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A label-spanning look at the music of Terry Callier – one that starts with his folksy roots, runs through his sublime soul at Chess, and ends with some of his overlooked modern soul numbers from the early 80s! There's been a few other Callier collections on the market, but this one's got the best vibe of all of them – as it really goes out of its way to paint the full picture of Terry's unique music – by weaving together tunes that touch on his strongest moments of genius, and mixing those with some surprising gems that haven't been reissued before! Especially rare bits include the previously unissued "Hangman" – recorded for Cadet in the early 70s; a 45 mix of "You're Going To Miss Your Candyman"; the Erect Records cuts "I Don't Want To See Myself Without You" and "If I Could Make You Change Your Mind", both only issued on 12" single; and the early soul 45 "Look At Me Now". Other tracks include "It's About Time", "Dancing Girl", "Occasional Rain", "Martin St Martin", "Until Tomorrow", "I Don't Want Nobody Else", "Turn You To Love", "Be A Believer", "What Color Is Love", and "Ordinary Joe". (Soul, Vocalists) CD

Titles include "My Foolish Heart", "She's Funny That Way", "Where I Belong", "The Best Things Happen While You're Dancing", and "Freddie's Yen For Jen". CD

An excellent 70s set by Jackie & Roy – very different than their work of the 50s and 60s, with an approach that's much more far-reaching and complicated – a style that opens up their vocal talents majestically! Gone are the simpler ditties of earlier years, and in their place are warmly gliding numbers that open up to really unique vocal interplay – sometimes with Jackie in the lead, but other times trading back and forth with all the kind of complicated inflections you'd expect from early 70s CTI! Don Sebesky handled the arrangements with a great mix of spacey and breezy sounds – some slight electric touches at the bottom, but never in a way that makes the record too slick or smooth. Titles include a great version of "Bachinas Brasileiras #5", plus "Heading", "Summer Song", and "Lazy Afternoon". CD

An excellent 70s set by Jackie & Roy – very different than their work of the 50s and 60s, with an approach that's much more far-reaching and complicated – a style that opens up their vocal talents majestically! Gone are the simpler ditties of earlier years, and in their place are warmly gliding numbers that open up to really unique vocal interplay – sometimes with Jackie in the lead, but other times trading back and forth with all the kind of complicated inflections you'd expect from early 70s CTI! Don Sebesky handled the arrangements with a great mix of spacey and breezy sounds – some slight electric touches at the bottom, but never in a way that makes the record too slick or smooth. Titles include a great version of "Bachinas Brasileiras #5", plus "Heading", "Summer Song", and "Lazy Afternoon". CD

A warm later set from Carmen McRae – recorded with great small combo jazz backing that features tenor sax work from Clifford Jordan! The album's a real back-to-basics one for McRae – and gets away from crossover modes used in the 60s and 70s, taking Carmen back to the more jazz-based sound of her earliest records – but going even one further by bringing in Jordan, since Carmen mostly started out with straight trio backing. Other players include Eric Gunnison on piano and John Collins on guitar – and the tunes themselves are mostly standards, sung with impeccable phrasing. Titles include "Tulip Or Turnip", "Body & Soul", "I Hear Music", "This Is Always", "It Could Happen To You", "Old Devil Moon", and "Have You Met Miss Jones". CD

A very unusual session for Carmen McRae – a live recording that features only her vocals and piano, on spare readings of a number of sophisticated songs that ably demonstrate the class and care she was bringing to her work at the time! The approach is quite different from some of the smoother, more soul-based records that McRae was cutting in the 70s – a very laidback, late nite sort of date that takes us right back to Carmen's earliest years on record – but with a 60s' worth of hipness thrown into the mix. She's still got some sense of poise on the tunes, but also brings up a slightly earthy undercurrent at points too – a relaxed, mature vibe that really fits the intimacy of the record. Titles include "The Last Time For Love", "More Than You Know", "I Can't Escape From You", "I Could Have Told You", "Please Be Kind", and "Supper Time". CD

A very unusual session for Carmen McRae – a live recording that features only her vocals and piano, on spare readings of a number of sophisticated songs that ably demonstrate the class and care she was bringing to her work at the time! The approach is quite different from some of the smoother, more soul-based records that McRae was cutting in the 70s – a very laidback, late nite sort of date that takes us right back to Carmen's earliest years on record – but with a 60s' worth of hipness thrown into the mix. She's still got some sense of poise on the tunes, but also brings up a slightly earthy undercurrent at points too – a relaxed, mature vibe that really fits the intimacy of the record. Titles include "The Last Time For Love", "More Than You Know", "I Can't Escape From You", "I Could Have Told You", "Please Be Kind", and "Supper Time". CD

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It's time to swing, but with a classy sound throughout – very much the best mix of modes Dakota Staton brought to her key early years at Capitol Records! Backings are by Sid Feller, and are pretty darn jazzy throughout – more so than some of Sid's other work of the time – a perfectly soulful setting for Staton's amazing vocals – very poised at points, yet never as stiff or stodgy as some of her contemporaries. Dakota's got a deep-toned approach to these tracks that really helps make the album way more than just another recording of familiar standards – and instead, does a great job of taking tunes into rich new territory. There's loads of great reedwork – from Phil Woods, Jerome Richardson, and Budd Johnson – and titles include "If I Should Lose You", "When Lights Are Low", "Willow Weep For Me", "But Not For Me", "The Song Is You", and "Until The Real Thing Comes Along". Bonus tracks include "You'd Better Go Now", "You've Changed", "All In My Mind", "Detour Ahead", and "Once There Lived A Fool". CD

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One of the rare few albums cut by vocalist Dodo Greene – best known for her obscure Blue Note session – and even that one's pretty darn rare! Dodo's a hell of a singer, and one that never fully got her due (although we can testify to seeing her years ago in a wonderful small club set on the Buffalo scene!) She's quite soulful, and has a unique phrasing that's partly some of the personally-tinged energy of the Billy Holiday generation, and partly the fuller mode of the sorts of late 40s singers who had to work in front of larger, more romping groups – a balance that she strikes well here, on the album's nice balance of jazz instrumentation and larger arrangements. Backings are by Slide Hampton – so you can bet that they're pretty darn hip – and titles include "Manhattan", "Ain't What You Do", "Don't Cry Baby", "Black Coffee", "The Breeze", and "It's A Pity To Say Goodnight". CD also features material from a bonus rare single – "Tell Me" and "Hold On". CD

One of the rare few albums cut by vocalist Dodo Greene – best known for her obscure Blue Note session – and even that one's pretty darn rare! Dodo's a hell of a singer, and one that never fully got her due (although we can testify to seeing her years ago in a wonderful small club set on the Buffalo scene!) She's quite soulful, and has a unique phrasing that's partly some of the personally-tinged energy of the Billy Holiday generation, and partly the fuller mode of the sorts of late 40s singers who had to work in front of larger, more romping groups – a balance that she strikes well here, on the album's nice balance of jazz instrumentation and larger arrangements. Backings are by Slide Hampton – so you can bet that they're pretty darn hip – and titles include "Manhattan", "Ain't What You Do", "Don't Cry Baby", "Black Coffee", "The Breeze", and "It's A Pity To Say Goodnight". CD also features material from a bonus rare single – "Tell Me" and "Hold On". CD

Like many other 70s reissues in the Prestige/Milestone/fantasy family, this set compiles 2 early albums by Mose. Unlike a lot of his later material, this set's mostly instrumental, though he does get in some vocals on about a third of the tracks. The album features some great work by Allison's trio of the time – Addison Farmer on bass and Ronnie Free or Nick Stabulas on drums – simple piano-driven groovers, performed with a slight gutbuckety approach, and lots of sweet down home soul. 20 tracks in all, including "Don't Get Around Much Anymore", "How Long Has This Been Going On", "Baby Let Me Hold Your Hand", "Stroll", "I Hadn't Anyone Till You", "Seventh Son", "If You Live", "Mule", "If I Didn't Care", "Moon & Cypress", and "Creek Bank". CD

A great cooker from the glory days of Ernestine Anderson on Concord Records – a time when the singer was rediscovered, and revamped in a bit of a bluesy mode – reaching a wide new audience at the time! Her vocals really shine at this point in her career, as she lets loose with a bit more personality too – as you'll hear on this swinging set of down home numbers, cut with a combo that includes Red Holloway on tenor, Ray Brown on bass, and Gene Harris on piano! Titles include "Someone Else Is Steppin", "Goin To Chicago Blues", "Alone On My Own", "Mercy Mercy Mercy", and "I Love Being Here With You". CD

Gentle-going genius from the later years of Satchmo's career – a session that has Louis on trumpet and vocals, backed by the Oscar Peterson Trio! Peterson's usual group with Herb Ellis and Ray Brown is expanded slightly for this outing – bringing in Louis Bellson on drums to syncopate the tunes a bit more strongly, and give them that gently swinging rhythm that always works well with Armstrong's style. The real surprise, though, is Louis' voice – which is simple, almost elegant at times – and free from some of the gimmicks of other 50s sessions, or the too-playful style of his better-known duets of the period. We really love his gentle, honest approach to the lyrics here – on tunes that include "I'll Never Be The Same", "Moon Song", "What's New", "There's No You", "You Go To My Head", "That Old Feeling", and "Let's Fall In Love". CD also features 4 bonus tracks – including "Let's Do It", "I Get A Kick Out Of You", "Willow Weep For Me", and "Makin Whoopee". (Jazz, Vocalists) CD

One of Chet Baker's most classic albums of the 50s – a record that features both vocals and strong trumpet solos – all from a time when Baker was one of the hottest things going in jazz! The album's different from records from previous years, in that it moves Baker from LA to New York – where he works with a great quartet that features Kenny Drew on piano, George Morrow or Sam Jones on bass, and Philly Joe Jones or Danny Richmond on drums – all players who have a slightly different approach than some of Baker's compatriots on Pacific Jazz sessions, which also seems to bring out a bit more bite in Chet too. Tracks are still shortish, with those breathy Baker vocals we love so much, balanced with really well-crafted trumpet solos – and titles include "It Could Happen To You", "Do It The Hard Way", "Old Devil Moon", "Dancing On The Ceiling", and "The More I See You". CD features 2 bonus tracks! (Jazz, Vocalists) CD

Tracks include "The Thrill Is Gone", "Time After Time", "Look For The Silver Lining", "Daybreak", "Just Friends", and "My Ideal" – 20 cuts total. (Jazz, Vocalists) CD

Sarah Vaughan gets some backing from Count Basie – making for a record that's one of her jazziest and swinging of the time! As with other Basie-related vocal sessions from the early 60s, this one has a soulful edge and a nice little bounce – one that makes for a more solid approach that gets Sarah's jazz vocals firmly back on track, and away from some of the more overly-produced ballad albums of the time. We like those records too – but on a record like this, she really gets back to basics! Titles include "Perdido", "You Turned The Tables On Me", "Mean To Me", "Alone", "Little Man", and "The Gentleman Is A Dope" – plus 2 bonus tracks. (Jazz, Vocalists) CD

Two early calypso albums on Capitol Records – both pretty unique! First up are some of the first-ever recordings by Harry Belafonte – material recorded in 1949, with Pete Rugolo backings that are really amazing – as jazzy and modern as anything Rugolo did for other singers of the time, with only a hint of calypso in the rhythms. Belafonte sounds quite different on the sides than in later years – still with those tremendous vocals, but almost more of a jazz singer at points – which is a really surprising discovery! This aspect's supported strongly by the choice of tunes – which includes "Deep As The River", "Farewell To Arms", "Close Your Eyes", "The Didn't Believe Me", and "I Still Get A Thrill". Next up is a full album of straighter calypso material by Lord Flea & His Calypsonians – but one that also has a bit of a Capitol Records groove! Flea plays acoustic guitar and sings, and percussion is nice and tight – but there's also a fuller sense of space on the record, one that really sets it apart from other 50s efforts of this type – kind of a Capitol clarity that really adds a lot of charm. Titles include "Out De Fire", "Mister Give Me De Rent", "It All Began With Adam & Eve", "Jump In The Line", "Run Run Run", "Love", and "Monkey". CD

An obscure vocal jazz gem from the LA scene of the 50s – recorded for Atlantic, but done in a style that's a fair bit like the best work for Bethlehem or Mode at the time! Betty Bennett sings here with backings from Shorty Rogers on one side, and Andre Previn on the other – often in a mode that's slightly dark, and subdued – gently moving forth with a nice sense of restraint. Betty's vocals burst out nicely at times – showing a nicely illustrative style, especially on some of the more story-based tunes – and there's a nice choice of material here that's a refreshing change from some of the overdone standards on other vocal albums. Tracks include "Sidewalks Of Cuba", "Island In The West Indies", "Tomorrow Mountain", "This Is The Moment", and "Treat Me Rough". CD

One of Tony Bennett's greatest jazz sessions – a sublime mid 50s outing that features small combo backing from guitarist Chuck Wayne! The setting is extremely spare for the time – a real contrast from the higher drama of some of Tony's 50s chart hits, and the kind of a record that really lets him open up with the warmer vocal tones that could sometimes be lost on the pop numbers. Wayne's guitar is great too, really chromatic and moody, bringing out the darker colors in the tunes nicely. Other players include Dave Schildkraut on alto and Al Cohn on tenor – and titles include "Darn That Dream", "My Reverie", "I Fall In Love Too Easily", "My Heart Tells Me", "Old Devil Moon", and "Love Letters". CD

The complete recording of Tony Bennett and Bill Evans as a duo – the Tony Bennett/Bill Evans Album from '75 and the '76 follow up Together Again – back to back, plus a bonus CD of alternate takes! If you've ever doubted the real jazz sensibility of Tony Bennett, the Tony Bennett/Bill Evans Album is the one to change your mind – because Tony's working here in a marvelously unadorned setting – with only the piano of Bill Evans to back him up! The record's a rare gem from years after Bennett was cracking the pop charts, but was willing to pull back to the jazz of his roots – and the session's equally rare for Evans, who rarely worked with vocalists at this point in his career. The simplicity of the album is its strength – and together, the pair really sound tremendous – slightly faltering at times, but in a way that exposes a sense of humanity you might not find in other records, especially those by Bennett. Titles include "When In Rome", "Some Other Time", "The Touch Of Your Lips", "My Foolish Heart", "Waltz For Debby", and "Young & Foolish". Together Again is another gem, following the form of the first duos record exceptionally well, perhaps with Evan's piano a bit more prominent in the sound, and another fine batch of tunes, including "The Bad And The Beautiful", "Lucky To Be Me", "A Child Is Born", "Lonely Girl", "You Must Believe In Spring" and more. The bonus CD features alternate takes of material from the 2 albums, with versions of "You And Foolish", "The Touch Of Your Lips", "Some Other Time", "When In Rome", "Waltz For Debbie" and multiple versions of "The Bad And The Beautiful", "A Child Is Born", and more. CD

One of Dee Dee Bridgewater's greatest jazz albums, and a very important record in her career – as it marked a shift back to straight jazz vocals, after years of working in a more R&B inflected mode. The album's recorded in Paris, where Dee Dee's spent an awful lot of time over the years, and you can feel that familiarity in the way she presents the material – easily slipping back into a jazz vocal mode, working before an appreciative audience without any thoughts of crossover popularity, hitting that proud, strong, and free style that's been carrying her well for a number of years now. Includes a great version of "All Blues", plus the tracks "On A Clear Day", "Here's That Rainy Day", "There Is No Greater Love", and "Misty". 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! CD

A different James Brown album – but a nice one! James doesn't sing soul, so much as jazz – in front of large backings by Louis Bellson, with arrangements by Oliver Nelson that are in his best 60s soul mode – and which give the album a very very groovy feel overall! The record's not funky, but James' vocals are plenty darn soulful – and the album is proof that he could be a huge talent in just about any mode that he chose – shining with a brilliance that was irrepressible! James covers a few of his older tracks on the album, and sings a few other pop standards – and titles include nice versions of "It's Magic", "The Man In The Glass", "Papa's Got A Brand New Bag", "That's My Desire", and "I Need Your Key (To Turn Me On)". CD features the previously unissued bonus track "There Was A Time" – plus the full, unedited versions of 4 other tracks – appearing here for the first time ever! (Soul, Vocalists) CD

One of the coolest collaborations of Dave Brubeck's years at Columbia Records – and one of the greatest jazz sessions from vocalist Jimmy Rushing too! On paper, the modernist Brubeck and Kansas City roots singer Rushing would seem to be a very unlikely pair – but by this time in his career, Jimmy had gotten extremely inventive and was very open to new ideas – and manages to lend his amazing vocals to some sublime instrumental backdrops from the Brubeck quartet! Dave unlocks a whole host of bluesy tones for the session, and really matches Rushing's energy – and Paul Desmond's alto sounds somewhat unusual in that setting, but with a real appeal too – a very unusual sound for a record like this. Titles include "There'll Be Some Changes Made", "My Melancholy Baby", "Blues In The Dark", "I Never Knew", "Ain't Misbehavin", "Evenin", "All By Myself", "River Stay Way From My Door", "You Can Depend On Me", and "Am I Blue". CD features the previously unreleased bonus track "Shine On Harvest Moon". (Jazz, Vocalists) CD