How can we even begin to describe the genius of Lambert Hendricks and Ross? The group was a jazz vocal supergroup that merged three talents that had already made a big name in the bebop vocalese field – Dave Lambert, Jon Hendricks, and the lovely Annie Ross – and the project was an attempt to completely work the emerging vocalese style onto a full-blown jazz group. This album wasn't their first – but it was the first to really break them with the masses, and it's a vocal jazz classic if there ever was one. Backings are by the Ike Isaacs Trio, plus Harry Edison on trumpet – and titles include "Moanin", "Twisted", "Cloudburst", "Everybody's Boppin", and "Sermonette". CD

How can we even begin to describe the genius of Lambert Hendricks and Ross? The group was a jazz vocal supergroup that merged three talents that had already made a big name in the bebop vocalese field – Dave Lambert, Jon Hendricks, and the lovely Annie Ross – and the project was an attempt to completely work the emerging vocalese style onto a full-blown jazz group. This album wasn't their first – but it was the first to really break them with the masses, and it's a vocal jazz classic if there ever was one. Backings are by the Ike Isaacs Trio, plus Harry Edison on trumpet – and titles include "Moanin", "Twisted", "Cloudburst", "Everybody's Boppin", and "Sermonette". CD

A wild record! Singer Kelly Stevens turns out some fusion versions of Disney songs – not recent ones from the overwrought Lion King days, but old ones, of classic cartoon years. The best part of all, though, is that Kelly's working here with a hip Finnish combo with some great electric keyboards – grooving in a mode that's got a breezy European finish, and which makes the record sparkle like some lost MPS or 70s San Francisco jazz gem. Of course, a few songs are a bit too hokey to get into – but there's some other ones on here that are surprisingly great, and which have an expansive sound that really opens up the tracks. Includes a funky break version of "Who's Afraid Of The Big Bad Wolf", a scatting grooving take on "Bibbidi Bobbidi Boo", and the tracks "Chim Chim Cheree", "Alice In Wonderland", "When You Wish Upon A Star", and "Heigh Ho". LP, Vinyl record album

A heck of a cool group – with a really wonderful sound! The Peddlers were a late 60s British trio, with a sound that's part soul, part jazz, part supper-club vocals – all done with a clean, clear, hard-grooving approach – and strong instrumentation that often includes a heavy dose of Hammond organ! A big chunk of the work on this album has a gently funky sound that really takes it miles from its original roots – as familiar numbers get transformed into nicely party-rocking tunes with a very hip groove – making for a few tracks that have nice breaks, and others that cook with a nice mod little sound! Keith Mansfield's helping the trio get their groove on here – and titles include their classic break take on "On A Clear Day", plus "Nobody Likes Me", "I'm A Boy In Love", "Comin Home Baby", "Just A Pretty Song", "Prime Of My Life", and "Lost Continent". (Soul, Vocalists) LP, Vinyl record album

A record that could have been the biggest breakthrough in the career of the legendary Joyce – yet the set was never issued at the time! The late 70s session has Joyce recording in New York, under the guidance of studio maestro Claus Ogerman – who has a wonderful way of elevating the overall quality of the proceedings, while never getting in the way of that special magic that made Joyce so wonderful – especially on her albums for EMI! As with those records, Joyce plays acoustic guitar alongside her amazing vocal approach – a style that's unlike anything else we can describe – informed by jazz and Brazilian music, yet soaring and gliding in a completely sublime style – awash in color and light as it flies to the sky. Mauricio Maestro helped out heavily on the record too – and the other players include Mike Manieri on vibes, Michael Brecker on tenor, Joe Farrell on flute, and Nana Vasconcelos on percussion – on titles that include a fantastic early reading of "Feminina" – plus "Miserios", "Descompassadamente", "Pega Leve", "Ciclo Da Vida", "Coracao Sonhador", and "Moreno". (Brazil, Vocalists) LP, Vinyl record album

A record that could have been the biggest breakthrough in the career of the legendary Joyce – yet the set was never issued at the time! The late 70s session has Joyce recording in New York, under the guidance of studio maestro Claus Ogerman – who has a wonderful way of elevating the overall quality of the proceedings, while never getting in the way of that special magic that made Joyce so wonderful – especially on her albums for EMI! As with those records, Joyce plays acoustic guitar alongside her amazing vocal approach – a style that's unlike anything else we can describe – informed by jazz and Brazilian music, yet soaring and gliding in a completely sublime style – awash in color and light as it flies to the sky. Mauricio Maestro helped out heavily on the record too – and the other players include Mike Manieri on vibes, Michael Brecker on tenor, Joe Farrell on flute, and Nana Vasconcelos on percussion – on titles that include a fantastic early reading of "Feminina" – plus "Miserios", "Descompassadamente", "Pega Leve", "Ciclo Da Vida", "Coracao Sonhador", and "Moreno". (Brazil, Vocalists) CD

Al Martino plays off his big fame here as Johnny Fontane in The Godfather – serving up an album that includes the title hit of the film, plus a number of other modern Italian-styled numbers! By the early 70s, the Italian fare of Al's old days was fading, but thanks to Coppola and the film, there seemed to be a new market for music like this – so Martino headed into the studio with Peter DeAngelis, one of the better arrangers for such a record, and cooked up a pretty nice little set that updated the Neopolitan pop sound for the 70s. Titles include "Just Say I Love Her", "The Rise & Fall Of A Fool", "Speak Softly Love", "I Have But One Heart", "A Man Without Love", and "You're Breaking My Heart". LP, Vinyl record album

A funky big band album, recorded by Thad Jones & Mel Lewis, with the great Joe Williams on vocals! The record is one of the most sought-after by the team – probably because it includes the hard breakbeat version of "Get Out of My Life Woman" that's been sampled often over the years. (Actually, hasn't every version of it been sampled by someone?) The other tracks are pretty funky, too, with nice soul groovers like "Night Time Is The Right Time", "Woman's Got Soul", and "How Sweet It Is". Players include Pepper Adams, Joe Farrell, Jerome Richardson, and Roland Hanna – and the Jones/Lewis group is at the height of its hipness here! CD

2 albums recorded by Esther in the years before she broke into big fame on the Kudu label. Burnin is a stunning live set that marked Esther's move from being a loud young R&B singer into an older, more mature interpreter of material in a more jazzy style. She's backed here by a good group that includes Jack Wilson on piano, Richard Tee on organ, Chuck Rainey on bass, and Cornell Dupree on guitar – and she moves through a heartbreaking set of material that heralds her later 70's recordings for Kudu. Tracks include "Don't Let Me Lose This Dream", "And I Love Him", "Shangri-La", and "Please Send Me Someone To Love". Confessin points back at Esther's earlier career in R&B, but has a nice jazzy finish – thanks to players like Sonny Criss, Teddy Edwards, and Herb Ellis – and the record also features a few more sides from the Burnin sessions at Freddie Jett's Nightclub in LA. Titles include "Romance In The Dark", "I Wonder", "I'm Getting Long Alright", "In The Evenin", and "I Love Paris". Due to time limit restrictions, the CD excludes the cuts "I'm Getting Long Alright" and "It Could Happen To You" from the LPs. (Soul, Vocalists) CD

Shirley Horn caught right at the height of her great revival years in the 90s – a time when she was arguably even more expressive and deeply soulful than before! Like most of Horn's best recordings of the time, this live date features a trio – with Shirley herself on piano, Charles Ables on bass, and Steve Williams on drums – all working in warmly swinging territory that's totally great! Horn's vocals are wonderful throughout – very well-recorded, despite the festival setting – and there's an intimacy and sense of personality to the record that you'll be hard pressed to find in some of the other Monterey live dates. Titles include "Blues For Big Scotia", "A Song For You", "How Am I To Know", "Foolin Myself", "The Look Of Love", "Nice N Easy", and the sublime "LA Breakdown". CD

A nice little Verve session that breaks from the usual format – especially the "Songbooks" one – and features Ella in LA with small group backing by Jim Hall, Lou Levy, Wilfred Middlebrooks, and Gus Johnson. The set was recorded live at the Crescendo – in a jazzily swinging mode that's a bit looser than some of Ella's other Verve sessions, but which still demonstrates some nice control on the vocals. Titles include "Mr Paganini", "Stairway To The Stars", "Air Mail Special", "Blue Moon", "This Could Be The Start Of Something Big", and "Just In Time". LP, Vinyl record album

One of 2 ESP sessions by Patty Waters – one of the most groundbreaking vocalists of the 60s, and a singer with a style that mixed equal parts jazz and folk! In a way, Patty's got a sound that's somewhat like Nina Simone at her best – in that she dominates a tune completely, singing as if she's speaking – and infusing it with a raspily personal mode that goes far deeper than simple interpretation. The difference, of course, is that most of Waters' material is all original, so the themes aren't nearly as restrictive as some of the covers that Simone had to re-interpret – but there's certainly a mode here that explores freedoms within limits, and which should have made Waters a much bigger influence in her generation. All material on the set was recorded during a 1966 tour of the state colleges of New York – with backings by Burton Greene on piano, Steve Tintweiss on bass, and Tom Price on percussion – and titles include "Moon Don't Come Up Tonight", "Why Can't I Come To You", "You Thrill Me", "Sad Am I Glad Am I", and "Black Is The Color Of My True Love's Hair". CD

A nice little 2CD set – one that features the full 1962 Carnegie Hall concert by Tony, with a second CD that gives the album enough space to add in a huge amount of previously unreleased tracks! The performance has Tony singing with both the trio of Ralph Sharon, and a larger orchestra – making for a good blend of the styles he'd been working on his early albums for Columbia, presented here in a way that has the unreleased tracks put in the same order as they were originally recorded – making for a full concert with hardly any breaks. The set boasts 44 tracks in all – with titles that include "Firefly", "The Rules Of The Road", "Without A Song", "It Amazes Me", "This Could Be The Start Of Something Big", "Lazy Afternoon", "My Ship", "Speak Low", "Fascinating Rhythm", "Just In Time", and "That Old Black Magic". CD

A nice little Verve session that breaks from the usual format – especially the "Songbooks" one – and features Ella in LA with small group backing by Jim Hall, Lou Levy, Wilfred Middlebrooks, and Gus Johnson. The set was recorded live at the Crescendo – in a jazzily swinging mode that's a bit looser than some of Ella's other Verve sessions, but which still demonstrates some nice control on the vocals. Titles include "Mr Paganini", "Stairway To The Stars", "Air Mail Special", "Blue Moon", "This Could Be The Start Of Something Big", and "Just In Time". CD

The genius of Betty Carter knows no bounds – and this album's a perfect illustration of that fact! The record is one of the few that Betty released on her own label – working in near obscurity at a time when she really wanted to break from the BS of the bigger companies, and the staid approach they were using towards vocal jazz. This set is one of Betty's most freewheeling – performed with trio lineups that include players like Onaje Alan Gumbs, Buster Williams, and Louis Hayes – really stretching things out past the simple "piano trio meets standards with singer" that you might hear on other records. The best illustration of the style is the amazing track "Sounds" – a 7 minute workout that has the trio and Betty cutting loose, taking jazz vocals a million miles past Ella or Billie or any other singer. Most other tracks are originals – and beautiful ones too – and titles include "What Is It", "I Can't Help It", "We Tried", "Happy", and "Tight". CD

The genius of Betty Carter knows no bounds – and this album's a perfect illustration of that fact! The record is one of the few that Betty released on her own label – working in near obscurity at a time when she really wanted to break from the BS of the bigger companies, and the staid approach they were using towards vocal jazz. This set is one of Betty's most freewheeling – performed with trio lineups that include players like Onaje Alan Gumbs, Buster Williams, and Louis Hayes – really stretching things out past the simple "piano trio meets standards with singer" that you might hear on other records. The best illustration of the style is the amazing track "Sounds" – a 7 minute workout that has the trio and Betty cutting loose, taking jazz vocals a million miles past Ella or Billie or any other singer. Most other tracks are originals – and beautiful ones too – and titles include "What Is It", "I Can't Help It", "We Tried", "Happy", and "Tight". LP, Vinyl record album