus Peter Bernstein on guitar, and Kenny Washington on drums – all in a groove that's a great continuation of Rhyne's work of the 60s! The album's a real Hammond standout from the time – and titles include "Shades Of Light", "Jeannine", "Bear's Tune", "Born To Be Blue", "Full House", and "Hattush's Blues". LP, Vinyl record album

A strange little package that's dedicated to the jazz use of the bass – and which features bass-heavy highlights from the history of Impulse records. The real strength of the set is the avant garde material – especially as some of the tracks on here aren't that easy to find otherwise. Titles include "Syeeda's Song Flute" and "The Chased" by Archie Shepp, "Song For Che" by Charlie Haden, "Song Of Praise" by Coltrane, "Love" by Pharoah Sanders, "Walls-Bridges" by Dewey Redman, "IIBS" by Charles Mingus, "Black Unity" by Pharoah Sanders, and "Summertime" by Richard Davis and Elvin Jones. Some tracks have been edited. LP, Vinyl record album

A hip set of modern jazz takes on Disney tunes – featuring a stellar roster of both veterans and younger talent bring fresh, jazzy creativity to numbers that truly deserve the love and respect of such artists, regardless of how anyone feels about the empire! Incredibly cool players here, some radically reworking the classic Disney grooves, others embracing and expanding on it. Artists include Esperanza Spaulding, Roy Hargrove, Joshua Redman, Regina Carter, Dianne Reeves, Dave Brubeck and others. 13 tracks in all: "Ev'rybody Wants To Be A Cat" by Roy Hargrove, "Chim Chim Cher-Ee" by Esperanza Spaulding, "You've Got A Friend In Me" by Joshua Redman, "Alice In Wonderland" by Roberta Gambarini with The Dave Brubeck Trio, "Gaston" by Bad Plus, "Circle Of Life" by Mark Rapp, "He's A Tramp" by Dianne Reeves and more. CD

A great reissue that pairs together 2 obscure west coast sides from the 50s – both of them featuring some of the scene's best players, caught in a very different setting! The first 6 tracks on the set are from a 10" LP that originally appeared on the Skylark label under the leadership of drummer George Redman. Redman's playing and leadership are fine, but the real strength of the set is its work by Bob Gordon on tenor sax and Herbie Harper on trombone – coming together here beautifully in the deft style used often on the Nocturne recordings by both players. Titles include "Babette", "Sonny Boy", "Moer Blues", "Slow Mood", and "Just George". The remaining 5 tracks on the set are from Reflections In Jazz – an even hipper set led by Bob Enevoldsen on both valve trombone and tenor – and featuring Marty Paich on piano and accordion, Larry Bunker on vibes, and Red Mitchell on bass. Enevoldsen's work on the valve trombone is really great here – as well-spaced and timed as that of Bob Brookmeyer in the period – but also given some interesting inflections, due to the use of vibes and accordion, which seem to bring out even more harmonics in the session. Titles include "Topsy", "Loaded With Bass", "Iron Works", "Blues & Rhythm", and "Don't Be That Way". CD