A once lost gem! Hudson's voice as a producer remains one of the most unique and idiosyncratic of his era, and this first LP issued under his own name stands as a shining document of his genius. Cut very near the time of his classic dub side Pick A Dub, this album shares the haunting mood that runs through the best of Hudson's work, all the while delivering a resounding roots message. The rhythms are fierce, laid down by Leroy Sibbles, Fully Fullwood, Santa Davis, Count Ossie and Augustus Pablo, a dozen mighty tracks in all: "Hunting", "Flesh Of My Skin", "Blood Of My Blood", "Testing Of My Faith", "Fight Your Revolution", "Darkest Night", "Talk Some Sense (Gamma Ray)", "Treasures Of The World", "My Nocturne", "I Shall Be Released", "No Friend Of Mine" and "Stabiliser". CD

Four great albums from reedman Arthur Blythe – all together in one collection! First up is Lenox Avenue Breakdown – a stunning Columbia Records debut from Blythe! At the time of the date, Blythe had already spent years working in the jazz undergrounds on both coasts – developing a searing sound on alto sax that's perfect for the focused structure of this album – almost a tone poem of sorts, offering up a portrait of the Harlem scene that was a key part of Arthur's life at the time. The sounds are sharp, but also have a sense of energy that really holds them together – guiding the players through long readings of well-penned tunes by Blythe that are filled with loads of energy and life! Players include James Newton on flute, James Blood Ulmer on guitar, Bob Stewart on tuba, Cecil McBee on bass, Jack DeJohnette on drums, and Guillermo Franco on percussion – and titles include "Odessa", "Slidin Through", "Down San Diego Way", and "Lenox Avenue Breakdown". In The Tradition is a gem – as the set represents the modern musician taking on a host of older jazz currents, while carving things out with his own special sort of soul! Half the tunes are familiar favorites, the other half originals – and Blythe moves far past his avant roots, to showcase his deep understanding of so many different shades of jazz – blowing alto beautifully throughout, in a very hip quartet that features Stanley Cowell on piano, Fred Hopkins on bass, and Steve McCall on drums! Titles include great takes on "Naima", "Jitterbug Waltz", "Caravan", and "In A Sentimental Mood" – plus the originals "Break Tune" and "Hip Dipper". Illusions is maybe the boldest of Arthur Blythe's albums for Columbia Records – as the set bristles with newly creative energy right from the start, and provides a great showcase for some of the criss-crossings of styles and rhythms that were taking place on the New York scene at the time! The lineup alone announces something special – a cool combination of James Blood Ulmer on guitar, John Hicks on piano, Fred Hopkins on bass, Abdul Wadud on cello, Bob Stewart on tuba, and Steve McCall on drums – working together in some slight variations at times, often with these angular edges that are perfectly sharpened by Arthur's amazing work on alto sax. The music's never too free, but quite outside for a major label at the time – balanced out so that it's never overindulgent at all. Titles include "Bush Baby", "Miss Nancy", "My Son Ra", and "Carespin With Mamie". Blythe Spirit is a set that showcases the never-ending growth and imagination of reedman Arthur Blythe during this fruitful period of his career – and his ability to effortlessly blend together different elements in his music – especially sides of the New York loft jazz scene, and the Chicago-based AACM! The tunes are beautiful – mostly originals, and showing a richer spirituality than even a year before – while still working in that compellingly rhythmic mode that Arthur was hitting during these years – in a lineup that features Blythe on alto, Abdul Wadud on cello, Kelvyn Bell on guitar, Steve McCall and Bobby Battle on drums, John Hicks on piano, Amina Claudine Myers on organ, and Fred Hopkins on bass. The mix of electric and acoustic elements is fantastic – very fresh, even all these many years later – and titles include "Misty", "Spirits In The Field", "Just A Closer Walk With Thee", "Reverence", and "Contemplation". CD

An excellent set that was recorded in 1971, but not issued until ten years later – by the small Artists House label, home to groundbreaking work by Ornette Coleman and James Blood Ulmer! Gil Evans works here with one of his hippest groups – a soaring lineup that features key work from the great Billy Harper on tenor – plus Johnny Coles on trumpet, Joe Beck on guitar, and the duo of Airto and Flora Purim on both percussion and vocals. Evans plays electric piano – which is always a treat – and Don Preston adds in moog on two tracks too – on titles that include "Zee Zee", "Where Flamingos Fly", "Nana", and "El Matador". CD

Both full Warner Brothers albums by this excellent group – plus bonus tracks too! First up is Vehicle – the debut album from Ides Of March – a group who will forever be known for the jazzy grooving title hit – "Vehicle", a brassy driving number that seems as if it's always being used in some sort of car commercial (which must net these guys a lot of royalties!) – but which is usually mistaken by others for being the work of Blood Sweat & Tears! Like BST, Ides Of March have a really driving sound here – pushing forward with heavy drums, sharp bits of brass, and a great early jazz rock sound that's way better than most work by the competition in years to come! Tracks include "Vehicle", "Wooden Ships", "Home", "Bald Medusa", "One Woman Man", and "Symphony For Eleanor".. Next is Common Bond – a great second set from Ides Of March – proof that the jazz rock combo had a lot more going on than just their famous single! The sextet hailed from the same scene as early Chicago (Chicago, of course!) – and have here a sound that shares plenty of the jazzy flourishes of that better-known group – blasting trumpet lines that soar, dip, and turn alongside the more uptempo tunes, and shade in the mellower ones. But there's also a more personal approach to this set overall, one that comes from the rough vocals of James Michael Peterik and some of the surprisingly heartfelt lyrics to a few of the album's best tunes – not entirely the height of early 70s singer/songwriter material, but also not that far either. Titles include the funky "Superman", plus "LA Goodbye", "Mrs Grayson's Farm", "Friends Of Feeling", "We Are Pillows", "Freedom Sweet", and "Tie Dye Princess", an extended number that runs for over 11 minutes. CD

Four great albums from reedman Arthur Blythe – all together in one collection! First up is Lenox Avenue Breakdown – a stunning Columbia Records debut from Blythe! At the time of the date, Blythe had already spent years working in the jazz undergrounds on both coasts – developing a searing sound on alto sax that's perfect for the focused structure of this album – almost a tone poem of sorts, offering up a portrait of the Harlem scene that was a key part of Arthur's life at the time. The sounds are sharp, but also have a sense of energy that really holds them together – guiding the players through long readings of well-penned tunes by Blythe that are filled with loads of energy and life! Players include James Newton on flute, James Blood Ulmer on guitar, Bob Stewart on tuba, Cecil McBee on bass, Jack DeJohnette on drums, and Guillermo Franco on percussion – and titles include "Odessa", "Slidin Through", "Down San Diego Way", and "Lenox Avenue Breakdown". In The Tradition is a gem – as the set represents the modern musician taking on a host of older jazz currents, while carving things out with his own special sort of soul! Half the tunes are familiar favorites, the other half originals – and Blythe moves far past his avant roots, to showcase his deep understanding of so many different shades of jazz – blowing alto beautifully throughout, in a very hip quartet that features Stanley Cowell on piano, Fred Hopkins on bass, and Steve McCall on drums! Titles include great takes on "Naima", "Jitterbug Waltz", "Caravan", and "In A Sentimental Mood" – plus the originals "Break Tune" and "Hip Dipper". Illusions is maybe the boldest of Arthur Blythe's albums for Columbia Records – as the set bristles with newly creative energy right from the start, and provides a great showcase for some of the criss-crossings of styles and rhythms that were taking place on the New York scene at the time! The lineup alone announces something special – a cool combination of James Blood Ulmer on guitar, John Hicks on piano, Fred Hopkins on bass, Abdul Wadud on cello, Bob Stewart on tuba, and Steve McCall on drums – working together in some slight variations at times, often with these angular edges that are perfectly sharpened by Arthur's amazing work on alto sax. The music's never too free, but quite outside for a major label at the time – balanced out so that it's never overindulgent at all. Titles include "Bush Baby", "Miss Nancy", "My Son Ra", and "Carespin With Mamie". Blythe Spirit is a set that showcases the never-ending growth and imagination of reedman Arthur Blythe during this fruitful period of his career – and his ability to effortlessly blend together different elements in his music – especially sides of the New York loft jazz scene, and the Chicago-based AACM! The tunes are beautiful – mostly originals, and showing a richer spirituality than even a year before – while still working in that compellingly rhythmic mode that Arthur was hitting during these years – in a lineup that features Blythe on alto, Abdul Wadud on cello, Kelvyn Bell on guitar, Steve McCall and Bobby Battle on drums, John Hicks on piano, Amina Claudine Myers on organ, and Fred Hopkins on bass. The mix of electric and acoustic elements is fantastic – very fresh, even all these many years later – and titles include "Misty", "Spirits In The Field", "Just A Closer Walk With Thee", "Reverence", and "Contemplation". CD

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Amazing sounds from Joe Henderson's later years – a completely sublime take on the music of Billy Strayhorn, and a wonderful demonstration of Henderson's mature talents on the tenor! There's a fantastic balance here between darkness and light, grit and clarity, heard in Joe's very first notes on the set – and holding on strong through some of the bolder moments in the set – with work by a shifting lineup, from solo to quintet, that features Wynton Marsalis on trumpet, Stephen Scott on piano, Christian McBride on bass, and Gregory Hutchinson on drums. Yet although Marsalis might be a draw for some folks, we really love it best when Henderson gets to do his own thing – stretching out in these marvelous laidback solos that are heavy on those rich tones he developed in his early years, yet turned towards Strayhorn's brilliant ear for space between the sounds. Titles include "Blood Count", "Isfahan", "Rain Check", "Lotus Blossom", "A Flower Is A Lovesome Thing", and "Upper Manhattan Medical Group". CD

One of the last bold statements made by the Music Revelation Ensemble – recorded at the end of the 80s, but still very much in an angular mode that's somewhere between the Ulmer/Ornette experiments of the 70s, and some of the post-no wave jazz in New York! Neither of those comparisons are a surprise, given that the group had strong New York roots – and a lineup that includes James Blood Ulmer on guitar, David Murray on tenor sax, Amin Ali on electric bass, and Cornell Rochester on drums. Tracks are sharp-edged and freewheeling – sometimes with a ferocity that was a bit more common in the Naked City generation – and titles include "Exit", "Inter City", "Big Top", "Tap's Dance", and "No More" – all written by Ulmer. CD

Terrell Stafford's one of those musicians who started out great, and just seems to keep on maturing over the years – to a point where a record like this really stands as such a strong testament to his power as both a player and a leader! The music has a sense of majesty to fit the image of Stafford on the cover – well-penned tunes, played by a great lineup of players who clearly want to rise up and follow Terrell's lead – really bringing their all to their solos, while also holding tight to formation to realize the larger thematic qualities of the tunes. Players include Tim Warfield on tenor and soprano, Bruce Barth on piano, David Wong on bass, Johnathan Blake on drums, and Alex Acuna on percussion – on titles that include "Blood Count", "Wruth's Blues", "Mia A Mia", "Between Two Worlds", and "Manaus At Dusk". CD

Deep Purple may be asking a lot to knock the faces of the presidents off Mount Rushmore, and put up their own images instead – but given the force of this classic early 70s set, they may well have the musical power on their own to carve up a whole mountainside! The album's a ripper right from the start – a tight barrage of fierce guitars and heavy drums from the legendary lineup that included Roger Glover, Ritchie Blackmore, Ian Gillian, Jon Lord, and Ian Paice – a group so tight, so tremendous, the only way to proper describe them is to encourage you to drop the needle on a classic gem like this! A non-stop barrage from start to finish – with tracks that include "Speed King", "Bloodsucker", "Child In Time", Into The Fire", "Flight Of The Rat", and "Living Wreck". CD

Larry Carlton looks a little cheesy on the cover of this one, but the album's a classic set of mainstream fusion from the start of the 80s – exactly the kind of record that made Carlton one of the standouts of the time! Larry actually sings a bit on the set, but the main focus is on his guitar work – often as sharp-edged as the lightning lines on the cover image – but with a warmer, soulful undercurrent too – one that bubbles along nicely, thanks to keyboards from Greg Mathieson and Don Freeman, and cool percussion from the great Paulinho Da Costa. The best tunes here have that warmly melodic feel you'd find in some of Pat Metheny's work, although with a bit more soul overall – and titles include "Springville", "Strikes Twice", "Ain't Nothin For A Heartache", "For Love Alone", "Mulberry Street", and "In My Blood". CD

Deep Purple may be asking a lot to knock the faces of the presidents off Mount Rushmore, and put up their own images instead – but given the force of this classic early 70s set, they may well have the musical power on their own to carve up a whole mountainside! The album's a ripper right from the start – a tight barrage of fierce guitars and heavy drums from the legendary lineup that included Roger Glover, Ritchie Blackmore, Ian Gillian, Jon Lord, and Ian Paice – a group so tight, so tremendous, the only way to proper describe them is to encourage you to drop the needle on a classic gem like this! A non-stop barrage from start to finish – with tracks that include "Speed King", "Bloodsucker", "Child In Time", Into The Fire", "Flight Of The Rat", and "Living Wreck". CD

Beautiful trio work from pianist Vijay Iyer – a record that's filled with the sorts of chunky rhythmic lines we love so much in his playing! The album's got Iyer working much more at a familiar level than his more electronic album for ECM – with that sort of warmth and joy that's really brought new life to the piano trio format through his recordings – the best of which we might put up there with our early favorites from Robert Glasper. The group features Stephan Crump on bass and Marcus Gilmore on drums – and titles include "Blood Count", "Break Stuff", "Taking Flight", "Work", "Wrens", and "Mystery Woman". CD

Although Hubert Laws went onto cut some pretty snoozy fusion records in later years, these early Atlantic albums find him playing with a great soul jazz groove, laying down nice slightly-funky flute solos with a very good groove. The group on the Laws of Jazz includes a young Chick (then called "Armando") Corea on piano, then a much more Latin-tinged player – and the rest of the group includes Richard Davis on bass and Bobby Thomas on drums. Laws' flute is the main solo vehicle – and tracks include "Bimbe Blue", "Miss Thing", "All Soul", and "Black Eyed Peas & Rice". A great little set of Latin jazz! At the time of Flute By-Laws, Hubert Laws was playing with Mongo Santamaria's group – and for this second solo outing, Laws borrows a lot of grooves from Mongo's bag, and also hits a few tasty lines of his own. There's some killer tight Latin numbers with a groovy 60s feel – like "Bloodshot", "Let Her Go", "Baila Cinderella", and "No You'd Better Not" – plus some other tasty jazz numbers like "Mean Lene" and "Strange Girl". Players include a host of Latin jazz crossover talents like Chick Corea, Jimmy Owens, Garnett Brown, and Ray Lucas – as well as strict Latin players like Cachao and Victor Pantoja – and the album's one of Laws' best ever! CD

A brilliant bit of work from the UK scene of the early 80s – a group formed out of the ashes of The Prefects, and driven strongly by the uniquely bristling energy of frontman Robert Lloyd! The record's got lots of fantastically jagged moments – punk into post-punk, but without the freer frenzy of The Fall – maybe more the well-rooted basslines of Gang Of Four, although the style of The Nightingales is very different! Lloyd's vocals and presence are wonderful – and the songs are laced together with all these fast, jagged guitar lines that are fantastic – a bit like those from the Ron Johnson label scene to come. Tracks include "Blood For Dirt", "Start From Scratch", "One Mistake", "It Lives Again", "Joking Apart", "Yeah, It's OK", "Under The Lash", "Blisters", "Don't Blink", "Elvis The Last Ten Days", and "Make Good". CD