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

From its booze-soaked title cut, to its haunting selection of lonely ballads like "Midnight Sun" and "Stranger Called The Blues", this is one of the most fantastic vocal jazz albums of all time – and a record that we'd recommend instantly to anyone! June Christy has an incredibly icy tone on the record, filled with sorrow, regret, and loneliness – all of which are amplified even more deeply by Pete Rugolo's eerie, off-kilter arrangements. Titles include "Something Cool", "It Could Happen To You", "Lonely House", "I'm Thrilled", and "The Night We Called It A Day". Fantastic stuff! Stereo re-recording of the full LP – from the late 50s. LP, Vinyl record album

From its booze-soaked title cut, to its haunting selection of lonely ballads like "Midnight Sun" and "Stranger Called The Blues", this is one of the most fantastic vocal jazz albums of all time – and a record that we'd recommend instantly to anyone! June Christy has an incredibly icy tone on the record, filled with sorrow, regret, and loneliness – all of which are amplified even more deeply by Pete Rugolo's eerie, off-kilter arrangements. Titles include "Something Cool", "It Could Happen To You", "Lonely House", "I'm Thrilled", and "The Night We Called It A Day". Fantastic stuff! Original Mono recording – from 1953. LP, Vinyl record album

With a name like Cinephonic, you can imagine some of the sound here – but that's also only the tip of the iceberg, as there's a heck of a lot going on with the record! There's definitely a cinematic vibe to the music, yet the work isn't just any retro-styled material influenced by film scores – as these guys have all sorts of wonderful instrumentation of their own, including great use of flute, tenor, trumpet, and some especially nice organ, clavinet, and vibes – all handled by Pierre Chretien, the maestro behind the whole project! Strings provide a nice backdrop, but they're used sparingly, and with a nicely sinister tone – that darkness you might find in the larger charts of David Axelrod at his best. The whole thing's great – every bit as wonderful as their previous record – and titles include "Pyramides", "L'Etoile", "Les Souterrains", "Penombre", "Douleur", "Cendres Et Poussieres", and "Le Combat". LP, Vinyl record album

Dee Clark cracked the charts big with a few crossover hits – but he's an excellent soul singer with a raspy tone that almost set the stage for some of the deeper soul acts to come in the 60s! The style here is very much in the mode of some of Jackie Wilson's best for Brunswick from the early days – tracks recorded in a mode that's often heavy on the voice, letting Dee step out with strong flourishes that change in style from track to track – sometimes dramatic, sometimes subtle – but always impeccably phrased with Clark's stunning vocals! Titles are a nice batch of numbers that go way past Dee's hits – and include "Just Like A Fool", "What I Say", "Come To California", "24 Boyfriends", "I Just Can't Help Myself", "Little Red Riding Hood", "Gloria", and "Baby What You Want". LP, Vinyl record album

A tight little no-nonsense set from Al Cohn – the kind of record that he seemed to cut perfectly at the time, in a mold that he was helping trademark as the RCA 50s approach to jazz! The tunes are all quite short, and mostly familiar numbers – but they're arranged with a west coast-ish sort of flair, and played with more of a New York sense of swing – letting Al get in plenty of nice licks next to bandmates that include Joe Newman, Freddie Green, Nat Pierce, and Thad Jones. There's almost a Basie undercurrent to the set at times – as you'd guess from the players – and tracks include "That Old Feeling", "Sweet & Lovely", "Soft As Spring","I'll Be Around", "Honey Blonde", "Willow Weep For Me", and "In A Mellow Tone". CD

A classic set of interlocking tenor work from 3 giants who made up the best part of Woody Herman's classic 4 horn lineup – Al Cohn, Bill Perkins, and Richie Kamuca – all coming together here in small group formation! The album's a wonderful example of the way that the hornplay of the larger Herman group had an influence on the smaller combos of the west coast scene – and Perkins and Kamuca are especially great here, working with a strong sense of precision, but also some nice humanity in their tone. Other group members include either Jimmy Raney or Barry Galbraith on guitar, Hank Jones on piano, John Beal on bass, and Chuck Flores on drums – and titles include "Cap Snapper", "Pro Ex", "Hags", "Gay Blade", and "The Walrus". This CD offers up the complete sessions, and features a number of extra tracks! CD

A hell of a record – and one that's not just noteworthy for being one of the rare few sessions as a leader from pianist Dolo Coker – but also for the sideman work by Art Pepper and Blue Mitchell! The pairing of Mitchell and Pepper is an unusual one, but it works wonderfully here – as Art's got a crisp, soulful tone on both alto and his newly-acquired tenor, and Mitchell blows in a real back-to-basics hardbop mode that's much more similar to his Blue Note work than his other electric sessions of the mid 70s! Yet Coker's also a cooker too – and his deft phrasing and soulful currents really make the session move – set fire by the work of Leroy Vinnegar on bass and Frank Butler on drums. Titles include "Roots 4FB", "Mr Yohe", "Tale Of Two Cities", "Jumping Jacks", and "Gone Again". CD features the bonus track "Round Midnight". CD

A great collection of bop sides from 40s LA – tracks that ostensibly feature Cole on piano, jamming with Lester Young on tenor and Red Callender on bass! Oddly, no other players are listed in the notes – even though there's clearly a drummer and trumpeter on the session – so it's a bit hard to date the material, or figure out the actual source of the work. But we can say that Young's tone alone is more than worth the price of admission – beautifully firm and strong – blown in a way that rivals his best early performances for Verve, but perhaps even with a bit more grit and soul. Titles include "SM Blues", "Jammin With Lester", "Can't Get Started", "Body & Soul", and "Indiana". LP, Vinyl record album

One of the most compelling albums we've ever heard from Ornette Coleman – and a set that's very different than some of his other work for different labels – particularly his better-known material for Blue Note and Atlantic! The album's got a righteous feel that's right up there in the best spirit of the Flying Dutchman label of the early 70s – a mode that's still on the far reaches of avant jazz that Ornette explored on earlier sessions – but which also has a warmer, almost more spiritual quality at times too. The core group features legendary partners Charlie Haden on bass, Dewey Redman on tenor, and Ed Blackwell on drums – but part of the record features an unnamed group of "Friends & Neighbors", who join in on the title cut with this collaborative spirit that really sets the tone for the whole record. Coleman plays trumpet and violin in addition to his usual alto sax – and titles include the mindblowing two part "Friends & Neighbors", plus "Let's Play", "Long Time No See", "Forgotten Songs", and "Tomorrow". LP, Vinyl record album

Mindblowing work from Alice Coltrane – an album of incredible beauty that easily sits with the best of her classic early recordings for Impulse! The album's got a spare, contemplative quality, but it's also never sleepy – and instead steps forth with the tonal building and modal moving styles of classics albums like Ptah The El Daoud and Huntington Ashram Monastery. Most tracks feature a trio or quartet – with players that include Ravi Coltrane on saxes, Jack DeJohnette on drums, and Charlie Haden on bass. Alice plays some great Wurlitzer organ on a few cuts – getting this really wonderful "flat" tone to the instrument, one that almost has the same spiritual undertones as a harmonium. The whole thing's great – far better than we could have expected – and titles include "Sita Ram", "Translinear Light", "This Train", "Blue Nile", "Triloka", and "Crescent". CD

John Coltrane's classic – and only – recording as a leader for Blue Note! The album's no throwaway date, though – as it stands strongly with both Coltrane's other label work of the time, and with the best of the late 50s Blue Note scene – a time when the label was really cooking at full strength! The groove here is a bit harder, heavier, and hardbop-inflected than some of Trane's late 50s sides with Red Garland – thanks to a lineup that features Lee Morgan on trumpet, Curtis Fuller on trombone, Kenny Drew on piano, Paul Chambers on bass, and Philly Joe Jones on drums. There's a crisp modern edge to the record that really holds up beautifully – even after years of play – and titles include "Blue Train, "Locomotion", "Moment's Notice", and "Lazy Bird". This beautiful 2LP version features heavy cover and vinyl – and a full bonus album of material that includes "Lazy Bird (alt take 1)", "Lazy Bird (alt take 2)", "Blue Train (false start)", "Blue Train (alt take 7)", "Moment's Notice (alt take 4)", "Blue Train (alt take 8)", and "Moment's Notice (incomplete alt take 5a)". LP, Vinyl record album

John Coltrane's classic – and only – recording as a leader for Blue Note! The album's no throwaway date, though – as it stands strongly with both Coltrane's other label work of the time, and with the best of the late 50s Blue Note scene – a time when the label was really cooking at full strength! The groove here is a bit harder, heavier, and hardbop-inflected than some of Trane's late 50s sides with Red Garland – thanks to a lineup that features Lee Morgan on trumpet, Curtis Fuller on trombone, Kenny Drew on piano, Paul Chambers on bass, and Philly Joe Jones on drums. There's a crisp modern edge to the record that really holds up beautifully – even after years of play – and titles include "Blue Train, "Locomotion", "Moment's Notice", and "Lazy Bird". LP, Vinyl record album

Classic early John Coltrane for Prestige – less a bold statement as a leader than a strong batch of blowing session-styled tracks that show how well Coltrane could hold his own with more established players! The groups on the set vary from track to track – and feature players that include Sahib Shihab, Mal Waldron, Red Garland, Paul Chambers, and Al Heath – plus underappreciated Philly trumpeter Johnnie Splawn. Trane's in great form here – even though the overall set's a bit less structured than some of his later albums – and his tone and solo approach are already stepping out from the rest of the pack with great vigor! Titles include "Bakai", "Time Was", "Straight Street", and "Chronic Blues". LP, Vinyl record album

Sharp-edged John Coltrane at his best – a record that we'd rank right up there with Love Supreme, and which is a key transition point in Coltrane's musical ideas! There's a very strong edge to Coltrane's tone here – and even on the mellower ballads, he plays with a sound not always heard before – a quality that's bristlingly modern, and which really opens up on some of the longer numbers on the set. Rhythm is by the classic quartet with McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums – and the sound is always pushing the boundaries towards new ideas, but always keeps nicely inside throughout! Titles include "Crescent", "Wise One", "Lonnie's Lament", and "The Drum Thing". LP, Vinyl record album

Sharp-edged John Coltrane at his best – a record that we'd rank right up there with Love Supreme, and which is a key transition point in Coltrane's musical ideas! There's a very strong edge to Coltrane's tone here – and even on the mellower ballads, he plays with a sound not always heard before – a quality that's bristlingly modern, and which really opens up on some of the longer numbers on the set. Rhythm is by the classic quartet with McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums – and the sound is always pushing the boundaries towards new ideas, but always keeps nicely inside throughout! Titles include "Crescent", "Wise One", "Lonnie's Lament", and "The Drum Thing". CD

A great set of tracks that represents some of Chris Connor's first recordings as a solo act – culled from earlier ep and 10" releases, and issued here on a full LP with a total of 14 tracks. Backing is by three groups – the Ellis Larkin Trio, Vinnie Burke's Quartet, and Sy Oliver's Orchestra – and Chris is in fine fine form, vocalizing with that icy tone we love so much, a bit sad, and a bit mellow, but always heartfelt, without the forced emotion of other singers of her generation. Titles include "Stella By Starlight", "Goodbye", "Spring Is Here", "Ask Me", "Lullaby Of Birdland", "Try A Little Tenderness", and "He's Coming Home". LP, Vinyl record album

A great set of tracks that represent some of Chris Connor's first recordings as a solo act – a classic album originally issued as a 10" LP by the Bethlehem label! Backing is by the trio of Ellis Larkins – a great pianist with a really moody style that perfectly fits Connor's vocals – and Chris is in fine fine form, singing with that icy tone we love so much – a bit sad, and a bit mellow, but always heartfelt, without the forced emotion of other singers of her generation. Titles include "I Hear Music", "What Is There To Say", "Why Shouldn't I", "All About Ronnie", and "Spring Is Here". LP, Vinyl record album

Amazing modern work from the young Chick Corea – a set that captures the pianist in much more avant territory than his famous 70s sets – at a time when he was just coming off some years working in a variety of modes on the New York scene! The group here is as revolutionary as Chick's own work on piano – a trio with Miroslav Vitous on bass and Roy Haynes on drums – generations coming together to really unlock the possibilities of a piano trio, with the same sort of freshness that you'd hear in the earliest work by Steve Kuhn or Keith Jarrett from the same time. By that, we mean that there's still elements here that tie the approach to older modes – but with a quality that's also instantly Chick's own – especially on the very compelling original material on the set. Titles include "Now He Sings – Now He Sobs", "Steps – What Was", "Matrix", and "The Law Of Falling & Catching Up". LP, Vinyl record album

An extremely great session from Eddie Costa and Art Farmer – arguably more so, because the cover and label make you think it's going to be a cheap knockoff! In what is an odd meeting of players, especially for the label, Eddie's piano and vibes meet up with Art's trumpet, the alto of Phil Woods, bass of Teddy Kotick, and drums of Paul Motian – all of whom work together with the fluidity and soulfulness of some of the best Prestige sessions of the time. The horn work is tremendous – and it's hard to remember Woods sounding this great on other albums of the time, really cutting an edge next to Farmer's trumpet – which also has an incredible tone for the album, right up there with his Farmer's Market record. Titles include "Big Ben", "Blues Plus Eight", "Stretch In F", and "Get Out Of The Road". LP, Vinyl record album

An unreleased gem from deeply soulful singer Carolyn Crawford – a cut that's got these slightly funky drums that really set the tone right from the start – this nice snapping groove that seems to have Carolyn's vocals soar even more! And those vocals take on a nicely different vibe on "Sugar Boy" – a warmer, sweeter tune that has this stepping groove that's really compelling – topped with some great female backing vocals next to Crawford's lead! 7-inch, Vinyl record

All the great early albums from Creation Rebel – plus their excellent comeback too! The set begins with Dub From Creation – not just the debut album from Creation Rebel, but also a set that marks the first studio work from the young Adrian Sherwood – part of the long On-U Sound legacy to come, and a wealth of other wonderful music! There's a spareness here that's great – maybe a bit less dark than later Sherwood projects, but no less stark – with melodica and keyboards weaving nicely amidst the dubby rhythms! Titles include "Basic Principals", "Dub Fusion", "Liberation", "Rising Star", "Vision Of Creation", and "Creation In A Iration". Next is Close Encounters Of The Third World – an early part of the On-U Sound legacy, even if the set wasn't issued on the label – a key effort by Creation Rebel that features recording work done both in London and Kingston, layered together in a beautifully dubby way! The sound here is definitely underground – full of message-oriented lyrics from Crucial Tony, who sings in a style that definitely earns him his name – with great melodica and organ flowing through the mix next to Lizard's bass – topped with added horn work from The Arabs in all the right spots! The production is superb – flat on the drums, wide on the sides, which makes for a really wonderful groove – on titles that include "Know Yourself", "Conspiring", "Creation Fever", "Natty Conscience Free", and "Joyful Noise". Rebel Vibrations features early production genius from Adrian Sherwood – and a record that sets the tone for all the On-U Sound genius to come! The set's a huge step forward from even the previous excellent Creation Rebel album – as the way the sounds are layered together is incredible – almost modes learned from post-punk production, but used to deliver a pure, righteous dub album – one that drops out all the vocals, and allows you to concentrate even more on the totally wicked instrumentation! The set features stunning drums from Style Scott, heady bass from Lizard, and all sorts of very cool keyboard work from Clifton Morrison – used in these ways that float about like a swarm of sounds, especially when mixed with the melodica of Doctor Pablo. The whole thing's amazing – and titles include "Diverse Doctor", "Hunger & Strife", "Jungle Affair", "Rebel Vibration", "Black Lion Dub", and "Mountain Melody". Starship Africa is a brilliant Creation Rebel effort for On-U Sound from the dawn of the 80s – landing in the futuristic dub spacecraft that is their Starship Africa – percussion heavy and spaced out ingenuity from Adrian Sherwood & co! Tripped, echoey atmospherics that's cast as a soundtrack to movie that doesn't exist, the music is forward thinking, boundary busting dubby grooves exists out of time and sounds great to this day. Includes "Starship Africa" (Sections 1-5) and "Space Movement" (Sections 1-4). On Psychotic Jonkanoo, Crucial Tony is back in the mix for this righteous early 80s album from Creation Rebel – a set that has Adrian Sherwood only furthering his production genius as he layers together stunning instrumental work from the group! The presence of the vocals has the instrumentation slightly back in the mix – but there's still a great run of rhythms throughout, all driven by the mighty heady basslines of Lizard Logan! There's less keyboards than before, but still some nice electronic bits all over the place – and titles include "The Dope", "African Space", "Threat To Creation", "Highest Degree", "Mother Don't Cry", and "Drum Talk". From 2023, Hostile Environment is the first album in many years from this legendary studio project from On-U Sound and Adrian Sherwood – and one that makes us feel as if the passage of decades hasn't happened at all! Sherwood's production is still wonderful – and, if anything, maybe less showy, or more soulful, or less moody – just something that seems to let the work of the group come through with energy that's wonderfully warm and organic, while still resonating with plenty of touches that will make longtime label fans proud! Vocals are shared between Charlie Eskimo Fox and Mr Magoo, and the set also features guest appearances from Prince Far I and Daddy Freddy – on titles that include "That's More Like It" "Jubilee Clock", "Swiftly", "Stonebridge Warrior", "Crown Hill Road", "The People's Sound", and "Whatever It Takes". CD

Early production genius from Adrian Sherwood – and a record that sets the tone for all the On-U Sound genius to come! The set's a huge step forward from even the previous excellent Creation Rebel album – as the way the sounds are layered together is incredible – almost modes learned from post-punk production, but used to deliver a pure, righteous dub album – one that drops out all the vocals, and allows you to concentrate even more on the totally wicked instrumentation! The set features stunning drums from Style Scott, heady bass from Lizard, and all sorts of very cool keyboard work from Clifton Morrison – used in these ways that float about like a swarm of sounds, especially when mixed with the melodica of Doctor Pablo. The whole thing's amazing – and titles include "Diverse Doctor", "Hunger & Strife", "Jungle Affair", "Rebel Vibration", "Black Lion Dub", and "Mountain Melody". LP, Vinyl record album

One of Sonny Criss' classic albums for Imperial – a brilliant batch of LA bop from the 50s, with an impeccable sound throughout! Criss had a tone like nobody else on the alto – and here, he's at the height of his early powers – neither blowing too hard, nor going for boppish tricks – and instead settling into an amazing groove with a sense of power, confidence, and extreme "rightness" as to his choice of notes! The album's right on the money throughout – exactly the kind of set that lives up to our lifetime devotion to Sonny's music – and the whole thing's great, with tracks that include "West Coast Blues", "Criss Cross", "Ham's Blues", and "Blue Friday". LP, Vinyl record album

Great later work from Sonny Criss – very much in the format of his late 60s work for Prestige, but with an approach that's perhaps a bit more open-ended overall! The vibe here is laidback and soulful – Sonny blowing alto sax in that wonderful, all-his-own sort of tone – a sound that's almost tenor-like in phrasing, but with a crisp alto quality that's completely sublime! The group's a batch of familiar associates, all of whom lay back wonderfully in the rhythms – Dolo Coker on piano, Larry Gales on bass, and Jimmie Smith on drums. There's a solidness here that few other players can match – and titles include the original numbers "The Dreamer" and "The First One" – plus "El Tiante", "All The Things You Are", and "Out Of Nowhere". CD

Great later work from Sonny Criss – very much in the format of his late 60s work for Prestige, but with an approach that's perhaps a bit more open-ended overall! The vibe here is laidback and soulful – Sonny blowing alto sax in that wonderful, all-his-own sort of tone – a sound that's almost tenor-like in phrasing, but with a crisp alto quality that's completely sublime! The group's a batch of familiar associates, all of whom lay back wonderfully in the rhythms – Dolo Coker on piano, Larry Gales on bass, and Jimmie Smith on drums. There's a solidness here that few other players can match – and titles include the original numbers "The Dreamer" and "The First One" – plus "El Tiante", "All The Things You Are", and "Out Of Nowhere". CD

Sonny Criss plays Cole Porter – and the results are way greater than the sum of the parts – even though those parts are already pretty darn great! Criss' alto sax has a superb tone at this time – razor-sharp, and nicely crisp – yet still filled with warmth that sets it apart from some of his more modern contemporaries – a beautiful balance that really illuminates these tunes, and has you thinking of them as fresh Criss compositions, not older Porter standards. The instrumentation is quite fresh, too – thanks to the addition of Larry Bunker on vibes, which is a really nice surprise – and piano by Sonny Clark and Jimmy Bunn. The great Lawrence Marable plays drums – and titles include "I Love You", "Easy To Love", "Night & Day", and "Love For Sale". LP, Vinyl record album

An excellent set that brings together 2 rare albums from the 50s! Sonny Criss At The Crossroads is an obscure 1959 session recorded by Criss in Chicago, and it's one of the only jazz records ever on the Peacock label, which put out mostly gospel and blues. Criss is joined by Joe Scott on piano, and the Chicago rhythm section of Bob Cranshaw and Walter Perkins, both fresh from the MJT+3. Great tone, warm solos, and a nice vibe throughout. Tracks include "You Don't Know", "Butts Delight", "Softly", and "Sylvia". Kenny Dorham & The Jazz Prophets is a fantastic lost hard bop album, featuring Kenny Dorham leading a tight quintet that stars J.R. Monterose on Tenor. Monterose and Dorham are great, and really open up on the 5 tracks on the album – all of which are long enough to give the players plenty of room to blow. Probably one of the best jazz records ever recorded for ABC, and with the titles "The Prophet", "DX", "Tahitian Suite", and "Blues Elegante". LP, Vinyl record album

A sublime early set from John Coltrane – and one of Tadd Dameron's greatest moments on record ever! The session's a laidback quartet one – with John Simmons on bass and Philly Joe Jones on drums, completing the group with Dameron on piano and Trane on tenor – all coming together in a style that's loose, but still quite sharp overall – especially given Coltrane's tremendous tone, which really helps take the record to the next level from the very first moment it comes into the mix! Dameron's piano is strong, but subtle – and his compositions are what really make the record great – tunes that include "Soultrane", "Mating Call", "Romas", "Super Jet", and "On A Misty Night". CD

A sublime early set from John Coltrane – and one of Tadd Dameron's greatest moments on record ever! The session's a laidback quartet one – with John Simmons on bass and Philly Joe Jones on drums, completing the group with Dameron on piano and Trane on tenor – all coming together in a style that's loose, but still quite sharp overall – especially given Coltrane's tremendous tone, which really helps take the record to the next level from the very first moment it comes into the mix! Dameron's piano is strong, but subtle – and his compositions are what really make the record great – tunes that include "Soultrane", "Mating Call", "Romas", "Super Jet", and "On A Misty Night". CD

An amazing blend of free jazz and fusiony touches – a partially electric session that's a real standout in the New York loft jazz scene! The album was produced by Noah Howard at Ornette Coleman's Artist House studio – but it's got a sound that's quite different from work by either of those big names associated with the set. Daniel plays trumpet and flugelhorn on the record – always with an open, spacious tone that soars one minute, meanders the next – allowing plenty of room for contributions from other group members who include Khan Jamal on vibes, Jerome Cooper on drums, Tim Ingles on electric bass with wah wah, and Richard Daniel on Fender Rhodes – again played with wah wah and echoplex! The added processing really does cool things to the electric sides of the music – spacing them out nicely, and creating a wide-toned sound that's a nice contrast to Jamal's vibes and Daniel's horn. All tracks are long, and titles include "Tapestry", "Sweet Dreams", and "Mozambique". CD also features the previously unreleased bonus track "Asagefo". CD

One of the most striking, experimental albums we've ever heard from pianist Harold Danko – a quality that's maybe hinted at with the cover's image of Danko messing around inside the piano! The record's a trio date, but not with the usual format – as the group features Rich Perry on tenor and Kirk Knuffke on cornet – both players who are loose and very open – working with Harold's lead in a mixture of structure and improvisation based on all these moody tones and colors! All tracks are original compositions by the pianist, and the album's a masterpiece of tone, timing, and sympathetic understanding. Titles include "Envisage", "Address Unknown", "Nevele", "Vernal Eternal", "Earth Dance", "Spring Winds", and "No Escape". CD

Eddie Lockjaw Davis is one of those players who was always sneaking in slyly great records like this in his later years – albums that never had the full-on bite of his early presence, but which more than made up for that in Eddie's mature mastery of his tone and timing! As with Coleman Hawkins in his later years, Lockjaw almost seemed to know that less was more – especially if he wanted to make an unusual twist, sharp an edge, or surprise the listener with a subtle expression of modernity – all while keeping things swinging in an old school way. Those qualities really come through here – as Davis blows with a quartet that features Kenny Drew on piano, Jesper Lundgaard on bass, and Sven Erik Norregaard on drums – on titles that include "Four", "I Only Have Eyes For You", "Coming Home Baby", "That's All", and "Funky Fluke". LP, Vinyl record album

A lost Miles Davis concert – recorded in 1957, with many of the same players he used for his classic soundtrack to the French film Ascenseur Pour L'Echafaud! The group's a quintet with French players Barney Wilen on tenor, Rene Utreger on piano, and Pierre Michelot on bass – grooving with help from Kenny Clarke on drums – and tracks are longish and include many late 50s jazz standards – like "Bag's Groove", "Four", "Walkin", "Round Midnight", and "Lady Bird". Barney Wilen's young tone is razor sharp at this point – and makes for a great counterpoint to the sweeter horn of Miles, coming together with the same magic they shared in their wonderful soundtrack work together. There's a bit of crackle in the recording quality, but the concert's well worth seeking out! LP, Vinyl record album

The birth of a legend, and easily one of the heaviest records to hit the mainstream in the late 60s! The album's got a sinister quality that you can hear on the first few notes – a low-end, rumbling approach that brings in a lot more fuzzy bass than other groups of the time had ever thought to use – all topped with some of the most wickedly edgey guitar put on record to date, and undercut by drums that are almost verging on funk at times! Basslines set the tone for most of the tunes in the set – creating a bottom-heavy groove that would be copped many times in years to come, but which still sounds tremendously fresh here in the original. Titles include "Mandrake Root", "I'm So Glad", "One More Rainy Day", "Help", "Love Help Me", "And The Address", and "Hey Joe". LP, Vinyl record album

As the title indicates, the session features Buddy DeFranco and Oscar Peterson – but the real guy we wanna thank here is arranger Russ Garcia! Unlike some of the other Verve "soloist with the Peterson Trio" albums of the 50s, this one is more of a shared effort that has Buddy and Oscar both acting as soloists over larger backings directed by Garcia. Russ takes a lot of cues from Ralph Burns on the session – and like Burns on earlier Verve recordings, he sets things up so that the orchestrations never overwhelm the players – and instead simply augment their moods and shade in the colors of the tunes. We especially like Peterson in this format – as he was so often recorded heavily in trio format – but DeFranco is great too, snaking out over the top of the strings with a lean and angular tone on clarinet. Titles include "They Can't Take That Away From Me", "I Got Rhythm", and "It Ain't Necessarily So". LP, Vinyl record album

A real 70s standout from guitarist Al Di Meola – and that's saying a lot, given the strength of most of his albums from the decade! The record's one that broke Al's talents out to so many different groups – yet never in a way that waters down his sound, nor dims his genius for a solo. Al plays a host of guitars – electric, and both six and 12 string acoustic – the latter of which are especially beautiful, and handled in a balance between European virtuoso modes, and some of the more rhythmic elements of the American fusion scene. Speaking of fusion, the other players on the date really help set the tone – Chick Corea on keyboards and piano, Barry Miles on Fender Rhodes and mini-moog, Stanley Clarke on bass, and both Steve Gadd and Lenny White on drums – each setting a different pace when they appear. Titles include "The Wizard", "Suite Golden Dawn", "Short Tales Of The Black Forest", and "Land Of The Midnight Sun". LP, Vinyl record album

A rare set from vibist Walt Dickerson – one of the most compelling jazz musicians to ever lay hold of a set of vibes! The album was originally issued as a Japanese-only session by the Why Not label in the mid 70s, and it features Dickerson playing on 5 tunes that have a slightly different feel than a lot of his other work from the time. First up is "Sky", which features some electric bass work by Jamaaladeen Tacuma, which makes for a more full-on sound than you usually get with Dickerson. Next up is "Awareness", an extremely haunting solo track that features this incredible tone on the vibes. The last three tunes feature a trio with Wilbur Ware on bass and Edgar Leon Bateman on drums – and Ware's bass work brings out a swing in Dickerson's vibes that we rarely ever hear. Titles include "Key Of Wisdom", "Yesterdays", and "I Love You". Essential work for any fan of this enigmatic vibist – and great to have back out again! CD

Walt Dickerson and Sun Ra are reunited – after only playing together on the seminal 60s album Impressions Of A Patch Of Blue! The session's a very spare one, in the typical mode of Dickerson's Steeplechase work of the late 70s – and most titles have Dickerson taking the main lead on vibes, with Ra providing flourishes of color and tone to the tracks – unusually restrained, but in a way that also adds a whole new level to our understanding of his genius! Titles include "Space Dance", "Constructive Neutrons", "Astro", and "Utopia". CD

A seminal set from Eric Dolphy – one of his most perfectly realized moments at the head of a larger ensemble – and a record that definitely set the tone for countless spiritual jazz sessions of the 70s! Dolphy recorded this session for Alan Douglas in 1962, and it features a larger array of players than you'll find on most of his records for other labels – the cream of the "new thing" players that were around New York at the time, including Bobby Hutcherson on vibes, Woody Shaw on trumpet, Prince Lasha on flute, Sonny Simmons on alto, and even Clifford Jordan on soprano sax – making a rare appearance on record on that instrument! Together, the players create a set of soundscapes that lies somewhere between Dolphy's Out To Lunch album, and some of the more modernist work by Mingus – a stunning batch of tracks that go out, but never too far. Titles include "Ode to CP", "Burning Spear", "Iron Man", and "Mandrake". LP, Vinyl record album

One of Eric Dolphy's lasting classics – and possibly the ultimate album of "new thing" jazz from the mid 60s! The record's got an even sharper edge than previous Dolphy recordings for Prestige – a really unique combination of instrumentation that includes Freddie Hubbard on trumpet, Bobby Hutcherson on vibes, Richard Davis on bass, and Tony Williams on drums – plus Dolphy on alto sax, flute, and bass clarinet. Although Dolphy's reed playing is as amazing as you'd expect, the real surprise here is Hutcherson, whose vibes ring out with this cold harsh tone that give a perfect edge to the set – bold and metallic, quite different than any work on vibes from previous players. Despite a large number of later recordings, Hutcherson almost never hit this sound again – except perhaps on a few Jackie McLean recordings – and it's his playing that gives the set such a unique sound. Titles include "Straight Up & Down", "Gazzelloni", "Hat & Bread", "Out To Lunch" and "Something Sweet Something Tender". LP, Vinyl record album

One of Eric Dolphy's lasting classics – and possibly the ultimate album of "new thing" jazz from the mid 60s! The record's got an even sharper edge than previous Dolphy recordings for Prestige – a really unique combination of instrumentation that includes Freddie Hubbard on trumpet, Bobby Hutcherson on vibes, Richard Davis on bass, and Tony Williams on drums – plus Dolphy on alto sax, flute, and bass clarinet. Although Dolphy's reed playing is as amazing as you'd expect, the real surprise here is Hutcherson, whose vibes ring out with this cold harsh tone that give a perfect edge to the set – bold and metallic, quite different than any work on vibes from previous players. Despite a large number of later recordings, Hutcherson almost never hit this sound again – except perhaps on a few Jackie McLean recordings – and it's his playing that gives the set such a unique sound. Titles include "Straight Up & Down", "Gazzelloni", "Hat & Bread", "Out To Lunch" and "Something Sweet Something Tender". CD

One of Eric Dolphy's lasting classics – and possibly the ultimate album of "new thing" jazz from the mid 60s! The record's got an even sharper edge than previous Dolphy recordings for Prestige – a really unique combination of instrumentation that includes Freddie Hubbard on trumpet, Bobby Hutcherson on vibes, Richard Davis on bass, and Tony Williams on drums – plus Dolphy on alto sax, flute, and bass clarinet. Although Dolphy's reed playing is as amazing as you'd expect, the real surprise here is Hutcherson, whose vibes ring out with this cold harsh tone that give a perfect edge to the set – bold and metallic, quite different than any work on vibes from previous players. Despite a large number of later recordings, Hutcherson almost never hit this sound again – except perhaps on a few Jackie McLean recordings – and it's his playing that gives the set such a unique sound. Titles include "Straight Up & Down", "Gazzelloni", "Hat & Bread", "Out To Lunch" and "Something Sweet Something Tender". CD

... 7-inch, Vinyl record

A really formative album – not just as part of the key second chapter of alto genius Lou Donaldson, but also as the start of a huge generation of jazz funk grooves to come! The key element here is drummer Idris Muhammad – working in the group of Donaldson, but under his birth name of Leo Morris – and still already graced with that fantastic sense of rhythm that has him stretching out the beats, and creating grooves that would push the 60s soul jazz generation into more electric funk modes in the decade to come! The record's a perfect bridge between the two generations – with long tracks that draw plenty from Idris' drums and Lou's alto – plus work from Blue Mitchell on trumpet, Lonnie Smith on organ, and the young George Benson on guitar – still hard and soulful, in that style he had been using in the 60s group of organist Jack McDuff. If you know the heavily sampled side of Lou Donaldson's work, you'll know the greatness you're getting here – on cuts that include "Dapper Dan", "Midnight Creeper", "Bag Of Jewels", and "Love Power". LP, Vinyl record album

Kenny may be quiet, but he's never muted – and the record is far from the sleepy session you might guess from the title! The album's a real standout in the Dorham catalog – a set that let's Kenny's trumpet sparkle beautifully in a quartet that includes piano from Tommy Flanagan, bass from Paul Chambers, and drums from Art Taylor – all bringing their own spirit to the record, but really hanging back in the space to let Dorham's sound dominate the record. Kenny's notes are beautifully shaped throughout – in a mode that has echoes of Clifford Brown's sweetness, but which also speaks with a raspier, earthier tone overall! Titles include 2 key Dorham classics – "Lotus Blossom" and "Blue Spring" – plus "Mack The Knife", "My Ideal", "Blue Friday", and "Old Folks". CD

A Kenny Dorham-billed version of the only full album ever issued by tenor player Rocky Boyd – but a set so great, it's definitely made a name for him over the years! Boyd's got a wonderful tone on the set – sharp and soulful, with an approach to the tenor that almost reminds us of early 60s Jackie McLean – particularly in the way that Jackie could hit dark corners with raspy, personal tone. The rest of the group's no slouch either – and features Kenny Dorham on trumpet, Walter Bishop Jr on piano, Ron Carter on bass, and Pete LaRoca on drums – a lineup so great, they give the album a real Blue Note sort of polish – and the album's definitely one that would have been a better-known date, if it hadn't died quickly on the short-lived Jazztime label. The whole thing's wonderful – and titles include "West 42nd Street", "Avars", "Ease It", "Samba De Orfeu", and "Why Not". CD features bonus tracks too – alternates of 4 tracks on the album! CD

Maybe one of the greatest albums ever from trumpeter Kenny Dorham – a set that has him really stretching out as a musician – not just showing off that impeccable sense of tone that marked his important records of the 50s, but also coming up with new ways of phrasing, and a sometimes-unique approach to rhythm as well! The set's about as all-star as you can get for a Blue Note date of the time – and that's really saying a lot – with the mighty Hank Mobley on tenor, whose work here is as important as Dorham's – and the rock-solid rhythm trio of Kenny Drew on piano, Paul Chambers on bass, and Philly Joe Jones on drums – who perfectly echo Kenny's new sense of changes in his music. Titles include the great "Sunrise In Mexico" – a very unique tune – plus "Buffalo", "Sunset", "Windmill", "Philly Twist", and "Dorham's Epitaph". CD

The first solo set that Dr Dre cut after leaving NWA – and a record that not only set the tone for his solo career, but also for a huge run of albums from other folks in the years to come! Dre's as much of a production genius as he is a frontman here – really pushing forward some of the best elements he brought to the music of NWA, and also providing a great showcase for the young Snoop Dogg too! And yes, there were so many other records that tried to hit this territory right afterwards, and ended up more in the realm of parody – but the doctor really stays ahead of the pack here throughout, with a record that holds up surprisingly well over the years. Titles include the cuts "F**k Wit Dre Day", "Let Me Ride", "Nuthin' But A G Thang", "Lil Ghetto Boy", "A N***a Witta Gun", "B!tches Ain't Sh!t", "The Chronic", "Deeez Nuts", and "Stranded On Death Row". LP, Vinyl record album

The first solo set that Dr Dre cut after leaving NWA – and a record that not only set the tone for his solo career, but also for a huge run of albums from other folks in the years to come! Dre's as much of a production genius as he is a frontman here – really pushing forward some of the best elements he brought to the music of NWA, and also providing a great showcase for the young Snoop Dogg too! And yes, there were so many other records that tried to hit this territory right afterwards, and ended up more in the realm of parody – but the doctor really stays ahead of the pack here throughout, with a record that holds up surprisingly well over the years. Titles include the cuts "F**k Wit Dre Day", "Let Me Ride", "Nuthin' But A G Thang", "Lil Ghetto Boy", "A N***a Witta Gun", "B!tches Ain't Sh!t", "The Chronic", "Deeez Nuts", and "Stranded On Death Row". LP, Vinyl record album

An excellent album of groovy jazz from the European scene of the mid 60s – and one that pairs the talents of the great (and nearly forgotten) Austrian tenor player Karl Drewo with the groovy small band of the legendary pianist Francy Boland! Although he hails from Vienna, Drewo's tone is nice and deep, with a heavy cutting tenor sound that's right up there with American giants like Johnny Griffin or Eddie Lockjaw Davis. He's playing here with a tight hardbop septet, fronted by Francy Boland, and featuring a unique 3-piece trombone section for the rhythm parts. Most of the solos are Drewos', and his tenor cuts nice and deep through the arrangements of the band as they groove with a good solid sound. Titles include "JLK", "Young Bucks", "Clap Hands Here Comes Charlie", "Limehouse Blues", "I'm Getting Sentimental Over You" and "Foot Pattin". Nice cover, too! CD

Two different Jimmy Stewart comedy soundtracks from the 60s – both of them nice! First up is Dear Brigitte – an overlooked 1965 score by George Duning – done with a mix of the playful modes you'd expect from the story, and some of those great deeper dramatic touches that Duning used in more serious soundtracks – a really rich mixing of modes with a sound that's much stronger than we expected! Titles include "On To BBs", "The Captain", "Magical Moment", "Puzzled Cap'n", "Hey Dad", "Is It A Trick", and "She Sank". Next is an even groovier record – a rare non RCA Henry Mancini soundtrack from the early 60s – the score to Mr Hobbs Takes A Vacation, done with all the best mix of jazz and groovy elements we love in classic Mancini! Instrumentation mixes a key electric guitar melody with some lighter touches on woodwinds – really getting the most out of the melody with some shifts in timing and tone, juxtaposed with a few numbers that are even more playful! Titles include "Barn Swallow", "Something For Lauri", "Cream Puff", "Up His Nose", "A Month Off", and "Rudders & Sails". CD features 39 tracks in all – including 7 bonus tracks from the Mancini score! CD

Later work by Billy Eckstine – a nice little album from the early 60s, recorded in a dark and somber tone that shows a whole new side to his voice! The album features amazingly restrained arrangements by Billy May – a mix of jazz and strings that has a sadder, deeper style than before – one that certainly fits the "with feeling" claim of the title. Tracks include "Once More With Feeling", "Stormy Weather", "I Love You", "With Every Breath I Take", "Secret Love", and "As Time Goes By". CD features 2 bonus tracks – "Like Wow" and "Anything You Wanna Do". CD

Later work by Billy Eckstine – a nice little album from the early 60s, recorded in a dark and somber tone that shows a whole new side to his voice! The album features amazingly restrained arrangements by Billy May – a mix of jazz and strings that has a sadder, deeper style than before – one that certainly fits the "with feeling" claim of the title. Tracks include "Once More With Feeling", "Stormy Weather", "I Love You", "With Every Breath I Take", "Secret Love", and "As Time Goes By". CD features 2 bonus tracks – "Like Wow" and "Anything You Wanna Do". LP, Vinyl record album

Teddy Edwards at the height of his powers – packing a tight, soulful punch that made him one of the most popular players on the west coast in the early 60s – and a great link between earlier R&B tenorists and the leaner sound of 60s jazz! Edwards has a nice gutbuckety tone at times – the qualities you might hear from Hank Crawford or David Newman in the way they blended their sounds – but the overall feel is leaner and cleaner, too – not many cliches, and a kind of straightforward sound that really shows the new inroads that the LA soul jazz scene was making at the time. The set features a shifting lineup – piano from Amos Trice, Joe Castro, and Ronnie Ball – bass from Leroy Vinnegar and Ben Tucker – and drums from Al Levitt and Billy Higgins – on titles that include a whopping batch of originals like "Teddy's Tune", "Tempo De Blues", "Vintage '57", "Sunset Eyes", and "Takin Off". Plus, this CD's got some great notes, excellent packaging, and even includes 3 unreleased bonus cuts! CD

A very cool date from Duke Ellington – one that's based strongly around the talents of tenorist Paul Gonsalves – always a key member of the Ellington ensemble, and quite a leader on his own in the 60s! The lineup is a familiar version of the Ellington orchestra – but the setting's a bit different, in the Gonsalves is really the main soloist here – blowing long and beautifully on tracks that are really designed to showcase his amazing tone on the tenor! Things are nice and raspy from Paul, and plenty creative too – especially since he's got room to get in a lot more licks than usual – and titles include "Paris Blues", "Ready Go", "Happy Go Lucky Local", "Caravan", and "Jam With Sam". CD

One of Duke Ellington's standout sides for Columbia – a strong recording that revisits many of the best elements of his earlier work, and offers up some more sophisticated scoring for the 50s – thanks to extended track length in the LP generation! The tunes here are older ones, but they're taken to some nicely hip territory – thanks to Duke's strong ear for modern changes, and a line up of players that includes Billy Strayhorn on piano, Paul Gonsalves on tenor, Clark Terry and Ray Nance on trumpets, Juan Tizol on trombone, and Louis Bellson on drums. Bellson does a great job on the classic "Skin Deep" – a real showcase for his talents in this recording – and other titles include "The Mooche", "Take The A Train", and "Perdido" – plus a 13 minute reading of "A Tone Parallel To Harlem (aka The Harlem Suite)". CD

One of Duke Ellington's standout sides for Columbia – a strong recording that revisits many of the best elements of his earlier work, and offers up some more sophisticated scoring for the 50s – thanks to extended track length in the LP generation! The tunes here are older ones, but they're taken to some nicely hip territory – thanks to Duke's strong ear for modern changes, and a line up of players that includes Billy Strayhorn on piano, Paul Gonsalves on tenor, Clark Terry and Ray Nance on trumpets, Juan Tizol on trombone, and Louis Bellson on drums. Bellson does a great job on the classic "Skin Deep" – a real showcase for his talents in this recording – and other titles include "The Mooche", "Take The A Train", and "Perdido" – plus a 13 minute reading of "A Tone Parallel To Harlem (aka The Harlem Suite)". LP, Vinyl record album

One of Duke Ellington's standout sides for Columbia – a strong recording that revisits many of the best elements of his earlier work, and offers up some more sophisticated scoring for the 50s – thanks to extended track length in the LP generation! The tunes here are older ones, but they're taken to some nicely hip territory – thanks to Duke's strong ear for modern changes, and a line up of players that includes Billy Strayhorn on piano, Paul Gonsalves on tenor, Clark Terry and Ray Nance on trumpets, Juan Tizol on trombone, and Louis Bellson on drums. Bellson does a great job on the classic "Skin Deep" – a real showcase for his talents in this recording – and other titles include "The Mooche", "Take The A Train", and "Perdido" – plus a 13 minute reading of "A Tone Parallel To Harlem (aka The Harlem Suite)". Plus, this CD brings together all material issued on later versions of the album – Hi-Fi Ellington Uptown and a third version – with addition of the full "Liberian Suite" and "The Controversial Suite". CD

A beautiful 60s album from Duke Ellington – one that features some of his more popular numbers, as you'd guess by the title – but captured in these sublime, sophisticated arrangements that really reflect the genius sound of his group during the later years! The tracks are familiar, and the arrangements are maybe never too way out – but they're also these mini-masterpieces in color and tone – carried off by a fantastic group of all-stars who've matured and grown as much as the Duke himself – Cootie Williams and Cat Anderson on trumpets, Lawrence Brown and Buster Cooper on trombones, Jimmy Hamilton on clarinet, Johnny Hodges on alto, Paul Gonsalves on tenor, and Harry Carney on piano. There's a darkness in Duke's piano that's maybe missing from earlier versions of this material – that great modern undercurrent of the late years – and titles include "Black & Tan Fantasy", "The Twitch", "Perdido", "Solitude", "The Mooche", "Creole Love Call", "Take The A Train", and "Sophisticated Lady". CD

Includes "Liberian Suite", "A Tone Parallel To Harlem", and "Controversial Suite". LP, Vinyl record album

Quite possibly the greatest record that Don Ellis ever recorded – and his hippest too! The trumpeter's playing here with a quartet that includes Jaki Byard on alto and piano, Ron Carter on bass, and Charlie Persip on drums – coming together perfectly in that arch-modern style that you'd find on the best Candid albums from the time. Ellis tone is skittish and fragile – and sounds here almost like he's working in a Mingus-y mode, quite possibly because Byard's influence on the session is pretty strong. Titles include "Waste", "A Simplex One", and "Sallie" – and an extended "Improvisational Suite #1". CD

James Brown's old funky reed player hits wax in this groovy solo set of his own – playing here with a sound that's a bit more produced than usual, and with more of a 70's groove than you're used to hearing him in. His tone is perfect, as always, and the record is arranged and conducted by him in a way that brings his sax solos right up front. Tracks include a funky version of "Nature Boy", plus "Big Daddy", "Gotcha!", "For Apache", and "Pistachio". LP, Vinyl record album

A groundbreaking collaboration between Brian Eno & David Byrne – recorded with a spare, stripped down love of electronics and found sound samples – in a mode that would have a huge influence on countless records to come! Part of the set resonates with the quirky grooves found in Byrne's early Talking Heads records – but the overall sound is much more stark than that work, and is characterized by key found vocals and odd ethnic bits that really set the tone for each new tune. Eno's influence is felt strongly in the simplicity of the tracks, and in the darkly resonant production modes – that classic Eno touch used here before it became a bit too trademark, in a way that could still make a record like this sound great, even when coming from major label sources! A key force in shaping countless genres to come in the next 25 years – with great tracks that include "America Is Waiting", 'Regiment", "The Jezebel Spirit", "Qu'ran", "Moonlight In Glory", "A Secret Life", "Come With Us", and "Mountain Of Needles". LP, Vinyl record album

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

2 wonderful late 50s sessions from arranger Gil Evans – both of which we'd rank right up there with his best work with Miles Davis, or the albums under his own name for Impulse in the 60s! The first half of the CD is from the album New Bottle Old Wine – a record of swinging modern backdrops, used to showcase both the solo talents of a young Cannonball Adderley, and the dynamic energy of Evans himself! Cannon's sharp-edged early tone is a really great sound for the record – far more modern than you might expect from later funk and soul sides of the 60s – and perfectly poised next to Gil's larger back drops to reignite a host of older tunes with new energy! And while the titles are familiar, the readings certainly are not – as the Evans pen has really changed things up beautifully – as you'll hear on numbers that include "St Louis Blues", "King Porter Stomp", "Willow Tree", "Struttin' With Some Barbeque", "Lester Leaps In", "Round About Midnight", "Manteca", and "Bird Feathers". Great Jazz Standards is equally great, a fantastic lost set from Evans – and one that features Mingus trumpeter Johnny Coles as the lead soloist in front of Evans-led modern groups that include players like Elvin Jones, Ray Crawford, Steve Lacy, Budd Johnson, Rod Levitt, and Chuck Wayne. Despite the "standards" in the title, most of these numbers are modern tunes from the 50s – like "Joy Spring", "Ballad Of The Sad Young Men", "Django", "Straight No Chaser", and "Chant Of The Weed" – all given Evans' unique style of arrangement, tweaked up a few notches to give them a really edgey quality. Coles is clearly standing in for Miles here, but the format works well overall! CD features 15 tracks in all, including some newly-improved versions of a few tracks, correcting mistakes in the original records! CD

A fantastic lost set from modernist genius Gil Evans – one that expands on some of the larger group territory he was exploring with Miles Davis at Columbia Records – but with an even hipper range of soloists overall! The lineup on the record is an all-star one – mostly top shelf players, not studio musicians – and the set has Evans making room in the arrangements for key solo performances by giants who include Johnny Coles on trumpet, Steve Lacy on soprano sax, Budd Johnson on tenor, Ray Crawford on guitar, and both Curtis Fuller and Jimmy Cleveland on trombones – all players who each bring some key moments of magic to the larger arrangements on the album. Evans himself plays piano, and drums are by Elvin Jones and Dennis Charles – which should give you an idea of the modernist inclinations in the music. And although the title says "standards", the tunes here are definitely on the hipper side of the jazz spectrum of the 50s, expanded with beautiful modern arrangements by Gil – on versions of "Joy Spring", "Ballad Of The Sad Young Men", "Django", "Straight No Chaser", and "Chant Of The Weed". LP, Vinyl record album

Pure and simple genius from Tal Farlow – one of THE greatest jazz guitarists of all time, especially on these important 50s recordings for Veve! Tal's playing here with a simply incredible tone – raspy and earthy, yet with notes that are impeccably placed on his solos – making for a compelling mixture of the rough and the smooth that seems to unlock a huge future potential for the electric guitar in jazz. The group's a quartet, with Gerald Wiggins on piano, Ray Brown on bass, and Chico Hamilton on drums – and titles include "Little Girl Blue", "Have You Met Miss Jones", "Tal's Blues", "Cherokee", and "Autumn In New York". CD

One of the most open-ended Tal Farlow albums for Verve – and a wonderfully laidback set that lets him open up with that incredible tone, taking the electric guitar to a whole new place in jazz, and showing that the instrument has volumes to speak in both phrasing and tone! The group's a quartet – with Gerald Wiggins on piano, Ray Brown on bass, and Chico Hamilton on drums – an interesting combo that swings with almost a bit more bite than you'd hear on some other Farlow albums, a sound that's every bit as striking as the album's unique cover image. Tal's sound is tremendous, and right out front in the mix – and titles include "And She Remembers Me", "Little Girl Blue", "Have You Met Miss Jones", and "Tal's Blues". CD

Tremendous guitar work from the great Tal Farlow – easily one of our favorite jazz guitarists ever, and a player with a wonderful sense of tone and timing! This early album has Tal declaring himself loudly and firmly – using a style that's got some slightly raspy edges, and which is a nice change from some of the too-clean modes of other 50s guitarists. The album features a core original 10" album session with a group that includes Oscar Pettiford on bass, Barry Galbraith on guitar, and Joe Morello on drums – plus 4 more tracks from a trio with Red Mitchell on bass and Claude Williamson on piano. Titles include "This Is Always", "Tea For Two", "Blues In The Closet", "Gibson Boy", "My Old Flame", "Is There Somebody Lovelier Than You", "Everything I've Got", "You And The Night and Music", "Love Nest", and "When The Wind And The Rain Are In Your Hair". CD

Work Of Art is a great batch of material that Art Farmer recorded for Prestige in the early fifties. This is way before he got hyper-lyrical, and his playing is raw and hard on a bunch of Quincy Jones arrangements, including the savage cut "Mau-Mau", which features a very early use of the electric bass, driving drumming by Sonny Johnson, and a savage Afro groove. This cut alone is worth the price of the album, and deserves to be a club classic. Warm Valley is a wonderfully-titled set for Art Farmer – working here in a warm valley of sound, and blowing in that open, spacious tone that marked so much of his best later work! The group's a quartet – with Fred Hersh on piano, Ray Drummund on bass, and Akira Tana on drums – all sort of nicely sticking in the back and letting Art take center stage on his round, well-crafted fluegelhorn solos. Titles include "Eclypso", "And Now There's You", "Three Little Words", "Warm Valley", and "Sad To Say". CD

A beautiful set of tracks that features Art Farmer soloing on flugelhorn over larger arrangements by Oliver Nelson. Farmer's work on the instrument was just taking shape at this point in his career, and the soulful backings of Nelson are a really great match for his lyrical tone, and widening sense of expression. Tracks are longer and more complicated than you'd expect – and the set's got some great numbers, like "Naima", "Rue Prevail", "Rain Check", and "Ruby". LP, Vinyl record album

A really pivotal album from the great Art Farmer – a late 50s session that has him finding that sense of tone and timing that would dominate his work in years to come! Art was already great by the time of this set, but he's also got maybe a more personal, almost poetic vibe at times – starting to realize that the space between the notes is as important as the notes themselves, while still maybe holding onto a slight bit of the bite of his earliest recordings too. The group is a very well-matched trio of easygoing modernists – Hank Jones on piano, Addison Farmer on bass, and Roy Haynes on drums – on titles that include "Too Late Now", "Back In The Cage", "And Now", "Stablemates", "Earth", and "Nita". LP, Vinyl record album

A wonderfully-titled set for Art Farmer – working here in a warm valley of sound, and blowing in that open, spacious tone that marked so much of his best later work! The group's a quartet – with Fred Hersh on piano, Ray Drummund on bass, and Akira Tana on drums – all sort of nicely sticking in the back and letting Art take center stage on his round, well-crafted fluegelhorn solos. Titles include "Eclypso", "And Now There's You", "Three Little Words", "Warm Valley", and "Sad To Say". CD

Two killers from the glory days of Afro Funk! Side one features the title cut "Excuse O" – a tune that begins with some of the most complicated rhythms Tony Allen had given the group to date – a skittish groove that has the electric piano jumping eagerly, driven onward by horns – while the tune moves into a crescendo after Fela's tremendous tenor solo in the middle! "Mr Grammarticalogy" is on the flipside, and is an equally unique groove – one that builds more slowly, and almost dubbily – really letting the bassline set the tone before an incredibly soulful saxophone solo sets the tone for Fela to then deliver a powerful message on Education. LP, Vinyl record album

A great small combo set from Ella Fitzgerald – and a record that maybe has a bit more bite than some of her Songbook sessions from the time! The combo's a great one – with excellent piano from Lou Levy, balanced with guitar work from Herb Ellis – a pair whose chromatic contributions really resonate wonderfully with the vocal range of Ella – especially as the singer is hitting that 60s stretch when she seemed to find an even more expressive tone than in earlier years! Other players include Joe Mondragon on bass and Gus Johnson on drums – no other players at all, a nice lean set – and titles include "Night In Tunisia", "Cry Me A River", "This Year's Kisses", "Music Goes Round & Round", "Clap Hands Here Comes Charlie", "My Reverie", and "You're My Thrill". LP, Vinyl record album

We love Sonny Fortune – because he always plays so great! Sonny started as more of an acoustic soul jazz player – but by the time of this session, he's working with a lot of electric backing, in a fusiony mode that should dampen his enthusiasm, but which only seems to spur him onto new heights! The group's got some killer keyboards from Larry Willis, tight guitar from Ray Gomez, and lots of Latin percussion touches that really make the grooves dance – but the real highlight is Sonny, whose tone and placement are impeccable, almost in the vein of Gary Bartz during his years with Larry Mizell, but perhaps a bit more soaring and searching. Titles include "Afortunado", "Georgiana", "Igbob's Shuffle", "Francisco" and "Come In Out Of The Rain". CD

We love Sonny Fortune – because he always plays so great! Sonny started as more of an acoustic soul jazz player – but by the time of this session, he's working with a lot of electric backing, in a fusiony mode that should dampen his enthusiasm, but which only seems to spur him onto new heights! The group's got some killer keyboards from Larry Willis, tight guitar from Ray Gomez, and lots of Latin percussion touches that really make the grooves dance – but the real highlight is Sonny, whose tone and placement are impeccable, almost in the vein of Gary Bartz during his years with Larry Mizell, but perhaps a bit more soaring and searching. Titles include "Afortunado", "Georgiana", "Igbob's Shuffle", and "Come In Out Of The Rain". LP, Vinyl record album

Brilliant basswork from Henry Franklin – one of the hippest cats handling his instrument on the west coast in the 70s – working here with a wicked ensemble of soulful, righteous players! Franlin's bass sets the tone of the record right from the very first note – but the album's a very collaborative effort, too – and features Oscar Brashear on trumpet, Charles Owens on tenor, Bill Henderson on soprano sax, Ndugu Chancler on drums, and Kirk Lightsey on both piano and flute! The legendary David Durrah plays piano on two tracks – his own "Waltz for "Boobuss" and "Venus Fly Trap" – and the Sisters Happiness sing vocals on the latter cut, too. Other titles include "Blue Lights", "Soft Spirit", and a version of Chick Corea's "What Was". CD

One of the more laidback albums from George Freeman's early 70s run – but still a great little set that shows the mellower side of his talents! Despite the sexy style of the cover, the sound here is relatively straight soul jazz – small combo work with Harold Mabern on acoustic piano, Kenny Barron on electric piano, Bob Cranshaw on bass, and Buddy Williams on drums – all in support of Freeman's snakey guitar lines over the gentle rhythms and slinky grooves. George's sound is slightly less tripped-out than on other records, but still has that undeniable Freeman tone – a raspy edge that's quite different than most of his contemporaries! Titles include "I Ain't Got Nobody", "You've Changed", "Groovy Lady", "Squeeze Me", and "Till There Was You". LP, Vinyl record album