A fantastic double-length set – two full albums of music, essential for any fan of Brazilian jazz – or even jazz in general! First up is Esperanto – an incredible album from one of Brazil's greatest reed players of the 70s – the mighty Victor Assis Brasil – a free-thinking spirit who really took Brazilian jazz in bold new directions at the time! The record shows Victor absorbing a lot of post-Coltrane influences, and blending them with a tight approach to rhythm – laid down here by Dom Salvador on piano (and organ), Edison Lobo on bass, and Edson Machando on drums. The group is completed by Helio Delmiro on guitar, and Claudio Roditi plays trumpet on one track – but the real highlight is the amazing reed work by Brasil, which is filled with soul and warmth, plus a deep sense of exploration. The whole session was put together by Roberto Quartin in 1970 – and it's still extremely fresh today. Titles include "Children", "Gingerbread Boy", "Senegal", and "Marilia". Next is Toca Antonio Carlos Jobim – a fantastic album from this legendary Brazilian saxophonist – and one that's way different than the usual instrumental reading of the music of Antonio Carlos Jobim! The setting is less of a bossa-inspired one than a post-Coltrane mode – as Victor Assis Brasil blows alto sax, and a bit of soprano – on long, stretched out versions of Jobim compositions – often given a bit of modal energy, thanks to the group's strong piano and organ performances by Dom Salvador. The rest of the players are all great, too – Helio Delmiro on guitar, Edson Lobo on bass, and Edison Machado on drums – all players who grew up in the bossa jazz years of the 60s, but who here are set free to explore new territory by producer Roberto Quartin. The whole thing's wonderful – and titles include "Bonita", "Wave", "So Tinha De Ser Come Voce", and "Dindi". CD also features two bonus tracks – alternate takes of "Ao Amigo Quartin" and "Marilla". CD

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

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A live sextet session – featuring vocals by Cheatham and Arvell Shaw. CD

Danny Turner and Manny Boyd on alto saxophone and flute, John Williams on baritone saxophone and bass clarinet, Bill Hughes on bass trombone, Charlton Johnson on guitar, George Caldwell on piano, Doug Miller and Kenny Hing on tenor saxophone and flute, Clarence Banks, Robert Trowers, and Mel Wanzo on trombone, Bob Ojeda, Derrick Gardner, Melton Mustafa, and Mike Williams on trumpet, Cleveland Eaton on bass, and David Gibson on drums. CD

One of the deepest digs into the legacy of UK wonderproducer Joe Meek – a set that opens up a whole host of unissued tapes from the vaults, to present a hugely expanded set of work from a group who hardly issued any records back in the 60s! The Cryin Shames are not to be confused with the American Cryan Shames – as the Liverpool group had a great sound, but only released two singles – before spinning off into other groups with a short run too – including Friendly Persuasion, and Paul & Ritchie & The Crying Shames – all of whom recorded with Meek, and are presented here, in a massive 51 track package that features loads of unreleased takes, live material, and other rare tunes too! Core elements include the singles "September In The Rain", "Come On Back", "Nobody Waved Goodbye", "Please Stay", "What's News Pussycat", "The End Of The World", and "Come On" – and there's also 18 very early tracks from the group's audition, when they were initially billed as The Bumblies. Along with the notes, the whole thing is a great example of the way the wheels were really turning and the studio doors were opening during these key years of British rock – another new window into the production genius of the great Joe Meek! CD

A fantastically bold breath of life from the contemporary Polish jazz scene – a record that begins with a sublime tribute to the great Billy Harper, then takes off into even more mindblowing territory as things move on! The group's led by trumpeter Piotr Damasiewicz, who created the record as a tribute to some of the best Polish modern jazz giants of decades past – but with a voice that's completely fresh, and very much his own – served up by a killer ensemble that features soaring horns, bold solo moments, and two different bassists holding down the core! The tunes instantly explode with color and life – hitting a rich spirit that marks Piotr as a musician we're going to keep our eye on in coming years – with other musicians who include Maciej Obara on alto, Adam Pindur on soprano, Pawel Niewiadomski on trombone, Gerard Lebik on tenor, and Dominik Wania on piano. Titles include "Billy", "Psalm For William Parker", "Polska I", and "Kleofas". CD

A score that's perhaps a bit more in a Hollywood mode than later work from Italian maestro Francesco De Masi – done in a mood that really fits the image of the cowboy on the cover! Fuller orchestrations are mixed with isolated elements on harmonica and guitar – and there's a very Americanist spirit to some of the music, with uplifting themes and a hopeful spirit of action that's different than the moodier styles of the spaghetti western generation! CD is the first time the full music has been presented like this – expanded out to a total of 25 tracks, many of which appear here for the first time ever! CD

Dramatic Italian action – scored to perfection by Franceso De Masi! The soundtrack's got all the best elements of the blood n sandals generation – rich orchestrations that echo the most dramatic Hollywood modes of the 40s and 50s, driving moments that almost have a fast-paced action sort of feel, and a few exotic touches that reflect the ancient setting of the story – although in ways that still echo more strongly with contemporary instrumentation. Tracks are short, but pack plenty of punch. CD

A really beautiful little soundtrack from Francesco De Masi – scored with a depth of feeling that's really surprising, and which goes way past the obvious! There's some beautiful woodwind passages that arc and turn with a quality that's almost fragile – yet bold enough to paint a vivid picture of the western setting of the film – mixed with some more dramatic numbers that still have a relatively unusual feel – almost as if De Masi was working as hard as he could to create a soundtrack that was different from other westerns of the period – while still staying within a familiar instrumental structure. Maurizio Graf sings the driving title tune "Find A Man" – and the CD features a whopping 27 titles that include "Emily E Johnny", "La Medaglia", "Addio Orace", "Santana E Johnny", "L'Assalto Di Santana", "Paura Notturna", "Non C'E Scampo", "Passi Nel Tempo", and "Johnny Sulla Croce". CD

One of the moddest soundtracks of the 60s Italian scene – a great blend of jazzy riffing, bassy bouncing, and some occasional cool vocal touches – all put together in a way that features lots of short tunes all grooving around one another! The approach often has the music coming out in short snapshots – little tracks that change mood quickly, but all often feature some odd variation on the main theme – slightly redone instrumentally, sometimes giving way to sparer percussion or vibes – while at other times picking up the pace to hit a far groovier mode! The work was composed and conducted mostly by Francesco DeMasi, but Alessandro Alessandroni helped out on the famous "Tema Di Londra" – and also conducted I Cantori Moderni on a number of tracks! 28 titles in all – including "Tema Di Londra", "Double Gaming", "Goldsmith", "Pianochain", "Madrid Theme", "Mister Owen's Suit", "Chasing The Spy", "Get An End", "The Game Is Going To", and "Il Mondo Va Cosi". CD

The great CD release of two previous albums from this hip contemporary combo – two vinyl albums back to back on a single CD! Both albums have a fantastic blend of jazz, contemporary soul, and hip hop – served up by a group who can really get the sound right – Terrace Martin on keyboards and alto, Robert Glasper on keyboards, Kamasi Washington on tenor, and 9th Wonder on beats! Vocals on most tracks are by Phoelix, who really helps give the instrumentation some focus – yet the jazz component of the record is never buried under the lyrics, as the players get plenty of space to do their thing – with a vibe that's a bit like some of Glasper's Black Radio project, yet given much more the kind of cool Crenshaw vibe that we've loved in Martin's previous records. All four artists are credited with songwriting and production and you can really hear that balance in the sound – on tracks that include "Love You Bad", "Sleepless Nights", "The Mighty Tree", "Freeze Tag", "Luv U", "Sleepless Nights", and "From My Heart & Soul". The Dessert album offers up a reworked version of the core record – with titles that are partly remixes, partly reworks – with guest appearances from Snoop Dog, Cordae, Herbie Hancock, Reuben Vincent, and others! CD

Maybe the best work so far from this really wonderful group – a magnificent match of the keyboards of Robert Glasper, the saxophones of Terrace Martin and Kamasi Washington, and the superb production talents of 9th Wonder – all working together in a stunning blend of jazz, soul, funk, and hip hop! The tunes have a sharpness and focus that's even more powerful than previous work by the lineup – like they've really found that special space where the all-stars can come together in a united voice that really soars – working with key contributions from Phoelix on vocals, alongside Arin Ray and Ant Clemons. Titles include "Insane", "Watts Renaissance", "For Granted", "Secure", "Can't Go", "The Lower East Side", "Love Love", and "Answered Prayer". CD

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Includes the albums (Billy's Best, Imagination, Basie & Eckstine Inc, No Cover, No Minium, Once More With Feeling, At Basin St East, and Sing The Best Of Irving Berlin. CD

Gil Evans on - piano and electric piano, Lew Soloff, Hannibal Marvin Peterson, Shunzo Ohno, and Miles Evans on trumpet, George Adams on tenor saxophone, Chris Hunter on alto saxophone, Howard Johnson on tuba, baritone saxophone, and bass clarinet, Tom Malone on trombone, Hiram Bullock on guitar, Pete Levin on synthesizer, Mark Egan on electric bass, Adam Nussbaum on drums, and Mino Cinelu on percussion. CD

Features arrangements by Quincy Jones! CD

The return of a legend – and a tremendously groovy little record! Brazilian keyboardist/composer Antonio Adolfo's been making records for years – but easily his greatest albums were those cut at the end of the 60s with his Brazuka group – a cool combination of funky rhythms, electric keyboards, spacious production, and female vocals – all wrapped up with that glorious Blue Brazil sound of the EMI/Odeon label. Here, Adolfo recaptures that sound beautifully – returning to modes he hasn't touched in decades – and getting tremendous treatment from the Far Out label, who really help him hit that classic sound right. The record's an instantly timeless set that rivals all of Antonio's wonderful work from many years back – recorded with Adolfo on keyboards, live jazzy rhythms, a bit of strings, and twin harmony vocals from daughters Carol Saboya and Luisa Saboia – soaring out beautifully with a really groovy sound. The whole thing's wonderful – even better than you might expect – and titles include "Bola Da Vez", "Papo Furado", "Luizao", "Eu E Voce", "Tudo E Brasil", "Domingo Azul", "Tao Iguais", "SOS Amazonas", "Sonho Estelar", and "Dono Do Mundo". CD

Three full albums from this great Dutch pianist! Miss Dee is a heck of a set from Dutch pianist Rob Agerbeek – easily one of the most soulful European pianists of the 70s, even in an acoustic setting like this! Rob's got a bite on the keys that reminds us a lot more of American players from the 60s – not a straight soul jazz groove, but a style that definitely draws from that mode – then opens up into some more lyrical elements that are more in keeping with overseas expression in the 70s. The trio matches his energy nicely – especially on the upbeat numbers that rule the set – with bass from Harry Emmery and drums from Eric Ineke – on titles that include "Little Miss Dee", "Cup Bearers", "Birk's Works", "Caravan", and "Out Of This World". Second Opinion is a trio set from the great Rob Agerbeek – one that lets him open up on familiar tunes, but with a sense of imagination that really packs a lot into a small space! The lineup features Paul Berner on bass and Ben Schroeder on drums – and titles include "Summertime", "East Of The Sun", "Lover Man", "Besame Mucho", "Mad About The Boy", "Girl Talk", "As Time Goes By", and "Things Ain't What They Used To Be". Lock Stock & Barrell is a relatively recent set from Dutch piano Rob Agerbeek – who locks it up nicely, in a trio with Erik Albjerg on bass and Tjeerd Klapwijk on drums! Titles include "Lock Stock & Barrel", "A Child Is Born", "Round Midnight", "O Morro Nao Tem Vez", "Thora's Dance", "Cubano Chant", "Nearest & Dearest", and "Footprints". CD

An incredible compilation of classic era dub work from King Tubby's – played by producer Bunny Lee's legendary Aggrovators band and showcasing the mixing skills of Tubby, Prince Jammy, Scientist and others! This is prime era hypnotic dub of the finest caliber – originally issued on Jamaican 45s, and hard-to-find for decades! The great Blood & Fire label did the dub digging community a major solid by issuing the material on some wonderful compilations, but even those had been out of print for a couple decades before this much needed, sprawling VP/17th North Parade assemblage. Includes "A Bag Of Wire Dub", "Dub Of Rights", "A Heavy Dub", "A Living Version", "How Long Dub", "Breaking Up Dub", "Poor Barber", "Sub To The Rescue", "King Tubby's In Fine Style", "Horn For I", "Jah Love Rocker's Dub", "Stealing Version", "Fatter Dub", "Satta Dread Dub", "Tubby Get Smart", "Beat Them In Dub", "Version Of Class", "Peace And Love In The Dub", "Thunder Rock", "Channel Is A Joker", "Peace And Love In The Dub", "Step It Up In Dub", "Chapter Of Money" and more. 44 tracks on 2CDs! CD

A seminal 70s set from the legendary Air trio – and one of their wonderful non-American dates from the early years – material recorded overseas, where this famous AACM trio was maybe getting more attention than in the US! The album was originally a Japanese-only album, and it's easily one of the group's greatest of the decade – a sublime set that really has them working strongly in their AACM roots, yet also reaching for a new sound too – a beautiful balance between jazz generations, carried off perfectly by the trio of Henry Threadgill on reeds, Fred Hopkins on bass, and Steve McCall on drums! Tracks are long, and extremely inventive – and titles include "Through A Keyhole Darkly", "Air Raid", and "Midnight Sun". CD

A fantastic album from trumpeter Ambrose Akinmusire – a set that really kicks his career up to the next level, and which is easily the most powerful record he's ever given us! The music finds Ambrose in many moods, all of them righteous – sometimes blowing hard and fierce in a small combo, sometimes issuing out more personal statements in a more stripped-down setting – working with players that include Harish Raghavan on bass, Justin Brown on drums, and Sam Harris on piano – plus vocalist Genevieve Artadi on one especially beautiful number that features Akinmusire on Fender Rhodes! We've loved the music of Ambrose for many years – and this is one of those faith-rewarding sets that always makes it so wonderful to follow the career of any key jazz musician – as we hope you'll also find on titles that include "Roy", "4623", "Moon", "Tide Of Hyacinth", "Cynical Sideliners", and "Mr Roscoe". CD

One of the few recorded meetings of alto saxophonist Charlie Mariano and pianist Toshiko Akioshi in the studio – quite strange given that they were a couple at the time! The session's easily one of the last great American sessions by either player – a work that shows Mariano's alto really building on the strengths of his work in the 50s, and Akioshi's piano shedding some of its early bop influences, and going for the richly-toned sound that would serve her greatly in the 70s. The long tracks here offer plenty of space for Charlie's sharp tone to really do its thing – and that raspy warmth of the 50s is even more deeply soulful at this point – and augmented by a new sense of composition that gives the record some of its best tracks. There's almost a nascent sense of spiritualism here – quite unusual for the time – and titles include "When You Meet Her", "Toshiko's Elegy", "Deep River", and "Little T". CD

One of our favorite mixing of modes from the old school – a tremendous second album from the legendary Aksak Maboul! The record mixes arty playfulness with some rootsier elements – bits of Eastern instrumentation, jazz, improvisation, and even some post-punk elements – all in a way that makes for one of the most creative recordings of its time – a set that easily provides key inspiration for more recent genre-crossing acts like this! There's a bit of Y or Ze Records whimsy at times – but the end result is much deeper, and much more compelling– as you'd expect from a group that features Fred Frith on guitar, Chris Cutler on drums, Marc Hollander and Michel Berkmans on reeds, and Denis Van Hecke on a range of cool cellos! Each tune has a slightly different flavor, but there's still a really unified feel to the record too – one of those European projects that comes together like nothing you'd hear from the US. Titles include "Geistige Nacht", "A Modern Lesson", "Palmiers En Pots", "Inoculating Rabies", "Cinema", and "Bosses De Crosses". CD

The tenor of Melissa Aldana fits right in here with the contemporary sound of Blue Note – especially given that labelmate Lage Lund is on guitar, and has a way of folding together all the tones from his strings very nicely next to the sharper edges of Aldana's tenor! The set begins with a dedication to Wayne Shorter – and that number maybe really sets the spirit of the album – as Melissa has a way of phrasing that's equally distinct, and very much her own – soulful and modern at the same time, set up in a quintet that also includes Fabian Almazan on piano, Pablo Menares on bass, and Kush Abadey on drums. Titles include "Echoes Of The Inner Prophet", "A Purpose", "I Know You Know", "The Solitary Seeker", "Unconscious Whispers", and "A Story". CD

A hokey kind of cover, but a great little album – another easy winner from the team of Eric Alexander and Harold Mabern, easily one of the greatest pairs working together in jazz for the past decade or so! Alexander's got a tremendous tone on the tenor – finely-honed with the maturity of a later Dexter Gordon, but also open to fluid, free moments too – with a sense of joy and exploration that recall our favorite moments on mid 60s Blue Note or Prestige. Mabern is great too – warm on the keys, but never sloppy – a player more filled with soul these days than ever, and always a great accompanist to Alexander's shifting range of modes in a set like this. Drums are by Joe Farnsworth, another trustworthy regular partner to the pair – and Nat Reeves completes the quartet on bass. Titles include 3 excellent Alexander originals (always his best work on record) – "Typhoon 11", "Little Lucas", and "Open & Shut" – plus versions of "Where Is The Love", "Where Or When", "Ruby My Dear", and "It's All In The Game". CD

A cheesy cover, but a rock-solid set of work from the mighty Eric Alexander – who seems to be stretching out even more here than before! Alexander's always been a hell of a straight ahead talent on the tenor, but here he's almost hitting a few more modern modes at times – not "out" in his soloing, but a bit more free thinking in the overall construction and execution of the tunes – willing to change things up a bit in the rhythms, and give the record even more freshness than we might have expected. Alexander's easily one of the greatest living talents in jazz recording today – and we're already huge fans of his work – but he's won us over even more with this set, and a few of the chances he takes on some of the tunes. The group's a well-matched batch of regulars – including Jim Rotondi on trumpet, David Hazeltine on piano, Nat Reeves on bass, and Joe Farnsworth on drums – and titles include "The Temple Of Olympic Zeus", "Someday We'll All Be Free", "Lucas Too", "Blues For David", "I'm Gonna Laugh You Right Out Of My Life", "I'll Keep Loving You", and "Dave's System". CD

A really cool hybrid of styles – reggae, but recorded in Libya – which makes for all sorts of twists and turns in the music that are nicely different from mainstream modes! The rhythms still have echoes of Kingston, but the vocals have a special sort of phrasing, and the keyboards often use these cool tones and chords that you'd never hear in Jamaica – and at times, there's more elements in the tunes that shift towards other Mid East styles as well. The whole thing's a really unusual batch of tracks – exactly the kind of music we love from the Habibi Funk label, served up on titles that include "Subhana", "Ya Ghalian", "Damek Majeb", "Ya Ghayeb", "Aziz W Adda", "Ana Middaee", and "La Ta'tather". CD

A cool Scandinavian combo, and one who've got heavy influences from both American and African funk of the 70s – influences that they weave together wonderfully here in a rich tapestry of grooves! There's as much Nigerian elements in the music as Ethiopian – especially the more exotic horn parts of the latter – and in addition to familiar funk instrumentation on guitar, keyboards, saxes, and trumpet – the record features some especially nice use of percussion, flute, xylophone, and sitar too! Titles include the long Indian-themed track "Bhimpalasi" – plus "Gunkali", "Movefeze", "What Could I Do", "Surrounded", and "Big Words". CD

A tight, old school set of jazz from the Dutch American All Stars – a group that features trumpeter John Marshall, pianist Hod O'Brien, bassist Jacques Schols, and drummer Peter Ypma – all playing here in very relaxed, familiar company! There's nothing too fancy or overdone with these tunes – and they spin out with that easygoing feel we love in any album that has O'Brien on piano – a mature mode of jazz that never tries too hard to overstate its case, but gets plenty of greatness done along the way. Marshall's horn has all the sparkling tones we love in other Blue Jack Jazz recordings, and the basswork from Schols really adds a nice undercurrent of soul to the set. Titles include "Joop's Lope", "Forecast", "Quasimodo", "Frisky", "Milestones", and "Zanzibar". CD

About as classic as you can get for Amon Duul – a double-length set that virtually defined the sound of prog rock for the 70s! Tracks are long, and mighty jamming – with a strong undercurrent of jazz alongside the heavy drums and guitars – set loose at a level that's much madder than most American work of the time – always threatening to trip itself up at various points, but incredibly on track over the length of the extended package. There's a few improvisational moments, and the whole thing has a fluid feel that even makes us swallow the vocals easily, as they fit right in with the rest of the tripped-out instrumentation. Instruments include 12 string guitar, organ, and some especially nice bongos – and titles include "Burning Sister", "Eye Shaking King", "Yeti Talks To Yogi", "Cerberus", and "Archangel Thunderbird". CD

A stunning surprise from Andre 3000 – at least if you only know him as part of Outkast – and a record that finally gives us an audio document of the sounds that Andre has really been involved with in recent years – a beautiful blend of spiritual jazz with mellower currents, aided here by some members of the contemporary LA scene! There's a resonance here with some of the more laidback projects on the International Anthem label, and with the work of Carlos Nino – and no surprise, Nino is on board to deliver great production work throughout, and co-produced the album with Andre too. Andre delivers a lot of work on flute, as hinted at by the cover – and also serves up beautiful sounds on wind controller too – as the set moves between contributions from other artists who include Nate Mercereau on guitars, and Diego Gaeta and Surya Botofasina on keyboards – as well as guest vocals from Mia Doi Todd on two tracks, and shakuhachi from Shabaka Hutchings on one more. Titles include "That Night In Hawaii When I Turned Into A Panther & Started Making These Low Register Purring Tones That I Couldn't Control", "Ninety Three Til Infinity & Beyonce", "Dreams Once Buried Beneath The Dungeon Floor Slowly Sprout Into Undying Gardens", "Ants To You Gods To Who", and "I Swear I Really Wanted To Make A Rap Album But This Is Literally The Way The Wind Blew Me". CD

A beautiful little record from this overlooked Windham Hill team – pianist Barbara Higbie and violinist Darrol Anger – working here in an open live setting that really lives up to the best spirit of the label! Both instruments are used in very fresh ways – moving through that new acoustic underground generation into modes that are more open to new phrasing and concepts, yet without any of the colder, quieter styles you'd hear from ECM records of a similar generation. Instead, there's this subtle sense of brightness, but one that's never too cloying or sentimental – as the players work with a quintet that also includes Mike Marshall on mandolin and guitar, Todd Phillips on bass, and Andy Narell on a bit of steel drums. Titles include "Egrets", "Egypt", "Brann St Sonata", "Pumpkin Time", "Duet", "Tideline", "Near Northern", and "Daughter Of Cups". CD

Piano and violin come together beautifully here – the former by Barbara Higbie, the latter by Darrol Anger – who also plays mandolin and cello as well! There's an acoustic balance here that's more jazz than some of the other Windham Hill albums of the time – especially in the music's sense of rhythm and phrasing – and the rich acoustic tones of both players get wonderfully past some of the new age cliches that are too-often wrongly associated with the label – and remind us that at their best, records like these offer up a key flowering of the acoustic underground of the 70s. Mike Marshall plays guest mandolin on one title – and tracks include "Movie", "Tideline", "Above The Fog", "True Story", "Onyame", and "Gemini". CD

Amazing sounds from the early years of the prog sounds in Germany – exactly the kind of record that shows how much farther Krautrock was stretching than psychedelia! Although the set still draws most of its energy from conventional instruments – guitars, organ, bass, and drums – it's the production of the piece that's most amazing – easily an equal partner with the instrumentation, so that the studio itself is helping author the record – with amazingly cosmic sounds that are really really tripped-out! There's a bit of vocals buried in the mix at times, but most of the energy is instrumental – on long cuts that stretch out strongly on both sides. CD

An amazing little soundtrack – written in mid 60s Peru by jazz pianist Jaime Delgado Aparicio, but easily on a par with some of the best American or Italian scores from the time! The music's got a really wonderful feel throughout – jazz at the core, but with touches of spy soundtrack scoring and some of the lighter, more comedic modes of the Italian scene. Delgado uses a core combo with heavy piano, percussion, and some great trumpet and tenor – almost with the tightness of the Basso-Valdambrini group – but he also expands the sound with bits of strings and some fuller orchestrations, used to shade in some amazing colors that roll, dip, and turn with the beautiful grooves penned for the set. The whole thing's tremendous, with equally great production that creates some odd twists and turns that further keep things interesting as the album rolls on. Titles include "Elm Embajador Y Yo", "Sexy Surf", "Llegando A La Capital", "Isometria", "Todo El Mundo Me Persigue", "Lucha En El Mar", and "La Arana". Added to the soundtrack is Jamie's 1964 album – Jaime Delgado Aparicio Y Su Trio – a crackling bit of piano jazz from the Peruvian scene of the 60s – and a record that's somewhere between the best of Horace Silver on Blue Note, and some of the Brazilian bossa trios of the time! There's a strong sense of rhythm throughout – round, rolling basslines punctuated by great work on the drum kit – all topped by beautifully lyrical lines from Delgado Aparicio on piano – filled with color, light, and life throughout – and soloing with a depth that's rare for such a young player! Titles include a great version of Horace Silver's "Sayonara Blues", plus "The Climate", "Autumn Leaves", "Walkin", and "Blue Daniel". CD

Legendary Japanese reedman Akira Sakata joins younger improvisers Johan Berthling on bass and Paal Nilssen-Love on drums and percussion – and really seems to shape their performance, given the results of the record! Sakata blows both alto sax and bass clarinet – always with that rich, raw tone that's made him so great for so many decades – and he also vocalizes occasionally, with an earthy quality that's very powerful, and very different than his saxophone work. Paal is maybe a bit more restrained than usual, really letting Sakata set the scene for most numbers – then finding the right way to embrace and embolden the sound – and Berthling proves again that he's one of the more sensitive improvisers in recent years, while still very much holding his own in the trio. Titles include "Jikan", "Saitaro Bushi Arashi", "Yamanoue No Okura", and "Tsuioku". CD

Tracks include "Chicago Breakdown", "West End Blues", "Beau Koo Jack", "Basin Street Blues", "Knee Drops", "St. James Infirmary" and "Muggles" – 18 tracks in all. CD

Lost Latin funk from the Bay Area scene of the 70s – and an album that may well blow away better-known work by groups like Malo, Azteca, or El Chicano! The album's near-perfect right from the start – and brings in plenty of New York elements to the groove, thanks to the inclusion of a heady amount of jazz alongside the soul, Latin, and funk elements in the grooves! The legendary Teo Macero produced and arranged – and really takes a lot of care in the studio to focus the overall energy of the tremendous talents on the record – players who include Hadley Caliman on flute and tenor, Steve Marcus on soprano sax, Benny Velarde on timbales, and Francisco Aguabella on congas – plus the trio of Cesar, Mark Levine, and Merl Sanders on keyboards. Most numbers have this really full, flowing groove – jazzy, but with a strong emphasis on the rhythms – and often touched with some great work on guitar that echoes the Santana-inspired sound of the generation, yet never in a rock way at all. Linda Tillery sings vocals on a few numbers, but the main focus is definitely instrumental – and the whole album's great – with cuts that include "See Saw Affair", "Azucar", "Descarga", "The Devil & Montezuma", "Gotta Get Away", and "Bridges". CD

The last and lean effort from the legendary Ash Ra Tempel – a set that relies heavily on vocals from female singer Rosemarie Muller, who's pictured on the cover almost as some Teutonic take on Linda Ronstadt! And oddly, there might be a bit of Cali currents in the mix – as the guitar work of Manuel Gottsching, while as weird and wild as ever, does have these occasional moments of grounding – certainly not standard rock, but these tuneful snippets from time to time that are almost a surprise next to the darker, moodier vocals of Rosi! Dieter Dierks produced, and had a nice hand in the sound – and Rosi also plays a bit of vibes and a concert harp – although the swirling sound is much more electric and spacey than you might guess from those instruments. Titles include "Interplay Of Forces", "Laughter Loving", "Bring Me Up", "Cosmic Tango", "Schizo", and "Day Dream". CD

A long-overview testament to the genius of Miguel Atwood Ferguson – a string player whose work has graced countless other great spiritual jazz projects from the west coast scene, and one who finally gets a chance to showcase his beautiful sense of creation in all its glory! The massively extended set is worth all the room that Miguel has been given – as the package features over three hours of music that flowers with all sorts of emotion, especially joy and hope – with Atwood-Ferguson working with help from friends who include Bennie Maupin and Kamasi Washington on reeds, Jeff Parker on guitar, and a whole host of musicians – including Domi & Beck, Carlos Nino, Thundercat, Jamire Williams, Jamael Dean, and others! There's a majestic quality to the record, but also a very personal tone too – as if Miguel has taken the wide range of his experience over decades on the scene, and woven it into a brilliant sonic poem of his own – served up here on 52 selections that leave us breathless! CD

Really hard-jamming work from keyboardist Brian Auger – the first of a 2-part live set from the US, and easily some of his greatest work on record! The tracks are all very long and stretched out here – an extrapolation of the territory Auger was already exploring on studio sides, taken into even more cosmic realms through the lively nature of the set. As with other records from the time, Alex Lighterwood sings on some cuts – but the real highlight is the keyboard work of Auger – served up on both organ and electric piano, and hitting a great blend of funk, fusion, and keyboard soul! Titles include a really great funky remake of "Bumpin On Sunset", the original break track "Don't Look Away", and the tunes "Truth", and "Beginning Again". CD

Joyously romping grooves from Auteur Jazz – a combo who take the modal style of the 60s European scene, and infuse it with a few contemporary touches of their own! The group are a bit more open-ended than some of the other club jazz combos on the Ricky Tick label – willing to stretch out in some occasional exploratory modes or mellower moments, then step back with a hard-hitting groove to round things in place – often getting a surprisingly rich sound from their relatively small lineup, which is mostly based around reeds and piano from Antti Hynninen, but also features occasional other saxes, strings, keyboards, and percussion. Sara Sayaed sings on the tracks "Kill You Alive" and "Tomorrow Knows" – and other instrumental tracks include "Two Jaguars In Warsaw", "Marbles", "Who Struck John", "Gris Gris", "Uruguayo", and "Najgo". Japanese CD features 2 bonus tracks – "Aphorisms" and "Gui-Do". CD

A seminal Albert Ayler session from the 60s – recorded at the legendary Judson Hall with an incredible sound! There's a bold, righteous feel to this record that possibly even tops other Ayler classics for ESP – and the spacious setting makes the notes echo, rebound, and come back together with searing intensity throughout. The group features Ayler on tenor, brother Don on trumpet, Charles Tyler on alto, Sunny Murray on drums, and both Henry Grimes and Gary Peacock on basses – using a unique two-bass approach that only further emphasizes the unique qualities of the record. Call Cobbs plays a bit of harpsichord too – and tracks include "Sprits Rejoice", "Holy Family", "Angels", and "Prophet". CD

A sweet 80s groover from the mighty Azymuth – a set that's early in their run of albums during the decade for Fantasy Records, and one that offers up a nice adaptation of the groove from their early Brazilian classics! Tracks are nice and lean, and acoustic percussion is blended with keyboard work at a level that really opens up the sound – and which makes Azymuth so different from so many other fusion outfits recording in the US during the time – as does the occasional use of wordless vocals, and that really special sense of rhythm that the group deliver so well! The set includes the classic ten minute "Last Summer In Rio" – a great Fender Rhodes number that was once a huge steppers cut in Chicago – plus the great tracks "The House I Lived In", "What Price Samba", and "May I Have This Dance". CD

Includes seven tracks recorded with three different quartets. Other players include Amadeo Tommasi, Bob Mover, Larry Ridley, Jacques Peltzer, Lucio Terzano, and Giancarlo Pillot. CD

A really wonderful record, and one that's very different than any sort of piano trio album we've ever heard – as there's this richly textural quality to the album that has all the elements resonating in a very special way, with an overall sonic palette that's beautiful! Sure, there's piano on the set, but the bass is often almost higher in the mix, and more melodic too – while the drums move between soft fills and gentle rhythms – with occasional moments that are more powerful, and kick up the bass too – but again with this production approach that has these really amazing sound patterns between all the instruments. Titles include "Bird Flew By", "Drizzling Rain", "Siciliano", "Stefano", "Doppio Movement", "Abacus", and "Wonderful One". CD

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Searing live work from Gato Barbieri – a brilliant little album that follows on the spirit of his other Latin America sessions for Impulse! The format here is similar to those studio outings – an organic blend of percussion, keyboards, and sax – all bubbling together in a highly rhythmic mode that easily shifts between electric and acoustic statements, all in a jazz-based pursuit of older Latin American rhythms and expressions! Eddie Martinez plays some great Fender Rhodes on the album – ringing out with warm tones that are strongly offset by Gato's sharp-edge tenor lines – and all tracks are nice and long, and flow with a sense of creative energy that almost surpasses the studio albums in the series! Titles include "Milonga Triste", "La China Leoncia", "Baihia", and "Lluvia Azul". CD

A jazz record, but one with a vibe that's all its down – and a sound that definitely echoes some of the tropical elements hinted at in the title and on the cover! Laurent Bardainne is a saxophonist who blows with a really rich sound – nicely soulful, and with a raspy, laidback quality that's really seductive – set up here amidst a mix of acoustic and electric elements, including great percussion, occasional keyboards, and just the right electric basslines to trip things along in a sweet midtempo groove! The mix of jazz soloing and nods to global elements takes us back to similar French albums of the 80s – and most of the set is instrumental, although there are occasional vocals from guests, next to great use of outside sound recordings too. Titles include "Singing", "Eden", "We Try", "Serpent Kaa", "Gobules Rouges", "Dance For Eternity", "Welcome", and "Meilleur". CD

Brigitte Bardot's best known on these shores as an actress, but during the 60s she cut some really fantastic work on the scene in Paris – including a fair bit of groovers that were done with help from the legendary Serge Gainsbourg! Bardot provided a fantastic new voice in the world of pop music – a singer who was unabashedly open about her desires, and very different than the more melancholy stars of a few years before – a quality that's further emphasized by the wonderfully groovy instrumentation used on most of these tracks! Production and arrangements are superb – and put this music in the best territory of the grooviest 60s French pop by artists like Serge Gainsbourg, France Gall, Jacques Dutronc, and a rare few others. This is the first-ever English-annotated collection of work from the period – and features a whopping 25 tracks from her recordings for Philips and Disc AZ – titles that include "Harley Davidson", "Contact", "Neu Au Soleil", "Je Danse Donc Je Suis", "La Madrague", "Les Hommes Endormis", "Je Voudrais Perdre La Memoire", "Mr Sun", "Le Diable Est Anglais", "Tu Es Venu Mon Amour", "John Et Michel", "Gang Gang", and duets with Serge Gainsbourg on "Bonnie & Clyde" and "Je T'Aime Moi Non Plus". CD

An earlier classic from The Beach Boys – and easily one of their best records from the prime sun and surf era for the group – with rave up rockers and some sweet ballads! So much as been written about the foreboding behind-the-scenes circumstances in Beach Boys lore, even during these early years, it can steal away from the more innocent charms if you allow it to – but don't! This is all about soaring, groovy harmonies and impeccable production – on tunes that include "I Get Around", "All Summer Long", "Hushabye", "Little Honda", "Wendy", "Carl's Big Chance", "Girls On The Beach", "Drive-In", "Don't Back Down" and more. CD

Sweetly soaring disco from the legendary Celi Bee – easily one of our favorite disco divas of the late 70s! This album's got a slightly lighter feel than some of Celi's other work – a bit less drama at times, but still plenty of full-on clubby rhythms – thanks to arrangements from Hector Garrido, and some relatively full orchestrations overall. There's a definite New York groove to most of the numbers, but also a bit of a Miami vibe too – and titles include "Together", "Macho", "Hold Your Horses Babe", "Comin Up Strong", "Disposable Love", and "Lost In Love". CD features the bonus tracks "Macho (7 inch mix)" and "Hold Your Horses (UK 12" mix)". CD

A fantastically soulful album from Jorge Ben – one of his greatest records ever, and a key part of Brazilian music in the 70s! The album marks an earthier shift for Jorge – a sound that's still rooted in the samba influences of the 60s, but which also takes on a bit more soul at the bottom – thanks to rhythmic contributions from Trio Mocoto, who work here famously to help Ben shape the overall feel of the set! There's still a bit of larger orchestrations at moments, but these are used sparingly just to sweeten the sound – leaving the main force of the music to come from Jorge's guitar, and the cuica, percussion, and tamborim of the trio. The vocals are wonderful too – slightly raspy, and with a bit more feeling than we ever remember Jorge having on record – sometimes a bit intimate, yet always with an undeniable presence throughout. One of those records that still sends chills up our spines, year after year – with tracks that include "Oba La Vem Ela", "Ze Canjica", "Pulo Pulo", "Apareceu Aparecida", "Terezinha", "Mulher Brasileira", "Forca Bruta", "O Telefone Tocou Novamente", and "Charles Junior". CD

A fantastically soulful album from Jorge Ben – one of his greatest records ever, and a key part of Brazilian music in the 70s! The album marks an earthier shift for Jorge – a sound that's still rooted in the samba influences of the 60s, but which also takes on a bit more soul at the bottom – thanks to rhythmic contributions from Trio Mocoto, who work here famously to help Ben shape the overall feel of the set! There's still a bit of larger orchestrations at moments, but these are used sparingly just to sweeten the sound – leaving the main force of the music to come from Jorge's guitar, and the cuica, percussion, and tamborim of the trio. The vocals are wonderful too – slightly raspy, and with a bit more feeling than we ever remember Jorge having on record – sometimes a bit intimate, yet always with an undeniable presence throughout. One of those records that still sends chills up our spines, year after year – with tracks that include "Oba La Vem Ela", "Ze Canjica", "Pulo Pulo", "Apareceu Aparecida", "Terezinha", "Mulher Brasileira", "Forca Bruta", "O Telefone Tocou Novamente", and "Charles Junior". CD

Three full albums from this tremendous singer – all in a single set! Morning In Paris is very early work from South African singer Sathima Bea Benjamin – recorded in Paris in 1963, with backing by longtime partner Abdullah Ibrahim, plus additional piano and production by Duke Ellington! The album was cut around the same time as Ibrahim (Dollar Brand) did his famous Reprise album in Paris with Ellington – and it's got a similar mix of modern and moody styles – with Sathima singing in a mellower tone than we're used to from her later records, over extremely spare backing that often has the piano barely stepping in, and which also features some nice plucked violin work from Svend Asmussen – acting almost as the bass on a few tracks! Billy Strayhorn also sits in on this extremely unusual session – and titles include "The Man I Love", "Soon", "Lover Man", "I Should Care", "I Could Write A Book", and "Darn That Dream". Lovelight is always-great work from Sathima Bea Benjamin – one of the hippest jazz vocalists of the 80s, working here in a highly spiritual mode that sounds a lot more like records from many years past! There's a warmly gentle glow to the whole set – thanks to instrumentation from Larry Willis on piano, Buster Williams on bass, Billy Higgins on percussion, and Ricky Ford on tenor sax – all coming together in ways that are filled with unusual rhythms, odd turns of phrases, and just the right sort of unconventional accompaniment to fit the Africanist themes of Sathima's music at its best. A few numbers are more traditional, but even these have a nicely sensitive feel – and offer plenty of room for Willis to solo. Titles include "Winne Mandela Beloved Heroine", "African Songbird", "Gift Of Love – For Duke", "Music", and "You Are My Heart's Delight". Southern Touch is a set that's maybe a bit more of a straight jazz vocal record than some of Sathima Bea Benjamin's earlier material – but that might also be because the great Kenny Barron is part of the group on piano – supporting Sathima's great voice with the help of Buster Williams on bass and Billy Higgins on drums! Tunes are mostly standards, but it's great to hear them opened up with Benjamin's unique phrasing – that voice that was raised up on more righteous material in earlier years, and which still seems to bring some of that power to tunes that include "Street Of Dreams", "Lush Life", "One Alone", "I'm Glad There Is You", and "I've Heard That Song Before". CD

A really fantastic pairing of forces – as keyboard collector Matt Berry serves up a special set of instrumental tracks for the KPM sound library – many of which are done on the kinds of keys that KPM were recording back in the day! You might know Matt for his work on screen, but he's also a very devoted musician, with a rich legacy of projects – and although we love his vocals on his more pop-oriented records, this set lets his keyboard skills really come to the forefront! The set features Berry on electric pianos, guitars, bass, and other keyboards – assisted by the funky drums of Craig Blundell, on titles that include "Rising Bass", "Set The Scene", "Simple Basics", "Widescreen Features", "Too Many Hats", "Telescopic", and "Driving Seat". CD

Think the Germans had the market cornered on dark-edged electronics in the 70s? Guess again, because this mid 70s gem from Frenchman Philippe Besombes easily rivals the most progressive work of the Kraut scene of the time! The album's a collaboration with Jean-Louis Rizet – and features both artists duetting on a variety of analogue electronics – sometimes in a melodic way, but often in more experimental modes that are quite textural at times – and which stand as a key link between initial German electronics in the 70s, and some of the murkier British uses of the instrument a few years later. Titles include "Synthi Soit-Il", "Haute Pression", "Evelyse", "Armature Double", "Lundi Matin", and "Montelimar". CD

A bit blues, a bit jazz – and a singer with a style unto her own – the amazing Big Maybelle, one of the greatest artists to record for Okeh Records in the 50s! This well-done collection pulls together every single Maybelle recorded for the R&B powerhouse back in the day – a motherlode of great work that easily puts her right up there with Lavern Baker or Ruth Brown as one of the great female singers of the 50s. The package features a whopping 26 tracks in all – including many bits that get lost between the tracks in some of the too-sifted collections of her work from the time. Titles include "Maybelle's Blues", "New Kind Of Mambo", "Hair Dressin Women", "My Big Mistake", "Ain't No Use", "One Monkey Don't Stop No Show", "So Good To My Baby", "Gabbin Blues", "You'll Never Know", "The Other Night", and "Such A Cutie". CD

A great document of the way that Jane Birkin really flourished in the second half of her musical career, especially in the years after the passing of Serge Gainsbourg – a time when Birkin was emerging to be one of the real giants of French music on her own, as testified to in the power of this series of live performances! The Jane Birkin here is very different than the breathy voice next to Serge on her early recordings – and instead, she commands the stage with the presence of singers like Maria Bethania or Gal Costa – maybe no surprise, as the very generous presentation of these performances will attest. The box brings together live sets from 1987 up to 2023 – albums that include Au Bataclan, Au Casino De Paris, A L'Olympia, En Concert Au Japon, Arabesque, Au Palace, Sings Serge Gainsbourg Via Japan, Le Symphonique Live, and Oh Pardon Tu Dormais. CD

One of our favorite albums ever from Art Blakey and the Jazz Messengers – but a set that was unreleased by Blue Note for quite a few years! The set's one of two gems the group recorded in 1961, but which were held back until the end of the 60s – and it features a stellar version of the group with Wayne Shorter on tenor, Lee Morgan on trumpet, and Bobby Timmons on piano – all wonderful players who were really coming into their own at the time, and starting to bring a richness to the Messengers sound that would leave its mark in jazz for many years to come! The group is razor-sharp on the rhythms, but also really able to take new chances with their phrasing and timing – on a host of wonderful tracks that include "Those Who Sit & Wait", "The Witch Doctor", and "A Little Busy" – all real classics from this special group. CD

Killer work from this funky Finnish combo – a group who celebrate a strong decade in music with this really wonderful set! The Blassics bring in all the right sort of influences from African funk of years back, especially Ethiopian music – and they spin out tracks that are often nice and long, and which feature some tremendous jazzy solos from the horn section – players stepping out from the ensemble for individual expressions, and not just vamping with the rhythms! The rest of the instrumentation is great too – well-crafted, and shaded with all sorts of tones that really deepen the music in personal ways, and don't just echo styles of the past. Titles include "Afrohustler", "Special Occasion", "Ruff Strut", "West Side Glory", "Swazi Funk", "Yeketema Set", and "Hagerun Geleba". CD

Beautiful sounds from pianist Carla Bley – a musician who just keeps on blowing us away as the decades move on – and that's saying a hell of a lot, given how many years she's been making music! There's a really special quality to this record – a warmth and maybe just a slight touch of humor, but not in the overdone way of some of Carla's records from the 80s – much more subtle, and mixed with occasional currents of darkness – all handled with this understated sense of personality that perfectly showcases all three members of the group – Bley on piano, Steve Swallow on bass, and Andy Sheppard on tenor and soprano saxes. Swallow maybe sounds more wonderful here than we've heard in years – the record is a great reminder of how many great contributions he can make to music – and titles include the longer cycles of songs "Life Goes On", "Copycat", and "Beautiful Telephones (parts 1 to 3)". CD

A great showcase for the alto talents of Arthur Blythe – a set that's maybe a bit more stripped-down than some of his bigger label albums of the 80s, but in a way that really lets you focus on his strength of tone and phrasing! The group's a quartet, working in an open live setting – John Hicks on piano, Cecil McBee on bass, and Bobby Battle on drums – and while all players certainly know how to go inside, they keep things swinging and relatively straight at the core – while Blythe waxes beautifully on the alto, with these sharp edges that mix nicely with more lyrical moments. Titles include "Jana's Delight", "JB Blues", "Lenox Avenue Breakdown", "Faceless Woman", and "Peacemaker". CD

Heady and heavy work from Billy Bond and La Pesada Del Rock & Roll – a guitar heavy group from Argentina, and one with plenty of blues rock overtones! The guitars are definitely turned up to 11 here – jamming with an intensity to match some of the best hard rock sides from Peru reissued by the Lazarus label in recent years – and like those sets, there's a sound here that's an intensification of earlier beat group modes – taken into much harder territory for the 70s. The production is great – earthy, trippy, and a little bit spooky – and the album's got an oddly unsettling feel, one that's familiar at first, but then increasingly estranged as the record moves on. Quite compelling, and with 16 tracks that include "Dueno De Tu Piel", "El Parque", "Buen Dia Senor Presidente", "Divertido Reventado", "Salgan Al Sol", "La Maquina", "Voy A Ver Un Amigo", "Para Que Nos Sirven", and "La Marcha De San Lorenzo". CD

A sweet set of 70s spiritual jazz from Argentine tenor player Chivo Borraro – one of his best albums of the time, and a really wonderful session with lots of nice touches! The record features Borraro playing keyboard effects, in addition to his usual tenor – and it also features some additional keyboards by Fernando Gelbard, who plays both Fender Rhodes and ring modulator on the album, working things wonderfully as he did on his own albums of the time. This wealth of keyboards gives the album a spacious feel – keys soaring out into space, creating platforms for solo work on sax, and a space to showcase the talents of Stenio Mendes, who plays the 12-stringed craviola on the album. There's lots of post-Coltrane exploration to the record – and titles include "Mi Amgio Tarzan", "Cancion De Cuna Para Un Bebe Del Ano 2000", "Lineas Torcidas", and "La Invasion De Los Monjes". CD also features two bonus tracks – "Intro/Mi Amigo Tarzan" and "Mi Amigo Tarzan (alt take)". CD

A record with a freaky sort of cover, but one that's got this very laidback, down to earth vibe – almost like a small funk combo taking on territory from 70s AOR, but serving things up with a much looser, easygoing sort of style! The vocals are great – blue-eyed soul, and compressed down into the instrumentation, which includes keyboards, guitar, and light strings – plus occasional flute and trumpet – all handled with this stripped-down vibe that almost makes you feel like you're sitting in with a big label act like America or Hall & Oates as they're cooking up some mellow soul tracks in the studio. Titles include "Rialto Winds", "Gift Of Life", "Peach Optimo", "Hanging On", "NyNy", "I Will Be", and "Too Yung". 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

One of those rare Blue Note sessions from tenorist Tina Brooks – originally recorded for the label in 1960, but never issued at the time – yet easily on a par with their more famous work of the period! Brooks' horn has a nice hard edge here – that sharp-edged modernism you'd hear with Jackie McLean, who makes a key appearance here on the album's famous "Street Singer" track. Jackie's not on the rest of the record, but that's fine with us – because other players are all equally great, and include Blue Mitchell on trumpet, Kenny Drew on piano, Paul Chambers on bass, and Art Taylor on drums. Apart from "Street Singer", other titles include "The Ruby & The Pearl", "Back To The Tracks", "For Heaven's Sake", and "The Blues & I". CD

An amazing document of one of Peter Brotzmann's greatest albums from the time – a set that includes the album on CD, plus a book of photos taken during its creation! The record features spare duets between him and percussionist Han Bennink – recorded in the Black Forest, in a very nature-oriented setting that often has Bennink playing on rocks, sticks, and whatever else he could find – even some water, which sounds especially amazing! Han turns in some of his most inventive percussion ever – and proof that he's easily one of the most creative musicians on the European scene! There's a real focus on sound and feeling on the album – an organic sensibility that's quite different from other Brotzmann sessions, and which often comes across with a surprisingly gentle feel – and the album's a perfect example of the FMP formula at its best, when applied with the right sense of freedom. The whole thing comes in a softcover book with a fantastic presentation – loads of photos that were taken on the way to the forest where the set was recorded, then during the recording of the material too – really beautiful images that live up to the aesthetic of the cover art. The book also features an introductory essay – and the whole thing is 120 pages, with the CD inside the cover – black and white images throughout. CD

An extended live session from the team of Clifford Brown and Max Roach – recorded together at the Cotton Club in Cleveland at the end of May in 1956 – over the course of three nights of performance that are all represented in this overstuffed set! The group here is a classic one – with Brown on trumpet, Roach on drums, Sonny Rollins on tenor, Richie Powell on piano, and George Morrow on bass – an ensemble that's been famously documented on record by Emarcy, but which is heard here in a more relaxed, rougher-edged mode – not just because of the slightly amateur sound quality on the CDs, but also because of the open-ended, club-styled performance by the group. What the date lacks in polish, it more than makes up for in edge – especially from Rollins, who's really beginning to stretch out during these years. Titles include a 23 minute take on "Get Happy", a 14 minute "Untitled Blues", a 13 minute "Delilah", a 16 minute "Jordu", an 18 minute "Nice Work If You Can Get It", a 19 minute version of "I'll Remember April", and a 10 minute take on "Daahoud" – plus versions of "Lover Man", "Take The A Train", "Valse Hot", "Lover", and "What's New". CD also features 3 bonus tracks – the same group broadcast from Town Casino in Buffalo in February of 1956 – on "Round Midnight", "Daahoud", and "The Blues Walk". CD

A rare TK Records effort from James Brown – very much in the best uptempo funk mode of the later Polydor years! The groove here is quite similar to those better-known efforts – grooves that are a bit quicker than a few years before, but still played in a core JB funky style – live and lively, with plenty of emphasis on the rhythms! Brown often referred to his style here as disco, but it's a lot more like some of the P-Funk progressions of the period – a mode that's more polished than a grittier funky generation, yet far from smooth club or disco overall. There's plenty of choppy little groovers that make the record great – and titles include the long cut "Rapp Payback", plus "Funky Men", "Smokin & Drinkin", "Stay With Me", and "Mashed Potatoes". CD

A rare TK Records effort from James Brown – very much in the best uptempo funk mode of the later Polydor years! The groove here is quite similar to those better-known efforts – grooves that are a bit quicker than a few years before, but still played in a core JB funky style – live and lively, with plenty of emphasis on the rhythms! Brown often referred to his style here as disco, but it's a lot more like some of the P-Funk progressions of the period – a mode that's more polished than a grittier funky generation, yet far from smooth club or disco overall. There's plenty of choppy little groovers that make the record great – and titles include the long cut "Rapp Payback", plus "Funky Men", "Smokin & Drinkin", "Stay With Me", and "Mashed Potatoes". CD

A super-huge moment for Miami funk guru Peter Brown – a record instantly recognized by the silhouetted cover image of a perky nude in a window on the front, and for the very famous title hit, "Do You Wanna Get Funky With Me?" Despite its hit status, the record's actually a pretty nice example of Brown's talents – with plenty of spare cuts that feature keyboards, percussion, and synth – plus some occasional vocals by Betty Wright, Pat Hurley, or the vocal group Wildflower. Titles include "Do You Wanna Get Funky With Me", "Dance With Me", "Without Love", "Fantasy Love Affair", "You Should Do It", and "For Your Love". CD features the bonus track "Dance With Me (7" mix)". CD

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

Dave and the quartet pay tribute to the songwriting genius of Cole Porter – working with familiar older tunes, but nicely unlocking them with a strong sense of Brubeck modernism! Things start out slow, but get extremely playful as the set goes on – with fresh timings and phrasings that move the chestnuts past their usual territory – and allow some great space for crisp alto solos by Paul Desmond, always a treat in any Brubeck set! Dave himself sounds slightly heavier in his left hand on the keys – hitting things with a harder tone than one might expect for a Cole Porter session, and again making for an unusual twist for the material. Titles include "Night & Day", "Anything Goes", "Love For Sale", "What Is This Thing Called Love", "All Through The Night", and "You're The Top". CD

Bravo Brubeck, indeed – as this great live set not only has the Brubeck quartet in Mexico, working through some surprising Latin-themed tunes – but also includes some added percussion and guitar, which brings a whole new dimension to their sound! The album's still got the core Brubeck approach at its heart – with Dave on piano, Paul Desmond on incredible alto sax, Eugene Wright on bass, and Joe Morello on drums – but the quartet finds a way to really open up on these numbers, and expand their sound into new modes – as they'd done on some of their Japanese and Eurasian explorations. A number of tunes are Latin American numbers, re-arranged in a modern way by Brubeck – and titles include "Cielito Lindo", "Sobre Las Olas", "Nostalgia De Mexico", "Poinciana", "Estrellita", and "Alla En El Rancho Grande". CD features the bonus track "Frenesi". CD