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". CD

A really burning live set from Argentine tenorist Chivo Borraro – a set that features very extended performances that capture Borraro and his group at their most modern! Chivo burns here in a way you don't always hear on other sessions – very relaxed and opening up in the comfortable confines of the Cricket night club in Buenos Aries – with help from Fernando Gelbard on piano, Jorge Lopez Luis on bass, and Pocho Lapouble on drums – keeping things swinging, but in a loose way that really lets the leader go where he wants! The extended format and bold energy put the record in territory that's similar to, but more avant than, some of the Dexter Gordon live sets coming from the European scene of the time – and titles include "Africa", "Minor Key", "Blues Con Amague" and "Lover Man". CD

Great work as a leader from Don Braden – a set that was one of his last before moving onto bigger-label fame, and one that's very firmly rooted in the soul jazz underground! Don's got a really classic sound on his tenor – blowing with focus, poise, and a hell of a lot of soul – at times taking us back to older Houston Person records from a few decades before, but also burning with more fire too – especially on the numbers that leap strongly forward with some great rhythms from Kevin Hays on piano, Joris Teepe on bass, and Cecil Brooks III on drums. Brooks produced the set, keeping all edges sharp – and titles include "The Break", "Hillside", "A Blue Spree", "Have You Met Miss Jones", "Landing Zone", "Nightline", and "Amsterdam Jam". CD

A surprising organ/tenor gem from the 90s – and a really standout set in the career of Don Braden! The set's on a major label, but it's got a soulfully produced groove that makes it feel like some of the best soul jazz on the Muse imprint – really open and flowing, with a sound that shows that the New Jersey sound was alive and well into the 90s! Braden's on tenor, working alongside some guest tenor by David Newman – and the rest of the group features organ by either Jack McDuff or Larry Goldings – plus trumpet by Tom Harrell, guitar by Russell Malone, and some super-solid drum work by either Cecil Brooks or Winard Harper. Titles include "Walkin The Dog", "Brighter Days", "Cousin Esau", "Twister", "Belief", "Organic", and "Saving All My Love For You". CD

A huge book on the equally-huge creative legacy of bassist William Parker – a musician who first arose in the loft jazz scene in New York during the 70s, but who's gone on to be one of its greatest surviving players, and one who's transformed the inspirations of that world into so many different modes of expression over the decades! Author Cisco Bradley really digs deep – following Parker from his southern roots to his childhood in the South Bronx, to his strong contributions to avant scenes, first in New York, then around the globe – all with a sensitivity to community and context that shows that Parker isn't just some genius musician, but both an evolving participant in creative activity, and one whose contributions have transformed the landscape as well! The book is softcover, 402 pages, and has copious notes, a discography, and even some black and white images as well. (Books, Jazz) Book

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

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

The baritone sax of German musician Helmut Brandt is at the helm– but the album's equally noteworthy for its strong use of American players Benny Bailey on trumpet, Nat Peck on trombone, and Herb Geller on alto! The concert is one of those wonderful meetings of American and European jazz talents in a large group setting – the kind of mode that cooked up most famously in the Clark Boland Big Band of the 60s – but which also was simmering all over Europe in the decade – as it does here with additional work from Europeans Ack Van Rooyen on trumpet, Stefan Von Dobrzynski on tenor and flute, Gunter Meier on piano, and Siegfried Schmidt on trombone. The tunes are mostly hard-swinging, and exploding with colors – very much in a mid 60s MPS/Saba mode – with a nice balance between individuality and group sound. Titles include "Berlin Calling", "Boris", "Opus C-Moll 794", "Trifi", "Boogie Waltz", and the long "Ferien Suite". CD

Wonderful work from Anthony Braxton – an album that has him playing straight ahead jazz – but at a time when he was also making some of his most complex recordings of the 70s! The approach here is sublime – as Braxton's reputation has ears already anticipating some far-out playing, but then marvel at his restraint – his care for keeping alto and bass clarinet work inside a straight jazz tradition, yet always hinting at the modern inflections he can bring to his music! Tunes are almost all jazz standards, blown beautifully – with a tone that's crisp, cool, and very inviting – surprisingly soulful, and never cold at all – matched well with the rhythm trio of Tete Montoliu on piano, Niels Henning Orsted Pedersen on bass, and Albert Tootie Heath on drums. Titles include "Goodbye Porkpie Hat", "Ornithology", and "Marshmallow". LP, Vinyl record album

A pair of later jazzy vocal LP gems by Teresa Brewer, both backed by jazz greats – Songs Of Bessie Smith with Count Basie and Thad Jones, and It Don't Mean A Thing If It Ain't Got That Swing with Duke Ellington – both released by Flying Dutchman in 1973! Teresa's popularity peaked a couple decades earlier as a girlish pop singer, and she succeeds strongly on both records – not just because of the jazz heavies in the band, but because she has the pipes and genuine affection for the material to pull it off. It's lovely stuff! Songs Of Bessie Smith have the bluesy overtones necessary to make it work, without trying the hide Teresa's naturally softer approach. Basie on piano throughout, with arrangements by Jones, and a great big band on half and more intimate arrangements on the other half. It Don't Mean A Thing. . .works just as wel, with Duke Ellington and Ernie Wilkins arrangements, and great Flying Dutchman players that include Bernard Purdie, Joe Beck and Mtume. 20 tracks in all, including "Trombone Cholly", "Gmme A Pigfoot", "I Ain't Got Nobody", "St Louis Blues", "I Ain't Got Nothing But The Blues", "Mood Indigo", "I'm Beginning To See The Light", "I've Got To Be A Rug Cutter", "Tulip Or Turnip", "I'ts Kinda Lonesome Out Tonight" and more. (Vocalists, Jazz) CD

A modern classic from Dee Dee Bridgewater – one of her hippest albums of the later years, thanks to a great choice of material, and some really wonderful execution! The album's a beautiful set of straight jazz vocal readings of some of Horace Silver's best compositions, and it also features guest appearances by Silver and Jimmy Smith – both players who still had plenty going on at the time of the sessions. The real strength, though, is Dee Dee – as she proves once and for all that she's one of the best female true jazz singers of this era, capable of rich emotion on ballad tracks, and swinging free vocalese on more uptempo numbers. Titles include "Nica's Dream", "Pretty Eyes", "St. Vitus Dance", "Soulville", "Lonely Woman", and "Tokyo Blues". One of the greatest jazz vocal albums of the past 10 years! (Vocalists, Jazz) CD

An obscure Polish date from the great Gustav Brom – the Czech bandleader known for his great grooves for MPS and Supraphon! The styles here are something of a mixed bag – with some tunes that are straight swinging big band, mixed with a few others that show more of the jazz rock influence that Brom's become famous for over the years. Obviously, these latter tracks are the ones that really catch our ears – especially the funky "U Jazu Pod Mostem", which has a real MPS-like feel, and some great funky piano and sax – or "Malovane Sane", which has lots of electric guitar jamming around at the bottom of the groove! Other tracks include "American Patrol", "Chanson D'Amour", "Bogdan Boogie", and "Mahalia". CD

An incredible collection of work from Bob Brookmeyer – tracing the development of his sound in the 50s through a variety of different settings! The package begins with material from an original 10" LP session in 1954 – featuring Brookmeyer on trombone with backing by the John Williams trio. The set then expands to feature tracks recorded by Brookmeyer, Jim Hall, and Jimmy Giuffre as material that was originally issued on the album Traditionalism Revisited, but which also features tracks from that session that came out on other more obscure sources, including a Playboy jazz album and a Brookmeyer LP on Crown. The set then follows with a beautiful guitar/trombone session that features Jim Hall, Jimy Raney, and Brookmeyer – originally issued as The Street Swingers. Next up is material from a bluesy 1958 set, recorded with vocalist Big Miller, as well as Paul Quinichette, Al Cohn, and Jim Hall – for the album Kansas City Revisited. The set's completed by material from the beautiful UA album Stretching Out – which featured Zoot Sims, Harry Edison, and Al Cohn – and the whole thing's packaged with a great booklet that gives notes on the material. 37 tracks in all – in a limited, numbered set! CD

Beautiful takes on Monkish tunes – a record that's a bit warmer than the usual tribute to Thelonious, thanks to the round sound and deep soul of guitarist Bobby Broom! The group here is just a trio, and Bobby really gets plenty done in the small space of the set – romping around the Monk compositions in ways that really open them up – almost like he's using his instrument like a piano on one number, a sax on the next, and so on. As with most of Broom's best work, there's a chromatic warmth to the record that really holds things together – and, once again, makes us wonder why the hell this guy isn't hailed as one of the greatest living guitarists in mainstream jazz. Titles include "Reflections", "Lulu's Back In Town", "Ask Me Now", "Evidence", "Ruby My Dear", "In Walked Bud", and "Bemsha Swing". CD

A fantastic entry in the late-life partnership that reedman Peter Brotzmann has formed with steel guitar player Heather Leigh – the kind of instrumentalist that Brotzmann never would have played with back in the day – but who seems to really open him up with an unheard range of color and tone! At times, Peter is maybe even more soulful than usual – blowing almost straight, to match the more colorful modes of the steel – which itself can be more abstract from a sonic perspective – creating a shift in the expected sensibilities you might have with a record from Brotzmann. Leigh really uses her instrument in wonderful ways – and Brotzmann blows a variety of clarinets, plus alto, tenor, and bass saxophone – on titles that include "It's Almost Dark", "This Word Love", "Summer Rain", "All Of Us", "River Of Sorrow", "My Empty Heart", and "The Longer We're Apart". CD

A set of unreleased improvisations between these two fantastic free jazz musicians – intended as a session in which, according to Paal Nilssen-Love, "we agreed to bring all the metal we could bring"! That means that Peter Brotzmann is blowing a wide variety of reed instruments, and Paal is handling lots of percussion and gongs next to his drums – yet all elements are used in these very spare styles, almost more loft jazz than you'd guess from the legacy of intensity from both of the musicians – which makes for yet another great late life surprise in the final years of Brotzmann – proof that he never stopped reinventing and opening doors to new avenues of creation! Titles include "Dancing Octopus", "Move On Over", "South Of No Return", "Butterfly Mushroom", "Found The Cabin But No People", and "Five Of Them Survived The Dream". LP, Vinyl record album

A 10th Anniversary performance by the Chicago Tentet – a wonderful group that's become the fruitful union of saxophonist Peter Brotzmann with a younger generation of players who were working heavily on the Chicago scene at the time! Back when the group first started, it was something of an experiment – but over the following decade, the ensemble won great attention for their playing, and for good reason too – considering the solo contributions of players like Ken Vandermark and Mats Gustafsson on reeds, Joe McPhee on trumpet and tenor, Johannes Bauer on trombone, Kent Kessler on bass, and Paal Nilssen Love on drums – all working under the visionary leadership of Peter Brotzmann! The tracks are all somewhat long and open-ended – almost more spacious than on other Chicago Tentet records, with a freely improvised feel. Titles include "Ten By Ten", "Little By Little", and "Step By Step". CD

A key record in the evolution of the free jazz spirit on the German scene – one that not only has the Machine Gun generation allowing for a bit of extra space and moments of contemplation in their music, but which also opens itself up to work from a slightly older member of the scene as well! The group is great – with Peter Brotzmann on clarinet, alto, tenor, and baritone – plus Fred Van Hove on piano, and Han Bennink on drums, self-made clarinet, and "homemade junk" – joined by trombonist Albert Mangelsdorff, who almost feels as if he's been waiting for the chance to really open up and experiment with the other improvisers – showing sounds that are maybe even more mindblowing than on his own records of the time! Titles include "Serienze Serie", "Boogie Fur Fred", and "Der Spaziegang". LP, Vinyl record album

A key slice of Clifford Brown from the 50s – two long tracks both recorded in an open-ended jam session format, showing a side of Brown's powers that's even bolder and more inventive than some of his previous studio work! The album soars along beautifully – with Brownie in the lead amongst an unusual, but well-chosen batch of players that includes Herb Geller and Joe Maini on alto saxes, Walter Benton on tenor, Kenny Drew on piano, Curtis Counce on bass, and Max Roach on drums – all grooving alongside Clifford on the album's nicely extended tracks. The album was released after Brown's death in 1956, features the side-long tracks "Caravan" and "Autumn In New York". CD also features a bonus take on "Caravan" – much shorter, called "Caravan (The Boss Man)". CD

A classic "with strings" session from Clifford Brown – nearly as well-done and perfect as some of Charlie Parker's sides for Verve, handled here with perhaps a slightly sweeter touch, as Neal Hefti's the man on arrangements. The core group's the Brown/Roach combo, augmented by a smallish string section – and Clifford's right up front blowing warm and glistening solos, with titles that include "Willow Weep For Me", "Yesterdays", "Laura", "Smoke Gets In Your Eyes", and "Portrait Of Jennie". CD

A classic "with strings" session from Clifford Brown – nearly as well-done and perfect as some of Charlie Parker's sides for Verve, handled here with perhaps a slightly sweeter touch, as Neal Hefti's the man on arrangements. The core group's the Brown/Roach combo, augmented by a smallish string section – and Clifford's right up front blowing warm and glistening solos, with titles that include "Willow Weep For Me", "Yesterdays", "Laura", "Smoke Gets In Your Eyes", and "Portrait Of Jennie". LP, Vinyl record album

Absolutely burning live recording of Brownie's group co led with Max Roach, and also featuring Sony Rollins. This set features some the group's best playing, limited only by the mediocre sound quality of the recording. Great extended takes on "I'll Remember April", 'What's New", "Daahoud", "Lover Man" and "52nd Street Theme". LP, Vinyl record album

The musical legacy of saxophonist Marion Brown knows no bounds – and although he gave the world some key studio records that helped define his role in the late 60s and early 70s, his live performances on this planet were an equally important demonstration of the righteous power he brought to his music! This rare 1969 concert from Germany is a key addition to that legacy of important Brown performances – and features the alto saxophonist in a very cool group with Ed Kroeger on trombone, blowing all these soulful lines next to Brown's alto – very spiritual throughout, at a level that really makes us which we knew more about his work. There's no piano in the group at all – just excellent bass from Sigi Busch, and drums from a young AACM hero Steve McCall – on titles that include "Ode To Coltrane", "Mary Ann", "Juba Lee", "Study For Four Instruments", "Modus Rhythmicus", and "Exhibition". CD

One of the few albums ever as a leader from alto saxophonist Pete Brown – a less-remembered talent of his times, but a key link between the generations of bop and swing! The set was only issued as a 10" LP, but packs the full punch of most longer albums – sublime alto from Brown with a crisp tone firmly in place – sitting somewhere between older bop players and some of the emerging Tristano-ites from the east coast – a vibe that's almost like Charlie Mariano or Dick Johnson in their best younger years, but with a bit more soul too. The group's a hip sextet – with trumpet from Joe Wilder, guitar from Wally Richardson, and piano by Wadde Legge – and the album includes a great version of "The World Is Waiting For The Sunrise", plus the nice originals "Delta Blues" and "Used Blues". CD

The Lester in the title here is Lester Koenig, the legendary owner of Contemporary Records – for whom Ray Brown made this rare session as a leader shortly before his death! Ray had recorded often for Koenig in the 50s – probably most famously in the Poll Winners trio – but this session is a very different record indeed, and makes tremendous use of the piano of Cedar Walton and drums of Elvin Jones – in a way that's got the flowing, fluid, soulful energy of Walton's own best trio recordings of the 70s! Titles include the Walton originals "Ojos De Rojo" and "Something In Common", the Brown number "Slippery", and versions of "Sister Sadie", "Love Walked In", and "Little Girl Blue". CD

A really hip record from the team of bassist Ray Brown and vibist Milt Jackson – a swinging large group record that has them fronting arrangements from Oliver Nelson and Jimmy Heath! Nelson and Heath are both mighty hip cats at this point in their career – and bring a soulful swing to the record that really takes off – a groove that's lively, but tuned with lots of cool colors and tones too – shifting effortlessly while things move forward – but always with the right soulful appeal for older fans of both leaders. Milt's especially great in this setting – even more on fire than some of his other collaborations with Brown – and titles include "Dew & Mud", "Lined With A Groove", "Lazy Theme", "In A Crowd", and "Now Hear My Meaning". LP, Vinyl record album

We're not normally great fans of the Ray Brown Trio, but this album's a corker – thanks to some great tenor work by Ralph Moore! Moore's a the height of his powers here – blowing with an easy soulfulness that recalls the classic late 50s work of Hank Mobley. His presence on the set really opens things up – and althoguh Brown's trio is more than fine, and Gene Harris' piano is always a treat, it's really Moore's tenor work that makes this album a gem. Titles are mostly standards, but done with imagination – and titles include "The Champ", "Polka Dots & Moonbeams", "Like Someone In Love", "Quasimoto", "Ralph's Boogie", and "SOS". CD

Alto saxophonist Rob Brown really shines in a setting like this – a record with a very open-ended vibe, as Brown improvises freely in tandem with Juan Pablo Carletti on the drums – spinning things out over two very long tracks that are full of delightful surprises at every twist and turn! Brown has a really great way of handling his horn – blowing freely, but almost with an inherent sense of structure – not playing changes, or hitting a rhythm, but creating these patterns that really hold the whole thing together – still the farther side of tuneful, but almost there at times. Titles include "6BC" and "Children's Magical Garden" – both nice and long! CD

An easy-going, openly-swinging set from British reedman Sandy Brown – long live tracks that feature lots of deft clarinet work from Sandy, plus some tightly swinging rhythms from a combo that includes Ray Crane on trumpet, Brian Lemon on piano, Phil Bates on bass, and Mike Scott on drums! There's certainly trad roots to the music, but the execution is much more bop-inflected overall – especially given the long tracks that allow plenty of room for solo work – which almost gives the record the feel of a Buddy DeFranco appearance in a Verve Jam Session! Titles include "Splanky", "In The Evenin", "I Got It Bad", "Royal Garden Blues", and "Roll Em Pete". LP, Vinyl record album

A classic album from San Francisco pianist Dave Brubeck – recorded at Oberlin College, the mid-Ohio haven of bohemiana, and a growing hotbed of jazz activity centered around students in the college's conservatory of music at the time of the recording! Dave and crew made the trip at the request of the kids – breaking from their mostly San Francisco-based recording career to cut what would end up becoming a very successful album in Dave's catalog, and begin a whole "at" or "goes to" series in his career – followed up at many other locations. The group's the early quartet with Paul Desmond on alto, Ron Crotty on bass, and Lloyd Davis on drums – and tunes include long and jamming versions of "The Way You Look Tonight", "How High The Moon", and "Stardust". LP, Vinyl record album

A great set – unissued material from the same concert that gave us the original College Of The Pacific album! Classic early live material from the Dave Brubeck Quartet – already humming along nicely with some great alto sax from Paul Desmond! The group's in fine form here – a bit more relaxed and open than on their Columbia recordings – with plenty of creative piano lines from Dave, showing just a slight dose of modernism, and lots more of that cool, icy alto sax work that made Desmond a standout right from the start. Rhythm is by Ron Crotty on bass and Joe Dodge on drums. CD

Easily the crowning moment of genius for the legendary Dave Brubeck Quartet – the moment when all things came together magically, and the group somehow elevated themselves to a whole new level in jazz! At the time of the set, Brubeck, Paul Desmond, and the rest had already been making plenty of waves with their creative yet swinging approaches to modern jazz – heard on a number of successful albums for Fantasy and Columbia in the 50s. But with this record, they really knocked one out of the park – blending Desmond's cool alto, Brubeck's unusual piano phrasing, Joe Morello's melodic drum work, and Eugene Wright's pulsating bass into a waltzing, almost modal groove that crossed over to many camps at the time! The classics "Take Five" and "Blue Rondo Ala Turk" were both hits on their own – but all titles are great, and include "Kathy's Waltz", "Strange Medow Lark", "Everybody's Jumpin", and "Pick Up Sticks". 2CD version features a set of previously unreleased Dave Brubeck material recorded at Newport in the early 60s – 8 rare bonus tracks on a separate CD – plus a DVD that features an interview with Dave on Time Out, historic Brubeck performance footage, a piano lesson, and a photo grallery too! CD

Easily the crowning moment of genius for the legendary Dave Brubeck Quartet – the moment when all things came together magically, and the group somehow elevated themselves to a whole new level in jazz! At the time of the set, Brubeck, Paul Desmond, and the rest had already been making plenty of waves with their creative yet swinging approaches to modern jazz – heard on a number of successful albums for Fantasy and Columbia in the 50s. But with this record, they really knocked one out of the park – blending Desmond's cool alto, Brubeck's unusual piano phrasing, Joe Morello's melodic drum work, and Eugene Wright's pulsating bass into a waltzing, almost modal groove that crossed over to many camps at the time! The classics "Take Five" and "Blue Rondo Ala Turk" were both hits on their own – but all titles are great, and include "Kathy's Waltz", "Strange Medow Lark", "Everybody's Jumpin", and "Pick Up Sticks". LP, Vinyl record album

A great Brubeck side project – featuring music by Dave and lyrics by Iola Brubeck – kind of a reworking of the Gilbert & Sullivan musical, but with a hip 60s swinging jazz vibe – and a story about the importance of American jazz musicians as cultural ambassadors in the postwar years! There's some especially great vocal numbers from Lambert Hendricks & Ross – and Carmen McRae sings a bit in a mode that's similar to her Brubeck albums. And even Louis Armstrong is pretty charming, too! LP, Vinyl record album

A killer record from bassist Paul Brusger – a set that features plenty of great work from Eric Alexander on tenor and alto – the latter an instrument that he's really begun to embrace in recent years! The rest of the group is wonderful too – Steve Davis on trombone, Rick Germanson on piano, and Willie Jones III on drums – a combo with a hard-swinging energy, and lots of individual identity in the way each member expresses themselves within the group – no egos getting in the way of the groove, even though the musicians themselves are an all-star group! Yet credit should really be given to Brusger for not only pulling the whole thing together, but also composing most of the material for the set – really great tunes that bristle with fresh life and vision, on selections that include "A Slice Of Gryce", "Just A Tadd More Please", "Do Dreams Really Matter", "The Sugar Glider", and "Blues For Another Time". CD

Wonderfully righteous work from Burnt Sugar Arkestra – a group who've been giving us great records for years, but who are maybe even more important to the scene than ever before! The core of the record is the long title track – a very jazzy tune that builds up over loops set down by composer Greg Tate, with a flowing, snakey vibe that allows for plenty of long trumpet, tenor, flute, and alto solos over the guitars and Fender Rhodes that work the rhythms – maybe almost in electric Miles territory, but more laidback. That tune is then reworked on a number of variations that are very different – mostly instrumental, as the main track – but finishing up with a bit of vocals near the end of the record – a great contribution from singer Lisala Beatty! Titles include "Angels Over Oakanda", "Repatriation Of The Midnight Moores", "Oakanda Overdrive", and "Lisala Oer Inna Oakanda". (Deep Funk, Jazz) LP, Vinyl record album

One of the best blowing sessions on Prestige – and proof that Kenny Burrell could hit a nice groove when he wanted to! The record is a very open-ended set, and players include Burrell, Donald Byrd, Frank Foster, Tommy Flanagan, Doug Watkins, and Art Taylor. Side one features a great long track called "All Day Long", with loads of space and plenty of great soloing – a cut that is quite possibly THE blowing session tune from Prestige – as it's a perfect example of the label's work in that style, and one of the longest ever recorded in that format. Side two features shorter cuts "Slim Jim", "Say Listen", and "AT" – all a bit tighter, and still very nice! CD features the bonus track "CPW". CD

The legendary Kenny Burrell played often at the Village Vanguard over the years – and this sweet set from later years has the guitarist really stretching out in the familiar setting – hitting some surprisingly deep, strong lines throughout – all with effortless ease! The record's a great reminder that Burrell kept on growing over the decades, and never seemed to lose his power as both a leader and a soloist – something we've been reminded of in his many records after this early 90s set – and the younger combo here really seems to bring out a fresh fire in Kenny, with work from James Williams on piano, Peter Washington on bass, and Sherman Ferguson on drums. Titles include the originals "Then Along Came You", "Good News Blues", and "Maya's Dance" – plus "Fungi Mama", "Lament", and "Black & Tan Fantasy". CD

A hip live date from Kenny Burrell – recorded with a trio that includes Richard Davis on bass and Roy Haynes on drums – both of whom help Kenny find a groove that's a bit lighter and more fluid than usual! The rhythms here are quite gentle, almost spare at times – and always touched with Haynes' great sense of lyricism. Kenny's guitar lines are right out front, freely flowing with plenty of warm chromatic hues, and styles that echo a bit more modernism than we've heard in other work of his from the late 50s. Titles include "Well You Needn't", "Trio", "All Night Long", and "Soft Winds". CD

A hip live date from Kenny Burrell – recorded with a trio that includes Richard Davis on bass and Roy Haynes on drums – both of whom help Kenny find a groove that's a bit lighter and more fluid than usual! The rhythms here are quite gentle, almost spare at times – and always touched with Haynes' great sense of lyricism. Kenny's guitar lines are right out front, freely flowing with plenty of warm chromatic hues, and styles that echo a bit more modernism than we've heard in other work of his from the late 50s. Titles include "Well You Needn't", "Trio", "All Night Long", and "Soft Winds". LP, Vinyl record album

One of Gary Burton's more free-flowing albums of the 70s – a bit more fusion than some of his other work of the time, with key guitar contributions from Mick Goodrick and a young Pat Metheney! The album's still filled with plenty of Burton's great work on vibes, but the guitars also soar out strongly too – bringing in a sense of pulse that's matched by the basses of Steve Swallow and Eberhard Weber, and percussion by Bob Moses. The groove's still a bit softer-edged than traditional fusion sides of the time – thanks to a mellower ECM approach – but there's also a bit more dynamic energy on some of the tracks than you might be used to hearing from the label. Titles include "Silent Spring", "The Colours Of Chloe", "Intrude", "Unfinished Symphony", "Tunnel Of Love", and "Mevlevia". LP, Vinyl record album

Jaki Byard brings plenty to the table here – playing both tenor and alto sax, in addition to his usual piano – and showing once again that he's not just a multi-instrumentalist, but also one of the most multi-voiced talents in jazz! Byard seems to bring a similar spirit of multiplicity to his players on the date – as Major Holly plays tuba and Fender bass, as well as his usual acoustic bass – and drummer Warren Smith also picks up a bit of tympani and vibes as well, especially on the tracks that feature added drummer JR Mitchell. Side one of the record features shorter tunes that showcase Byard's ear for many generations of jazz at once – titles that include "Ballad To Louise", "Just Rollin Along", and "LH Gateway Rag". Side two features part of Jaki's "Family Suite", which is a much more modern number overall – filled with beautiful little pictures in sound! LP, Vinyl record album

One of the greatest records ever from pianist Jaki Byard – a razor-sharp set that features some tremendous work from tenorist Booker Ervin and trumpeter Richard Williams! Byard starts out the set in trio formation for the first two numbers – echoing the great qualities of his earlier albums for New Jazz/Prestige – and then Ervin and Williams slide in on the following two tracks – really expanding the sound with a nice sense of added fire. Both players are a perfect fit for Byard – schooled in a Mingus modernist sensibility that has them really pushing the edges, but never going too far out or getting too free. A few numbers have almost a gutbuckety sense of soul – one that stretches back over previous eras of jazz expression – and titles include "Searchlight", "European Episode", "Out Front", "Two Different Worlds", and "When Sunny Gets Blue" – a track that has Byard on alto and piano, recorded a few years before. This CD includes two previously unreleased tracks, "I Like To Lead When I Dance" and "After The Lights Go Down Low." CD

A live set that follows the great format first set out by the trio of guitarists Charlie Byrd, Barney Kessel, and Herb Ellis – a pretty airy approach to jazz guitar swinging that also features a bit of bass from Joe Byrd and some drums from Chuck Redd! As before, the approach seems to work best on older swing-styled numbers – letting one guitar play rhythm while another solos strongly – on titles that include "Where Or When", "New Orleans", "Change Partners", "Opus One", "Get Happy", and "Danielle". CD

A jazz guitar double-header – two older albums from the classic Great Guitars series packaged in a single set! First up is Great Guitars At The Winery – a date that has a sweet trio of guitarists – Charlie Byrd, Barney Kessel, and Herb Ellis – swinging in easygoing, open-ended formation that allows for plenty of fast string interplay! Rhythm is from Joe Byrd on bass and Jimmie Smith on drums, and at times, the guitar-driven approach is almost in the mode of gypsy swing – but with a lot more of a contemporary feel overall. Titles include "So Danco Samba", "Sheik Of Araby", "Broadway", "Air Mail Special", and "Talk Of The Town". Great Guitars At Charlies Georgetown follows the great format first set out by the trio of guitarists Charlie Byrd, Barney Kessel, and Herb Ellis – a pretty airy approach to jazz guitar swinging that also features a bit of bass from Joe Byrd and some drums from Chuck Redd! As before, the approach seems to work best on older swing-styled numbers – letting one guitar play rhythm while another solos strongly – on titles that include "Where Or When", "New Orleans", "Change Partners", "Opus One", "Get Happy", and "Danielle". CD

One of the best of Donald Byrd's early Blue Note albums – a sparkling set of hardbop tunes with a really souful edge! The album's one of a few that feature Byrd working with baritonist Pepper Adams – a frequent partner on his best recording dates of the late 50s, of which this set is one of the best. The rest of the group includes a rhythm section of Walter Davis, Sam Jones, and Art Taylor – all grooving nice and hard – plus tenor work by the great Charlie Rouse, whose raspy tone really gives the set a tremendous amount of depth. Tracks are a good blend of originals by Byrd and Davis, swinging with the lyrical beauty of a Horace Silver set of tracks – and titles include "Devil Whip", "Bronze Dance", "Clarion Calls", and "The Injuns". CD

One of the best of Donald Byrd's early Blue Note albums – a sparkling set of hardbop tunes with a really souful edge! The album's one of a few that feature Byrd working with baritonist Pepper Adams – a frequent partner on his best recording dates of the late 50s, of which this set is one of the best. The rest of the group includes a rhythm section of Walter Davis, Sam Jones, and Art Taylor – all grooving nice and hard – plus tenor work by the great Charlie Rouse, whose raspy tone really gives the set a tremendous amount of depth. Tracks are a good blend of originals by Byrd and Davis, swinging with the lyrical beauty of a Horace Silver set of tracks – and titles include "Devil Whip", "Bronze Dance", "Clarion Calls", and "The Injuns". LP, Vinyl record album

Early in his career, Donald Byrd spent some time in Paris – where he not only got a chance to work in a whole new setting with some really great players, but he also got to record some fantastic sides that still stand as some of his best hardbop work! This rare album was originally issued on the French Brunswick label – and it features a quintet that includes Bobby Jaspar on tenor, Walter Davis Jr on piano, Doug Watkins on bass, and Art Taylor on drums. The set was recorded live – and the tracks are all quite long – really giving the group ample room to stretch out on hard-blowing solos with a lot of soul. Titles include "Ray's Idea", "Flute Blues", "Paul's Pal", "Dear Old Stockholm", and "The Blues Walk". LP, Vinyl record album

A rock-solid set from Donald Byrd and a great group of players – a record that's got the same sharp edges and dark undercurrents of late 60s classics like Black Jack, Mustang, and Slow Drag! As with those gems, this album's got Donald really experimenting a bit more – especially with the rhythms – which are put forth by a hip trio that features Chick Corea on piano, Miroslav Vitous on bass, and Mickey Roker on drums! But almost even better is the frontline – with Sonny Red making one of his sublime appearances with Byrd, blowing alto with an edge that's amazing – and frequent partner Pepper Adams, adding plenty of baritone on the deep end. The whole thing's great – oddly unreleased until the start of the 80s – and titles include "Samba Yanta", "I Will Wait For You", "Blues Medium Rare", "The Creeper", "Chico-San", "Early Sunday Morning", and "Blues Well Done". CD

A really early nugget from the Detroit jazz scene of the 50s – and a record that marks a key moment for players who would soon become huge on a variety of different labels! The group here features a very young Donald Byrd on trumpet, with Yusef Lateef on tenor, Barry Harris on piano, Alvin Jackson on bass, and Frank Gant on drums – plus Bernard McKinney blowing euphonium – an instrument he would use on a number of other important recordings over the years to really deepen their sound. The date was originally issued by the Transition label, and very quickly disappeared when they quickly closed up show – brought back over the years in a few variations by Delmark, to keep the memory of this moment alive. Tracks include "Yusef", "Parisian Thoroughfare", "Blues", "Dancing In The Dark", and "Tortion Level". CD

A really early nugget from the Detroit jazz scene of the 50s – and a record that marks a key moment for players who would soon become huge on a variety of different labels! The group here features a very young Donald Byrd on trumpet, with Yusef Lateef on tenor, Barry Harris on piano, Alvin Jackson on bass, and Frank Gant on drums – plus Bernard McKinney blowing euphonium – an instrument he would use on a number of other important recordings over the years to really deepen their sound. The date was originally issued by the Transition label, and very quickly disappeared when they quickly closed up show – brought back over the years in a few variations by Delmark, to keep the memory of this moment alive. Tracks include "Yusef", "Parisian Thoroughfare", "Blues", "Dancing In The Dark", and "Tortion Level". CD

Two nice Prestige blowing sessions from the 50s – featuring Donald Byrd right up front. The first LP of the set was issued as Two Trumpets with Art Farmer joining Byrd, set in a sextet with Jackie McLean, Doug Watkins, Barry Harris, and Art Taylor. The harder sound of Byrd is a nice mix with the lyricism of Farmer, and the open-ended nature of the set lets them get a bit more open in their solos than usual. 5 numbers are included: "Contour", "Round Midnight", "The Third", "When Your Lover Has Gone" and "Dig". The second set was issued as The Young Bloods, with Byrd accompanied by sidemen he's not often heard with, Phil Woods, Al Haig, Teddy Kotick and Charlie Persip. Like the first side, it's a rousing set of bop, played with a great deal of fire. 6 numbers make up that set, including "Dewey Square", "Dupeltook", "Once Moore", "House Of Chain", "In Walked George" and "Lover Man". LP, Vinyl record album

An essential bit of 70s jazz funk – one of the key Blue Note collaborations between trumpeter Donald Byrd and producer/arranger Larry Mizell – the man who helped set a whole new standard for soulful sounds at the time! The approach here is quite similar to the pair's work on Places & Spaces – tight, but loose at the same time – with Donald delivering solos that are very different than his work from the 60s, while Mizell finds this way to mix together all sorts of instruments, at so many different levels – but with a clarity that's mindblowing. Most tracks have a nice groove, a few points feature a touch of vocals – and titles include the classic, and oft-sampled "Think Twice" – plus "We're Together", "Makin It", "Rock & Roll Again", "I Love The Girl", and "You Are The World". CD

Incredible work from the team of Donald Byrd and Gigi Gryce – crisp modern jazz, filled with soul, and never failing to swing! During the time of these recordings, Gryce was one hell of an arranger – with a tight ensemble approach that worked magic in a small combo setting. He was also a tremendous alto player – with a tone that was unlike any other musician at the time, magically sharp, with a sound that always seemed to inspire a great deal of energy from his bandmates. He gets plenty of that here from trumpeter Donald Byrd – sounding better on these sides than on most of his other 50s recordings – thanks also to some great accompanists, who include Tommy Flanagan, Wendell Marshall, and Art Taylor. Some tunes feature additional horn work from players that include Benny Powell, Julius Watkins, and Sahib Shihab. Volume 1 in this Lonehill's Complete Jazz Lab Studio Sessions mixes 13 tracks originally released on the LPs Jazz Lab, Modern Jazz Perspective, plus mutual tracks with the rare compilation Jazz Omnibus. Titles include "Nica's Tempo", "Smoke Signal", "Over The Rainbow", "Sans Souci", "Speculation", "Stablemates", "Steppin Out", "Social Call", "Satellite", "An Evening In Casablanca" and more! CD

Incredible work from the team of Donald Byrd and Gigi Gryce – crisp modern jazz, filled with soul, and never failing to swing! During the time of these recordings, Gryce was one hell of an arranger – with a tight ensemble approach that worked magic in a small combo setting. He was also a tremendous alto player – with a tone that was unlike any other musician at the time, magically sharp, with a sound that always seemed to inspire a great deal of energy from his bandmates. He gets plenty of that here from trumpeter Donald Byrd – sounding better on these sides than on most of his other 50s recordings – thanks also to some great accompanists, who include Tommy Flanagan, Wendell Marshall, and Art Taylor. Jackie Paris also joins the group on vocals for a few tunes – "Early Morning Blues" and "Elgy" – and some tunes feature additional horn work from players that include Benny Powell, Julius Watkins, and Sahib Shihab. Other tracks include "Sans Souci", "Speculation", "Stablemates", "Steppin Out", "Social Call", and "Satellite". LP reissues the albums Jazz Lab and Modern Jazz Perspective. LP, Vinyl record album

A young player, but one with a really tremendous sound – easily poised to become one of the most impressive European saxophone talents of the next few years! Pescara plays alto, but with a depth that makes him sound like a classic player from many years back – a sense of fullness and focus that's really amazing, and which never slips up for a minute. A few tracks here have him really soaring out with unbridled energy – while others hit a calmer, more sensitive side – and all tracks here are originals by Cafiso, showing a nascent writing skill that definitely bears watching. The group's a quartet, and titles include "Louisiana", "Happy Time", "Sir Charles", "She Loves Me", "Blues For Angel", "Goodbye Elvin", and "The Bear". CD

One of the coolest, classiest pianists on the New York scene – heard here on an early album for RCA! LP, Vinyl record album

A great example of the cool, classy swing that Benny Carter hit in the 1960s – a groove that was more regularly brought to backings for standout singers of the time, but which also works beautifully here in an instrumental mode! Carter's alto sax is at the top of the charts, but the album's almost more of an ensemble effort overall – with great reed work from Bud Shank on alto, Teddy Edwards and Bill Perkins on tenor, Bill Hood on baritone sax, Don Abney on piano, Barney Kessell and Mundell Lowe on guitar – all coming together as kind of a mini-large ensemble – never that big in the number of players, but grooving with a great sense of poise, class, and soul. There's a number of originals written by Carter, including "Doozy", "Prohibido", "Come On Back", "Rock Bottom", "We Were In Love", and "Titmouse" CD

A key later album from alto saxophonist Benny Carter – one that has him at the helm of a largeish group, but playing with a nicely focused sort of groove! In addition to Benny's alto, the record also features tenor sax from Charlie Rouse and Coleman Hawkins, plus one more alto from Phil Woods – supported by rhythm from John Collins on guitar, Dick Katz on piano, Jimmy Garrison on bass, and Jo Jones on drums. The tunes are traditional, but have some sharper-edged modern ideas on some of the solos – and there's a nicely echoey feel to the production, which further adds to the quality of the record. The album's a bit like a Swingville session for Prestige, but has a bit more going on – and titles include "Doozy", "Blue Star", "Midnight Sun Will Never Set", and "Crazy Rhythm". CD also features a full bonus album – the record Additions To Further Definitions! CD

Benny Carter meets Oscar Peterson – two older giants from the Verve jazz scene of the 50s, recording here in loose quintet format three decades later! The album's got a format that's similar to some of the easy-flowing Verve dates from years back – no surprise, given that Norman Granz produced the set – and there's plenty of room for Carter's amazing tone on the alto to stretch out over mellow rhythms from Joe Pass on guitar, Dave Young on bass, and Martin Drew on drums. Titles include "Sweet Lorraine", "Just Friends", "Whispering", "Some Kind Of Blues", and "Baubles Bangles & Beads". LP, Vinyl record album

Young lion jazz from a great little combo – one headed up by pianist Marc Cary, and featuring Roy Hargrove on trumpet, Ron Blake on tenor, and Yarborough Charles Laws on flute! The record's got the positive, forward-thinking sound you'd guess from the players – a great mix of entitled optimism with some nice undercurrents of darkness – really showing this generation of players on the cusp of their maturing talents! The horn work from Blake and Hargrove is especially nice – full of soulful colors that really make the record sparkle – and other players include Dwayne Burno on bass, Dion Parson on drums, and Charlene Fitzpatrick on a bit of vocals. Titles include "Melody In C", "The Trial", "The Vibe", "He Who Hops Around", and "We Learn As We Go". CD

A pair of great albums back to back – both rare albums from a percussionist who worked with Sun Ra! First up is Mora volume 1 – a legendary early set from percussionist Francisco Mora Catlett – and a really sublime blend of spiritual jazz and Latin rhythms! Mora's percussion is definitely at the core – but the set also features wonderful contributions from Vincent Bowens on tenor and soprano sax, Jerome LeDuff on berimbau, Alberto Nacif on quinto, and Detroit jazz legend Kenny Cox on piano! There's a balance here that really matches the best Strata East energy of the 70s – an open, flowing approach that's completely sublime, and very righteous too – even more so than anything Mora's done since the 70s – making this record one of his greatest achievements ever. Tersa Mora sings a bit of vocals at times – and titles include "Afra Jum", "Five AM", "Rumba Morena", "Samba De Amor", and "Cultural Warrior". Mora 2 is a set recorded in Detroit, but one that's got a globe's worth of elements in the mix – originally recorded in the mid 80s, but not released until a brief CD issue in the early part of the 21st Century! Despite that history, the album's a really timeless record that encompasses a world's worth of elements in jazz! Francisco Mora Catlett's at the height of his powers here – leading the group with a sense of righteous majesty that takes us back to some of the most ambitious heirs of the post-Coltrane generation, but with perhaps an oddly rhythmic twist as well – such as you might find in some of the 70s classics of Bobby Vince Paunetto. Echoes of Latin, Afro, and spiritual jazz come together as one – soaring to the skies on soulful waves of sound – brought together with a sense of focus and spirit that really moves us a lot. Players include Marcus Belgrave and John Douglass on trumpets, Sherman Mitchell on trombone, Vincent Bowens on tenor and flute, Alex Harding on baritone and bass clarinet, Kenny Cox on piano, and Rodney Whitaker on bass – and titles include "Samba/Conga De Amor", "Amazona Prelude/Dawn", "Old Man Joe", "Por Que Paro", and "Afra-Jum (parts 2 & 3)". CD

Beautiful work from baritone saxophonist Serge Chaloff – one of a few key players who helped reinvent the role of his instrument in jazz during the postwar years – but one who only made a handful of records before his too-early death! This live performance really corrects the lack of entries in the Chaloff catalog – and it really stands as a nice contrast to the more composed vibe of his Capitol albums – as the tracks are long and open, and Serge really blows us away with his imagination and power on the solos! The group's not an all-star one – Jerry Murphy on piano, Al Dimino on bass, and Don Sheldon on drums – but Chaloff hardly lets that get in the way, as he steps out front right from the start, and blows beautifully on both the swingers and ballads – with a depth and dexterity that most folks would usually only hit on the tenor. Titles include "Ninety Nine Guys", "Wildwood", "Move", "Tea For Two", "I'll Remember April", "Love Is Just Around The Corner", and "Willow Weep For Me". CD

One of the most obscure of the Paul Chambers albums on Blue Note – and one of the most interesting as well! Although best known for his solid rhythm work on late 50s hardbop recordings, Chambers breaks out here with a more introspective, more exploratory style on the bass – using the instrument "on top", as a lead solo force in a group with Kenny Burrell on guitar, Hank Jones on piano, and Art Taylor on drums. The sound is surprisingly soulful, and modern yet swinging – in the manner of Oscar Pettiford's best sides of this style. Titles include "Yesterdays", "You'd Be So Nice To Come Home To", "Confessin", and "The Theme". CD

Excellent work from this Chicago tenorist – a killer postwar talent who was equal parts jazz and R&B! Although the cover of the record includes a picture of Eddie's wife, Dinah Washington, and the "Friend" in the title would seem to imply that she's on the album, the set's really just a bunch of hard jazz cuts that showcase Eddie's screaming tenor sax, and which don't include Dinah's vocals. Not that that's a problem, though, because the record's a great one, and it's a good peek at player who was one of the biggest in Chicago during the 50's, and who had a loud hard R&B sound, in a mode that was similar to other Chicago players, such as Gene Ammons and Red Prysock. The record's got a number of originals by Chamblee, plus a few tracks written by Julian Priester and Dinah Washington (but did she really write them?). Titles include "Back Street", "Strollin Sax", "Village Square", and "Swing A Little Taste". CD

One of the coolest collections of work related to Ray Charles that we've ever seen – a huge box that brings together both some of the music that inspired Ray, then his own recordings, then tracks that he did that inspired other artists too! The first four CDs feature work from a generation both before Ray started recording, and material contemporary to his important early sides – and the set first begins with cuts by artists doing a song, then moves into Charles' own interpretation of the song – showing the way that he really changed things up, as he take son music from Cecil Shaw, Lowell Fulson, Tommy Dorsey, Leroy Carr, Don Gibson, Charlie Parker, T Bone Walker, Swan Silvertone Singers, and dozens of other artists! The last three CDs then feature songs first sung by Ray, followed by either covers of the same tunes, or songs that really owe a lot to them – music from Eddie Bo, Jimmy McGriff, Bobby Peterson, Sammy Davis Jr, Stevie Wonder, Eddie Cochran, Brenda Lee, Richard Groove Holmes, Bobby Parker, Sandy Nelson, and dozens of others too! The package features 171 titles in all – including 15 never-issued live tracks from Ray Charles. (Soul, Jazz) CD

A great Bethlehem Records date from vibes man Teddy Charles – stepping out here in a set that's one of his most openly swinging of the time! The record still has some of the modern currents of Teddy's other work, but also makes great use of Zoot Sims on tenor – really pushing him out front for some bold solos on most numbers – in a great group that also includes Jimmy Raney on guitar, Sam Most on flute, and Dave McKenna on piano. There's a bit of audience noise at times, but we can't tell for sure if this is an actual live album – given the clarity of the performances throughout. Titles include "Nigerian Walk", "Rifftide", "Yesterdays", "That Old Black Magic", and "Yale Blue". CD

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

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

Arguably the best of Cherry's albums for Blue Note – and a real masterpiece of soulful avant playing! The group features Cherry on cornet, Gato Barbieri on tenor (and he's incredible, by the way!), Henry Grimes on bass, and Ed Blackwell on drums. Grimes and Blackwell are more than just timekeepers – and deliver a lot of the melody of the session, yet still never lose their sense of swing. Barbieri's fragile raw tone proves to be a good one to work with Cherry, even if there are a few touches of Ornette in his playing. The album's divided up into 2 long suites – "Complete Communion" and "Elephantasy" – both of which are excellent. A real treat – with no sloppiness, lots of fresh ideas, and a good sense of both freedom and control! Reissued here with 24-bit remastering! CD

A fantastic live performance – one that not only lives up to the legacy of Don Cherry mixing together global elements in his music, but also echoing a brief point when pianist George Gruntz was interested in the rhythms of North Africa! The presentation is incredible – really stunning music that stands out from similar projects from both artists – maybe in part because the lineup is filled with all sorts of surprises – including these really incredible reed passages from Sahib Shihab, who also gets into the cross-cultural spirit of the music – blowing flutes and soprano sax with an amazing edge – echoed by work from Salah El Mehdi on ney and flute, Moktar Slama on bendir and soukra, Jelloud Osman on bendire and bagpipe, and Hattab Jouini on tabla and darbouka – four North African musicians who really bring a lot to the set. The rest of the lineup features Daniel Humair on drums and Henri Texier on bass – the latter of whom would experiment in this nature later on – and the whole thing is amazing! LP, Vinyl record album

Seminal early work from guitarist Charlie Christian – tracks that really preface the development of bop in the 40s – recorded at the birthplace of that movement, the legendary Minton's Playhouse in Harlem! Christian's sense of tone and timing is amazing – even sharper and bolder than his already-famous work with Benny Goodman, laid out here with a deftness that really paves the way for the kind of fast-thinking, fast-moving creativity of bop – in a combo that also includes Thelonious Monk on piano and Kenny Clarke on drums! There's still a bit of older swing style guitar work at points, but Christian's command of single-note lines is definitely bop-like riffing too. LP, Vinyl record album

One of the greatest jazz-meets-classical albums from pianist Eugen Cicero – thanks to a good amount of Rokoko in the grooves! The more flowery, flourishing style of the Rokoko era proves to be a perfect foil for Cicero's incredible approach to the keys – one that lets him bring even more complicated touches to the piano, while still working with tightly jazzy rhythms from the team of Peter Witte on bass and Charlie Antolini on drums! Witte and Antolini are great throughout – keeping things tight and focused, and making the record way more than a virtuostic exploration of classical themes. As much a jazz record as the best Swingle Singers sides from the 60s – with titles that include a great original called "Bach's Softly Sunrise", plus Bach's "Solfeggio C Moll", Couperin's "L'Adoslecente", and Scarlatti's "Sonate C-Dur". LP, Vinyl record album

Esaie Cid on alto saxophone and clarinet, Benjamin Dousteyssier on baritone and soprano saxophone, Alex Gilson on bass, and Paul Morvan on drums. CD

One of the most classic Blue Note sessions ever – and for good reason too! From the cover, to the title, to the hardbopping grooves of the set, this Sonny Clark late 50s smoker is one of the label's best – as pianist Clark is working here at the height of his powers – leading an all-star group that includes Art Farmer on trumpet, Curtis Fuller on trombone, Hank Mobley on tenor, Wilbur Ware on bass, and Louis Hayes on drums – all coming together magically on open-ended tunes that tighten up from the blowing session format, and really send the groove home! Plus, Sonny's writing is also great – as the set's got a number of great originals by Clark – and titles include "Bootin' It", "Sonny's Mood", "Shoutin On A Riff", and "Dial S For Sonny" – plus a bonus alternate take of the cut "Bootin' It"! CD

A trio treasure from the incredible Sonny Clark – a rare non-Blue Note date from the late 50s, and a wonderful illustration of his powers on the piano! The setting is spare, but the sound is never sleepy – as Sonny's working here with Max Roach on drums and George Duvivier on bass – both of whom make for very lively compatriots in the trio – and help Sonny hit some fiercely flowing lines on piano! And apart from Sonny's great playing, the album's also a great showcase for his writing skills too, as nearly never tune's an original – with titles that include "Nica", "Sonia", "My Conception", "Minor Meeting", and "Blues Mambo". Also features a version of "Sonny's Crib" – mis-labeled here as "Sonny's Crip"! LP, Vinyl record album

Way more than an "encore" of the legendary Clarke Boland album Golden Eight – and instead a whole different set of recordings, done way back in 1961, but unissued until now! The album's a killer through and through – every bit the same sort of gem you'd get with the early Clarke Boland albums of the pre-MPS years – extremely tight large ensemble jazz, driven with plenty of soul in the rhythm section, and swinging with some incredible solos that further deepen the sound! Right from the start, the pair were totally on the money – and work here with a lineup that's filled with key European soloists, including Dusko Goykovich on trumpet, Derek Humble on alto sax, Karl Drewo on tenor, and Fats Sadi on percussion – not to mention the core crack rhythm trio of Francy Boland on piano, Jimmy Woode on bass, and Kenny Clarke on drums. Titles include the great Boland originals "A Ball For Othello", "La Campimania", "You Dig It", "Pape Satan Aleppe", and "Free Wheel" – plus a great version of "Invitation". LP, Vinyl record album

A massive double-length live album from the Griffith Park project of Chick Corea and Stanley Clarke – one that expands wonderfully on the warmth and soul of their first studio album! Like that classic, this one features an all-acoustic lineup that has Corea on piano and Clarke on upright bass, both playing with a wonderful sense of imagination and creativity – in ways that are quite different than their better-known electric work of a few years before. Joe Henderson's tenor and Freddie Hubbard's trumpet are both great too – played with some sharp modern tones at a few points, but mostly in that flowing, soulful style that both players were hitting at the time. Lenny White's drums are light years away from his mid 70s fusion work – sharply focused, but always with a nod towards his mighty range of timings – and all players come together beautifully, with almost the same sort of blend of freedom and focus as the VSOP group. Tracks are all quite long, and titles include "Happy Times", "October Ballad", "Why Wait", "Guernica", and "I Mean You". CD

One of the most striking albums ever recorded by the legendary Clarke-Boland Big Band – a suite of tracks composed by leader Francy Boland, swinging with a style that stands with the best MPS work of the time! Boland's clearly taking his cue from the sophisticated later work by Duke Ellington – but he's also inspired by the groovier soundtrack styles bubbling in Europe during the 60s, as well as the other incredible genre-blurring work on MPS at the time. The tracks are all nice and long, and swing with an exotic groove that keeps very much with the Fellini title – offering plenty of space for a range of great soloists that include Tony Coe, Sahib Shihab, Benny Bailey, and Idrees Sulieman. Brilliant throughout – an under-discovered jazz classic – with a suite of 3 movements that include "Rosati At Popolo Square", "Tween Dusk & Dawn In Via Urbana", and "Villa Radieuse". CD

Great work by this legendary hard swinging band – an early 60s American album issued on Atlantic Records, in the years before the Clark Boland Band's legendary run on MPS! Despite the early date, the album's got all the core elements of the band's sound in place – soaring rhythms, sharp-edged frontlines, and some great solo work by players who include Benny Bailey, Derek Humble, Jimmy Woode, Shahib Shihab, Idrees Sulieman, and Fats Sadi – coming together in a brilliant trans-Atlantic meeting of jazz talents! Tracks include "Long Note Blues", "Speedy Reeds", "Sonor", and "Om Mani Padme Hum". CD