There's a really hypnotic blend of sounds going on here – the always-strong alto work of Arthur Blythe, whose solos are a key part of the strength of the set – matched with a super-strong lineup that includes Hamiet Bluiett on baritone sax, Kelvin Bell on guitar, Gust William Tsilis on vibes, Arto Tuncboyaci on percussion, and Famoudou Don Moye on drums! There's a slight crackle of electricity at times, but never in a way that dampens the soul, especially that of a leader – and while earlier efforts of this sort might have gotten mired in too much criss-crossing of modes, this set comes off perfectly – a fresh entry in Blythe's wonderfully storied career. Titles include "Miss Eugie", "Hipmotism", "My Son Ra", "Bush Baby", "Dear Dessa", "Cousin Sidney", "Shadows", and "Dance Benita Dance". CD

Three albums from reedman Arthur Blythe – served up in one nicely-priced set! Retroflection is a great showcase for the alto talents of Arthur Blythe – a set that's maybe a bit more stripped-down than some of his bigger label albums of the 80s, but in a way that really lets you focus on his strength of tone and phrasing! The group's a quartet, working in an open live setting – John Hicks on piano, Cecil McBee on bass, and Bobby Battle on drums – and while all players certainly know how to go inside, they keep things swinging and relatively straight at the core – while Blythe waxes beautifully on the alto, with these sharp edges that mix nicely with more lyrical moments. Titles include "Jana's Delight", "JB Blues", "Lenox Avenue Breakdown", "Faceless Woman", and "Peacemaker". Calling Card is a great little record from Arthur Blythe – mostly straight ahead, but pretty darn freewheeling too – thanks to a selection of long tracks that really let him open up on alto sax! The setting is a quartet – nicely put-together with John Hicks on piano, Cecil McBee on bass, and Bobby Battle on drums – a rhythm trio who do equally well on the album's spiritual tracks and its more soulful groovers. The performance was recorded live, but with a nice degree of intimacy, especially on Blythe's horn – and titles include "Hip Dripper", "Naima's Love Song", "As Of Yet", "Blue Blues", "Break Tune", and "Elaborations". On Hipmotism, there's a really hypnotic blend of sounds – the always-strong alto work of Arthur Blythe, whose solos are a key part of the strength of the set – matched with a super-strong lineup that includes Hamiet Bluiett on baritone sax, Kelvin Bell on guitar, Gust William Tsilis on vibes, Arto Tuncboyaci on percussion, and Famoudou Don Moye on drums! There's a slight crackle of electricity at times, but never in a way that dampens the soul, especially that of a leader – and while earlier efforts of this sort might have gotten mired in too much criss-crossing of modes, this set comes off perfectly – a fresh entry in Blythe's wonderfully storied career. Titles include "Miss Eugie", "Hipmotism", "My Son Ra", "Bush Baby", "Dear Dessa", "Cousin Sidney", "Shadows", and "Dance Benita Dance". CD

A lovely little record from John Carter – and a record with an even more sensitive feel than some of his other work of the time! The group's a quintet – with longtime associate Bobby Bradford on trumpet – yet the sound is in a much more different space than some of the other Carter/Bradford collaborations, much more clearly John's thing – given the way the tunes unfold. Reeds really get their space here – not just Carter's clarinet, but also the flute of James Newton, which seems to have more bite than usual – and in addition to Bradford's trumpet, other group members include Roberto Miranda on bass and William Jeffrey on percussion. Carter composed all tunes, and titles include "Buckin", "Night Fire", "Juba Stomp", "Morning Bell", and "Sweet Sunset". CD

A fantastic set of tracks that was recorded at the cusp of the 70s, but which wasn't (for some strange reason) released until many years later! Donald Byrd's playing here with two different larger groups, and the music is a perfect bridge between his spacey late 60s attempts to mimic Miles Davis, and his tighter early 70s jazz funk work with Larry Mizell. The instrumentation's a bit different than usual, and includes a warm frontline of Frank Foster on tenor, Lew Tabackin on flute and tenor, and William Campbell on trombone – all working with these charts that are full and flowing – really strong, soulful elements that get some further great touches from Duke Pearson on Fender Rhodes! Rhythms echo some of Pearson's own great music of the time, with lots of Brazilian undercurrents – no surprise, given that Duke produced the record – and titles include "Kofi", "Fufu", "Perpetual Love", and "Elmina". CD

Roy Campbell on trumpet & flute, Jason Hwang on violin, and William Hooker on drums. CD

Never-issued work from this amazing group – a live performance recorded near Boston, and one that shows just how much players like Roy Campbell were helping to introduce more spiritual energy to the avant scene after the 70s! Roy blows trumpet, flugelhorn, and flute here – working on long tracks that get some tremendous bass accompaniment from William Parker, who's already at the top of his game, with that soulful richness that would soon make him such a crucial part of the scene in the 90s. Zen Matsuura handles drums, and often keeps things moving forward, but in response to Parker's basswork – so that there's a pulse, but one that's loose and fluid too – as all three players really find this wonderful way to respond to each other on the album's very long tracks. Titles include "Brother Yusef", "Vigilance", "Charmaine", "Imhotep", and one "Unidentified Title". CD

The essence of Duke Ellington – but in the hands of William Parker, it's a very different thing than you might expect! The group here is larger than usual for Parker – a great ensemble used in ways that definitely echo some of Ellington's more inventive scoring, especially his mature use of tone and color – yet both the solos and ensemble moments go way way farther than anything the Duke might have imagined – all the bold, righteous brilliance that we've come to love in Parker's own recordings – focused back on one of his greatest inspirations. The lineup is quite impressive – as musicians include Roy Campbell on trumpet, Ras Moshe on tenor and soprano, Rob Brown and Darius Jones on alto, Sabir Mateen on clarinet and tenor, Steve Swell on trombone, Dave Burrell on piano, Hamid Drake on drums, and Parker himself on bass – and titles include "Take The Coltrane", "Essence Of Sophisticated Lady/Sophisticated Lady", "Caravan", "Essence Of Ellington", "Take The A Train/Ebony Interlude", and "Portrait Of Louisiana". CD

Features Susie Ibarra, Roy Campbell, Rob Brown, and Steve Swell. CD

Accompanied by Emmett Berry, Aaron Bell, Vic Dickenson, Marlowe Morris, Bobby Henderson, and Bobby Donaldson. (Vocalists, Jazz) CD

A crucial European performance by Albert Ayler in the mid 60s – one that wasn't issued until many years after the recording, but which has become one of the sharpest pictures of his genius at the time! The vibe here is different than the Ayler albums for ESP – still very much in the same territory, but with this approach that's really reaching out with a deeply spiritual consciousness – an energy to embrace the whole history of jazz, both very old and very new – and re-form its entire ideology into a richly personal expression. Ayler's tremendous on tenor, but Don Ayler is often equally great on trumpet – and the unusual group features Michel Samson on violin, William Fowell on bass, and Beaver Harris on drums. Titles include really unique readings of "Bells", "Prophet", "Our Prayer/Spirits Rejoice", "Ghosts", "Truth Is Marching In", and "Spiritual Rebirth/Light In Darkness/Infinite Spirit". CD

Miles Davis' first-ever performance in Japan – a really unique concert that featured the quintet with Herbie Hancock, Ron Carter, and Tony Williams – augmented by a young Sam Rivers on tenor! The presence of Rivers really gives the set an edge – and although Miles is holding Sam a bit more in check than on some of his "new thing" albums from the time, there's an overall quality here that's different than the other Davis quintet albums of the time. The set was one of a number of important Miles Davis live sessions from the period – including albums from Berlin, Antibes, and Chicago – and titles include "If I Were A Bell", "My Funny Valentine", "So What", "Walkin'" and "All Of You". CD

Rare small group work from the great Johnny Hodges – an unissued live set from the start of the 60s, and one that has Johnny working with key Ellington sidemen in a very Ellington-like setting! Solo Hodges could usually take one of two forms – more soulful small group material that has less of the arrangements of his longtime leader, the Duke – and more Ellington-based performances, of which this set is definitely one – as Hodges leads a hip combo with Ray Nance on trumpet, Lawrence Brown on trombone, Harry Carney on baritone, Al Williams on piano, Aaron Bell on bass, and Sam Woodyard on drums. Tunes are almost all numbers by Ellington or Billy Strayhorn, but done in a nice lean style, with key solo performances throughout – and titles include "Rocking In Rhythm", "Jeep Is Jumpin", "Things Ain't What They Used To Be", "Sophisticated Lady", "Mood Indigo", and "Solitude" – plus "Good Queen Bess", "Perdido", and "Autumn Leaves". The sound quality is great – very clear, with a nicely crisp tone on the horn parts, especially Hodges and Carney! CD

A tremendous tribute to the legendary Art Ensemble Of Chicago – a group who work here with only two of their surviving members, but with help from a constellation of jazz musicians inspired by their music! The group here is large, and includes AACM members and other younger talents – a fantastic lineup that mixes the core work of Famadou Don Moye on drums and percussion, and Roscoe Mitchell on reeds with work from Nicole Mitchell on flutes, Hugh Ragin and Fred Berry on trumpets, Tomeka Reid on cello, Jaribu Shahid and Junius Paul on basses, Enoch Williams and Titos Sompa on percussion, and Christina Wheeler on voice and a range of unusual electronic instruments! There's a very ambitious feel to the music – like some of Roscoe Mitchell's larger form creations, but with more of a spiritual jazz current that comes from the whole ensemble – and from vocal contributions from Moore Mother and Rodolfo Cordova Lebron. The double-length set features a studio album and a live album by the expanded group – and titles include "Bell Song", "We Are On The Edge", "Chi Congo 50", "Fanfare & Bell", "Odwalla/The Theme", "Tutankhamun", "Mama Koko", "Saturday Morning", and "Villa Tiamo". CD

A gem of a session from Lennie Niehaus – one of his best 50s albums for Contemporary, and one of his most obscure too! The album features Lennie's alto in the company of a group that includes Bill Perkins on tenor and flute, Jimmy Giuffre on baritone, and Stu Williamson on trumpet. There's no piano at all in the group, and the four horns come together magically – with a well-composed sound that's got all the tightness of LA in the 50s, but with more than enough solo room ot let Lennie and the others sparklet. Titles include "Belle Of The Ball", "Fond Memories", "Knee Deep", "Take It From Me", and "Elbow Room". CD

A crucial European performance by Albert Ayler in the mid 60s – one that wasn't issued until many years after the recording, but which has become one of the sharpest pictures of his genius at the time! The vibe here is different than the Ayler albums for ESP – still very much in the same territory, but with this approach that's really reaching out with a deeply spiritual consciousness – an energy to embrace the whole history of jazz, both very old and very new – and re-form its entire ideology into a richly personal expression. Ayler's tremendous on tenor, but Don Ayler is often equally great on trumpet – and the unusual group features Michel Samson on violin, William Fowell on bass, and Beaver Harris on drums. Titles include really unique readings of "Bells", "Prophet", "Our Prayer/Spirits Rejoice", "Ghosts", "Truth Is Marching In", and "Spiritual Rebirth/Light In Darkness/Infinite Spirit". CD

Miles Davis' first-ever performance in Japan – a really unique concert that featured the quintet with Herbie Hancock, Ron Carter, and Tony Williams – augmented by a young Sam Rivers on tenor! The presence of Rivers really gives the set an edge – and although Miles is holding Sam a bit more in check than on some of his "new thing" albums from the time, there's an overall quality here that's different than the other Davis quintet albums of the time. The set was one of a number of important Miles Davis live sessions from the period – including albums from Berlin, Antibes, and Chicago – and titles include "If I Were A Bell", "My Funny Valentine", "So What", "Walkin'" and "All Of You". CD

Seminal recordings from Jemeel Moondoc's important Muntu ensemble – a group who worked with amazing energy in the avant scene of the late 70s – easily offering up some of the greatest performances from the members involved! There's a mixture of structure and freedom to these tracks that's mighty nice – a bold conception of message headed by Moondoc, but executed with these open solos that really show the full talents of every musician. The lineup shifts a bit over the space of the recordings here – the First Feeding album features Moondoc on alto, Arthur Williams on trumpet, Mark Hennen on piano, William Parker on bass, and Rashid Bakr on drums; Evening Of The Blue Men has trumpeter Roy Campbell joining Moondoc, Parker, and Bakr; and the previously-unreleased Live At Ali's Alley is an extended trio performance from Moondoc, Parker, and Bakr – one long track that really opens up! Equally amazing is the package – 3CDs in an oversized case, packaged with a beautiful book that's over 100 pages – with notes on the group, sessionography, vintage photos, poster reproductions, and more. CD

A really wonderful addition to the too-small body of work left behind by the great Albert Ayler – a set that brings together some really obscure performances done during a visit to Europe in 1966! We're not sure these have ever appeared elsewhere – at least that we can find in digging around ourselves – and the first three tracks on the set are especially nice, done for a film production in Munich, with variations on "Ghosts", "Our Prayer", and "Infinite Spirit" – all done in shortish takes that really focus on the "tune" more than longer live ones. And if you like the latter, don't worry – as there's plenty of that here too – served up on concert performances in Rotterdam and Helsinki from November of 1966 – with Ayler on tenor, Don Ayler on trumpet, Michel Samson on violin, William Folwell on bass, and Beaver Harris on drums. These live selections include "Bells/Infinite Spirit", "Prophet", "Truth Is Marching In", "Change Has Come", and "Divine Peace Maker". CD

An odd little album in the Stan Getz catalog of the 50s – not just because of the cheesy cover and title, but also because it features a range of unusual material recorded over a three year period with a variety of different players! Some of the dates here definitely fit the "cool sounds" title of the record – in that they feature Getz with the west coast lineup of Loy Levy on piano, Shelly Manne on drums, and Leroy Vinnegar on bass – heard more famously on Stan's West Coast album of the same time. But other sides feature a different grouping – with Jimmy Rowles on piano, Bobby Whitlock on bass, and Max Roach on drums – offering up a different side of the west coast altogether. And still others take things back to more of an east coast modern style – by featuring either Tony Fruscella on trumpet or Bob Brookmeyer on trombone, in groups with John Williams on piano. The mix of material makes for a nicely-rounded portrait of Getz's talents in the mid 50s years – and the album features 10 tracks that include "Nobody Else But Me", "Serenade In Blue", "Of Thee I Sing", "Love Is Here To Stay", "Blue Bells", "Roundup Time", "Rustic Hop", and "A Handful Of Stars". CD

A great album from trumpeter Roy Campbell and his Pyramid Trio – aka William Parker and Hamid Drake! Tracks include "Tazz's Dilema", "Malcolm, Martin And Mandela", "Imhotep", 'Impressions Of Yokahama", "Ethnic Stew And Brew", "Heavenly Ascending" and "Amadou Diallo". CD

A fantastic program of live recordings – all captured at the Museum Of Contemporary Art in Chicago – as part of their 50th Anniversary tribute to the AACM! Roscoe Mitchell works here in a very unusual format – with four different trios, each heard separately – then grouped together in different ways on larger recordings that feature all members in varied formation! The trios feature James Fei on reeds and electronics with William Winant on percussion and vibes; Hugh Ragin on trumpet withTyshawn Sorey on trombone, piano, and percussion; Craig Taborn on piano, organ, and electronics with Kikanju Baku on drums and percussion; and Jribu Shahid on bass and percussion with Tani Tabball on drums and percussion. Mitchell plays a range of reeds and percussion – and some of the percussion used is from the collection of various Art Ensemble Members, being exhibited by the museum. The performances are great – and not only is Mitchell still at the height of his improvisational powers, but he's also got the other musicians working in a spirit that really lives up to the tradition of the AACM! CD

Spiritual genius from trumpeter Roy Campbell – a player who was too often trapped in the underground during this point in his career – even though he plays with a majesty that demands to be heard! There's a power here that's undeniable – as Campbell works in beautifully triangulated formation with bassist William Parker, and drummer Zen Matsuura – who also handles a range of percussion with a care for sound that takes us back to early experiments from the AACM. Each number offers up a different sort of statement of righteousness – and titles include "Brother Yusef", "Camel Caravan", "Song For Alan", "Ancestral Homeland", and "The Positive Path". CD

Music from Dave Toop, Cleveland Watkiss, the Jason Rebello Trio, Slow Fuse, Snowboy, the Jazz Renegades, Steve Williamson, the James Taylor Quartet and the Kick Horns. (New Grooves, Jazz) CD