Bitches Brew is the club, not the sound of the music – a night spot in Yokohama where European reedman Liudas Mockunas improvised these performances in the company of a range of different Japanese players! The lineup shifts with each track, as do the horns handled by Mockunas – who blows tenor and soprano sax – plus a very cool "water prepared soprano sax" – in the company of Akira Sakata on clarinet and alto, Masayo Koketsu on alto, Eiichi Hayashi on alto, Yoshihide Otomo on guitar, and Kazutoki Umezu on bass clarinet, alto, and soprano! All tracks are nice and long, and filled with the sort of sharp reed interplay you'd know from both the music of Mockunas or Sakata – on titles that include "Brown Line", "Green Line", "Red Line", "Blue Line", and "Yellow Line". CD

A pair of amazing records from a legendary group – one who didn't record much, but who really shaped the sound of the avant garde in the 60s! First up is the self-titled New York Art Quartet, one of our favorite albums ever on the legendary ESP label – and a key session in the best "new thing" mode of the 60s! The New York Art Quartet were a short lived collaboration between trombonist Roswell Rudd, saxophonist John Tchicai, bassist Lewis Worrell, and percussionist Milford Graves – but their legacy in this one album is almost greater than that of other combos who recorded more frequently at the time. The sound is similar to the best "spacious" groups of the new thing years – such as the Archie Shepp/Bill Dixon work, or some of the looser sides by the New York Contemporary Five – a group that featured Shepp and Tchicai. Leroi Jones (Amiri Baraka) makes a key guest appearance on the title "Black Dada Nihilismus" – reciting his writings alongside the group's somber instrumental musings – and other titles include "Short", "Rosmosis", and "No 6". The album Mohawk is next – rare and brilliant work from this amazing group – a lineup that features Roswell Rudd on trombone, John Tchicai on alto, Reggie Workman on bass, and Milford Graves on drums and percussion – a combo who are best known for their one LP on ESP, but also sounding equally great on this rare European-only album! The record has a wonderfully creative approach – still in the energetic mode of the New York scene of the 60s, but also with the more introspective style that would come into play more in the 70s loft scene. Players handle a variety of instruments – almost in an AACM mode – and titles include "Mohawk", "Banging On The White House Door", "Rufus 3rd", and "No 6". CD

Trumpeter Farnell Newton has been making music for a number of years – but he really seems to be taking off and finding his groove on recent albums for the Posi-Tone labels – records, like this one, that really have Newton demonstrating his strong ear for phrasing, and his ability to come up with just the right sort of a tune for both his solos and his sidemen! Here, the group features core work from a great quartet – Art Hirihara on piano, Boris Kozlov on bass, and Rudy Royston on drums and percussion – a lineup that features shifting contributions from Jaleel Shaw, Patrick Cornelius, and Braxton Cook on alto saxes – plus Brandon Wright on tenor and Michael Dease on trombone! Just about every tune has an additional horn joining Newton in the lead, and the sense of interplay is what really makes the record special – tight, but very personal solo work from all involved – on titles that include "Affectionately Roy", "Feel The Love", "A Child Not Born", "The Bluest Eyes", "Pale", and "Laws Of Motion". CD

A trio of albums from this great tenorist! First up is Beboppin, from Ferdinand Povel – a tenorist who may not be one of the bigger stars on the European scene, but one who always finds a way to serve up something special! Povel's got a nice edge in his horn at times – a mode that's always inside, but often sharply spoken – even when he's going for some mellower moments too – a bit of old school bite in the way he approaches the reed, maybe – and a definite sense of attack that really comes on when he's in a more swinging mode! The group here has some great guitar from Wim Overgaauw, whose ringing tones bring a bright balance between Povel's horn and the piano of Frans Elsen – and the rest of the group features Victor Kaihatu on bass and Ruud Pronk on drums. Titles include "Off Minor", "I'm Old Fashioned", "Beboppin", "Deception", "Nobody Else But Me", and "I Fall In Love Too Easily". Some Other Blues features great work as a leader from reedman Ferdinand Povel – a player who's sparked up some great moments on albums by other players over the years, but who hardly ever records as a boss on his own! This set's a "forgotten tape" – recorded in the late 80s, but only issued recently – and it features Povel both on tenor and soprano sax, playing with an angularly expressive tone that even makes familiar standards sound fresh – working with players who include Wim Overgaauw on guitar, Rob Langereis on bass, and John Engels on drums. The mix of guitar and saxophone is pretty lively on the upbeat numbers – especially in the way that Wim uses these sustained notes that almost ring out like an organ – and titles on the set include "Workout", "Some Other blues", "Mr Syms", "Old Folks", "UMMG", and "Waltz New". Good Bait is a live album, and one that features the twin-tenor leadership of Ferdinand Povel and Pete Christlieb – both excellent soloists who get plenty of room here to really stretch out and soar! Other players include Rein DeGraaf on piano, Marius Beets on bass, and Eric Ineke on drums – and titles include long takes on "Milestones #1", "Good Bait", "All The Things You Are", and "Parker 51". CD

Sun Ra and the Arkestra first sprang forth on the Chicago scene in the postwar years – and here, they return to the Windy City in two different concerts – both issued here officially for the first time ever! Both sets feature a seminal 70s lineup of the group – with the great John Gilmore on tenor, plus Marshall Allen and Danny Davis on flute and alto, Michael Ray and Ahmed Abdullah on trumpet, Vincent Chancey on French Horn, Eloe Omoe on alto and bass clarinet, Danny Thompson on baritone and flute, June Tyson and Cheryl Banks Smith on vocals, James Jacson on Ancient Ihnfinity drum, and Ra himself on acoustic piano and electric keyboards. Titles include "Ebah Speaks In Cosmic Tongue", "Space Is The Place", "New Beginning", "Velvet", "Moonship Journey", "Ankhnaton", and a very long take of "Calling Planet Earth/The Shadow World". CD

Rich-voiced tenor work from Diego Rivera, a player who just seems to get better and better with each new album as a leader! The set follows strongly on Diego's previous – and as with that one, features that top-shelf Posi-tone presentation – with a focus on original material, a strong group of sidemen, and a nicely unified vibe! Other players include Art Hirihara on piano, Luques Curtis on bass, and Rudy Royston on drums – plus Pete Rodriguez on trumpet, also adding in some percussion at points that have a slightly Latin vibe. Titles include the originals "With Just A Word", "Tinte Latino", "Machete", and "Dignified Response". CD

A standout set from trombonist Altin Sencalar – a player who seems to get better and better with each new record, not just for the soulful sound on his instrument, but also for his work as both a leader and writer of fresh new tunes! The record's got the tightness we love on the best Posi-tone label releases – and also features a slightly larger group too, with work from Diego Rivera on tenor, Markus Howell on alto and soprano, Anthony Hervey on trumpet, and Michael Dease on baritone – players who shift strongly between the solo work you'd know from their own albums as leaders, and a strong ensemble to color in Sencalar's tunes. Rhythms are great, too – and include work from Art Hirihara on piano, Paul Reyas Bueno on bass, and Rudy Royston on drums – with occasional Latin currents from percussionist Pete Rodriguez. Titles include "Nuevo Dia", "The Sunday Affair", "Awareness", "Pocket Of Clave", "Blue Evening", "It's Easy", and "More Than One Answer". CD

Really compelling large group work from Phil Woods – one of his first-ever efforts of its type, and a tremendous session that's filled with solos from a wide array of very hip players! The whole album's built around a 5-part "Rights Of Swing" work penned by Woods – a jazz modern number that's obviously taking off of Stravinsky, but without any classical overtones at all – just jazz-based instrumentation from players who include Benny Bailey on trumpet, Julius Watkins on French horn, Sahib Shihab on baritone sax, Tommy Flanagan on piano, and Curtis Fuller on trombone. The horn interplay is wonderful – and the solos are too! CD

A massive assortment of tracks that go way past the familiar – not a collection of standard classics from Blue Note, Impulse, or Prestige – and instead a whole host of jazzy groovers that we'd never have discovered otherwise! This volume of the series does a great job mixing in contemporary cuts with rare nuggets from years past – in ways that never make you notice the passage of years, as almost all of this work is rooted in a solid blend of tight rhythms and inventive improvisation – heavy on acoustic instrumentation, but with occasional electric moments too! Imagine the kind of groove that Gilles Peterson used to turn us onto years back, when he was spinning rare jazz records, and you'll get the vibe here – served up on titles that include "Tape Your Beat" by Born 74 & Onj, "Still In Love" by GeeW, "46 To Somewhere" by The Sultan's Swing, "Unreachable Galaxy" by Stefano Di Santis, "Movin" by Charro Band De Emilio Guerro, "Caught In A Fever" by Moreen Meridian, "Mr Fool" by Alonson Gonzalez & Jazz Latino, "Cla Samba" by Juju, "I Face East" by Mary Greer Mudiku, "Mende" by Jacques Schwarz Bart, "Mother Of The Future" by Venus Dodson, "Wanting Touch (inst)" by Juju, "Mambo De Papi" by El Caballo Y Su Orquesta, "Ponteio" by Miho Nobuzane, "Samba De La Cruz" by Tres Men, and "I'll Bet You Thought I'd Never Find You" by Lifetime. CD

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

Looking for the magic? There's plenty of it here – a really magical blend of 70s American groups who were working in territory that was neither classic rock, nor punk, nor prog, metal, or other big styles at the time – hitting a unique blend of modes that was partly a revival of simpler styles of earlier years in rock music, but also embracing some of the more advanced studio and recording techniques of the time – catchy, yet never overtly commercial – but instantly appealing too! Phew – if it sounds like we're spinning a lot of plates at once, that's what it takes to come up with the special sound of these tracks – served up in a wonderfully-done collection that really opens up past some of the more obvious choices, and flies the power pop banner in some surprising territory that really works well. There's a massive 76 titles on the set, all presented with very detailed notes – with work from Eric Carmen, The Runaways, Cheap Trick, Andrew Gold, The Babys, Tommy Hoehn, Spitballs, The Moberlys, Grin, Bread, Flamin Groovies, Blue Ash, The Wackers, Stories, Crabby Appleton, Target, Tim Moore, Nils Lofgren, Sneakers, The Quick, Tuff Darts, 20/20, Cheese, The Names, Moon Martin, The Knack, Greg Kihn, and many others! CD

Despite the "concierto" in the title, the album's a relatively stripped-down studio affair – a spacious set played by the quintet of Japanese bassist Hideto Kanai, with a lineup that features some especially great work on saxes! The tracks here are all quite long, and there's a bit freer jazz sound going on than many of the other 70s Three Blind Mice sessions – one that features very bold lines by Toshihiko Inoue on tenor and soprano sax, and Mikinori Fujiwara on alto and tenor. Kanai's bass work is often quite compelling too – way more than just a rhythmic pulse, and used in styles that evoke a wide variety of sounds. Other members of the group include Yoshito Osawa on piano and Michael Reznikoff on drums – and titles include "Silk Road", "Congratulations", "Concierto De Aranjuez", and "Mr Gabe". CD

Saxophonist Keni Mori really lives up to the spirit of the title here – given that five of the album's six tracks are Charlie Parker compositions – all played by the group with a nicely updated version of bebop roots! The feel of the record is warmer than an older bop session from the late 40s – thanks in part to the use of guitar by Toshihisa Morita, and Yamaha piano by Yoshiko Naya – both players who still play boppish lines, but with more contemporary colorings – with a sound that's maybe a bit like some of the best bop revival material coming out on Muse Records at the end of the 70s! Mori himself plays both alto and flute – the latter of which makes for a nice change – and titles include "Confirmation", "My Little Suede Shoes", "Moose The Moche", "Exit", and "Donna Lee". CD

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

Stunning sounds from Japanese bassist Isao Suzuki – a 70s player who seemed to owe nothing to anyone else on the planet with a recording like this! The set is partly fusion at the start, but never in a way that's like any of Suzuki's American counterparts – in that he can get full and a bit funky, but always keeps this looser, more open approach – a special ear for sound that really sets the record apart, and which has those longer, flowing tracks that you'll find on some of Suzuki's other records of the time. Then there's plenty of acoustic moments, too – but with an ear that understands the electric qualities of the instrument – balanced with work from Kunihiko Sugano on piano, Tatsujiro Ohara on drums, and Katsumi Watanabe on guitar – plus a bit of congas from Yoichi Ogawa. All tracks are long – and titles include "She's Funny That Way", "Doing Down The Mountain Path", "Touch", and "Round Midnight". CD

Beautiful sounds from Japanese guitarist Sunao Wada – a player who's rich in tones and colors here, and not just the blue ones mentioned in the title! There's an open flow to the record that's really wonderful – maybe the maturity of the Wes Montgomery sound of the late 60s, but set up in an earlier sort of style – with Hammond from Ushio Sakai, bass from Mitsuaki Furuno, and drums from Arihide Kurata – all given the impeccable production touches you'd expect from the Three Blind Mice label! Takao Uematsu adds a bit of tenor to the record, and titles include "Now See How You Are", "Blues World", "Falling In Love With Love", and "Blues For Charlie Christian". CD

An album with a really beautiful sound – not just from the core work of the piano trio, but also from the guy who recorded the whole thing too – the legendary engineer for the Three Blind Mice label in Japan, Yoshihiko Kaminari! It's not often that the engineer gets billed on the back cover alongside the members of a jazz combo – but that credit is very well due here, as the album does a beautiful job of capturing all the subtle brilliance of Tsuyoshi Yamamoto on the keys of the piano – stepping gently next to the bass of Hiroshi Kagawa and drums of Toshio Ohsumi – both very subtle players who let the pianist dominate the proceedings! The set features a fair bit of Erroll Garner numbers, which creates a nicely different setting for Yamamoto – and his pairing here with Kaminari reunites the same forces that gave the world Tsuyoshi's classic TBM albums Midnight Sugar and Misty. Titles include "Dreamy", "Mood Island", "Solitaire", "Night Wind", "Paris Bounce", "Garner Talk", "Sweet For K", and "When Paris Cries". CD

Early soul jazz brilliance from a young Gary Bartz – music that pre-dates his Ntu Troup, and his work with Larry Mizell! Libra is fantastic early work from Gary – and probably his rarest record ever! The album was cut at a time when the young Bartz was first coming to prominence in the hip late 60s soul jazz group of Max Roach – and Bartz's playing at the time is a perfect model of mid-Coltrane searching with some of the tighter sides of soul jazz that were being forged at labels like Blue Note by players like Hank Mobley or Lee Morgan. The record's a masterpiece of youthful soulful energy – and the group includes Jimmy Owens on trumpet, Richard Davis on bass, Albert Dailey on piano, and Billy Higgins on drums, all players who are perfectly matched to fit Bartz's stridently creative vision. His solos on alto are impeccable – some of the most meaningful we've ever heard on the instrument from the time – and the album's a great one all the way through! Titles include "Air & Fire", "Eastern Blues", "Libra", "Freedom Of The Day", and "Cabin In The Sky". Another Earth is amazing too – one of the first that Gary Bartz ever cut – done during a time when he'd been working with Max Roach and a super-hip group of younger soul jazz players who would go onto shape the sound of the 70s. Bartz leads a group that includes Stanley Cowell, Freddy Waits, Charles Tolliver, Pharoah Sanders, and Reggie Workman – and the music sounds like it was lifted from one of the best albums on Strata East from the 70s. There's no funk, no vocals, no weird rhythms – just pure spiritual jazz, played to perfection, and filled with a creative vitality that most of the players had lost a few years later. Tracks include the album-side "Another Earth", plus "Dark Nebula", "UFO", and "Perihelion & Aphelion". Note: CD omits the track "Disjunction" from Libra – due to space restrictions. CD

A really unique little record from Herbie Hancock – one that's almost completely improvised over Latin percussion! The setup is quite spare – and quite different than Herbie's other Blue Note work – and the group features improvised backgrounds by bassist Paul Chambers and 2 Latin percussionists, Willie Bobo and Osvaldo "Chihuahau" Martinez. Herbie only wrote simple sketches for the songs on the album, and most of the work on the tracks was done live, spontaneously, in the studio – creating a very free groove that never goes too far out, but which is far more adventurous than usual. All tracks are long, and titles include "Succotash", "Triangle", and "Mimosa". CD

An album that was years ahead of its time – and which still stands as one of the boldest statements from the New York jazz underground of the 60s! The revolutionary styles of the scene were documented by bigger labels like Impulse and Blue Note – but this obscure indie set goes even deeper, and opens up to a special side of the generation that would have lasting influence for years to come – players who work here with a formative free jazz mode, one that begins with the energy of the ESP scene, but also hits some of the more open styles of the loft jazz and European recordings to come! The lineup is legendary – drummer Sonny Murray at the head – with Albert Ayler on tenor, Don Cherry on trumpet, and both Henry Grimes and Louis Worrell on drums – working with unbridled imagination and righteous power. LeRoi Jones performs a recitation on "Black Art" – and other titles include "Virtue" and "Justice". CD also features the bonus track "The Lie". CD

Never-issued work from trumpet genius Woody Shaw – and a set that we'd easily stand next to any of Shaw's classics from this stretch in his career! Part of the strength of the record comes from the man himself, but there's also a really fantastic contribution from the group as a whole – a rock-solid lineup that features Larry Willis on piano, Stafford James on bass, and Victor Lewis on drums – plus some really beautiful work from the great Carter Jefferson on tenor and soprano sax, who really gets plenty of room to showcase his sometimes-overlooked talents on the the tracks in the set. The group have a modal energy that hearkens back to some of Woody's early 70s material – and titles include "Love Dance", "Round Midnight", "Theme For Maxine", "Stepping Stone", "Seventh Avenue", "In Your Own Sweet Way", "Invitation", and "Teotihuacan". Also features a bonus recording from 1981, with Woody in a quartet that features Mulgrew Miller on piano – "We'll Be Together Again". CD

A very hip group from the London scene, and one who've got a slightly different origin than most – in that they initially started out as a house band for a spoken word event – then grew into a really great group on their own! In the best contemporary London fashion, there's a real openness to genres and styles here – jazz at the core, but plenty of contemporary soul – especially considering the range of guests on the record – a lineup that includes Joe Armon Jones, Shabaka Hutchings, Sampha, Kae Tempest, and others. The core lineup features Biscuit on flute, Raven Bush on violin, Peter Bennie on bass, and Kwake Bass on drums and percussion – but the record flows with so many other contributions, sounds, and styles as well. Titles include "Acute Truth", "Fix", "On Grounds", "Can We Do This", "Soapbox Soliloquy", "Hither Green", "Dreaded", "Wavelet", and "Round Again". CD

An album with a really beautiful sound – not just from the core work of the piano trio, but also from the guy who recorded the whole thing too – the legendary engineer for the Three Blind Mice label in Japan, Yoshihiko Kaminari! It's not often that the engineer gets billed on the back cover alongside the members of a jazz combo – but that credit is very well due here, as the album does a beautiful job of capturing all the subtle brilliance of Tsuyoshi Yamamoto on the keys of the piano – stepping gently next to the bass of Hiroshi Kagawa and drums of Toshio Ohsumi – both very subtle players who let the pianist dominate the proceedings! The set features a fair bit of Erroll Garner numbers, which creates a nicely different setting for Yamamoto – and his pairing here with Kaminari reunites the same forces that gave the world Tsuyoshi's classic TBM albums Midnight Sugar and Misty. Titles include "Dreamy", "Mood Island", "Solitaire", "Night Wind", "Paris Bounce", "Garner Talk", "Sweet For K", and "When Paris Cries". CD

Warm, soulful sounds from a crucial time in the Japanese music scene – a 70s moment when the nation was finding a special groove of its own – but one that also drew heavily from American soul and jazz as well! It's no secret that the Japanese have always had a great love of American sounds – but by the mid 70s, that longtime love had also turned into some great homegrown sounds of their own – as Japan developed a number of its own strong soul singers, who were often backed by the ever-growing array of great jazz musicians, particularly those of the fusion side of the spectrum. Plus, there also seemed to be a lot more criss-crossing between Tokyo and US studios at the time – particularly those on the west coast – which resulted in a special blend of sounds that had all the class and cool of the Japanese urban scene, but also some of the sunniness of the west coast too. That special mix of music is perfectly summed up here – in a collection that offers up plenty of cuts that were never issued outside of Japan back in the day – with vocals both in English and Japanese, and plenty of grooves that are perfect for any fan of fusion-styled R&B. Titles include the classic "LA Nights" by Yasuko Agawa – plus "Say Goodbye" by Hiroshi Sato, "I Say Who" by Tomoko Soryo, "Sports Men" by Haruomi Hosoni, "Midnight Driver" by Minako Yoshida, "Machibouke" by Tazumi Toyoshima, "Exotic Yokogao" by Hitomi Tohyama, "Lady Pink Panther" by Shigeru Suzuki, "Drip Dry Eyes" by Yukihiro Takahashi, and "Bamboo Vendor" by Masayoshi Takanaka. CD

A great tribute to one of the most famous clubs on the UK scene of the mid 80s – a spot that was crucial to the shift from post-punk modes to new goth spirits – and which was a vital outlet for new strands of darker music that were stepping forth at the time! Later goth cliches might make you pause – but the sounds here are from a time when the music had a very special spot in the UK – kind of a sidestep from some of the more nihilistic modes of the punk generation, maybe finding a way to move forward while still foregrounding some of the darker moods that were undeniable at this spot in British history. Yet even without all that larger framing, the set list here is more than enough to tell the tale – as the set features work from Play Dead, Wasted Youth, Soft Cell, The Cult, Christian Death, Theater Of Hate, Specimen, The Birthday Party, Virgin Prunes, Siouxsie & The Banshees, The Cure, The Cramps, Killing Joke, Alien Sex Fiend, Sexbeat, Sisters Of Mercy, Xmal Deutschland, and Gene Loves Jezebel. 5CD set is MASSIVE – served up in a 12" LP-sized box, with an 80 page hardcover book that features all sorts of writings on the club, and over 100 photos from back in the day – all in support of a 90 track set list that includes lots more work from The Runaways, Velvet Underground, Marc & The Mambas, Let's Wreck Mother, Human League, The Glove, Flowerpot Men, Japan, The The, New Order, March Violets, Malaria, Joy Division, The Associates, PiL, Throbbing Gristle, and dozens of others. CD

Heady work from the German scene of the late 60s – one of the key albums by the first incarnation of Amon Duul, who grew out of the underground commune of the same name! The set's got a loose, almost improvised feel – with some long tracks that definitely make you feel like you're dropping in on the band as they jam together in the studio, mixed with shorter numbers that still somehow manage to convey the same sort of energy, but in a smaller space! Production is nice and open – with some of that murky current of darkness that would come to reign in the Krautrock scene a few years later – and titles include "Mama Duul Und Ihre Sauerkrautband Spielt Auf", "Bitterlings Verwandlung", "Der Garten Sandosa Im Morgentau", and "Ein Wunderhubsches Madchen Traumt Von Sandosa". CD

If you read these pages at all, you'll know we're huge fans of late work by the great Chet Baker – as each different session seems to show a different side of his talents, and incredible evolution in sound, structure, and timing from his better-known material of the 50s! Chet spent many years on the European scene, recording material that was sometimes so scattered, it never fully represented him in the way his early American records did – but that's the wonderful thing about a set like this, as it shows that you can still find a hell of a lot of surprise in a player you already think you know! The package features two unreleased sessions from 1979 – done months apart, in Hilversum – and beautifully preserved, with a sound that really lets you rapturize over the extended solos on most of the tracks – handled by Chet with an amazingly mature style. The first session features Phil Markowitz on piano, Jean Louis Rassinfosse on bass, and Charles Rice on drums – and the second features Frans Elsen on piano, Victor Kaihatu on bass, and Eric Ineke on drums. Titles include "Nardis", "Blue Gilles", "Beautiful Black Eyes", "Down", "Blue Room", "Luscious Lou", "Old Devil Moon", and "The Best Thing For You". CD

Fatlip's been giving us mighty music since his early days in The Pharcyde, but with this recent set, he seems ready to represent the west coast at a new level – paired with Blu in a criss-crossing of lyrical genius that seems as effortless as the understated production on the album! All the best contemporary Cali modes are at play here, but there's also some traces of that older generation that Fatlip helped launch – echoed by guest work on the set from Ras Kass, MC Eiht, Gift Of Gab, Bilal, and Del The Funky Homosapien! Titles include "Gangsta Rap", "Street Life", "Good For The Soul", "Hollywood Celebrity", "Lfteotw", and "Crack Party". Deluxe version features the additional tracks "Cornbread" and "Ain't Changed". CD

One of the greatest contemporary talents on vibes – sounding great here in the company of a very tight quartet! In truth, the group was the "pod" of Behn Gillece during 2020 – players that really know each other, and who work together effortlessly here on a set of tunes that explode with the kinds of colors and tones we've always loved in Behn's music! All tracks are original, which furthers the special, intimate vibe of the group – written and performed by a quartet that features Art Hirihara on piano and Fender Rhodes, Boris Kozlov on bass, and Rudy Royston on drums – matching the energy of Gillece at every turn, on titles that include "Rattles", "Extraction", "Event Horizon", "Going On Well", "Don't Despair", "Outnumbered", and "Glad To Be Back". CD

A wonderful large format recording from bassist Barry Guy – working here at the head of the Blue Shroud Band, an improvising ensemble that echoes some of his earlier work with the London Jazz Composers Orchestra! The extended work is an expansion of an earlier piece that Guy recorded with pianist Marilyn Crispell – her Three Poems For Cecil Taylor – stretched out here with a more embellished sense of imagination, but still using some of the core texts created by Crispell for the original work! The piece spans five long CDs – with sections broken down and notated to reflect the work of the many great improvisers in the set – a lineup that includes Michel Godard on serpent and tuba, Agusti Fernandez on piano, Torben Snekkestad on soprano and tenor, Jurg Wickihalder on soprano and alto, Percy Pursglove on trumpet, Julius Gabriel on baritone and soprano, Maya Homburger on violin, Fanny Paccoud on viola, Ben Dwyer on guitar, and both Ramon Lopez and Lucas Niggli on percussion. Savina Yannatou provides voice on the poetic passages, Guy plays bass and leads – and the whole thing is beautifully packaged! CD

A set of recordings that must have left every single member in the group completely exhausted – as the 6CD package brings together material recorded over three great nights in early 2020 – all of which feature Barry Guy at the head of a unique version of his London Jazz Composers Orchestra! The material follows very strongly in that mix of structure and free improvisation that Guy pioneered with the LJCO many years back – and the lineup here is a mix of British giants and younger musicians from the European scene – the latter of whom bring some great life to the idea of the group! Guy is at the head on bass – and the larger group plays together on the final two CDs, but then breaks into different groupings on the first four CDs – combinations of players that include Augusti Fernandez on piano, Michael Niesemann and Jurg Wickihalder on alto, Simon Picard on tenor, Torben Snekkestad on tenor and soprano, Julius Gabriel on baritone, Konrad Bauer and Alan Tomlinson on trombones, Henry Lowther and Martin Eberle on trumpets, Phil Wachsmann on violin, Bruno Chevillon on bass, and Lucas Niggli on drums and percussion. The smaller groups work on CD1 through CD4, recorded at Alchemia – and CD5 and CD6 feature full LJCO performances at Manggha Hall on the last of the three nights. CD

Really amazing sounds from Japanese drummer Takeo Moriyama – a record that's sometimes spiritual and organic, sometimes very unusually put-together – and which makes as much use of inventive percussion as it does the leaders drums! The group's got this very cool twin-sax approach – both tenor and soprano, each played by Toshihiko Inoue and Shuichi Enomoto – alternating between the instruments, and creating these textures that are sometimes sharp-edged, but always very striking – especially when the album's percussion from Yoji Sadanari really takes off! The whole thing almost feels a bit out of time, especially for its early 80s recording date – almost like one of those unusual Japanese spiritual sessions from a decade before, which also might not be what you're expecting from the 80s cover image too. Titles include "To O Ku", "Fields", "Ka Ze", "Ta Ke", and "East Plants". CD

Diego Rivera has a very classic look on the cover – and the record comes across with a very classic vibe as well – back to the days of Sonny Stitt or Hank Mobley, when a top-shelf saxophonist set up in a quartet was more than enough to make some really special magic on record! That's definitely the case here – as Rivera blows both tenor and soprano with a mixture of deeper tones and lighter colors, in a voice that's very much his own – mostly on shorter original tracks, save for one take on a John Coltrane number that stretches out nice and long. The compactness is key to the sound, as Diego packs a heck of a lot into the three to five minute space of most tracks – working with a great rhythm trio that features Art Hirihara on piano, Boris Kozlov on bass, and Rudy Royston on drums. Titles include the originals "Ganas", "Soul Purpose", "Anticipation", "Composure", "Simon", "La Malinche", and "Battle Fatigue" – plus a nice take on "Alabama". CD

Trumpeter Alex Sipiagin is no newcomer to jazz, but he also seems to have really grown as both a player and a leader in recent years – deepening his sound sound with a sense of color and timing that we've never heard before, and really making the most of his comrades in a combo – especially in a setting like this! The tunes are mostly all originals by Alex, delivered with a strong focus by the quintet – a lineup that also features Diego Rivera on tenor, Art Hirihara on piano and Rhodes, Boris Kozlov on bass, and Rudy Royston on drums and percussion – a group who work with an innate sort of energy throughout, really packing a heck of a lot into a small space – while still allowing for plenty of individual moments of expression! Titles include "Dolphin's View", "Doppio", "Hindsight", "No Doubts", "Rush Hour", "Sandrigo Blues", and "Novorod Bells". CD

Pianist Tsuyoshi Yamamoto gave us some sublime records in the 70s on the Three Blind Mice label from Japan – and he really continues the spirit of those records here, on a set of tracks that demonstrate that, if anything, his sense of space and timing have gotten even more amazing as the years have gone on! With Yamamoto, it's never a matter of the material he chooses, which is usually common – but the way he puts the tune over while working with a trio – and the way that trio is recorded, which was always a key aspect of Tsuyoshi's records in the 70s. His classic Blues For Tee album was dedicated to his older producer back in the day – as this set is dedicated to Yoshihiko Kannari, who did a great job of capturing the magic from a trio that also features Hiroshi Kagawa on bass and Toshio Osumi on drums. Titles include "You Go To My Head", "Darn That Dream", "Blues In The Closet", "I'm Getting Sentimental Over You", "Love Theme From Sunflower", "Gentle Blues", and "Blues For K". CD features both volumes of the vinyl releases – plus bonus tracks "Misty" and "Midnight Sugar". CD