Three slices of rare work by Duke Ellington – all recorded previously as semi-private recordings, and issued here in a short-lived 70s set! As you'd guess by the title, the tracks are all in "suite" form – that broader compositional style that dominated Ellington's later work, one in which he brought together complicated ideas with a very unified feel – often based around a single theme, but fleshed out beautifully with modes that were even more sophisticated than in his earlier work. Side one features "The Queen's Suite", recorded in 1959 with mostly full orchestra, but also a spare passage of just piano and bass – and side two features "The Goutelas Suite" from 1971, and "The Uwis Suite" from 1972. CD

Duke Ellington in fine fine form – working here in a selection of tunes played at jazz festivals in 1959 – a very good year for the Ellington Orchestra! The styles here are a mix of older Duke modes and some of the more sophisticated modernism of his late 50s years – and performances are often long and open-ended, with just the sort of spontaneous energy the Ellington organization offered to live crowds of the time. Titles include the extended "Idiom 59", plus "Launching Pad", "Perdido", "Duel Fuel", "Copout Extension", and "Things Ain't What They Used To Be". Includes bonus tracks "VIP Boogie" and "Jam With Sam". CD

A great high-concept composition from Duke Ellington – one that rivals the earlier brilliance of his Liberian Suite! Like that one, vocals are a key part of this long-form work – a special performance done for the Century Of Negro Progress Exposition in Chicago in 1963 – with an all-star cast that includes Jimmy Jones both at the piano and conductor's stand; Joya Sherrill on vocals with the Irving Bunton Singers, Jimmy Grissom, Jimmy McPhail, and Lil Greenwood; Billy Strayhorn on celeste, Juan Amalbert on conga, and other familiar Ellingtonians in the larger group! The tunes have a mix of gospel and folk roots, turned towards more modern Ellington compositional modes – and almost all numbers feature vocals, including one with narration by Ellington himself. Titles include "Will You Be There", "Come Sunday", "David Danced", "Montage", "My Mother My Father", "My People", "The Blues Ain't", and "What Color Is Virtue". CD

A key classic from the earliest years of the Fatback Band – one of the group's funkiest albums, and part of their original trilogy for the Perception label! The groove here is mighty raw throughout – but a bit more complicated than some of their funky 45 releases – a mixture of funky vamps and some more soul-styled tunes – showing the group evolving a bit from the start, yet still losing none of their funky edge – sounding surprisingly nice on a few of the album's mellower instrumentals. Titles include the massive "Goin' To See My Baby", with a classic break on the intro – plus "Street Dance", "Free Form", "Give Me One More Chance", "Green Green Grass Of Home", "Baby I'm A Want You", and "Take a Ride (On The Soul Train)". Features the bonus track "Dance Girl". CD

2 lesser-known gems from a young Maynard Ferguson – back to back on a single CD! First up is Plays Jazz For Dancing – a record that hones the usual Ferguson groove a bit more for the dancefloor, yet still keeps in plenty of room for the sorts of solo space that Maynard first forged earlier in the 50s! The lineup here features some great work from Willie Maiden on tenor, Slide Hampton on trombone, and Jimmy Ford on alto sax – as well as performances from Maynard himself on trumpet, valve trombone, and even a bit of euphonium. Titles include "Hey There", "Where's Teddy", "Soft Winds", "Tis Autumn", "Secret Love", "I'll Be Seeing You", and "If I Should Lose You". Let's Face The Music & Dance follows in very similar form – a well-crafted batch of big band numbers from Maynard Ferguson, with more than enough swing and sway for the dancefloor, but also that stronger sense of personality and power you'd expect from Maynard. As usual for the time, the lineup of players is totally great – a surprising batch of hipsters that includes Jaki Byard on piano, Slide Hampton on trombone, Joe Farrell on tenor and clarinet, and Willie Maiden on tenor and flute – plys some great drum work from Rufus Jones, who really keeps a nice punch in the rhythms. Titles include "Let's Do It", "Spring Is Here", "Teach Me Tonight", "Let's Face The Music & Dance", and "Mangos". CD

A really unique take on the form of free improvisation – one done at a distance, during the global pandemic in 2020 – but at a level that's very different than anything else we've ever seen on record! The "correspondence" in the title is a reference to the process of the album – as each artist would first record a solo, then send it to the other, who would then respond with a solo of their own. This means that the record is all solo performances, not duets – but done at a level that's still very resonant with the work of the other artist – although at a remove, which maybe allows for even deeper concentration on a musical response! Rafal Mazur plays acoustic bass guitar and Agusti Fernandez plays piano – but the sounds of the instrument are very different than usual – filled with all these textures and really striking sonic possibilities. CD

A later entry in Ella's Songbook series for Verve – but a great one too, thanks to some strong arrangements from Nelson Riddle! Riddle's working here at a level that he brought to his earlier sessions with Frank Sinatra – one that colors in the tunes with just the right amount of shadings needed for each different composition, but which also still leaves plenty of space for the vocalist to dominate the recordings. Ella's in fine form throughout – swinging easily on the more upbeat numbers, but also balancing things out with some thoughtful ballad work that stands as some of her best of the 60s. Titles include "Let's Begin", "Remind Me", "Yesterdays", "Why Was I Born", "She Didn't Say Yes", and "You Couldn't Be Cuter". CD

A beautiful recent live recording from bossa legend Joao Gilberto – the kind that shows that he's still very much in fine fine form! The set was recorded in Tokyo, and features Joao on voice and guitar – with no other instrumentation at all – replicating the feel of some of his sparest classic work, with a style and approach that seems even better with age. There's a waning sadness to the whole set that's really compelling – the weight of years that somehow makes classic tunes sound even more meaningful than before! 15 tracks in all – with titles that include "Aos Pes Da Cruz", "Bolinha De Papel", "Louco", "Pra Que Discutir Com Madame", "Doralice", "Este Seu Olhar", and "Preconceito". CD

Collaboration has always been at the heart of the work of the Great Jazz Trio – and no matter what the lineup, the group is always an equally weighted, three-pointed star – one that here hits a beautiful balance between the piano of Hank Jones, drums of Elvin Jones, and bass of Richard Davis! The album's one of a few recent efforts that show the group really returning to the form of their initial late 70s genius – simple, elegant, and never overdone – but always at a level that shows that these guys don't take the "great" in their name lightly! Titles include "Blue Bossa", "Summertime", "Long Ago & Far Away", "Autumn Leaves", "Memories Of You", and "Moose The Mooche". CD

A wonderful return to form for the Great Jazz Trio of Hank Jones, Richard Davis, and Elvin Jones – a recent session, but one recorded with the warmth and imagination of their best 70s Japanese sets! The album's done in the ultra-high fidelity style of the 88's label – and features the group stretching out in some wonderful readings of standards that include "Long Ago & Far Away", "Caravan", "Softly As In A Morning Sunrise", "You'd Be So Nice To Come Home To", and "Smoke Gets In Your Eyes". CD

A wonderful return to form for the Great Jazz Trio of Hank Jones, Richard Davis, and Elvin Jones – a recent session, but one recorded with the warmth and imagination of their best 70s Japanese sets! The album's done in the ultra-high fidelity style of the 88's label – and features the group stretching out in some wonderful readings of standards that include "Long Ago & Far Away", "Caravan", "Softly As In A Morning Sunrise", "You'd Be So Nice To Come Home To", and "Smoke Gets In Your Eyes". CD

A stunner! Al Green returns to the glorious, exuberant soul brilliance of the Hi Records years for his Blue Note debut – an amazing return to form that we could kick ourselves for not anticipating! Al Green asserted long, long ago that he had no intention of ever making another secular soul album – and God bless Rev. Green for turning around on that. Of course we wouldn't try to tell you that anything on I Can't Stop is as revelatory as "I'm Still In Love With You" or "Let's Stay Together", but a lot of it comes pretty damn close, believe or not. Al's voice has held up almost unbelievably well over the years, having picked up just enough rough edges to make Willie Mitchell's wonderfully tight, smooth and heavy Memphis soul arrangements that much more striking, but still hitting those knee-shaking high notes and that famous vibrato. And yes, you read the previous sentence correctly – the legendary Willie Mitchell's back in Al's corner for the set – and his horn-drenched Memphis sound is as big and beautiful as ever. If projects like this are going to characterize how Blue Note is going to spend all of that Norah Jones money, we should nominate that girl for president next time. Let's hope Al and Willie live up to the title and keep on going after this one. Another classic from one of the greatest artist/producer teams in the history of modern music! 12 tracks in all, including "I Can't Stop", "Play To Win", "Rainin' In My Heart", "You", "Not Tonight", "Million To One", "Too Many" and more. CD

A rare set of work by Chico Hamilton's original quintet – the groundbreaking lineup that features Buddy Collette on flute and saxes, Fred Katz on cello, Jim Hall on guitar, and Carson Smith on drums – all working together in a really unique blend of rhythm and melody! The sound here is a bit looser than the group's studio albums for Pacific Jazz – given the live setting of the album, at the Strollers club in Long Beach. Yet despite that locale, the sound is quite clear and clean – just right for bringing out the subtle nuances in the string work by Katz and Hall, and some of the lighter notes laid out by Collette's reeds. But there's also a firmer, bolder sound here too – a bit more of a groove than you might expect at times. Titles include "Fast Flute", "Cute Little Deal", "Crazy Rhythm", "Caravan", "Change It", "Free Form", and "A Mood". CD

Paris was always a great city for Lionel Hampton – but it seemed like in the mid 50s, it was also a place where he cut some of his best work, too! The French New Sound pair of albums are both classics in Hamp's book – records that take off from the looser, longer-form style that he'd been hitting with his Verve recordings of the early 50s – yet which also retain some of the tighter, fuller elements of his famous large ensembles. Players on the records are great – a lineup that includes travelling American jazz greats like Benny Bailey and Nat Adderley on trumpets, and a young David Amram on French Horn – plus crack Parisian players who include Sacha Distel on guitar, Rene Urtreger on piano, and Guy Pederson on bass. The tracks are simple jamming numbers – long and open-ended, in the mode of some of Hamp's very popular live work at the time, and the vibes are right out front – hard-edged, with that soulful sound that Hamp pioneered on the instrument – and the other players are given very ample room to solo. Tracks on this second volume include "All The Things You Are", "Night & Day", and "Red Ribbon". CD

Overlooked gems from this key reedman on the Brit modern scene of the 60s – two rare albums in a single package! First up is Movement – one of the most obscure albums recorded by Joe Harriott – leading light of the British avant scene in the 60s – and one of the best, too! The album features Harriott working with a quintet that includes Shake Keane on trumpet, Pat Smythe on piano, Bobby Orr on drums, and Coleridge Goode on bass – playing in territory that's somewhat in the neighborhood of his Abstract and Free Form albums, but also a bit more inside, with more of a focus on swinging, hard-hitting jazz. The rhythms are often quite tight and soulful, and although the album's touched with lots of angular moments – both in the solos and backings – the overall sound is wonderfully grooving and tremendously captivating! The album's got that perfect blend of modern, modal, and soul that make the best Brit jazz albums from the mid 60s so wonderful – and the set list includes original tunes such as "Movement", "Spaces", "Blues On Blues", "Revival", "Beams", and "Count Twelve". High Spirits is pretty unique – a set of takes on tunes that come from a musical show, but recast strongly as soulful sides for the Harriott combo! Pianist Pat Smythe re-arranged all tracks in the set – and really gives them a new sort of energy – opening them up for lots of solo work on his own piano, plus alto from Harriott, and some beautiful trumpet lines from the great Shake Keane – a player who always sounds great next to Joe. The rest of the group features Coleridge Goode on bass and Bobby Orr on drums – and titles include "Home Sweet Heaven", "Something Tells Me", "Go Into Your Trance", "I Know Your Heart", and "Was She Prettier Than I". CD

A little bit leaner, and little bit darker, and a lot more solo of a PJ Harvey album after the comparatively bigger sounding Stories From The City, Stories From The City (itself largely the work of trio, though more deliberately layered and polished) – but true to form, Polly subverts the expectation that she'd strip things raw on a record in which does all but play the drums on – not just on guitars and vocals, bass, piano, accordion, melodica and more on an effort that has a fleshed out band vibe done mostly herself! Rob Ellis handles drums and percussion and titles include "The Life And Death Of Mr. Badmouth", "Shame", "Who The F**k?", "The Pocket Knife", "The Letter", "The Slow Drug", "No Child Of Mine", "The End", "Seagulls" and "The Darker Days Of Me & Him". CD

The Hawk, in prime late form, lays down some beautiful tenor solos over gentle bossa nova accompaniment – working in a mode that's much more satisfying than just a "classic player meets bossa" session, angularly crafting the solos with that dark edge that he had in all of his later work. The groove's similar to a Stan Getz bossa outing, with light acoustic guitar backing him up, but Hawkins' playing is very deep and soulful, and the groove gets very low. With the great cuts "Samba Para Bean" and "Stumpy Bossa Nova". CD

A fantastic session by Jimmy Heath – cut right at the time of his best 70s soul jazz work! This obscure set was recorded in New York in 1974, but not issued in this form until the mid 90s – and it features Heath with a stellar group that includes Curtis Fuller, Stanley Cowell, Mtume, Billy Higgins, and Pat Martino. The overall sound is modal soul jazz – in the style of the best work on Strata East, with a far-reaching spiritual approach that never goes too far outside, but which is ready to explore the farther aspects of jazz-based expression. Heath is incredible – leading the group on alto and soprano, blowing post-Coltrane lines that are supported by fantastic rhythm work by Cowell, Sam Jones, and Billy Higgins. Tracks include "The 13th House", "Time & The Place", "The Voice Of The Saxophone", and "No End". CD

The classic first LP by this stellar Chicago harmony group – and a monster! Heaven & Earth had a wonderful falsetto harmony sound that reminds us a lot of east coast winners like Blue Magic or The Stylistics – and like some of the best east coast groups, this group's vocals work equally well on slow ballads or faster uptempo numbers, both of which are handled extremely well on the record by producer Clarence Johnson. The bulk of the arrangements on the record were done by Tom Tom 84 – one of Chicago's true soul geniuses, and in perfect form on this record. The whole thing's amazingly well put together for an indie soul group album – and is a sure indication of the group's later fame on Mercury. Titles include "Nature's Miracle", "The Message", "I'll Always Love You", "Let Me Back In", and "I Can't Seem To Forget You". CD features the bonus track "Promises". CD

Late work from the great Billie Holiday – the kind of mature set that made Verve Records such a perfect home for the singer in the 50s! Where other labels might have pushed too much to try to get Billie into more commercial, or more straightforward modes – Verve just relaxes into the kind of small combo sound that usually had the singer at her best – pairing Holiday with a great lineup that includes Harry Edison on trumpet, Ben Webster on tenor, Jimmy Rowles on piano, and Barney Kessel on guitar. The songs are short and focused – with Billie at the top of her form on familiar standards like "Comes Love", "Darn That Dream", "Body & Soul", "They Can't Take That Away From Me", and "Embraceable You". This deluxe reissue features 3 takes of "Comes Love", new notes, great sound, and a cool looking package! CD

Genius – pure genius! Bobby Hutcherson's work for Blue Note is some of the most dramatic of any artist to ever record for the label. During his tenure there, he broke in doing some pivotal work in the "new thing" mode with players like Andrew Hill and Joe Henderson, next worked into a soulful groove that helped redefine the face of soul jazz, and then teamed up with Harold Land to form one of the most compelling groups to ever record for the label. This set of 11 tracks provides a good overview of these years – and titles include "Ummh", "Dave's Chant", "Little B's Poem", "Blues Mind Matter", "Ghetto Lights", "Til Then", "Patterns", "Roses Poses", and "Houston St Thursday Afternoon". CD

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

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

An excellent mid 70s Japanese fusion set, led by the Gil Evans protege Masabumi Kikuchi – with a very similar group to the one on his awesome Susto LP! The vibe isn't quite as funky on this outing – in fact it's a bit more reminiscent of Miles' spacey electric explorations – though there are some pretty hard groovin' moments should definitely appeal to fans of funky fusion. Steve Grossman and Dave Liebman play some nice coloristic lines on reeds, and Terumasa Hino is in fine form on trumpet. The rest of the group is rounded out by Reggie Lucas on guitar playing some hard choppy accompaniment to Kikuchi's synths and electric piano, Mtume on percussion, Al Foster on drums and Anthony Jackson on bass. We're especially keen on the dark and heavy "Auroral Flare", the spacious "Pacific Hushes" which opens with a beautiful line played by Hino and the set's closer "Alone". CD

A beautiful return to form for singer Karin Krog – one of our favorite jazz vocalists ever! The album's got Karin singing to arrangements and backing from pianist Steve Kuhn, a wonderful talent for a set like this, and a songwriter who's contributed some really wonderful tunes to the European jazz vocal canon. Kuhn plays acoustic piano in the trio that accompanies Krog, and the album's got the spare, open, and ethereal feel of some of her best 70s work. The whole thing's really laidback, mellow, and done with that slightly icy touch that we love in Krog's voice – and tunes include "The Meaning Of Love", "It Could Be Hip", "Speak Of Love", "Missing Calada", "Kaleidoscopic Vision", "You Say You Care", "Canto Mai", and "Saharan". CD

Andres Landero has a pretty wild look on the cover here – and the sound of his music is equally wild, too – a very raw, rootsy approach to cumbia – very much in the most hard-edged style of the genre, with a quality that often feels more ancient than the 70s recording dates of most of these numbers! This is cumbia at its purest form – all rhythm, even on the melodic instruments – which often include accordion, used in these pulsating waves that groove right along with the massive basslines and percussion. Andres sings on most tracks, in a mode that's as rhythmic as the music – and the set features 20 titles that include "La Cigarrona", "Mara Del Carmen", "Yo Amaneci", "Las Mellas", "La Sanjacintera", "La Pava Congona", "La Mochila Tercia", and "Cumbia En La India". CD

A mindblowing bit of psych from the late 60s – and a record that has way more to offer than just the usual fuzzy guitar, thanks to key use of moog, theremin, and tape tricks! There's a really freaky feel to the record from the start – a quality that's hipper than most of the underground at the time, almost an ironic take on the usual – sometimes through thoughtful lyricism, other times via a more experimental music approach that almost hints at some 70s prog and post-prog styles – yet presented here in much shorter form, without any overindulgence at all! The record's one that really transcends its time – a compelling little set that offers plenty more than just its existence as a rare relic – and which actually features many tunes that would make perfect covers for the contemporary scene today. Titles include "That's Another Story", "Machines", "This Is It", "This May Be Goodbye", "It Comes On Anyhow", and "Sex & Violence". CD features bonus tracks – "Rose Coloured Glasses", "Love", ""Comic Strip", "Every Single Word", "Let The Boy Pretend", and "Have Mercy". CD

A sweet live set from guitarist Pat Martino – recorded with a nice gritty feel, and just the right blend of organ and tenor that Pat would get on his Prestige Records dates of the 60s! The tracks are all nice and long, with the kind of open, freewheeling energy that we love back in the 60s soul jazz days when Martino got his start – and as on some other excellent recent dates, the move back to basics works perfectly for Pat's deep talents on the guitar – augmented nicely here by organ lines form Tony Monaco, and some especially tight tenor from Eric Alexander. The group's completed by drummer Jeff Tain Watts – and titles include "Lean Years", "Inside Out", "Side Effect", "Goin To A Meeting", and "Double Play". CD

One of our favorite Curtis Mayfield albums ever – a massive early 70s effort that's filled with wonderful songs all the way through, and quite possibly one of the most perfect realization of the righteous vibe of the early 70s Curtom years! Curtis is in fine form throughout – as a singer, composer, and producer – but he's also got some excellent Chicago soul help from arrangers Riley Hampton and Johnny Pate – both key talents on the 60s Windy City scene, still able to come up with a deeply soulful groove here – and both able to blend together strings and funk in the way that Curtis was going for at the time. Titles include the massive "We Got to Have Peace" – a tune that never gets old – plus "Underground", "Keep On Keepin On", "Now You're Gone", "Get Down", "Love To Keep You In Mind", and "Beautiful Brother of Mine". Plus four bonus cuts – "Underground (demo)", "Get Down (single version)", "We Got to Have Peace (single version)", and "Beautiful Brother of Mine (single version)"! CD

The start of a legend – and the very first album by Sergio Mendes' Brasil 66 group, proudly brought to the world through the godlike talents of a young Herb Alpert! Sergio was no stranger to the recording studio by the time of this set, but the record marked a real shift in his music – a change from the mostly-instrumental bossa modes he first forged back in Brazil, and a shift to warmer, sweeter pop with a nice sunny California finish – done through unique production techniques and the group's trademark two-lady lead vocals! The sound is tremendous, and is possibly heard in its purest form here – simple, focused, and given that near-perfect A&M sound through Herb's production skills. Titles include the classics "Daytripper", "Aqua De Beber", "O Pato", "Berimbau", "Mas Que Nada", and "The Joker". CD

A rare Japanese session from vocalist Helen Merrill – one of a few key 60s recordings she cut on the Tokyo scene, after initial fame in the US! The album features a great small group arranged by drummer Takeshi Inomata, played by a combo that includes alto, baritone, and trumpet – all used in a cool and laidback mode that resonates nicely with Merrill's more familiar 50s sides on Mercury – but which also stretches out more, too – not as "cool", and with a sense of inflection that's mighty nice. Helen's in great form vocally – often singing in that almost-effortless mode that we love in her classic work – and titles include "It Never Entered My Mind", "Bewitched", "You Do Something To Me", "Teach Me Tonight", "Good Morning Heartache", and "My Favorite Things". CD

Groundbreaking work, and a killer piece of Philly groove! MFSB were a large conglomeration of studio players who graced some of the first big Philly hits in the 70s, and here they break out on their own in a remarkable set of pre-disco tunes that form the blueprint for the rest of the 70s dancefloor action. The set pulls tracks from most of the band's best albums of the 70s – mixing uptempo numbers with other cuts that have a surprisingly sly approach to jazzy soul. Includes the classic "TSOP", which was also the theme to Soul Train, plus a great version of "Cheaper To Keep Her", the very familiar "Love Is The Message", "Zach's Fanfare", "Freddie's Dead", "Philadelphia Freedom", "Sexy", "Poinciana", "My Mood", and "TLC". 16 cuts in all! CD

A strong statement from pianist Mulgrew Miller – very much at the top of his form here, and playing with a power and sense of imagination that recalls the older trio work of McCoy Tyner! The trio features Richie Goods on bass and Tony Reedus on drums – both backing Miller with a warm, round tone that only seems to deepen the soulful qualities of his piano work. The set includes a number of fresh titles that are awash in light and lyrical color – and tunes include "Somewhere Else", "Small Portion", "Dreamin", "New Wheels", "Words", and "Summer Me Winter Me". CD

Fantastic – and one of Mingus' greatest albums ever! This one ranks right up with The Clown and Pithecantropus Erectus for sheer raw power and emotion – and Mingus' writing here is incredibly tight, giving soloists like Charlie Mariano, Jaki Byard, Richard Williams, and Jerome Richardson a real workout. The set's an extended suite of tracks with sort of a semi-ballet form. Don't let this fool you into thinking that the work's some sort of semi-classical snoozer, though – as Mingus uses the structure to hit some brilliant raw emotion, and the "dance" part of the piece gives the work a tight rhythmic form, pushing the soloists into raw urgent grooves, of a nature that never show up on Mingus' other work from the time. Titles include "Trio & Group Dancers", "Solo Dancer", "Group & Solo Dance", and "Duet Solo Dancers". CD

A set of incredible records from Charles Mingus – all presented together in one mighty nice package! First up is Mingus Moves – a fantastic fresh new chapter in the career of Charles Mingus – a set that features the addition of two key players who would really shape his sound in the 70s – Don Pullen on piano and George Adams on tenor, both completely wonderful here! The group also features excellent trumpet from Roland Hampton, a player we don't know from many other settings – and the set also features some really nice vocal work from Honi Gordon and Doug Hammond. Titles include "Canon", "Moves", "Wee", "Flowers For A Lady", "Opus 3", and "Newcomer". CD also features bonus tracks – "Big Alice" and "The Call". Changes is key 70s work from Charles Mingus – an album that was recorded over the course of three days of creative activity at the end of 1974, but somehow split into two different albums under the Changes name! The lineup here is prime 70s Mingus – George Adams on tenor, Jack Walrath on trumpet, and Don Pullen on piano – young players who really give a fresh voice to Mingus' musical ideas, and help him find this beautiful late life sense of color, tone, and timing that's completely sublime! Titles on this second volume include "Sue's Changes", "Devil Blues", "Remember Rockefeller At Attica", "Free Cell Block F Tis Nazi USA", "Black Bats & Poles", "For Harry Carney", and "Duke Ellington's Sound Of Love" – which features a guest appearance by Marcus Belgrave on trumpet and Jackie Paris on vocals. On 3 Or 4 Shades Of Blues, Charles Mingus is returning to the soulful gospel-influenced mode he swung big in the early 60s! The record's something of a later predecessor of the classics Blues & Roots for Atlantic and Mingus (x5) for Impulse – and the style is slightly less dramatic, but still quite steeped in soulful explorations that feature plenty of notes from the bluer side of the spectrum! Players include George Coleman and Ricky Ford on tenor, Jack Walrath on trumpet, and Larry Coryell on guitar – and titles include new takes on "Better Git Hit In Your Soul" and "Goodbye Porkpie Hat" – plus"Nobody Knows", "Noddin Ya Head Blues", and "Three Or Four Shades Of Blues". Next is Cumbia & Jazz Fusion – one of the most enigmatic albums that Charles Mingus ever recorded – especially in his later years! The set features two very long tracks done by Mingus for use in a film about cocaine traffic between New York and Columbia – but considering the nature of the music, and the freely exploratory style, both numbers here stand very well on their own! Although touched with some of the Latin influences you might expect from the title, the sounds are often darker and more brooding than, say, the Mingus style on the classic Tijuana Moods set. And instead, there's a very serious soundtrack-like vibe going on through most of the set – larger jazz orchestrations used to beautifully underscore subtle themes, and breakout solo moments from players who include Mauricio Smith on flute, Paul Jeffrey on tenor sax, Jack Walrath on trumpet, and Jimmy Knepper on trombone. The album also features a fair bit of added percussion – and features two long tracks, "Cumbia & Jazz Fusion" and "Music For Todo Modo". Me Myself An Eye is complicated later work from Charles Mingus – a great illustration of the way his power to command a large ensemble never wavered as the years went on! The album features two different large groups of players – filled with modernists young and old – including Ricky Ford, George Coleman, and Michael Brecker on tenors; Ronni Cuber and Pepper Adams on baritone; Randy Brecker and Jack Walrath on trumpets; Lee Konitz on alto, Larry Coryell on guitar, Slide Hampton on trombone, and Eddie Gomez on bass. Side one features the 30 minute track "Three Worlds Of Drums", and side two contains a remake of "Wednesday Night Prayer Meeting", plus "Devil Woman" and "Carolyn Keki Mingus". Something Like A Bird is one of the last albums Charles Mingus ever gave us – before departing this planet way way too soon! The set shows the increasing sophistication of Mingus' music in these later years – a mode that almost echoes the path that Duke Ellington would take in his final decade – a move towards some larger-form material that still holds onto all the raw energy of the early days, but finds a way to not only bridge larger musical ideas – but musical generations as well! As part of this, the set's got a wonderful lineup – with Lee Konitz on alto, Pepper Adams on baritone sax, George Coleman on tenor, Eddie Gomez on bass, and Joe Chambers on drums – and titles include the long title track, "Something Like A Bird", split up over 2 sides of the LP, plus "Farewell Farwell". CD

80's reissue that brings together tracks from two different Mingus Columbia sessions – one from 1959, and one from 1971. The '71 material is the extended "Shoes of The Fisherman's Wife Are Some Jive Ass Slippers", which is one of Mingus' best works from the decade. The other tracks are shorter, and were originally presented in edited form on the Mingus Dynasty album – but they're offered here in longer versions that include the previously-edited material. Titles include "Song With Orange", "Slop", and "Gunslinging Bird". CD

Additional material and unreleased from one of the greatest 60s recordings from the Wynton Kelly Trio – thanks to some wonderful guest work from guitarist Wes Montgomery! Montgomery's working here in a gusty, rootsy style that recalls his best soul jazz sides from the earlier years – and which have a feel that's quite different than his later, more largely-arranged work for Verve. The Kelly Trio is in perfect form – with Wynton's heavy left hand leading the group on the piano, and superb rhythm backing from the team of Paul Chambers and Jimmy Cobb. This massive set marks the first official release of all these tracks that were recorded at the time, but not on the original Verve album Smokin At The Half Note – with work from Larry Ridley on bass on a number of tracks, and titles that include very long versions of "The Song Is You", "Star Eyes", "Four On Six", and "Cherokee" – plus takes on "Cariba", "Blues", "Laura", "Impressions", "Mi Cosa", "No Blues", and "All The Things You Are". CD

Naoki Nishi's not the biggest name from the glory days of the Japanese piano trio scene, but he's a great musician, and one with a lyrical quality that really links his style to that of important American greats from the time – maybe some of the warmth of Hank Jones, but mixed with some of the longer form ideas of Cedar Walton too! There's also a nice sense of space between his notes, but not in a Bill Evans way, as the through line is always clear – and given nice support here from Osamu Kawakami on bass and Michael Reznikoff on drums. Titles include the originals "A Little Song", "Monstar", "Dewdrops", and "Giant From The West" – plus versions of "Ugestu" and "On Green Dolphil Street". CD

One of the great American folk and country figures of the past half century, and one who doesn't get the mainstream reverence he deserves – Tom Paley, a founding member of The New Lost City Ramblers – and he's rambling quite beautifully on these 2011 recordings with his Old Time Moonshine Revue! There's an experienced, elegiac quality here on Tom's voice and on the songs, but it's lively and timeless! He's in his mid 80s and in truly classic form here! Includes "Roll On, Roll On", "Little Birdie", "Beelzebubbles", "Johnson City Blues", "The Fiddling Soldier", "A Horse Named Bill", "Whiskey Seller", "Little Rabbit", "Green Grow The Lilacs", "Poor Bill" CD

Older Charlie Parker material – originally recorded as 78rpm releases for Savoy, packaged up here in full LP form, along with alternate takes and a great cover, in the years after his early death! Players include Miles Davis on trumpet, Tiny Grimes on guitar, Dizzy Gillespie on trumpet and piano, Duke Jordan and John Lewis on piano, and Max Roach on drums – and titles include "Red Cross", "Sippin At Bells", "Little Willie Leaps", "Donna Lee", "Chasing The Bird", and "Half Nelson". CD

One of the first-ever full length collections of work from bop piano legend Bud Powell – a record with a seminal Blue Note cover image, and the well-earned "Amazing" in the title! Powell's in great form throughout – very much at that restless, effortless best of his early career on the piano – working on a number of tracks in a trio with Max Roach on drums and Curly Russell on bass – and even more unusually in another group with Fats Navarro on trumpet and Sonny Rollins on tenor – some of his few non-trio recordings of the time! The set features some key early classics, a few with alternates too – and titles include "Un Poco Loco", "Parisian Thoroughfare", "Dance of The Infidels", "Wail", "Bouncing With Bud", and "52nd St Theme". CD features a few bonus alternates too. CD

A great return to form for Prince – even though at the time, we all had to refer to him with an unpronounceable symbol! There's a lean, funky vibe to most of the record – almost a step back to the unified group approach of his mid 80s classics – and even though a few sonic elements have been updated, they changes have been done in the best way possible – partly by absorbing some of the new pop psychedelic touches that Prince himself had unlocked back in the 80s, filtered into the work of others, and which are taken back here with great modifications that really sound great next to the grooves! Titles include "The Most Beautiful Girl In The World", "We March", "Now", "319", "Billy Jack Bitch", "Eye Hate U", "P Control", and "Shy" – plus a number of short "NPG Operator" tracks. CD

Really fantastic work from Prince – an album that's maybe not as famous as some of his 80s classics, but which has the maestro in perfect form throughout! There's all these warm jazzy currents in the music that we totally love – especially on the keyboards, which have a glow and flow that clearly seems to be Prince's way of showing the Neo Soul generation that he not only helped carve out the territory that first got them going, but also can still do it maybe better than anyone else! The album still has some of the heavier funk that Prince was always known for – but it's the warmer, mellower moments we totally love – on titles that include "Last December", "The Work", "Everywhere", "The Sensual Hereafter", "Muse 2 The Pharoah", "Deconstruction", "Wedding Feast", "1+1+1 Is 3", and "She Loves Me 4 Me". CD

The last Capitol album from vocalist Sue Raney – and easily the most compelling of the bunch! Sue's in really great form here – shaking off some of the cooler west coast modes of earlier records, and going for a more lively, more fluid style that's sometimes touched with the R&B influences that were creeping into jazz vocals at the time. Backings are by Ralph Carmichael – tightly jazzy, but often with plenty of room for Sue to take over – and there's a really great sense of balance, poise, and power here that far surpasses most of Raney's other albums from the time. Titles include "How About Me", "Burnt Sugar", "Some Of These Days", "Trouble Is A Man", "Don't Let The Sun Catch You Crying", and "Here's That Rainy Day". CD

An excellent "comeback" LP for Ernest Ranglin, though astute observers realize he never really went away in the first place! Ranglin was always able to move back and forth easily between the worlds of groovy jazz, playing alongside Monty Alexander on some of his finest 70s sides, and Jamaican studio work, serving guitar duties at Studio One, cutting some of the rhythms that would serve as the foundation for much of the Jamaican music throughout the years! This set finds him in fine form, rendering excellent jazzy versions of numerous classic rhythms with a crack band that includes old mates Monty Alexander on piano, Roland Alphonso on saxes, and funky drummer Idris Muhammad! 11 tracks in all: "Congo Man", "Surfin'", "King Tubby MeetsThe Rockers", "Satta Massagana", "54-46 (Was My Number)", "None Shall Escape The Judgement", "Ball Of Fire", and "Black Disciples" CD

A massive folkloric project – one that really shows how much the form has evolved since the early days of recording! This huge book-length collection looks at the rich legacy of Appalachian music as it moved north towards the Mason-Dixon line – from roots in Virginia and Tennessee, to northern spots in Maryland and Pennsylvania as those older communities languished. The first half of the collection focuses on important 60s recordings of Ola Belle Reed and the New River Boys – done by folklorist Henry Glassie, and very well recorded – and the second half looks at the long legacy of music that's continued in that area, sometimes after the sounds have faded from the source of their original roots. CD one features all recordings of Ola and her contemporaries – while CD two features recent material with a surprisingly vibrant feel – and artists include TJ Lundy, Ryan Paisley, Hugh Campbell, Zane Campell, Dave Reed, and John Miller – as well as the Debusk-Weaver Family. The book itself is worth the price of admission – hardcover, full of photos and writings – and over 250 pages long! CD

Excellent cool jazz vocals from The Netherlands! In the immediate post-war years, the Dutch jazz scene was one of the first to emerge with a sophisticated understanding of the American jazz form. Rita Reys was one of the country's leading talents in this respect, and she had a wonderfully cool vocal style that was similar to American singers like June Christy or Chris Connor. This great Japanese reissue of an album from 1956 has her fronting 2 different groups – one the legendary Wessel Ilcken Combo, the other an early version of The Jazz Messengers, featuring Horace Silver and Hank Mobley. The Jazz Messengers sides were apparently recorded in New York, and the Ilcken sides are of Dutch origin. Both are great – and titles include "I Should Care", "It's Alright With Me", "Old Black Magic", "Taking A Chance On Love", and "Spring Will Be A Little Late This Year". CD

Every single song the great Jimmie Rodgers ever recorded! Jimmie Rodgers might be THE forefather of traditional country music, and one of the great hard times poets of the century. Bear Family has gone all out to include his entire recorded history, and if justice served this set would be celebrated in the same manner as Harry Smith's Antholology Of American Folk Music. The recorded history here is every bit as important, if not more so, to the maturation of American music – but even more importantly, it's filled with breathlessly great songs! Everything's here – "The Soldier's Sweetheart", "Sleep, Baby, Sleep", "Ben Dewberry's Final Run", "Mother Was A Lady", "Blue Yodel", "Treasure's Untold", "Mississippi Moon", "You And My Old Guitar", "I'm Lonely And Blue", "My California Sunshine Girl", "Mississippi River Blues", "Nobody Knows But Me", "She Was Happy 'Til She Met You", "For The Sake Of Day's Gone By", "Jimmie's Mean Mama Blues", "In The Jailhouse Now", "T.B. Blues", "Let Me Be Your Sidekick", and tons more. Tuberculosis took Jimmie away while he was still in his 30s, but he left an incredible legacy – unprecedented music that fused old time gospel, blues, and mountain folk into a new American art form. Nearly 150 tracks, including many alternate versions, and a great booklet crammed with biographical information and photos. CD

The Stones may be old, but they ain't dumb! Mick & co. must have noticed the huge shot of artistic credibility Justin Timberlake received after the Neptunes hopped aboard, which is something the Stones haven't had in a couple of decades. The 'Tunes do a pretty great re-imagined take on the classic rock staple – adding some sitar and Eastern string touches on top of their patented minimal claps, snaps, and thumps. On top of the full length Neptunes mix and an edit you get Fatboy Slim's mix, also in epic form plus radio edit. Cook's is a fine, bubble gum club mix with a Happy Mondays kind of vibe. The Full Phat mix strays the most from the original, keeping Mick's vocal and the whoo-whoos, but completely strips the band and adds all electronic beats. The original version is here for you kids who didn't realize there was one! CD

An overlooked Sonny Rollins set from the early 80s – one that has him recording with a fair bit of guitar, but still staying very much in his best form as an improviser! The group here features both Bobby Broom on electric guitar, and Yoshiaki Masuo on acoustic and electric – both players who get in plenty of sound during the set, but always as a follow-up to Rollins' bold tenor voice in the lead. Remaining group members include Bob Cranshaw on electric bass and Jack DeJohnette on drums – and although the electric strings might normally make for a smooth sort of record, Sonny's sharper sound still brings plenty of edge – even when the rhythms of a few tunes get a bit bright. Titles include "My Little Brown Book", "Reel Life", "McGhee", "Rosita's Best Friend", and "Best Wishes". CD

A wonderful reunion of Pharoah Sanders and vocalist Leon Thomas – and a set that captures a lot of the same energy as the pair's previous record – Karma! Thomas' vocals are in wonderful form for the set – stretching out soulfully on the extended classic "Hum-Allah-Hum-Allah-Hum-Allah" – a title that has much of the same grace and power as "The Creator Has A Master Plan. The rest of the players on the date include Lonnie Liston Smith on piano, Richard Davis and Cecil McBee on basses, and Idris Muhammad and Roy Haynes on drums – and unusually enough, each of the double bassists and drummers gets their own channel of sound to work with! The other long track on the album is the extended "Sun In Aquarius" – which is a bit more outside, but still pretty great! CD

A fantastic early album by the amazing Jimmy Scott – billed here as "Little Jimmy Scott" – because of his youth, height, and his style of singing! Jimmy's fragile voice is in perfect form here – a really unique blend between torch jazz modes and some of the bluesier styles of the time – all set to moody arrangements that perfectly capture the dark undercurrents he's always brought to his work! The set is filled with wonderful material, and stands as a great change to some of the later work from Jimmy's comeback – with titles that include "Someone to Watch Over Me", "When Did You Leave Heaven", "Very Truly Yours", "Guilty", "Street Of Dreams", "Don't Cry Baby", and "Why Don't You Open Up Your Heart". CD

Insanely wonderful work from Shango Dance Band – a group headed by onetime Fela Kuti bandmate Ojo Okeji – whose bass work here is worth the price of admission alone! Okeji was a key part of Fela's Koola Lobitos, until leaving the group in 1968 – and taking some of the best players with him – to form the amazing Shango Dance Band, which is this incredible bridge between older Afro jazz modes and the new funk styles to explode in the 70s! At some level, the groove's a bit like that which Fela was percolating at the start of the 70s – but there's also some jazzier currents on the horn solos, especially the trumpet – and Okeji's bass is very far up in the mix – dipping, turning, and crafting these amazing grooves throughout – with a snakey vibe that's completely sublime – as is the entire record. And sure, there have been plenty of Afro Funk reissued on the market in the past decade or so – but few as essential as this one – or as enjoyable! Titles include "Position Pass Power", "Women Are Great", "Son Of Thunder", "Alupandu Gbe", and "I Need Your Love". 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 strong return to form for Horace Silver – with work from Red Holloway, Eddie Harris, and James Moody on saxes! CD

A great batch of wonderful music – a well condensed 3 CD box set that features some of Sinatra's best recorded during his Capitol tenure! As is well known, Sinatra's Capitol years were his finest – a time when he moved past a simple pop singer into a complicated vocalist with a sense of expression so deep that it lent itself perfectly to the emerging form of the long-playing record. Many of the albums this material is drawn from are early "concept" sets by Sinatra, and feature moods and themes that move far beyond simple vocal work – into richly expressive territory that's hardly ever been matched again! Arrangers include Nelson Riddle, Billy May, Gordon Jenkins, and Alex Stordhal and there's a total of 75 numbers in all included here! CD

If you've ever loved these guys on record – you'll love them live! This set is brilliant – a perfect example of the way that Frank, Dean, & Sammy could interact together – singing, joking, talking, and effortlessly moving through a range of material in ways that are simply mindblowing when compared to the weak-ass kind of performance that passes for "entertainment" today! The set's got a separate batch of tracks each from Frank, Dean, and Sam – plus routines done by the singers in duo or trio format. Titles include "Via Veneto", "Please Be Kind", "Ring A Ding Ding", "The Lady Is A Tramp", "All The Way", "Guys & Dolls", and lots of tunes done in medley form, with jokes and new lyrics added in! CD

A great return to form for Hammond giant Jimmy Smith – heard here on an early 90s date for Blue Note, done in the same style as Jimmy's classic work for the label! The set's a live one, recorded in Japan – and the tracks have this open flow that's mighty nice – proof that Smith's talents on the keys hadn't dimmed at all over the years, recorded alongside some tremendous guitar work from Kenny Burrell – who's got that same sense of wide tone with a lean groove that made earlier collaborations with Jimmy so great. The similarly-named Jimmie Smith is on drums in the trio – and tracks include "The Cat", "The Preacher", "All Day Long", "Chittlins Con Carne", and "The Organ Grinder's Swing". CD

A really moody album from drummer Tyshawn Sorey – one that features a straightish jazz approach, but on really long songs that take a form that's all their own! The set's a trio date – recorded with Aaron Diehl on piano and Matt Brewer on bass – but the music is hardly standard piano trio fare, as there's a sense of pacing and spacing that really gives the record a unique vibe – something that's maybe not that much of a surprise, given how unique Sorey's music can be! Titles include "Reincarnation Blues", "Angel Eyes", "Seleritus", and a great reading of "In What Direction Are You Headed" – which was penned by Harold Mabern, and initially done on Lee Morgan's last album. CD

The second Steely Dan album in the last three years, and only their third in the previous 20! On Everything Must Go, the Dan take a more laidback, easy funk approach to the arrangements than the incredibly grand scale of their mid-to-late 70s work. The tunes are comparably minimal, in fact, but don't fret it. For one thing, they have nothing left to prove in the grand jazz rock vein – they've already reached the top of that mountain. There is no need for Becker and Fagen (or we fans) to stress over topping Aja all these years into their career, especially when they can crank out a wonderfully hummable groove and barbed, incisively witty lyrics in their sleep. They are still way, way, WAY more interesting in 2003 than pretty much all of their poorly-aging 70s contemporaries, and the fact that we still have these guys in fine form is something we refuse to take for granted! Tracks include the title song, "The Last Mall", "Blues Beach", "Godwhacker", "Slang Of Ages", "Green Book", and more. CD

Beautiful and underappreciated 70s soul from Ted Taylor from his stint with Ronn Records – great series of singles and slew of excellent unissued tracks! Ted was a huge talent with a soaring voice, better remembered for his earlier work at Okeh, but still in incredible form and served well by the 70s style southern soul sound! It includes some early 70s singles that would have sounded at home on Hi Records, some mid 70s duets with Little Johnny Taylor, and a treasure trove of newly unearthed numbers. Titles include4 "Farewell", "Call The House Doctor", "Sweet Lovin' Pair", "A Lick And A Promise", "Why Do I Have To Suffer", "Got To Have A Woman", "She's Got A Munchy Tunchy" "Cry It Out Baby", "Funky Ghetto" and more with Little Johnny Taylor, "Cummins Prison Farm", "Let Me Fix Up Your Feelings" and more. 24 tracks in all. CD

A really great later Blue Note session from Stanley Turrentine – a small combo set that's almost a return to the format of earlier years! The group's a strong one – and features Shirley Scott on organ, Jimmy Ponder on guitar, and Idris Muhammad on drums – playing in a style that's subtler and more laidback than his work with Lou Donaldson, but which still has a nice funk undercurrent. Stan's horn is in wonderful form on the record – really taking advantage of the longer tracks to open up with a mellow and exploratory tone – and the team of Scott and Ponder especially sounds great next to each other on the album. Tracks include "Boogaloo", "Buster Brown", and "Common Touch". CD also features a bonus 11 minute version of Carolyn Franklin's fiesty cut "Ain't No Way"! CD

A really great later Blue Note session from Stanley Turrentine – a small combo set that's almost a return to the format of earlier years! The group's a strong one – and features Shirley Scott on organ, Jimmy Ponder on guitar, and Idris Muhammad on drums – playing in a style that's subtler and more laidback than his work with Lou Donaldson, but which still has a nice funk undercurrent. Stan's horn is in wonderful form on the record – really taking advantage of the longer tracks to open up with a mellow and exploratory tone – and the team of Scott and Ponder especially sounds great next to each other on the album. Tracks include "Boogaloo", "Buster Brown", and "Common Touch". CD also features a bonus 11 minute version of Carolyn Franklin's fiesty cut "Ain't No Way"! CD

A pair of late Motown albums from Undisputed Truth – both issued here back to back, as they originally appeared for the label! First up is Cosmic Truth – a fantastic 70s album from Undisputed Truth – and the first to fully feature the new version of the lineup, after the Magictones had been recruited to form the second version of the group! The sound here is even funkier and more guitar-based than before – a fully-realized take on the Norman Whitfield modes that had been brewing up since his late 60s work with The Temptations – almost as tripped-out at times as early 70s Funkadelic – as if Undisputed Truth were being put forth as a Detroit challenge to the George Clinton universe! Production and arrangements are great – very far-reaching at times, with some bigger ideas in the mix – although all the tight funky soul elements that always made these guys so great. Titles include "1990", "Squeeze Me Tease Me", "Earthquake Snake", "Spaced Out", "Lil Red Ridin Hood", "Got To Get Me Some Lovin", and the great cut "UFO's". Higher Than High is a great later Motown effort from the Undisputed Truth – working in a groove that's a bit tighter and more upbeat than before, but still plenty darn great! Norman Whitfield is still very firmly in charge of the group's sound on the record – arranging, producing, and writing most of the cuts on the album – and he's doing a great job of keeping his sound fresh here – not just sticking in the bass-heavy styles of previous years, and instead moving into some fresher territory that has the group continuing to grow nicely. In a way, the whole thing's almost a precursor for the grooves to come on Norman's own Whitfield label – a great batch of well-crafted titles that include "Overload", "Higher Than High", "Poontang", "I Saw YOu When You Met Her", "Help Yourself (second version)", "I'm In The Red Zone", "Boogie Bump Boogie", and "Ma". CD

A trio of mid 80s albums from Narada Michael Walden – all together in one 2CD set! First up is Looking At You Looking At Me – an album with plenty of beats– so much so you might forget that Narada Michael Walden first rose to fame as a drummer – but all the electricity is fine with us, given the 80s groove sound of the set! There's a nice sense of energy that informs most of the tracks – a somewhat funky undercurrent that almost shows traces of the Minneapolis influence on soul at the time, but without a too-Prince sort of sound overall. There's also a few key ballads too – some gentler cuts that round out the set nicely, and which showcase the increasing confidence Walden's had with his vocals over the years. Titles include "Reach Out", "Looking At You Looking At Me", "Burning Up", "Shake It Off", "Dream Maker", and "Tina". Nature Of Things is a highly electric set from Narada Michael Walden – a mid 80s effort that's filled with catchy little tunes! The style's certainly more mainstream than we might have guessed, given Walden's early career – but it's still much better than most of the pop of its generation – thanks to Michael's strong jazz pedigree, which does seem to inform some of his arrangements and instrumental choices on the album. Most of the percussion is in the form of beats, but Walden's also credited with playing drums (roto-toms, perhaps?) – and in addition to his own lead vocals, the set also features work by Patti Austin and Marth Wash. Titles include "Live It Up", "Nature Of Things", "High Above The Clouds", "Gimme Gimme Gimme", "Suspicion", and "Dancin On Main Street". Divine Emotion is sweet 80s soul from Narada Michael Walden – a set that has the singer/drummer very confidently in the tight R&B territory that served him so well during the decade! As with previous records, there's a fair bit of 80s electronic elements in the mix – bursting, bubbling, and exploding with a joyful groove that really fits Walden's spirit – and serves to emphasize his ever-growing talent for penning at catchy tune! Titles include "Wild Thing", "Explosion", "Jam The Night", "Divine Emotions", "Can't Get You Outta My Head", "That's The Way I Feel About Cha", and "Certain Kind Of Lover". CD

A wonderful return to form for saxophonist Bobby Watson – one of the best albums we've heard from him in years, and a massive regrouping of his legendary Horizon ensemble! Watson first assembled the group back in the 80s – as a vehicle for the tightly-crafted soul jazz he was writing at the time – a fresh sound that brought a new level of joy to jazz expression, and which created some of our favorite jazz records of the period. On this new recording, Watson's fronting a quintet that features Victor Lewis on drums, Terell Stafford on trumpet and flugelhorn, Edward Simon on piano, and Essiet Essiet on bass – all playing a brilliant array of well-chosen tracks that sing and dance with all the joy that jazz has to offer. Titles include "Dark Days", "Xangongo", "Lemoncello", "The Love We Had Yesterday", "Horizon Reassembled", and "Gingerbread Boy". CD

Ben & Sweets finds tenor Webster and trumpeter Edison in wonderful form – both veterans complementing the other brilliantly – with a crack group that includes Hank Jones on piano, George Duvivier on bass and Clarence Johnson on drums. The overall groove is very melodic, but it's still got plenty of kick underneath! Titles include "Better Go", "How Long Has This Been Going On?", "Kitty", "My Romance" and "Did You Call Her Today" and George & Ira Gerswin's "Embraceable You". CD