A beautiful bit of understated 70s brilliance from Hank Jones – working here in a no-nonsense format that rivals the greatness of his earlier years! At one level, the album's recorded with some of the touches of some of the Japanese trio sides of the 70s – yet the tunes here are tighter, and shorter, with more of a focus on Hank's straightforward approach to the keys. Rhythm is by Ron Carter on bass and Grady Tate on drums – and titles include "Wind Flower", "Minor Contention", "Favors", "Nothin Beats An Evil Woman", and Gary McFarland's "Hanky Panky". CD

A massive double-length set from saxophonist Steve Lacy – and maybe one of the strongest 70s statements from his legendary European quintet! The album features two different live performances – each of which open up in the brilliant freedoms allowed by the European scene since the end of the 60s, but restructured by Lacy in that fantastic energy he shared with Steve Potts on alto, Irene Aebi on cello and voice, Kent Carter on bass, and Oliver Johnson on drums. The group display a masterful balance between united energy and individual expression – and the synchronicity between Lacy and Potts is especially striking. Titles include "Stamps", "Wickets", "The Dumps", "The Blinks", "Duckles", "Ire", and "Existence". Also features the bonus track "Follies". CD

A killer electric piano jam from the great Mike Longo – stone funky, and one of his best albums ever! The whole thing's done in a really laidback style that's simply amazing – a lot like the best CTI work of the time, but somehow rougher, and with a darker edge. Longo riffs out on the keys over rhythm by Ron Carter, Mickey Roker, and Ralph MacDonald – and Joe Farrell and Randy Brecker add in some great horn work that fleshes out the tunes with a deeply soulful jazzy feel. The whole album's great, with a range of moods, emotions, and grooves that Longo hardly ever hit again – and titles include "Summers Gone", "El Moodo Grande", "Like a Thief In the Night", "Ocean Of His Might", and "Magic Number". CD

Quite possibly the greatest record ever by Mike Longo – a wicked batch of electric funky piano tunes, recorded with a sublime 70s feel! The set's got a really stripped down group – with Ron Carter on bass, Mickey Roker on drums, and Patato Valdez on percussion – all grooving behind Longo's work on electric and acoustic piano, creating some magical rhythms that snap a groove out of just about every single tune! The whole set's great – not just a "one number" funky jazz set – and titles include versions of Marvin Gaye's "What's Going On", Dizzy Gillespie's "Ole' For the Gypsies", Les McCann's "Samia", and Longo's own "Southern Soul" and "Funkia". CD

A very apt title – as Jackie McLean sits in for a soulful session with the Great Jazz Trio of Hank Jones, Ron Carter, and Tony Williams – all "old bottles" at this point in their career, but working together beautifully to brew some very mellow "new wine"! The album's easily one of the best in the trio's run of the time – as Jackie's alto sax really helps flesh things out a bit more than usual – and moves the album past the trio sound of their other records. McLean gets plenty of space to do his thing on the longer tracks – and the piano of Jones, bass of Carter, and drums of Williams have a solid, soulful approach that's really wonderful. Titles include 2 McLean originals titled "Appointment In Ghana Again" and "Little Melonae Again", both remakes of older tunes – plus "Confirmation", "Bein Green", and "Round Midnight". CD

A wicked soul set from Output/Input – a project spearheaded by Melvin Lee Davis, who worked behind Chaka Khan for years – experience that definitely shows in the warmth and richness of this set! The record's got a great classic/contemporary vibe, one that almost takes us back to the sound of Incognito in their glory days – but with a spin that's nicely different too – maybe more soul at the core than jazz funk, as Davis opens the door to vocals from a range of different singers – Antonio McLendon on most of the core cuts, but also work from O'Bryan, Audrey Wheeler, and Brent Carter too. Titles include "Don't Be Scared", "Doin Alright", "Time Of Our Lives", "I'm In Love", "Really No Chance", "Love Of Another Guy", "Here We Go Again", and "True Love" – plus the CD bonus track "Every Time You Touch Me". CD

Unreleased work by one of the greatest soul music songwriters of the 60s – the mighty Dan Penn, a key force in the Fame Records studio scene – heard here on a batch of mostly unreleased cuts from his best years! The package has Dan singing in the lead on all cuts – performing his own lyrics with backings from the same Fame Studios lineup that worked with soul greats like Clarence Carter, Candi Staton, and dozens of others who came to Muscle Shoals to record in the 60s and 70s – and Penn's vocals have this raspy, soulful charm that's years ahead of its time – a huge inspiration on male singers of the 70s, even though Dan never full got his due. His songs are the stuff of legend, but the man's equally great as a singer – and this collection really shows a light on his genius that should have gotten much more exposure back in the 60s. CD features 24 tracks in all – only 2 of which were ever issued before – and titles include "Trash Man", "Without A Woman", "Reaching Out For Someone", "I Need You", "Little Girl", "Destroyed", "Diamonds", "I Dig A Big Town", "I Love Everything About You", "So Many Reasons", "We're Swinging", "It Hurts", "She Ain't Gonna Do Right", "Do You Need It", and "You Really Know How To Hurt A Guy". CD

Beautiful late work from Art Pepper – one of his albums recorded for the well-done Artist House label, and a set that's maybe got a different vibe than some of his Galaxy recordings of the time! There's a rock-solid sense of soul to the record – one that comes from the work of two different rhythm trios – one that features George Cables on piano, Charlie Haden on bass, and Billy Higgins on drums – a rhythm trio who keep things swinging, but never in a way that's too straight – pushing Art a bit around the edges, but letting him come right down the middle with some fantastic solos on alto – the other with Hank Jones on piano, Ron Carter on bass, and Al Foster on drums. Tunes are a bit shorter than on some other albums of the period, but in a great way that really lets you focus in on Pepper's amazing sound –and titles include "Diane", "Stardust", "Blues For Blanche", and "Straight No Chaser". CD

Mike Richmond is plucking the cello on the front of the cover – and within, he uses the instrument in a wonderfully fluid, jazzy style – really living up to the legacy of earlier work on the cello in jazz by artists like Ron Carter, Sam Jones, or Eldee Young! The group is nice and lean, with Andy Laverne on piano, Jay Anderson on bass, and Anthony Pinciotti on drums – and the cello is recorded very high up in the mix, with a lot more texture on the strings than you might expect – and certainly a very different sound than the use of the instrument in classical music or string quartet settings! Titles include a fair bit of Bill Evans numbers – versions of "Bill's Hit Tune", "Orbit", "Turn Out The Star", "B Minor Waltz", and "Waltz For Debbie" – and a nice take on "You Must Believe In Spring". CD

One of the greatest modern moments on Blue Note – ever! From the cover, to the compositions, to the playing on the set – the whole album crackles with an unbelievable fire that was hardly ever matched again. A young Sam Rivers leads a quartet that includes Jaki Byard on piano, Ron Carter on bass, and Anthony Williams on drums – coming together in a sound that's got lots of sharp edges, yet which also beats with an undeniably swinging heart. Rivers blows incredibly on the session – held in check by the rhythm section, and never getting too free (or sloppy, as on some later sides) – and instead hitting these hard tones that really push the envelope of 60s jazz without rewriting the rules entirely. Brilliant all the way through, with tracks that include "Beatrice", "Ellipsis", "Cyclic Episode", and "Downstairs Blues Upstairs". Plus, the original album is expanded by 4 bonus tracks – alternate takes of "Downstairs Blues Upstairs" and "Luminous Monolith". CD

One of the greatest modern moments on Blue Note – ever! From the cover, to the compositions, to the playing on the set – the whole album crackles with an unbelievable fire that was hardly ever matched again. A young Sam Rivers leads a quartet that includes Jaki Byard on piano, Ron Carter on bass, and Anthony Williams on drums – coming together in a sound that's got lots of sharp edges, yet which also beats with an undeniably swinging heart. Rivers blows incredibly on the session – held in check by the rhythm section, and never getting too free (or sloppy, as on some later sides) – and instead hitting these hard tones that really push the envelope of 60s jazz without rewriting the rules entirely. Brilliant all the way through, with tracks that include "Beatrice", "Ellipsis", "Cyclic Episode", and "Downstairs Blues Upstairs". CD

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

An unusual package – one that features the full album The Way Ahead, plus tracks from other late 60s Archie Shepp sessions too! The Way Ahead has tenor giant Archie Shepp in prime form – working with a sextet that's awash in avant freedoms, but which always shows a great sense of restraint – just the right power gained from the new modes of jazz expression, as the players dance together beautifully on a razor's edge of personal creativity and ensemble exploration. Players here include Grachan Moncur on trombone, Jimmy Owens on trumpet, Ron Carter on bass, and Beaver Harris and Roy Haynes on drums – and the album also features the first piano player on most of the Shepp albums on Impulse – Walter Davis Jr, making a rare outside appearance with the group! Titles include the classic track "Frankenstein", plus "Fiesta", "Damn If I Know (The Stroller)", and "Sophisticated Lady" – all nice and long! Next are two tracks from the Kwanza album – with a lineup that includes Charles Davis on baritone, Grachan Moncur on trombone, Jimmy Owens on trumpet, and Dave Burrell on piano – on the titles "New Africa" and "Bakai". Last on the CD is the side-long gem "Magic Of Juju" – a set that has an unusual group with Martin Banks on trumpet, Michael Zwerin on trombone, Reggie Workman on bass, and both Norman Connors and Beaver Harris on drums – plus Ed Blackwell on rhythm logs, Franck Charles on talking drums, and Dennis Charles on added percussion! CD

A perfect illustration of the rich new directions Wayne Shorter was taking at the start of the 70s – an amazing flurry of sounds and styles that's light years ahead of where he began in the 60s! Shorter's one of those players who was already great at the start – an amazing tenorist, both on his own and with the groups of Art Blakey and Miles Davis – yet by the time of this record, he'd absorbed a huge amount of influences from Brazilian music, modal jazz, the spiritual underground, and even the free European scene – all of which come to play on the long, complex tunes on the set! The record has Shorter working with some other key contemporaries of this new moment in jazz – John McLaughlin on 12 string guitar, Chick Corea on marimba and percussion, Dave Holland and Miroslav Vitous on bass, and Ron Carter on cello – all players who have the same open, exploratory vibe as Wayne's own lines on tenor and soprano sax. Titles include an excellent cover of Milton Nascimento's "Vera Cruz", plus the tracks "Antiqua", "Iska", and "Montezuma". CD

A very unusual album for Wayne Shorter – recorded right around that 1970 point when Duke Pearson was exploring formats for Blue Note artists that included larger, often electric arrangements, pointing the way towards some of the later 70s soul jazz work on labels like Kudu or CTI! This set, produced by Pearson, features Shorter as the main soloist on tenor and soprano sax – in a very hip group that includes Dave Friedman on vibes, Gene Bertoncini on guitar, Ron Carter and Cecil McBee on bass, and both Billy Hart and Alphonse Mouzon on drums. Tracks are long and complicated, with searching soulful arrangements that are part post-Miles fusion, part early 70s indie soul jazz – but balanced nicely without any sense of overindulgence at all. Shorter's soprano work is very nice, and much more angular than his playing on tenor – and titles include "Wind", "Joy", "Storm", and "Calm". CD

A seminal album from this genius tenorist – a classic session from the late 60s that has Wayne Shorter pushing into a searching, spiritual groove, but one that's still filled with all the taught electricity of his earlier recordings on Blue Note! Shorter's accompanied by youthful modernists like James Spaulding on alto, Herbie Hancock on piano, Ron Carter on bass, and Joe Chambers on drums – plus the mighty Curtis Fuller on trombone, whose instrument here proves to be the same key extra ingredient that it was on the best Art Blakey sextet sessions of the 60s – bringing some deeper currents to the album that are completely sublime! There's a tight, soulful feel here that's sublime – an Adams Apple sort of groove, but a bit fuller – and titles include the classic "Tom Thumb", plus "Playground", "Schizophrenia", "Kryptonite", "Miyako", and "Go". CD

An album of incredible beauty – and one of the key early sides that Shorter cut for Blue Note! It's nearly impossible to describe the genius of these records without playing them – and upon playing, all words disappear in the brilliance of Shorter's incredible tone, solo imagination, and writing! There's a nascent soulfulness here that would emerge quite strongly across the field of jazz in the late 60s and early 70s – bubbling forth here on the session, with a sound that we could only call Shorter-archetypal – and return to again and again over the years, as proof that few players ever measured up as greatly at such a young age! The group's a quintet with Herbie Hancock on piano, Freddie Hubbard on trumpet, Ron Carter on bass, and Elvin Jones on drums – and the set list includes "Speak No Evil", "Infant Eyes", "Witch Hunt", and "Wild Flower". CD features a bonus alternate take of "Dance Cadaverous". CD

An album of incredible beauty – and one of the key early sides that Shorter cut for Blue Note! It's nearly impossible to describe the genius of these records without playing them – and upon playing, all words disappear in the brilliance of Shorter's incredible tone, solo imagination, and writing! There's a nascent soulfulness here that would emerge quite strongly across the field of jazz in the late 60s and early 70s – bubbling forth here on the session, with a sound that we could only call Shorter-archetypal – and return to again and again over the years, as proof that few players ever measured up as greatly at such a young age! The group's a quintet with Herbie Hancock on piano, Freddie Hubbard on trumpet, Ron Carter on bass, and Elvin Jones on drums – and the set list includes "Speak No Evil", "Infant Eyes", "Witch Hunt", and "Wild Flower". CD

Excellent work by Lonnie Smith – a free-flowing album of long jazzy grooves that's kind of an extension of his Blue Note albums, touched with more of the electricity of his 70s playing! There's some killer rhythms on the album – courtesy of drummers Jamey Hudad and Ben Riley, and electric bassists Ron Carter and Ralphe Armstrong – and Lonnie's on organ grooving alongside a young Joe Lovano, who plays some killer tenor and soprano sax – and the album's got these really long, open cuts that definitely hint at the more spiritual look of the cover. Titles include the 15 minute jammer "Spirits Free", plus "Afrodesia", "Favors", "Straight To The Point", and "The Awakening". CD

Excellent work by Lonnie Smith – a free-flowing album of long jazzy grooves that's kind of an extension of his Blue Note albums, touched with more of the electricity of his 70s playing! There's some killer rhythms on the album – courtesy of drummers Jamey Hudad and Ben Riley, and electric bassists Ron Carter and Ralphe Armstrong – and Lonnie's on organ grooving alongside a young Joe Lovano, who plays some killer tenor and soprano sax – and the album's got these really long, open cuts that definitely hint at the more spiritual look of the cover. Titles include the 15 minute jammer "Spirits Free", plus "Afrodesia", "Favors", "Straight To The Point", and "The Awakening". CD

Genius early work from Candi Staton – one of her first few gems recorded at Fame Studios with producer Rick Hall – and a set that packs the punch of some of the best female soul of the time! The groove here is stripped-down, raw, and ready – at a level that even Aretha Franklin's classic work for Atlantic in the late 60s couldn't even match. And unlike Aretha, Candi's work here is largely undiscovered – not nearly as filled with cliched, and stepping out nicely on a fresh set of tracks written by George Jackson, Clarence Carter, and others – all sung by Staton in a heartbreaking voice that should have been one of the biggest forces in 70s soul. Titles include "Evidence", "Get It When I Want It", "Another Man's Woman, Another Woman's Man", "I'm Just A Prisoner", and "I'd Rather Be An Old Man's Sweetheart". CD

A fantastic CD collection – one that brings together all five volumes of Stereolab's Switched On albums in one set – a huge collection of unusual material and rare singles! On the original Switched On record, moog, fuzz, and farfisa have never sounded so great together – and although these guys drank deep of the well of 60s pop magic before making this modern-day classic – they also come off sounding pretty darn original on their own! When this gem of a record first hit the world, it was as if all of us were hearing music from the cosmos for years, but could never find a way to make it part of our everyday lives. Then along come Tim Gane, Laetitia Sadier, and crew – and completely change the world for the better! An album that no home should be without – with titles that include "Contact", "Super-Electric", "Doubt", "Brittle", "Au Grand Jour", "The Way Will Be Opening", and "Changer". Refried Ectoplasm is the second in the holy trinity of "switched on" albums from Stereolab – a set that collects together all the unusual recordings and other side bits the group were doing in the early years of their career – standing strong as a testament to their non-stop efforts to forever push the boundaries of electric fuzzy pop! The vocals Laetitia Sadier are completely sublime – almost a bridge between the darker modes of the previous pop generation and all the new ideas of the world to come – when the rest of rock music would finally catch up to these guys, and realize that the best path to the future is through the past! Titles include "Farfisa", "John Cage Bubblegum", "Tempter", "Exploding Head Movie", "French Disko", "Harmonium", "Revox", "Mountain", and "Sadistic". By the time of Aluminum Tunes (Switched On Vol 3) – it had only been a few years since the previous Switched On set, but Stereolab had already created so much musical magic, they needed a double-length record to keep the whole thing intact! The sound here is somehow getting even more dreamy and wonderful – definitely showing their work with the mighty Sean O'Hagan, and also really opening up into all the many musical ideas that Tim Gane was picking up from his never-ending search for unusual records! The 60s swirl through time and space, and make the future sound even better than we could have imagined it – while the Channel is drained, and England and France become one in a genius marriage of pure pop modes. Titles include "The Extension Trip", "How To Play Your Internal Organs Overnight", "Space Moment", "Iron Man", "The Long Hair Of Death", "One Note Samba/Surfboard", "Percolations", "1000 Miles An Hour", "Klang Tone", and a great take on the theme to "Get Carter". Switched On 4 is full of fantastic sounds from Stereolab – an assortment of rare singles and other unusual recordings that were mostly issued on their own Duophonic label, and which are far more obscure than their bigger label albums during the same period! Even though Stereolab gave the world some undeniable classics in the late 90s and early 00s, they were also working endlessly, and seemed to record more than they could ever fit on a full length set – which resulted in all the cool singles, limited releases, and other material included here – not dusty tapes pulled from the archives, but beautiful work that often returns the group to all the space age charms of their first few records! The package is huge – 25 tracks in all, of varying length – and titles include "Barok Plastik", "Calimero", "Fried Monkey Eggs (voc)", "Solar Throw Away", "Variation One", "Monkey Jelly", "Explosante Fixe", "Jump Drive Shut Out", "The Super-It", "L'Exotisme Interieur", "Pandora's Box Of Worms", "Retrograde Mirror Form", "Nomus E Phusis", "I Feel The Air Of Another Planet", "Outer Bongolia", and "Intervals". Includes tracks from Duophonic 45s, Underground Is Coming EP, Moog, First Of The Microbe Hunters, and work from compilations, unreleased tracks, and even a collaboration with Brigitte Fontaine! Switched On 5 is maybe the coolest entry so far in this really wonderful series – a set that's overflowing with rare and unusual work from Stereolab – most of it done at a time when the group were riding high on a major label, but still managed to issued a huge amount of music on their own, and work in a variety of collaborative settings too! One of our favorite is their work with Nurse With Wound, and tracks from that partnership begin this set – which then moves into rare singles, work with artists, compilation contributions, and plenty more – all with the usual Stereolab charm, but often with a nicely different vibe too! Titles include "Simple Headphone Mind", "Symbolic Logic Of Now", "Magne Music", "Forensic Itch", "Spool Of Collusion", "Robot Riot", "Trippin With The Birds", "Cybele's Reverie (live)", "Nth Degrees, "Refractions In The Plastic Pulse (Autechre Feebate mix)", and "Plastic Mile (original version)". CD

A sweetly funky little set from Sonny Stitt – one of his hippest albums ever, and a rare date cut for Ahmad Jamal's short-lived record label! The sound here is a great combination of the late 60s tone that Sonny forged on other east coast indies – and some of the hipper, more open rhythms he'd later hit on the Jazz Masters label in Detroit on his work with Eddie Russ – a sound that's quite unique, and which is a fair bit different than the funk-based Stitt dates for Prestige around the same time. Players here are quite unusual too – Herbie Hancock on piano, organ, and Fender Rhodes – plus Ted Sommer on vibes, and guitar by either Gene Bertoncini, Howard Collins, or John Pizzarelli – depending on the track. Rhythm is by Ron Carter on bass and Grady Tate on drums – and the arrangements by Dave Ward have a nicely fresh approach to soul jazz – one that really keeps things interesting throughout! Titles include "Sunny", "My Idea", "Jason's Blues", "Out Of This World", "Opus 1", "When Sonny Blows Blue", and "Mac Arthur Park". CD

A really great little set from Japanese bassist Isao Suzuki – a rare player who goes way way past traditional modes of his chosen instrument, into richly creative territory that rivals the 70s experiments of Ron Carter! Like Carter, Suzuki's never content to just let the bass be a source in the background – and instead really foregrounds his wonderful work on both cello and acoustic bass – with a sprightly sound that's as groovy as it is rhythmic – a really great sense of flow that almost makes you feel the set's electric, even though Isao plays acoustic all the way through. The album also features great work by pianist Kunihiko Sugano – who hits some fuller notes that really crackle with energy, and which unleash a surprising amount of soul on the best numbers – and the quartet also features additional bass from Takashi Mizuhashi and drums from George Otsuka. Titles include the great title cut "Blow Up", plus "Aquamarine", "Like It Is", and "Low Flight". CD

A wonderful little set from Japanese bassist Isao Suzuki – one that has him playing both acoustic bass and cello, mixing up the instrumentation in a really cool way! Suzuki was really one of the most inventive bassists of his generation of Japanese jazz – able to shift styles and sounds in a way that was a bit like Ron Carter on some of his groundbreaking records of the 70s – a mode that definitely comes into play here. The group's also noteworthy in that it features guest guitar work from Kazumi Watanabe – although Watanabe's playing here in a style that's much more restrained than on his later work – sliding in nicely next to Suzuki's warmly plucked notes on bass and cello, and ringing out with a great sense of lyrical interplay. Other instrumentation includes additional bass from Nobuyoshi Ino, drums from Tetsujiro Obara, and piano from Kunihiko Sugano – and titles include two great long originals – "Blue City" and "45th Street" – plus "Play Fiddle Play" and "Body & Soul". CD

Really great work from Japanese bassist Isao Suzuki – a live performance recorded right at the same time as his groundbreaking albums for the Three Blind Mice label – and maybe even more compelling than some of that work! Suzuki, like Ron Carter and a few other key contemporaries, is way more than a standard bassist when he works as a leader – and here, he opens up the songs and the structure of the record in all these really great modes – creating a sense of soulful variety that really keeps things interesting throughout! Tracks are nice and long – and feature Suzuki on bass, cello, and electric piano – plus Kazumi Watanabe on guitar, Shinji Mori on drums, Osamu Kawakami on second bass, and Kenji Mori on alto, bass clarinet, and flute. Singer Mark Nakamoto delivers great vocals on the tracks "LA Breakdown" (billed incorrectly here) and "Bird Of Beauty" – and other tracks include very long takes on "Orang-Utan" and "Blue Road". CD

A wild little record – one that was issued under the name of Flying Dutchman label headman Bob Thiele – but which actually features work from some of the grooviest artists on the label at the time – including Tom Scott, Ornette Coleman, Jon Appleton, John Carter, Horace Tapscott, and Bobby Bradford! The package has a very different feel on each of the album's four sides – and side one is a tremendous showcase for the young reedman Tom Scott – working here in a cool mix of electric and acoustic instrumentation that's similar to his other records of the time – including organ, vibes, and some nice funky touches as well. Side two features an exploration of the history of jazz – but one that progresses quickly from early modes to hipper ones – showcasing the talents of John Carter on tenor, Bobby Bradford on trumpet, and Horace Tapscott on piano! Side three is a mighty dedication to the late John Coltrane – played at first by a trio with Joe Farrell on flute, Wilbur Ware on bass, and Elvin Jones on drums – then moving into a mix of Farrell's flute and narration by Rosko – then a performance by the Ornette Coleman quartet. And side four is especially mindblowing, as it's comprised of lone long piece by Jon Appleton's Syntonic Menagerie – a mix of sound samples, tape tricks, and jazz – as a commentary on The American Indian, JFK, and Martin Luther King. The whole thing's a great illustration of the Flying Dutchman label at its most revolutionary – and titles include "Head Start", "Freaky Zeke", "Lanoola Goes Limp", "Swing Era", "In The Vineyard/Avant Garde", "Love Supreme", "Lament For John Coltrane", and "A Few Thoughts For The Day". CD also features a rare bonus track – "The Flying Dutchman". CD

Malachi Thompson always has a great ear for the saxophonist in his groups – and that's definitely the case here, as the record sparkles as much from the tenor of Carter Jefferson and alto of Joe Ford, as it does from Malachi's trumpet! The three horns rise together wonderfully – Ford plays a bit of soprano, as well – and the session has a vibe that's very different than others recorded at the time – maybe more in the soulful blend of styles you would have found on a 70s session for a label like Muse. The rest of the group features Kirk Brown on piano, Harrison Bankhead on bass, Nasar Abadey on drums, and Richard Lawrence on congas – and titles include a great reading of the Billy Harper gem "Croquet Ballet", plus "In Walked John", "Lucky Seven", "Drown In My Own Tears", and "Mystic Trumpet Man". CD

Overlooked spiritual jazz genius from Chicago trumpeter Malachi Thompson – a player who was making 70s-styled sessions when most folks had given up on the music! The vibe here is right between Strata East and some of the more righteous 70s sessions on Muse – and the group features superb work from tenorist Carter Jefferson, who's at the level of his Rise Of Atlantis work from back in the day – in a group that also features Albert Dailey on piano, James King on bass, Nasar Abadey on drums, and Randy Abbott on congas. Arnae Burton sings on the track "Back To The One", Leon Thomas guests on "No More Hard Times" – and other instrumental tracks include "A Rising Daystar", "Spirit Of Man", "Dhyia Malika", and "I Remember Clifford". CD features the bonus track "Dearly Beloved". CD

A rare non-Blue Note 60s date as a leader from Stanley Turrentine – recorded for Impluse when his (then) wife Shirley Scott was contracted to the label – and featuring the talents of both players on some very groovy tracks! The quartet features both Stan's tenor and Shirley's Hammond – with bass by Ron Carter and drums from Mack Simpkins – all in an easy-going groove that recalls some of the best Turrentine/Scott pairings on Prestige! There's a quality here that's relaxed, but never lazy – professional, but never slick – and the album's great proof that although both players could be great on their own, they often sounded even better together at this point in their careers. The album features a cool version of "On a Clear Day", which Shirley always manages to kick into a nice groove – plus the tracks "Good Lookin Out", "Let It Go", "Sure As You're Born", "T'Aint What You Do", and "Ciao Ciao". CD

As pure a distillation of McCoy Tyner's lyrical vision as one could ever hope for – a brilliant early standout session for the pianist as a leader! McCoy is backed up here by the energetic drumming of Elvin Jones – with whom he shares a natural empathy from their many years together under Coltrane – as well as the incomparable bass of Ron Carter, and the spirited tenor of Joe Henderson – both players who make the quartet date explode with a fresh sense of imagination – the kind of work that has McCoy stepping out strongly from the shadows of The Great One, into a hip space of his own. The set glistens with 5 Tyner originals – including "Passion Dance", "Four By Five", "Contemplation" and "Search for Peace" – all of which point towards new directions in the post-Coltrane years! CD

Two great 90s sessions from Cedar Walton – back to back in a single set! Composer is a record that not only shows off the great skills of pianist Cedar Walton as a composer, but one that also shows how he can really work a special sort of magic when he lets some horns into his group, and shifts from his usual mode in a trio! Walton's always wonderful on the keys – and works here with Christian McBride on bass and Victor Lewis on drums – but it's the presence of the hornmen on the record who really shade things wonderfully – the presence of Vincent Herring on alto, Ralph Moore on tenor, and Roy Hargrove on trumpet – all really bringing out some great qualities in Walton's original tunes. Titles include "Martha's Prize", "Minor Controversy", "Hindsight", "Groove Passage", "Theme For Jobim", and "Groundwork". Roots is a masterpiece of color from pianist Cedar Walton – a set that has all the right elements and instruments really opening up his sound! The core trio is excellent – Cedar on piano, Ron Carter on bass, and the great Lewis Nash on drums – at his crackling 90s best – yet these players are expanded in all these great tonal ways – with rich tenor from Joshua Redman, sparkling trumpet from Terence Blanchard, and great guitar from Mark Whitfield – who really seems to echo Cedar's sense of color on his strings. Titles include "Mode For Joe", "Bolivia", "Fiesta Espanol", "Firm Roots", "I'll Let You Know", and "When Love Is New". CD

A surprising title – given that Sadao Watanabe was really stretching out a lot in the early 70s – but a fitting one too, as the set's a nice back-to-basics date from the amazing Japanese saxophonist! Sadao's working here with the Great Jazz Trio of Hank Jones on piano, Ron Carter on bass, and Tony Williams on drums – a swingingly solid combo who really make things cook, even in a small space – sounding almost better here when topped by Watanabe's sharp-edged alto lines than on their own albums of the time! Sadao also plays a bit of flute, which is really a treat – and titles include "Confirmation", "Episode", "Gary", "3:10 Blues", "Chelsea Bridge", and "One For C". CD

One of the last completely intense albums from Tony Williams' Lifetime group – a slightly changed lineup from the original trio – one that includes guitarist Ted Dunbar, bassist Ron Carter, and percussionists Don Alias and Warren Smith. The group still features some searing organ work from Larry Young (recording here as Khalid Yasin), but the overall sound is also a bit spacier, and even more percussion-driven than before. Dunbar's tripped-out guitar is a nice change from the more rock-focused sound of John McLaughlin on earlier records – and he seems to free the players from their fuzzed out sound, and let them hit some nicely organic moments. Titles include "Clap City", "There Comes A Time", "Two Worlds", "Some Hip Drum Sh!t", "Lonesome Wells" and "The Urchin's Of Shermese". CD

Three albums from this great guitarist! Common Cause is a spare trio outing from guitarist Attilla Zoller, done with support from Ron Carter on bass and Joe Chambers on drums – and in a groove that nicely slips from mellow straight material one moment to more adventurous tunes the next! The straighter work is oddly some of the most appealing here – and is a refreshing change to some of Zoller's more experimental (but still great) work from the period – a great illustration of his strong tone on a simple line, in a way that we don't often get to hear on record. Straight numbers include "Lady Love" and "Kaybee" – juxtaposed with the more "out" "Tshitar", and the soaring number "Meet". Dream Bells is a hell of an album from guitarist Attila Zoller – one that's just a trio date, but which almost seems to have a fuller feel than some of his records from the time! The rhythms are wonderful – this warm, round bass from Frank Luther, whose tones alone really create a soulful energy on the record – and drummer Sonny Brown's got this nicely skittish tone that percolates even the mellow moments in this really great way – leaving Zoller to solo spaciously over the top with a sublime tone, and maybe a slightly deeper sense of soul than usual. Titles include "Dream Bells", "Seascape", "In Your Own Sweet Way", and "Sudden Romance". Overcome is beautiful live work from guitarist Attila Zoller – stretching out here on long, spacious tracks that are maybe even more majestic an example of his tone than some of his studio work of the time! The group is a quartet – with Kirk Lightsey on piano, Michael Formanek on bass, and Daniel Humair on drums – nicely subtle players at all the right moments, on titles that include "Overcome", "Starry Night", "Lullabye", and "Lev Blues". CD

An imagined soundtrack to a journey through London in the generation of Get Carter and Carnaby Street – and one that showcases not just the rich array of sounds and styles that were taking place in the city at the time, and in a way that highlights all sorts of different locations around town! This isn't a package of well-worn British rock classics – and as with other Bob Stanley sets on Ace Records, the music comes from a deep dig and decades-long understanding of records in many modes – which makes for a track selection that's as sublime as it is surprising, and another revelatory collection from Mr Stanley! There's two dozen gems on the collection – some we've never heard, some we'd forgotten about – all of which sound great in the company of each other – with titles that include "Hampstead Way" by Linda Lewis, "Cutty Sark" by John Barry, "Sunny Goodge Street" by Marianne Faithfull, "Marcel's" by Herman's Hermits, "London Bridge" by Cilla Black, "Mayfair" by Nick Drake, "Vauxhall To Lambeth Bridge" by Brian Auger & Julie Driscoll, "City Road" by Dave Evans, "Beckton Dumps" by Humble Pie, "Notting Hill Gate" by Quintessence, "Friday Hill" by Bulldog Breed, "Goodbye Post Office Tower" by Cressida, "Kew Gardens" by Ralph McTell, and "Euston Station" by Barbara Ruskin. CD

A much-needed collection of the famous Jazz At The Philharmonic performances of the 1950s – work that follows up the initial postwar run from producer/presenter Norman Granz, which helped lay the groundwork for Verve Records – but which hasn't gotten the full exposure it deserves! Unlike the 40s sessions, there's a lot of material here that never made it to CD – including tracks from the multi-record box set releases that included JATP volumes 11, 15, 16, and 17 – plus the Jazz Concert #1 album, Jazz At The Hollywood Bowl, and various Opera House sessions – and even the Lester Young Carnegie Blues record, which appeared later on vinyl! Some unreleased tracks have been added to the set too – and as with Mosaic Records at its best, this is less a reissue package than a proper presentation of material that was scattered out there in various formats – finally presented in the right order, with detailed notes, and really great sound. Artists are the cream of the crop of Verve at the time – Stan Getz, Ella Fitzgerald, Oscar Peterson, Lester Young, Coleman Hawkins, Roy Eldridge, Herb Ellis, Buddy DeFranco, Sonny Stitt, Benny Carter, Lionel Hampton, Gene Krupa, and others – plus some non-Verve artist surprises as well! Very limited, and comes with a huge booklet of notes and performance details too. CD

The end of the 80s saw a huge new shift in music on the UK scene – a moment when indie rock and club music collided – and guitar-based work was back on the dancefloors in a really big way! Part of the shift came from years of UK interest in house, electro, and other American styles – which were often spun alongside post-punk and indie material in the same clubs (maybe most famously at the Hacienda in Manchester) – leading to a surprising blend of styles that breathed a lot of new life into the world of rock music as well! This set captures cuts from the key years of this moment – the post-1988 summer of love period through years when dance might take over more completely – a much-loved moment, filled with well-remembered cuts – presented here in a big box set that features many rare mixes from 12" singles as well. The box brings together 57 tracks in all, all with detailed notes on the music – and includes work from Primal Scream, Stone Roses, Happy Mondays, 808 State, Inspiral Carpets, Future Sound Of London, Electronic, Candy Flip, Telescopes, Hollow Men, Spacemen 3, Spin, World Of Twist, Mock Turtles, Northside, The Moonflowers, Charlatans, Shamen, Blow Up, Carter The Unstoppable Sex Machine, The Dylans, Saint Etienne, and others! CD

A very cool little set – maybe not the deepest dive into the decade of the 70s, in that the package isn't full of unissued tracks or super-rare singles – but it does represent a great look at the decade that goes way past the hits, and much farther than the charts – including the sort of material that was slightly ignored at the time, but has gone on to be really appreciated in more recent years! The book-style set is filled with great choices and unusual tunes – work from both the US and UK scenes, some of it by bigger names represented here by more unusual cuts – some by others who barely cracked the mainstream, but did some great work at the time. There's one full CD of female artists, and a pretty unusual mix of titles – 71 titles in all, by artists who include Murray Head, The Records, Ronnie Lane, Terry Reid, Sandy Denny, Wendy Waldman, Freddie King, Montrose, Tim Buckley, Don Nix, Jerry Williams, Big Star, Tony Joe White, Delaney & Bonnie, John Prine, Michael Franks, Bobby Charles, Andy Pratt, Hirth Martinez, Robert Palmer, Jess Roden, Roy Harper, Patto, Sharks, The Roches, Linda Lewis Valerie Carter, and many others! CD

Spiritual jazz both old and new – a collection that really gets past the obvious sides of the genre, and brings together a range of unusual work from the 70s onward! The tracks here are a great antidote to the well-traveled territory of labels like Impulse or Strata East Records – and are mostly from lesser-known sources that include tiny indies from the 80s, and a few ground breaking imprints from recent years! There's definitely a vibe here that holds strongly in the spirit of John Coltrane, Pharoah Sanders, and other innovators from the end of the 60s – but the sound is especially fresh given the obscurity of the tunes. Titles include "For Our Souls" by Doug Hammond, "Amazona" by Francisco Mora Catlett, "The Mystery Of Man" by Sarah Vaughan, "Better Than That" by Nomo, "Gol E Gandom" by Lloyd Miller, "Motherless Child" by Brother Ah, "A Love Supreme" by Dwight Trible, "Why" by Woody Shaw with Carter Jefferson, "Rwanda" by Francis Bebey, "Come Sunday" by Stanley Cowell, and "En El Amanecer Del Tiempo". CD

A really great package, and one that shows all the cool criss-crossings of styles that we happening up in the hills of LA at the end of the 60s! The artists here are all part of the famous Laurel Canyon scene – a place where late folk, new psych, country rock, and other modes criss-crossed in loose social networks, music studios, and clubs – creating an array of sounds here that really might catch you by surprise! You'll know most of the artists within, but the presentation of them together makes for a very cool compilation – especially as the 3CD set begins with lesser-known early work, then tracks shifts in sounds and styles – moving into later years when the artists and sounds had shifted down into the Hollywood scene. At another level, the whole thing also just makes for a great evolution of Cali rock and pop over a few short years – presented with detailed notes on the artists, songs, and scene – with a set list of 72 tracks that includes work by The Turtles, Rick Nelson, Love, Nitty Gritty Dirt Band, Gentle Soul, Clear Light, Peanut Butter Conspiracy, Stephen Stills, JD Souther, Judee Sill, Crazy Horse, Nilsson, Ned Doheny, Leon Russell, Howdy Moon, Jo Mama, The Leaves, Byrds, MFQ, Steve Noonan, Barry McGuire, Holy Mackerel, Ruthann Friedman, Smokey Roberds, Susan Carter, Loggins & Messina, Gram Parsons, and many others! CD

A great entry in this series that not only always delivers the goods, but does so at a price that's a hell of a great bargain for all the excellent music involved! Expansion Records brings together a handful of titles from their own releases in recent years, plus other neo soul gems from the global underground – both American and British artists, some better-known names, some great up-and-comers waiting to be discovered – all of which makes for a package that packs plenty of punch! Most tracks appear here on CD for the first time ever – and the 3CD set features 35 titles that include "I'd Rather Be In Love With You (the sax way)" by Sheree Brown, "Intoxicated Love" by Castella, "If You Wanna Know What's Missing" by Julian Jonah with Dutch Robinson, "Think About" by Sugar & Heath, "Soul N'Samba" by Tyrone Lee, "Baby Let's Go (soul mix)" by Narada Michael Walden, "Step With Me" by Victor Haynes, "I Love Me Too" by Carol Riddick, "Do You Remember" by Steven Thad, "I Found Love" by Rose Spearman & Soul City Connection, "Harvest For The World" by Patrice Isley, "Keep On Giving (rmx)" by Shaila Prospere, "Smooth" by Con Funk Shun, "Elementary" by Robert Imtume Owens, "Sometimes" by Brian Power with Cornell CC Carter, "Right The Wrong" by Natasha Watts, and "Could It Really Be" by Mike Lindup with Tony Momrelle. CD

The night time's always the right time – at least when we've got music this great to see us into the small hours of the evening! The set's overflowing in warm 80s groove – some upbeat, some a bit more midtempo – all balanced on beats, basslines, and keyboards – but with a sense of soul on the vocals that really makes the whole thing come together! Some of these tracks were big back in the day, others are album tracks that fit perfectly in this blend of songs – a set of 13 titles that includes "Don't Give Up On Your Dream" by Lew Kirton, "You Are My Life" by Webster Lewis, "Sweet Lady" by Manhattan Rhythm, "I Get Romantic" by Booker Newbury III, "Can You Picture This" by The Keepers, "Just Can't Fight The Feeling" by YBS, "What's On Your Mind" by Janet Rene, "April Lady" by Wax, "Try A Piece Of My Love" by Clarence Carter, "Lost In Your Love" by Ritchie Family, "If You Were Mine" by Cheryl Lynn, and "Private Love Affair" by E'Lan. CD

A fantastic collection of male soul tracks from the 60s – and one that really charts a whole new shift in the music – the rise of strong singers who aren't afraid to show their emotions, but with a sophistication that's very different than the earlier years of blues and R&B! There's an adult, mature approach to the songs here – vocalists who are accepting the terms of their heartbreak, or taking stock of their situation – putting forth their feelings strongly and directly, set to top-shelf arrangements that make it clear that they're not really the losers in the game! The set is in the best Ace/Kent tradition – really pulling together a fantastic body of work, mixing familiar and unfamiliar singers, and knocking it out of the park with the overall presentation. Titles include "Like A Big Bad Rain" by Kenny Carter, "They Say I'm Afraid" by Freddy Butler, "Anytime You Want Me" by Garnet Mimms, "A Day Or Two" by Garrett Saunders, "Can't Stand Your Fooling Around" by Gene Burks, "You Are A Lucky So & So"b y Sammy Sevens, "Through A Long & Sleepless Night" by Jimmy Radcliff, "Now You Are Gone" by Brooks O'Dell, "Forget The Girl" by Walter Jackson, and "Lonely People Can't Afford To Cry" by Clyde McPhatter. CD