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

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Moby Grape's self-conscious, but hardly less groovy late 60s excursion into loose, free form and largely instrumental psychedelia – the sweet and therefore appropriately titled Grape Jam! GJ is really a world away from their earlier rock regalia – with superstar special guests Al "How Does It Feel" Cooper and Mike Bloomfield brought in the flesh out the open-ended sounds. The sounds roll from walloping instrumental rock, to bluesier jams, to some driving nearly funky bits! Titles include "Never", "Boysenberry Jam", "Black Currant Jam", "Marmalade" and "The Lake". LP, Vinyl record album

An excellent Japanese performance from the Modern Jazz Quartet – and a set that was issued in a bit of a lull during their 60s American years for Atlantic Records – which makes it even more important as a key part of their catalog at the time! The 1966 date has the combo in fine form – and almost stepping out with a bit of added soulfulness, in ways that echo some of the styles that Milt Jackson was exploring on his own at the time, and which seem to be brought back to the group! Milt's vibes are wonderful – ringing out with a great sense of pride and presence that may well go beyond earlier MJQ material – and titles include "Really True Blues", "The Cylinder", "Midsommer", "Animal Dance", "For Someone I Love", "Ralph's New Blues", "Pyramid", "Home", "Winter Tale", "Blues Milanese", and "Bag's Groove". CD

An excellent Japanese performance from the Modern Jazz Quartet – and a set that was issued in a bit of a lull during their 60s American years for Atlantic Records – which makes it even more important as a key part of their catalog at the time! The 1966 date has the combo in fine form – and almost stepping out with a bit of added soulfulness, in ways that echo some of the styles that Milt Jackson was exploring on his own at the time, and which seem to be brought back to the group! Milt's vibes are wonderful – ringing out with a great sense of pride and presence that may well go beyond earlier MJQ material – and titles include "Really True Blues", "The Cylinder", "Midsommer", "Animal Dance", "For Someone I Love", "Ralph's New Blues", "Pyramid", "Home", "Winter Tale", "Blues Milanese", and "Bag's Groove". LP, Vinyl record album

Not really the last concert ever from the Modern Jazz Quartet – but a set that seemed so at the time, given that the group went their separate ways for a number of years! The record's got the combo in really top form – very much back to the basics of their early time on Atlantic Records, with a sublime focus on that unique sound that no other group like this could match. Milt Jackson's vibes are chromatically aligned in this amazing way with the piano of John Lewis – and somehow the live recording seems to bring out even more tones in the bass of Percy Heath, who feels an even stronger presence here than usual. Connie Kay's work on drums are a masterpiece of percussive understatement – and titles include "Softly As In A Morning Sunrise", "Summertime", "The Cylinder", "Blues In A Minor", and "One Never Knows". LP, Vinyl record album

More material from the famous Last Concert record from the MJQ – not really the last concert ever from the Modern Jazz Quartet – but a set that seemed so at the time, given that the group went their separate ways for a number of years! The record's got the combo in really top form – very much back to the basics of their early time on Atlantic Records, with a sublime focus on that unique sound that no other group like this could match. Milt Jackson's vibes are chromatically aligned in this amazing way with the piano of John Lewis – and somehow the live recording seems to bring out even more tones in the bass of Percy Heath, who feels an even stronger presence here than usual. Connie Kay's work on drums are a masterpiece of percussive understatement – and titles include "The Jasmine Tree", "Tears From The Children", "England's Carol", "Blues In H (b)", and "Really True Blues". LP, Vinyl record album

A great return to form for tenorist JR Monterose – a player who always sounds amazing on record, even though he only made a handful of albums over a 30 or 40 year period of performance! Most folks know JR's classic 50s album for Blue Note, but later dates like this are well worth seeking out – and this set may be one of the purest later demonstrations of Monterose's genius – as the tenorist has the sort of effortlessly creative solo ability you'd find in a rare few – able to spin things out with the imagination of a Sonny Rollins or Von Freeman, while still managing to hold tight with the rest of the group – who are equally great, and include the wonderful Hod O'Brien on piano, plus Teddy Kotick on bass and Jimmy Wormworth on drums. Titles include sublime readings of "Giant Steps", "My Old Flame", and "Lush Life" – plus the great originals "Marty's Place", "Evelyn's Delight", and "Luan". 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

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". LP, Vinyl record album

Bold and brilliant duets from altoist Jemeel Moondoc and drummer Dennis Charles – the latter of whom is in tremendous form in this very free setting! There's a sense of soul and spirit that grabs us right from the start – these surprisingly deep notes from Moondoc, making us keep checking the notes to see if he's handling another horn besides alto sax – given a rumbling, brooding sensibility through Charles' work on drums – which never bombastically dominates, but always ruminates with a power that drives Jemeel on. Titles include "We Don't", "We Do", "Judy's Bounce", and "Home". CD

Paul Morley wrote famously for the NME during the key years of punk, post-punk, and new wave – which makes him very able to draw a rich portrait here of contemporary and scenemate Tony Wilson – the man behind Factory Records, The Hacienda club, and a huge legacy of music in the 80s and beyond! Morley also helped form ZTT Records, and is very smart and well-read – and he brings in a surprising amount of theory and other references – really getting at the politics behind the art and business impulses of Wilson – in a very detailed book that's way more than you might expect! Morley also opens the door to other voices along the way – with occasional commentary from contemporaries – before dipping back in to this very deep, very well-written look at one of the most important figures on the UK scene during the late 70s and 1980s. This heavy, hardcover edition is a massive 604 pages, with some images in the middle. Book

All 3 Move albums remastered and collected in 1 massive set! This anthology includes basically everything you could ever want by these psychedelic pop maestros – including their self-titled 1st LP, Shazam, Looking On, singles, un-issued tracks, as well as the 1st ever CD version of the live Something Else EP – showcasing each phase of the group's influential career. Essentially the brainchild of songwriter/lead guitarist Roy Wood, the Move were arguably one of the best and most important British groups of the late 60s to never make a dent on the American charts, combining shimmering psych-pop with a harder edge and a sometimes morbid lyrical twist (as evident on the first 2 discs). The 3rd CD contains the band's final album and 1st to feature a new member – guitarist Jeff Lynne (formerly of the Idle Race and future of Electric Light Orchestra) – whose cheerier pop notions proved an interesting, if not frustrating counterpoint to Wood's darker, ironic sensibilities. Wood and Lynne's growing fascination with orchestral rock would cause them to disband the Move in 1972 and form ELO – opening up a new chapter in the history of British rock, but this anthology contains a whopping 54 tracks including; "I Can Hear The Grass Grow", "Lemon Tree", Walk Upon The Water", "Flowers In The Rain", "Fire Brigade", from The Move, "Blackberry Way", "Cherry Blossom Clinic Revisited", and "Beautiful Daughter" from Shazam, and "Brontosaurus", "Looking On", and "Feel Too Good" from Looking On – Essential stuff! CD

Nas's sorta comeback record from the dawn of the millennium– a strong one at the time that still stands strong today! Stillmatic was a welcome change of pace after some not so great work in the later 90 – with the return-to-form rally cry "One Mic" setting the pace – and the best cuts on this set (which make up the majority of the run time) still sound great! 15 tracks including "Stillmatic", "Got Ur Self A...", "2nd Childhood", "You're Da Man", "The Flyest" featuring AZ, "Rule" featuring Amerie, "Ether", "What Goes Around", "Every Ghetto", "Braveheart Party" featuring Mary J Blige and more – included here is the bonus track "Every Ghetto! LP, Vinyl record album

A pretty great collection of rare Brazilian tunes form the 60s – all associated with the important Festival of song in Rio. Side one features live recordings from the festival – including two unique versions of "Travessia" and "Morro Velho", both done in a warm intimate style by Milton Nasicmento. Other live tracks include "Se Voce Voltar" by Zeze Gonzaga, "Maria Minha Fe" by Agostinho Dos Santos, and "Sao Os Do Norte Que Vem" by Claudionor Germano. Side two features some wonderful studio recordings, with a great batch of rare tunes done mostly in a bossa mode. Titles include "Seque Cantando" and "Quem Diz Que Sabe" by the vocal group Quarteto 004, "Chora Minha Nega", a driving samba number by Reginaldo Bessa, and "Margarida" and "Carolina", two nice pop numbers by Maricene. LP, Vinyl record album

One of the few full albums ever issued under the name of trumpeter Fats Navarro – and like most of them, a posthumous collection of material cut before his untimely early death! The set's a memorial of sorts, and it compiles some important sides from the mid 40s, recorded for Savoy – material that really helped set the stage for bop at the time, even though most folks were still just finding a name for the form. There's some really standout elements here – like a handful of tracks that feature sparkling arrangements from Gil Fuller, with Sonny Stitt on alto and Morris Lane on tenor – on titles that include "Boppin A Riff (parts 1 & 2)", "Fat Boy (parts 1 & 2)", and "Webb City (parts 1 & 2)". The moody singer Kay Penton makes an appearance on a few other great cuts – "Bebop Carroll", "Gone With The Wind", "The Tadd Walk", and "That Someone Must Be You". And other numbers feature Kenny Dorham on trumpet and Sonny Stitt on alto – on titles that include "Good Kick" and "Serenade To A Square". 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

Maybe the last great album in the Ohio Players run for Mercury in the mid 70s – a set that's every bit as smooth, sexy, and funky as their other major label efforts from the time – and one that continued to refine the grittier funk of their roots! While the Players might be remembered for their over the top jams, the cuts here we love the best are the mellower steppers – tracks that still have plenty of funk in the mix, but hit a gentler groove, too – following the spacey soul legacy of "Sweet Sticky Thing". Titles on the album include "Glad To Know You're Mine", "Angel", "Merry-Go-Round", "Don't Fight My Love", "Body Vibes" and "Ohio". LP, Vinyl record album

A sweet early 80s set from the Ohio Players – one that's a bit different than their 70s hits, but in a way that also shows that the group were still very much in wonderful form! At a point when these guys could have easily stood still, and just kept churning out the kind of grooves that everyone else had borrowed from their 70s material – they instead choose to work in all these other great modes – including some surprisingly strong ballad/mellow soul numbers, given fuller treatment and almost a deep soul vocal approach – mixed with other funky tunes that bristle with great jazzy elements in the keyboards and horns, and which also use just the right touch of strings in a great way. Tracks include "Hard to Love Your Brother", "Call Me", "Skinny", "Sometimes I Cry", "It Takes A While", and "Try A Little Tenderness". CD