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

For years, AACM tenorist Fred Anderson labored in obscurity – playing the better part of the 70s and 80s with little or no recognition of his strong inventive talent, and of his never-ending committment to expanding his horizons as a musician. Fortunately, Anderson's been greatly rediscovered in the past decade – and the past few years has seen the reissue and first-issue of material that was recorded during Anderson's "lost years", but never properly handled before. This session is one of those "first issue" sets – as it was recorded in Milwaukee in 1980, yet lay in the can for years, due to lack of interest. The set's fantastic – and features Anderson playing in a quartet with trumpeter Billy Brimfield, bassist Larry Hayrod, and drummer Hamid Drake. What's most notable about the material is that it has kind of a mellow spiritual quality to it – showing the more soulful sound of the AACM, one that didn't always make an appearance on Anderson's other recordings. The strongest case of this is the fantastic track "Bombay", which features tablas by Drake, and some wonderful extended soloing by Brimfield and Anderson. All tracks are great, though – and titles include "Black Woman", "Ballad For Rita", and "The Bull". CD

A masterful set from two legends – Fred Anderson on sax, and Hamid Drake on drums and percussion! It's hard to imagine a more fulfilling 70 minutes of work from these two players than you'll find here. Anderson's sinewy, rolling lines meld beautifully with Drake's propulsive pounding. The boys build a great sound here, too – so much so that's you can scarcely believe that it's was all done in a duet setting. Nice, nice stuff! Tracks include "Leap Forward", "Black Woman", "Back Together Again", "Losel Drolma", "A Ray From The One", "Louisiana Strut", "Know Your Advantage" and more. It comes with a great bonus CD ROM disc with a lot of live studio and documentary footage, a couple of interviews and much more! CD

A sublime session that's co-led by two of the greatest figures on the Chicago jazz scene at the time of the recording – drummer Hamid Drake and tenorist Fred Anderson – both musicians that had been working in the city for years, but who really seemed to blossom in the new light that the 21st Century was bringing to their music! The tracks here are long and beautiful – maybe more spiritual than most anything else that Anderson ever recorded – still with enough edges to please his fans of freer improvisation, but building with more rhythmic currents and modal energy – thanks in part to contributions on the record from the great Jeff Parker on guitar, and bassist Joshua Abrams – a player who's really starting to find his way on a record like this! Harrison Bankhead plays piano – but throughout, it's the work of Anderson and Drake that really shines in the spotlight, as it should – on long titles that include "Planet E", "Strut Time", "For Brother Thompson", "From The River To The Ocean", and "Sakti/Shiva". CD

A beautiful tribute to the strengths of these players working together in a trio – the sense of respect and patience they each have for each other – letting the sound come at just the right moment in just the right way, as things build together in this amazing way – then leap forth with a power that's even more incredible when all three musicians fall into step! Anderson's tenor gets lots of rich open space to roam around – with these deep tones that strongly echo a Coltrane legacy, almost more soulfully than other albums of this vintage – and Parker's bass is wonderful, as always, in a setting like this – and Drake's drums are a masterpiece of understatement. The set features four long improvisations – recorded live in a very warm space. CD

Tenorist Fred Anderson made some fantastic albums for the Okka Disk label during the later years of his life – and this wonderful set has the legend making tremendous new fire with the label's excellent DKV Trio! Given that the group already features Ken Vandermark on saxes, the pairing of Anderson and Ken is a heck of a match – driven on strongly here by the bassist Kent Kessler, who's at the height of his powers during these years – and drummer Hamid Drake, whose range is maybe even more bold here than usual. Titles include "Planet E", "Lady's In Love", "Aaron's Tune", "Black Woman", "Our Theme", and "Dark Day". CD

Includes 15 CDs – spirituals, lieder, opera excerpts and arias, her Christmas album, and more – all packaged in a beautiful, 228-page coffee book! CD

... CD

Solo piano ballads – titles include "Polka Dots and Moonbeams", "Day Dream", "Solitude", "Good Morning Heartache", and "Theme From Wuthering Heights". CD

Rare later work from pianist Chris Anderson – an under-recorded modernist who first made a name for himself on the Chicago scene of the 60s, but who's emerging here as a warmer, gentler soul on the keys! The set's got the feel of some of the other DIW piano trio sessions from the time – recorded in an intimate style by producer Mickey Bass – himself a jazzman, with a good ear and sensitivity to the group. Billy Higgins is on drums and Ray Drummond is on bass – and Anderson's work on the keys is beautifully captured with a subtle genius that must be heard to be fully understood. Titles include "The End Of A Beautiful Friendship", "Star Eyes", "Blues One", "Blue Bossa", and "Summer Of 42". CD

... CD

One of Ernestine's early albums for Mercury – a bit unsure as to its direction: soul jazz, straight ballad vocals, or a bit of vocalese jazz – but that's kind of what makes it interesting! Pete Rugolo conducts the group on the session – and he also contributed the original tune "Interlude" to the set. Other strong tracks include a version of "Social Call", plus "Welcome To The Club", "Azure Te", "Runnin Wild", and "Heat Wave". CD

The first new studio recording by tenorist Fred Anderson since 1980 – and a set that shows just how much he'd grown in the intervening years! Here, Fred's newly alive with a younger Chicago group – a great quartet with Jim Baker on piano, Harrison Baker on bass, and Hamid Drake on drums – all players openly fluid to move with Anderson from swinging passages to freer ones – a beautiful balance of soul and experimentation, captured in a way that maybe links Fred more closely to Von Freeman than any other record in his career – yet which still captures all the AACM vitality in his music too. Titles include "Birdhouse", "Bernice", "Like Sonny", and "Waiting For Me". CD

A great set from AACM legend – tenorist Fred Anderson – cut in the very familiar home territory of his Velvet Lounge in Chicago! Anderson had been tending bar and leading jam sessions at the tavern since his return from Europe in the early 80s – but ended up purchasing the venue towards the end of the next decade – and quickly turned it into one of the real hotspots for the rising Chicago avant garde! This classic live set features Anderson caught in his home turf, in the company of bassist Peter Kowald and drummer Hamid Drake – prime example of the kind of local/international crossover sets that were really shaking the Chicago scene in the 90s. The set features 3 long tracks – "Straight, But Not Straight", "To Those Who Know", and "Multidimensional Reality". CD

... CD

Features Billy Drewes on saxophones and special guest Toots Thielemans on harmonica. CD

One of the greatest albums to come from the New York underground of the early 80s – even if it was a relatively big "hit" on a major label! Laurie Anderson is in perfect form here – drawing on a strong tradition of avant garde performance, but without any of the indulgences that would mire down performance art in years to come. Instead, she's got a clean, clear style that's simply amazing – spoken passages that are poetic and pointed, but which also have a slight undercurrent of wit – a charming quality that never takes itself too seriously, even when the sounds and styles are somewhat dark. Instrumentation includes some great rhythm passages from David Van Tieghem, plus surprising performances from Rufus Harley on bagpipes and George Lewis on trombone. Titles include "From The Air", "Big Science", "O Superman", "Born Never Asked", "Walking & Falling", "Example #22", "Let X = X", and "It Tango". CD

An obscure vocal gem from Prestige – featuring the lesser-known singer Mildred Anderson, working in a mixture of jazz and blues, with backing from the classic Eddie Lockjaw Davis combo! Mildred's got a laidback and bluesy approach that's a few more shades towards the blues than the work of Etta Jones – and although we might not normally go much for a singer of that nature, Anderson's style is really sweetened up here by the small combo backing – especially the organ work of Shirley Scott, which is one of the best aspects of the set! Titles include "Connections", "I'm Free", "Hello Little Boy", "Person To Person", and "Kidney Stew". CD

Ray Anderson on trombone and vocals, Charlie Haden on double bass, Ed Blackwell on drums, and Simon Nabotov on piano. CD

An obscure reissue that collects some of the best work by James Brown soul sister Vicki Anderson – a heck of a great vocalist, and right up there with Lyn Collins and Marva Whitney for sheer raw soul power! Vicki's work was actually some of the funkiest and most righteous to come out of the James Brown camp at the end of the 60s – and the tracks on this set really show her working at full steam – and includes some all-out groovers that have had a long life in recent years, thanks to a strong sample history. Titles include "Message From The Soul Sisters", "I'll Work It Out", "Sound Funky", "In The Land Of Milk & Honey", "You're Welcome Stop On By", "Super Good", and "Answer To Mother Popcorn". CD also follows with 10 more tracks from Lyn Collins – super-heavy soul with a strong funky undercurrent – mostly material issued on People Records with backings by the JBs! Titles include "Rock Me Again & Again & Again", "You Can't Love Me If You Don't Respect Me", "Think", "Mama Feelgood", "We Want To Party Party Party", "Take Me Just As I Am", and "Mr Big Stuff". CD

Anderson.Paak heads to Ventura for this one – and something about that sunny coastal city brings out his soul influences after the primarily hip hop-leaning Oxnard! Paak leads on his raspy sung style for this one, an easygoing hip hop soul sound that's built to last, and again bringing in a heavy hitting of roster guests – including Andre 3000, Nate Dogg, Lalah Hathaway, Brandy and even Smokey Robinson – on tracks including "Come Home", "Make It Better" with Smokey Robinson, "Reachin' 2 Much", "King James", "Goodheels" with Jazmine Sullivan, "Yada Yada", "Jet Black" with Brandy, "Twilight" and "Chosen One" with Sonyae Elise and more. CD

A great pairing – the tenor of David Murray and trombone of Ray Anderson – alongside Anthony Davis on piano, Kenny Davis on bass, and Tommy Campbell on drums! CD

A solo piano set – tracks include "Where Or When", "So Blue", "For Seana", "Love Letters", and "Detour Ahead", which features the pianist accompanying himself on vocals. CD

A key moment in the career of vocalist Ernestine Anderson – a record that not only returned her to the public eye after a flurry of initial sides in the late 50s and early 60s, but which also finally helped Anderson find a sound that worked! The album's done with backing by the Monty Alexander trio – in a style that's bluesy and soul jazz inflected, but with a sweeter west coast sound – almost an early 80s equivalent of the groove explored by Lou Rawls or Ernie Andrews in LA during the mid 60s, but done with an even more relaxed, jazz-based approach here. The title track – "Never Make Your Move Too Soon" – was an instant standout that got Anderson play in many corners of the US – and other tracks are more familiar numbers, but done in a similar mode – with titles that include "Old Folks", "As Long As I Live", "Just One More Chance", "Poor Butterfly", and "My Shining Hour". CD

... CD

Features Ray Anderson on trombone, Gerry Hemingway on drums and percussion, and Mark Helias on bass! CD

Pre funk, perhaps, but mightily storming soul singles from Vicki Anderson – James Brown productions from the mid 60s to the end of the decade – incredible stuff that's been a bit underappreciated in a world of funky compilations, yet no less incredible and even more diversely soulful than the funky stuff! Vicki's 70s funk sides are the stuff of legend, and these 60s recordings, which started around the time she joined the James Brown Revue in the mid 60s are just about as good a selection of period female fronted R&B and soul as we can think of – and a really eye opener if you came on board with Vicki for the 70s sounds and her later work with Bobby Byrd! Includes a pair of duets with James Brown – the proto funk gem "Think" from 1968 and "Let It Be Me" from 1970, which truth be told, has more than a little funk bubbling underneath, and some groovy guitars, strings and brass on top – plus "Here Is My Everything" and "Loving You" with Bobby Byrd. But this is Vicki's showcase all the way, and it's a great one! Titles include "I Love You", "My May", You Send Me", "Wide Awake In A Dream", "All In My Mind", "Tears Of Joy", "No More Heartaches, No More Pain", "In The Land Of Milk And Honey", "The Feeling Is Real", "I'll Work It Out" and more. 23 tracks in all. CD

A great one from Delmark – a set that features work from these two obscure Chicago small combo players – Othello Anderson on alto and Al Green on drums – with Odies Williams III on trumpet, and Leandro Lopez Varady on piano! CD

... CD

... CD

... CD

... CD

Possibly the greatest album so far from Ken Vandermark's Territory Band – a live performance that has the ensemble joined by legendary Chicago tenorist Fred Anderson! The work here is one long composition – "Collide" – written and directed by Vandermark, played by the largeish ensemble, and featuring improvised passages by Anderson over the top. Instrumentation includes trumpet from Axel Doerner, percussion from Paul Lytton and Paal Nilssen-Love, electronics by Lasse Marhaug, piano by Jim Baker, and reeds by Vandermark, Dave Rempis, and Fredrik Ljungkvist – and the concert was recorded with great acoustics in Chicago's Millenium Park. CD

Fantastic sounds from Flying Lotus – an artist who just keeps on pushing past any conventional expectations, to a point where his music is almost a genre unto itself! The record's got this very tripped-out sort of vibe – very much in keeping with the image on the cover – and while many others are exploring this territory of late, few ever even get close to the right sort of mix that's going on here – subtle elements of soul, funk, jazz, hip hop, and maybe a million other influences – all flowing through the double-length space of the set, as it Flying Lotus redefines the sound of soul in the modern age. The set's got guest work from Thundercat, Shabazz Palaces, David Lynch, George Clinton, Anderson Paak, Little Dragon, Solange, and others – and titles include "Post Requisite", "Takashi", "Spontaneous", "More", "Burning Down The House", "Actually Virtual", "Find Your Own Way Home", "The Climb", "Debbie Is Depressed", "Black BAloons Reprise", and "Land Of Honey". CD

A lost chapter in the all too short history of Charlie Haden's Liberation Music Orchestra – an album recorded shortly after the group's better-known album for ECM in the 80s! Like other Liberation Music outings, Carla Bley is a very strong presence on this set – penning original tunes for the album, handling arrangements, and sharing Charlie Haden's love of rhythms and inspirations from Latin and African sources – inspirations that are brought in subtly, and shaped to fit the overall spirit of the group. Players include Tom Harrell, Ken McIntyre, Joe Lovano, Dewey Redman, and Ray Anderson – and titles include "Dream Keeper", "Rabo De Nube", "Nkosi Sikelel'I Afrika", and "Sandino". CD

Mary Halvorson seems to expand her sound here a bit more than usual – not in that she's working with a large ensemble, or in any sort of too-ambitious ways – but just that she's mixing her very unique phrasing on the guitar with just the right blend of other instruments – all at a level that feels way more than just the sum of its parts! The sextet features work from Adam O'Farrill on trumpet, Jacob Garchik on trombone, and Patricia Brennan on vibes – the last of whom is especially great, and whose tones really do a lot to color the album and shape the sound. The trumpet's got a great presence too – trading nicely with the trombone – and titles include "Desiderata", "Collapsing Mouth", "The Gate", "Tailhead", and "Ultramarine". Plus, Laurie Anderson plays guest violin on "Incarnadine". CD

Chris Hazelton cooks it up on the Hammond – playing here in a sweet small combo mode that's mighty nice – and with baritone from Brett Jackson in the group instead of the usual tenor! The deep sound of Jackson's horn is a nice balance with Chris' tight work on the keys, and the chromatic sounds of Jamie Anderson's guitar – as the group swings nicely on tracks that also feature drums from John Kizilarmut and occasional conga from Pat Conway! The whole thing's got a nicely different vibe from standard jazz organ sets – and titles include "The Groove Merchant", "Night Lights", "So Tired", "Amsterdam After Dark", "Easy Talk", and "Watch What Happens". CD

Fred Hersch on piano with Ralph Alessi on trumpet and flugelhorn, Reid Anderson and Drew Gress on bass, Jamey Haddad on percussion, Rich Perry on tenor saxophone, and Tom Rainey and Nasheet Waits on drums. CD

One of our favorite records by Earl Hines – a hip little comeback set, recorded in the mid 60s with an Ellingtonish lineup that includes Clark Terry, Cat Anderson, Ray Nance, Lawrence Brown, Jimmy Hamilton, and Johnny Hodges. Hines' piano is certainly a strong force in the record, but even more delightful is the solid feel of the players overall – working with that complete coherence found in the best 60s sides by Duke, but touched here with some of Hines' sprightly approach to the melody. Titles include "Once Upon A Time", "Black & Tan Fantasy", "You Can Depend On Me", "Hash Brown", and "Fantastic That's You". CD

A nice little 60s album by Johnny Hodges – one of the few post-Verve sessions that has him still playing in the hard swinging Ellingtonia small combo mode of the 50s! Players are all strong – and include Jimmy Jones, Cat Anderson, Ray Nance, Harry Carney, and Paul Gonsalves – and the tracks are mostly older numbers, but redone here with a bit more 60s bounce. Hodges' alto is, as ever, great – and titles include "Everybody Knows", "The Jeep Is Jumpin", "Main Stem", "I Let A Song Go Out Of My Heart", and "Open Mike". CD

Incognito never lets us down – and records like this keep us listening strongly year after year! The set's got all the core brilliance of Incognito at their best – a really classic approach to jazzy soul, served up with top shelf instrumentation by the group – and sent home strongly by a range of singers who include Vanessa Haynes, Tony Momrelle, Chiara Hunter, Imani, Deborah Bond, and the great Carleen Anderson! Nobody can do it as well as these guys – tight, but never uptight – smooth, but never sleepy – really right on the money from the production on down to the bottom – the kind of careful, classy soul that almost makes Incognito a genre unto themselves. Titles include "Wind Sorceress", "Rapture", "Hands Up If You Wanna Be Loved", "Hats", "I Couldn't Love You More", "Something Bout July", and "Silver Shadow". Japanese CD features the bonus track "Part Of The Plan". CD

The album that really broke Jethro Tull out of the prog rock underground and into the mainstream – and a set that showed that the group weren't just a combo with creative use of flute, but a band that could really rock off their ass when they wanted to! Previous records were all pretty great, but there's definitely something special in the air with this one – an extra-amped version of the group that even seems to have Ian Anderson's flute blowing out all stops, and his vocals sounding even more menacing than before! Martin Barre's maybe the real master, though – searing on guitar, and punctuating all of Anderson's efforts with his own mad energy – on titles that include the classic "Aqualung", plus "Wondering Aloud", "Cheap Day Return", "Cross Eyed Mary", "My God", "Slipstream", "Locomotive Breath", "Wind Up", and "Mother Goose". CD

Lee Konitz on alto saxophone, Rich Perry on tenor saxophone, Harold Danko on piano, Jay Anderson on bass, and Billy Drummond on drums. CD

Wynton Marsalis, Marcus Printup, Riley Mullins, Roger Ingram, Russell Gunn, Ryan Kisor, and Seneca Black on trumpet, Wess Anderson on clarinet, alto and soprano saxophone, James Carter on clarinet, bass clarinet, and baritone saxophone, Victor Goines on clarinet, tenor and soprano saxophone and bass clarinet, Walter Blanding on soprano saxophone, Robert Stewart on tenor saxophone, Ron Westray and Wayne Goodman on trombone, Wycliffe Gordon on trombone and tuba, Michael Ward on violin, Eric Reed on piano, Reginald Veal on bass, and Herlin Riley on drums and tambourine with vocals from Cassandra Wilson, Jon Hendricks, and Miles Griffith. CD

A nice little take on the "city symphony" mode that was big in American music a few decades back – served up by the Wynton Marsalis Septet of the early 90s, with decidedly modern touches! The double-length album's a three-tiered affair – with part one standing out as Wynton's extended "Cityscape" – a tribute to New York, done in styles that range from mellow and contemplative, to more hustling and bustling, in true speed of the city. Next up is another suite of tracks titled "Transatlantic Echoes" – work that's still jazz-based, but with a nod to African roots in some of the percussion and phrasing. Last up is "Some Present Moments Of The Future" – the final suite of the album, and one that almost echoes some of the rootsier modes explored by Wynton in his southern trilogy of a few years before. Players include Wynton on trumpet, Todd Williams on tenor and soprano sax, Wes Anderson on alto, Wycliffe Gordon on trombone, Reginald Veal on bass, Herlin Riley on drums, and Eric Reed on piano – and the album also features some guest tenor from Herb Harris and a bit of piano by Marthaniel Roberts. CD

A bit more of a high concept album than some of Wynton Marsalis' previous efforts – a set with a few more added horns on side one, and an extended suite on side two! The work definitely shows Wynton's increasing concern with jazz history – his desire to embrace, and sometimes represent, decades of past musical expression in his work – a real Lincoln Center sort of impulse, but one that still comes off relatively well here, and without as much hoke as you'd expect. Side one has Wynton working with regular pianist Marcus Roberts, plus Todd Williams on tenor and soprano sax and Wes Anderson on alto – and side two features a completely different group, much more in an older-styled jazz vein – with Michael White on clarinet, Danny Barker on banjo, Teddy Riley on trumpet, and Freddie Lonzo on trombone. Titles include "The Majesty Of The Blues", "Hickory Dickory Dock", and the expanded "New Orleans Function" suite. CD

A fantastic record from the contemporary Chicago scene – one that both gives bassist Junius Paul his first showcase as a leader, and underscores the richly collaborative energy in which the musician works! The set was recorded at various points in the Windy City underground – with Paul at the help of a shifting lineup that includes Makaya McCraven on drums, Corey Wilkes on trumpet, Justin Dillard on piano and keyboards, Jim Baker on piano and Arp, Isaiah Spencer on drums, Marquis Hill on trumpet, and Tomeika Reid on cello – with most musicians also handling other instruments too, in a continuation of an AACM legacy – on a record that's then edited by Makaya McCraven, in the best International Anthem mode! The music is jazz, but of the most forward-thinking type – and titles include "Ma & Dad", "Fred Anderson & A Half", "Twelve Eighteen West", "Georgia", "Spocky Chainsey Has Re-Emerged", "The One Who Endures", "Baker's Dozen", "View From The Moon", "You Are Free To Choose", "Paris", "Collant Denier", and "Sprouts". CD

Rich Perry on tenor, Frank Kimbrough on piano, Jay Anderson on bass, and Billy Drummond on drums. CD

A well-balanced quartet session of the sort that seems almost effortless, and in the best recent style of the Steeplechase label – a really strong leader with a voice that really inspires the others in the group, as they move through some of his own originals and a nice mix of more unusual titles too! Rich Perry really lets the lineup open up and find their own pace amidst the tune – especially pianist Gary Versace, who has nicely sharp edges and a sense of freedom from time to time – working next to the bass of Jay Anderson and drums of John Riley. Riley and Versace both contribute key tunes the the session, along with Perry – and titles include "Now", "No Lines", "Living", "Gotta Blues One", "Blind Faith", "Progression", and "Mud". CD

With Peter Washington, Sammy Figueroa, Eddie Gladden, Greg Bandy, Roger Humphries, Victor Jones, Winard Harper, Bill Saxton, John Patton, Lonnie Smith, Lawrence Killian, Benny Green, Mark Soskin, Geary Moore, Houston Person & James Anderson. CD

Features Red Rodney on flugelhorn, Chris Potter on saxophone, Garry Dial on piano, Jay Anderson on bass, and Jimmy Madison on drums. CD

Features Sonny Rollins on tenor, Clifton Anderson on trombone, Mark Soskin on keys, Jerome Harris on bass, and Marvin "Smitty" Smith on drums. Tracks include "Just Once", "Promise", "Duke Of Iron", "Allison", and "Dancing In The Dark". CD

Sonny Rollins takes to global warming years before An Inconvenient Truth – blowing with a tone that's rich enough to power a whole city on its own! The album features Sonny in two different groups – one a quartet with Stephen Scott on piano, Bob Cranshaw on bass, and Idris Muhammad on drums – the other a bit larger, still with Scott and Cranshaw, but also featuring Clifton Anderson on trombone, Perry Wilson on drums, and Victor See Yuen on percussion. Some tunes have that island-tinged style that Rollins started exploring from his RCA years onward – and titles include "Global Warming", "Island Lady", "Echo-Side Blue", "Change Partners", and "Mother Nature's Blues". CD

Sonny Rollins on tenor sax with Clifton Anderson on trombone, Roy Hargrove on trumpet, Mark Soskin on piano, Jerome Harris on guitar, Bob Cranshaw on bass, and Steve Jordan, Jack DeJohnette, and Al Foster on drums. CD

Late Sonny Rollins on Milestone, and a record with some really wonderful horn interplay – thanks to a group that includes an added brass lineup on a few cuts! The core combo, a quintet, features wonderful trombone from Clifton Anderson – a player who really made some of Rollins' records from this stretch light up nicely – bringing in a deeper sound on an instrument that Sonny didn't always work with in the past. The titles, as you might expect from the album's name, are "old flames" – standards worked nicely by Sonny, Anderson, and a group that also features Tommy Flanagan on piano, Bob Cranshaw on bass, and Jack DeJohnette on drums. Tracks include "Prelude To A Kiss", "Darn That Dream", "Where Or When", "My Old Flame", and "Times Slimes". CD

Notable sidemen include Stanley Cowell, Stephen Scott, Clifton Anderson, Jerome Harris, Mark Soskin, Mtume, and Jack DeJohnette. Tracks include "Autumn Nocturne", "Mava Mava", "Harlem Boys", "Cabin In The Sky", "Lucky Day", "Someone To Watch Over Me", and "Skylark". CD

Features Sonny Rollins on tenor – with Clifton Anderson on trombone, Bobby Broom on guitar, Bob Cranshaw on bass, and Steve Jordan on drums. CD

Sonny Rollins on tenor saxophone, Clifton Anderson on trombone, Stephen Scott on piano and kalimba, Bob Cranshaw on bass, Perry Wilson on drums, and Kimati Dinizulu on percusion. CD

With Dave Pietro on alto saxophone, clarinet, piccolo, flute, alto flute, and bass flute, Steve Wilson on alto and soprano saxophone, clarinet, flute, and alto flute, Rich Perry on tenor saxophone and flute, Donny McCaslin on tenor saxophone and clarinet. Scott Robinson on baritone saxophone, clarinet, and bass clarinet, Greg Gisbert, Augie Haas, Tony Kadleck, and Mike Rodriguez on trumpet and flugelhorn, Marshall Gilkes, Ryan Keberle, and Keith O'Quinn on trombone, George Flynn on bass trombone and contrabass trombone, Frank Kimbrough on piano, Gary Versace on accordion, Lage Lund on guitar, Jay Anderson on bass, Clarence Penn on drums, and Rogerio Boccato on percussion. CD

Possibly the greatest moment ever from Sister Sledge – a set that has the Philly quartet teaming with the Chic team of Nile Rodgers and Bernard Edwards! Rodgers' guitar brings in a hell of a groove to the record – that choppy, skittish sound that made Chic such a favorite at the time – which makes for a surprisingly great combination with the sweeter vocals of the group. There's a definite sense of groove going on here – heard most famously in the huge hits "We Are Family" and "He's The Greatest Dancer" – and continuing strongly through other numbers like "Thinking Of You", "Easier To Love", "One More Time", and "Lost In Music". Plus the CD includes 4 bonus cuts – "We Are Family (Sure Is Pure rmx)", "We Are Family (Steve Anderson DMC rmx)", "Lost In Music (Sure Is Pure rmx)", "Lost In Music (1984 Edwards & Rodgers rmx)". CD