A record that definitely lives up to the sixth decade legacy noted in the title – as it takes work of the remaining members of the Art Ensemble of Chicago, and expands it with contributions from a number of musicians – both from Chicago and the global scene as well! The feel here is a mix of some of the larger concepts that Roscoe Mitchell has been working on of late, and some of the more organic expressions that the Art Ensemble helped encourage in the world of jazz – performed by a lineup that has Mitchell on sopranino and alto, and Don Moye on drums and percussion – joined by a huge lineup that includes Junius Paul on bass, Tomeka Reid on cello, Nicole Mitchell on flutes, Hugh Ragin on trumpet, and a larger lineup of basses, piano, and percussion as well. Moor Mother delivers a spoken word passage, and Roco Cordova and Erina Newkirk sing a bit – on titles that include "Kumpa", "Bulawayo", "I Feel Like Dancing", "Jigiba", "Funky AECO", "Improvisation Two", "Ritual Great Black Music", "Cards", and "Leola". CD

Sublime soundtrack music from Edward Artemiev – not a big name for film scoring on this side of the Iron Curtain, but a really well-remembered talent for his classic 70s work for the films of Andrey Tarkovsky! Side one of this album features wonderful sounds from the film Stalker – music that begins in a sweet electronic mode, but soon gets darker – a weird space that's somewhere between the German elements of Cluster and Tangerine Dream, and some of the more abstract electronics of the underground academic scene! Yet throughout it all, Artemiev has a very visual approach to his sounds – one that steps out nicely on the one track from the film The Mirror, and an extended tribute to the director too. Titles include "Exodus", "Dedication To Andrey Tarkovsky", "Meditation", "They Go Long", "Stalker", and "Train". LP, Vinyl record album

An excellent bit of UK Afro-Funk – recorded at the beginning of the 70s by a group that included members of the legendary South African jazz combo The Blue Notes – Dudu Pukwana on reeds, Mongezi Feza on trumpet, and Louis Moholo on drums! The record's quite different than you'd guess from those players – thanks to some kickass help from the rest of the group – who really push things into a tripped-out version of Afro Funk – a bit in the mode of Demon Fuzz at the time – a group who also lent a member to this project! There's some great horn work on the record – with the kind of "out" soloing you might expect from the group, laid out over heavy drums and good bass-heavy funk – on titles that include "Hey Jude", "Irin Ajolaway", "Akasa", "Telephone Girl", "Beka", and "Cocoa". LP, Vinyl record album

The third and fourth albums from Atomic Rooster – back to back in a single set! First up is Made In England – a really striking album in the career of Atomic Rooster – one that's a little bit groovier than most, and maybe a bit funky as well! The drums are great, and have plenty of soulful currents – and the Hammond, piano, and electric piano work of Vincent Crane almost seem to echo earlier UK beat group currents, but turned towards a much hipper 70s vibe – one that's followed by an equally extended range from vocalist Chris Farlowe, who seems to fold together both his mod and prog experience in the vocals! Steve Bolton brings in some tight, riffing guitar – and titles include "Time Take My Life", "Never To Lose", "Breathless", "People You Can't Trust", "All In Satan's Name", "Close Your Eyes", "Little Bit Of Inner Air", and "Stand By Me". On Nice N Greasy, Atomic Rooster definitely get a bit greasy – using some funkier elements at times, and bluesier currents at others – all at a level that really lets singer Chris Farlowe hit some of his most expressive modes! The group's got a fresh guitarist this time around, Johnny Mandala on lead – and his presence gives some of the cuts a harder rock edge than before, often taking the lead more than the keyboards of longtime member Vincent Crane, which helps shape the sound of the set. Titles include "Voodoo In You", "Save Me", "Satan's Wheel", "Can't Find A Reason", "Take One Toke", and "All Across The Country". CD set features the bonus tracks "Moods" and "What You Gonna Do". CD

AWB's first for Atlantic – and a nice slice of funk that proves that they can mix it up with the best groups of the 70s! The record's got plenty of sweet electric keyboards over smooth funky basslines – and as the years go by, the band's white boy vocals don't sound nearly as bad as we remember them. And besides, when they play their instruments so nicely – how can you hold the singing against them? Includes the killer classic "Pick Up The Pieces", sampled more times than we can remember – plus "You Got It", "Just Wanna Love You Tonight", "Person To Person", and a nice remake of the Isley Brothers' "Work To Do". LP, Vinyl record album

One of Roy Ayers' best-remembered albums of the 70s – a sublime blend of mellow numbers and some of his more club-oriented grooves of the time – all wrapped together with a genius that we can only describe as Ayers-like! The album's a beautiful example of the balance that Roy was striking in his work at the time – because alongside some of the more upbeat, catchy numbers, there's other tracks that are a fair bit more laidback, and almost abstract at times – a wonderful extrapolation of that sensitive Ayers blend of jazz and soul, with key emphasis on the vibes and keyboards. Titles include the massive groover "Running Away" – which you'll recognize from a key sample history over the years – and club cuts "Cincinnati Growl", "Fruit", "Sanctified Feeling", and "Stranded In The Jungle" – plus the more laidback cuts "Gotta Find A Lover", "I Still Love You", "Lifeline", and "This Side Of Sunshine". LP, Vinyl record album

Three very rare slices of work from the great Albert Ayler – all of them pretty darn mindblowing! The set begins with Ayler's appearance at the 1967 Newport Jazz Festival – a set that must have been a shock to audience members who'd seen some of the more staid work at the event – as Ayler really lets loose on alto, tenor, and soprano sax – working with a very freely improvising quartet that includes Michel Samson on violin, Bill Folwell on bass, and Milford Graves on drums – really going to town on the titles "Japan/Universal Indians", "Our Prayer", and "Truth Is Marching In/Omega". Next is a single track that was recorded at the funeral of John Coltrane – a spiritual blend of "Love Cry/Truth Is Marching In/Our Prayer" – blown by Ayler on tenor, with Don Ayler on trumpet, Richard Davis on bass, and Milford Graves on drums. The last track is the earliest on the set – and very early for recorded Albert Ayler as well – a captivating performance recorded in Copenhagen in 1962 – as Ayler's tenor joins the work of the Cecil Taylor trio – with Taylor on piano, Jimmy Lyons on alto, and Sunny Murray on drums – as the group soar on a 21 minute reading of "Four". CD

Early work by avant saxophone genius Albert Ayler – and very very striking! The setting is very spare, with only bass and drums backing Ayler up – and the way the album is mixed, Ayler's solos dominate the tracks in a way that isn't always the case with some of the more group-driven later work. His tone is amazing even in this early date of 1962 – and he completely blows away the other two players on the set, drummer Sune Spangberg and bassist Torbjorn Hulcrantz. The set was first recorded by the small Swedish label Bird Notes, and it's the beginning of a longtime love affair that Swedish modernists had with Ayler's tone and playing – a love affair that runs up to the current avant garde that includes Mats Gustafsson. Includes a mindblowing reworking of "I'll Remember April", plus versions of "Rollins Tune", "Tune Up", and Ayler's own "Free". LP, Vinyl record album

Sublimely soulful work from Azymuth – 2 albums back to back on a single CD! Cascades is fantastic fusion from a group who just couldn't miss during these early 80s California years! The sound here is smooth, but never slick – always a little offbeat, and quite different from more mainstream US fusion of the time – thanks to the genius of Jose Roberto Bertrami's keyboards, which glide one moment, dip the next, and often have these slight changes in speed that are totally great. Other members of the core trio include Alex Malheiros on bass and guitar and Ivan Conti on drums and percussion – and the set also features guest work by Mauricio Einhorn on harmonica, Jose Carlos on flute, and Sidney Moreira on percussion. Titles include "Remembering Milton", "Club Morocco", "Through The Window", "Festa Nativa", "Cascade Of The Seven Waterfalls", and "Indian Pepper". Rapid Transit is a set with a really warm groove overall – hardly the too-fast, or too-urban record you might expect from the title! Instead, there's a nicely organic sensibility going on here – a sound that feels fresh and spontaneous, even when it's in the highly electric territory of Jose Roberto Bertami's keyboards. There's a slight bit of added flute and percussion on the set, but most of the sounds here are from the core Azymuth trio – who even vocalize wordlessly on one of the album's best tracks. Titles include "Missing Doto", "Make Mine Guarana", "Gate Of Time", "I'm Just Looking Around", "Somewhere In Brazil", and "Afternoon". CD

Amazing early work from Azymuth – rare demo recordings done at the home studio of keyboardist Jose Roberto Bertrami, in the short space before the group issued their legendary debut! The tracks here are as much jazz funk as they are the later modes that Azymuth would put forth – killer instrumentals that are really driven by great keyboard lines from Bertrami, who'd already been making music in other formats for years – and who works here on Fender Rhodes, Arp, Clavinet, Hammond, and a range of other keyboards too! The drums are fantastic, too – handled by a young Ivan Conti, who gets help on percussion from an early fourth member of the group, Ariovaldo Contesini – and as you might guess, the incredible basslines of Ivan Mamao Conti really help the whole thing groove. All material is very well-recorded – these aren't rough or unfinished tracks at all – and the whole thing should just be thought of as a first chapter for the group, right before they started putting out their famous records. Titles include "Prefacio", "Castelo", "Melo Do Cuica", "Xingo", "Laranjeiras", "Eqiupe 68", "Unknown Song For Mario Telles", "Manha", "Duro De Roer", "Quem Tem Medo", "Juntos Mais Uma Vez", and "Bateria Do Mamao". CD

Includes the albums I Remember You, Milestone, and A Tribute To Chet Baker. CD

A sweet little quartet session from the mid 50s – one of Chet Baker's legendary albums recorded in Paris at the time, with a quality that's nicely different from some of his work in the US! Part of that quality is the group – an unusual lineup that includes Gerard Gustin on piano, Jimmy Bond on bass, and Bert Dahlander on drums – but Baker is also changing things up a bit from the Pacific Jazz years too, and working with a more sophisticated understanding of sound and tone that would develop even more strongly in the later half of the 50s! As usual with Chet, the tunes are standards, but completely transformed by his handling – titles that include "I'll Remember April", "Tenderly", "Lover Man", "Summertime", and "You Go To My Head". CD

A sweet little quartet session from the mid 50s – one of Chet Baker's legendary albums recorded in Paris at the time, with a quality that's nicely different from some of his work in the US! Part of that quality is the group – an unusual lineup that includes Gerard Gustin on piano, Jimmy Bond on bass, and Bert Dahlander on drums – but Baker is also changing things up a bit from the Pacific Jazz years too, and working with a more sophisticated understanding of sound and tone that would develop even more strongly in the later half of the 50s! As usual with Chet, the tunes are standards, but completely transformed by his handling – titles that include "I'll Remember April", "Tenderly", "Lover Man", "Summertime", and "You Go To My Head". LP, Vinyl record album

A rock-solid set from the late 70s European years of Chet Baker – a set that's done with a more conventional quartet, which is different than some of his looser, lighter lineups of the time! The vibe is a bit like old school Chet, but the tracks are still open and have that nicely exploratory sense of sound that made the last decade of Baker's life such a musical revelation – a time of renewed creativity, even when most of the American scene had written him off! The group features Phil Markowitz on piano, Scott Lee on bass, and Jeff Brillinger on drums. All tracks nice and long – with versions of "Broken Wing", "Beautiful Black Eyes", and "This Is Always". Features the first-time vinyl appearance of the tracks "I Remember You" and "Love For Sale". LP, Vinyl record album

Two of the coolest trumpeters from the LA scene of the 50s – reunited here in a never-issued album from the start of the 70s! At the time of the set, Jack Sheldon was the real star of the date – big on TV, and a very confident, cool player – as well as a singer with a wonderfully distinct sound (which some folks might remember from Schoolhouse Rock or The Merv Griffin Show!) Jack started out in the mellow modes shared by Chet Baker during his early years – but by the time of this set, he was a nicely different player – which makes the pairing with Baker so great – especially as this was a time when Chet was really laying low, and hardly recording at all. The rest of the group features Jack Marshall on guitar, Dave Frishberg on piano, Joe Mondragon on bass, and Nick Ceroli on drums – a very sprightly combo who add a lot to the record – and both Chet and Jack sing on the record, in addition to serving up trumpet solos too. The record is an especially great one for Sheldon – very confident vocally, and really at the height of his powers here as both a singer and instrumentalist – with that wry approach that we love so much. Titles include "Evil Blues", "You Fascinate Me", "Once I Loved", "Too Blue", "Just Friends", "But Not For Me", "I Cried For You", and "Historia De Un Amor". CD

Super-heavy live work from the Baker Gurvitz Army – stepping out here with even more power than on some of their studio material of the time! The drums of Ginger Baker are worth the price of admission alone, but all aspects of the performance here are top shelf – the vocals of Steve Parsons have a great range, and soar nicely in harmonies with other members from time to time – often given an extra glide from the keyboard work of Peter Lemer. The set features seven tracks from a live performance at Reading in 1975 – long takes of "Freedom", "Memory Lane", "Wotever It Is", and "The Gambler" – plus four more bonus tracks, recorded the same year at the Victoria Theater in London! CD

A great return to form for the legendary Sidney Barnes – known best as a onetime member of both Rotary Connection and the P-Funk universe – but working here with great small combo backing from the Speedometer combo! "Best Thing" is an original by Barnes – sung in this sweet raspy style that gets great support from the funky group – who even thrown in a sweet Hammond solo in the middle! The flipside is a remake of Nolan Porter's "If I Could Only Be Sure" – a midtempo burner that has Sidney sounding even better on vocals! 7-inch, Vinyl record

Some of the greatest modern jazz ever recorded! Tenorist Bill Barron is like no other – and although he's softened a bit in recent years, during the early 60s he was working with trumpeter Ted Curson to forge a bold new sound that was different from much of what was happening at the time. Barron and Curson had a sharply-tuned approach to jazz, free in their solos, but with the same kind of frenetic scoring as Charles Mingus – who's probably their most sympathetic relation musically, and who also employed each of them at various points in their career. In a way, Barron and Curson take off from the energy of Mingus dynamic 1957 sessions, an energy that was flagging in his own work at the time – but which was taken to the next level on these Savoy sides from 1961. The playing is razor-sharp, very angular – but never without soul and never too academic to swing. It's also equally committed to reigning in freedom at just the right points – allowing bright flourishes of dynamic playing from a member of the group, yet never too much to dominate the overall energy of the ensemble. The set's got 11 tracks in all – 4 from Barron's Modern Windows Suite LP, and 7 more from The Tenor Stylings of Bill Barron. Titles include "Blast Off", "Ode To An Earth Girl", "Oriental Impressions", "Fox Hunt", and "Men At Work". CD

One of the deepest albums that Count Basie ever recorded – thanks to some great arrangements and backings by Oliver Nelson! Nelson's working in the same groovy mode he used with Jimmy Smith's excellent Verve sessions – and although the record doesn't have the same sort of star soloist in the lead, the Basie band members do a great job of trading off solos over the enigmatic backings crafted by Nelson. A number of the tracks have a Latin flair – and work on electric bass grooves that push the set farther than the usual Basie outing of the time – with a flavor that's right up there with the hippest Nelson sessions for Flying Dutchman, and maybe even a bit like spiritual ensemble material too. Titles include versions of Albert Ayler's "Love Flower" and Pharoah Sanders' "Japan", plus originals by Nelson like "Afrique", "Kilimanjaro", and "African Sunrise". CD

The Beatles live at the BBC – heard here in a host of rare recordings that were done between March 1962 and June 1965 – pulled from the vaults of the legendary radio station, and with a few cool dialogue bits too! The versions here were all played live on the air, and make for some much-needed alternate takes on the big hits by the Fab Four – and a few American numbers that really show the influence of other styles on their early sound. And since the recordings were done in a top-shelf studio, they're not muddy concert recordings – but actually feel more like some lost EMI studio material from the same period. 71 titles in all – including "Nothin Shakin", "The Hippy Hippy Shake", "Glad All Over", "Rock & Roll Music", "Ticket To Ride", "Ooh My Soul", "Don't Ever Change", "Slow Down", "Matchbox", "I Forgot To Remember To Forget", "The Honeymoon Song", "Lucille", "Can't Buy Me Love", "Taste Of Honey", "From Us To You", "I Got A Woman", "I'll Be On My Way", "Shot Of Rhythm & Blues", "Some Other Guy", "Soldier Of Love", and "Clarabella". CD

A massive package of work from Bedlam – an early project from drummer Cozy Powell, and one with a legacy that's surprisingly bigger than the single album they issued back in the day! The first 2CDs feature both a new mix and 1973 mix of the self-titled Bedlam album – a searing set that stands as a great bridge between generations and styles on the UK hard rock scene! The group's most famous member is drummer Cozy Powell – the ersatz leader of the lineup – but the whole combo hits on all burners, with great lead vocals from Frank Aiello, guitar from Dave Ball, and bass from Dennis Ball – plus keyboards on the set from both Max Middleton and Felix Pappalardi – the latter of whom produced. Powell's drums are fantastic throughout – really driving the whole thing along – and Aiello comes across like some lost lead act from the glory days of the arena scene. The set features one killer break track called "Seven Long Years" – a stone jammer that begins with some great drums that break nicely into guitars – and other titles include "Believe In You", "Hot Lips", "Sweet Sister Mary", "Putting On The Flesh", "Set Me Free", and "The Beast". CD3 features a Live In London set from 1973; CD4 features a Live in New York set from 1974; CD5 features a related Big Bertha Live In Hamburg set from 1970; and CD6 features 16 more formative tracks from 1968 to 1970, recorded as Bedlam, Ace Kefford Stand, Big Bertha, and Ideal Milk. CD

A rare early chapter in the long legacy of Human League and Heaven 17 – a group of musicians who'd partly go on to form the latter, recently departed from the former – yet still working strongly in the dark, electronic style of the earliest releases from the Sheffield scene! There's plenty of moody analogue sounds going on here – and as a cassette only release back in the day, the whole thing is a key slice of that cold wave underground of the early 80s, even though its members reached later fame – definitely working in territory that's more avant and electronic at times, but with more rhythmic instrumentals as well! Titles include "Music To Kill Your Parents By", "Decline Of The West", "Honeymoon In New York", "A Baby Called Billy", "Wipe The Board Clean", "Uptown Apocalypse", and "The Optimum Chant". CD

A fantastically soulful album from Jorge Ben – one of his greatest records ever, and a key part of Brazilian music in the 70s! The album marks an earthier shift for Jorge – a sound that's still rooted in the samba influences of the 60s, but which also takes on a bit more soul at the bottom – thanks to rhythmic contributions from Trio Mocoto, who work here famously to help Ben shape the overall feel of the set! There's still a bit of larger orchestrations at moments, but these are used sparingly just to sweeten the sound – leaving the main force of the music to come from Jorge's guitar, and the cuica, percussion, and tamborim of the trio. The vocals are wonderful too – slightly raspy, and with a bit more feeling than we ever remember Jorge having on record – sometimes a bit intimate, yet always with an undeniable presence throughout. One of those records that still sends chills up our spines, year after year – with tracks that include "Oba La Vem Ela", "Ze Canjica", "Pulo Pulo", "Apareceu Aparecida", "Terezinha", "Mulher Brasileira", "Forca Bruta", "O Telefone Tocou Novamente", and "Charles Junior". CD

A fantastically soulful album from Jorge Ben – one of his greatest records ever, and a key part of Brazilian music in the 70s! The album marks an earthier shift for Jorge – a sound that's still rooted in the samba influences of the 60s, but which also takes on a bit more soul at the bottom – thanks to rhythmic contributions from Trio Mocoto, who work here famously to help Ben shape the overall feel of the set! There's still a bit of larger orchestrations at moments, but these are used sparingly just to sweeten the sound – leaving the main force of the music to come from Jorge's guitar, and the cuica, percussion, and tamborim of the trio. The vocals are wonderful too – slightly raspy, and with a bit more feeling than we ever remember Jorge having on record – sometimes a bit intimate, yet always with an undeniable presence throughout. One of those records that still sends chills up our spines, year after year – with tracks that include "Oba La Vem Ela", "Ze Canjica", "Pulo Pulo", "Apareceu Aparecida", "Terezinha", "Mulher Brasileira", "Forca Bruta", "O Telefone Tocou Novamente", and "Charles Junior". LP, Vinyl record album

One of the boldest statements on record from trombonist Jeb Bishop – and a really great reminder of his key contributions to the Chicago avant scene at the start of the century! Jeb's a master of subtle shape and sound on his instrument, but he can also play with a fiercer frenzy – which is definitely the case here, and he moves between a trio and quartet lineup – alongside Kent Kessler on bass, Tim Mulvenna on drums, and Jeff Parker on guitar! The match of Parker and Bishop happens on four of the album's seven tracks, and has an especially strong resonance – tuneful at times, fuzzier at others – although the trio tracks are pretty darn incredible, and have us really remembering the greatness of Kessler and Mulvenna too. Titles include "Mirror Image", "The Umbrella", "Piggly Wiggly", "Pond", and "Flex Time". CD

Quite an unusual record from Art Blakey – a rare big band session, recorded with a lineup that's quite different than the usual Jazz Messengers! Turns out, Blakey's quite good in this setting – and has the same firey energy to direct a larger ensemble that he has when working with a smaller quintet. The added players here really help him express some new musical ideas with greater depth – almost like the added percussionists on some of his drum-heavy Blue Note dates of the late 50s. Members of the group include John Coltrane and Al Cohn on tenor, Sahib Shihab on alto, Donald Byrd and Idrees Sulieman on trumpet, Melba Liston on trombone, and Walter Bishop on piano – and titles include "Last Date", "The Outer World", "Midriff", "Tippin", and "Pristine". CD

Quite an unusual record from Art Blakey – a rare big band session, recorded with a lineup that's quite different than the usual Jazz Messengers! Turns out, Blakey's quite good in this setting – and has the same firey energy to direct a larger ensemble that he has when working with a smaller quintet. The added players here really help him express some new musical ideas with greater depth – almost like the added percussionists on some of his drum-heavy Blue Note dates of the late 50s. Members of the group include John Coltrane and Al Cohn on tenor, Sahib Shihab on alto, Donald Byrd and Idrees Sulieman on trumpet, Melba Liston on trombone, and Walter Bishop on piano – and titles include "Last Date", "The Outer World", "Midriff", "Tippin", and "Pristine". LP, Vinyl record album

An explosive session from an expanded edition of the Jazz Messengers – recorded at a key point when Art Blakey moved the group up to six members instead of five! Although bigger than the group on most Jazz Messenger Blue Notes, the sextet have an energy that's almost tighter – a sense of poise, focus, and vision that's not just driven by Blakey's drum kit alone – but by the kind of unique magic that only happens during rare groupings in classic jazz. A key part of the energy here comes from pianist Cedar Walton – who's replacing the Bobby Timmons soul jazz mode with a sound that's a bit more expansive and visionary. But equally important is the three horn lineup of Freddie Hubbard on trumpet, Curtis Fuller on trombone, and Wayne Shorter on tenor – a two-brass frontline that's used far differently than other groups – bold one minute, but personal and sensitive the next. There's a mixture of warmth and driving energy here that's simply incredible – a prime example of Blakey taking things to the next level, when it would have been easy enough for him to sit on his laurels and keep doing the same thing over and over again! Includes classic readings of Cedar Walton's "Mosaic", Freddie Hubbard's "Crisis", and Curtis Fuller's "Arabia" – as well as Shorter's excellent "Children Of The Night". CD

An explosive session from an expanded edition of the Jazz Messengers – recorded at a key point when Art Blakey moved the group up to six members instead of five! Although bigger than the group on most Jazz Messenger Blue Notes, the sextet have an energy that's almost tighter – a sense of poise, focus, and vision that's not just driven by Blakey's drum kit alone – but by the kind of unique magic that only happens during rare groupings in classic jazz. A key part of the energy here comes from pianist Cedar Walton – who's replacing the Bobby Timmons soul jazz mode with a sound that's a bit more expansive and visionary. But equally important is the three horn lineup of Freddie Hubbard on trumpet, Curtis Fuller on trombone, and Wayne Shorter on tenor – a two-brass frontline that's used far differently than other groups – bold one minute, but personal and sensitive the next. There's a mixture of warmth and driving energy here that's simply incredible – a prime example of Blakey taking things to the next level, when it would have been easy enough for him to sit on his laurels and keep doing the same thing over and over again! Includes classic readings of Cedar Walton's "Mosaic", Freddie Hubbard's "Crisis", and Curtis Fuller's "Arabia" – as well as Shorter's excellent "Children Of The Night". LP, Vinyl record album

An explosive session from an expanded edition of the Jazz Messengers – recorded at a key point when Art Blakey moved the group up to six members instead of five! Although bigger than the group on most Jazz Messenger Blue Notes, the sextet have an energy that's almost tighter – a sense of poise, focus, and vision that's not just driven by Blakey's drum kit alone – but by the kind of unique magic that only happens during rare groupings in classic jazz. A key part of the energy here comes from pianist Cedar Walton – who's replacing the Bobby Timmons soul jazz mode with a sound that's a bit more expansive and visionary. But equally important is the three horn lineup of Freddie Hubbard on trumpet, Curtis Fuller on trombone, and Wayne Shorter on tenor – a two-brass frontline that's used far differently than other groups – bold one minute, but personal and sensitive the next. There's a mixture of warmth and driving energy here that's simply incredible – a prime example of Blakey taking things to the next level, when it would have been easy enough for him to sit on his laurels and keep doing the same thing over and over again! Includes classic readings of Cedar Walton's "Mosaic", Freddie Hubbard's "Crisis", and Curtis Fuller's "Arabia" – as well as Shorter's excellent "Children Of The Night". LP, Vinyl record album

An explosive session from an expanded edition of the Jazz Messengers – recorded at a key point when Art Blakey moved the group up to six members instead of five! Although bigger than the group on most Jazz Messenger Blue Notes, the sextet have an energy that's almost tighter – a sense of poise, focus, and vision that's not just driven by Blakey's drum kit alone – but by the kind of unique magic that only happens during rare groupings in classic jazz. A key part of the energy here comes from pianist Cedar Walton – who's replacing the Bobby Timmons soul jazz mode with a sound that's a bit more expansive and visionary. But equally important is the three horn lineup of Freddie Hubbard on trumpet, Curtis Fuller on trombone, and Wayne Shorter on tenor – a two-brass frontline that's used far differently than other groups – bold one minute, but personal and sensitive the next. There's a mixture of warmth and driving energy here that's simply incredible – a prime example of Blakey taking things to the next level, when it would have been easy enough for him to sit on his laurels and keep doing the same thing over and over again! Includes classic readings of Cedar Walton's "Mosaic", Freddie Hubbard's "Crisis", and Curtis Fuller's "Arabia" – as well as Shorter's excellent "Children Of The Night". CD

An excellent live set by the Jazz Messengers – recorded in Paris in 1958, but with a hard heavy groove that's right up there with their best Blue Note work. The group at this time – Blakey, Bobby Timmons, Lee Morgan, Benny Golson, and Jymie Merritt – plays hard, heavy, and straight ahead, with no other interference from outside players – and the track list is a batch of classic Jazz Messenger standards, stretched out a bit longer than usual, with plenty of solo space! Titles include "Moanin", "Justice", "Whisper Not", "Blues March", and "I Remember Clifford". CD

Angular Monk meets hard-driving Art Blakey – in a session that's quite unique, and which has gone onto become one of the best-remembered Atlantic jazz sessions of the late 50s! The album features Blakey in that key non-Blue Note year of 1957 – a time when he was working with a variety of players, at a variety of labels, and taking some real chances with his music before settling into his more established hit Jazz Messengers sound. The group here is Art's own – with Johnny Griffin on tenor, Bill Hardman on trumpet, and Spanky DeBrest on bass – augmented by the piano of Thelonious Monk – a match that might seem unlikely at first, but not so much so after you consider the great work that Monk and Griffin did together at Riverside during the late 50s. There's a nice match between Johnny's sharp-edged tenor and Monk's imaginative playing – and if anything, the record has Blakey, Hardman, and DeBrest moving dynamically to keep up with the flurry of modern ideas coming from Griffin and Monk! Tracks are almost all originals by Thelonious too – a fact that definitely helps keep up the "Monk-ish" sound of the record – titles that include "Evidence", "Blue Monk", "I Mean You", and "Rhythm A Ning" – alongside Griffin's "Purple Shades". LP, Vinyl record album

Angular Monk meets hard-driving Art Blakey – in a session that's quite unique, and which has gone onto become one of the best-remembered Atlantic jazz sessions of the late 50s! The album features Blakey in that key non-Blue Note year of 1957 – a time when he was working with a variety of players, at a variety of labels, and taking some real chances with his music before settling into his more established hit Jazz Messengers sound. The group here is Art's own – with Johnny Griffin on tenor, Bill Hardman on trumpet, and Spanky DeBrest on bass – augmented by the piano of Thelonious Monk – a match that might seem unlikely at first, but not so much so after you consider the great work that Monk and Griffin did together at Riverside during the late 50s. There's a nice match between Johnny's sharp-edged tenor and Monk's imaginative playing – and if anything, the record has Blakey, Hardman, and DeBrest moving dynamically to keep up with the flurry of modern ideas coming from Griffin and Monk! Tracks are almost all originals by Thelonious too – a fact that definitely helps keep up the "Monk-ish" sound of the record – titles that include "Evidence", "Blue Monk", "I Mean You", and "Rhythm A Ning" – alongside Griffin's "Purple Shades". 2CD version features 6 more tracks – all rare alternate takes from the sessions! CD

Angular Monk meets hard-driving Art Blakey – in a session that's quite unique, and which has gone onto become one of the best-remembered Atlantic jazz sessions of the late 50s! The album features Blakey in that key non-Blue Note year of 1957 – a time when he was working with a variety of players, at a variety of labels, and taking some real chances with his music before settling into his more established hit Jazz Messengers sound. The group here is Art's own – with Johnny Griffin on tenor, Bill Hardman on trumpet, and Spanky DeBrest on bass – augmented by the piano of Thelonious Monk – a match that might seem unlikely at first, but not so much so after you consider the great work that Monk and Griffin did together at Riverside during the late 50s. There's a nice match between Johnny's sharp-edged tenor and Monk's imaginative playing – and if anything, the record has Blakey, Hardman, and DeBrest moving dynamically to keep up with the flurry of modern ideas coming from Griffin and Monk! Tracks are almost all originals by Thelonious too – a fact that definitely helps keep up the "Monk-ish" sound of the record – titles that include "Evidence", "Blue Monk", "I Mean You", and "Rhythm A Ning" – alongside Griffin's "Purple Shades". Includes bonus alternate takes of "Evidence", "Blue Monk", and "I Mean You". CD

A later gem from Bobby Blue Bland – done in a smooth style that fits the later approach of the Malaco label, but with a vocal style that hasn't dimmed a bit over the years! Bobby's still got that incredible rasp in his voice – that approach that easily made him one of the most soulful bluesmen of his generation – with a sense of sophistication and understanding of the music that holds true throughout the entire record. The vibe's a bit like some of Bland's late work for ABC – and titles include "Members Only", "In The Ghetto", "Heart Open Again", "I Need Your Love So Bad", "Straight From The Shoulder", and "Sweet Woman's Love". LP, Vinyl record album

Beautiful sounds from pianist Carla Bley – a musician who just keeps on blowing us away as the decades move on – and that's saying a hell of a lot, given how many years she's been making music! There's a really special quality to this record – a warmth and maybe just a slight touch of humor, but not in the overdone way of some of Carla's records from the 80s – much more subtle, and mixed with occasional currents of darkness – all handled with this understated sense of personality that perfectly showcases all three members of the group – Bley on piano, Steve Swallow on bass, and Andy Sheppard on tenor and soprano saxes. Swallow maybe sounds more wonderful here than we've heard in years – the record is a great reminder of how many great contributions he can make to music – and titles include the longer cycles of songs "Life Goes On", "Copycat", and "Beautiful Telephones (parts 1 to 3)". CD

Four lost albums from David Blue – a really compelling singer/songwriter, ripe for rediscovery! First up is These 23 Days In September, recorded for Reprise – a really moody little record from David Blue – a folksy singer who's got a style that definitely lives up to the melancholy promise of his name! Blue's definitely an artist with a difference – working in the familiar mode of vocals and acoustic guitar, but with an edge and distinctness that really sets him apart from the folkies of a few year before – that sense of different that really set apart a new wave of contemporaries, like Leonard Cohen, Fred Neill, or Tom Rapp. Titles include "These 23 Days In September", "The Sailor's Lament", "Scales For A Window Thief", "You Will Come Back Again", "Slow & Easy", and "The Grand Hotel". Stories is an overlooked early set on Asylum – the kind of really special singer/songwriter material that really set the label apart at the start of the 70s! David Blue has this compelling vocal style that's moody, but down to earth – inflected here and there with guitar contributions from Ry Cooder, who's understated, but really brings out some special qualities in the tunes. Jack Nitzsche adds in some light strings at points – but overall, things are pretty spare and personal – and titles include "Looking For A Friend", "Another One Like Me", "Sister Rose", "The Blues", "Come On John", "Marianne", and "Fire In The Morning". Nice Baby & The Angel shows David Blue really starting to get some star power in his mix – a fuller set, produced by Graham Nash – with work from Nash on guitar, plus more guitar from Dave Mason and David Lindley – in a nice mix of roots elements, but which never overwhelm that unique sense of songwriting and vocals that set David Blue apart from the rest. Titles include "Darlin Jenny", "Troubadour Song", "Train To Anaheim", "True To You", "On Sunday Any Sunday", and "Outlaw Man". On the cover of Cupid's Arrow, David Blue might look a bit cheesy, what with his open shirt and all – but he's definitely the real deal, and very down to earth in his singer/songwriter approach – with a quality that's only underscored by the lineup on the set – a group that features Levon Helm on drums, Jesse Ed Davis on guitar, David Lindley on mandolin and slide, and Barry Goldberg on piano and organ, and also handling production of the album too. The shift from David's roots is a bit like that taken by other contemporaries who once started in more folksy territory, then found a new way to grow in the west coast singer/songwriter scene – and that means that things are more electrified, but still quite far from mainstream music – with original tunes from Blue throughout, and titles that include "I Feel Bad", "Maria Maria", "Primeval Tune", She's Got You", "Tom's Song", and "Run Run Run". CD

Maybe one of the most hard-burning performances ever recorded by this legendary South African jazz combo – a set dedicated to trumpeter Mongezi Feza, a key member of the group who'd passed away just a short time before the recording! The session was done in London, right after all four remaining members had come together for a memorial for Mongezi – and throughout the set, you can feel the raw emotion that's driving the performance – bold, freewheeling and very expressive sounds from the lineup of Dudu Pukwana on alto sax, Chris McGregor on piano, Johnny Dyani on bass, and Louis Moholo on drums – all players who pick up extra percussion and vocalize at points – almost in the tradition of the AACM, but more emotive too. The set features a double-length performance, titled "Blue Notes For Mongezi" – divided into four movements. LP, Vinyl record album

A treasure trove of rare mid 60s garage rock from the state of Michigan – the complete anthology of local legends The Bossmen! MI was soon to become a breeding ground for some of the most revolutionary rock of the 60s – and while The Bossmen aren't best remembered rockers of the region all these decades later – they really helped lay the groundwork! There's a raw edge, but a melodic style here that's quintessential 60s rock, if you ask us. Guitarist Dick Wagner would go on to play with fellow Michigan rock trailblazer Alice Cooper and other legends, but this earlier work with The Bossmen is really solid, and sounds great all these years later. Comes with thick booklet of notes and photos, too! 18 tracks in all: "Take A Look", "It's A Shame", "Thanks To You'", "Help Me Baby", "Bad Girl", "Wait And See", "On The Road", "Rainy Day", "Sunshine", "Little Girl", "Easy Way Out", "I Cannot Stop You", "Listen My Girl" and more. CD

A great late 70s performance from Bobby Bradford and his Extet – a group that wasn't nearly as well documented as his combo with John Carter, but one that's almost equally great! The material here is from a 1977 radio broadcast, and is very well recorded – quite open and unrestrained, with lots of space for the group to open up in a range of new ideas! Bradford's in the lead on cornet, and other members include James Newton on flute, Richard Rehwald on bass, and John Goldsmith on drums – the latter two of whom we don't know at all, but both players who really hold their own in the company of these horn heavyweights. Newton's flute has a nice degree of bite, and matches the fire in Bradford's horn nicely – and like other records of the time from Bobby, there's a nice sense of soul and structure – a bit more tightness than work of the period from the east coast, and a somewhat spiritual undercurrent, even when things get a bit free. Titles include "Improvisation #12", "Blue Monk", "She", and "Comin On" – and the CD also features the bonus track "She", recorded in 2003 as a duet between Bradford and Vinny Golia. CD

That's almost an Earth Wind & Fire-styled image on the cover – and the Brit Funk Association definitely live up to the spirit of that scene – which is maybe no surprise, given that group members have a legacy that goes way back for many years on the UK soul scene! There's a warmth to the record that's really timeless – an updating of classic 70s modes that's almost in the Incognito mode, but which is often jazzier at times, with some great focus on horn solos over the vocals – a bit like the mix of jazz, soul, and funk that Wayne Henderson brought to his classic production efforts back in the day! The group give a nod to one of those classics with a sweet cover of "Always There", and serve up a nice take on "Pick Up The Pieces" – alongside tracks that include "Freedom Dancin", "Driftin", "Snowfall", "Elevation", "Let It Flow", and "Take It In Stages". CD

An amazing record – one of the best on Motown's short-lived Workshop Jazz subsidiary! The album is the first to feature Roy Brooks as a leader – and the super-hip drummer from Detroit really knows what to do with the opportunity! He's working here with a hip group that includes members of the Horace Silver quintet – including Blue Mitchell on trumpet, Junior Cook on tenor, and Gene Taylor on bass – as well as Detroit contemporaries George Bohannon on trombone and Hugh Lawson on piano. The overall style of the record is quite different from Brooks' work with Silver – and has a much more open-ended feeling emotionally – an early hint at the qualities that Roy would unveil on his rare indie sides at the start of the 70s. The tracks are a mix of soul jazz numbers and others with a rougher-hewn sense of modernism – almost like the excellent work coming out of Chicago during the early 60s, from artists like Gene Shaw or the MJT+3. All the players are at their best, and the album features some of the nicest tenor work we've ever heard from Cook. Titles include "Soulsphere", "Soulin", "Homestretch", "Passin The Buck", and "My Secret Passion". LP, Vinyl record album

A sweet funky set from the New Jersey 70s soul empire of the Stang/Turbo/All-Platinum family of labels – the kind of record that came out with little fanfare at the time, but which has a razor sharp groove all the way through! The set features plenty of wonderful work on keyboards – clavinet, organ, moog, and Arp – mixed with really sharp basslines that snap along nicely, and really tuck the tunes into the groove – as vocals from various group members trade places in the best funk ensemble mode! There's plenty of nice nuggets on this set – like the super-catchy "Chance With You", the moogy "Phattenin", and the warmly mellow "Visions" – next to other tracks that include "Groovy Day", "Take My Love", "Leavin Me", and "Let Your Mind Be Free". CD

A masterful statement from the Peter Brotzmann Tentet – a large group, but one that's capable of a rich array of sounds and sentiments – maybe given best exposure here in this key recording from the prime years of the ensemble! Ten players can be a huge number, especially when improvising so much – but these guys all have ears that are beautifully tuned to each other, and which really seems to not only bring out the best in each member, but also push the whole group together with a style that none of them could have hit on their own. Reeds are handled by the heavyweight quartet of Brotzmann, Ken Vandermark, Mats Gustafsson, and Mars Williams – and other group members include Joe McPhee on trumpet, Jeb Bishop on trombone, Fred Lonberg-Holm on cello, Kent Kessler on bass, and both Michael Zerang and Hamid Drake on drums. Titles include "Bird Notes", "Six Gun Territory", and "Signs" – the last of which is live. CD

A key record in the evolution of the free jazz spirit on the German scene – one that not only has the Machine Gun generation allowing for a bit of extra space and moments of contemplation in their music, but which also opens itself up to work from a slightly older member of the scene as well! The group is great – with Peter Brotzmann on clarinet, alto, tenor, and baritone – plus Fred Van Hove on piano, and Han Bennink on drums, self-made clarinet, and "homemade junk" – joined by trombonist Albert Mangelsdorff, who almost feels as if he's been waiting for the chance to really open up and experiment with the other improvisers – showing sounds that are maybe even more mindblowing than on his own records of the time! Titles include "Serienze Serie", "Boogie Fur Fred", and "Der Spaziegang". LP, Vinyl record album

An extended live session from the team of Clifford Brown and Max Roach – recorded together at the Cotton Club in Cleveland at the end of May in 1956 – over the course of three nights of performance that are all represented in this overstuffed set! The group here is a classic one – with Brown on trumpet, Roach on drums, Sonny Rollins on tenor, Richie Powell on piano, and George Morrow on bass – an ensemble that's been famously documented on record by Emarcy, but which is heard here in a more relaxed, rougher-edged mode – not just because of the slightly amateur sound quality on the CDs, but also because of the open-ended, club-styled performance by the group. What the date lacks in polish, it more than makes up for in edge – especially from Rollins, who's really beginning to stretch out during these years. Titles include a 23 minute take on "Get Happy", a 14 minute "Untitled Blues", a 13 minute "Delilah", a 16 minute "Jordu", an 18 minute "Nice Work If You Can Get It", a 19 minute version of "I'll Remember April", and a 10 minute take on "Daahoud" – plus versions of "Lover Man", "Take The A Train", "Valse Hot", "Lover", and "What's New". CD also features 3 bonus tracks – the same group broadcast from Town Casino in Buffalo in February of 1956 – on "Round Midnight", "Daahoud", and "The Blues Walk". CD

Great rare material from Clifford Brown's legendary days at Emarcy – tracks recorded as part of the Dinah Jams vocal sessions, but done in a much more extended jam session mode! Washington sings a bit on 2 of the tracks, but the main focus here is on Brownie working with a jamming set of instrumentalists that really open up on extended solo work. The album features 2 groups – one with the great Walter Benton on tenor, Herb Geller and Joe Maini on altos, and Kenny Drew on piano – the other with Clark Terry on trumpet, Geller on alto, Harold Land on tenor, and Junior Mance on piano – great lineups on both sessions! Tracks are long, very much in the "jams" feeling of the title – and titles include "Coronado", "I'll Remember April", and "Crazy He Calls Me". CD

An anthology of tracks recorded in Paris during September & October 1953. LP, Vinyl record album

A lasting tribute to Brownie! The album was released some years after Brown died, and is comprised of songs from his 1955 album Clifford Brown With Strings, plus a few tracks from other recording sessions from that year before his death. The players include Richie Powell (Bud Powell's brother who also died in the crash with Brown),piano; Max Roach on drums and Harold Land and Sonny Rollins on tenor sax. Brown's original composition "Sandu" and Richie Powell's own "Time" are included as well as "Yesterdays," "Cherokee (Indian Love Song)," "Willow Weep for Me" and an unusual version of "Take the A Train." LP, Vinyl record album

Absolutely burning live recording of Brownie's group co led with Max Roach, and also featuring Sony Rollins. This set features some the group's best playing, limited only by the mediocre sound quality of the recording. Great extended takes on "I'll Remember April", 'What's New", "Daahoud", "Lover Man" and "52nd Street Theme". LP, Vinyl record album

A pare of rare European sessions from saxophonist Marion Brown – back to back on a single set! First up is Gesprachsfetzen – a really wonderful collaboration between alto saxophonist Marion Brown and vibist/reedman Gunter Hampel – a set that's maybe one of the sharpest to come out of their work together! The music has maybe even sharper edges than some of Brown's previous records – a dose of some of the European modernism in which Hampel was steeping himself, but also with some more organic, spiritual qualities on the solos – not just Brown's, but the work of trumpeter Ambrose Jackson – who's pretty great here too. AACM legend Steve McCall is also in the group on drums and percussion, along with bassist Buschi Niebergall – and the set was recorded live, with titles that include "Gesprachsfetzen", "Exhibit A", "Babudah", "Tomorrow Is The Beginning Of The End Of Yesterday", and "Aba". In Sommerhausen is one of the key records that alto saxophonist Marion Brown made while working on the German scene at the end of the 60s – an incredibly fruitful period that seemed to unlock all this new energy in Brown's music in a mode that was similar to what happened when Don Cherry started making time on the European scene! Brown's key partner here is Gunter Hampel – who plays vibes, bass clarinet, and percussion – the latter of which is handled by the other members of the group too – a lineup that includes Ambrose Jackson on trumpet, Daniel Laloux on bass, and Steve McCall on drums – playing here before his better-known work with the AACM. Jeanne Lee brings some lovely vocalizations to the set – and titles include "Dance No 1", "Exhibit B", "Il Ne Chant Pas", "The Sound Of A Song", and "Malipieros Midnight Theater". CD

One of the few albums ever as a leader from alto saxophonist Pete Brown – a less-remembered talent of his times, but a key link between the generations of bop and swing! The set was only issued as a 10" LP, but packs the full punch of most longer albums – sublime alto from Brown with a crisp tone firmly in place – sitting somewhere between older bop players and some of the emerging Tristano-ites from the east coast – a vibe that's almost like Charlie Mariano or Dick Johnson in their best younger years, but with a bit more soul too. The group's a hip sextet – with trumpet from Joe Wilder, guitar from Wally Richardson, and piano by Wadde Legge – and the album includes a great version of "The World Is Waiting For The Sunrise", plus the nice originals "Delta Blues" and "Used Blues". CD

A sweet live set from Dave Brubeck's early years on Columbia Records – recorded in New York, but with all the calculated cool and modern tones Brubeck first forged in the San Francisco scene of the 50s! Paul Desmond's on board on alto sax – really getting a lot of space to stretch out on the album's extended performances, with a haunting, floating tone that really sends us. Remaining members include Bob Bates on bass, and Joe Dodge on drums – and tracks include "Lover", "Love Walked In", "The Duke", "Little Girl Blue", and "Fare Thee Well Annabelle". CD features 2 bonus tracks, previously unissued – "Taking A Chance On Love" and "Closing Time Blues". CD

A killer record from bassist Paul Brusger – a set that features plenty of great work from Eric Alexander on tenor and alto – the latter an instrument that he's really begun to embrace in recent years! The rest of the group is wonderful too – Steve Davis on trombone, Rick Germanson on piano, and Willie Jones III on drums – a combo with a hard-swinging energy, and lots of individual identity in the way each member expresses themselves within the group – no egos getting in the way of the groove, even though the musicians themselves are an all-star group! Yet credit should really be given to Brusger for not only pulling the whole thing together, but also composing most of the material for the set – really great tunes that bristle with fresh life and vision, on selections that include "A Slice Of Gryce", "Just A Tadd More Please", "Do Dreams Really Matter", "The Sugar Glider", and "Blues For Another Time". CD

One of the strangest albums in the career of Chico Buarque – and one of the best-remembered too! Os Saltimbancos is a children's play adapted by Buarque from original text by Sergio Bardotti – set to music by Luiz Enriquez Bacalov, and recorded in both Rome and Rio! Most of the album is spoken, with narration by Magro from MPB-4 – and the story is about some unhappy animals that are on their way to the big city to become musicians! The donkey (played by Magro) gets tired of doing hard labor and meets a dog (played by Ruy, another of the MPB-4 guys), a cat (played hilariously by Nara Leao), and a hen (Miucha, the sister of Chico Buarque). The music is pretty strange, and some of the tracks have a sound that's actually kind of avant-poetry, with lots of strange sounds, shouts, and whispers – in a manner that's almost as experimental as it is whimsical. Titles include "Minha Cancao", "Bicharia", "O Jumento", "Todos Juntos", and "A Batalha". LP, Vinyl record album

Killer stuff – as Jerry's getting the full early Philly treatment here, with arrangements by Thom Bell, Bobby Martin, and Roland Chambers, and production by a young Gamble and Huff! The sound isn't nearly as icy as the old Vee Jay days – but that's fine with us, as Jerry is nice and soulful on tracks like "Moody Woman", "When You're Alone", "I Forgot To Remember", "Brand New Me", "What's The Use Of Breaking Up", and "Walking Around In Teardroops". Nice cover, too – with Jerry standing in a pile of fake diamonds! LP, Vinyl record album

A gem of a session from the European expatriot scene of the postwar years – not really a tribute to Cannonball Adderley, but a rare meeting of Bud Powell and Don Byas in the studio, produced by Cannonball in Paris in 1961! The record has a tremendous amount of fire and focus – especially on the part of Powell, who could sometimes falter in a European setting – and although Byas' horn might seem a contrasting choice for Bud, he really burns with a lot of energy here – arcing, soaring, and turning with lines that show that his talents hadn't dimmed at all out of the American limelight. As always with his few productions from the time, Cannonball shows a great deal of sensitivity and patience with the players – probably a key factor of the success of the set. Also noteworthy is the rest of the group – which includes Idrees Sulieman on trumpet, Pierre Michelot on bass, and Kenny Clarke on drums. Titles include "Jeannine", "Just One Of Those Things", "All The Things You Are", "I Remember Clifford", and "Jackie My Little Cat". LP, Vinyl record album

Rare 70s work by Bobby Byrd – sides done for the Brownstone and International label, most of which feature work by members of the James Brown universe, and some production by James Brown himself! The best tracks on the set are from the early 70s – and feature Bobby working in that incredibly tight, incredibly fast-grooving mode he first forged with James – heard to best effect on some key live recordings, and served up here in some equally great studio sides that feature help from Fred Wesley and Brown. A few other cuts keep the funky fire burning with some surprisingly nice Miami touches – with Clarence Reid on production, but Bobby more than strongly in the mix on some great vocals. There also appears to be a few tracks from later years – featuring Byrd with singers Vicki Anderson and Martha High, plus a group that also includes Bootsy Collins and Fred Wesley – and 2 more that are later live numbers. The set features 11 tracks in all, and is a great counterpart to Bobby's one and only album for the King label – with tracks that include "Never Get Enough", "Hang It Up", "Back From The Dead", "The Way To Get Down", "Feel Good Friday", "Sayin It & Doin It Are Two Different Things", "Let Me Know", and "Tell Me What's On Your Mind". CD

An incredible collection of records – a series of albums that forever changed the sound of Latin music around the world! These five sets were all cooked up in the changing Cuban scene at the start of the 60s – where musicians were getting looser and freer, with a sound that was quite different than the tighter big bands of a few years before – strongly influenced by changes in American jazz, including the jam session mode that was big on record during the 50s! In a way, these sides are an answer to that – as they feature all-star musicians coming together on long, more spontaneous tracks – often in smaller combos with heavy influence on rhythm, and lots of work from the key soloists on the dates. Each record has a different leader, but often some of the same musicians – and there's some especially great work on trumpet and tenor by other members of the group – at a level that went on to influence the small combo sound of artists like Joe Cuba, the grooves of the Latin Soul/boogaloo scene, and even the all-star American groups like the Alegre All Stars and Fania All stars in years to come. Records 1 and 2 feature leadership by Julio Gutierrez, record 3 is led by Nino Rivera, record 4 (the most famous) is led by bassist Cachao, and record 5 is led by flautist Fajardo. Great box set – all CDs in small LP-styled sleeves with original art – alongside a 96 page booklet of notes and photos! CD

... CD

One of the tightest, sharpest sessions ever from trumpeter Conte Candoli – an early date done for Bethlehem Records, with a quartet setting that gives Conte plenty of room to cook! The solos are bold and fierce right from the start – with an energy that goes beyond even Candoli's work in bigger groups – and the rhythms are often very lively, and seem to push Conte onto his best level of expression – thanks to work from Stan Levey on drums, Max Bennett on bass, and Claude Williamson on piano. There's a bit more bite here than you'd guess from the west coast pedigree of the group – and titles include "On The Alamo", "I Can't Get Started", "Tune For Tex", "Fine & Dandy", "Night Flight", and "I'll Remember April". CD

Tommaso Cappellato is a hell of a drummer – one whose work we've loved on other projects, but who sounds even better here in a lean funky combo of his own! Tommaso uses drum programs next to live drums, and his own work on the kit is the real driving force here – complex enough to match the cosmic rhythms on the set, and given great support from group members on bass and electric guitar! Cappellato plays keyboards as well – and the record features a bit of flute, vocals on three tracks, and titles that include "Heart To Mend", "Battle Moves", "Dancing Around Fire", "Made Of Golden Light", "Warming Up", and "The Flow Must Go On". LP, Vinyl record album

A beautiful illustration of the strength of Ron Carter as a leader – that way he has of firmly directing a combo from the place of the bass, yet always in a subtle way that never overpowers the rest of the group! The balance here is wonderful – as Ron's tones really come through clearly in the mix, and soulfully set the tune from the start – yet the lead lines are often taken by the piano of Stephen Scott, who dances delightfully alongside the creative drum work of Lewis Nash – already a heck of a great player at this point in his career. Steve Kroon comes in with a bit of added percussion – but never too much – and titles include "Double Bass", "Mr Bow Tie", "Someday My Prince Will Come", "I Remember Clifford", and "Blues For DP". CD

The fantastic early sound of the great Johnny Cash – captured here by Sun Records, who really did a great job of bringing out the rhythmic pulse in Johnny's music! As with his best early singles, the style here is very raw – romping guitar riffs next to the man's incredible deep voice – set up perfectly on the sorts of tunes that just seem to get better and better the more you give them a listen! Titles include "Luther's Boogie", "I Just Thought You'd Like To Know", "I Forgot To Remember To Forget", "Katy Too", "You Tell Me", "Just About Time", "You Win Again", "Thanks A Lot", "Get Rhythm", and "I Could Never Be Ashamed Of You". LP, Vinyl record album

Beautiful work from baritone saxophonist Serge Chaloff – one of a few key players who helped reinvent the role of his instrument in jazz during the postwar years – but one who only made a handful of records before his too-early death! This live performance really corrects the lack of entries in the Chaloff catalog – and it really stands as a nice contrast to the more composed vibe of his Capitol albums – as the tracks are long and open, and Serge really blows us away with his imagination and power on the solos! The group's not an all-star one – Jerry Murphy on piano, Al Dimino on bass, and Don Sheldon on drums – but Chaloff hardly lets that get in the way, as he steps out front right from the start, and blows beautifully on both the swingers and ballads – with a depth and dexterity that most folks would usually only hit on the tenor. Titles include "Ninety Nine Guys", "Wildwood", "Move", "Tea For Two", "I'll Remember April", "Love Is Just Around The Corner", and "Willow Weep For Me". CD