Titles include "Just Squeeze Me", "If I Were A Bell", "It Could Happen To You", "A Gal In Carico", "My Funny Valentine", and "Round About Midnight". CD

A much different album than you might expect from the cover – hardly the funky 70s set implied by the Big Fun-styled cover – and instead a lost slice of work from his groundbreaking late 60s years! The set was recorded in 1967, but unissued until Miles late 70s time away from the studio – hence the cover, which attempts to contemporanize the record – and the music is very much in the dark moods and sharp tones of Filles De Kilimanjaro, and features a somewhat similar group! The core quintet of Wayne Shorter on tenor, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums handles the first half of the set – but the group's then expanded to include Chick Corea on electric piano along with Herbie on keys – and Ron Carter steps out so that Dave Holland can bring some more modern tones to the bass. Tracks are all somewhat long, and titles include "Capricorn", "Water Babies", "Sweet Pea", and "Two Faced". CD

A much different album than you might expect from the cover – hardly the funky 70s set implied by the Big Fun-styled cover – and instead a lost slice of work from his groundbreaking late 60s years! The set was recorded in 1967, but unissued until Miles late 70s time away from the studio – hence the cover, which attempts to contemporanize the record – and the music is very much in the dark moods and sharp tones of Filles De Kilimanjaro, and features a somewhat similar group! The core quintet of Wayne Shorter on tenor, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums handles the first half of the set – but the group's then expanded to include Chick Corea on electric piano along with Herbie on keys – and Ron Carter steps out so that Dave Holland can bring some more modern tones to the bass. Tracks are all somewhat long, and titles include "Capricorn", "Water Babies", "Sweet Pea", and "Two Faced". LP, Vinyl record album

A much different album than you might expect from the cover – hardly the funky 70s set implied by the Big Fun-styled cover – and instead a lost slice of work from his groundbreaking late 60s years! The set was recorded in 1967, but unissued until Miles late 70s time away from the studio – hence the cover, which attempts to contemporanize the record – and the music is very much in the dark moods and sharp tones of Filles De Kilimanjaro, and features a somewhat similar group! The core quintet of Wayne Shorter on tenor, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums handles the first half of the set – but the group's then expanded to include Chick Corea on electric piano along with Herbie on keys – and Ron Carter steps out so that Dave Holland can bring some more modern tones to the bass. Tracks are all somewhat long, and titles include "Capricorn", "Water Babies", "Sweet Pea", and "Two Faced". CD

A much different album than you might expect from the cover – hardly the funky 70s set implied by the Big Fun-styled cover – and instead a lost slice of work from his groundbreaking late 60s years! The set was recorded in 1967, but unissued until Miles late 70s time away from the studio – hence the cover, which attempts to contemporanize the record – and the music is very much in the dark moods and sharp tones of Filles De Kilimanjaro, and features a somewhat similar group! The core quintet of Wayne Shorter on tenor, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums handles the first half of the set – but the group's then expanded to include Chick Corea on electric piano along with Herbie on keys – and Ron Carter steps out so that Dave Holland can bring some more modern tones to the bass. Tracks are all somewhat long, and titles include "Capricorn", "Water Babies", "Sweet Pea", and "Two Faced". CD

That's "Take Ten", not "Take Five" – a great title cut that echoes Paul Desmond's previous work with Dave Brubeck – but which then gives way quickly to some sweet bossa-styled grooves done with guitar from Jim Hall! The album's one of the strongest of the Hall/Desmond collaborations for RCA – A sublime showcase not just for Paul's impeccable alto, but also for the amazing tones and chromes that fly freely from the strings of Jim's guitar! Both players are set up with just a bit of gentle backing – light percussion from Connie Kay, and a bit of bass from Gene Cherico or Gene Wright. The whole thing's a well-conceived study in economy, as the two players craft sly and subtle lines around spare drum and bass backings – slowly hanging sound in space to weave a rich web of sound that's as compelling as it seems to be effortless! Titles include "Take Ten", "El Prince", "Embarcadero", "Samba De Orfeu", "Theme From Black Orpheus", and "Alone Together". CD

That's "Take Ten", not "Take Five" – a great title cut that echoes Paul Desmond's previous work with Dave Brubeck – but which then gives way quickly to some sweet bossa-styled grooves done with guitar from Jim Hall! The album's one of the strongest of the Hall/Desmond collaborations for RCA – A sublime showcase not just for Paul's impeccable alto, but also for the amazing tones and chromes that fly freely from the strings of Jim's guitar! Both players are set up with just a bit of gentle backing – light percussion from Connie Kay, and a bit of bass from Gene Cherico or Gene Wright. The whole thing's a well-conceived study in economy, as the two players craft sly and subtle lines around spare drum and bass backings – slowly hanging sound in space to weave a rich web of sound that's as compelling as it seems to be effortless! Titles include "Take Ten", "El Prince", "Embarcadero", "Samba De Orfeu", "Theme From Black Orpheus", and "Alone Together". LP, Vinyl record album

That's "Take Ten", not "Take Five" – a great title cut that echoes Paul Desmond's previous work with Dave Brubeck – but which then gives way quickly to some sweet bossa-styled grooves done with guitar from Jim Hall! The album's one of the strongest of the Hall/Desmond collaborations for RCA – A sublime showcase not just for Paul's impeccable alto, but also for the amazing tones and chromes that fly freely from the strings of Jim's guitar! Both players are set up with just a bit of gentle backing – light percussion from Connie Kay, and a bit of bass from Gene Cherico or Gene Wright. The whole thing's a well-conceived study in economy, as the two players craft sly and subtle lines around spare drum and bass backings – slowly hanging sound in space to weave a rich web of sound that's as compelling as it seems to be effortless! Titles include "Take Ten", "El Prince", "Embarcadero", "Samba De Orfeu", "Theme From Black Orpheus", and "Alone Together". CD also features alternate takes of "Embarcadero" and "El Prince". CD

That's "Take Ten", not "Take Five" – a great title cut that echoes Paul Desmond's previous work with Dave Brubeck – but which then gives way quickly to some sweet bossa-styled grooves done with guitar from Jim Hall! The album's one of the strongest of the Hall/Desmond collaborations for RCA – A sublime showcase not just for Paul's impeccable alto, but also for the amazing tones and chromes that fly freely from the strings of Jim's guitar! Both players are set up with just a bit of gentle backing – light percussion from Connie Kay, and a bit of bass from Gene Cherico or Gene Wright. The whole thing's a well-conceived study in economy, as the two players craft sly and subtle lines around spare drum and bass backings – slowly hanging sound in space to weave a rich web of sound that's as compelling as it seems to be effortless! Titles include "Take Ten", "El Prince", "Embarcadero", "Samba De Orfeu", "Theme From Black Orpheus", and "Alone Together". Plus, the CD reissue features 3 bonus tracks – "Out Of Nowhere", and alternate takes of "El Prince" and "Embarcadero". CD

Killer keyboards from the legendary George Duke – and one of his most righteous albums for the MPS label! The album's a spectacular set that showcases both sides of Duke's genius at the time – his spacey, soulful approach to a laidback tune – and his more jamming styles on the harder cuts! Instrumentation is somewhat spare – just keyboards and piano from George, who also sings a bit – plus Ndugu Chancler on drums and John Heard on bass – both playing with a freely creative energy that's definitely motivated by Duke. There's a beautiful mix of electricity and acoustic warmth on the set – never too forced, and clearly an inspiration for countless players in years to come – maybe even more so than Herbie Hancock's work of the time. Drums are great too – and snap tightly for plenty of nice breaks on the set – which are in turn augmented by mellower keys from Duke, who also sings with a sweetly electric soul style. Titles include "Capricorn", "The Opening", "Psychosomatic Dung", "North Beach", "Faces In Reflection", "Maria Tres Filhos", and "Da Somba". LP, Vinyl record album

Amazing later work from Booker Ervin – far more modern and far-reaching than you'd guess from the "Texas" title in the set! Although Ervin first came onto the scene as a strong-voiced tenorist from a Texas tradition, through the course of the 60s he'd really expanded his musical vision – working with Charles Mingus, Jaki Byard, and others to push his already-soulful sound into a freer-thinking mode that was one of the most compelling approaches to tenor at the time. And while this change had been documented on some key sides for Prestige and World Pacific at the time, this rare 1968 session for Blue Note is perhaps one of the best of the bunch – but oddly was somehow never issued at the time, and only made a brief appearance in 1976, as part of a 2LP set. Ervin's working here with a totally hip group – one that has Woody Shaw in the frontline on trumpet, and a rhythm team of Kenny Barron on piano, Jan Arnet on bass, and Billy Higgins on drums – all grooving with Ervin in styles that recall the modal vamping and soaring energy that Shaw would later bring to his own solo work in the 70s. Tracks are all longish, and filled with a sense of life and exploration that shows that Ervin was growing tremendously in this last stretch of his all-too-short life – never too free, always in control, yet roaming the skies in search of new notes and sounds! Titles include "Gichi", "Den Tex", "Lynn's Tune", "204", and an early version of Shaw's "In A Capricornian Way". CD

Amazing later work from Booker Ervin – far more modern and far-reaching than you'd guess from the "Texas" title in the set! Although Ervin first came onto the scene as a strong-voiced tenorist from a Texas tradition, through the course of the 60s he'd really expanded his musical vision – working with Charles Mingus, Jaki Byard, and others to push his already-soulful sound into a freer-thinking mode that was one of the most compelling approaches to tenor at the time. And while this change had been documented on some key sides for Prestige and World Pacific at the time, this rare 1968 session for Blue Note is perhaps one of the best of the bunch – but oddly was somehow never issued at the time, and only made a brief appearance in 1976, as part of a 2LP set. Ervin's working here with a totally hip group – one that has Woody Shaw in the frontline on trumpet, and a rhythm team of Kenny Barron on piano, Jan Arnet on bass, and Billy Higgins on drums – all grooving with Ervin in styles that recall the modal vamping and soaring energy that Shaw would later bring to his own solo work in the 70s. Tracks are all longish, and filled with a sense of life and exploration that shows that Ervin was growing tremendously in this last stretch of his all-too-short life – never too free, always in control, yet roaming the skies in search of new notes and sounds! Titles include "Gichi", "Den Tex", "Lynn's Tune", "204", and an early version of Shaw's "In A Capricornian Way". LP, Vinyl record album

Features Riccardo Fassi on piano, Gary Smulyan on baritone sax, Massimo Moriconi on bass, and Giampaolo Ascolese on drums. Tracks are all originals by Fassi and include "Why Buddha", "Energia", "Blues For Us", and "Marte". CD

With Enrico Rava on trumpet and flugelhorn and Wolfgang Reisinger on drums. CD

A beautiful dreamy album that's quite different from the classic Getz/Gilberto collaboration – but which also shares much of that set's lyrical beauty! This album was recorded live, in 1964, when Stan Getz was playing with his quartet that included Gary Burton on vibes – an incredible lineup that made for some wonderfully moody sounds! The vibes/tenor approach was a high point in Getz's career – especially as the young Burton could create these beautiful washes of sound that were a perfect counterpoint to Getz's breathy playing. And although Astrud Gilberto is thrown into the mix here to give the album a bit of bossa appeal – vocals on 6 titles that include "Corovado", "Eu E Voce", "It Might As Well Be Spring", "One Note Samba", "Only Trust Your Heart", and "The Telephone Song" – there's also 4 more tracks that are all instrumental, and which show the Getz/Burton union in all of its glory! These tracks include "6 Nix Pix Flix", "The Singing Song", "Here's That Rainy Day", and "Summertime". And for reference, the rest of the group includes Gene Cherico on bass and Joe Hunt on drums – but on 3 tracks, Chuck Israels plays bass instead of Cherico, and on a few others, Helcio Milito plays drums instead of Hunt, and Kenny Burrell joins in on guitar. LP, Vinyl record album

Fantastic Stan Getz material from the 60s – a beautiful live set recorded right around the same time as Stan's Getz-A-Go-Go album – and, like that one, also features great vibes from Gary Burton and a bit of guest vocals from Astrud Gilberto! The main focus is on Stan's core sound with the group – those tremendously open lines that he started to blow in the post-bossa years – from this really under-recorded time in his career, with a sound that most folks didn't hear fully until his classic Sweet Rain album a few years later. In addition to Burton, the core group also features Gene Cherico on bass and Joe Hunt on drums – and on a few of the final tracks, Chet Baker plays some guest flugelhorn. Astrud sings on "Girl From Ipanema" and "Eu E Voce" – and other titles include "Stan's Blues", "Sweet Rain", "Nix Pix Flix", "Waltz For A Lovely Wife", "Tonight I Shall Sleep", "Singing Song", and "I Waited For You". CD

Featuring Julien Bigorgne on flute, Didier Priem on alto sax, David Rousselet on tenor sax, Nicolas Cambon on trumpet, Karsten Hochapfel and Guillaume Aventurin on guitar, Camille Petit on piano, Gregory Kosovski on bass, Xavier Gelard on drums and percussion, and Sonia Bricout on vocals. CD

A fantastic combination of modern jazz talents – the groundbreaking Gary Burton Quartet, and the young avant ensemble of trombonist Mike Gibbs! The set begins with a fantastic performance by Burton's group – heard here in a lineup that has the guitar of Dave Pritchard sharing equal chromatic roles with Burton's beautiful vibes – alongside sublime bass from Steve Swallow, and drums from Bill Goodwin. Gary solos on a great version of "Chega De Saudade", and other tunes include "General Mojo's Well Laid Plan", "Arise Her Eyes", "And On The Third Day", "Ballet", and "Portsmith Configurations". CD 2 features a full set by Gibbs' group – in a rare recording before their debut album – with a lineup that includes Kenny Wheeler and Trevor Barber on trumpets, Alan Skidmore and Ray Warleigh on saxes, Chris Spedding on guitar, and Chris Pyne on trombone with Gibbs. Tracks are all long, and really beautiful – and include "Nowhere", "Walter L", "Tanglewood 63", and "Sojourn/June The 15th 1967". There's also vibes on these performances, but the notes are a bit unclear – so we're not sure if they're by Burton, or Frank Ricotti – who also worked with Gibbs. Burton's group returns on the funky track "Doin The Pig" – and then CD3 features a full second performance from earlier in 1969 – with a group that also includes John Surman on soprano, Mike Osborne on alto, Henry Lowther on trumpet, Jack Bruce on bass, and Ricotti on vibes. Titles on this set include "Feelings & Things/June The 15th 1967", "Sweet Rain", "Family Joy Oh Boy", and "Fly Time Fly Sigh". CD

An excellent twin-brass album in the frontline – one that pairs the talents of trombonist Wycliffe Gordon and trumpeter Terrell Stafford – both of whom really hit a great groove together! The album's got that great mix of modern and soulful modes we always love in a session led by Gordon – and the rhythm section's got just the right mix of tightness and stripped-down feeling – with Mike LeDonne on piano, David Wong on bass, and Kenny Washington on drums. Titles include "Arabia", "Tricotism", "Cheeeky", "West Coast Blues", "Cousins", and "Le Marieur". CD

Fantastic unreleased work from one of the greatest trumpeters on the European scene from the late 50s onward – and one of the few players who could match the depth and soul of American jazzmen on the instrument! Dusko Goykovich has given us so much great music over the years – in small groups as a leader, in unusual projects as a sideman, and even as a soloist in bigger bands – and here, we capture the trumpet giant at the earliest stage of his career – on some beautiful German radio studio recordings from the end of the 50s and start of the 60s – tight, soulful, boppish material with a slight modern edge – recorded on all tracks with Derek Humble on alto, Karl Drevo (Drewo) on tenor, Franciso Coppieters on piano, and Jonny Fischer on bass. Some tracks feature Kenny Clarke on drums, the rest feature Stuff Combe on the kit – and titles include "Mile Dave", "Omricon", "Perhaps", "Quicksilver", "Solar", "Les Copains", "Salud To Birdland", and "On Green Dolphin Street". CD

A warmly well-crafted second set from the trio of pianist Kevin Hays, bassist Ben Street, and drummer Billy Hart – one that has an even more cohesive, group-directed vibe than their debut! The setting's a bit different, the group have grown a lot together, and there's a resonance here that's wonderful – with Hays' piano ringing out on all these long, lyrical lines – as Street wraps things together with a sense of flowing spirit – and Billy Hart continues to be a mature master showing that less is often more on the drums! The approach is maybe illustrated perfectly on the group's take on "With A Little Help From My Friends" – which could be a thematic title for the album – but the whole thing's great too, on titles that include "Song For Peace", "Irah", "Throughout", "Butterfly", "Capricorn", and a very fresh take on Milton Nascimento's classic "Bridges". CD

A warmly well-crafted second set from the trio of pianist Kevin Hays, bassist Ben Street, and drummer Billy Hart – one that has an even more cohesive, group-directed vibe than their debut! The setting's a bit different, the group have grown a lot together, and there's a resonance here that's wonderful – with Hays' piano ringing out on all these long, lyrical lines – as Street wraps things together with a sense of flowing spirit – and Billy Hart continues to be a mature master showing that less is often more on the drums! The approach is maybe illustrated perfectly on the group's take on "With A Little Help From My Friends" – which could be a thematic title for the album – but the whole thing's great too, on titles that include "Song For Peace", "Irah", "Throughout", "Butterfly", "Capricorn", and a very fresh take on Milton Nascimento's classic "Bridges". CD

A warmly well-crafted second set from the trio of pianist Kevin Hays, bassist Ben Street, and drummer Billy Hart – one that has an even more cohesive, group-directed vibe than their debut! The setting's a bit different, the group have grown a lot together, and there's a resonance here that's wonderful – with Hays' piano ringing out on all these long, lyrical lines – as Street wraps things together with a sense of flowing spirit – and Billy Hart continues to be a mature master showing that less is often more on the drums! The approach is maybe illustrated perfectly on the group's take on "With A Little Help From My Friends" – which could be a thematic title for the album – but the whole thing's great too, on titles that include "Song For Peace", "Irah", "Throughout", "Butterfly", "Capricorn", and a very fresh take on Milton Nascimento's classic "Bridges". LP, Vinyl record album

A great post-Miles/post-Herbie space funk jam – produced by Skip Drinkwater before he got into his later, more well-known slick Jazz-funk style. Eddie's set up with some of the hippest players of his generation – including Bennie Maupin, Buster Williams, Billy Hart and Patrick Gleeson, who kicks out some amazing work in a moogy synth mode! Herbie Hancock also plays Fender Rhodes and Clavinet on the album – and titles include "Inside Out", "Dreams", "Fusion", "Discoveries", and "Moussaka". LP, Vinyl record album

One of the most spiritual sessions we've ever heard from Noah Howard – a real gem from his 70s years on the European scene – and a record that takes all his previous avant explorations and gives them even more focus than before! The group's got a great way of building up a cosmic sense of energy before it takes off – real magic that comes from the Fender Rhodes and acoustic piano of Michael Smith, the bass of Bob Reid, and drums of Noel McGhee – the last of whom is a player who really drives the action along when needed – setting the spark that burns to a fire in Howard's bold alto solos. Noah also plays a bit of bells and tambourine – and Smith has a great way of resonating his acoustic keys in these wide waves of sound – very introspective, like some of Lonnie Liston Smith's early work with Pharoah Sanders. Titles include "Paris Dreams", "Lecke", and "Mardi Gras". CD

A really early piece of music from the great Karl Jenkins – the British instrumentalist that most folks know for his work in Soft Machine in the mid 70s – heard here a few years before, on a beautiful composition that mixes his jazz inclinations with some of his more serious ambitions! The album features one long work, divided up into movements – played by a lineup of some of the hippest British jazz players of the moment – including Ian Carr on flugelhorn, Ray Warleigh on alto, Alan Skidmore on tenor, Brian Smith on soprano, Chris Spedding on guitar, and Frank Ricotti on percussion! There's a solid, soaring vibe to "Penumbra II" – as the piece builds slowly, with some great piano from Jenkins himself – then really takes off, with added help from Dave MacRae on electric piano, Ray Babbington on bass, and John Marshall on drums – all at a level that mixes modal energy with some solos that step out nicely, but never too free or outside! CD

One of our favorite-ever Lee Konitz albums – a really unique session with a wonderful kind of sound! The record is one that might not please all Konitz purists – as Lee plays a bit of Varitone sax and flute in addition to his usual acoustic alto. However, the set's got an amazing edge that you don't really hear in his other work – and was recorded in Italy in 1968 with a hip group that's working in a tight modal soul jazz mode. The other players include Italian luminaries Enrico Rava on trumpet, Franco D'Andrea on piano, and Giovanni Tomasso on bass – and the group grooves in a way that Konitz ensembles never do, pushing Lee to do these solos that actually open up a bit more than usual, almost even showing a bit of the spiritual jazz influences of the time. Titles include "Komonia", "Midnight Mood", "Take Seven", "Tune Down", and "Terre Lontane". LP, Vinyl record album

Steve Lacy's legendary Argentinean recording – one of his boldest moments of the early years, and the start of a long history of superb work away from the American scene! The group here is quite unusual – as players include Enrico Rava on trumpet, Johnny Dyani on bass, and Louis Moholo on drums – one budding European improviser, and two key members of the Blue Notes – who'd left South Africa for the UK by the time of this release. The live performance features only two long tracks – "Forest" and "Zoo" – both played with a sense of freedom not heard before in Lacy's music, at a level that really points the way towards his explosive presence in the French and Italian scenes in years to come! CD

A four movement suite composed and performed by Yusef Lateef – with Adam Rudolph, Charles Moore, Ralph Jones, Federico Ramos, and the Cologne Radio Orchestra! CD

A really great tribute to the trumpeter Kenny Wheeler – a set of work based on his own compositions, put together by bassist Chris Laurence, at a level that really gets at the subtle genius of his conception of sound! The "gnu" in the title is a reference to some of Kenny's 70s work on ECM – and while there's some of the atmospherics of those years, there's also definitely that bolder sense of vision that Wheeler first brought to the British jazz scene, and which makes the set a perfect release of new music by the mostly-reissue Jazz In Britain label! The players shift on each track, making for a very special sort of sound – with vibes from Frank Ricotti and guitar from John Parricelli on "C-Man", flugelhorn from Tom Walsh and guitar from Parricelli on "Baroque Piece" – and vibes from Ricotti, drums from Martin France, and added violin, viola, and cello on the larger "Piece For Double Bass & Low Strings". CD

A really great tribute to the trumpeter Kenny Wheeler – a set of work based on his own compositions, put together by bassist Chris Laurence, at a level that really gets at the subtle genius of his conception of sound! The "gnu" in the title is a reference to some of Kenny's 70s work on ECM – and while there's some of the atmospherics of those years, there's also definitely that bolder sense of vision that Wheeler first brought to the British jazz scene, and which makes the set a perfect release of new music by the mostly-reissue Jazz In Britain label! The players shift on each track, making for a very special sort of sound – with vibes from Frank Ricotti and guitar from John Parricelli on "C-Man", flugelhorn from Tom Walsh and guitar from Parricelli on "Baroque Piece" – and vibes from Ricotti, drums from Martin France, and added violin, viola, and cello on the larger "Piece For Double Bass & Low Strings". LP, Vinyl record album

A beautiful mixing of modes – a set that blends the compositions of Woody Shaw with driving rhythms from a Latin jazz group – and a very strong frontline that's overflowing with top trumpet talents! In addition to leader Brian Lynch, the set also features performances by Dave Douglas, Josh Evans, Sean Jones, Etienne Charles, and others – working with core sounds from a combo that's heavy on percussion, with piano and bass to round things out. Trumpets criss-cross in a beautiful way – making new rhythmic magic from Woody's classic tunes, and also really stating a strong difference in the solo performances too. Most tracks are nice and long – and titles include "Zoltan", "In A Capricornian Way", "Tomorrow's Destiny", "Sweet Love Of Mine", "Just A Ballad For Woody", "On The New Ark", and "Song Of Songs" – plus Lynch originals "Blues For Woody & Khalid" and "Madera Latino Suite". CD

A great run of music from Jimmy Lyons – some of his most important albums as a leader! First up is Wee Sneezawee – the kind of work that makes you love the Black Saint label for giving players like Jimmy Lyons a chance to still express themselves this way! Lyons is in wonderful form throughout – blowing with all the sharp tones that you'd know from his work with Cecil Taylor, but also bringing in a bit more structure too – kind of shaping a coherent sound out of an infinite array of possible actions – any of which seem possible at any moment, given the dynamic energy of the group! Other players include William Parker on bass, Paul Murphy on drums, Karen Borca on bassoon, and Raphe Malik on trumpet – and tracks include "Wee Sneezawee", "Gossip", "Shackinback", "Remembrance", and "Driads". On Give It Up, Jimmy Lyons is wonderful, but equally great is trumpeter Enrico Rava – whose bold tones on the record easily match those of Lyons in terms of energy and inventiveness! The format is relatively free – although some tunes have a bit of an inside swing, at least more so than Lyons' work with Cecil Taylor – and other players include Karen Borca on bassoon, Jay Oliver on bass, and Paul Murphy on drums. Titles include the long workouts "Methods", "Never", and "Give It Up" – plus the shorter tune "Ballada". Burnt Offering features great duets between Jimmy Lyons on alto and Andrew Cyrille on percussion – and titles include "Popp A", "Exotique", and "Burnt Offering". Nuba is a compelling collaboration between percussionist Andrew Cyrille, vocalist Jeanne Lee, and alto saxophonist Jimmy Lyons – one of the freer sessions on the Black Saint label, and one of the most striking as well! Cyrille handles a wide range of percussion – and also a few whistles too – and he really sets the tone with his open, expressive approach to his instruments – almost more melodic at points than rhythmic, with echoes of African roots that come through more strongly than on some of his other albums. Most numbers are pretty spare, and titles include "Nuba 1", "Cornbread Picnic (Maize)", "The One Before Zero", "JJ & A", "In These Last Days", "Sorry", and "Nuba 2". Something In Return is another set of duets between Lyns and Andrew Cyrille! While working in Cecil Taylor's group, Cyrille and Lyons developed a wonderful interplay and dynamic, which can be felt in full effect on this wonderful duo recording, where they approach mostly original material, but also take on Strayhorn's "Take The A Train". Also includes the title track "Lorry", "JL", "Nuba" and "Fragments I". CD

A gem from the great Lloyd Miller – backed by modern Brit jazz funk maestros The Heliocentrics – and a credit to the legacies of all involved! Miller has worked timeless, hypnotic magic on an array of Middle Eastern and Asian instrumentation throughout his career, here playing piano, Indian santur, clarinet, Chinese sona, sitar, wood flute, oud and more – and this effort stands strongly with his best. He's accompanied by the masterful Malcolm Catto & The Heliocentrics – showing as much depth and versatility as ever in largely acoustic and improvisational setting – and the bottom line is that it's just as wonderful as their work with Mulatu. As much as we've flipped out over the Heliocentrics efforts as headliners to date, it's quite stunning how well they work backing such influential and legendary figures. Essential! Includes "Electricone", "Nava", "Mandala", "Spiritual Jazz", "Bali Bronze", "Modality", "Salendro", "Pari Ru", "Lloyd's Diatribe", "Fantasia" (Pts 1 & 2), "Chahargah", "Sunda Sunset" and more. CD

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

A hell of a trumpeter – making his debut here on one of the grooviest albums on the legendary Latin Percussion label! The session's a bit fuller than some of the other LP albums – a crackling blend of jazz, funk, and Latin rhythms – warm, but with some pretty complicated moments, very much in the best spirit of the second wave of NuYorica grooves! There's still lots of the tight percussion that makes Latin Percussion sessions so great – but the record also features fuller instrumentation too – in ways that really make things soar. Players include Eddie Martinez on Fender Rhodes, Jon Faddis and Randy Brecker on additional trumpets, Steve Khan on guitar, and Carlos Patato Valdez on congas – and Ruben Blades even plays a bit of acoustic guitar on the record. The overall feel's a bit like some of the great Fania/Columbia co-productions – but a bit rawer at points – and titles include "Diana", "Genesis", "Nice & Warm", "Viva Martinez", "I Know", "Hot Blood", and "Perico" – most of which are separated by short percussion interludes! (Latin, Jazz) LP, Vinyl record album

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

Duets between two players with plenty of chops – Joe Pass on guitar and Pedersen on bass – on titles that include "Have You Met Miss Jones", "95 Blues", "Tricotism", "Old Folks", and "Quiet Nights". CD

A heady blend of jazz and larger elements – served up by Austin Peralta in a style that's a bit ahead of its time! The music here recalls recent sounds from the London scene, or some of the post-jazz experiments of International Anthem – but Peralta also takes things back to earlier spiritual expressions too – recalling Max Roach with strings, the work of Chris Bowden, and some other favorite spots along the way. The set features some especially great reed work – by Zane Musa on alto and Ben Wendel on tenor and soprano – and there's some nice reworking of core sounds by Strangeloop, and even a guest appearance by the Cinematic Orchestra too! Titles include "The Underwater Mountain Odyssey", "Capricornus", "Lotus Flower", "Ode To Loev", and "Algiers". 2LP version includes four bonus tracks from a BBC session! LP, Vinyl record album

The sound of the trio is loud and clear on this set – captured before a very appreciative crowd at the London House in Chicago, and featuring Peterson at his inventive best! The tracks on the set stretch out longer than most of the group's studio sessions from the time, and the album's recorded in a great way that also includes Oscar's mumbling at the keys – that humming and grunting style that isn't always caught on record, but which adds a great deal of grit and humanity to the record – especially considering his fluid grace on the piano! As usual, Ray Brown is on bass and Ed Thigpen's on drums – and titles include "Tricotism", "On Green Dolphin Street", "Thag's Dance", and "Kadota's Blues". Includes 5 bonus tracks. CD

The sound of the trio is loud and clear on this set – captured before a very appreciative crowd at the London House in Chicago, and featuring Peterson at his inventive best! The tracks on the set stretch out longer than most of the group's studio sessions from the time, and the album's recorded in a great way that also includes Oscar's mumbling at the keys – that humming and grunting style that isn't always caught on record, but which adds a great deal of grit and humanity to the record – especially considering his fluid grace on the piano! As usual, Ray Brown is on bass and Ed Thigpen's on drums – and titles include "Tricotism", "On Green Dolphin Street", "Thag's Dance", and "Kadota's Blues". LP, Vinyl record album

A tremendous little record, Bursting Out has Oscar Peterson really pushing the fuller, stronger sound he started with his trio of Ray Brown and Ed Thigpen – a set that features additional backings by Ernie Wilkins behind the core sound of the piano combo! The mode here is in that "all soul" style of Peterson's huge-selling Verve albums from the time – but the addition of a larger group makes for a mode that's even fresher – because Oscar rarely used any larger backings, so the record's a real standout! Hearing the strength of the tracks, we're a bit surprised that Peterson never made more albums like this – because there seems to be added inspiration from Wilkins' presence, giving Oscar even more focus and drive on his solos. A rare outing, but a great one – with titles that include "Blues For Big Scotia", "Tricotism", "Manteca", "I'm Old Fashioned", "West Coast Blues", "Here's That Rainy Day", and "I Love You". CD

A tremendous little record that has Oscar Peterson really pushing the fuller, stronger sound he started with his trio of Ray Brown and Ed Thigpen – a set that features additional backings by Ernie Wilkins behind the core sound of the piano combo! The mode here is in that "all soul" style of Peterson's huge-selling Verve albums from the time – but the addition of a larger group makes for a mode that's even fresher – because Oscar rarely used any larger backings, so the record's a real standout! Hearing the strength of the tracks, we're a bit surprised that Peterson never made more albums like this – because there seems to be added inspiration from Wilkins' presence, giving Oscar even more focus and drive on his solos. A rare outing, but a great one – with titles that include "Blues For Big Scotia", "Tricotism", "Manteca", "I'm Old Fashioned", "West Coast Blues", "Here's That Rainy Day", and "I Love You". LP, Vinyl record album

A split album that combines work from 2 different early 10" LPs on Bethlehem – both led by some of the best bassists to record for the label at the time! The first 6 tracks are classic work by Oscar Pettiford – some of his best as a leader, and cut with a hip group that includes Charlie Rouse on tenor, Duke Jordan on piano, and Julius Watkins on French horn. The tracks swing nicely with a strong modernist bop influence – and titles include "Cable Car", "Tricotism", "Oscar Rides Again", and "Golden Touch". The other 8 tracks are a bit mellower, but still quite modern – and with a really fresh approach. Recorded by Vinnie Burke's quartet, they feature a very unusual lineup of bass, clarinet, accordion, and guitar – the latter of which is played by the enigmatic Joe Cinderella, of Gil Melle group fame, and who gives the record a similar feeling to Melle's strange work for Blue Note. Titles include "For All We Know", "Time Out", "On The Alamo", and "Softly As In A Morning Sunrise". CD

A split album that combines work from 2 different early 10" LPs on Bethlehem – both led by some of the best bassists to record for the label at the time! The first 6 tracks are classic work by Oscar Pettiford – some of his best as a leader, and cut with a hip group that includes Charlie Rouse on tenor, Duke Jordan on piano, and Julius Watkins on French horn. The tracks swing nicely with a strong modernist bop influence – and titles include "Cable Car", "Tricotism", "Oscar Rides Again", and "Golden Touch". The other 8 tracks are a bit mellower, but still quite modern – and with a really fresh approach. Recorded by Vinnie Burke's quartet, they feature a very unusual lineup of bass, clarinet, accordion, and guitar – the latter of which is played by the enigmatic Joe Cinderella, of Gil Melle group fame, and who gives the record a similar feeling to Melle's strange work for Blue Note. Titles include "For All We Know", "Time Out", "On The Alamo", and "Softly As In A Morning Sunrise". LP, Vinyl record album

Enrico Pieranunzi on piano – with Kenny Wheeler on trumpet, Chris Potter on sax, Charlie Haden on bass, and Paul Motian on drums. Includes themes from "I Vitelloni", "Amarcord", "La Dolce Vita", "La Strada", and "Le Notti Di Cabiria". CD

A really different album from pianist Enrico Pieranunzi – and one that really lives up to its title! Rather than being song-based – featuring compositions by Enrico or some of his contemporaries – the record features the trio improvising, but never in a free jazz way – always with a groove, and a strong sense of rhythmic cohesion – but clearly improvising their way through the 18 short numbers that make up the set! The energy is great – in ways that maybe make the record one of Pieranunzi's most compelling records – and the rest of the group features Hein Van De Geyn on bass and Hans Van Oosterhout on drums. Titles include "Forms" 1 through 18. CD

A really different album from pianist Enrico Pieranunzi – and one that really lives up to its title! Rather than being song-based – featuring compositions by Enrico or some of his contemporaries – the record features the trio improvising, but never in a free jazz way – always with a groove, and a strong sense of rhythmic cohesion – but clearly improvising their way through the 18 short numbers that make up the set! The energy is great – in ways that maybe make the record one of Pieranunzi's most compelling records – and the rest of the group features Hein Van De Geyn on bass and Hans Van Oosterhout on drums. Titles include "Forms" 1 through 18. CD

A great date that's almost as noteworthy for the presence of Ronnie Cuber on baritone sax and flute as it is for that of leader Enrico Pieranunzi on piano! There's a really great feel to the record – one that's got some of the lighter, airier moments of Pieranunzi's other records of the time – but which also takes on a bolder, more soulful sort of feel too – especially when Cuber steps in on his well-blown baritone! A few tracks feature flute, taken slightly more lightly – but only just a bit more so – and the rest of the group features Enzio Pietropaoli on bass and Alfredo Golino on drums and percussion. Pieranunzi plays electric piano on a few tunes – and titles include "Hip Switch", "Inconsequence", "The Bluesman", "Roberta", and "The Secret Ingredient". CD

The great Italian pianist Enrico Pieranunzi is featured here in three great records! First up is New Lands – a warmly-crafted trio set from Enrio Pieranunzi – a set that still shows his modern tones on the piano, but which also has a sensitivity that really makes things open up overall! The group is a trio – with Marc Johnson on bass and Joey Baron on drums – both subtle players who really let the piano take the lead at times, as Enrico stretches out on long tracks that include "New Lands", "A Child Is Born", "The Mood Is Good", and "If There Is Someone Lovelier Than You". Daedalus Wings is an unusual record, and one that features twin piano work from Bert Van Den Brink and Enrico Pieranunzi – not on long, free tracks, but on these beautiful shorter numbers that really seem to resonate strongly with the voices of each player! Titles include "Daedalus Suite", "Si Peu De Temps", "Pour Claude", "Guitar Blues", "Woods", and "O Toi Desir" – plus two solo takes by each player on "I Can't Get Started". Improvised Forms For Trio is a really different album from pianist Enrico Pieranunzi – and one that really lives up to its title! Rather than being song-based – featuring compositions by Enrico or some of his contemporaries – the record features the trio improvising, but never in a free jazz way – always with a groove, and a strong sense of rhythmic cohesion – but clearly improvising their way through the 18 short numbers that make up the set! The energy is great – in ways that maybe make the record one of Pieranunzi's most compelling records – and the rest of the group features Hein Van De Geyn on bass and Hans Van Oosterhout on drums. Titles include "Forms" 1 through 18. CD

Enrico Pieranunzi and Bert Van Den Brink on piano. CD

Enrico Pieranunzi on piano and Paul Motion on drums. CD

Featuring Kenny Wheeler on Trumpet. CD

Enrico Pieranunzi on piano, Mark Johnson on bass, and Joey Baron on drums. CD

Enrico Pieranunzi on piano, Marc Johnson on double bass, and Joey Baron on drums. CD

Enrico Pieranunzi on piano, Marc Johnson on double bass, and Joey Baron on drums. CD

A great idea – jazz piano trio versions of Morricone soundtrack tunes, played here by Italian pianist Enrico Pieranunzi, with backing by Marc Johnson on bass and Joey Baron on drums. The team of Johnson and Baron have a perfect touch of lyricality to open these tunes up – taking lesser-known Morricone themes, and working them like jazz standards to show the depth of composition and possibilities available to the tunes. One of the great shames of Morricone's career is that he wrote so many darn great soundtracks that most of his tunes never got as much variation and acclaim as the work of other 60s soundtrack composers – and hopefully a set like this will begin to correct that! Titles include "Addio Fratello Crudele", "I Malamondo", "La Domenica Specialmente", "Mio Caro Dottor Grasler", "Ninfa Plebea", "Jona Che Visse Nella Balena", "Le Mani Sporche", "Quando Le Donne Avevano La Coda", "Il Prato", and "Just Beyond The Horizon". (Soundtracks, Jazz) CD

A richly dynamic set from pianist Don Pullen, and one of his farthest-out sessions from the mid 70s – especially considering he had just finished a tenure as Mingus' piano player not long before this set was recorded! The "outness" of the date is probably due in part to reedman Sam Rivers, who brings a great deal of energy to the set, and wrote half of the numbers the group performs (the other half are from Pullen) – and the players work here in a quartet that features bassist Alex Blake and drummer Bobby Battles. The set's got a lot of the freewheeling energy that Rivers was hitting in the 70s – and titles include "Capricorn Rising", "Fall Out", "Joycie Girl". and "Break Out". LP, Vinyl record album

One of Enrico Rava's more over-the-top albums – recorded with a full-on trumpet sound that reminds us a bit of Freddie Hubbard in early CTI years, set into some harder jamming post-Miles arrangements! The backing is by a John Abercrombie on guitar, Palle Danielsoon on bass, and Jon Cristensen on drums – but you'd swear that there's a larger ensemble working away on the record, given the full sound beneath Rava's lofty trumpet solos – yet the set is really just the efforts of this core quartet, working with a surprising amount of dynamism, especially considering the ECM setting. Titles include "Bella", "Pilgrim & The Stars", "Pesce Naufrago", "By The Sea", and "Blancasnow". CD

A totally wonderful early project from trumpeter Enrico Rava – very different than just about anything we've ever heard from him, as the record's bubbling over with joy and life, and seems to encompass a globe's worth of influences! Rava's trumpet gets plenty of showcase in the set, amidst instrumentation that changes up wonderfully throughout the course of the album – an ever-shifting array of electric and acoustic instruments, with plenty of added percussion at the bottom, and nice use of bandoneon on a few tracks too! Yet that's only the tip of the iceberg – as the record has so much going on, it's a bit hard to put in words – yet all of it makes wonderful sense, too – on titles that include "CT's Dance", "Lingua Franca", "Giromondo", "El Samba Graciela", "Pupa O Crisalide", and "Tsakwe". CD

A totally wonderful early project from trumpeter Enrico Rava – very different than just about anything we've ever heard from him, as the record's bubbling over with joy and life, and seems to encompass a globe's worth of influences! Rava's trumpet gets plenty of showcase in the set, amidst instrumentation that changes up wonderfully throughout the course of the album – an ever-shifting array of electric and acoustic instruments, with plenty of added percussion at the bottom, and nice use of bandoneon on a few tracks too! Yet that's only the tip of the iceberg – as the record has so much going on, it's a bit hard to put in words – yet all of it makes wonderful sense, too – on titles that include "CT's Dance", "Lingua Franca", "Giromondo", "El Samba Graciela", "Pupa O Crisalide", and "Tsakwe". LP, Vinyl record album

Features Enrico Rava on trumpet and flugelhorn – with Augusto Mancinelli on guitar, John Taylor on piano, Furio Di Castri on bass, and Bruce Ditmas on drums! CD

Features Rava on trumpet, Stefano Bollani on piano, and Paul Motian on drums! CD

Trumpeter Enrico Rava was a man of bold sounds in his youth – but as the years have gone on, he's definitely become one of those players who's really learned that less is more – serving up well-chosen, well-pointed moments on his horn that can make a record like this so great! Pianist Fred Hersch is in relatively familiar territory – especially on some of the darker, moodier passages on the set – but he also seems set free a bit from his conventions at times by Rava, as the pair work more in sound painting territory than some overly musical pursuit on some of the album's best tracks – definitely in the best ECM tradition, but very strongly flavored by the individuality of the two improvisers. Titles include "Child's Song", "The Trial", "Improvisation", "Retrato Em Branco E Preto", "The Song Is You", and "Misterioso". LP, Vinyl record album

A legendary overview of jazz on the Italian scene at the start of the 60s – a great document of the new modes that was really setting the work of Italian jazz musicians apart from those in other parts of Europe – working with fresh ideas and a new conception that's completely sublime! The work here often has a great balance between structure and individual voice – and many numbers feature strong soloists who'd go on to great fame in a variety of settings – already graced here with talents that seem greater than their young years. Trumpeter Enrico Rava leads things off in a quartet with pianist Maurizio Lama, on a version of the tune "Line For Lyons" – and Lama follows with a trio reading of his own "Tema For Franco". Trumpeter Sergio Fanni is joined by the great Eraldo Volante on tenor and baritone on the tunes "Duo" and "Circeo". Later soundtrack artist Piero Umiliani serves up his "Picolla Suite Americana" – followed by the Modern Jazz Gang of saxophonist Sandro Brugnolini (with later sound library giants Enzo Scoppa and Cicci Santucci), on the tracks "The Drum Is A Tramp" and "Blue Mirria". Trombonist Dino Piana delivers the tune "Tempo Di Febbraio" with help from the great Gianni Basso on tenor – and the set also features a reading of "Bag's Groove" with Giorgio Azzolini on bass, Piano on trombone, and Attilio Donadio on alto. LP, Vinyl record album

The lofty trumpet of Enrico Rava is a perfect match for Dino Saluzzi's wonderfully airy performances on bandoneon – and this record is one of the lost gems of late 80s ECM. The sound definitely has that "bordering on wallpaper" feel fo a lot of the ECM work from the time, but Saluzzi's bandoneon has a breathy emotive quality that works against the usual formula, and Rava's solos help the entire project along tremendously. Titles include "Le But De Souffle", "Minguito", "Luna Volver", and "Tiempos De Ausencias". CD