The first album from Culture, and still their most classic – a set that takes its title from a prediction by Marcus Garvey – who said that there would be trouble in the world when "two sevens clash" on July 7, 1977! Fortunately, we made it all through that date in one piece – and good thing too, as the record's gone on to even more legendary status as the years have gone on – with a righteous sort of energy that just seems to get more important over the decades. Joe Gibbs produced, and arranged with Errol Thompson – and the slow-stepping rhythms of the set, heavy on bottom-end sounds, are a perfect backdrop for the message-oriented lyrics in the music. Every cut's a classic – and titles include "I'm Alone In The Wilderness", "Pirate Days", "Two Sevens Clash", "Calling Rastafari", "I'm Not Ashamed", "Get Ready To Ride The Lion To Zion", "Black Starliner Must Come", "Jah Pretty Face", "See Them A Come", and "Natty Dread Taking Over". This 30th anniversary edition combines the 10 tracks of the original LP with 5 bonus numbers! CD

A classic set from this crucial southern group – titles that include "Bad Reputation", "Black & White", "I'm In Love", "She's Not Worried", "Espionage", "Tearjerkin", and "Cycles Per Second". CD

A classic set from this crucial southern group – titles that include "Bad Reputation", "Black & White", "I'm In Love", "She's Not Worried", "Espionage", "Tearjerkin", and "Cycles Per Second". CD

A pretty cool collection produced by Ossie Davis and Ruby Dee – focusing on famous speeches by important female African-Americans – mostly focusing on the civil rights era, but also featuring an early speech by Ida B Wells. Ruby reads the speeches, and works include "I Am A Black Revolutionary Woman (1971)" by Angela Davis, "The Right To A Decent Life & Human Dignity (1971)" by Coretta Scott King, "It Is Time For A Change (1969)" by Shirley Chisolm, and "Lynching, Our National Crime (1901)" by Ida B Wells. CD

A lasting classic from Digable Planets, and a record that really helped push the bar forward for hip hop at the time – at a level that's still kept this one strong all these many years later! Digable Planets weren't the first group to bring in some influence from jazz to their work – but they definitely found the right balance here, and a way of setting things up that was real and organic, instead of maybe just a nodding reference to the past that always felt a bit out of place. The use of live instrumentation next to samples is also key to the record's sound – common now, but pretty important at the time, especially in a world of declining sample access. The trio of Butterfly, Ladybug, and Doodlebug have a wonderful way of tripping through the lyrics – and titles include "The May 4th Movement Starring Doodlebug", "Black Ego", "Dog It", "Jettin", "Borough Check", "Highing Fly", "Dial 7", "The Art Of Easing", "KBs Alley", "Graffiti", "Blowing Down", "9th Wonder", and "For Corners". CD

The complete Black Saint/Soul Note recordings of Bill Dixon – an amazing body of work that represents one of the strongest points in Dixon's career! Bill first burst on the scene with some important 60s avant albums on the Savoy label – including a key collaboration with Archie Shepp – but it wasn't until these 80s sides for the Italian label that his talents really took off – reaching out to new heights that explored some of the more serious themes in his music, often in longer-form conceptual recordings that are a great illustration of the freedoms offered by the label! The records also feature Bill working closely with a host of important musicians – including bassists Alan Silva, Peter Kowald, William Parker, and Barry Guy – and drummers Tony Oxley and Freddie Waits. The set features 9 full albums, each packaged in a mini LP-style sleeve – and titles include Bill Dixon In Italy Vol 1, Bill Dixon In Italy Vol 2, November 1981, Thoughts, Son Of Sisyphus, Vade Mecum, Vade Mecum 2, Papyrus Vol 1, and Papyrus Vol 2. CD

Searing live work from Eric Dolphy – part of a series of recordings that set a whole new standard for live jazz recording! The record features Dolphy going even farther out than on his studio sides from the time – as the record features very long tracks performed by a crack group that includes Booker Little on trumpet, Mal Waldron on piano, Richard Davis on bass, and Ed Blackwell on drums. Despite the length of the tracks, Dolphy isn't as far out as on later European live recordings – but the performance is a great example of his inventiveness within a mainstream structure, and the modernist tendencies of both Waldron and Little shine very brightly in the set. The concert was one of Little's last (and greatest) recordings – sometimes billed as a "memorial", even though he was still alive when it was done – and titles on this volume include "Fire Waltz", "Bee Vamp", and "The Prophet". CD

Searing live work from Eric Dolphy – part of a series of recordings that set a whole new standard for live jazz recording! The record features Dolphy going even farther out than on his studio sides from the time – as the record features very long tracks performed by a crack group that includes Booker Little on trumpet, Mal Waldron on piano, Richard Davis on bass, and Ed Blackwell on drums. Despite the length of the tracks, Dolphy isn't as far out as on later European live recordings – but the performance is a great example of his inventiveness within a mainstream structure, and the modernist tendencies of both Waldron and Little shine very brightly in the set. The concert was one of Little's last (and greatest) recordings – sometimes billed as a "memorial", even though he was still alive when it was done – and titles on this volume include "Fire Waltz", "Bee Vamp", and "The Prophet". CD

Searing live work from Eric Dolphy – part of a series of recordings that set a whole new standard for live jazz recording! The record features Dolphy going even farther out than on his studio sides from the time – as the record features very long tracks performed by a crack group that includes Booker Little on trumpet, Mal Waldron on piano, Richard Davis on bass, and Ed Blackwell on drums. Despite the length of the tracks, Dolphy isn't as far out as on later European live recordings – but the performance is a great example of his inventiveness within a mainstream structure, and the modernist tendencies of both Waldron and Little shine very brightly in the set. The concert was one of Little's last (and greatest) recordings – sometimes billed as a "memorial", even though he was still alive when it was done – and titles on this volume include "Aggression" and "Like Someone In Love". CD

Searing live work from Eric Dolphy – originally issued across three LPs that set a whole new standard for live jazz recording! The performances feature Dolphy going even farther out than on his studio sides from the time – as the record features very long tracks performed by a crack group that includes Booker Little on trumpet, Mal Waldron on piano, Richard Davis on bass, and Ed Blackwell on drums. Despite the length of the tracks, Dolphy isn't as far out as on later European live recordings – but the performance is a great example of his inventiveness within a mainstream structure, and the modernist tendencies of both Waldron and Little shine very brightly in the set. Titles include "Fire Waltz", "Like Someone In Love", "Aggression", "Number Eight", "Booker's Waltz", and "The Prophet". CD

Part 3 to the Five Spot recordings from Eric Dolphy – issued here as a "memorial" to Booker Little, even though Little was still alive for the recording! The album features especially searing work from Dolphy, and was part of a series of recordings that set a whole new standard for live jazz recording. The record features Dolphy going even farther out than on his studio sides from the time – as the record features very long tracks performed by a crack group that includes Booker Little on trumpet, Mal Waldron on piano, Richard Davis on bass, and Ed Blackwell on drums. Despite the length of the tracks, Dolphy isn't as far out as on later European live recordings – but the performance is a great example of his inventiveness within a mainstream structure, and the modernist tendencies of both Waldron and Little shine very brightly in the set. The concert was one of Little's last (and greatest) recordings – and titles include "Number Eight" and "Booker's Waltz". CD

Part 3 to the Five Spot recordings from Eric Dolphy – issued here as a "memorial" to Booker Little, even though Little was still alive for the recording! The album features especially searing work from Dolphy, and was part of a series of recordings that set a whole new standard for live jazz recording. The record features Dolphy going even farther out than on his studio sides from the time – as the record features very long tracks performed by a crack group that includes Booker Little on trumpet, Mal Waldron on piano, Richard Davis on bass, and Ed Blackwell on drums. Despite the length of the tracks, Dolphy isn't as far out as on later European live recordings – but the performance is a great example of his inventiveness within a mainstream structure, and the modernist tendencies of both Waldron and Little shine very brightly in the set. The concert was one of Little's last (and greatest) recordings – and titles include "Number Eight" and "Booker's Waltz". CD

The best record in years – maybe decades – from the legendary Dr John – and a set that stands up strongly next to the messed-up Crescent City vibe of his 70s classics! Big thanks are due to Black Keys' guitarist Dan Auerbach – who produced and supervised the whole recording – and helped create the kind of rootsy studio proceedings that make for just the right vibe to help the Doctor hit all his best classic modes! Leon Michels brings in some great keyboards, too – and an undercurrent of El Michels funk – and Dr John's vocals really sparkle in the setting – stepping out with all the weird raspy elements we love so much. Titles include "Ice Age", "Getaway", "Kingdom Of Izzness", "You Lie", "Eleggua", "My Children My Angels", "Locked Down", and "Big Shot". CD

Bob Dylan and his incomparable band take on old school pop standards for the second album in a row – and it's a real charmer! Fallen Angels has a lot in common with the preceding Strangers In The Night, as they're again taking on songs recorded by, and in some cases popularized by Sinatra, but this one goes a bit deeper into the classic American songbook – and it's all the better for it. Dylan's reputation as a songwriter is borderline biblical, while his reputation as a conventionally gifted singer is, well...something else – so there's a sly allurement here that's not lost on the headliner. He's paying earnest tribute to the songs themselves – which in the course of pop history have been overshadowed by the voices singing them – and on that front, it's masterful! Still, Dylan's raspy croon is pretty darn charismatic itself on this material, making it another late career gem. Longtime Dylan players Charlie Sexton, Stu Kimball, Tony Garnier, George Recile and Donnie Herron make the instrumental magic happen, along with newer Dylan player (though longtime session guitar ace) Dean Parks – but extra credit to Herron, whose steel guitar sound makes it extra special. Includes "Young At Heart", "Maybe You'll Be There", "Polka Dots & Moonbeams", "All The Way", "Skylark", "Nevertheless", "All Or Nothing At All", "It Had To Be You", "Melancholy Mood", "That Old Black Magic" and "Come Rain Or Come Shine". CD

Great early work from trumpeter Jon Eardley – captured here at a point when he was a budding young modernist in the 50s! The album features 2 early 10" LPs – Jon Eardley in Hollywood and Hey There Jon Eardley – both recorded for Prestige within a few months in the mid 50s. The first date features Eardley's trumpet right out front in the mix – hard, spare, and a bit angular – with backing from the piano of Pete Jolly, as well as Red Mitchell on bass and Larry Bunker on drums. Titles include "Late Leader", "Indian Spring", "Black", and "Gloss". The second session is even more interesting, as it features Eardley's horn in tandem with tenor saxophonist JR Monterose, brimming with new ideas at this point in his career, and adding a real edge to the tracks. The remaining players include George Syran on piano, Teddy Kotick on bass, and Nick Stabulas on drums – and titles include "Hey There", "Sid's Delight", "Demanton", and "If You Could See Me Now". CD

Proof that the US Army had plenty going on during the 70s – as you'll hear from this killer set of military-produced grooves from East Of Underground! The set goes way past the previous East Of Underground reissue – to feature work by the groups Soap, Black Seeds, and Sound Trek – all wrapped up in a beautiful package that's as visually pleasing as the music is funky! The cuts here were all recorded by US Army servicemen during the height of the Vietnam war – as Army-issued albums designed to encourage recruitment (as if a few funky grooves could help offset the bad press the war was getting on TV!) But despite that odd origin, the music here is all pretty great – mostly covers of familiar tunes from the time, but recorded with a nicely gritty quality that's mighty nice – and which makes the overall feel of the records like digging into some lost small studio tapes – ala Numero! Now Again have done a great job of putting together the whole package, too – contributing a wealth of notes and photos, and really digging deep into the scene in which these unique records were created. Not only that, but the packaging also replicates the style of the original odd releases too! The set features a CD each of music by East Of Underground and Soap – plus another CD that brings together an unusual double LP by the groups Black Seeds and Sound Trek. Titles include "I Just Want To Celebrate", "Kool & The Gang", "Walking In The Rain", "Backstabbers", "I Love Everything About You", "Ain't No Sunshine", "Go Outside In The Rain", "Black Magic Woman", "Hell Below", "Higher", "Popcorn/Santana", "Walk On By", "Java Girl", and "Get Together". CD

A massive selection of songs from the same period as Ellington's album of the same name. With a whole bunch of his classic players, including Billy Strayhorn, Johnny Hodges, Ray Nance, Al Hibbler, Oscar Pettiford, and many more. Tracks include "Work Song", "Come Sundday", "The Blues", "Three Dancers", "I Ain't Got Nothin But The Blues", "I'm Beginning To See The Light", "I Didn't Know About You", "Mood To Be Woo'd", "Prelude To A Kiss", "Caravan", "Everything But You", "Mood Indigo", "Sophisticated Lady", "Solitude", "Black Beauty", "Balcony Serenade", "Tell Ya What I'm Gonna Do", "Come To Baby, Do!", "I'm Just A Lucky So-And-So", "Suddenly It Jumped", "A Gathering In A Clearing", "You Don't Love Me No More", "Back Home Again In Indiana", "Just You, Just Me", "Beale Street blues", "Transblucency", "My Honey's Lovin Arms", "Memphis Blues", "St Louis Blues", "Midriff", and "I Don't Stand A Ghost Of A Chance With You". CD

An important larger work from Duke Ellington – a suite of tracks that encompasses a range of styles and emotions in African-American expression! The work features some key guest work from Mahalia Jackson – singing here in a way that's different than other vocalists who worked with Duke in the 50s – much more steeped in a rootsy tradition. Group members include John Sanders, Harry Carney, Ray Nance, Quentin Jackson, and Cat Anderson – and the piece is divided into 6 sections, and includes the famous "Come Sunday" theme throughout most of the second half. CD

An important larger work from Duke Ellington – a suite of tracks that encompasses a range of styles and emotions in African-American expression! The work features some key guest work from Mahalia Jackson – singing here in a way that's different than other vocalists who worked with Duke in the 50s – much more steeped in a rootsy tradition. Group members include John Sanders, Harry Carney, Ray Nance, Quentin Jackson, and Cat Anderson – and the piece is divided into 6 sections, and includes the famous "Come Sunday" theme throughout most of the second half. Plus, the CD features a number of rare bonus tracks – including "Blues In Orbit" and "Track 360" in alternate takes, and a whole alternate version of the album – plus an acapella version of "Come Sunday", and even Mahalia Jackson swearing in the studio! CD

Elmer Gantry's Velvet Opera weren't the biggest group on the British scene of the late 60s, but they were certainly one of the coolest – as you'll hear on this massive collection that brings together all their key work of the time! First up is the self-titled debut album – stunner of a set from a group who should have been huge – especially given the sharpness and wit of this debut album! Elmer Gantry's Velvet Opera bring together all the best strands of up and coming Brit rock of the time – a bit of psych undercut with some bluesy elements, marked by a moddish smirk that really keeps the whole thing punched-up throughout – no overindulgence, no easy mark for a hit – just a very individual sensibility that few of the group's underground contemporaries could match! These guys come across with all the personality of The Who in Happy Jack/Magic Bus years – and have a similar use and distance of trippy elements of the time – almost tongue in cheek, but just because they find a way to shift between them and straighter rock so easily. Songs are all great, and really well-written – and apart from a version of Oscar Brown Jr's "I Was Cool", the set features original material that includes "Mother Writes", "Mary Jane", "Flames", "Lookin For A Happy Life", and "Walter Sly Meets Bill Bailey". Next is the group's second album Ride A Hustler's Dream – a set that maybe has the group bringing in more blues influences to the music at times, but mostly as a way to let both the guitar work and vocals get even fuller and strongly expressed – which means that when the psychedelic elements come into the mix, there's an even more powerful vibe than on their debut album too! Titles include "Black Jack Davy", "Ride A Hustler's Dream", "Honey By", "Anna Dance Square", "Depression", "Warm Day In July", and the very cool "Raga" – and a great remake of "Eleanor Rigby". 3CD set features the debut album in a rare promo-only mono mix, plus 34 bonus tracks that include "There's A Hole In My Pocket", "She Keeps Giving Me These Feelings", "The Painter", "And I Remember", "Talk Of The Devil", "Dreamy", "Volcano", "A Quick B", and lots more – including singles and BBC tracks too! 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

Marvin Marvin Marvin – just when we thought you couldn't impress us any more, you took it to the next level! Trouble Man is a heck of a wonderful surprise from an artist that most folks really only knew as a singer – a fantastically funky blacksploitation soundtrack, conceived and composed by Marvin himself – and served up with some occasional vocals that work beautifully with the album's cool instrumental grooves! The set's easily one of Gaye's most righteous records ever – almost a second chapter to What's Going On, but more instrumental – and like that classic set, it really shows the whole new range of vision that Marvin was able to work in the studio. Gaye gets a bit of arranging help on some tracks from Gene Page and JJ Johnson – and the album's filled with great cuts – including the landmark "T Plays It Cool", plus other gems like "Don't Mess With Mister T", "Main Theme From Trouble Man", "The Break In", and "T Stands For Trouble". Very funky, very sophisticated, and very soulful! CD

Continuing genius from the great Robert Glasper – a set that has the keyboardist going back to basics, and working in just a trio mode – live in the studio, and with stunning sound! Robert plays acoustic piano, but as with his early years, he's got this fluidity that really makes it feel like electric at times – a way of using the standard keys as if they belonged to a Fender Rhodes – a sound that comes across especially well with the snapping drums of Diamond Read, and round acoustic basslines from Vincent Archer. If you weren't hip to Glasper at this earlier mode in his career, you'll find plenty to love here – especially as some of the tunes are reworks of the sorts of music he'd do with his Black Radio project, but served up here in a mostly instrumental mode. The album does feature one guest appearance from Harry Belafonte – who's really amazing on a spoken part for "Got Over" – and other titles include "Reckoner", "I Don't Even Care", "In Case You Forgot", "The Worst", "So Beautiful", "I'm Dying Of Thirst", and "Levels". Includes the bonus track "Dillalude 3". CD

An excellent document of two key players on the west coast scene of the late 50s – both of whom passed away at too far young an age! Trumpeter Joe Gordon was one of the most soulful players on the LA scene of the period – almost a Lee Morgan in his sense of timing and space – and Scott LaFaro was hailed by many as one of the most revolutionary talents on the bass at the time, and had a huge influence on the scenes on both coasts, despite his few short years in the jazz business. The set features LaFaro working with Shelly Manne's group that included Joe Gordon, Richie Kamuca, and Russ Freeman – in a long, open, and exploratory approach to jazz – one that's very similar to the excellent live recordings made by the Manne group at The Blackhawk. Kamuca's tenor work is extremely imaginative on the album's longer tracks – at a level that's far far different than most of his LA work of the 50s – and Gordon's solos are a delight throughout, with a voice that is heard here as strongly as on any of his few recordings. The set features 3 long tracks – "Summertime", "Poinciana", and "Our Delight", which is offered in an incomplete take. Plus, the session also features a quartet recording of "It Could Happen To You" by a group with Kamuca, LaFaro, Victor Feldman, and Stan Levey – from 1958. CD

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

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

Charlie Haden on bass joined by Bela Fleck on banjo, Jerry Douglas on dobro, Stuart Duncan on fiddle, Russ Barenberg on guitar and mandolin, Bryan Sutton, John Leventhal, and Pat Metheny on guitar, Buddy Greene on harmonica, Sam Bush on mandolin, Buck White on piano, Elvis Costello, Jack Black, Josh Haden, Rachel Haden, Rosanna Cash, and Vince Gill on vocals, Tanya Haden on vocals and vocals, Ricky Skaggs on vocals, guitar, mandolin and banjo, Dan Tyminski on vocals and mandolin, and Bruce Hornsby on piano and vocals. CD

The second fantastic album from Tim Hardin – a singer/songwriter classic that's gone on to have a tremendous amount of pull and power over the years – and for good reason too! With songs like these, Hardin set the stage for so many other singers to come – bringing in a lot of his own personal sense of history and failings, but never in a way that was wallowing in its own weakness – and instead used just the right balance in the lyrics to help these songs instantly transcend Tim's own handling of the words! And yet, despite so many versions of so many of these tunes by others, we still love Hardin's readings the best – augmented here by some light arrangements that set things up personally, yet still retain all the intimacy of the music – on tunes that include the classic "If I Were A Carpenter" , plus "Red Balloon", "Black Sheep Boy", "It's Hard To Believe", "Lady Came From Baltimore", and "You Upset The Grace Of Living When You Lie". CD

2 massive Isaac Hayes soundtracks in one set – both from the magical cinematic year of 1974! Truck Turner is a hard and heavy soundtrack that we like even more than his classic work on Shaft! Unlike Shaft, Ike actually starred in the film Truck Turner – which may be one reason why he brought his full game to the table for the record – and scored a batch of badass tunes that still stand with some of the best funky soundtrack work of the 70s! The rhythm's especially hard on the best cuts – really crackling with a lot of intensity, and a stark, hard funky sound that's made the record a favorite of beatheads for years! Ike kicks it hard on cuts like "Pursuit Of The Pimpmobile", "House Full Of Girls", "Drinking", "Give It To Me", "Now We're One", "Breakthrough", "House of Beauty", and the massive title cut "Truck Turner". Tough Guys is deeper and more complicated than the groove of Shaft and Truck Turner, and filled with some great tunes that glow with color, life, and imagination – showing an Isaac Hayes that almost seems to be moving beyond the usual blackploitation groove! The album sports 2 really classic tunes – the title theme "Tough Guys", and the classic "Hung Up On My Baby" – both of which have a solidly funky feel that will more than please the usual soundtrack beathead crowd. But overall, the other tunes twist and turn in a delightful mix of modes – expanding on the soulful territory Ike first explored in his original soundtracks, and offering up a great range of moods and emotion. The album's got some especially great chromatic guitar work – and other titles include "Joe Bell", "Randolph & Dearborn", "Buns O Plenty", "Run Fay Run", and "Red Rooster". CD

A seminal session from the St Louis scene of the early 70s – one that was humming nearly as much as Chicago was with the AACM at the time! As with the larger organization in the Windy City, St Louis had the Black Artists Group – of which Julius Hemphill was a key member, forming fresh new ideas in improvisatory jazz with players who went onto have an undeniable impact on the global scene as well. This album's one of the standout recordings of the Black Artists era at its best – a record produced by Hemphill, but equally balanced between his own alto and flute, the trumpet of Baikida Carroll, cello of Abdul Wadud, and drums of Phillip Wilson – plus a bit of added baritone from Haimet Bluiett. The rhythms are quite open, but there's also a nice sense of structure to the record too – a bridge between spiritual and free jazz that prefaces the impact that both Hemphill and Bluiett would have on the New York loft jazz generation. Titles include "Dogon AD", "Rites", and "The Painter". Great reissue too – in a gatefold LP-styled cover, with bonus insert notes, including the artwork from the original 1972 pressing on Hemphill's Mbari label! CD also features a bonus track – "Hard Blues" from Hemphill's Coon Business album! CD

Quite possibly our favorite album ever from pianist Andrew Hill – a really unique outing that features the vibes of Bobby Hutcherson and a rare non-Sun Ra appearance by tenorist John Gilmore! The presence of Hutcherson brings a real "new thing" energy to the album – a feel that's similar to Bobby's classic Dialogue album, of which Hill was such an important part. But the searching tenor of Gilmore also brings a striking new level to the session as well – and his solos open up with a raw, earthy quality that really shades in the album with a great deal of feeling. Gilmore's role here is a bit like that of Joe Henderson on his freer Blue Note material – but his sound still undeniably unique, at a level that really makes us wish he'd recorded more albums like this at the time. The tracks are all originals by Hill, and include the titles "Duplicity", "Black Monday", "The Griots", and "Le Serpent Qui Danse". CD features 2 bonus alternate takes too! CD

A wonderful session by Andrew Hill – recorded in 1968, but issued only briefly in 1981 – and out of print for years! The session is a key one in understanding Hill's work – as it's a bridge between the arch modernism of his early Blue Note sides, and the more soul-oriented playing of the Grass Roots album. The set features wonderful frontline work in the trumpet of Charles Tolliver, and tenor and soprano of Joe Farrell – both players who open up the sound at the same time they're giving it a nice bottom – egged on by the rest of the combo, which includes Victor Sproles on bass and Billy Higgins on drums. The album's an enchanting one – not as dark as early years, but still with a compelling vision that's all Hill's own. Titles include "Dance With Death", "Love Nocturne", "Black Sabbath", "Partitions", and "Fish N Rice". CD features a bonus alternate take of the title cut. CD

Rightly rootsy work from the great Lightnin Hopkins – captured beautifully here on a rare session for the mostly-folk Tradition label! A few tracks also feature some vocal assistance from Luke "Long Gone" Miles – and titles include "Long Time", "Baby", "Gonna Pull A Party", "Backwater Blues", "Hear My Black Dog Bark", and "Bunion Stew". CD

Mindblowing work by The Impressions – a double-length set that's totally great! First up is the soundtrack for the Fred Williamson/Jim Brown/Jim Kelly action flick Three The Hard Way – not only a great soundtrack, but one of the best 70s albums by The Impressions! The set was written, arranged, and produced by the Curtom super-team of Rich Tufo and Lowrell Simon – and it's got a super-dope feel that reminds us of the work by Natural Four from the same time, with sweet harmonies over funky backings, in a hip 70s groove that's totally great! All cuts are vocal, but they have plenty of funky moments – and in a way, the whole album's as great as the lead track, which is normally the best one in a blacksploitation soundtrack like this. In other words, if you dig hit soundtrack theme songs like "Across 110th Street" or "Theme from Cleopatra Jones", you'll dig this entire album! Tracks include the great "Having A Ball", plus "Make A Resolution", "Something's Mighty Mighty Wrong", and "Three The Hard Way (Chase & Theme)". First Impressions is hardly the first album by The Impressions, despite the title – but a wonderful batch of modern soul tunes that proves that the group could groove long after Curtis Mayfield was gone! As with other Curtom gems from the 70s, the album has the group working with some really top-shelf help in the studio – production from Ed Townsend, who does a really great job of making the harmonies sparkle with a rich quality that really stands out – a mode that returns the group to the mellow brilliance of their 60s recordings, but still keeps some of the maturity they picked up along the way. Townsend also wrote most of the tracks on the set, with a confident male soul style that's not unlike the best love-heavy territory that Marvin Gaye was exploring at the time – a perfect fit for the newly-refined vocals of the mid 70s quartet lineup that included original members Sam Gooden and Fred Cash, plus Ralph Johnson and Reggie Toran. Titles include the sublime "Groove", which has a nice two-step feel, and "Sooner Or Later", which is a nice mellow cut with an undercurrent of funk – and other tracks include "Old Before My Time", "Same Thing It Took", "I'm So Glad", and "How High Is High". CD

An excellent full length set of beats & genius from J Dilla – put together by fellow beatmaker extraordinaire Pete Rock, with all Dilla beats – a surprising triumph! Call us jaded, but honestly, we weren't sure how deep the well could go of ready-to-go beats from Dilla, but this stuff is truly top shelf – nearly as strong as the instant classic Donuts from a few years back! Pete Rock crafts the set as if it's a radio show or mixtape, but his skill in so doing is well above and beyond the norm – neither Pete's interjections nor the guest rappers ever get in the way of the flow, it's as smooth as can be. Vocal guests include Ma Dukes (the album was made under Ma's auspices), plus Lil Fame & MOP, Black Thought, Frank Nitty of Frank N Dank, Doom, Illa J & Cue D, Blu, and others. Titles include "King", "I Told Yall", "Smoke" feat Blu, "CaDILLAc". "Fire Wood Drumstix" feat Doom, "Big Day", "24K Rap" feat Havoc of Mobb Deep & Raekwon, "Coming Back", "Mythsysizer" and more. 28 tracks in all, about an hour of unreleased Dilla! CD

One of the first albums ever from the team of Jackie Caine and Roy Kral – and one of the best, too! The album's got a relaxed, open-ended approach to jazz vocals that already carries all the hallmarks of the Jackie & Roy style – wordless scatting on some tunes, playful lyrical interplay on others, and a focus on Jackie's ballad talents on some of the gentler numbers – all wrapped up in small combo backing that's sensitive, creative, and modern – yet never in a way that overwhelms the vocals. It's hard to match the poise, class, and cleverness of this one – and the album easily set a new standard for vocal jazz in the 50s! Titles include a few great early tunes by Tommy Wolf – the songwriter who would become so important for the pair – and backing is by Roy on piano, Barney Kessel on guitar, Red Mitchell on bass, and Shelly Manne on drums. Titles include "Let's Take A Walk Around The Block", "You Smell So Good", "Listen Little Girl", "Spring Can Really Hang You Up The Most", "Bill's Bit", "Dahuud", "I Wish I Were In Love Again", and "Lover". CD

One of the greatest soundtracks ever – a record that set a whole new standard for audio representation of a film! The mad music for the set was composed by Antonio Carlos Jobim, with lyrics by Vincius De Moraes – and performed by Luiz Bonfa on guitar – but despite such prime bossa pedigree, the whole thing's got a sound that goes way beyond the familiar – a crazy mix of batucada percussion, samba rhythms, bossa guitar, and loads of sound effects from the film – so much so that the first half of the record is almost a sound-for-sound replication of the first 20 minutes of the movie! The sound collage is amazing – an extremely unique approach to soundtrack representation, and one that's never been done so beautifully since. A truly breathtaking record, filled with mindblowing sounds – and an early example of the genius that would explode in 60s music in Brazil. Some key bossa classics are represented here in early versions – including "Felicidade", "O Nosso Amor", and "Manha De Carnaval" – but they're wrapped up in odd sounds and rhythms that really make them sound different! Plus, this CD also includes a 13-minute medley of tracks from the score, performed by Bola Sete at the 1966 Monterey Jazz Fest! CD

One of the few albums ever cut by reedman Rudolph Johnson – a hell of a saxophonist, and one with a great ability to combine the spiritual with the searing – a bit like Joe Farrell at his CTI best, but not as freewheeling – nicely focused, and a little bit funky in all the right parts – in ways that make this album one of the real standouts on the legendary Black Jazz label! The groove is nice and hard, and plenty dark – with lots of sharp edges around the offbeat rhythms, and a "bite" that makes the album one of the heaviest titles on the label. Other players include John Barnes on piano, Reggie Johnson on bass, and Ray Pounds on drums – and titles include the great "Diswa", which has sort of of a tight jazzy hip hop sample feel to it, plus "Mr TJ", "Little Daphne", and "Spring Rain". CD

Roy Hargrove on trumpet, Kenny Garrett on alto saxophone, Houston Person on tenor saxophone, Graham Haynes on cornet, Rodney Kendrick on piano, Tarus Mateen on bass, Turu Alexander on drums, and Aaron Walker, Big Black, and Chi Sharpe on percussion. CD

One of the best-remembered albums from the Atlantic Records run of the legendary Rahsaan Roland Kirk – a set that stands as Kirk's answer to all the hipper soul currents that were taking place at the time – including some that were being issued by singers on Atlantic Records! The album is mostly instrumental, but Roland has this way of singing through his reeds at times, especially his flute – really bringing an earthy sense of personality to the whole thing – as he mixes his acoustic lines on flute, tenor, and other reeds with work from Richard Tee on electric piano, Mickey Tucker on organ, Billy Butler on guitar, and Dick Griffin on trumpet. There's a few vocal spots from other singers – Cissy Houston sings on two great cuts – and titles include remakes of "Never Can Say Goodbye", "What's Going On", "Mercy Mercy Me", "My Girl", and "Ain't No Sunshine" – plus some other nice originals by Roland, including Blacknuss", "Which Way Is It Going", and "One Nation". CD

One of the greatest contributions made by the 32 Jazz label so far has been the rich amount of classic Roland Kirk material they've released on the market. The best of Kirk's work has been out of print for years, and like the folks at 32 Jazz, we think that's a darn shame – which is why we're extra-excited about a set like this! This nicely (and strangely) packaged 3 CD set features 2 CDs worth of previously unreleased live material – recorded in the years 1964 to 1975, by jazz recordist/archivist George Bonafacio. The material is amazing, and definitely gives proof to the claim that Kirk's live sets were even more amazing than his studio recordings. There's a wealth of great stuff here that really opens up an understanding of Kirk's 60s and early 70s years – and titles include "Rahsaantalk", "Misterioso", "Jammin With A Wolf", "Sister Sadie", "Blues For Alice", and a very groovy "Multi-Horn Medley". And if that's not enough, the 3rd CD of the set features the totally rare Natural Black Inventions album, which Kirk recorded for Atlantic. The record's got an amazing sound: Roland plays solo (mostly), and without the aid of overdubbing, to create these amazing soundscapes of multiple horns and circular breathing. It's filled with these fantastic throbbing pulsating reed lines, with one horn blowing rhythm, and one playing an adventurous solo – and both being blown live a the same time! Tracks include "Black Root", "Raped Voices", "Day Dream", and "Something For Trane That Trane Could Have Said". 3 great CDs of material by one of our favorite-ever reed players – and nicely priced, if we do say so ourselves! CD

A great run of music from Jimmy Lyons – some of his most important albums as a leader! First up is Wee Sneezawee – the kind of work that makes you love the Black Saint label for giving players like Jimmy Lyons a chance to still express themselves this way! Lyons is in wonderful form throughout – blowing with all the sharp tones that you'd know from his work with Cecil Taylor, but also bringing in a bit more structure too – kind of shaping a coherent sound out of an infinite array of possible actions – any of which seem possible at any moment, given the dynamic energy of the group! Other players include William Parker on bass, Paul Murphy on drums, Karen Borca on bassoon, and Raphe Malik on trumpet – and tracks include "Wee Sneezawee", "Gossip", "Shackinback", "Remembrance", and "Driads". On Give It Up, Jimmy Lyons is wonderful, but equally great is trumpeter Enrico Rava – whose bold tones on the record easily match those of Lyons in terms of energy and inventiveness! The format is relatively free – although some tunes have a bit of an inside swing, at least more so than Lyons' work with Cecil Taylor – and other players include Karen Borca on bassoon, Jay Oliver on bass, and Paul Murphy on drums. Titles include the long workouts "Methods", "Never", and "Give It Up" – plus the shorter tune "Ballada". Burnt Offering features great duets between Jimmy Lyons on alto and Andrew Cyrille on percussion – and titles include "Popp A", "Exotique", and "Burnt Offering". Nuba is a compelling collaboration between percussionist Andrew Cyrille, vocalist Jeanne Lee, and alto saxophonist Jimmy Lyons – one of the freer sessions on the Black Saint label, and one of the most striking as well! Cyrille handles a wide range of percussion – and also a few whistles too – and he really sets the tone with his open, expressive approach to his instruments – almost more melodic at points than rhythmic, with echoes of African roots that come through more strongly than on some of his other albums. Most numbers are pretty spare, and titles include "Nuba 1", "Cornbread Picnic (Maize)", "The One Before Zero", "JJ & A", "In These Last Days", "Sorry", and "Nuba 2". Something In Return is another set of duets between Lyns and Andrew Cyrille! While working in Cecil Taylor's group, Cyrille and Lyons developed a wonderful interplay and dynamic, which can be felt in full effect on this wonderful duo recording, where they approach mostly original material, but also take on Strayhorn's "Take The A Train". Also includes the title track "Lorry", "JL", "Nuba" and "Fragments I". CD

A wonderful set from this mighty ensemble – a record that opens up immediately in a range of complex colors and tones, yet all with a quality that still manages to swing throughout! That balance is part of the real strengths of pianist/arranger David Matthews at this point in his career – able to draw on a few decades' worth of innovation in big band material, yet all without hitting you over the head with it – almost a return to the more organic shifts of sounds you'd get in a 50s arranger like Ralph Burns. The players are all great – and include Randy Brecker and Byron Stripling on trumpet, George Young and Chris Hunter on saxes, and Danny Gottlieb on drums – and titles include "Doxy", "Spanish Blue", "Sir Duke", "One Black Orchid", and a great take on Duke Jordan's "No Problem". CD

It's taken us a bit longer than expected to get this second installment in Maxwell's Black Summers' Night series – but it's been well worth the wait, given the greater depth in the music! All that we love about Maxwell's previous records is alive and well here – but there's also kind of a sharper edge to the sound, too – these fuller bottom currents that almost seem to be adding a second sort of instrumental commentary, alongside the lyrical activity up top – all while the whole thing is wrapped together with that warm keyboard flow that first made Maxwell stand out so many years back! There's almost this double edge to the whole thing – rough with the smooth, or turmoil under peace – which gives the whole thing a lot more power than this sort of record from some of Maxwell's contemporaries. Score another win for the mighty one – on tracks that include "The Fall", "Lake By The Ocean", "Lost", "Gods", "Fingers Crossed", "Hostage", "1990x", and "All The Ways Love Can Feel". CD

Maybe the crowning achievement of drummer Makaya McCraven so far – a double-length set that stands as a huge testimony to all the many waves he's been making in jazz for the past few years! The album features four slices of live performance – recorded in New York, Chicago, LA, and London – and as with every one of his different projects, Makaya seems to bring a different voice to each live track here – recording with Brandee Younger on harp and Joel Ross on vibes in New York, Shabaka Hutchings on tenor in Chicago; Nubya Garcia on tenor and Ashley Henry on Rhodes in London; and Josh Johnson on alto, Jeff Parker on guitar, Carlos Nino on percussion, and Miguel Atwood-Ferguson on violin in LA! The rhythms are as amazing as the contributions from the different soloists – and the sound of the record is maybe something we'd call post-spiritual – moving past that Coltrane-inspired mode that's been revived so well in the 21st Century, while still holding onto its best sense of energy. The whole thing is fantastic – and titles include "The Count Off", "Brighter Days Beginning", "Universal Beings", "Mantra", "Young Genius", "Holy Lands", "Wise Man Wiser Woman", "Prosperity's Fear", "Atlantic Black", "Flipped Out", "Voila", and "Suite Hans". CD

One of the most obscure sessions in the long career of jazz singer Helen Merrill – a vocalist who's got a reputation for cutting plenty of obscure sessions around the globe! This date features a mature Merrill sounding wonderful – recording in a nicely understated setting for a Japanese label, with backing from a trio that features Kosei Uchida on piano, Hideo Kawahara on bass, and Tim Horner on drums. As on some of Merrill's other magical records, the songs here are less important than the interpretation – as she works a very personal sort of spell on tunes that include "Imagination", "Bye Bye Blackbird", "While We're Young", "Falling In Love With Love", and "All Blues/St Louis Blues". The set also features trio instrumentals "Milestones", "Bossa Nouveau", and "Put Your Little Foot Right Out". CD

The album that changed everything for Metallica – catapulting them from patron saints of unrelentingly heavy thrash metal to reluctant (at first, anyway) mainstream superstars! The production is glossier sounding than ever before, and whether that compromised the rawer brutality of their heaviest moments is debatable to this day – but that's countered by the slow-building, epic songcraft (the shortest one is over 5 minutes long), odd, and all around ambitiously structured material. Includes "Blackened", "Eye Of The Beholder", the game-changing "One", "Harvester Of Sorrow", "To Live Is To Die", "Dyers Eve" and more. CD

With all the singles they dropped in the years prior to this, everyone was anticipating this one with glee, and believe it or not, it still lives up to the hype. The first full length double feature with "1, 2, 1, 2", "Da Rockwilder", "Tear It Off" and another dozen smoked out cuts, including "Run 4 Cover", "Fire Ina Hole", "Mi Casa", "Maaad Crew" and "Dat's Dat S**t". CD

A set of incredible records from Charles Mingus – all presented together in one mighty nice package! First up is Mingus Moves – a fantastic fresh new chapter in the career of Charles Mingus – a set that features the addition of two key players who would really shape his sound in the 70s – Don Pullen on piano and George Adams on tenor, both completely wonderful here! The group also features excellent trumpet from Roland Hampton, a player we don't know from many other settings – and the set also features some really nice vocal work from Honi Gordon and Doug Hammond. Titles include "Canon", "Moves", "Wee", "Flowers For A Lady", "Opus 3", and "Newcomer". CD also features bonus tracks – "Big Alice" and "The Call". Changes is key 70s work from Charles Mingus – an album that was recorded over the course of three days of creative activity at the end of 1974, but somehow split into two different albums under the Changes name! The lineup here is prime 70s Mingus – George Adams on tenor, Jack Walrath on trumpet, and Don Pullen on piano – young players who really give a fresh voice to Mingus' musical ideas, and help him find this beautiful late life sense of color, tone, and timing that's completely sublime! Titles on this second volume include "Sue's Changes", "Devil Blues", "Remember Rockefeller At Attica", "Free Cell Block F Tis Nazi USA", "Black Bats & Poles", "For Harry Carney", and "Duke Ellington's Sound Of Love" – which features a guest appearance by Marcus Belgrave on trumpet and Jackie Paris on vocals. On 3 Or 4 Shades Of Blues, Charles Mingus is returning to the soulful gospel-influenced mode he swung big in the early 60s! The record's something of a later predecessor of the classics Blues & Roots for Atlantic and Mingus (x5) for Impulse – and the style is slightly less dramatic, but still quite steeped in soulful explorations that feature plenty of notes from the bluer side of the spectrum! Players include George Coleman and Ricky Ford on tenor, Jack Walrath on trumpet, and Larry Coryell on guitar – and titles include new takes on "Better Git Hit In Your Soul" and "Goodbye Porkpie Hat" – plus"Nobody Knows", "Noddin Ya Head Blues", and "Three Or Four Shades Of Blues". Next is Cumbia & Jazz Fusion – one of the most enigmatic albums that Charles Mingus ever recorded – especially in his later years! The set features two very long tracks done by Mingus for use in a film about cocaine traffic between New York and Columbia – but considering the nature of the music, and the freely exploratory style, both numbers here stand very well on their own! Although touched with some of the Latin influences you might expect from the title, the sounds are often darker and more brooding than, say, the Mingus style on the classic Tijuana Moods set. And instead, there's a very serious soundtrack-like vibe going on through most of the set – larger jazz orchestrations used to beautifully underscore subtle themes, and breakout solo moments from players who include Mauricio Smith on flute, Paul Jeffrey on tenor sax, Jack Walrath on trumpet, and Jimmy Knepper on trombone. The album also features a fair bit of added percussion – and features two long tracks, "Cumbia & Jazz Fusion" and "Music For Todo Modo". Me Myself An Eye is complicated later work from Charles Mingus – a great illustration of the way his power to command a large ensemble never wavered as the years went on! The album features two different large groups of players – filled with modernists young and old – including Ricky Ford, George Coleman, and Michael Brecker on tenors; Ronni Cuber and Pepper Adams on baritone; Randy Brecker and Jack Walrath on trumpets; Lee Konitz on alto, Larry Coryell on guitar, Slide Hampton on trombone, and Eddie Gomez on bass. Side one features the 30 minute track "Three Worlds Of Drums", and side two contains a remake of "Wednesday Night Prayer Meeting", plus "Devil Woman" and "Carolyn Keki Mingus". Something Like A Bird is one of the last albums Charles Mingus ever gave us – before departing this planet way way too soon! The set shows the increasing sophistication of Mingus' music in these later years – a mode that almost echoes the path that Duke Ellington would take in his final decade – a move towards some larger-form material that still holds onto all the raw energy of the early days, but finds a way to not only bridge larger musical ideas – but musical generations as well! As part of this, the set's got a wonderful lineup – with Lee Konitz on alto, Pepper Adams on baritone sax, George Coleman on tenor, Eddie Gomez on bass, and Joe Chambers on drums – and titles include the long title track, "Something Like A Bird", split up over 2 sides of the LP, plus "Farewell Farwell". CD

Two different concert recordings from the great Charles Mingus – recorded with the space of more than a decade between them, and showing the continual evolution of his genius! The first 2CDs bring together a sublime recording by German Radio in Bremen from 1964 – work that's from that important European tour that included the soon-to-be late Eric Dolphy on alto, flute, and bass clarinet – as part of a fiery sextet that also includes Johnny Coles on trumpet, Clifford Jordan on tenor, and Jaki Byard on piano. All players are fantastic – getting that push with Mingus that could often make soloists even more dynamic with the leader at the helm than on their own recordings – as you'll hear on the extended concert readings of "Hope So Eric", "Fables Of Faubus", "Parkeriania", and "Meditations On Integration" – plus a shorter solo by Byard. Mingus is at the helm of a different, but equally great group on the 1975 concert – with Jack Walrath on trumpet, George Adams on tenor, Don Pullen on piano, and Dannie Richmond on drums (as on just about every Mingus recording!) The politics of the 64 performance are still in place, with a slight shift – and they're mixed with some of the late Mingus' love of Duke Ellington, who gets a tribute here in a few spots, but with some great touches by Charles. Most tracks are nice and long – and titles include "Remember Rockefeller At Attica", "Devil Blues", "Duke Ellington's Sound Of Love", "Black Bat & Poles", "For Harry Carney", "Sue's Changes", and "Free Cell Block F Tis Nazi USA". CD

A richly ambitious work from flautist Nicole Mitchell – an artist who gets better and better with each new album, expanding her vision and growing into a role that clearly makes her one of the most important next-generation members of Chicago's AACM! The album's a suite of tracks for Nicole's expanded Black Earth Ensemble – a group made up of a variety of players from the Chicago scene, augmented by vocals on a number of tracks – for a richly spiritual sound that takes us back to the most ambitious soul jazz recordings of the 70s. There's a wonderful interplay here between gentle moments and bolder statements – and Mitchell's flute and vocals are supported by strong sax work from David Boykin, as well as other instrumentation that includes trumpet, cello, violin, trombone, bass, and the usual wide range of percussion and added instruments you'd expect from an AACM session like this! Titles include "Time For Change", "Wondrous Birth", "Curbside Fantasee", "In The Garden", "Skating", "For Daughters Of Young Love", "Wanna Make You Smile", and "Future's Meditation". CD

Mindblowing sounds from Chicago flute player Nicole Mitchell – a set of work inspired by the science fiction writings of Octavia Butler – with a striking style to match! Although the music has some arch qualities that live up to the darkness of Butler's writings, the performance here is also still mostly acoustic – in the mode we're used to from Mitchell's Black Earth group – but with odd tones and weird bits of phrasing that keep have us checking the notes to figure out the different instruments! The approach is a bit like the early cosmic visions of Sun Ra – especially when Mitchell hits more spiritual and rhythmic moments – and the well-matched ensemble of players features Nicole on flute, David Boykin on tenor and bass clarinet, David Young on trumpet and srali thom, Renee Baker on violin, Tomeka Reid on cello, Josh Abrams on bass, Jeff Parker on guitar, and Avreeayl Ra on percussion. Mankwe Ndosi sings just a bit on the record – and titles include "Dripping Matter", "Web Of Hope", "Fields Of Possibility", "Resisting Entanglement", "The Inevitable", and "The Ooli Moves". CD

A nice little live trio outing with Jason Moran's angular piano out front of Tarus Mateen on acoustic electric bass and Nasheet Waits on the kit. The set has a much freer, and more laguorous feel than Moran's great (if a little straight) Black Stars album, and fleshes out the more experimental ideas he put to tape solo on the Modernistic album. "Planet Rock" fares especially well in this setting – with the tight bass and snapping trap that was missing in the studio version. Another nice piece of work by possibly the greatest young talent on Blue Note right now! Other tracks include "Gangsterism On Canvas", "Ringing My Phone (Straight Outta Istanbul)", "Gentle Shifts South", "Body & Soul", "Infospace", "Out Front", and "Intermezzo Op. 118, No. 2". CD

A nice live set by vocalese maestro Mark Murphy – a tribute to Miles Davis captured live in Vienna, in 1990! Mark's finely honed, compelling vocal improvisations are given a wonderful backdrop by Miles' compositions – laid down by a group that includes Allan Praskin on sax, Peter Mihelich on piano, Achim Tang on bass and Vito Lesczak on drums. Tracks include "All Blues", "Summertime", "Bye Bye Blackbird", "On Green Dolphin Street", "Parker's Mood", "Milestones", "Farmer's Market", "My Ship" and more! CD

Beautifully arranged work from David Murray – an important early large group recording, one that really helped point the way to some of his later genius! The session features Murray leading an all-star octet that includes Henry Threadgill on alto, Olu Dara on trumpet, Butch Morris on cornet, George Lewis on trombone, Anthony Davis on piano, Wilbur Morris on bass, and Steve McCall on percussion. Tracks are a very hip set of original compositions that display an incredible range of soulful feeling and expression – and which open a door to a whole new chapter of Murray's career. Titles include "Ming", "Dewey's Circle", "Jasvan", "The Fast Life", and "The Hill". CD

A surprisingly nice album of straight ahead tenor tracks from David Murray – playing here in a quartet with guitarist Stanley Franks, drummer Andrew Cyrille, and the great Don Pullen, who plays organ on the session! The album's not exactly in the classic soul jazz organ/tenor mode – but it is one of the few that Murray ever recorded, and it's quite interesting to hear him in this sort of a format. Plus, it was also one of the few recorded during that magic year of 1991 – when DIW really seemed to be getting things right, turning out some of the few truly genius albums in the history of the label. Titles include "Milano Strut", "Black February", "At The Cafe Central", "In The Spirit", and "High Priest". CD

One of the greatest jazz voices on the bass clarinet – save perhaps for the late Eric Dolphy – working here in a wonderful batch of ballads and gentle groovers! The set's quite different from the usual jazz date to bear "ballads" in the title – as David Murray's not ruminating over standards with too much strings – and instead still works in a hip small combo mode that's filled with swing and soul. In fact, most tunes are hardly ballads in the traditional style – and just showcase a slightly gentler, more personal side of Murray's music – but one that still has plenty of darkness around the edges. The group's a quartet – with John Hicks on piano, Ray Drummond on bass, and Idris Muhammad on drums – and tunes include "Portrait Of A Black Woman", "Waltz To Heaven", "Elegy For Fannie Lou", "Lyons Street", "Chazz", and "New Life". CD

One of David Murray's straighter sides from the early 80s – and exactly the kind of record to prove to the world that he could be a strong tenor traditionalist while still bringing an inventive sound to play! Murray's tone is deep and soulful, and often quite lyrical – set nicely in a quartet that features warm piano from John Hicks, bass from Reggie Workman, and drums from Ed Blackwell. The Workman/Blackwell component ensure that things still have an edge at times, even when swinging – and the tunes are a mix of Murray originals and a few standards. Titles include "Morning Song", "Light Blue Frolic", "Off Season", "Duet", "Body and Soul", and "Jitterbug Waltz". CD

Leave it to career iconoclast Nas to declare Hip Hop Is Dead on his Def Jam debut – a defiantly straight up hip hop record that's one of the leanest full lengths he's delivered since his abbreviated debut masterpiece! Hip Hop Is Dead, not surprisingly, is actually a very lively LP – and it's tried-and-true hip hop – another in Nas's strong series of subsequent LPs of the 00s. Nas once released a perfect piece of work – something very few artists in any idiom ever do – setting up a nearly impossible standard to live up to, but, Hip Hop Is Dead is well worth your time. Production by Salaam Remi (natch), LES, Kanye West, Scott Storch (who delivers a Kanye-like sound on one cut) and others. Titles include "Money Over Bullsh*t", "You Can't Kill Me", "Carry On Tradition", "Hip Hop Is Dead" feat Will I Am, "Black Republican?" feat Jay Z, "Not Going Back" feat Kelis, "Still Dreamin" feat Kanye West & Chrisette Michelle, "Hold Down The Block", "Blunt Ashes", "Play On Playa", "Where Are They Now?", "Let There Be Light" feat Tre Williams, "Hustlers" feat The Game & Marsha Ambrosious and more. CD

Some of the most soulful housey sounds your likely to find in the later 00s – a warm & grooving Destination from Anthony Nicholson! Destination has numbers flavored by smoothed out keys, beats more lightly percolated gems as well as spacier, more thumpingly percussive numbers – with uncommonly soulful vocals and a more live feel than so much of the club ready grooves out there. Anthony's on keys, vocals, drums, percussion & programming with assistance from Chris Robb on keys and bass, Matt Cashdollar on sax, Will Kurk on keys, guitar & vocals, Jrod Indigo on vocals, and others. Titles include "Love Is Everything", "Fallin", "So Good (Feel The Joy)", "Your Love", "Never", "Destination", "Hot Sauce & Drama", "Robot Disco", "Black Galaxy Suite", "Go" and more. CD

A massive record – and an instant legend the day it was released! Masters At Work host the beautiful meeting of a host legendary artists – Roy Ayers, George Benson, Eddie Palmieri, Tito Puente, Jocelyn Brown, Vince Montana, and others – all united in a magical session that brings Latin firmly back to the dancefloor with the power and majesty of the best 70s recordings! The whole thing's amazing – a fantastic mix of Latin, funk, jazz, and house that's inspired a whole new generation of musicians – and which has still yet to be duplicated years later! Includes the massive remake of "I Am the Blackgold of the Sun", plus "Runaway", "Sweet Tears", and the great cover of Bob James' "Nautilus". CD

You may know the Ozark Mountain Daredevils as a crossover AM radio act from the mid 70s – but on this early record, the group have a nicely rootsy vibe that certainly lives up to their name! Production is by David Anderle and Glyn Johns – who do a great job of avoiding some of the cliches of the nascent country rock scene – which really suits the way that the group brings some more personal themes to tunes that have a mixture of acoustic elements, especially harmonica, and some heavier rock touches. And the Ozark here might be a good way of nicely placing the album's feel away from some of the other work of the period – as the sound is neither LA country rock, nor upstate New York, nor even Memphis or Muscle Shoals. Titles include "Chicken Train", "Colorado Song", "Within Without", "Black Sky", "Road To Glory", "Standing On The Rock", and "Country Girl". CD

Early early work by Duke Pearson – and one of his few trio sessions ever! The album's a great way to hear Pearson's lyrical soulful style at work, as he's playing in an unfettered setting with Gene Taylor on bass and Lex Humphries on drums – really stretching out on piano, in a way that you don't often hear on some of his larger group albums – a much more intimate side of this great pianist, before he rose to become an important arranger and producer at Blue Note during the late 60s. The album features two of his own compositions "Gate City Bop" and "Two Mile Ride", plus versions of "Black Coffee", "Taboo", and "Witchcraft". CD

Recorded in 1987, but never officially released until 1994, when Prince was trying to get out of his Warners contract. Prince's attempt to return to his more funky side after flirting with more straight pop songs was a Holy Grail amongst collectors for a time, and though we don't like it as much as his first couple of albums, there are more than a few good moments on here, and it certainly stands up better than most of what came after. 8 songs: "Le Grind", "Cindy C", "Dead On It", "When 2 R In Love", "Bob George", "Superfunkycalifragisexy", "2 Nigs United 4 West Compton" and "Rockhard In A Funky Place". CD

A wonderful mid 80s effort from the Don Pullen Quintet – a group that features young lion Donald Harrison on alto sax – recording in a setting that's nicely fresh, compared to some of his other work! Other players include the under-recorded trumpeter Olu Dara, and a wonderful elastic rhythm section of Fred Hopkins on bass and Bobby Battle on drums – all working with Pullen's piano in a groove that's angular at times, but never loses its sense of swing – that wonderful balance that always made Pullen a real standout amongst the jazz communities in which he worked. Titles include "The Sixth Sense", "In The Beginning", "Tales From The Bright Side", "Gratitude", and "All Is Well". CD

Sun Ra's made the move here from Egyptian pyramids to Mayan temples – but the sound is every bit as cosmic and compelling as ever! The album's one of Ra's last – a studio set recorded in Italy in 1990, and one that draws strongly from the tightening of tradition the Arkestra experienced in the 80s – working at a time of some of their greatest acceptance by jazz audiences worldwide, and able to express themselves fully in a range of different modes! The sense of tone and timing here is beautiful – almost Ellington-like at points, but still with a decidedly Sun Ra-like quality – and players on the date include Michael Ray and Ahmed Abdullah on trumpets, John Gilmore on tenor, Noel Scott and Marshall Allen on alto sax, and Tyrone Hill on trombone – and June Tyson also sings just a bit on the set. Ra plays both piano and synth, and titles include "Alone Together", "Discipline 1", "Sunset On The River Nile", "El Is The Sound Of Joy", "I'll Never Be The Same", "Theme On The Stargazers", and "Opus In Springtime". A double-length set too – nearly 80 minutes of music! CD

Excellent cool jazz vocals from The Netherlands! In the immediate post-war years, the Dutch jazz scene was one of the first to emerge with a sophisticated understanding of the American jazz form. Rita Reys was one of the country's leading talents in this respect, and she had a wonderfully cool vocal style that was similar to American singers like June Christy or Chris Connor. This great Japanese reissue of an album from 1956 has her fronting 2 different groups – one the legendary Wessel Ilcken Combo, the other an early version of The Jazz Messengers, featuring Horace Silver and Hank Mobley. The Jazz Messengers sides were apparently recorded in New York, and the Ilcken sides are of Dutch origin. Both are great – and titles include "I Should Care", "It's Alright With Me", "Old Black Magic", "Taking A Chance On Love", and "Spring Will Be A Little Late This Year". CD

The title's no lie, as Wallace Roney serves up a set of jazz standards – yet in keeping with his other great work on Muse Records, the album's also got a heck of a lot going on as well! The album's hardly the kind of "trumpeter hits the classics" album you might expect – as throughout the session, things open up nicely – starting with sparkling notes on trumpet, but pushing into some of the bolder territory Roney was known for at the time, eventually ending on a number composed by the group. Players include Gary Thomas on tenor, Mulgrew Miller on piano, Charnett Moffett on bass, and Cindy Blackman on drums – and titles include "Loose", "When Your Lover Has Gone", "Con Alma", "Giant Steps", "The Way You Look Tonight", and "Don't Blame Me". CD

A righteous cover, a righteous title, and a righteous little session that features one long song that spans the entire length of the album! "Black Unity" may well be Pharoah Sanders' freest expression on record to date – but it's also still got all the hallmarks of his best moments on Impulse – especially the tighter rhythmic focus that always makes his work so compelling – and which has kept his legacy fresh for generations and generations of new jazz listeners! The group here is wonderfully put together – with Joe Bonner on piano, Carlos Garnett on tenor, Marvin Hannibal Peterson on trumpet, Cecil McBee and Stanley Clarke on basses, and Norman Connors and Billy Hart on drums – all with plenty of space to stretch out, open up, and really do their thing! In contrast to some of the totally free work coming out of the European scene during the same stretch – especially that by American players overseas – the album's a great reminder that rhythm in jazz is always a key component – as Pharoah finds a way to make things swing, even at unexpected moments! CD

A set that's way more than the classic rock outing of some of the group's Bay Area contemporaries – as the young Carlos Santana finds a way to mix inspirations from blues and Latin music into this fierce fusion of so many different elements at once – stretching out, jamming, and touching decades of listeners in the process! The whole thing's a perfect sonic blend – guitar, keyboards, and plenty of percussion – on the group's stunning remake of "Oye Como Va", their fusion of "Black Magic Woman/Gypsy Queen", and the cuts "Se A Cabo", "Samba Pa Ti", "El Nicoya", and "Singing Winds Crying Beasts". CD adds 3 live bonus tracks. CD

A really tremendous album from the legendary Gil Scott-Heron – and a set that stands as one of his greatest statements from the 70s! The record is a wonderful example of Gil's work in two different styles – sweet mellow jazzy soul, and harder heavier protest poetry – the latter from his roots as a writer in touch with the streets, and the former part of a brilliant new direction that he was taking on the Flying Dutchman label. Side one features classic jazzy tracks recorded with Brian Jackson – like "Free Will", "The Middle Of Your Days", "Speed Kills", and "Did You Hear What They Said?". Side two moves over to a much sparer sound – and has Gil reciting some of his poetry with very heavy percussion, and a very righteous approach. The wisdom and knowledge of those pieces is a perfect example of the kinds of issues that were haunting black America in the early 70s – especially on the tracks "No Knock", "The King Alfred Plan", and "Sex Education: Ghetto Style". CD version features 8 bonus tracks – alternate versions of some of the heavier-duty tunes on the album, some of which are quite different than the originals! Also includes new notes and photos! CD