A record that's every bit as cool as its cover – and one of the strongest Blue Note sessions from Hammond organ legend Big John Patton! The tracks are long, and have a great loping rhythm – a groove that Patton creates by using the bass pedals alongside the drums of Ben Dixon – a player who really helps John break past more familiar Hammond modes – and helps establish that unique sound that really made the organist one of the strongest 60s players on his instrument! The rest of the combo is fantastic too – with Fred Jackson on tenor, Grant Green on guitar, Richard Williams on trumpet – the last of whom is a real surprise, if you only know his work with Charles Mingus. The tracks are nice and long, and have a good balance between soulful roots and more modern intentions – on titles that include "Just 3/4", "The Way I Feel", "Jerry", "The Rock", and "Davene". LP, Vinyl record album

A Spanish album that brings together two classic early records from this great guitarist! First up is the self-titled John Renbourn – the first full album from acoustic genius Renbourn – a set that would not only establish John's legacy for years to come, but also have a very strong impact upon the role of the guitar on the British scene too! The album's definitely in a mode that owes something to an American folk legacy – but it also really breaks from the past with unusual phrasings and colorings in Renbourn's guitar – certainly with an ear towards ancient English modes, but also at once very fresh and contemporary – a strong precursor to the waves of new acoustic talents that would flow from the UK a few years later, but maybe even more revolutionary – given that John's mostly just working here with his guitar and voice. Bert Jansch adds guitar to a few tracks – and titles include "Song", "Down On The Barge", "Plainsong", "Judy", "Beth's Blues", "Blue Bones", "Train Tune", "Winter Is Gone", and "Noah & Rabbit". Next is Another Monday – one of Renbourn's most obscure records, and a set that is mostly instrumental, with some completely fantastic work by Renbourn on guitar – but which also features a bit of guest vocals from singer Jacqui McShee – whose warmer presence next to John really makes for a nice pairing. The album's as powerful as it is subtle, really beautiful in its sense of variety – with titles that include "Buffalo", "One For William", "Lost Lover Blues", "Another Monday", "Day At The Seaside", "Nobody's Fault But Mine", and "Waltz". LP, Vinyl record album

A great session that features Jimmy Rushing singing in the rootsy style of his early Kansas City recordings, with backing by a group that includes the legendary Pete Johson on piano, plus Rudy Powell on alto, Emmett Berry on trumpet, Buddy Tate on tenor, and Freddie Greene on guitar. Titles include "Evenin", "Rock n Roll", "Don't Cry, Baby", "Take Me Back, Baby", and "It's Hard To Laugh A Smile". LP, Vinyl record album

A set of two live dates from the late 30s – from the Hotel Lincoln's Blue Room in 1938, with Les Robinson and Hank Freeman on alto; Tony Pastor, Ronnie Perry, and Georgie Auld on tenor; Chuck Peterson, Johnny Best, and Bernie Privin on trumpet; Geroge Arus, Les Jenkins, and Harry Rodgers on trombone; Bob Kitsis on piano, Al Avola on guitar, Sid Weiss on bass, and Cliff Leeman and Buddy Rich on drums; and from the Hotel Pennsylvania's Cafe Rouge in 1939, with most of the same personell but with Harry Geller replacing Johnny Best. LP, Vinyl record album

A real classic from blues giant Joe Turner – a singer who burst back to the mainstream on 50s Atlantic Records, thanks to a host of R&B singles that burned up the charts – but who here returns to his roots, and lays down a great set of jazzy tunes that get back to his roots in the Kansas City scene of the 30s! The shift is a bit like that Ray Charles made at the end of the 50s on Atlantic – R&B to more of a jazz-based groove – and Joe works here with great help from Pete Brown on alto, Pete Johnson on piano, Joe Newman on trumpet, and Lawrence Brown on trombone. After the raw hard R&B of Joe's bigger hit sides for Atlantic, the album's a compelling change – a reminder that Turner had roots that went much deeper than his rock and roll fame – and a depth of delivery that would keep his career strong, long after some of his 50s R&B contemporaries faded! The mix of modes – R&B and jazz – is a bit like some of the later Ray Charles albums on Atlantic – and tracks include "Low Down Dog", "Roll Em Pete", "Cherry Red", "How Long Blues", and "Morning Glories". LP, Vinyl record album

Gruff and deep down beautiful Mississippi Blues from Bukka White – released on John Fahey's Takoma label at the end of the 60s and featuring rawly rollicking, shaky voice intensity and that heat producing bottleneck guitar! It's wonderful stuff, certainly a high water mark for the late 60s records to appear after the folk revival. Includes "Aberdeen Mississippi Blues", "Baby Please Don't Go", "Parchment Farm Blues", "Poor Boy Long Ways From Home", "Drunk Man Blues" (on piano), "Army Blues" and more. LP, Vinyl record album

A beautiful Japanese collection of Blue Note material – with tracks by Donald Byrd, Eric Dolphy, Bobby Hutcherson, Sonny Clark, John Coltrane, Cannonball Adderley, Art Blakey, Horace Silver, Lee Morgan, and others – all in a very cool cover! LP, Vinyl record album

A mix of hip folk and blues – with work by John Koerner, Geoff Muldaur, Dave Ray, Danny Kalb, Ian Buchanan, Mark Spoelstra, and Eric Von Schmidt. LP, Vinyl record album

The Beatles at their late best – on 1968's self-titled set – now immortalized as The White Album! The White Album capped offed a period of intense creativity for the band with a double that's as freewheeling as anything they'd ever release. It's got raw rockers with wry lyricism, tender acoustic balladry, psych blues jams and some flat out weird bits. As was always the case, John's and Paul's songs cover the majority of the sides, but The White Album also features what's arguably George's most vital moment as a Beatle with "While My Guitar Gently Weeps". Other tracks include "Back InThe USSR", "Dear Prudence","Ob-La-Di, Ob-La-Da", "Happiness Is A Warm Gun", "Martha My Dear", "Rocky Raccoon", "Why Don't We Do It In The Road", "Julia", "Yer Blues", "Sexy Sadie", "Helter Skelter", "Revolution 1", Good Night" and more. LP, Vinyl record album

A well-done 70s album that compiles some of Clifford Brown's best moments for Blue Note – including sides that were recorded under the leadership of JJ Johnson and Lou Donaldson, plus a few from sessions under Brown's own name. Titles include "Wail Bait", "Hymn Of The Orient", "Easy Living", and "De Dah". Some of the best work you'll ever find by Brown on record, too! LP, Vinyl record album

One of our 50s favorites by Miles Davis – and a record that offers the same twin-sax sound as his classic Kind Of Blue – with both John Coltrane and Cannonball Adderley working alongside Miles in the group! Rhythm here is by the Prestige-era trio of Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums – but it's the two saxophonists who really help Davis shape the feel of the record, pushing things past the initial Coltrane/Davis groove with a really wonderful sense of space and sound! Titles include the classic "Milestones", plus "Two Bass Hit", "Dr Jeckyll", and "Sid's Ahead". LP, Vinyl record album

One of Duke Ellington's best albums of the 50s – a well-conceived session of dark moody tracks that revisits a few old favorites, hits a few standards, and offers a new gem that's right up there with the classics! The "indigos" title is taken very seriously here – as the album's awash in blue tones and darker hues – a bit Kenton in inspiration, but carried off with a lot more intimacy and sense of soul throughout. The group by this point is completely mature – and old bandmates like Johnny Hodges on alto, Paul Gonsalves on tenor, Jimmy Hamilton on clarinet, Cat Anderson and Ray Nance on trumpets, and Jimmy Woode on bass all fit together perfectly under Ellington's direction. Titles include Duke's great "The Sky Fell Down", plus "Mood Indigo", "Autumn Leaves", "Tenderly", "Dancing In The Dark", "Where Or When", and "Solitude". LP, Vinyl record album

Wicked early work from Milt Jackson – a record that's got a lot more of an edge than some of his later work with the Modern Jazz Quartet – a near-perfect modernist bop sound that's every bit the best side of Blue Note in the early 50s! The groups here are really great – one a quintet that features Jackson's partners in the MJQ – John Lewis on piano, Percy Heath on bass, and Kenny Clarke on drums (who was in the first rendition of the quartet) – the group's also joined by Lou Donaldson on alto sax, who blows with this boppish edge that really deepens the sound! And the other quintet is even better – with Thelonious Monk on piano and Sahib Shihab on alto sax. Milt's vibes ring out in this boldly chromatic way – clearly a sense of discovery in process during the session – and titles include "Bag's Groove", "On The Scene", "Willow Weep For Me", "Criss Cross", "Eronel", "Tahiti", and "What's New". LP, Vinyl record album

All original compositions by the late pianist – with a group on side one that features Gary Peacock on bass and Roy Haynes on drums, plus guest guitar from John Abercrombie on one track – and a group on side two that features Eddie Gomez on bass and Al Foster on drums, with Abercrombie guitar on one track, and percussion from Steve Thornton on another. LP, Vinyl record album

A great little record, and one that shows just why Blue Note chose to put "amazing" in the title of every Bud Powell album they released! The set's a live one, done at Birdland – and Bud's working here with a trio that features the young Sam Jones on bass and Philly Joe Jones on drums – both musicians you might be more likely to hear over at Riverside Records, and who help give Powell a mighty solid formation here! There's a strong sense of cohesiveness to the trio, and we're always in love with Jones on bass – but it's also clear that Bud's the shining star of the date, as he amazes the world once again with his restless sense of imagination and creativity on the keys of the piano! Titles include "Marmalade", "Monopoly", "John's Abbey", "Dry Soul", "Time Waits", "Buster Rides Again", and two takes of "Sub City". LP, Vinyl record album

A beautiful, beautiful record from Horace Silver – one of his great 70s experiments for Blue Note – and a set that has him working in the same "jazz with voices" mode explored by Max Roach and Donald Byrd in earlier years! The core of the set is focused around the great work of Silver's combo – with Tom Harrell on trumpet, Bob Berg on tenor, Ron Carter on bass, and Al Foster on drums – a wonderfully cohesive unit that arcs and turns with all these sweet little shifts – keeping up with the creative rhythms directed from Silver, while cascading through a beautiful range of tones and colors as well! The vocals follow suit beautifully – directed by Alan Copeland, but with a much more soulful approach than his 60s material – bursting forth with this warmth and sense of tone that really matches the instrumentation. Titles include "I Will Always Love You", "Out Of The Night", "Incentive", "New York Lament", "Mood For Maude", and "All In Time". LP, Vinyl record album

Jimmy Smith serves up a bucket of soul here – on an album that's one of his last for Blue Note, and still very much in the strong trio mode that launched his work for the label! The group's that super-sharp early 60s combo of Jimmy's – with Quentin Warren on guitar and Donald Bailey on drums – both players who have a groove that's maybe a bit under-stated at times, but which really lets Smith dominate the record – on both the keys of the Hammond, and the great work he brings to the bass pedals too. The tracks are short, but very groovy – with a tighter sound than on some of Smith's early Blue Note trio albums, and the same kind of in-the-pocket sound that made his Crazy Baby album a big hit. Includes a very groovy remake of "John Brown's Body", the original groovers "Bucket" and "Sassy Mae", and a nice modal tune called "3 for 4". LP, Vinyl record album

One of Jimmy's most classic albums for Blue Note – and a key example of why his solo skills on the organ surpassed most of his contemporaries! The record's got a stripped-down trio group of Jimmy, guitarist Quentin Warren, and drummer Donald Bailey – working through mostly familiar numbers, but taking them to places previously unheard of! The best example of this is the album's amazing version of "When Johnny Comes Marching Home" – a classic groover that takes the old snoozer and pumps it up with a snapping rhythm, then features Jimmy really working the whole thing over with an incredible solo! A similar format's applied to numbers that include "Mack the Knife", "Night in Tunisia", "What's New", and "Makin Whoopee" – and the album soars with an easy groove that's every bit of Jimmy at his best! LP, Vinyl record album

Great Blue Note two-fer which compiles tracks from Randy Weston's fantastic albums recorded for United Aritsts – rare gems at the forefront of late 50s modern jazz, and records that hardly ever see the light of day! The albums are filled with seminal versions of Randy's famous compositions – played by sextet and septet lineups with players that include the cream of New York modern – Ray Copeland, Melba Liston, Johnny Griffin, Kenny Dorham, and Slide Hampton. Great work all around – and material that's really not properly been reissued over the years – making this well-annotated 70s collection as essential as an original copy, and almost as rare! Titles include "Little Niles", "High Fly", "Little Susan", "Babe's Blues", "Nice Ice", "Earth Birth", "Pam's Waltz", and "Spot Five Blues". LP, Vinyl record album

Shoutin is right – as the album's a wailer all the way through, one of the few jazz albums cut by Texas tenor giant Don Wilkerson – best known to crowds at the time for his work with the Ray Charles group, but really stepping out here in a different way for Blue Note! The album has Don blowing in a freely gutsy style – working with a crack soul jazz quartet that includes Grant Green on guitar, John Patton on organ, and Ben Dixon on drums – all key players that help Wilkerson get past any of the hoke of the Ray Charles sound, and into a groove that's made the record a standout Blue Note classic for years! Tracks are all longish, and titles include "Blues For J", "Cookin With Clarence", "Movin Out", "Happy John", and "Sweet Cakes". LP, Vinyl record album

Although Tony Williams started out as one of the most subtle drummers of the 60s, this album has him coming a long way from his "new thing" Blue Note recordings – and taking off with enough power to reach the moon! The group featured is Williams classic Lifetime lineup – with John McLaughlin and Larry Young, who was also reaching far past his Blue Note groove here – and bassist Jack Bruce, who was working his jazz chops strongly after his years in Cream. There's a raw power here that cannot be denied – a ferocity that must have been incredibly fresh at the time, and which is still, today, one of the clearest visions of a jazz rock fusion that was soon muddied too quickly in the heady waters of 70s jazz. Titles include "To Whom It May Concern", "Right On", "This Night This Song", and "Allah Be Praised". LP, Vinyl record album

A great set from the John Abercrombie Quartet – that late 70s group that seemed to find one of the best matches for John's unusual phrasing on the guitar – with round, warm work on bass from George Mraz, equally great piano from Richie Beirach, and drums from Peter Donald. The songs are a mix of melodic moments and more chromatic shades – and titles include "Blue Wolf", "Dear Rain", "Stray", "Madagascar", "Foolish Dog", and "Riddles". LP, Vinyl record album

A great session from 1959 – one that features John Coltrane playing tenor in a combo that's billed as being led by altoist Cannonball Adderley – but which is really more of a Miles Davis combo, without Miles! The set was recorded in Chicago when both were stopping through the city with Miles Davis' combo at the time – and since the rhythm section includes Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – the album's essentially a Kind Of Blue-era Miles album, recorded without Miles on trumpet, and grooving in a slightly more soul-based Adderley mode! Given the presence of Coltrane, there's a bit less of the gutbuckety soul jazz that Cannon was cutting in his own Quintet – but that's more than ok with us, as the Coltrane solos more than make up for that difference! The set's got 2 great originals by Coltrane – "The Sleeper" and "Grand Central" – plus the cuts "Wabash" and "Limehouse Blues". LP, Vinyl record album

Gritty live work from twin tenor giants Gene Ammons and Dexter Gordon – recorded in an open-ended style that's a bit like some of Gordon's famous early work on the Central Avenue scene in LA, or Ammons' famous live "battles" with Sonny Stitt! The date was recorded in Chicago at the North Park Hotel – with sound that's a bit more "live" than some of the other Prestige sessions at the time – and an unusual lineup that features local players Jodie Christian and John Young on piano, Cleveland Eaton on bass, and Steve McCall on drums. The lovely Vi Redd makes a vocal appearance on the track "Lonesome Lover Blues" – and other titles include "The Chase", "Polka Dots & Moonbeams", and "The Happy Blues" – all nice and long! LP, Vinyl record album

A British art rock jam session, more or less, pulled together by Soft Machine bassist Kevin Ayers, who recruited Eno, John Cale and Nico, former bandmate Robert Wyatt, the enigmatic Rabbit (John Bundrick) on keyboards – more well known for his work with the Who – plus Mike Oldfield on guitar and a number of other guests and co-conspirators. A nice document of the scene a the time, with concise performances and a much tighter feel than you might imagine given the circumstances of the recording. 9 numbers in all, including "Driving Me Backwards", "Baby's On Fire", "Heartbreak Hotel", "The End", "May I?", "Shouting IN A Bucket Blues", "Stranger In Blue Suede Shoes", "Everybody's Sometime And Some People's All The Time Blues" and "Two Goes Into Four". LP, Vinyl record album

A lesser-known moment of genius from John Barry – quite different than his work for the James Bond films of the time! Barry's working here in a mix of more ambitious orchestral themes – dark, brooding, and moody – but also interspersed with some lighter jazzier numbers that are really great too! The film had a short life as a blockbuster – surprising, given that it was directed by Arthur Penn, written by Lillian Hellman, and starring Marlon Brando, Robert Redford, Jane Fonda, and Angie Dickinson amidst a host of other well-known talents – but the real charm is almost Barry's music, which olds up really well over the years! Our favorite titles include "Saturday Night Philosopher", "Look Around", "The Beating", "Blues For Bubber", and the sweetly jazzy "I'll Drink To That". And oddly, there doesn't seem to be a single traditional "chase" number in the whole film! LP, Vinyl record album

Quite a different album than usual for John Coltrane, but a classic one too – and a set that has the great one exploring his ideas in a set of longer tracks recorded with an expanded jazz orchestra! The format's hardly the mainstream big band of the time – as Coltrane's filled the group with very hip players – including Booker Little, Freddie Hubbard, Julian Priester, and Eric Dolphy – in addition to usual compatriots who include McCoy Tyner, Reggie Workman, and Elvin Jones. The tunes have a soaring, modal sort of pulse – one that's filled with color and light from the addition of the other horn players, but which still has plenty of space for extended, exploratory solos. Coltrane plays both tenor and soprano sax – and titles include the legendary 16 minute track "Africa", a classic reading of "Greensleeves", redone here as a modal searching spiritual track, and "Blues Minor". LP, Vinyl record album

The title may be a simple one, but the record really marks a key point in John Coltrane's development – an embrace of the newer freedoms allowed to him at Atlantic Records, but in a way that's a bit more subtle than some of his other work for the label! At one level, the record moves at the same groove as Trane's later Prestige years – with rhythm mostly from Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – carving out some sharp lines for Coltrane to cascade over on tenor sax. Yet there's also a new sense of darkness here too – one that moves into edgier territory, and which isn't nearly as settled in as before. These qualities sneak out of both original numbers like "Harmonique", "Fifth House", and "Like Sonny" – as well as standards like "My Shining Hour" and "Little Old Lady". And they really come to the forefront on the classic "Village Blues" – the one track that features the new Coltrane group of McCoy Tyner, Steve Davis, and Elvin Jones! LP, Vinyl record album

One of numerous posthumous live sides, capturing a great early 60s performance by Trane in a quintet setting. Eric Dolphy joins the classic quartet of Tyner, Jones, Workman and Trane for a lenghty reading of "My Favorite Things" and the contemplative numbers "Blue Train", "Naima" and "Impressions". LP, Vinyl record album

A nice set – despite being kind of a put-together batch of tunes! The album's titled "The Last Trane" because it represents the last material that Prestige Records had in its vault from the time that John Coltrane was recording for the label in the late 50s. Titles were recorded on 3 different dates from 1957 and 1958 – mostly with Red Garland on piano, and also featuring some additional horn work by Donald Byrd on 2 tracks. The album's got a great spare track called "Slowtrane" – one that features Coltrane playing with only bass and drums for accompaniment – and which recalls the genius of some of his sessions for Transition or Imperial. Byrd's blowing alongside the tenor on versions of "Lover" and "Come Rain Or Come Shine" – and the set's rounded up by a nice open-ended track called "By The Numbers", which has a warm bluesy solo by Trane! LP, Vinyl record album

Maybe one of the greatest jazz albums of all time – a real breakthrough moment for the legendary John Coltrane, and the blueprint for generations of jazz records to come! Trane was already breaking down plenty of boundaries before Love Supreme – but he knocked it out of the park for the album – which is a full-length suite of spiritual expression, one that gives even greater focus and message to Coltrane's long-spiralling style of soloing on the tenor sax! The group here is the classic quartet – McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums – taking Trane up to the heavens on waves of modal energy, but also holding his spirit closer to the planet than on some of later, more outside performances. There's a slight bit of vocalization on the record – that chanted energy that imbues the set with so much love – and movements include "Acknowledgement", "Resolution", "Pursuance", and "Psalm". LP, Vinyl record album

A beautiful album that more than lives up to its evocative title – an early session from John Coltrane, filled with long tracks that slide along brilliantly! As with many other classic Prestige albums from Trane, backing is by the trio of Red Garland piano, Paul Chambers bass, and Art Taylor drums – all holding back nicely when Coltrane opens up on his solos, but also coloring the tunes with soulful lyricism in a masterful understatement. The sound is about as classic as you can get during these early years in The Great One's career – and titles include "Traneing In", "Slow Dance", "Soft Lights & Sweet Music", and "Bass Blues". LP, Vinyl record album

Two older Roulette albums – brought together in one 70s package! The first set is a live Billy Strayhorn date – recorded with a group that includes Johnny Hodges and Paul Gonsalves on reeds, Harold Baker and Clark Terry on trumpets, and Quentin Jackson on trombone. Next up is Jazz From Abroad – an incredible early work from British leader Johnny Dankworth – jazz work that's as fluid and grooving as his best 60s soundtrack sessions, and cut with an early sense of power that's really great! Dankworth's tight on the head arrangements, really leaping into the rhythms of the tune with the same love of groove as contemporary Johnny Keating – but he also makes some strong solo space on the best tracks on the album, really letting the sax players in the group stretch out searingly. Players aren't named in the credits, sadly, but we're guessing they're the top-level players who made appearances on Dankworth's key British sides of the time. Titles include "A String Of Camels", "Cannonball", "Chano", "Avengers Theme", "Sack O Woe", "Esso Blues", and "Curtain Up". LP, Vinyl record album

Deep and bluesy work from the all-star Ellington group of the late 50s – a beautifully recorded album that moves way past the simple cliche of its title! The set features a host of original tunes from Duke Ellington and other members of the group – and players include Jimmy Hamilton on tenor, Ray Nance on trumpet, Matthew Gee on trombone, and the wonderful Johnny Hodges on alto – playing here at the peak of his later powers. Titles include "Three J's Blues", "Smada", "C Jam Blues", "Sweet & Pungent", "Blues In Blueprint", "The Swinger's Jump", and "Blues In Orbit". LP, Vinyl record album

A strange pairing – but that's sometimes what makes these Verve "pro meets pro" sets from the 50s so great. Getz and Johnson are backed by Oscar Peterson, Ray Brown, Herb Ellis, and Connie Kay – and the tracks are longish, with plenty of solo room in the open jam session mode of the recording. Titles include "Billie's Bounce", "My Funny Valentine", "Crazy Rhythm", and "Blues In The Closet". LP, Vinyl record album

One of Johnny Griffin's hard blowing LPs as a leader for Jazzland – recorded with a crack lineup that includes Blue Mitchell on trumpet, Julian Priester on trombone, Wynton Kelly on piano, Sam Jones on bass, and Albert Heath on drums! This is the kind of work that the term "hard bop" was coined for – sharp-edged jazz at its best – informed strongly by earlier bop and modern modes, but also played with a deeper dose of soul overall. The six players come together perfectly throughout – working with a tightness that matches most Blue Note work of the time – and titles are a great set of tracks that includes 3 by Chicago pianist Norman Simmons, and 1 by the great Babs Gonzales. Tunes include "Olive Refractions", "The Message", "Lonely One", "Playmates", and "63rd Street Theme". LP, Vinyl record album

An excellent 2LP set that features material pulled from a number of Griffin's early albums for the Jazzland/Riverside label – including The Little Giant, The Kerry Dancers, Way Out, and The Johnny Griffin Sextet. The material is played by a number of groups – with musicians that include Donald Byrd, Pepper Adams, Kenny Drew, Wibur Ware, Blue Mitchell, Julian Priester, Barry Harris, and Sam Jones – but it's united by Griffin's souful approach to bop, and by a youthful energy that made him one of the most striking tenor soloists of his generation, despite a young age. Titles include "Catharsis", "Hot Sausage", "The Message", "Playmates", "63rd Street Theme", "The Kerry Dancers", and "Little John". LP, Vinyl record album

An astounding live set from Johnny Griffin – recorded at the famous Club Montmartre in Copenhagen, where Griff had practically taken up residence in the late 60s! The record crackles with the kind of free energy of the best Montmartre sessions – long tracks and compelling solos, stretched-out versions of tunes you may recognize, but which are transformed nicely by Griff's great solo work – and by a rhythm section that features Kenny Drew on piano, Niels Henning Orsted Pedersen on bass, and Albert Heath on drums! Titles include "The Man I Love", "Blues For Harvey", "Sophisticated Lady", "Hush A Bye", and "Wee". LP, Vinyl record album

One of the few beautiful early albums cut by John Handy for Roulette – and an obscure session that has him playing alto with a quartet that includes a young Walter Bishop Jr. on piano. Handy here is fresh from his work with Mingus – and his alto is filled with fire and emotion, yet also touched by a great deal of warm soufulness. His work with Bishop on the album hearkens towards later directions in 70s soul jazz – but it's also firmly rooted in a modernist hardbop vein. Titles include "Strugglin", "No Smiles Please", "Blues For MF", and "Afternoon Outing". LP, Vinyl record album

A classic split album of bop piano from both coasts – kind of a double-header in jazz, and one that really packs a punch! Hamp Hawes represents the west coast – and unlike his cool jazz contemporaries, he's grooving hard in a quartet that includes Larry Bunker on vibes, Larry Marable on drums, and Clarence Jones on bass. Hawes' playing on the record is some of his best of the 50s – and titles include "Terrible T", "Move", "Fanfare", "Hamp's Paws", and "Buzzy". The east coast side of the set is laid down by Freddie Redd – grooving hard in a rare early set, with a trio that includes John Ore on bass and Ron Jefferson on drums. Redd's titles include "Reddy Freddie", "Lady J Blues", and "Debut". LP, Vinyl record album

A near-forgotten gem from Coleman Hawkins excellent late 50s period – recorded for the short-lived Felsted label, and done in a beautifully relaxed way! The tracks here are long and easy-going – at times even more open than Hawkins' work for Verve, and in the style he'd explore even more deeply for Prestige on some albums recorded right after this set. Hawk is playing in a quintet with Buck Clayton on trumpet, Hank Jones on piano, Ray Brown on bass, and Mickey Sheen on drums – and titles include "My One & Only Love", "Bird Of Prey Blues", "Get Set", "Ooh Wee Miss GP", "Vignette" and "You've Changed". LP, Vinyl record album

A near-forgotten gem from Coleman Hawkins excellent late 50s period – recorded for the short-lived Felsted label, and done in a beautifully relaxed way! The tracks here are long and easy-going – at times even more open than Hawkins' work for Verve, and in the style he'd explore even more deeply for Prestige on some albums recorded right after this set. Hawk is playing in a quintet with Buck Clayton on trumpet, Hank Jones on piano, Ray Brown on bass, and Mickey Sheen on drums – and titles include "My One & Only Love", "Bird Of Prey Blues", "Get Set", "Ooh Wee Miss GP", "Vignette" and "You've Changed". LP, Vinyl record album

A killer concert all the way through – and a great showcase for the CTI sound! Although the genius of the CTI label might be often thought of in a studio format – especially since the Creed Taylor Influence on the label is what really turned the sound into something wonderful – this live set from 1971 shows that the label's players, with the right frame of mind, can easily get into the CTI groove in any setting – soaring out in a magical blend of acoustic and electric instrumentation, really stretching out on some killer long tracks! The group's a great all-star one – with organ and electric piano by Johnny Hammond, guitar by George Benson, flute by Hubert Laws, trumpet by Freddie Hubbard, tenor by Stanley Turrentine, and percussion by Airto – and all tracks are long, and very free-flowing. Titles include "Red Clay", "Sugar", "Blues West", "Leaving West", and "Fire & Rain". LP, Vinyl record album

With Butch Miles on drums, Freddie Green on guitar, John Clayton on bass; Danny Turner, Bobby Plater, Eric Dixon, Charlie Fowlkes, and Kenny Hing on saxophone; Wayman Reed, Lyn Biviano, Sonny Cohn, and Pete Minger on trumpets; and Bill Hughes, Mel Wanzo, Fred Wesley, and Dennis Wilson on trombones. Titles include "9:20 Special", "Sunny Side Of The Street", "Lena & Lenny", "Easy Does It", "Every Tub", and "Blues For Me". LP, Vinyl record album

An incredible collaboration from John Coltrane and Milt Jackson – and one that gives Milt one of his sharpest records ever! The setting is relatively straight – tenor from Coltrane, vibes from Jackson – plus rhythm from Hank Jones on piano, Paul Chambers on bass, and Connie Kay on drums. Yet there's also a sense of openness here that you'd hardly ever expect on other records by Jackson – especially his contemporaneous sides with the Modern Jazz Quartet – and Coltrane's tenor gets as much room to roam here as it did on Prestige – really cutting some beautifully soulful, open, and flowing lines throughout! Titles include "Bags & Trane", "Three Little Words", "Be-Bop", "Late Late Blues", and "The Night We Called It a Day". LP, Vinyl record album

Jackson, Johnson, Brown, and company – and a few more too – a nicely laidback sextet date from the later years of Pablo Records, done in the great mode that always made the label's work a 70s extension of the Verve Records ethos! Key players here, obviously, are Milt Jackson on vibes, JJ Johnson on trombone, and Ray Brown on bass – Brown also produced the set – and the group also features John Collins on guitar, Tom Rainer on piano, and Roy McCurdy on drums. Tracks are shorter and tighter than a jam session mode for three such heavy players – and titles include "Jaybone", "Lament", "Our Delight", "Bag's Groove", "Watch What Happens", and "The Jumpin Blues". LP, Vinyl record album

Seminal work from one of the hippest jazz singers ever – a session that showed the world that Eddie Jefferson was firmly back in business during the 60s! The set's got a really rollicking feel, and a bit more influence from soul than the bop of Eddie's roots – with elements of gospel and R&B filtering into the mix from time to time, alongside some of the more sophisticated jazz styles we've always loved in Jefferson's vocals. The group features some great tenor work from James Moody – one of Eddie's frequent musical partners – plus Dave Burns on trumpet, Barry Harris on piano, Steve Davis on bass, and Bill English on drums. Titles include "Now's The Time", "So What", "Psychedelic Sally", "Filthy McNasty", "Oh Gee", and "See If You Can Git To That" – plus a very cool spoken introduction by Ed Williams! LP, Vinyl record album

... 78 RPM, Vinyl record

Nicely sharp sounds from the great JJ Johnson – a set that has the trombonist really honing his edge on a host of tight, short tracks – with a vibe that almost recalls his initial bop recordings on Blue Note and Prestige! The style here is a bit more sophisticated – definitely with an ear towards the modern directions that JJ was exploring in the 50s – but the sound is also nicely spontaneous, with more focus on improvisation between group members than larger arrangements – quite nice, given that the group features excellent tenor from Bobby Jaspar on tenor – and either Tommy Flanagan or Hank Jones on piano, Percy Heath or Wilbur Little on bass, and Elvin Jones on drums. Tracks are short, and titles include "Overdrive", "Cube Steak", "Chasin The Bird", and "Solar". LP, Vinyl record album

Includes a side's worth of piano solos recorded in 1944, plus a collection of tracks from the mid to late 40s with his All Stars that include Hot Lips Page and Budd Johnson, a trio session with Bill Cooper on bass and Al Wichard on drums, and a live performance at the Blues Jubilee Concert with Johnn Rogers on guitar, Johnny Parker on bass, and Roy Milton on drums. LP, Vinyl record album

A landmark session that features two of the greatest tenor talents to emerge from the rich Chicago scene of the 50s! Jordan was well-known to jazz fans, or would be within a few years – but Gilmore's rarely heard in this sort of setting, as most of his recording career was spent in the company of Sun Ra's Arkestra. The record features the duo in a twin-tenor frontline, with backing by Horace Silver, Curly Russell, and Art Blakey. Ostensibly a blowing session, but much tighter than you'd expect – and with a hard heavy Blue Note groove. Titles include "Evil Eye", "Status Quo", "Bo-Till", and "Blue Lights". LP, Vinyl record album

Great early work from Johnny Keating, not the hokey sound of the "high road" you might expect from the cover, and instead a well-crafted batch of large ensemble tracks that really shows Keating deepening his sound! There's echoes here of some of the best modern work on the west coast scene of the 50s – the legacy of Kenton's tones and colors, taking into nicely swinging territory – and tracks are played by differing groupings of Keating's players from cut to cut. Titles include "Loch Ness Monster", "Kiltie", "Double Scotch", "Tam O Shanter", "Headin North", and "Down South Blues" – all originals by Keating! LP, Vinyl record album

Beautiful early work from John Klemmer – one of the most under-rated talents of his generation, and a great player who frequently gets overlooked because of his later, smoother work. This album is Klemmer's first – recorded with a soulful Chicago tenor sound, touched with some of the freedoms of the late 60s Cadet Records scene. The approach is a bit like Eddie Harris at his best – with Klemmer rolling out soulful, stretched out notes over backing by a Harris-inspired rhythm section that includes Melvin Jackson on bass, Wilbur Cambell on drums, and Jodie Christian on piano. The groove is very solid, very in the pocket – and Klemmer blows in a tradition that includes Frank Strozier and Eric Alexander – 2 other players who've made a strong contribution to the Chicago scene. Titles include "My Blues", "Will N Jug", "Passion Food", "Stand In the Sun", and "Later With Them Woes". LP, Vinyl record album

One of two albums that Lee Konitz cut with the trio of Marial Solal in 1968 – originally issued only very briefly in Europe on the small Campi label, and some of Konitz' most groundbreaking work of the 60s! Solal had been transforming the sound of jazz piano for most of the 60s by this point – working in a modernist mode that pushed far past most other American players of the time. His trio with Henry Texier and Daniel Humair is honed to perfection by this point – and the addition of Konitz's icy, angular horn really gives the set a compelling finish that you don't even find on Solal's own albums of the 60s. Titles include "Impressive Rome", "Anthropology", "Roman Blues", and "Stella By Starlight". LP, Vinyl record album

The earliest incarnation of the Plastic Ono band, and more or less a one off, with an all-star line up that included Eric Clapton and Klaus Voorman alongside Lennon and Ono. One side of the rootsy rock that was the old school Beatles stock in trade, and one side of Yoko Ono doing her thing on the mic. Titles include "Blue Suede Shoes", "Money", "Dizzy Miss Lizzy", "Yer Blues", "Cold Turkey", "Give Peace A Chance", "Don't Worry Kyoko" and "John, John". LP, Vinyl record album

Way more than just "abstractions" – as the set's a very focused batch of some of the larger ideas that John Lewis had about jazz – explored beautifully here away from the Modern Jazz Quartet! The album has Lewis working with frequent partner – and fellow third stream conceptualist – Gunther Schuller – and also features great guest work from Ornette Coleman on alto, Joe Wilder on trumpet, Jim Hall on guitar, and Scott LaFaro on bass – all very different talents at the forefront of jazz at the time, helping bring a wider range of voices than you might normally get on a John Lewis project. Titles include "Abstraction", "Variants On A Theme of Thelonious Monk", and "Piece For Guitar & Strings". LP, Vinyl record album

One of the strongest sessions recorded by pianist John Lewis in the 50s – a date that shows depths of his talents that run even greater than his work with the Modern Jazz Quartet, quite possibly because is work on piano is at the forefront of the record throughout! There's a sense of darkness here that really fits the image on the cover – a style that's stated clearly on piano lines that are often as spacious as they are gentle, but which also have a moodier undercurrent below, thanks to Lewis' careful choice of keys and notes. The backing is often quite spare – Lewis sometimes plays just with Connie Kay's drums, or the guitar of either Jim Hall or Barry Galbraith – and at its fullest, the record features 2 trio numbers with the bass of Percy Heath and drums of Connie Kay. Tracks are lyrically and thoughtfully composed – and titles include "Two Lyric Pieces", "Harlequin", "D&E", "Little Girl Blue", and "Warmeland". LP, Vinyl record album

A killer live set from Ramsey Lewis and his classic early 60s trio – a record that's not nearly as well known as The In Crowd, but every bit as great! Drummer Red Holt and bassist Eldee Young really get in some great elements here – working with Ramsey's piano in a groove that's far more than the standard trio mode of the time – and much more in a triangulated exchange of energy that's filled with life and joy throughout! Side one begins with a 12 minute "West Side Story Medley" – one that starts slow, but really builds with excitement as the tune rolls on – and other tunes include a version of "My Babe", with some funky cello work by Eldee Young; a soul-stepping take on "Something You Got"; Ramsey's original "The Caves"; and versions of "People", "Fly Me To The Moon", and "The Shelter Of Your Arms". LP, Vinyl record album

... LP, Vinyl record album

Quite a crazy little record from Charles Mingus – a record that fits nicely in his legacy of other recordings for Atlantic, but which has a very different approach! On this set, Mingus plays piano, and even sings a bit – using this messed-up take on blues roots, but filtered through a hipper modern jazz filter, and with a bit of a political bent too – almost as if he were trying to break out of the avant jazz ghetto, and reach a larger audience with his message and music! The group is an all-star lineup with Jimmy Knepper on trombone, and both Booker Ervin and Roland Kirk on reeds – the latter of whom might be a good comparison in spirit, especially for some of the genre-crossing things he did on Atlantic during the late 60s. Titles include the classic "Oh Lord Don't Let Them Drop That Atomic Bomb On Me" – plus "Wham Bam Thank You Ma'am", "Devil Woman", and "Passions Of A Man". LP, Vinyl record album

A compilation of Wes' sides for the Riverside label, pulled together when the imprint was briefly owned by ABC at the end of the 60s. The set is a hodge podge of cuts from quite a few previous albums, and includes live material, sessions where Montgomery was a sideman, orchestral backings, a guitar solo and some tight small group work, with a host of great sidemen that include Mel Rhyne, Nat Adderley, Louis Hayes, Harold Land, Tommy Flanagan, the Heath brothers, the Montgomery brothers, Milt Jackson, Johnny Griffin and Wynton Kelly among others. 9 numbers in all, including "Whisper Not", "MeanTo Me", "West Coast Blues", "While We're Young", "Mr Walker", "Love For Sale", "Stairway To The Stars",'Cariba" and "Tune Up". LP, Vinyl record album

An insanely wonderful session from James Moody, and one that's head and shoulders above most of his other work from the early 50s. Moody sort of goes the Dizzy Afro-Cuban route, and he leads a nice little bop combo that includes conga player Chano Pozo. Gil Fuller did the arrangements, and the whole thing's an oft-missed early session of jazz/Latin crossover material. Tracks include "Tin Tin Deo", "Oh Henry", "Mood's All Frantic", "Tropicana", and "Cu-Ba". Great stuff, and with a beautiful cover, too! LP, Vinyl record album

An insanely wonderful session from James Moody, and one that's head and shoulders above most of his other work from the early 50s. Moody sort of goes the Dizzy Afro-Cuban route, and he leads a nice little bop combo that includes conga player Chano Pozo. Gil Fuller did the arrangements, and the whole thing's an oft-missed early session of jazz/Latin crossover material. Tracks include "Tin Tin Deo", "Oh Henry", "Mood's All Frantic", "Tropicana", and "Cu-Ba". Great stuff, and with a beautiful cover, too! LP, Vinyl record album

A sweet little large group session from Gerry – a bit harder swinging than some of his mid 50s small group work, but still with that mellifluous glide that's the trademark Mulligan sound! Arrangements are by some great talents – including Al Cohn, Johnny Mandel, and Bob Brookmeyer, who also plays valve trombone on the set – and titles include "Blueport", "Body & Soul", "Black Nightgown", and "Let My People Be". LP, Vinyl record album

Johnny's very much in his "revival" mode here – dipping back to his earlier R&B roots, and working with a host of famous older blues singers. The set's got vocals by Roy Milton, Roy Brown, Esther Phillips, Mighty Mouth Evans, Ivory Joe Hunter, Eddie Cleanhead Vinson, Margie Evans, and Big Joe Turner – and even though Shuggie Otis is on the album, the whole thing's a pretty bluesy affair overall. Titles include "Shuggie's Boogie", "Plastic Man", "Margie's Boogie", "Baby You Don't Know", "Little Esther's Blues", "RM Blues", "Goin Back To LA", "Willie & The Hand Jive", and "Since I Met You Baby". LP, Vinyl record album

An expanded version of the first album to carry the Jazz At The Philharmonic formula into the studio – and a record that virtually coined the term "jam session" for 50s jazz! Norman Granz repeats the style he'd done so well in a live setting – and brings together a host of all-star players in a very relaxed, open environment – one that gives them all plenty of space to open up and hit some nice long solos. Players include Charlie Parker, Johnny Hodges, and Benny Carter in a three-alto frontline, plus Flip Phillips and Ben Webster on tenor, Barney Kessel on guitar, Oscar Peterson on piano, Ray Brown on bass, and JC Heard on drums. Side one features the original "Jam Blues", and side two features a "Ballad Medley", with each solo star taking one of the tunes in the set. Also features the material from vol 2 – "Funky Blues" and "What Is This Thing Called Love". LP, Vinyl record album

A great 2LP set that's a wonderful collection of Patton's excellent soul jazz organ work for Blue Note – and which also includes material that never came out on LP! The set takes tracks from rare albums like Blue John, Along Came John, Got A Good Thing, and Let 'Em Roll – plus some even better stuff from previously unissued sessions! Titles include "Footprints", "Man From Tanganyika", "Dirty Figers", "Sissy Strut", "Boogaloo Boogie", "Barefootin", and "Ain't That Peculiar". LP, Vinyl record album

Milt Jackson joins the Oscar Peterson Trio – helping the group to hit some great new space with his magical work on vibes! Jackson's got an open, airy feel – an approach that almost lets Peterson punctuate the tunes a bit more with his piano – while the pair get strong rhythmic support from the bass of Ray Brown and lyrical drums of Ed Thigpen. Tunes are open and relaxed, letting Milt hit some great mellow tones – and titles include "Green Dolphin Street", "Heartstrings", "The Work Song", "John Brown's Body", "A Wonderful Guy" and "Reunion Blues". LP, Vinyl record album

With Frank Newton (trumpet), J.C. Higginbotham (trombone), Albert Ammons (piano), Teddy Bunn (guitar), John Williams (bass), Sidney Catlett (drums). 78 RPM, Vinyl record

Titles include "Down Home Girl", "What A Shame", "Heart Of Stone", "Down The Road Apiece", and "Oh Baby". LP, Vinyl record album

Johnny Shines isn't standing at the crossroads at the same time as Robert Johnson, but he's still sounding pretty darn great here – recording this stripped-down set in Cali in 1970, with just his own guitar alongside his vocals! Shines is maybe best known for his Chicago recordings of the postwar years – but the sound here is in a style that actually goes back farther than that, and recalls the modes that Johnny first used when picking up the guitar in the early 30s – a time in which he also crossed paths with Johnson, given a tribute here in the approach of the record. Titles include "Standing At The Crossroads", "My Rat", "Don't Take A Country Woman", "Kind Hearted Woman", "Baby Sister Blues", and "Drunken Man's Prayer". LP, Vinyl record album

One of the sweetest singer-songwriter records of the mid 70s country rock era – beloved by fans, but largely unknown to the masses after all these years! Black Rose is JD Souther's second record, and it's a thing a beauty – produced by Peter Asher and featuring a who's who Souther's famous friends and lot of the great California session musicians of the time, but it's really about the intimate songcraft and the warmth of Souther's voice. Really beautiful stuff and it sounds as great as ever! Includes "Banging My Head Against The Moon", "If You Have Crying Eyes", "Your Turn Now", "Faithless Love", "Baby Come Home", "Silver Blue", "Midnight Prowl", "Doors Swing Open", "Black Rose" and more. LP, Vinyl record album

Disco 9000 is Johnnie Taylor's 3rd release for Columbia – a great batch of smooth soul tracks with a lot less of the "disco" that you'd expect from the title! Johnnie produced the session himself – and the album was recorded as a soundtrack (to a film that was later retitled Fass Black), but works well on its own as a straight soul release. Most tracks are relatively long, in that smooth midtempo groove that Johnnie was using at the time – and the combination of his bluesy vocals and modern soul production really makes the set sparkle! Titles include "I Love You Woman", "Right Now", and "I Don't Know What I'd Do Without You". LP, Vinyl record album

A landmark album from Johnnie Taylor – a set that not only gave his career a giant boost, but which also helped shift southern soul into hip new territory in the late 70s! The music's a great change from Taylor's previous work at Stax – and the set features warm production from Don Davis that brings a new level of smoothness to Johnnie's music – a quality that unlocks the soulful undercurrent always lurking in his bluesier work, and which pulls him out of the indie soul ghetto to the modern soul mainstream. The album features the massive "Disco Lady" – a record that's probably still paying Johnnie's bills today – and a cut that's much more groovy soul than you might guess from the title. Other tracks are great too – and include "Running Out Of Lies", "I'm Gonna Keep On Loving You", "Pick Up the Pieces", and "Somebody's Gettin It". LP, Vinyl record album

A great album from McCoy Tyner – a set that's steeped in the modal soulfulness of his years with John Coltrane, but also handled in a way that really has him breaking away from the pack a bit! Half the album's played with a trio that features Jimmy Garrison on bass – but the strongest cuts feature a sextet with John Gilmore on tenor (making a rare non-Sun Ra appearance), Frank Strozier on alto, Thad Jones on trumpet, Butch Warren on bass, and Elvin Jones on drums – all working beautifully together in an early example of the soulful group groove that Tyner would hit even more strongly in the post-Coltrane years. Titles include "T N A Blues", "Three Flowers", "Contemporary Focus", and "Night In Tunisia". LP, Vinyl record album

Features early work by Homesick James, Baby Face Leroy, Little Walter, JB Hutto, Eddie Boyd, Junior Wells, Little Willie Foster, Snooky & Moody, Johnny Young, Floyd Jones, Big Walter, Rober Nighthawk, and John Brim. LP, Vinyl record album

A nice collection of Gene Ammons' work that doesn't always get as well remembered as his sides for Prestige or Chess – a 1947 bop session for Savoy with Howard McGhee on trumpet, Leo Parker on baritone, Junior Mance on piano, Gene Wright on bass, and Chuck Williams on drums; and early 50s sesssions with Johnny Coles on trumpet, Lino Murray on trombone, Mack Easton on tenor and baritone, John Houston on piano, Ben Stuberville on bass, and George Brown on drums; done in a wonderfully full-voiced tone! The set features Gene's classic "Red Top", plus the great two part "Big Slam", and the titles "Chips", "Goodtime Blues", "Fuzzy", "Jim Dawgs", and "Street Of Dreams". LP, Vinyl record album

A bittersweet farewell from The Beatles – a record that definitely shows the fracturing unity of the group, with lots of near-solo moments – but a set that also makes us really wonder what they'd have done with all this genius, had they managed to hold it together! There's great hints here of the solo work to come – especially from George Harrison and John Lennon – and the Phil Spector production really helps open up a new sound for the group. Includes the genius cuts "I Dig A Pony", "Two Of Us", "Across The Universe", "I Me Mine", "One After 909", "For You Blue", and "Let It Be". LP, Vinyl record album

One of the few albums ever recorded by pianist Charles Bell – a fresh-voiced modernist who flourished briefly on the recording scene at the beginning of the 60s, when he recorded great records for Columbia and Atlantic, plus this little gem for the smaller Gateway label! The set's a live one, and has Bell playing in a style that's more open than some of his other records – still very much concerned with moods and colors, in an almost John Lewis-like way – but also playing some extremely inventive lines on the piano, and giving the record a keenly improvised quality. Titles include "Take Five", "Memories Of Home", "Whisper Not", "Work Song", "Prancing", and "Tommy's Blues". LP, Vinyl record album

Beautiful bass work from 50s LA player Red Callender – heard here on this classic side recorded for the Modern imprint. Swingin Suite is easily one of Red's tightest sessions – a date that has Callender's basslines strongly leading a nonet of players that includes Harry Jones on trumpet, John Ewing on trombone, Willie Green on alto sax, and Buddy Collette on flute and tenor. Collette's lines have a nice sharp edge throughout, and soar out beautifully amidst the bigger backings – and although a "suite", the whole session's got a much more relaxed feel than that compositional title might make you think. Tracks include "On Again", "Greenery", "Pastel", "Dancers", "October Blue", "Bihari", "Skyline", and "Outlines". LP, Vinyl record album