A compelling mid 80s set from Jimmy Heath – playing here on both tenor and soprano saxes, in a group that features piano, guitar, bass, and drums. The mix of guitar and Jimmy's soprano sax is especially striking – angular and edgey, handled in a way that brings an added dimension to the tracks that feature the combination. A few tunes on the album feature additional work on trombone, tuba, and French horn – filling out a bottom that again creates some strong tonal contrasts with Bobby's soprano work. Titles include "New Picture", "Changes", "Keep Love Alive", "Togetherness", and "Dewey Square". LP, Vinyl record album

Classic early work by modern tenor genius Joe Henderson – very well titled with the use of "mode", given the new sound and new direction Henderson was taking his tenor in the 60s! The album's got Joe working at the head of an all-great lineup that includes Lee Morgan on trumpet, Curtis Fuller on trombone, Cedar Walton on piano, and Bobby Hutcherson on vibes – the last of whom really brings in some tremendous moments to the record, using his instrument to create a slightly off-kilter feel that pushes the set from straight hardbop into the modern realm with traces of "new thing" tones and colors. Joe's solos are incredible – searing, searching, yet still pulsing with an undeniably soulful rhythm – and titles include the essential track "Black", plus "Caribbean Fire Dance", "Free Wheelin", and "Shade Of Jade". LP, Vinyl record album

Classic early work by modern tenor genius Joe Henderson – very well titled with the use of "mode", given the new sound and new direction Henderson was taking his tenor in the 60s! The album's got Joe working at the head of an all-great lineup that includes Lee Morgan on trumpet, Curtis Fuller on trombone, Cedar Walton on piano, and Bobby Hutcherson on vibes – the last of whom really brings in some tremendous moments to the record, using his instrument to create a slightly off-kilter feel that pushes the set from straight hardbop into the modern realm with traces of "new thing" tones and colors. Joe's solos are incredible – searing, searching, yet still pulsing with an undeniably soulful rhythm – and titles include the essential track "Black", plus "Caribbean Fire Dance", "Free Wheelin", and "Shade Of Jade". LP, Vinyl record album

Classic early work by modern tenor genius Joe Henderson – very well titled with the use of "mode", given the new sound and new direction Henderson was taking his tenor in the 60s! The album's got Joe working at the head of an all-great lineup that includes Lee Morgan on trumpet, Curtis Fuller on trombone, Cedar Walton on piano, and Bobby Hutcherson on vibes – the last of whom really brings in some tremendous moments to the record, using his instrument to create a slightly off-kilter feel that pushes the set from straight hardbop into the modern realm with traces of "new thing" tones and colors. Joe's solos are incredible – searing, searching, yet still pulsing with an undeniably soulful rhythm – and titles include the essential track "Black", plus "Caribbean Fire Dance", "Free Wheelin", and "Shade Of Jade". CD features a bonus alternate take of "Black". CD

After working for years in the Crusaders, then honing his production skills with excellent work for Fantasy and Mercury, Wayne Henderson put out this album of his own, which drew on a lot of the work he'd been doing during the mid 70s. The album's a showcase for his At Home productions team, and it features work by Bobby Lyle, Roland Bautista, Ronnie Laws, and others. Henderson plays trombone, but he also gets in the way a bit with some hipster vocalizing that doesn't quite work. Titles include "Lady Bug", "Foot Stompin Music", "I'm Staying Forever", and a version of the great stepper "Keep On Keepin On". LP, Vinyl record album

A tribute to the music of Charlie Parker – but a set that sparkles more from the individual inspiration of the three alto giants in the lead – a great lineup that features Gary Bartz, Bobby Watson, and Vincent Herring! The tracks are long, with great lead passages that have all three horns soaring together, then individual solos from each player – and although the songs include a number of classics from the Charlie Parker songbook, the album also features original tunes by Herring and Watson, and another by Jackie McLean – maybe marking the whole thing as being very much in the spirit of its title – a look back at a century that's felt the influence of Bird, with all the alto sax changes that have taken place in the time since his passing. The rhythm trio is excellent too – David Kikoski on piano, Yasushi Nakamura on bass, and Carl Allen on drums – and titles include "Bird-Ish", "Klactoveedsedstene", "The Hymn", "Folklore", "Bird Lives", and "Yardbird Suite". CD

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

Remarkable modern jazz, from one of the most unique voices in the genre! Hill's piano work and compositions fall into a category of their own, working outside the limits of predominant bop sound, but not quite falling into the world of free jazz that rules the avant scene. This outstanding Mosaic box collects his seminal 60s recordings, comprising of the LPs Black Fire, Smokestack, Judgment, Point Of Departure, Andrew!, One For One, and Compulsion, plus plenty of alternate takes and some material that was issued under Sam Rivers name on the LP Involution. Sidemen include Joe Henderson, Bobby Hutcherson, Kenny Dorham, Eric Dolphy, John Gilmore, Freddie Hubbard, Sam Rivers, Richard Davis, Cecil McBee, Roy Haynes, Elvin Jones, Tony Williams and Joe Chambers. There's 52 tracks in all, spread out over 7 CDs, with titles that include "Land Of Nod", "Black Fire", "McNeil Island", "Tired Trade",Pumpkin", "Subterfuge", "Smokestack", "Ode To Von", "The Day After", "Verne", "Not So", "Flea Flop", "Siete Ocho", "Yokada, Yokada", "Reconciliation", "New Monastary", "Flight 19", "Spectrum", "Symmetry", "The Griots", "Duplicity", "Le Serpenmt Qui Danse", "Euterpe", "Erato", "Roots 'n Herbs", "Compulsion", "Premonition", "Violence" and "Desire". CD

Classic work from Joe Hinton – a labelmate to Bobby Blue Bland and Little Junior Parker on Duke Records, but an artist who was a bit more jazzy! The set includes his classic "Funny" – plus "If It Ain't One Thing", "Be Ever Wonderful", "The Whole Town's Talking", "Baby Please", "I'm Waiting", and "Tell Her The Truth". LP, Vinyl record album

Wonderful live work from the second chapter of Billie Holiday's career – that stretch when she was barred from performing in most New York clubs, due to the loss of her cabaret card – which actually seemed to lead to a wider range of exposure in venues across the country! The overstuffed 2CD set brings together a number of very well-recorded live dates from cities that include Los Angeles, Philadelphia, Chicago, and Boston – plus work from a show in Brussels, and a TV appearance on Steve Allen's early Tonight Show – some material that's only been out partially before, mixed with other tracks that are seeing the light of day for the first time ever. Most numbers have very small combo backing – with players who include Carl Drinkard, Jimmy Rowles, or Bobby Tucker on piano – plus Herbie Harper on trombone, Neal Hefti on trumpet, Red Norvo on vibes, and Paul Quinichette on tenor. But the real star is clearly Billie throughout – and these tracks aren't just "extras" added to her studio work or live sides for Verve – and instead show how Holiday always shone throughout her career, and continued to bring a very personal approach to every performance. 2CD set features a whopping 42 tracks, with lots of notes – and titles include a number of Holiday standards, plus some lesser-known gems too. CD

Possibly one of the most essential Billie Holiday albums for Verve – a set that carries the same title as her famous autobiography, and which also features many key numbers from her songbook at the time! The feel here is quite easygoing and relaxed – with small group backing behind Billie's vocals, which themselves are recorded cleanly and clearly throughout. One side features backing by a combo that includes Wynton Kelly on piano, Kenny Burrell on guitar, Charlie Shavers on trumpet, and Paul Quinichette on tenor – and the other features a group that includes Bobby Tucker on piano, Charlie Shavers on trumpet, Barney Kessel on guitar, and the great Willie Smith on alto sax. Titles include plenty of classics – including "God Bless The Child", "Strange Fruit", "Lady Sings The Blues", "No Good Man", "Good Morning Heartache", "I Must Have That Man", and "Trav'lin' Light". CD

Possibly one of the most essential Billie Holiday albums for Verve – a set that carries the same title as her famous autobiography, and which also features many key numbers from her songbook at the time! The feel here is quite easygoing and relaxed – with small group backing behind Billie's vocals, which themselves are recorded cleanly and clearly throughout. One side features backing by a combo that includes Wynton Kelly on piano, Kenny Burrell on guitar, Charlie Shavers on trumpet, and Paul Quinichette on tenor – and the other features a group that includes Bobby Tucker on piano, Charlie Shavers on trumpet, Barney Kessel on guitar, and the great Willie Smith on alto sax. Titles include plenty of classics – including "God Bless The Child", "Strange Fruit", "Lady Sings The Blues", "No Good Man", "Good Morning Heartache", "I Must Have That Man", and "Trav'lin' Light". LP, Vinyl record album

Possibly one of the most essential Billie Holiday albums for Verve – a set that carries the same title as her famous autobiography, and which also features many key numbers from her songbook at the time! The feel here is quite easygoing and relaxed – with small group backing behind Billie's vocals, which themselves are recorded cleanly and clearly throughout. One side features backing by a combo that includes Wynton Kelly on piano, Kenny Burrell on guitar, Charlie Shavers on trumpet, and Paul Quinichette on tenor – and the other features a group that includes Bobby Tucker on piano, Charlie Shavers on trumpet, Barney Kessel on guitar, and the great Willie Smith on alto sax. Titles include plenty of classics – including "God Bless The Child", "Strange Fruit", "Lady Sings The Blues", "No Good Man", "Good Morning Heartache", "I Must Have That Man", and "Trav'lin' Light". LP, Vinyl record album

A pair of rare albums from reedman Noah Howard – back to back in a single set! First up is the Noah Howard Quartet album from 1966 – one of the most obscure albums on the ESP label in the 60s – and a brilliant early chapter in the career of reedman Noah Howard! Howard is maybe best known for his contributions to the European scene from the end of the 60s into the 70s – but here, he's already a stunning giant on the New York scene – blowing alto with a sound that's very much all his own, and which makes his performance here as both a soloist and leader a key part of the early ESP label legacy. The group is piano-less – a unique ensemble with Ric Colbeck on trumpet, Scotty Holt on bass, and Dave Grant on percussion – all unknown players, but great partners for Howard on the record – on titles that include "Henry's Street", "Apotheosis", "Apotheosis Extension I", and "And About Love". At Judson Hall features a brilliant live performance from the young Noah Howard – working here at a level that's very much on the most spiritual side of the ESP label spectrum, and which also shows the new level of inventive group structures that were coming into play on the New York scene at the time! The record's got a sense of soulful structure and individual freedom that's a bit like the classics of Archie Shepp at the time – as Howard blows alto alongside trumpeter Ric Colbeck, an unusual player who was also on his quartet studio session for the label. A young Dave Burrell makes a great appearance on piano, alongside the bass of Sirone, cello of Catherine Norris, and percussion of Bobby Kapp – as the group make their way through two side-long tracks, "This Place Called Earth" and "Homage To Coltrane". CD

Keystone bop indeed – a smoking little set from Freddie Hubbard, recorded during his great back-to-basics years of the early 80s! The tracks here are all quite long, and informed by a strong sense of hard bop – but they also open up with some sharper, more modern moments at times – of the sort that keenly reflect Freddie's best roots during his early years at Blue Note. The other players here are all quite strong – especially well-matched for the energy of such a record – with Bobby Hutcherson on vibes and Joe Henderson on tenor, plus rhythm from Billy Childs on piano, Larry Klein on bass, and Steve Houghton on drums. 3 lengthy tracks: "The Littlest One Of All", "One Of Another Kind", and "Body & Soul". LP, Vinyl record album

A smoking little set from Freddie Hubbard, recorded during his great back-to-basics years of the early 80s! The tracks here are all quite long, and informed by a strong sense of hardbop – but they also open up with some sharper, more modern moments at times – of the sort that keenly reflect Freddie's best roots during his early years at Blue Note. The other players here are all quite strong – especially well-matched for the energy of such a record – with Bobby Hutcherson on vibes and Joe Henderson on tenor, plus rhythm from Billy Childs on piano, Larry Klein on bass, and Steve Houghton on drums. The LP presents all tracks in long, unedited takes – titles that include "Birdlike", "The Intrepid Fox", and "Sky Dive". LP, Vinyl record album

Keystone bop indeed – a smoking little set from Freddie Hubbard, recorded during his great back-to-basics years of the early 80s! The tracks here are all quite long, and informed by a strong sense of hardbop – but they also open up with some sharper, more modern moments at times – of the sort that keenly reflect Freddie's best roots during his early years at Blue Note. The other players here are all quite strong – especially well-matched for the energy of such a record – with Bobby Hutcherson on vibes and Joe Henderson on tenor, plus rhythm from Billy Childs on piano, Larry Klein on bass, and Steve Houghton on drums. The CD presents all tracks in long, unedited takes – and this Friday/Saturday Night volume features 4 tracks – "One Of Another Kind", "Round Midnight", "Red Clay", and "First Light". CD

An essential Blue Note album by the great vibist Bobby Hutcherson, and a record that's split into 2 different sides, each of which display different aspects of Hutcherson's talents. The first four tracks are mellow and lyrical, with the kind of lovely melodic writing that is best illustrated by the cut "Little B's Poem" – included here, and still one of Hutcherson's most enduring works. The next four tracks show Hutcherson more as the accomplished modernist, working with edgey talents like James Spaulding on alto and flute, Freddie Hubbard on trumpet, Herbie Hancock on piano, Ron Carter on bass, and the great Joe Chambers on drums – who also wrote all 4 of the tracks in this segment. The work is a key example of Hutcherson's devotion to the Blue Note "new thing" sound, and titles include "Air", "Juba Dance", and "Pastoral". CD

An essential Blue Note album by the great vibist Bobby Hutcherson, and a record that's split into 2 different sides, each of which display different aspects of Hutcherson's talents. The first four tracks are mellow and lyrical, with the kind of lovely melodic writing that is best illustrated by the cut "Little B's Poem" – included here, and still one of Hutcherson's most enduring works. The next four tracks show Hutcherson more as the accomplished modernist, working with edgey talents like James Spaulding on alto and flute, Freddie Hubbard on trumpet, Herbie Hancock on piano, Ron Carter on bass, and the great Joe Chambers on drums – who also wrote all 4 of the tracks in this segment. The work is a key example of Hutcherson's devotion to the Blue Note "new thing" sound, and titles include "Air", "Juba Dance", and "Pastoral". LP, Vinyl record album

One of the greatest Bobby Hutcherson albums for Blue Note – a classic session recorded in quartet form, with a style that seems to set a whole new standard for the vibes in modern jazz! The group here is sublime – Herbie Hancock on piano, Bob Cranshaw on bass, and Joe Chambers on drums – all working with Bobby in cool, blocky chords, with a sound that lies somewhere on the road to "out", but has more of a swing than Hutcherson's "new thing" recordings! The balance is a perfect one – exciting and fresh, but still always soulfully grooving – and titles include a sublime version of Herbie's "Maiden Voyage" – plus originals by Hutcherson that include "The Omen", "Aquarian Moon", "Rojo", and "Head Start". CD

One of the greatest Bobby Hutcherson albums for Blue Note – a classic session recorded in quartet form, with a style that seems to set a whole new standard for the vibes in modern jazz! The group here is sublime – Herbie Hancock on piano, Bob Cranshaw on bass, and Joe Chambers on drums – all working with Bobby in cool, blocky chords, with a sound that lies somewhere on the road to "out", but has more of a swing than Hutcherson's "new thing" recordings! The balance is a perfect one – exciting and fresh, but still always soulfully grooving – and titles include a sublime version of Herbie's "Maiden Voyage" – plus originals by Hutcherson that include "The Omen", "Aquarian Moon", "Rojo", and "Head Start". LP, Vinyl record album

One of the greatest Bobby Hutcherson albums for Blue Note – a classic session recorded in quartet form, with a style that seems to set a whole new standard for the vibes in modern jazz! The group here is sublime – Herbie Hancock on piano, Bob Cranshaw on bass, and Joe Chambers on drums – all working with Bobby in cool, blocky chords, with a sound that lies somewhere on the road to "out", but has more of a swing than Hutcherson's "new thing" recordings! The balance is a perfect one – exciting and fresh, but still always soulfully grooving – and titles include a sublime version of Herbie's "Maiden Voyage" – plus originals by Hutcherson that include "The Omen", "Aquarian Moon", "Rojo", and "Head Start". CD

One of the greatest Bobby Hutcherson albums for Blue Note – a classic session recorded in quartet form, with a style that seems to set a whole new standard for the vibes in modern jazz! The group here is sublime – Herbie Hancock on piano, Bob Cranshaw on bass, and Joe Chambers on drums – all working with Bobby in cool, blocky chords, with a sound that lies somewhere on the road to "out", but has more of a swing than Hutcherson's "new thing" recordings! The balance is a perfect one – exciting and fresh, but still always soulfully grooving – and titles include a sublime version of Herbie's "Maiden Voyage" – plus originals by Hutcherson that include "The Omen", "Aquarian Moon", "Rojo", and "Head Start". CD

One of the greatest Bobby Hutcherson albums for Blue Note – a classic session recorded in quartet form, with a style that seems to set a whole new standard for the vibes in modern jazz! The group here is sublime – Herbie Hancock on piano, Bob Cranshaw on bass, and Joe Chambers on drums – all working with Bobby in cool, blocky chords, with a sound that lies somewhere on the road to "out", but has more of a swing than Hutcherson's "new thing" recordings! The balance is a perfect one – exciting and fresh, but still always soulfully grooving – and titles include a sublime version of Herbie's "Maiden Voyage" – plus originals by Hutcherson that include "The Omen", "Aquarian Moon", "Rojo", and "Head Start". CD

One of the greatest Bobby Hutcherson albums for Blue Note – a classic session recorded in quartet form, with a style that seems to set a whole new standard for the vibes in modern jazz! The group here is sublime – Herbie Hancock on piano, Bob Cranshaw on bass, and Joe Chambers on drums – all working with Bobby in cool, blocky chords, with a sound that lies somewhere on the road to "out", but has more of a swing than Hutcherson's "new thing" recordings! The balance is a perfect one – exciting and fresh, but still always soulfully grooving – and titles include a sublime version of Herbie's "Maiden Voyage" – plus originals by Hutcherson that include "The Omen", "Aquarian Moon", "Rojo", and "Head Start". CD

A beautiful later Blue Note album from vibist Bobby Hutcherson – a set recorded after his famous association with Harold Land, but with a groove that's wonderfully soulful in a whole different way! Bobby plays marimbas instead of vibes this time around, and he's working with his own arrangements for a slightly larger group – one that has some sweet fusion overtones, and these wonderful mellow funk inflections – so that even the mellow cuts have this warmly glowing, ultra-soulful sound that's mighty nice – a bit like some of the work from Gene Harris around the same time. Other players include Jerry Peters on Fender Rhodes, who also helped out with the arrangements – plus Harvey Mason on drums and Ernie Watts on reeds – and a few tracks feature sweet backing vocals from The Waters. The highlight here is a nice moody extended version of "People Make The World Go Round", but all cuts are great, and titles include "Silver Rondo", "Manzanita", "NTU", and his dark cover of "Theme From MASH". CD

A beautiful later Blue Note album from vibist Bobby Hutcherson – a set recorded after his famous association with Harold Land, but with a groove that's wonderfully soulful in a whole different way! Bobby plays marimbas instead of vibes this time around, and he's working with his own arrangements for a slightly larger group – one that has some sweet fusion overtones, and these wonderful mellow funk inflections – so that even the mellow cuts have this warmly glowing, ultra-soulful sound that's mighty nice – a bit like some of the work from Gene Harris around the same time. Other players include Jerry Peters on Fender Rhodes, who also helped out with the arrangements – plus Harvey Mason on drums and Ernie Watts on reeds – and a few tracks feature sweet backing vocals from The Waters. The highlight here is a nice moody extended version of "People Make The World Go Round", but all cuts are great, and titles include "Silver Rondo", "Manzanita", "NTU", and his dark cover of "Theme From MASH". CD

Two great Bobby Hutcherson albums – both recorded at the end of the 60s, but not released by Blue Note until years later! Both records – Medina and Spiral – give you a glance at the early years of Bobby's famous association with tenorist Harold Land. The Land/Hutcherson combo turned out some of the best modernist soul jazz albums of their age, and their unique interplay, a mixture of free-thinking solos and tight groovy rhythms, set the pattern for so many other 70's jazz groups. Stanley Cowell plays piano on the session, and Bobby's longtime rhythm partner Joe Chambers is on drums. With the tracks "Avis", "Orientale", "Spiral", "Ruth", and "Visions". CD

One of our favorite Bobby Hutcherson albums ever – and a magical session filled with electric Latin vibes! The album's quite a different one for Bobby at the time – as it has him working with some larger arrangements, in a soulful west coast groove that's almost got the feel of a hip 70s soundtrack. Bobby's vibes are nicely set up against Fender Rhodes on most tracks – and the group's got some added Latin percussion that really opens up the rhythms. The whole thing's totally wonderful – brimming over with sun and soul, the kind of magic record that will never be made again! Tracks include "Camel Rise", "Yuyo", "Montara", "La Malanga", "Little Angel", and "Love Song". CD

One of our favorite Bobby Hutcherson albums ever – and a magical session filled with electric Latin vibes! The album's quite a different one for Bobby at the time – as it has him working with some larger arrangements, in a soulful west coast groove that's almost got the feel of a hip 70s soundtrack. Bobby's vibes are nicely set up against Fender Rhodes on most tracks – and the group's got some added Latin percussion that really opens up the rhythms. The whole thing's totally wonderful – brimming over with sun and soul, the kind of magic record that will never be made again! Tracks include "Camel Rise", "Yuyo", "Montara", "La Malanga", "Little Angel", and "Love Song". CD

One of our favorite Bobby Hutcherson albums ever – and a magical session filled with electric Latin vibes! The album's quite a different one for Bobby at the time – as it has him working with some larger arrangements, in a soulful west coast groove that's almost got the feel of a hip 70s soundtrack. Bobby's vibes are nicely set up against Fender Rhodes on most tracks – and the group's got some added Latin percussion that really opens up the rhythms. The whole thing's totally wonderful – brimming over with sun and soul, the kind of magic record that will never be made again! Tracks include "Camel Rise", "Yuyo", "Montara", "La Malanga", "Little Angel", and "Love Song". CD

A really heady set of tracks from vibist Bobby Hutcherson – a record that has him stepping away from the harder sounds of his early modern years – and moving into the sublime mix of soulful and modal styles that would really grow strongly by the end of the 60s! The album's a treasure through and through – warm, subtle interpretations of the music by a group that features Hutcherson on vibes, James Spaulding on alto and flute, Stanley Cowell on piano, Reggie Workman on bass, and Joe Chambers on drums – all working together in modes that are quite like Hutcherson's music with Harold Land – but slightly looser and freer at points too. The album includes a fantastic version of Cowell's "Effi", which was later recorded by Charles Tolliver a few times, plus other beautiful compositions by Joe Chambers – including "Patterns", "Ankana", "Irina", and "Nocturnal". Also features a bonus alternate of the title track! CD

A really heady set of tracks from vibist Bobby Hutcherson – a record that has him stepping away from the harder sounds of his early modern years – and moving into the sublime mix of soulful and modal styles that would really grow strongly by the end of the 60s! The album's a treasure through and through – warm, subtle interpretations of the music by a group that features Hutcherson on vibes, James Spaulding on alto and flute, Stanley Cowell on piano, Reggie Workman on bass, and Joe Chambers on drums – all working together in modes that are quite like Hutcherson's music with Harold Land – but slightly looser and freer at points too. The album includes a fantastic version of Cowell's "Effi", which was later recorded by Charles Tolliver a few times, plus other beautiful compositions by Joe Chambers – including "Patterns", "Ankana", "Irina", and "Nocturnal". Also features a bonus alternate of the title track! CD

Bobby Hutcherson breaks it down in two different ways – solo on the first half of the record, and in a quartet on the rest! The set begins in a very spare way – Bobby playing vibes, marimba, xylophone, and bells – often a bit overdubbed, so that although alone, Hutcherson fills the tracks with a rich palette of sound – glowingly rhythmic lines that ring out with plenty of soul, and showcase a really under-tapped side of Bobby's talents! Remaining tracks are equally great, but in a totally different way – played by a righteous lineup that includes McCoy Tyner on piano, Herbie Lewis on bass, and Billy Higgins on drums – really working together beautifully in ways that make the album feel like a lost 70s soul jazz set. Forget Hutcherson's slick look on the cover – because this album's drenched in open, honest, acoustic feeling – a rich tapestry of sound and emotion, on tracks that include "Gotcha", "The Ice Cream Man", "For You Mom & Dad", "Messina", "My Foolish Heart", and "La Alhambra". CD

A brilliant collaboration between vibist Bobby Hutcherson and reedman Harold Land – the first Blue Note album to feature the talents of the pair together, and a stone classic from the very first note! Hutcherson had already been making big waves for the label with his earlier sides – some avant, some soulful, all great – but adding Land's magical tenor and flute to the mix really opens his sound up a lot, and unlocks a lyrical quality in Bobby's music that really points the way to his flourishing years in the 70s! Yet all is not totally sweet – as both Land and Hutcherson maintain an edginess on the record that makes it more of a progression from the "new thing" years than a break – and pianist Chick Corea is on hand, moving through a very similar path in his own music too. Other players include Reggie Johnson on bass and Joe Chambers on drums – and the tracks are nice and long, with that free-wheeling soulful sound that Land seemed to nicely bring to Hutcherson's playing. Titles include "Herzog", "Same Shame", "Maxtrix", "Total Eclipse", and "Pompeian". LP, Vinyl record album

Rare work from Weldon Irvine – a selection of tracks recorded as private studio outings, reissued briefly by Luv N Haight in the early 90s, and then only on vinyl! The style here is much more jazz-based than some of Irvine's soul recordings – a mode that's often all instrumental, and which features Weldon playing more acoustic piano than on his 70s fusion classics – but usually mixed in with sweet electric elements, too – which creates this wonderfully righteous balance in the music! The whole thing's very soulful, with plenty of undercurrents of the RCA years – and guest players include Steve Grossman on tenor, Marcus Miller on bass, Tom Browne on trumpet, and Bobby Broom on guitar – the latter 3 of which all worked with Weldon at GRP, making us guess that some of these 80s sides were intended for release on that label. Titles include "Kundabuffer", "Music Is The Key", "Mr PC", "We Can Try Again", and "Blues For Spike". LP, Vinyl record album

Rare work from Weldon Irvine – a selection of tracks recorded as private studio outings, reissued briefly by Luv N Haight in the early 90s, and then only on vinyl! The style here is much more jazz-based than some of Irvine's soul recordings – a mode that's often all instrumental, and which features Weldon playing more acoustic piano than on his 70s fusion classics – but usually mixed in with sweet electric elements, too – which creates this wonderfully righteous balance in the music! The whole thing's very soulful, with plenty of undercurrents of the RCA years – and guest players include Steve Grossman on tenor, Marcus Miller on bass, Tom Browne on trumpet, and Bobby Broom on guitar – the latter 3 of which all worked with Weldon at GRP, making us guess that some of these 80s sides were intended for release on that label. Titles include "Kundabuffer", "Music Is The Key", "Mr PC", "We Can Try Again", and "Blues For Spike". CD

Rare work from Weldon Irvine – a selection of tracks recorded as private studio outings, reissued briefly by Luv N Haight in the early 90s, and then only on vinyl! The style here is much more jazz-based than some of Irvine's soul recordings – a mode that's often all instrumental, and which features Weldon playing more acoustic piano than on his 70s fusion classics – but usually mixed in with sweet electric elements, too – which creates this wonderfully righteous balance in the music! The whole thing's very soulful, with plenty of undercurrents of the RCA years – and guest players include Steve Grossman on tenor, Marcus Miller on bass, Tom Browne on trumpet, and Bobby Broom on guitar – the latter 3 of which all worked with Weldon at GRP, making us guess that some of these 80s sides were intended for release on that label. Titles include "Kundabuffer", "Music Is The Key", "Mr PC", "We Can Try Again", and "Blues For Spike". CD

An obscure little live set – recorded at the end of the 70s, at a time that makes it some of Sonny Stitt's last work on record! The format is straight and boppish – with some lyrical touches, and a strong open solo mode that goes well with the live setting. Stitt seems to dominate a bit more than Jackson, but that's ok with us – as he's in his best "back to basics" format of the 70s. The rest of the group features Gerald Price on piano, Don Moses on bass, and Bobby Durham on drums – and titles include "Loose Walk", "Star Eyes", "SKJ", and "Parking Lot Blues". LP, Vinyl record album

Queen of Soul is right! Heck, on these early albums, Etta practically invented soul – or at least invented a deep soul style of singing that would be taken up by countless other female singers during the 60s, but rarely matched with this kind of brilliance. Straight up beautiful stuff! The arrangements are uncredited, but we think they're probably by Riley Hampton – who did so much of Etta's other wonderful work in the early 60s. The recordings for sure took place at points between '62 and '64, mostly in Chicago, with couple in New York and one in Nashville. One other thing that is crystal clear about the sessions is that she had access to the very best musicians and the best sound possible – all you need is a listen to know that! The album's an all-solid, all-soul record with loads of obscure tunes and not a bit of filler! Titles include "Flight 101", "Bobby Is His Name", "Breaking Point", "Mello Fellow", "Do Right", and "Somewhere Out There". LP, Vinyl record album

Queen of Soul is right! Heck, on these early albums, Etta practically invented soul – or at least invented a deep soul style of singing that would be taken up by countless other female singers during the 60s, but rarely matched with this kind of brilliance. Straight up beautiful stuff! The arrangements are uncredited, but we think they're probably by Riley Hampton – who did so much of Etta's other wonderful work in the early 60s. The recordings for sure took place at points between '62 and '64, mostly in Chicago, with couple in New York and one in Nashville. One other thing that is crystal clear about the sessions is that she had access to the very best musicians and the best sound possible – all you need is a listen to know that! The album's an all-solid, all-soul record with loads of obscure tunes and not a bit of filler! Titles include "Flight 101", "Bobby Is His Name", "Breaking Point", "Mello Fellow", "Do Right", and "Somewhere Out There". This first ever proper CD release is loaded with excellent bonus material – recordings from the same early-to-mid 60s period – 13 of them "You Got Me Where You Want Me", "Only Time Will Tell", "Pushover". "You Can't Talk To A Fool", "Would It Make Any Difference To You", "Pay Back", "Tomorrow Night", "I Can't Hold It Any More" and more. 23 tracks in all! CD

A really special album from Belgian reedman Bobby Jaspar – a rare late 50s record that features some of his best work of the decade on flute! The session's got Bobby playing with great backings on vibes by Fats Sadi and Michel Hausser – both of whom use the instrument in ways that resonate strongly with the modern tones in Jaspar's phrasing – and the great Kenny Clarke is on drums, with bass from either Paul Rovere or Jimmy Merrit, plus additional percussion from Humberto Canto. There's a light groove on most numbers – kind of a lyrical swing that's perfect for the flute and vibes! Titles include "Le JAMF", "Speak Low", "Doxology", "Jeux De Quartes", "Chasing The Bird", and "Misterioso". CD

An early album from this might Belgian reedman – a set that mostly features Bobby Jaspar on tenor, working with the quintet of Henri Rene! Titles include "La Baronne", "Black Hourse", "Tenor Business", and "Jimmy's Dream". Very nice, and a key chapter in Jaspar's career! LP, Vinyl record album

An all-tenor set from Bobby Jaspar – material recorded in Paris in 1953 and 1954, played with a variety of different groups! Jaspar's tenor has a really great sound here – kind of a Lester Young rasp that marks him as a very Getz-like musician at this point – but with a slightly more upbeat edge as well – working nicely alongside players who include Jimmy Gourley on guitar, Fats Sadi on vibes, Roger Guerin on trumpet, Henri Renaud on piano, and Nat Peck on trombone. Titles include "Black Horse", "Kaba Soutra", "Strike Up The Band", "Up In Quincy's Room", "Capri", "Early Wake", "Jeux De Quartes", "Schabooz", and "Struttin With Some Barbecue". LP, Vinyl record album

A great collaboration from two fantastic players – alto genius Bobby Watson and percussionist Ray Mantilla – both coming together here in a style that's even more than the sum of their mighty parts! The group has lots of Watson elements at the core – bass from Curtis Lundy, drums from Victor Lewis, and piano from Ronnie Mathews – but the presence of Mantilla's congas really changes up the groove, and the trumpet of Jack Walrath further emphasizes some Latin currents, while also linking up to the soulful energy of Watson's horn! Tracks are penned by all members of the group – and the record's overflowing with the sense of good spirit and boundless energy we always love from Bobby's dates as a leader. Titles include "Karita", "Chili Plaza Suite", "Ella Dunham", "Los Apolypticanos", "Know One Has To Know", and "River Jordan". CD

About as hip as you can get for a hardbop session – a real cooker from the left end of the spectrum, filled with great work from all three players in the title! The pairing of Clifford Jordan's tenor and John Jenkins' alto is especially nice – as Jordan seems to bring out a bit of a deeper groove than Jenkins' gets on other records. And we're always big fans of Bobby Timmons' work on piano in just about any group setting – and here he's working with unique rhythm backing by Wilbur Ware on bass and Dannie Richmond on drums – making a rare non-Mingus appearance on the set!. The tracks are long, but extremely tight – in the manner that you'd expect from some of those modernist soul jazz sets on Riverside/Jazzland, particularly the work of Johnny Griffin and Wilbur Ware – with titles that include "Cliff's Edge", "Tenderly", "Princess", and "Soft Talk". CD

A classic run of records from Waylon Jennings – brought together in a single package! First up is Lonesome Onry & Mean – a pivotal album for Waylon Jennings – the record where he really found the new direction that would finally get him the fame he deserved – delivered in a way that's free from all the later cliches, and which also ties Waylon pretty strongly to the hipper currents of the underground – especially that point where singer/songwriter genius intersected with country! The production is his own, and vastly different than the late 60s records – even though we love those to death too – and that magical Jennings vocal approach does fantastic things to tunes by Steve Young, Mickey Newbury, Kris Kristofferson, and others! Titles include the fantastic "Lonesome Onry & Mean", plus "Good Time Charlie's Got The Blues", "Freedom To Stay", "Lay It Down", "You Can Have Her", "Pretend I Never Happened", "San Francisco Mabel Joy", "Sandy Sends Her Best", and a great take on "Me &Bobby McGee". Honky Tonk Heroes is genius material from Waylon Jennings – one of those career-defining records from the early 70s that completely put him on top, and heralded a whole new generation in country music! The set's maybe equally noteworthy as a showcase for the up-and-coming Billy Joe Shaver, who wrote much of the songs on the record – and it's also a great showcase for the important production talents of Tompall Glaser, who really gets the spirit of the music right! Titles include great versions of "Honky Tonk Heroes", "Old Five & Dimers Like Me", "Ride Me Down Easy", "Black Rose", "Willy The Wandering Gypsy & Me", "Omaha", and "Ain't No God In Mexico". This Time is one of those Waylon Jennings records from a time when he could do no wrong – fighting the stronger powers at RCA to really find his voice – recording at the studio of Tompall Glaser, with great production help from Willie Nelson – who was enjoying his own transformation at the time too! As with the previous two gems from this period, the choice of material and presentation is great – songs by Willie, JJ Cale, and Billy Joe Shavers – in a set of titles that include "Heaven Or Hell", "It's Not Supposed To Be That Way", "This Time", "Pick Up The Tempo", "If You Could Touch Her At All", "Walkin", "Slow Rollin Low", "Louisiana Woman", and "Slow Movin Outlaw". Ramblin Man is Waylon Jennings at peak mid 70s perfection! Ramblin' Man fits in stylistically with the gruff honky tonk hero mode he first fully realized a couple albums earlier, but he's still fiercely blazing trails here, pairing his gruff lead vocals with sweeter female harmonies on some tracks, changing the groove from laidback swagger to fast-paced honky tonk, working in some tender ballads with the gruffer numbers...Waylon at his best. Starts up with the eternal title track and equally classic "Rainy Day Woman" and hardly lets up in greatness from there, with "Cloudy Days", "The Hunger", "It'll Be Her", a great cover of the Allman Brothers' "Midnight Rider", "Memories Of You And Me", "Amanda" and more. Features bonus tracks too – "Laid Back Country Picker", "The Last One To Leave Seattle", "Big Big Love", "Got A Lot Going For Me", "The Last Letter", and "The One I Sing My Love Songs To". CD

One of JJ's best from the late 50s – a tightly crackling hardbop set, recorded very much in the manner of his classic JJ Inc album! The sound here is a bit more compact overall – with some shorter tracks that really allow Johnson to display his keen sense of economy on his horn, while working in a burning mode that recalls some of his best bop sides from the early years – particularly his work on Blue Note. Bobby Jaspar's in the frontline with JJ – playing both tenor and flute – and rhythm is from a trio that features Tommy Flanagan on piano, Wilbur Little on bass, and Elvin Jones on drums. Jones' touch on the kit gives the album a nicely dancing feel throughout – and is a real reminder of his simple genius in an early setting like this. Titles include "Bird Song", "Blue Haze", "Old Devil Moon", "Tea Pot", "Barbados", "Cette Chose", and "So Sorry Please". LP, Vinyl record album

One of the hippest, hardest albums that trombonist JJ Johnson ever cut for Columbia – a session we'd rank right up there with his amazing JJ Inc record, and like that one a really cooking hardbop record that maybe even rivals the best on Blue Note and Prestige at the time! As with that gem, the strength here is really the group – not just tremendous trombone from JJ, but great work from Nat Adderley on trumpet, Bobby Jaspar on tenor and flute, Cedar Walton on piano, Spanky DeBrest on bass, and Albert Heath on drums – all working with a soaring, soulful energy that's a lot more hardbop heavy than you might expect from JJ Johnson on some of his other projects for the label. Titles include "Me Too", "Decision", "Stardust", "Sidewinder", "Speak Low", and "Red Cross". LP, Vinyl record album

One of JJ's best from the late 50s – a tightly crackling hardbop set, recorded very much in the manner of his classic JJ Inc album! The sound here is a bit more compact overall – with some shorter tracks that really allow Johnson to display his keen sense of economy on his horn, while working in a burning mode that recalls some of his best bop sides from the early years – particularly his work on Blue Note. Bobby Jaspar's in the frontline with JJ – playing both tenor and flute – and rhythm is from a trio that features Tommy Flanagan on piano, Wilbur Little on bass, and Elvin Jones on drums. Jones' touch on the kit gives the album a nicely dancing feel throughout – and is a real reminder of his simple genius in an early setting like this. Titles include "Bird Song", "Blue Haze", "Old Devil Moon", "Tea Pot", "Barbados", "Cette Chose", and "So Sorry Please". CD

A very groovy set of short jazzy numbers from Quincy – a consummate expression of all the work he'd forged in the 60s on soundtracks and other jazz sides for Mercury! The album features Quincy working through a lot of soul numbers – jamming on them instrumentally with players that include Jerome Richardson, Bobby Bryant, Plas Johnson, Ray Charles, Carol Kaye, and Ben Tucker – plus a nice brace of percussion from Ray Bryant and Gary Coleman. Titles include "Boss Bird", "Papa's Got A Brand New Bag", "I Got You (I Feel Good)", "Mohair Sam", and "Baby Cakes". LP, Vinyl record album

Rockabilly legend Billy Joy definitely rocks – hardly a household name in the 50s, but a killer figure in the rock and roll underground – and one whose fame has just grown more and more over the years! The package is a beautifully-done tribute to Benny's genius – and presents the most hard-rocking of his important 50s recordings, as well as a host of unreleased tracks from later demos too! Joy's guitar work alone is amazing, but when it's coupled with the kickass rhythms of the tunes, the music really takes off to a whole new level – burning with the power you'd expect from the classic Johnny Burnette Trio – and that's before Benny's gritty vocals even come into play! CD features 30 tracks in all – including some lost recordings from the 70s – titles that include "Rollin To The Juke Box Rock", "Dark Angel", "Miss Bobby Sox", "Little Red Book", "Button Nose", "Come Back", "Wild Wild Lover", "In Study Hall", "Crash The Party (unedited)", "Spin The Bottle (Nashville demo)", "Big John Taylor", "High High School Baby", and "Nosey Nosey Neighbors". CD

A schizophrenic soundtrack to this groundbreaking film of the early 70s – one that features a number of Tammy Wynette hits, alongside some classical piano pieces, alongside some great dialogue snippets from the film! Tammy's tunes include the hits "Stand By Your Man" and "DIVORCE", and the classical pieces are performed by Pearl Kaufman during the scenes when Nicholson plays the piano in the film. The best bits, though, are the dialogue passages – which include Jack's famous "chicken" order in "On The Road", plus "Oil Field", "Motel", and "Bobby's Monologue With His Father". LP, Vinyl record album

One of the grooviest albums we've ever heard from West Indian trumpeter Shake Keane – a player who's known both for his modern jazz work of the early 60s and his poppier sides of later years – but who's stepping out here in a great blend of both! The format is misleadingly simple, as many of the tracks on the set are 60s covers – making you think that Shake's just going for an easy groove – but amidst the more familiar numbers are also some key originals that step out in an oddly rhythmic way, and which get some unusual inflections from a group that includes either Stan Tracey or Pat Smythe on piano, Bob Efford on tenor and oboe, Coleridge Goode on bass, and Bobby Orr on drums. Shake himself plays flugelhorn on a number of tracks, in a way that evokes some of Art Farmer's excellent Columbia work of the mid 60s – which is also in a similar mode – and although the feel is bright on some tracks, it also has an underlying depth that's extremely compelling – a mix of sweet and dark that we really like. Highlights include the piano-grooving "Fidel", which has some excellent offbeat work from Tracey; a lightly tripping take on Joe Harriott's "Morning Blue"; and the beautifully thematic "New Sunday". Other tracks include "As Tears Go By", "Colours", "Girl", and "Downtown". CD

A great little session from Wynton Kelly – one that has him breaking out of the lyrical roots of his trio work, and hitting some harder notes as a leader of a larger hardbop group! The album features Kelly working in both trio and sextet format – the latter with players who include Nat Adderley, Bobby Jaspar, and Benny Golson; and the former with Paul Chambers and Jimmy Cobb (who also play with the sextet). The sextet tracks are the ones that we really love here – as they tend to feature 2 long original numbers by Kelly – much more open than usual, and in a mode that was rarely captured as well on Wynton's albums as a leader. The trio sides are still nice too, though – although a bit more like some of his other sides – and the album features 6 tracks in all, titles that include "Kelly Blue", "Softly As In A Morning Sunrise", "Green Dollphin Street", "Keep It Moving", and "Old Clothes". CD

Genius early work from Kris Kristofferson – four great albums in a single package, with SACD mastering too! First up is The Silver Tongued Devil & I – a masterful tribute to the genius of Kris Kristofferson, and a record that perfectly illustrates that unique place he held in music at the start of the 70s! The album's Kris' second, and has maybe a more unified vibe than his debut – filled with original material that has that open, honest quality that Kristofferson brought to country music – and which also had a surprisingly strong impact on mainstream rock and singer/songwriter material too! There's both a frankness of feeling and sharpness of wit that make the whole thing wonderful – and the album's overflowing with original gems that include "Jody & The Kid", "Billy Dee", "Loving Her Was Easier", "The Taker", "When I Loved Her", "The Pilgrim Chapter 33" and "Epitaph" – plus a great reading of the Bobby Bare/Billy Joe Shaver tune "Good Christian Soldier". Border Lord is a wonderful album, and one that's full of lesser-known gems from Kris Kristofferson – from a time when he'd started sharing his songs with other singers first, and started to hold back all the good stuff for himself! The album's got help from some country music studio greats, but it's clearly Kristofferson's show, right from the start – overflowing with tunes that get delivery from Kris that nobody else can match – with a special understanding of the choice of words, balance of wit, and depth of feeling that makes him so great on record. Titles include "Burden Of Freedom", "Border Lord", "When She's Wrong", "Kiss The World Goodbye", "Getting By High & Strange", "Somebody Nobody Knows", and "Josie". Jesus Was A Capricorn is one of those records in which Kris Kristofferson takes on the 70s, and comes up with a sound and style that's completely his own – even when working within the mainstream of the time! His label, Monument, could do plenty of hokey stuff – and even arranger Bill Justis wasn't always the hippest of cats – nor producer Fred Foster. Yet working here, they all rise to the occasion under the majesty of the man's music – a soaring batch of original tunes, of that special sort that Kris was always keeping to himself after his early years writing hits for others. Titles include "Why Me", "Give It Time To Be Tender", "It Sure Was Love", "Nobody Wins", "Enough For You", and the title cut "Jesus Was A Capricorn", owed to John Prine! Spooky Lady's Sideshow is a record that has Kris Kristofferson loosening up his mix of styles slightly, almost a nod back to his debut – but all in a way that only seems to bring an even greater range of feeling to his songwriting! Kristofferson maybe looks a bit more casual and laidback on the cover than some previous sets, but he's still got all the sharpness of delivery that makes him so great, and which really matches his magical words – on titles that include "Broken Freedom Song", "Star Spangled Bummer", "Smile At Me Again", "I May Smoke Too Much", "Stairway To The Bottom", and "Rescue Mission". CD

A fantastic set as a leader from drummer Victor Lewis – and one that really takes off with some of that energy he'd explored while working with Bobby Watson a few years before! There's a vibe here that's great – positive, upbeat energy – that new sense of optimism that seemed to come from the American jazz scene in the 80s, as new doors were opened and new horizons broadened – and Lewis harnesses all that great spirit as he works here in an excellent group that includes Seamus Blake on tenor and soprano sax, Stephen Scott on piano, and Terell Stafford on trumpet! Don Alias adds percussion to a number of tracks – giving things a sweet extra kick – and titles include "Vulnerability", "Un-Til", "Alter Ego", "Buttercups", "Shakehandre", and "Here's To You Babe". CD

Massively solid boogie work from Jeffrey Osborne and LTD – still grooving beautifully at the end of the 70s, and working here with top-shelf production from Bobby Martin! The set's got that buoyant LTD groove that was a perfect foil for Osborne's soaring vocals – a sound that never fell into the cliches of some of Osborne's later solo work, and which was a perfect match between ensemble funk, dancefloor rhythms, and the charisma of a strong lead singer. There's a few smoother ballads on the set that point the way towards later years, but the bulk of the set is very much in the group's best boogie mode – and titles include "You Gave Me Love", "Lovers Everywhere", "Don'tcha Know", "Shine On", "Where Did We Go Wrong", "Getaway" and "Lady Love". LP, Vinyl record album

An open, beautiful, and really well-recorded album from guitarist Lage Lund – a set that really lets all the careful tones and colors of his music come across beautifully – as he plays in a spacious trio with Matthew Brewer on bass and Tyshawn Sorey on drums! Lage is always a chromatic master, but that quality seems even more foregrounded here, in a way that certainly marks Lund as one of the most distinct talents of his generation on guitar – and a player who really advances some of work of the important masters on his instrument, in ways that hits territory that they never would have even expected – yet all while working with a subtle sense of beauty that easily avoids any gimmicks or tricks. Titles include "Vashkar", "En La Orilla Del Mundo", "Bobby's Tune, "Ashes", "Everything Means Nothing To Me", and "Erato" LP, Vinyl record album

A fantastic record – one of the best jazz vocal records of the 80s, and a real bright spot in an often dim decade for jazz! The set is Carmen Lundy's debut – and it's a masterful self-produced effort that immediately put her in the ranks of the ultra-hip, ultra-soulful jazz crowd – singers like Betty Carter and Dee Dee Bridgewater, both of whom took a lot longer to sound this good than Carmen! The record is set in a perfect setting – Carmen working closely with musicians headed up by brother Curtis on bass, and including soulful players like Bobby Watson, Rene McLean, Cecil Bridgewater, Jon Faddis, and Harry Whitaker. The whole thing's great – the kind of righteous vocal set that few singer ever seem to make this well – and titles include some great originals like "Good Morning Kiss", "Time is Love", and "Perfect Stranger" – plus excellent versions of "Dindi", "Love For Sale", and "The Lamp Is Low". CD also features 3 bonus alternate takes! CD

One of the few albums as a leader cut by pianist Gildo Mahones – an incredible talent from the 50s onward, and a soulful genius on the keys that we'd rank right up there with Bobby Timmons or Horace Parlan! Mahones is best known for his work alongside vocalists – particularly with Lambert Hendricks & Ross – but out here in trio formation, he really grooves things up – taking off with warm imagination, and blowing away other better-known masters of jazz piano. The recording's a relatively recent one, but the sound is very classic – and other players in the group include Johnny Kirkland on drums and Bob Maize on bass. Titles include "Estate", "If Dreams Come True", "Summertime", "Strollin", "Sounds Of Time", and "Danielle". CD

Two unusual Herbie Mann albums – back to back in a single set! The first Reggae album has a surprisingly strong mix of 70s modes – as the funky flute of Herbie Mann takes on some of the nascent reggae grooves of the time – with results that are a lot nicer than you might expect! There's some core rhythms on the record from Tommy McCook, but Herbie's regular keyboardist Pat Rebillot also adds in some surprisingly nice lines too – making the whole thing way more than just another session cut down in Kingston. One real surprise is a very extended take on "My Girl", which runs for over 18 minutes and takes up all of side two – and other cuts include "Rivers Of Babylon", "Swinging Shepherd Blues", and "Ob La Di". Reggae II is a lesser-known follow-up to Herbie Mann's first album of reggae-styled instrumental grooves – and one that's every bit as sweet as the first! Like that record, the approach here is one that has Mann working with Kingston-bred rhythms from a lineup that includes Winston Wright on organ, Jackie Jackson bass, and Michael Richard on drums – mixed with tenor from Tommy McCook and trumpet from Bobby Ellis – then given a slight fusion vibe from Mann's frequent 70s musical partner Pat Rebillot on a variety of keyboards! Herbie's flute snakes into the groove in this warm, easygoing way – very open in tone, and a surprisingly good fit for an instrument that isn't often used in such a setting. Titles include "Down On The Corner", "Cecilia", "I Know", "Stoned By You", "Bend Down Low", and "So Get It While You Can". CD

Very righteous work from Esther Marrow – an overlooked soul singer who works with a hell of a lot of pride and power! The set's an overlooked gem in the Fantasy catalog of the 70s, and it's one of only two secular soul albums cut by Marrow – and quite possibly the best of the bunch, too! Esther's got some great help on the set from arrangers Richard Tee, Bernard Purdie, and Bobby Scott – each of whom set Marrow up with some small group backing that keeps things tight and soulful throughout – thanks in big part to the drum work, which is handled by Purdie, Jimmy Johnson, and Idris Muhammad. Other players include Tee on organ and piano, Cornell Dupree on guitar, and Ralph McDonald on congas – whose percussion really helps shape the sound of most of the grooves. There's a horn section too – used sparingly – and there's also a bit of backing vocals from The Reflections, although Esther's pretty much in the lead on all numbers. Titles include "Trade Winds", "Things Ain't Right", "Ask Me To Dance", "Woman In The Window", and "Ghetto". LP, Vinyl record album

Very righteous work from Esther Marrow – an overlooked soul singer who works with a hell of a lot of pride and power! The set's an overlooked gem in the Fantasy catalog of the 70s, and it's one of only two secular soul albums cut by Marrow – and quite possibly the best of the bunch, too! Esther's got some great help on the set from arrangers Richard Tee, Bernard Purdie, and Bobby Scott – each of whom set Marrow up with some small group backing that keeps things tight and soulful throughout – thanks in big part to the drum work, which is handled by Purdie, Jimmy Johnson, and Idris Muhammad. Other players include Tee on organ and piano, Cornell Dupree on guitar, and Ralph McDonald on congas – whose percussion really helps shape the sound of most of the grooves. There's a horn section too – used sparingly – and there's also a bit of backing vocals from The Reflections, although Esther's pretty much in the lead on all numbers. Titles include "Trade Winds", "Things Ain't Right", "Ask Me To Dance", "Woman In The Window", and "Ghetto". LP, Vinyl record album

Martino plays in a 2-guitar quartet – with Bobby Rose backing him up on guitar, plus rhythm accompaniment by Richard Davis and Billy Higgins. The sound's definitely in the trippier, post-hippie style of Martino's work, with a sort of looseness and fluidity that you either love or hate, but a nicely swinging rhythm underneath. Titles include "Footprints", "Road Song", "The Visit", and "Alone Together". CD

Martino plays in a 2-guitar quartet – with Bobby Rose backing him up on guitar, plus rhythm accompaniment by Richard Davis and Billy Higgins. The sound's definitely in the trippier, post-hippie style of Martino's work, with a sort of looseness and fluidity that you either love or hate, but a nicely swinging rhythm underneath. Titles include "Footprints", "Road Song", "The Visit", and "Alone Together". CD

Martino plays in a 2-guitar quartet – with Bobby Rose backing him up on guitar, plus rhythm accompaniment by Richard Davis and Billy Higgins. The sound's definitely in the trippier, post-hippie style of Martino's work, with a sort of looseness and fluidity that you either love or hate, but a nicely swinging rhythm underneath. Titles include "Footprints", "Road Song", "The Visit", and "Alone Together". LP, Vinyl record album

You might know the sound of Jacci McGhee's voice from her previous work backing up Keith Sweat – but this set really gives her a great showcase in the spotlight, and presents the sort of fuller exposure that lets the world hear all her talents at their best! A few cuts have a nicely hard sort of approach – almost a hint at the hip hop influenced world of female soul to come in the 90s – but Jacci also balances things with plenty of sweeter elements too – never letting a sense of attitude get in the way of her craft. Keith Sweat helps out on one cut, but Bobby Wooten seems to be the studio talent here who brings out the most in McGhee – on titles that include "Skeeza", "Gold Old Fashioned Love", "The Closer I Get To You", "Been A Long Time", "Something's On My Mind", "It Hurts Me", "That's How Much I Love You", and "The Other Woman". CD

A key moment in the career of the legendary Freddie McGregor – easily one of the best-known voices in reggae in the post-Marley years! The set captures Freddie at his youthful best – coming off of time doing vocal group work, but really shining strongly as a lead singer on his own – getting this nicely subtle Studio One backing that are heavy on the roots vibe, which makes a nicely deep rhythmic contrast to the sweetly crackling vocals of McGregor! The set came out at the start of the 80s, but it's got an instant classic vibe that resonates almost more strongly with some of the most soulful Jamaican recordings at the end of the 60s. Titles include "Bandulo", "We Need More Love", "What Difference Does It Make", "Go Away Pretty Girl", "Tomorrow Is Like Today", "Bobby Bobylon", "Wine Of Violence", "Gonna Take Over Now", "Rastaman Camp", and "I Am A Revolutionist". CD

A key moment in the career of the legendary Freddie McGregor – easily one of the best-known voices in reggae in the post-Marley years! The set captures Freddie at his youthful best – coming off of time doing vocal group work, but really shining strongly as a lead singer on his own – getting this nicely subtle Studio One backing that are heavy on the roots vibe, which makes a nicely deep rhythmic contrast to the sweetly crackling vocals of McGregor! The set came out at the start of the 80s, but it's got an instant classic vibe that resonates almost more strongly with some of the most soulful Jamaican recordings at the end of the 60s. Titles include "Bandulo", "We Need More Love", "What Difference Does It Make", "Go Away Pretty Girl", "Tomorrow Is Like Today", "Bobby Bobylon", "Wine Of Violence", "Gonna Take Over Now", "Rastaman Camp", and "I Am A Revolutionist". CD features 8 bonus tracks – including "Come Now Sister (ext mix)", "Freddie", "Homeward Bound", "Little Girl", "When I'm Ready (ext version)", "Rastaman Camp (ext mix)", and "I Man A Rasta (orig 7" mix)". CD

A triple-action classic from alto genius Jackie McLean – and one of those key records from the years when he stunned the world by moving from hardbop into the more experimental modes of the "new thing" generation! The approach here is very formative – not just for some of Jackie's spiritual expressions in the 70s, but also for the way that more creative jazz moved forward in years to come – as McLean is working alongside key players who include Charles Tolliver on trumpet, Bobby Hutcherson on vibes, Cecil McBee on bass, and Billy Higgins on drums! Higgins' lyrical playing is a perfect complement to the more avant tones of the others – giving the album a free dancing soul, but also never letting things get too out of hand to lose the jazz basis of McLean's best work. The album includes an early recording of Tolliver's classic tune "Plight", plus the tracks "Wrong Handle", "Action", and "Hootnan". CD

A triple-action classic from alto genius Jackie McLean – and one of those key records from the years when he stunned the world by moving from hardbop into the more experimental modes of the "new thing" generation! The approach here is very formative – not just for some of Jackie's spiritual expressions in the 70s, but also for the way that more creative jazz moved forward in years to come – as McLean is working alongside key players who include Charles Tolliver on trumpet, Bobby Hutcherson on vibes, Cecil McBee on bass, and Billy Higgins on drums! Higgins' lyrical playing is a perfect complement to the more avant tones of the others – giving the album a free dancing soul, but also never letting things get too out of hand to lose the jazz basis of McLean's best work. The album includes an early recording of Tolliver's classic tune "Plight", plus the tracks "Wrong Handle", "Action", and "Hootnan". LP, Vinyl record album

A triple-action classic from alto genius Jackie McLean – and one of those key records from the years when he stunned the world by moving from hardbop into the more experimental modes of the "new thing" generation! The approach here is very formative – not just for some of Jackie's spiritual expressions in the 70s, but also for the way that more creative jazz moved forward in years to come – as McLean is working alongside key players who include Charles Tolliver on trumpet, Bobby Hutcherson on vibes, Cecil McBee on bass, and Billy Higgins on drums! Higgins' lyrical playing is a perfect complement to the more avant tones of the others – giving the album a free dancing soul, but also never letting things get too out of hand to lose the jazz basis of McLean's best work. The album includes an early recording of Tolliver's classic tune "Plight", plus the tracks "Wrong Handle", "Action", and "Hootnan". LP, Vinyl record album

Two key albums from a young Jackie McLean – both very early entries in the "new thing" mode of the 60s! First up is Let Freedom Ring a record that features a young Jackie McLean at the height of his powers – really stretching out here, but never going too far out – a perfect balance between his modern bop of previous records, and his groundbreaking "new thing" jazz to come! The group is a relatively straight ahead one – with Walter Davis on piano, Herbie Lewis on bass, and Billy Higgins on drums – but the tracks are all quite long, and have this really arch sensibility on Jackie's horn – this edge, this cry he didn't have a few years before – easily one of the freshest voices in alto sax at the time, yearning here to break free with new ideas and new modes of expression. The vibe is perfectly balanced – like McLean's classic A Fickle Sonance – and titles include the classic "Melody For Melonae", plus "Rene", "I'll Keep Loving You", and "Omega". Destination Out is a modernist classic from 60s Blue Note! The album's one of Jackie McLean's greatest from the time – and one of his seminal "new thing" sessions cut with young modernists Grachan Moncur III on trombone and Bobby Hutcherson on vibes – both young players who were really finding the sharper edges of their sound at the time! Three of the four long tracks on the record were written by Moncur, and have a similar approach to his own recordings for Blue Note – moody and introspective, in a style that's as concerned with sound and space as it is jazz and rhythm – and Hutcherson's vibes are beyond compare here, with have a sinister metallic quality that he only used briefly in his early career! The whole record's a gem, and one not to pass up! Titles include "Kahlil The Prophet", "Riff Raff", and "Love & Hate". CD

An amazing album – simply groundbreaking, and a key turn for Jackie McLean! The record features a group of hip young players – including a very young Tony Williams, plus Grachan Moncur III, Bobby Hutcherson, and Eddie Kahn – all playing in a spare contemplative modernist mode that would soon become known as "new thing" jazz. The four tracks on the album – "Frankenstein", "Ghost Town", "Blue Rondo", and "Saturday & Sunday" – are extremely stark, and even Hutcherson's often-warm vibes sound harsh and metallic, especially next to McLean's razor-sharp tone. The record's a real treasure – and never too out to be unenjoyable by fans of McLean's more inside work. Extremely compelling – and we sure wish they were making them like this again! Also includes a bonus alternate of "Saturday & Sunday". CD

A key moment for the Philly soul scene of the 70s – and the first album to feature the MFSB backing group as a solo act on their own! The ensemble were responsible for key sounds on countless soul singles of the time – yet also find a way to soar beautifully on their own – in a sweet instrumental groove that matches the strength of Barry White's Love Unlimited Orchestra, and which was definitely a key inspiration for the sound of the Salsoul Orchestra! There's definitely a bit of early disco in the mix, but the style's more uptempo east coast overall – that pre-disco groove that was going down in the clubs – with larger strings added to a core group of funky rhythm players. Gamble & Huff production make the whole thing sparkle, and arrangements are by Vince Montana, Bobby Martin, and Jack Faith – on titles that include "Love Is The Message", "Cheaper To Keep Her", "TSOP", "Zack's Fanfare", "Touch Me In The Morning", and "My One & Only Love". LP, Vinyl record album

A landmark blend of gospel spirit and 70s soul – and one of the greatest moments ever from The Mighty Clouds Of Joy! Like so many other soul artists before them, these guys have voices that are steeped in the best traditions of gospel – but rather than giving up their roots and going secular, they just cut this set with the best Philly soul help of the time – arrangements from Wade Marcus, and a smoking Sigma Sound lineup that includes work from Norman Harris, Vince Montana, Bobby Eli, Ronnie Baker, and Earl Young – all of whom give the record the vibe of the best Philly International material from the time! Dave Crawford produced, but the set almost feels more Gamble & Huff than anything else – as the quintet's vocals really soar on tracks that include "Stoned World", "Time", "Mighty Cloud Of Joy", "The Master Plan", and "Heart Full Of Love". LP, Vinyl record album

One of the few full albums ever issued by McKinley Mitchell – a deep soul singer with an equal amount of blues in his approach – and this great raspy approach to a lyric that's somewhere in between ZZ Hill and Bobby Blue Bland! The date of the album is 1978, but the whole thing has a vibe that could be years earlier – a really classic southern soul approach, with backings by a sweet studio combo that's clearly getting some great directly from James Stroud, who also helped with production. Things are nicely laidback and under-polished – and Mitchell's wonderful voice really gets to shine on tracks that include "Open House At My House", "You're So Fine", "The Town I Live In", "You Know I've Tried", "Run To Love", "Dream Lover", "End Of The Rainbow", and "Follow The Wind". LP, Vinyl record album

Killer work from a very unique little group – the short-lived union of bassist Red Mitchell and saxophonist Harold Land – heard here in one of the hippest dates from the LA scene of the early 60s! Mitchell's a well-known name from more straight ahead sides of the 50s, but working here with Land he really hits a great groove – that harder sort of soulbop sound that was coming out of LA for a few brief years in the 60s – played with a sense of tightness and fire that matched the best work of the time in New York! The whole group here is great – and the amazing Carmell Jones is in the group on trumpet, alongside Frank Strazzeri on piano and Leon Pettis on drums. The solos are great, and the writing is too – with some lively lyrical original compositions that include "Comara", "Pari Passu", "Catacomb", and "Triplin Awhile". A great bridge between Land's earlier sessions under his own name, and his later partnership with Bobby Hutcherson! CD

A righteous group soul classic from the 70s – the one and only album from The Modulations, and a lasting classic that almost beats the multiple album runs of some of their contemporaries! The group's a southern harmony quartet at their core, but they also get some really great backings on the set – a Philly vibe that really matches the best work from the Gamble & Huff stable, but with more of an indie vibe too – fitting for the Buddah Records placement of the set. The record features studio help from Norman Harris, Vince Montana, and Bobby Eli – whose work on the record helps link the style to the righteous grooves of groups like Soul Generation or True Reflection – both a good comparison to The Modulations too! Titles include "It's Rough Out Here", "I Found Love At Last", "Those Were The Best Days Of My Life", and "I'll Always Love You". LP, Vinyl record album