Really beautiful 70s work from pianist Andrew Hill – one of his few sessions from this part of the decade to feature a larger set of players – some really wonderful guests that make some real magic with Hill's brilliant compositions! At the start of the 70s, Andrew had announced a back to basics moment – when he wanted to play a bit more inside – and while this record isn't as completely avant as some of his 60s material, it's something of a blend of both modes – angular ideas that explode from the compositions, but mixed with a sense of structure too – all handled by players who are very well-suited to such a mode – a lineup that includes Ted Curson on trumpet, Lee Konitz on alto and soprano, Robin Kenyatta on alto, Cecil McBee and Stafford James on bass, and Art Lewis and Barry Altschul on drums. There's a special sort of beauty here – and the record's a great reminder that Andrew Hill's genius extended well past his famous recordings for Blue Note – on titles that include "Tomorrow", "Invitation", "The Message", "Quiet Dawn", and "Spiral". CD

Some of the best work ever cut by ZZ Hill – a deep soul singer with roots in Texas, but who really got the chance to shine on these 60s recordings in California! Hill is completely hard-burning here – even more so than on his later, bigger-label material in the 70s – with an intensity that we'd rank right up there with top-shelf standards like early Bobby Blue Bland on Duke Records, or Otis Redding on Stax! Yet ZZ's work is much more obscure than both of those artists, partly because the Kent label never got these tracks out that much back in the day – especially in parts of the country that were maybe even more suited to Hill's style than Cali. Production is wonderful – totally on the money, with arrangements that even surpass the usual greatness of Kent – and as with Bland, there's often a lot of jazz and blues inflections that really help round out the soulful style of the songs. 2CD set features the full album A Whole Lot Of Soul, plus all the Kent Records singles, and even unissued tracks too – a massive 49 titles that include "You Don't Love Me", "Greatest Love", "Have Mercy Someone", "Hey Little Girl", "If I Could Do It All Over", "Steal Away", "What Am I Living For", "You Just Cheat & Lie", "Greatest Love", "Nothing Can Change The Love I Have For You", "Nothing Takes The Place Of You", "You Won't Hurt Me No More", "My Girl Has Gone Away", "Please Take Me Back", "I'm Gonna Love You", and "You Can't Hide A Heartache". CD

Some of the most tripped-out music ever from The Holy Modal Rounders – and that's saying a lot, given the nature of the group! This unique early album on ESP features two side-long tracks – both of which are mini-suites of sort, and filled with odd sounds, weird themes, and a strange mixture of hippie instrumentation and sci-fi experimentation! The group for the record is a quartet – with the core combo of Peter Stampfel on violin and vocals and Steve Weber on guitar, augmented by playwright Sam Shephard on drums and Lee Crabtree on piano and organ – plus extra vocals from the trio of Antonia, Barbara, & Wendy. The music is in the best free-thinking style of other rock on the ESP label in the 60s – and titles include "Jimmy & Crash Survey The Universe" and "The Second-Hand Watch". LP2 features Live In 1965 – Some of the earliest music ever from The Holy Modal Rounders – a rare live performance from 1965, recorded at the Chess Mate nightclub in Detroit, and featuring only the duo of Peter Stampfel and Steve Weber! The music here is a bit more folksy and a bit less trippy than some of the Rounders' later recordings, but it still shows a decidedly left-field approach – not just in the subjects of the tunes, but also in the way the guitar, banjo, and fiddle are used – almost as additional voices at times, instead of conventional folk instrumentation. Titles include "Crowley Waltz", "Black Eyed Suzy", "My Mind Capsized", "Fishin Blues", "Rum Mountain", "Random Canyon", "Skin Game", "Indian War Whoop", and "Flop Eared Mule". LP, Vinyl record album

One of the most sophisticated albums that Bobby Hutcherson recorded with reedman Harold Land – a very hip session that features the arrangements of piano player Todd Cochran – also known as Bayete for a pair of early 70s albums on Prestige! The sound here is more farther-reaching than before for the team of Hutcherson and Land – a deepening of the soulful spirits first cooked up on their earlier collaborations, stretched out to farther-reaching territory in the hands of Cochran's arrangements and compositions. The group's got a full sound too – with trumpet and flugelhorn from Oscar Brashear, trombone from George Bohannon, and added reeds from players who include Ernie Watts, Fred Jackson, and Charles Owens. Harold Land plays tenor and flute, Hutcherson vibes and marimba, and Cochran is on acoustic piano throughout – but the record also features some electric keys from William Henderson. Titles include the 3 part suite "At The Source", plus "Many Thousands Gone", "Clockwork Of The Spirits", and "Mtume". LP, Vinyl record album

One of the most sophisticated albums that Bobby Hutcherson recorded with reedman Harold Land – a very hip session that features the arrangements of piano player Todd Cochran – also known as Bayete for a pair of early 70s albums on Prestige! The sound here is more farther-reaching than before for the team of Hutcherson and Land – a deepening of the soulful spirits first cooked up on their earlier collaborations, stretched out to farther-reaching territory in the hands of Cochran's arrangements and compositions. The group's got a full sound too – with trumpet and flugelhorn from Oscar Brashear, trombone from George Bohannon, and added reeds from players who include Ernie Watts, Fred Jackson, and Charles Owens. Harold Land plays tenor and flute, Hutcherson vibes and marimba, and Cochran is on acoustic piano throughout – but the record also features some electric keys from William Henderson. Titles include the 3 part suite "At The Source", plus "Many Thousands Gone", "Clockwork Of The Spirits", and "Mtume". CD also features 3 great bonus tracks – the funky 17 minute "Hey Harold", plus "Jonathan" and "Togo Land". CD

A wicked post-Blue Note session from Bobby Hutcherson – one that's put together in a different way than his previous work, but still completely sublime throughout! The feel is almost to Hutcherson's earlier work what Woody Shaw's Columbia recordings were to his – tighter, with sharper production – yet still wonderfully soulful and with a strong sense of spirit. Key soloists include Freddie Hubbard on trumpet and Hubert Laws on flute – and the record also features George Cables on acoustic and electric piano, Cedar Walton on acoustic piano, and Eddie Marshall on drums. Includes the lovely "Sweet Rita Suite", plus "Circle", "Secrets Of Love", and "Bouquet". LP, Vinyl record album

A wonderfully expansive album from The Incredible String Band – initially performed as a stage project with the Stone Monkey dance troupe, and featuring the ISB at their most evocative and creative! Some tunes have a darker, sinister undercurrent – that link between the band and the acid folk underground – but others are more hippy dippy, with playful touches that still seem to have this undercurrent of evil somehow – an offbeat quality that really marks the special way that British groups like this were taking folk in very odd directions at the time – never losing sight of roots, but still never having the sense of optimism or indulgence of American acts. The double-length set has loads of especially nice instrumental moments – both acoustic and electric – and titles include "Bridge Song", "El Wool Suite", "The Juggler's Song", "Bad Sadie Lee", "Partial Belated Overture", "Walking Along With You", "Invocation", and "Robot Blues". LP, Vinyl record album

Pianist Ethan Iverson seems to be using his time at the Blue Note label to open up whole new pathways in his sound – recasting his trio performance in ways that have an inherently rhythmic quality, while also really letting loose with some lyrical flights on the keys – a balance that's a bit hard to describe in words, but which really comes through in the music! The set features two different trios – one with Thomas Morgan on bass and Kush Abadey on drums, the other with Simon Wilson on bass, and Vinnie Sperrazza on the kit – and on one track, Rob Schwimmer adds in a bit of theremin. Titles include "Victory Is Assured", "Who Are You Really", "The Chicago Style", "It's Fine To Decline", "Killing Me Softly", and "The Feeling Is Mutual" – plus the "Piano Sonata" suite. CD

Pianist Ethan Iverson seems to be using his time at the Blue Note label to open up whole new pathways in his sound – recasting his trio performance in ways that have an inherently rhythmic quality, while also really letting loose with some lyrical flights on the keys – a balance that's a bit hard to describe in words, but which really comes through in the music! The set features two different trios – one with Thomas Morgan on bass and Kush Abadey on drums, the other with Simon Wilson on bass, and Vinnie Sperrazza on the kit – and on one track, Rob Schwimmer adds in a bit of theremin. Titles include "Victory Is Assured", "Who Are You Really", "The Chicago Style", "It's Fine To Decline", "Killing Me Softly", and "The Feeling Is Mutual" – plus the "Piano Sonata" suite. CD

Jazzy magic from the current Japanese underground – a hip group bubbling under, but with the same magic energy Jazztronik! Like Jazztronik, J's Bee blends together solid jazz roots and modern production – searching out some richly organic grooves that start slowly, build with spare keyboards and rhythms, and then take off to the skies with a really righteous sound. There's a bit of vocals on the set, but like Jazztronik, the group's equally well suited to working in an instrumental mode too. Tracks include "Eclipse", "Glow", "Naked", "Floating", "DB (Deep Blue)", and "Desert Skyline (Version 2)". CD

Classic Etta for Chess, yet largely overlooked In her canon! This is really strongly produced stuff – it's got its sweet moments, but there's plenty of heft and grit, too! It's the kind of material that works really well with her deep, soulful voice – and the female backing vocal arrangements suit Ella's lead perfectly with Ella's lead. The tracklist here is rich with bluesy standards, though they're taken to grand heights by Ella – plus some great lesser known originals from the pens of the Chess writers. Titles include the storming, totally killer opener "Take Out Some Insurance", plus "I Got It Bad And That Ain't Good", "I Think Its You", "Someone", "Weepers", "Hold Back My Tears", and "You're The Fool". LP, Vinyl record album

Classic Etta for Chess, yet largely overlooked In her canon! This is really strongly produced stuff – it's got its sweet moments, but there's plenty of heft and grit, too! It's the kind of material that works really well with her deep, soulful voice – and the female backing vocal arrangements suit Etta's lead perfectly. The tracklist here is rich with bluesy standards, though they're taken to grand heights by Etta – plus some great lesser known originals from the pens of the Chess writers. Titles include the storming, totally killer opener "Take Out Some Insurance", plus "I Got It Bad And That Ain't Good", "I Think Its You", "Someone", "Weepers", "Hold Back My Tears", and "You're The Fool". This completely great Kent Soul CD edition comes with a full album's worth of bonus tracks – more early 70s work for Chess and Cadet of similar caliber. 10 bonus tracks in all: "The Love Of My Man", "The Sound Of Love", "WOMAN", "I Found A Love", "Tell It Like It Is", "I Never Meant To Love Him" and more. CD

A really unique album from the great Etta Jones – a session recorded down in Muscle Shoals, and not in Chicago – a setting that gives James an extra sort of deep soul power! The backing is nicely different than some of the other Chess material – killer work from the legendary Fame Studios lineup that included Barry Beckett on organ, Charles Chalmers on tenor, and Roger Hawkins on drums – all coming together with the great Rick Hall at the production helm! Etta's back in hard-belting R&B-tinged territory here – a bit more sophisticated than the 50s, with a good mix of hard soul numbers and ballads, opening up in some southern territory that really suits her well. Titles include "The Same Rope", "Watch Dog", "Tell Mama", "I'd Rather Go Blind", "Just A Little Bit", and "Don't Lose Your Good Thing". LP, Vinyl record album

A classic Kessel album for Contemporary – one that features Barney's guitar in a set of slightly larger backings, all arranged by Barney himself! The approach is a bit different from some of Kessel's more stripped-down albums of the time – as Barney works with instrumentation that includes a fair bit of flute and clarinet work by players who include Buddy Collette, Jules Jacob, George Smith, and Ted Nash – all supported by straighter piano, bass, and drum rhythms. The mix of guitar and reeds is quite nice, and makes for a warmly lyrical sound on the set – a sound that Kessel is perfectly suited for – nicely sophisticated without getting too coldly academic. Titles include "Blues For A Playboy", "Cheerful Little Earful", "My Reverie", "Carioca", "Indian Summer", "Fascinating Rhythm", and "I Love You". CD

Wonderfully tripped-out work from Finnish tenor giant Eero Koivistoinen – the first album recorded with his legendary Music Society group, and a strong departure from his straight jazz debut! The group here is expanded from before – with guitar from both Jukka Tolonen and Attilla Berger, plus three different keyboardists who work on piano and electric piano – often used in a slightly elliptical way to add a sense of spaciness to the tunes. Eero's still very firmly in the lead on tenor and soprano sax – and other players include Mike Koskinen on trumpet, Pekka Sarmanto on bass, and Esko Rosnell on drums – the latter two of whom provide a good pulse on the more upbeat numbers. Eero composed the entire record, and the tunes are a mixture of gentler soundpieces and others that groove a bit more – including his legendary "Boots & Roots", presented here with a lesser-known second part, "Roots & Boots"! Other tracks include "Five Blue Tones", "Bitter Sweet", "Folk Song", the 3-part suite "For Children". CD

Some of the deepest soul to ever come from a Detroit label – a great run of singles cut by Denise LaSalle for the Westbound label – all of them pretty darn wonderful! Denise has roots that start in Mississippi, and she spent plenty of time in Chicago – so by the time she hit Westbound, she had a great interstate approach that really pulled some great styles together! In a way, these sides were crucial in helping push southern soul forward in the 70s – not just in the production, which was tight, but never too smooth – and which helped give her bluesy inflections a hip, modern sort of mode – one that was often well-suited to the subtle gender politics of the tracks too. Ace did a great job with this smoking set – and not only includes all the key singles, both a-sides and b-sides – but even throws in some great notes, and a few rare radio spots too! Titles include "Do Me Right", "Man Sized Job", "Trapped By A Thing Called Love", "Keep It Coming", "Here I Am Again", "My Brand On You", "What Am I Doing Wrong", "Don't Nobody Live Here", and "Your Man & Your Best Friend". CD

A groundbreaking set from Yusef Lateef – one that mixes together a number of different soul jazz styles! In a way, Atlantic records tried to handle Yusef Lateef in the same way they did Roland Kirk – by creating recordings that either let him express himself strongly as an arch-modernist, or those that focused on his solo talents in material that was a bit more funky and soulful. This album's got a bit of both – as side one has Yusef playing with slightly electric groups on short tracks that feature vocal backings by the Sweet Inspirations, and side two features Yusef playing with the Cologne Radio Orchestra, conducted by William Fischer, on an extended work called "The Symphonic Blues Suite". We dig the shorter tracks better, and those titles include "Nocturne", "Buddy & Lou", and "Down In Atlanta". LP, Vinyl record album

Pianist Andy Laverne has some strong help on horns here – Alex Sipiagin on trumpet and flugelhorn, and Jerry Bergonzi on tenor sax – both working together to give the album a very strong sound! The tunes are all originals by Laverne, and filled with the right sort of color to bring out the best in Alex and Jerry – players who really complement each other with their sense of phrasing. Laverne's chord structure is also a key part of the album's sound – given a nice bump by the bass of Mike Richmond and drums of Jason Tiemann – who keep things crisp and crackling, and really encourage the colors of the horns to ring out. Titles include "Noteification", "It's All Good", "Waltz King", "Bluestrain", "Resolute Pursuit", and "Two In One". CD

A great title for this one – given that the album's got a full, spacious sound – one that definitely lives up to the "suite feeling" you'd expect! The style here is even more sophisticated than on the group's debut – still a mix of jazzy horns and rockish rhythms, but fused together even more perfectly – but with a leanness that's a good contrast to some of the more overblown groups of the same generation! There's just the right balance here to allow some standout solos – on horns, natch, but also some sweet Hammond too – and a young Howard Shore is also in the group on alto sax, and handled some of the arrangments for the record. Titles inlcude a great version of "A Day In The Life" – plus originals "Taking A Walk", "Could You Be Concerned", "Chest Fever", "Feel So Good", "Places On Faces Four Blue Carpet Traces", and "What Sense". CD

Charles Lloyd makes a step over to Blue Note Records – and the result is one of his richest, most organic albums in years! The whole thing's a live performance from Poland – done as a suite of longer tracks that feature a core acoustic quartet with Lloyd on tenor, plus added cymbalom and lyra – both used very heavily, with these open, sonic properties that are especially great – almost a way of bringing in some of the exoticism of Lloyd's earlier recordings, but with less focus on the reeds. The group also features Gerald Clayton on piano – and both he and Lloyd can be airy one minute, powerful the next – as the tunes build up slowly, and form this wonderful painting in sound. Titles include "Gardner", "Lark", "River", "Wild Man Dance", "Invitation", and "Flying Over The Odra Valley". CD

A surprisingly redemptive set of work – given that it's inspired by a time in the life of tenorist Allen Lowe when he was hardly able to sleep at all! The massive 3CD package works as this beautiful suite of tracks united by unexpected twists and turns along the way – very much woven together through complicated reed lines by players who include Lowe on tenor, Aaron Johnson on alto and clarinet, Ken Peplowski on clarinet, and Lisa Parrott on baritone – balanced by work from Kellin Hannas on trumpet and Brian Simontacchi on trombone. The horns engage in a way that stretches back to late 50s modern, but with more avant soloing throughout. Titles include "Poem For Eric Dolphy", "In The Jungles", "Junkie Rumble", "Hiding From A Riff", "Out To Brunch", "What Are We Doing", and "Blues For Old Jews". CD

A very nice set of Japanese fusion tracks cut by guitarist Reggie Lucas, with nice electric backing by Hubert Eaves on keyboard, Michael Henderson on bass, and other acoustic players like Mtume, John Stubblefield, and Clifford Adams. The set was recorded by East Wind in Japan, and the best cuts on here have that nice smooth fusion sound that graced their releases in this vein from the 70's. Lucas hits some excellent grooves with a warm sweeping feel, punctuated by tight solos with lots of blue notes, and these cuts include "Tender Years", "The Barefoot Song", and "Slewfoot". The "Survival Themes" suite is a bit more "out", and less to our liking, but there's more than enough good moments on the other cuts! CD

A beautiful mixing of modes – a set that blends the compositions of Woody Shaw with driving rhythms from a Latin jazz group – and a very strong frontline that's overflowing with top trumpet talents! In addition to leader Brian Lynch, the set also features performances by Dave Douglas, Josh Evans, Sean Jones, Etienne Charles, and others – working with core sounds from a combo that's heavy on percussion, with piano and bass to round things out. Trumpets criss-cross in a beautiful way – making new rhythmic magic from Woody's classic tunes, and also really stating a strong difference in the solo performances too. Most tracks are nice and long – and titles include "Zoltan", "In A Capricornian Way", "Tomorrow's Destiny", "Sweet Love Of Mine", "Just A Ballad For Woody", "On The New Ark", and "Song Of Songs" – plus Lynch originals "Blues For Woody & Khalid" and "Madera Latino Suite". CD

A split LP that offers some key tracks from the classic Dave Mackay & Vicky Hamilton album on Impulse from 1968, plus later piano trio recordings by Dave from 1982! Dave & Vicky are represented here by the first 4 tracks on the record – "Blues For Hari", "Here", Now", and "3 For 5" – and on these tunes, the pair are sort of like a hip version of Jackie & Roy – usually singing together on their tracks, with a mixed male/female vocal approach that sounds totally great – and which really fits the breezy mood of the tunes on the set! Dave himself plays Fender Rhodes and piano – along with an odd little combo that includes flute and tenor played by Ira Schulman, percussion by Francisco Aguabella, and guest sitar by by Ray Neapolitan. Other tracks on the album are all from 1982, and feature Dave in warmer trio context with Andy Simpkins on bass and Joey Baron on drums. Titles include "Hands", "The Andyman Suite", and "Triste". LP, Vinyl record album

A masterpiece of freeform funk from Mandrill – New York group at the start of the 70s, but one who work here with the best longform jamming styles of the Bay Area scene! The combo draw equal influence from jazz, funk, soul, and Latin – using all elements in a unique hybrid that's all their own – and which really favors instrumental passages more than vocal moments on this debut album – with searing lead guitar from Omar Mesa, next to plenty of organ lines, flute, trumpet, and tenor – all carried with heavy bass and percussion, and peppered with lots of surprises along the way! The whole thing's tremendous – a massively funky first statement from the group – with cuts that include the extended suite "Peace & Love", plus other funky goodies like "Symphonic Revolution", "Rollin' On", "Warning Blues", and "Mandrill". CD

A masterpiece of freeform funk from Mandrill – New York group at the start of the 70s, but one who work here with the best longform jamming styles of the Bay Area scene! The combo draw equal influence from jazz, funk, soul, and Latin – using all elements in a unique hybrid that's all their own – and which really favors instrumental passages more than vocal moments on this debut album – with searing lead guitar from Omar Mesa, next to plenty of organ lines, flute, trumpet, and tenor – all carried with heavy bass and percussion, and peppered with lots of surprises along the way! The whole thing's tremendous – a massively funky first statement from the group – with cuts that include the extended suite "Peace & Love", plus other funky goodies like "Symphonic Revolution", "Rollin' On", "Warning Blues", and "Mandrill". LP, Vinyl record album

Not just jazz from the Northwest, as the set also features some California material too – brought together in this great double-length set of unissued material from this legendary jazz drummer! The set begins with Shelly Manne leading a quintet at the Monterey Jazz Festival in 1958 – playing both a more conceptual piece, and some looser jazz numbers – with work from Herb Geller on alto, Russ Freeman on piano, Stu Williamson on trumpet, and Monty Budwig on bass – a group who echo some of Shelly's work on Contemporary in the mid 50s – on the titles "Quartet – Suite In Four Movements", "Stop Look & Listen", and "The Vamp's Blues". The second half features material from that great 60s stretch when Manne was getting looser and really letting his groups open up – as on the classic Blackhawk recordings – especially great here as the combo features excellent flute and alto from the young Frank Strozier, next to Conte Candoli on trumpet, Hampton Hawes on piano, and Budwig on bass – all recorded live in Seattle in 1966. Ruth Price provides vocals on the two short tracks "Dearly Beloved" and "Surrey With The Fringe On Top" – but the long tracks are instrumentals, and the best – and include "Funny", "Secret Love", "Softly As In A Morning Sunrise", and "Summertime". CD

Not just jazz from the Northwest, as the set also features some California material too – brought together in this great double-length set of unissued material from this legendary jazz drummer! The set begins with Shelly Manne leading a quintet at the Monterey Jazz Festival in 1958 – playing both a more conceptual piece, and some looser jazz numbers – with work from Herb Geller on alto, Russ Freeman on piano, Stu Williamson on trumpet, and Monty Budwig on bass – a group who echo some of Shelly's work on Contemporary in the mid 50s – on the titles "Quartet – Suite In Four Movements", "Stop Look & Listen", and "The Vamp's Blues". The second half features material from that great 60s stretch when Manne was getting looser and really letting his groups open up – as on the classic Blackhawk recordings – especially great here as the combo features excellent flute and alto from the young Frank Strozier, next to Conte Candoli on trumpet, Hampton Hawes on piano, and Budwig on bass – all recorded live in Seattle in 1966. Ruth Price provides vocals on the two short tracks "Dearly Beloved" and "Surrey With The Fringe On Top" – but the long tracks are instrumentals, and the best – and include "Funny", "Secret Love", "Softly As In A Morning Sunrise", and "Summertime". LP, Vinyl record album

One of the sexiest covers ever to grace a Wynton Marsalis album, but thankfully a record that's still got plenty of real jazz roots – and not the smoother sound you might expect from the image on the front! The group here is Wynton's expanded septet – a combo with Marcus Roberts on piano, Wes Anderson on alto, Wycliffe Gordon on trombone, and Todd Williams on tenor, soprano, and clarinet – all in far-reaching modes of jazz expression that often have an imagistic, soundtrack quality – one that echoes years and places past. Wynton plays piano, and also speaks to introduce "Monologue For Sugar Cane & Sweetie Pie" – and other titles include "And The Band Played On", "Brother Veal", "Sometimes It Goes Like That", and "The Jubilee Suite". CD

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

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

Just the first album from pianist Sean Mason, but a set that already feels like an effort from a much more mature musician – a set of original music that's overflowing with the kind of life and color that you'd be more likely to hear on some of the bigger-name efforts on this label associated with Jazz At Lincoln Center! It's pretty daring to begin your recorded career with an extended original suite – but Mason's clearly got the strengths to pull it off, and gets some especially great help from Chris Lewis on tenor and Tony Glausi on trumpet, both players who can wrap around each other and somehow create a sound that's even greater than the sum of its parts! The group also features Felix Moseholm on bass and Domo Branch on drums – and titles include "Final Voyage", "Lullaby", "Closure", "Kid", "Lavender", "Silky M", and "One United". CD

Just the first album from pianist Sean Mason, but a set that already feels like an effort from a much more mature musician – a set of original music that's overflowing with the kind of life and color that you'd be more likely to hear on some of the bigger-name efforts on this label associated with Jazz At Lincoln Center! It's pretty daring to begin your recorded career with an extended original suite – but Mason's clearly got the strengths to pull it off, and gets some especially great help from Chris Lewis on tenor and Tony Glausi on trumpet, both players who can wrap around each other and somehow create a sound that's even greater than the sum of its parts! The group also features Felix Moseholm on bass and Domo Branch on drums – and titles include "Final Voyage", "Lullaby", "Closure", "Kid", "Lavender", "Silky M", and "One United". CD

Two giants from the LA bop scene of years past – still sounding wonderful here in the later years of their career! We're not sure we'd rapidly embrace the "young" in the title – but only because there's a maturity of playing here that really makes the record great – a sense of pacing and individuality that makes the trumpet of Howard McGhee and tenor of Teddy Edwards so strong – as they get respectful accompaniment from Art Hillery on piano, Leroy Vinnegar on bass, and Billy Higgins on drums – all players who seem to step into the McGhee/Edwards mode, rather than shape things on their own. Titles include "Reflections", "Relaxin At Camarillo", "Yardbird Suite", "On A Misty Night", and "Blues In The Closet". LP, Vinyl record album

A compilation of tracks from his early 70s Groove Merchant albums, including "Let's Stay Together", "Every Day I Have The blues", "Jumping The Blues", "That Healin' Feelin", "Yardbird Suite", "There Will Never Be Another You", and "It's You I Adore". LP, Vinyl record album

An all acoustic guitar trio – tracks include "Aspan", "Chiquito", "David", "Orient Blues Suite", and the title track "Passion, Grace & Fire". LP, Vinyl record album

A great little album from Memphis Slim – recorded with a few rock luminaries (John Paul Jones, Chris Spedding, Peter Winfield, Peter Green), in a sweetly electric mode that has Slim singing some excellent laidback lyrics. There's a bit of jazz to the backings, which gives the album a slick sparkle without dampening its spirit – and tracks include "Youth Wants To Know", "Mason Dixon Line", "Chicago Seven", "Otis Spann & Earl Hooker", and the extended "Blue Memphis Suite". LP, Vinyl record album

Completely incredible work from The Merced Blue Notes – a key combo in the pre-funk years on the California scene! The Blue Notes had a sound that was a major bridge between funk and earlier R&B – and played with a hard-hitting groove that made them crowd favorites throughout most of the central part of the state – probably one reason for their lack of national fame, because they were so busy burning things up locally! The group took some R&B cues from their use of heavy guitars and organ, but also cooked things up with a leaner, meaner sound for the 60s – hitting plenty of funky notes along the way – and, like most true funk combos, equally well suited to groove in both a vocal and instrumental setting! This wonderfully done package brings together 26 of the group's rare singles – issued on the Galaxy, Accent, and Mammoth labels – plus a good smattering of previously unreleased jammers too. Titles include "Rufus", "Midnite Session (parts 1 & 2)", "Fragile", "Willie Mae", "Rufus Jr", "Jump", "Love Love Love", "Do The Pig", "Greyhound", "Whole Lotta Nothing", and "Thompin". CD

You might recognize the voice of MidnightRoba from her work on Attica Blues many years ago – and it's great to have Roba El-Essawy back on record, working here with a mature style that opens up a whole new side of her talents! The production is lush, in a way that has all these sonic elements swirling together with a very cosmic vibe – sometimes upbeat, but often midtempo, which seems to really suit Roba's vocals wonderfully – and allow them to hit this richness that's very unique, with a lower-end range that really emphasizes her uniqueness as a singer! Jason Moran guests on the tune "Bitter Boy" – and other tracks include "Time Heals", "Golden Seams", "Self Doubt", "Don't Let This Change", "Shelter Within", and "Safe With Me". LP, Vinyl record album

One of the coolest jazz vocal albums you'll ever find! Frank Minion sings this suite of tracks billed as an "Introduction To Black Opium Street", and he puts the music together with little recitations in between the tracks, so that the whole thing sounds like one of the great Langston Hughes jazz albums from the same period. Minion's singing voice is in the same rich-toned tradition as singers like Johnny Hartman, but his speaking voice is raw and very soulful – and he gets more than able backing by a great set of players that includes Tommy Flanagan on piano, Roland Alexander on tenor and flute, Dannie Richmond on drums, and Paul Chambers on bass. The whole album sounds more like a rare session on Candid than it does the usual stuff on Bethlehem – and it's a surprisingly hip album that still holds up well over the years! Titles include "Oddsville USA", "Bongo Blues", "Autobiography Of A Musician", "Watermelon", "Flamenco Sketches", "Laughing Boy", and "Later". CD

One of the first bold statements to come from Chicago's AACM underground of the 60s – a tremendous debut effort from the young Roscoe Mitchell! The album's got a "sense of the new" feel that's as gripping as anything recorded by ESP or Impulse around the same time – a rule-breaking, freely-creative approach to jazz that builds strongly off the changes already wrought by Cecil Taylor, Ornette Coleman, and Archie Shepp! The format is somewhat like the Art Ensemble Of Chicago at times – with measured horn work from Mitchell on alto, clarinet, and recorder, Maurice McIntyre on tenor, Lester Bowie on trumpet and flugelhorn, and Lester Lashley on trombone (as well as a bit of cello). Some tracks – like the brilliant "Sound" – offer a slow-building exploration of tones and textures – while others, like the blues-joke "Little Suite", or the harmelodic "Ornette", show a wry sense of humor that would become a Chicago avant hallmark as the years went on! LP, Vinyl record album

One of the first bold statements to come from Chicago's AACM underground of the 60s – a tremendous debut effort from the young Roscoe Mitchell! The album's got a "sense of the new" feel that's as gripping as anything recorded by ESP or Impulse around the same time – a rule-breaking, freely-creative approach to jazz that builds strongly off the changes already wrought by Cecil Taylor, Ornette Coleman, and Archie Shepp! The format is somewhat like the Art Ensemble Of Chicago at times – with measured horn work from Mitchell on alto, clarinet, and recorder, Maurice McIntyre on tenor, Lester Bowie on trumpet and flugelhorn, and Lester Lashley on trombone (as well as a bit of cello). Some tracks – like the brilliant "Sound" – offer a slow-building exploration of tones and textures – while others, like the blues-joke "Little Suite", or the harmelodic "Ornette", show a wry sense of humor that would become a Chicago avant hallmark as the years went on! CD also features bonus alternate takes of "Sound" and "Ornette". CD

One of Hank Mobley's last recordings for Blue Note, and a record that really shows him stretching it out – hitting territory hardly imagined on his earlier hardbop sides! The album's still somewhat inside, but the overall feel is much more spacious than before – a sound that has some nice open moments, and which shows Hank not content to simply blow tenor in a deep, gutbuckety mode – even though that was still pretty darn great! The lineup is a sextet – with Woody Shaw on trumpet, Eddie Diehl on guitar, Cedar Walton on piano, Mickey Bass on bass, and Leroy Williams on drums – a different-than-usual combo for Mobley, and one that furthers the unusual feel of the record. Side one features the extended "Suite" – proof that Mobley's writing had grown as much as labelmate Lee Morgan by the end of the 60s. Other tracks continue that fact – and include "Justine", "You Gotta Hit It", and "Talk About Getting It" – plus "Gayle's Groove", which was written by Bass. The set was originally recorded in 1970, but was not issued on vinyl until 1980! CD

A classic set of high-class jazz from the MJQ – one that shows John Lewis' growing compositional skills, and the band's always tight ability to work in a compressed chamber format. Features the extended "Fontessa" suite, plus the tracks "Versailles", "Angel Eyes", "Bluesology", and "Woodyn You". CD

A 2LP set that brings together most of the material from the first three full-length albums by the Modern Jazz Quartet – all recorded at a time when the combo were first forging their famous sound! Most of the sides here are in contrast to the group's better-known Atlantic work, because the group at this point still featured Kenny Clarke on drums – and although a few tracks here include Connie Kay, the bulk of the recordings are touched by Clarke's tighter, sometimes more aggressive work on percussion – making for a less-than-trademark sound that we really like. As usual, the rest of the group features Milt Jackson on vibes, John Lewis on piano, and Percy Heath on bass – and the 2LP set features 18 tracks that include "Concorde", "Vendome", "Milano", "La Ronde", "Django", "All The Things You Are", "Softly As In A Morning Sunrise", "Delauney's Dilemma", "La Ronde Suite", "All Of You", and "Ralph's New Blues". LP, Vinyl record album

5 albums from Lee Morgan – one of the coolest cats to ever handle a trumpet for Blue Note! First up is Delightfulee – really unique album from the great Lee Morgan – a set that features the trumpeter in two different settings, but in a way that really works well together! Most of the album has Lee blowing in a very cool quintet – with Joe Henderson on tenor, McCoy Tyner on piano, Bob Cranshaw on bass, and Billy Higgins on drums – a group who maybe bring out a slightly hipper vibe that really points the way to the rest of Morgan's direction in the late 60s, when he was really letting some more spiritual currents loose. The other two tracks on the record feature a hip larger band directed by Oliver Nelson – swinging hard in a really soulful style! Nelson's arrangements on these two tracks are great – quite progressive, with a soul jazz big band style that seems to point the way towards the 70s – and the band provides a raging backdrop that lets Lee's trumpet soar over the top in beautiful crystal clear solos. Titles include "Nite Flite", "Delightful Deggie", "Ca-Lee-So", and "Zambia". Also features a few bonus tracks. The Cooker is a very appropriate title for a very cooking little album – one of Lee Morgan's first efforts as a leader, cut back during his first years of late 50s fame! The style here is a bit less Morgan-esque than some of Lee's later 60s classics – but the record is rock-solid throughout, and proof that Morgan was every bit as great a leader in a hardbop session as Hank Mobley or some of the other emerging heavyweights at Blue Note! The strength of the group really helps keep the fire stoked on the set – and Bobby Timmons turns in some amazing piano work alongside a lineup that includes Pepper Adams on baritone sax, Paul Chambers on bass, and Philly Joe Jones on drums. The Adams presence gives the record a bit of the feel of some of Pepper's sessions with Donald Byrd – but the sparkling, soaring sound of Morgan makes the record way more than just a copycat set. Titles include "New-Ma", "Night In Tunisia", "Lover Man", "Just One Of Those Things", and "Heavy Dipper". Lee Way is an undisputed masterpiece by Lee Morgan – and one of the first records in which he shed his straight bop sensibility, and began evolving into a soulful genius for the 60s! The album's got 4 long tracks that all build beautifully – really extended numbers that break the format of some of Lee's earlier work, and hint a bit at some of the more complicated touches he'd use on later sessions. All players are great – and include fellow Jazz Messengers Bobby Timmons on piano and Art Blakey on drums, plus Jackie McLean on alto and Paul Chambers on bass. Titles include the sublime "These Are Soulful Days" – a perfect model of soulful lyricism – plus "Midtown Blues", "Nakatini Suite", and "The Lion & The Wolff". Rumproller often gets too easily lumped next to The Sidewinder – because of an obvious title and cover similarity to that hit record – but like that one, the album's far more than jazz cliche – and shows Lee Morgan to be one of the greatest jazz musicians of the 60s. The set starts off with the title cut, "The Rumproller" – hard-wailing soul bop, in the manner of Lee's most popular work – but then it easily flows into more sensitive material that has a freer, lyrical feel – like the great original tune "Eclipso" and Wayne Shorter's "Edda" – both of which are superb. Lee is astounding, as always, on trumpet – and the rest of the group includes the great Ronnie Matthews on piano, plus Joe Henderson, Victor Sproles, and Billy Higgins. Search For The New Land is a brilliant album that proves that even at the height of his success, Lee Morgan was one of the freest thinkers on Blue Note – always coming up with fresh ideas that continued to grow his talents! The first cut on the album is keen poof of that fact – the title track "Search For The New Land" – a beautiful 16 minute exploration of modal jazz themes, with an unusual stop/start device as a means of ushering solos by different bandmates – including Wayne Shorter on tenor, Grant Green on guitar, and Herbie Hancock on piano! The approach is unlike anything that Morgan ever did before – and unlike most of other Blue Note as well – and it also benefits from great rhythmic help from Reggie Workman on bass and Billy Higgins on drums. Other tunes are a bit more conventional, but still pretty special – like some of Morgan's inventive work on the Rajah albums – with titles that include "The Joker", "Melancholee", "Mr. Kenyatta" and "Morgan The Pirate". CD

An undisputed masterpiece by Lee Morgan – and one of the first records in which he shed his straight bop sensibility, and began evolving into a soulful genius for the 60s! The album's got 4 long tracks that all build beautifully – really extended numbers that break the format of some of Lee's earlier work, and hint a bit at some of the more complicated touches he'd use on later sessions. All players are great – and include fellow Jazz Messengers Bobby Timmons on piano and Art Blakey on drums, plus Jackie McLean on alto and Paul Chambers on bass. Titles include the sublime "These Are Soulful Days" – a perfect model of soulful lyricism – plus "Midtown Blues", "Nakatini Suite", and "The Lion & The Wolff". CD

An undisputed masterpiece by Lee Morgan – and one of the first records in which he shed his straight bop sensibility, and began evolving into a soulful genius for the 60s! The album's got 4 long tracks that all build beautifully – really extended numbers that break the format of some of Lee's earlier work, and hint a bit at some of the more complicated touches he'd use on later sessions. All players are great – and include fellow Jazz Messengers Bobby Timmons on piano and Art Blakey on drums, plus Jackie McLean on alto and Paul Chambers on bass. Titles include the sublime "These Are Soulful Days" – a perfect model of soulful lyricism – plus "Midtown Blues", "Nakatini Suite", and "The Lion & The Wolff". CD

2 classics from the legendary Idris Muhammad! Black Rhythm Revolution is one of the first records ever as a leader from funky drummer Idris Muhammad – a set that was cut right at the same time Idris was burning up the kit on his classic jazz funk sessions with other Prestige label players! The groove here is tight, funky, and very much in the mode that Muhammad laid down for other bigger soloists – a solid, socking sound that was the early 70s inheritance of the "Popcorn" funk groove of the late 60s. Players here are all great – and include Melvin Sparks on guitar, Harold Mabern on electric piano, and Virgil Jones on trumpet – and tracks include great covers of "Express Yourself" and "Super Bad", plus "Wander" and "Soulful Drums". Peace & Rhythms is a wonderful departure from Muhammad – and proof that he could do a lot more than just provide heavy breaks for Lou Donaldson and Melvin Sparks! This set is surprisingly spiritual and righteous at points – with a groove that's almost more like Strata East than some of Muhammad's previous work as a sideman on Blue Note and Prestige. Side one features the extended "Peace and Rhythm Suite" – a beautiful cut that's filled with searching, soaring energy – and side two includes two vocal cuts "Brother You Know You're Doing Wrong" and "I'm a Believer", both sung by Sakinah Muhammad – plus "Don't Knock My Love". Players are all great – and a nicely different lineup than the usual Prestige jazz funk gang. CD

A stunner of a joint effort from Ethio jazz funk visionary Mulatu Astatke and psych funk genre-busting combo the Heliocentrics – a record we had the highest hopes for and still find wildly above and beyond our loftiest expectations! The collective touch on some classic Mulatu compositions, but the bulk of the material here is brand new, and purely collaborative – if you know the Helioecentrics or you know Mulatu, you can clearly hear what each bring to the table – and it works together brilliantly! There's often a gritty funk bottom end, the best drums and percussion, fat electric bass lines underneath Ethio jazz inspired sax, trumpet, trombone and flute – swirling psychedelic flourishes with theremin and other effects that never take away from the groove. Mulatu's on vibes, percussion, Wurlitzer, drums and keyboards – and his compositions and the Helios trade back and forth throughout the set. There's some additional Ethiopian instrumentation and atmospheric vocals in the mix on some tunes, and more of an astral, avant funk vibe on others, but there's always a brilliant confluence of styles. Bottom line, the album is everything we wanted it to be and more – this will undoubtedly be favorite for years to come! Titles include "Masenqo", "Cha Cha", "Addis Black Widow", "Mulatu", "Blue Nile", "Esketa Dance", "Chik Chikka", "Live From Tiger Lounge", "Chinese New Year", "Phantom Of The Panther", "Dewel"., "Fire In The Zoo", "An Epic Story" and "Anglo Ethio Suite". LP, Vinyl record album

Warmly wonderful work from singer Mari Nakamoto – perfectly recorded in a warm Three Blind Mice manner that really suits her style! As with some of the other records on the label at the time, the vibe here is a bit laidback – but in a great way, which lets Mari slink forward in the lead, often with some nicely soulful currents – amidst guitar lines from Shoji Yokouchi, and some occasional organ from Yuri Tashiro – balanced out nicely with some lean work on bass and drums. Titles include a great take on "Bag's Groove" – plus "Song For You", "Black Coffee", "Dreamsville", "I Wanna Be Around", and "Good Morning Heartache" – all done in nicely laidback, open takes! CD

Seasons and styles change, but Nas stays true to his strong suits and status as one of the longest running living legends in the game! He stays in his neo-classic comfort zone on King's Disease – leading the way throughout with remarkably wordy, charismatically delivered rhymes, never fading into the background even with an impressive guest list. Hit-Boy drives the production on this one, recalling the golden age without retreading it, well-suited to Nas's style. Titles include "Blue Benz", "Car #85" with Charlie Wilson, "27 Summers", "10 Points", "The Cure", "Til The War Is Won" with Lil Dark, "Replace Me" with Big Sean & Don Toliver, "All Bad" with Anderson.Paak, "Ultra Black" with Hit-Boy, and "Spicy" with Fivio Foreign & A$ap Ferg. LP, Vinyl record album

One of the first larger concept albums from Oliver Nelson – and a set that really marked a strong step forward as a jazz arranger! The album is one long suite – as you might guess from the title – with righteous themes that deal not just with rising independence in postwar Africa, but also the Civil Rights struggle in the US – performed by a superb lineup that includes Jerry Dodgion on alto and flute, Eric Dixon on flute and tenor, Joe Neman and Ernie Royal on trumpets, Melba Liston and Billy Byers on trombones, Patti Brown on piano, Art Davis on bass, and Ray Barretto on congas. Nelson is fantastic too – and blows tenor and alto with some fantastic moments. Passages of the suite include "Disillusioned", "Freedom Dance", "Emancipation Blues", and "Jungleaire". CD

A killer set of searing soulful spiritual material from Oliver Nelson – and one of his best albums of the 70s! There's hardly anything "Swiss" in the music – save for the fact that it was recorded at the Montreux Jazz Fest – as the large ensemble recording has Nelson at the helm of a very hip group of musicians – really stretching out into territory that's more Strata East than any of his other work, especially on the title track! In addition to the tenor from Gato Barberi and alto from Eddie Vinson – both featured on the title – the set also features Charles Tolliver and Harry Beckett on trumpets, Bosko Petrovic on vibes, Na Na on barimbau, Bernard Purdie on drums, and Stanley Cowell on piano. Side one features the soaring "Swiss Suite" – an extended number done for the set – and side two has a bit more Nelson touches coming into play with the progressive lineup – on titles that include "Stolen Moments", "Black Brown & Beautiful", and "Blues & The Abstract Truth". CD

A brilliant meeting of modes from the mighty Arturo O'Farrill – a set that combines a rich tapestry of Cuban styles with American jazz elements from the cubop years and beyond – all into a spacious double-length set of performances that brings together musicians from around the globe, all recording in Havana under Arturo's direction! The tracks are often ambitious, but never overly-complicated – and instead almost take us back to the clarity of vision that we first loved in the older Afro-Cuban experiments of Machito with Charlie Parker and Dizzy Gillespie – and the ability of those records to throw out many ideas at once, yet keep things very fluid and forward-moving at all times. Most tunes were written especially for the project – and titles include "Vaca Frita", "Second Line Soca", "El Bombon", "Just One Moment", "The Triumphant Journey", "Afro Latin Jazz Suite", "Guajira Simple", "Alabanza", "Blues Guaguanco", and "There's A Statue Of Jose Marti In Central Park". CD

Fantastic! Chico O'Farrill did some great Latin work for Verve, Norgran, and Mercury over the years – but most of it was only released on 10" LPs, and has only been the province of collectors for a number of years. Now, though, this killer 2 CD set brings together a whopping 45 sides of Chico's best Latin material, and it does so in a handsome package with great notes and the kind of session information that you didn't even get with the originals! Includes both versions of "Afro-Cuban Jazz Suite", plus "Lamento", "Cachita", "Havana Special", "Taboo", "Duerme", "The Disappearance", "Cuban Blues", and loads loads more! This is the kind of thing that makes us love CD reissues! CD

Includes the songs "Tiny's Tempo", "Koko", "Moose The Mooche", "Yardbird Suite", "Ornithology", "A Night In Tunisia", "Cool Blues", "Relaxin' At Camarillo", "Chasin' The Bird", "Cheryl", "Milestones", "Embraceable You", "Scrapple from The Apple" "Out Of Nowhere", "Quasimodo", "Crazeology", "Bluebird", "Au-Leu-Cha", "Parker's Mood", and "Merry Go Round". CD

Includes the tracks "Moose The Mooche", "Yardbird Suite", "Ornithology", "A Night In Tunisia", "Loverman", "The Gypsy", "Hot Blues", "Cool Blues", "Relaxin' At Camarillo", "Stupendous", "All The Things You Are", "Bird Of Paradise", "Embraceable You", "Klact-Oveeseds-Tene", "Scrapple From The Apple", "My Old Flame", "Out Of Nowhere", and "How Deep Is The Ocean?". CD

An excellent Duke Pearson album – and (dare we say it?) better than any of his Blue Note LPs! The record features a very tight lineup with Johnny Coles on trumpet, Garnett Brown on trombone, Les Spann on flute, James Spaulding on alto, and George Coleman on tenor – all players who are well suited to Pearson's warm funky style on the piano, but who also have a strong modernist sensibility that really comes through on the solos. The album is filled with nice tracks – like "New Girl", "Honeybuns", "Heavy Legs", and the fantastic lyrical groover "Is That So", plus "You Know I Care" and "Our Love". LP, Vinyl record album

One of Oscar Peterson's most sophisticated albums of the 60s – an extended suite of tracks dedicated to the soul and spirit of Canada! The tunes are all originals, and have a really lush, vivid sort of feel – one that still has undercurrents of Peterson's usual soulful style, but which also has Oscar painting these very vivid images in sound! The material is performed by a trio with Ray Brown on bass and Ed Thigpen on drums – and although the tunes aren't familiar, we'd rank this one right up there with Peterson's most inventive material of the time. Titles include "Laurentide Waltz", "Ballad To The East", "Blues Of The Praries", and "Wheatland". LP, Vinyl record album

The great Italian pianist Enrico Pieranunzi is featured here in three great records! First up is New Lands – a warmly-crafted trio set from Enrio Pieranunzi – a set that still shows his modern tones on the piano, but which also has a sensitivity that really makes things open up overall! The group is a trio – with Marc Johnson on bass and Joey Baron on drums – both subtle players who really let the piano take the lead at times, as Enrico stretches out on long tracks that include "New Lands", "A Child Is Born", "The Mood Is Good", and "If There Is Someone Lovelier Than You". Daedalus Wings is an unusual record, and one that features twin piano work from Bert Van Den Brink and Enrico Pieranunzi – not on long, free tracks, but on these beautiful shorter numbers that really seem to resonate strongly with the voices of each player! Titles include "Daedalus Suite", "Si Peu De Temps", "Pour Claude", "Guitar Blues", "Woods", and "O Toi Desir" – plus two solo takes by each player on "I Can't Get Started". Improvised Forms For Trio is a really different album from pianist Enrico Pieranunzi – and one that really lives up to its title! Rather than being song-based – featuring compositions by Enrico or some of his contemporaries – the record features the trio improvising, but never in a free jazz way – always with a groove, and a strong sense of rhythmic cohesion – but clearly improvising their way through the 18 short numbers that make up the set! The energy is great – in ways that maybe make the record one of Pieranunzi's most compelling records – and the rest of the group features Hein Van De Geyn on bass and Hans Van Oosterhout on drums. Titles include "Forms" 1 through 18. CD

A very cool little album from Placebo – arguably the group's most soulful session ever, and one that draws heavily from American funky jazz at the start of the 70s! The grooves are nice and tight, and keyboards are focused on the most soulful sort of riffs – not nearly as tripped out as in later years, and really doing a great job of sending home the funky rhythms – almost in a way that's sort of early CTI at the best points! Marc Moulin's genius is already firmly in place – and he handles all arrangements, plus plays Fender Rhodes, electric harpsichord, and even what sounds like a bit of moog! Titles include "Humpty Dumpty", "Aria", "Showbiz Suite", "Ball Of Eyes", "You Got Me Hummin", and "Inner City Blues". CD

Brilliant work from the "Vice Pres" – tenorist Paul Quinichette, stepping out here in one the best of of his all-too-few sessions as a leader! Paul's tone is amazing throughout – very much on a par with that of Ben Webster or Coleman Hawkins, and proof that his admission to the jazz "executive branch" in the 50s was well deserved. The tunes are shortish, but very swinging – and Quinichette's tenor work dominates in a group that also includes Nat Pierce, Henry Coker, Thad Jones, Freddie Green, and Joe Newman. There's a Basie-esque swing overall – but the final result is miles from Basie, and has a very different vibe overall. Titles include "Big Deal", "Happy Feeling", "Pardon The Blues Please", "Start Here", and "The Kid From Denver". CD features all the material from the album Kid From Denver – plus 4 more bonus tracks from other sessions Quinichette recorded with the Gene Roland sextet and septet – "Suitcase", "Minor Scene", "Colonel Hodge", and "The Creeper". CD

One of Sun Ra's greatest albums of the 70s – recording during the same sessions that yielded the famous Space Is The Place record for Blue Thumb, and done with a very similar feel – an expansive configuration of the Arkestra in peak form! The range of expression is really incredible – from the spiritual soul jazz of "Pan Afro", to the lightly grooving June Tyson vocals of "Neptune", to the extended suite "Discipline 27-II", a stretched-out spacey number with vocal "dramatizing" by Ra, Tyson, Ruth Wright, and Judith Holton. That track's a particularly great one, with the kind of spiritual resonance behind the spacey approach that rarely comes through as strongly on other albums – but the whole set is wonderful, and judging how reminscient of it some of the best, similarly-minded underground jazz is decades later – the whole thing is an amazing testament to how strong Ra's influence is today. LP, Vinyl record album

A classic set from this legendary Detroit festival – a mighty assemblage of roots and jazz performers that was put together by John Sinclair! The event was legendary at the time – and has lived on strongly via this great recording by Atlantic – one that really gets at the special fire of all the performers, and their very enthusiastic welcome by the audience too! Most of the material here is blues – but the set features a key track from Sun Ra & His Solar Myth Arkestra – a performance of "Live Is Splendid" from the Space Is The Place Suite. Other tracks include "I Walk On Gilded Splinters" by Dr John, "Road Runner" by Jr Walker, "Wang Dang Doodle" by Koko Taylor, "Gambler's Blues" by Otis Rush, "Ain't That Loving You" by Bobby Blue Bland, "Honey Bee" by Muddy Waters, "Form Kinetic" by CJQ, "Dust My Broom" by Johnny Shines, and "Goin Down" by Freddie King. LP, Vinyl record album

A double-length set from The Rascals – possibly their most stretched-out exploration of ideas, at least during their initial run for Atlantic Records! The 2LP set features a fair bit of shorter, catchier tunes on the first record – many with some righteous soul overtones – but on the second record, the group really open up – hitting some longer jamming tunes on side three, and moving into a 15 minute instrumental on side four! Vocals are great from all three singers – Gene Cornish, Eddie Brigati, and Felix Cavaliere – and the rhythms are rock-solid too, often augmented with a bit of Atlantic-styled backings by Arif Mardin, to further enforce the soulfulness of the set. Titles include the hit "People Got To Be Free", plus "American The Beautiful", "Any Dance'll Do", "A Ray Of Hope", "Look Around", "Boom", "Heaven", "Cute", "Baby I'm Blue", and "Adrian's Birthday". LP, Vinyl record album

A legendary overview of jazz on the Italian scene at the start of the 60s – a great document of the new modes that was really setting the work of Italian jazz musicians apart from those in other parts of Europe – working with fresh ideas and a new conception that's completely sublime! The work here often has a great balance between structure and individual voice – and many numbers feature strong soloists who'd go on to great fame in a variety of settings – already graced here with talents that seem greater than their young years. Trumpeter Enrico Rava leads things off in a quartet with pianist Maurizio Lama, on a version of the tune "Line For Lyons" – and Lama follows with a trio reading of his own "Tema For Franco". Trumpeter Sergio Fanni is joined by the great Eraldo Volante on tenor and baritone on the tunes "Duo" and "Circeo". Later soundtrack artist Piero Umiliani serves up his "Picolla Suite Americana" – followed by the Modern Jazz Gang of saxophonist Sandro Brugnolini (with later sound library giants Enzo Scoppa and Cicci Santucci), on the tracks "The Drum Is A Tramp" and "Blue Mirria". Trombonist Dino Piana delivers the tune "Tempo Di Febbraio" with help from the great Gianni Basso on tenor – and the set also features a reading of "Bag's Groove" with Giorgio Azzolini on bass, Piano on trombone, and Attilio Donadio on alto. LP, Vinyl record album

One of Lou's most jazz-oriented albums – featuring backing by Les McCann's famous trio with Leroy Vinnegar and Ron Jefferson, perfectly suited to Lou's soulful renditions of the tunes on the album. Most of the numbers are bluesy ones, but as usual, Lou manages to give them his own hip twist – always a pleasure for us! Titles include "In The Evening", "Sweet Lover", "Willow Weep For Me", "Stormy Monday", and "'Tain't Nobody's Biz-ness If I Do". LP, Vinyl record album

One of Lou's most jazz-oriented albums – featuring backing by Les McCann's famous trio with Leroy Vinnegar and Ron Jefferson, perfectly suited to Lou's soulful renditions of the tunes on the album. Most of the numbers are bluesy ones, but as usual, Lou manages to give them his own hip twist – always a pleasure for us! Titles include "In The Evening", "Sweet Lover", "Willow Weep For Me", "Stormy Monday", and "'Tain't Nobody's Biz-ness If I Do". CD features 3 bonus cuts – "A Little Les Of Lou's Blues", "Blues Is A Woman", and an alternate take of "Stormy Monday". CD

A soulful 70s outing from pianist Freddie Redd – one of his few albums as a leader from the decade, and a tight trio outing recorded for the tiny Interplay label! Freddie's touch on the keys here still has some of the modern flourishes of his earlier work for Blue Note – but he's also got a more rounded sound overall, and a more relaxed approach to the piano that makes for a nice change, and which really suits the manner of his trio partners Henry Franklin on bass and Carl Burnett on drums. Titles include a number of great Redd originals – "Play Piano Play", "Waltzing In", "On Time", and "Braziliana" – plus versions of "I'll Keep Loving You" and "Round Midnight". LP, Vinyl record album

A soulful 70s outing from pianist Freddie Redd – one of his few albums as a leader from the decade, and a tight trio outing recorded for the tiny Interplay label! Freddie's touch on the keys here still has some of the modern flourishes of his earlier work for Blue Note – but he's also got a more rounded sound overall, and a more relaxed approach to the piano that makes for a nice change, and which really suits the manner of his trio partners Henry Franklin on bass and Carl Burnett on drums. Titles include a number of great Redd originals – "Play Piano Play", "Waltzing In", "On Time", and "Braziliana" – plus versions of "I'll Keep Loving You" and "Round Midnight". LP, Vinyl record album

Very different work than Freddie Redd's firey albums for Blue Note – a set of trio tunes that are distinctly modern, but done with a much more laidback approach. Freddie's style here has a bit of the late nite barroom feel – with some great blue notes and sadness stepping out from the keys, especially in the album's extended title suite – a beautiful collection of shorter sound poems dedicated to San Francisco. The trio features George Tucker on bass and Al Dreares on drums – and titles include "San Francisco Suite", "Blue Hour", "By Myself", "Nica Steps Out", "Minor Interlude", and "This Is New". LP, Vinyl record album

Some of Sam Rivers' best remembered work from the post-Blue Note years – hard-blowing trio material that features Sam on a range of reeds, plus piano, and occasional vocalisation, working with bassists that include Cecil McBee, Arild Anderson, and Richard Davis, and drummers that include Norman Connors, Warren Smith, and Barry Altschul. Although he works great in a larger setting, we think this is where he really shines, given rom to breathe and move. This release features material from the Streams LP, including one track that appears in a longer form from that one, plus tracks that were issued on other ABC albums at the time. Titles include "Hues Of Melanin (in 4 parts)", "Suite For Molde (in 2 parts)", "Indigo", "Mauve", and "Encore". LP, Vinyl record album

Some of Sam Rivers' best remembered work from the post-Blue Note years – hard-blowing trio material that features Sam on a range of reeds, plus piano, and occasional vocalisation, working with bassists that include Cecil McBee, Arild Anderson, and Lewis Worrell, and the drummer is Barry Altschul. Titles include "Hues Of Melanin (in 3 parts)" and "Suite For Molde (in 2 parts)". CD

A great bit of funky guitar work from Freddie Robinson – a player who clearly started out with a bluesy backing, but managed a real super-dope sound by the time of his 70s work for Stax! Part of the sound is that Freddie's using a hollow-body electric – giving him a style that's a bit like Little Beaver on the best tracks. Freddie sings a bit on the set, but his guitar play's his strongest suit – and he's backed here by electric piano from Monk Higgins, and keyboards from Joe Sample! Tracks include "Smoking", "Off the Cuff", "Rivers Invitations", "Try It One Time", and "Medicine Man". LP, Vinyl record album

An unusual album from the west coast scene of the 60s – recorded under the name of the Lighthouse All Stars, but featuring arrangements and compositions by Bob Cooper – who was the real driving force behind the set. Conte Candoli's in the group on trumpet – and other players include Buddy Colette and Bud Shank on alto and flute, Frank Rosolino on trombone, Victor Feldman on vibes and percussion, Stan Levey on drums, and Cooper himself on tenor. The overall sound is relatively tightly constrained, in a "jazz suite" mode – but there's plenty of room for solo space on the set, and Cooper's writing is as fluid as his ability is strong to bring these players together as conductor. The set's got a really great feel that gets way past some of the more academic west coast work of its sort – with a lot more soul than you'd expect. Titles include "Rain Blues", "Genesis (pt II)", "Architectonics", "Directional Suite", and "The Worker". LP, Vinyl record album

Some of the hippest sounds we've ever heard from pianist Gene Russell – an album that features heavy use of Fender Rhodes – and a soulful, solid, rhythmic core that comes from the basslines of Henry Franklin, guitar of Calvin Keys, and drums of Ndugu Chancler! The set's one of the greatest in the legendary Black Jazz catalog – and is a perfect illustration of the righteous ways the label's players helped to update soul jazz styles of the 60s – really reworking things here with a fresh 70s vibe, and a sense of conscious energy that flows effortlessly from Russell's work on the keys! Most numbers feature added percussion, which really furthers the spirit of the session – and titles include the massive "Get Down", plus "Blues Suite", "For Heaven's Sake", "Talk to My Lady", "My Favorite Things", and "Me & Mrs Jones". CD

Some of the hippest sounds we've ever heard from pianist Gene Russell – an album that features heavy use of Fender Rhodes – and a soulful, solid, rhythmic core that comes from the basslines of Henry Franklin, guitar of Calvin Keys, and drums of Ndugu Chancler! The set's one of the greatest in the legendary Black Jazz catalog – and is a perfect illustration of the righteous ways the label's players helped to update soul jazz styles of the 60s – really reworking things here with a fresh 70s vibe, and a sense of conscious energy that flows effortlessly from Russell's work on the keys! Most numbers feature added percussion, which really furthers the spirit of the session – and titles include the massive "Get Down", plus "Blues Suite", "For Heaven's Sake", "Talk to My Lady", "My Favorite Things", and "Me & Mrs Jones". LP, Vinyl record album

One of AK Salim's far-reaching "jazz suites" from the late 50s. This one focuses on the bluer side of jazz, and features some excellent soloists – like Seldon Powell on flute and tenor, Sahib Shihab on baritone sax, Nat Adderley on cornet, and Phil Woods on alto – all playing long soulful passages on Salim originals like "Payday", "Joybox", "Full Moon", and "Blu-Shout". The set's not as modernist oriented as similar work by some of Salim's contemporaries – still with an overall conception, but somewhat more looser swinging – and like some of AK's best other sessions from the time, has a feel that's quite like some of Slide Hampton's leaner, more soul jazz moments. LP, Vinyl record album

Quite possibly the best-remembered album from Pharoah Sanders' legendary run at Impulse Records – a set that crossed over big, and sold to countless folks who might not have bought a jazz album this hip otherwise! The record was Sanders' first in the wake of Coltrane's passing – and it's a beautiful extended suite of tracks that flows with a sense of grace, power, and majesty that's simply breathtaking – a new level of expression in spiritual jazz – and virtually the blueprint for an entire generation to come! The album features the classic track "The Creator Has a Master Plan" – spanning a tremendous amount of space and time – and featuring Leon Thomas' classic vocals on the lyrics! Thomas also returns on the cut "Colors", which is a bit more outside, and quite free overall – and other players on the date include Lonnie Liston Smith on piano, James Spaulding on flute, Julius Watkins on French horn, Ron Carter and Richard Davis on bass, and Freddie Waits and Billy Hart on drums. CD