A real stormer! This was one of the few albums ever cut as a leader by the great hardbop drummer Art Taylor – and it's one of the best from the Blue Note catalog at the time! The band is a heavily smoking one – with Dave Burns on trumpet, Stan Turrentine on tenor, and Wynton Kelly on piano – and Patato Valdez backs them up on conga on a number of tracks, too. The whole thing is perfectly put together, with an insanely tight rhythm line, and perfectly placed solos by Turrentine and Burns – really cooking with an intensity that matches some of the best Jazz Messengers albums of the time. Features a great version of Coltrane's "Syeeda's Song Flute", plus the tracks "Cookoo & Fungi", "Blue Interlude", and "Move". LP, Vinyl record album

Pretty well peak era material from pianist Cecil Taylor – doing his thing with incredible line up of jazz greats on a couple NYC dates from early 1961! A couple of the pieces here are pure magic – we're especially loving the bits where Cecil is kind of hitting the keys heavily, spurring the players from a comfortable, measured gait into something a bit more feral, but it never busts wide open, creating a dynamic tension. The cream of the crop are on board, including Clark Terry, Roswell Rudd, Steve Lacy, Archie Shepp and Billy Higgins. The numbers mostly run north of 8 minutes, for a nicely loose, lingering groove, and titles include "Jumpin' Punkins", "OP", "O Forgot" and "Things Ain't What They Used To Be". CD

A surprisingly nice set that brings together Clark Terry and Thelonious Monk! Given Terry's bright approach to jazz, it's a bit hard to imagine him and Monk working well together – but at the time of this session, Clark still had a fair bit of an edge – with roots in a number of modern styles of the 50s, and a flair for crafting a compelling line on his horn. The set's got a number of nice originals – and titles include "In Orbit", "Pea Eye", "Argentina", "One Foot In The Gutter", and "Buck's Business". CD

Darkly imaginative work from the great Lennie Tristano – and one of the few full albums he ever cut as a leader! The record features the incredible track "Turkish Mambo" – which has Tristano overdubbed 3 times in this dark modal way that's totally amazing, and which will hook you into his playing immediately! A number of other tracks feature a quartet with Lee Konitz – always a good match for Tristano – and a few others have a great trio that's completed by Peter Ind and Jeff Morton. Tracks include "Requiem", "East 32nd", "You Go To My Head", and "Line Up". LP, Vinyl record album

The earliest album ever to be issued under the Globe Unity label – a very early project headed up by the mighty pianist Alexander Von Schlippenbach – and a record that's noteworthy for the first album to feature the work of Peter Brotzmann and Peter Kowald! Right from the start, the vibe is completely in line with the highest ideals of the improvising orchestra – Schlippenbach directing the group and playing piano – in a large lineup that also features Brotzmann on alto, Manfred Schoof on cornet, Gerd Dudek on tenor, Willem Breuker on baritone, Gunter Hampel on bass clarinet, Karl Berger on vibes, and Peter Kowald and Buschi Niebergall on basses, one in each channel! And alongside these free jazz heavyweights, the album also sports the amazing rhythm duo of future prog rock giants Jaki Liebezeit and Mani Neumeier – both working here at a level that matches the free improvisations of the others – on two side-long tracks, titled "Globe Unity" and "Sun". CD

The earliest album ever to be issued under the Globe Unity label – a very early project headed up by the mighty pianist Alexander Von Schlippenbach – and a record that's noteworthy for the first album to feature the work of Peter Brotzmann and Peter Kowald! Right from the start, the vibe is completely in line with the highest ideals of the improvising orchestra – Schlippenbach directing the group and playing piano – in a large lineup that also features Brotzmann on alto, Manfred Schoof on cornet, Gerd Dudek on tenor, Willem Breuker on baritone, Gunter Hampel on bass clarinet, Karl Berger on vibes, and Peter Kowald and Buschi Niebergall on basses, one in each channel! And alongside these free jazz heavyweights, the album also sports the amazing rhythm duo of future prog rock giants Jaki Liebezeit and Mani Neumeier – both working here at a level that matches the free improvisations of the others – on two side-long tracks, titled "Globe Unity" and "Sun". LP, Vinyl record album

Incredible early work from the legendary T Bone Walker – very early recordings of the electric guitar in blues, and maybe still some of the best! Walker's already a master here – playing with this hard tone on the strings, but one that also has a surprising amount of sensitive jazz inflections too – a hollow-body mode that echoes Charlie Christian at times, but definitely explores the bluer side of the spectrum – yet never with that sort of hit-you-over-the-head quality that later artists might use. Instead, Walker's a master of understatement here – in a sublime way – and the blend of guitar solos and his own enigmatic vocals is often given a slight west coast R&B undercurrent. Still some of our favorite electric blues ever – with tracks that include "No Worry Blues", "Got A Break Baby", "T Bone Shuffle", "You're My Best Poker Hand", "First Love Blues", and "T Bone Jumps Again". LP, Vinyl record album

One of the first true moments of brilliance from pianist Randy Weston – an early effort for a larger group – of the sort that allowed him to work out even more complicated patterns and rhythms in his music! The jagged Weston approach to a piano line is very firmly in place, even at this early point in his career – and Randy's deeper modern ideals are carried off perfectly by the album's sextet lineup – which features Ahmed Abdul-Malik on bass, Cecil Payne on baritone, and Ray Copeland on trumpet. Some of the tracks are in trio formation, but still quite striking themselves – and the set features a few great early Weston compositions – like "Loose Wig", "Theme For Teddy", and "J&K Blues" – plus nice takes on "In A Spanish Town", "Well You Needn't", and "How High The Moon". CD

Beautiful work from Michael White – one of the few musicians who can actually make us love the sound of the violin in jazz! White's working here in a style that's very much in line with some of the post-Coltrane spiritual soul jazz in Impulse in the early 70s – an approach that's free-thinking, yet never as far outside as some of the avant work on the label during the 60s. Instead, there's a gentle, almost contemplative groove here – one that has echoes of some of Alice Coltrane's more meditative recordings, yet which also breaks out with some of the more modal jazz of Michael White's roots. Players on the album include Prince Lasha on reeds, Ed Kelly on piano, Cecil McBee on bass, and Kenneth Nash on percussion – and the album's filled with organic textures and beautifully flowing grooves! Titles include the beautiful "Land Of Spirit & Light" suite in three parts, plus "Fatima's Garden", "Fiesta Dominical", "O Ancient One" and "Lament (Mankind)". LP, Vinyl record album

The American issue of the third Zimbo Trio album from Brazil – presented here with the misleading "restrained" in the title – as the record is filled with bossa grooves! The album's third in a line of legendary bossa albums recorded by the Zimbo Trio in the 60s – and a set that's slightly more lyrical and contemplative than the first two! The record's still filled with plenty of full-on bossa groovers, but it's also got a nicely more spacious sense of sound overall – a quality that almost echoes some of the pianistic conceptions of Luiz Eca, as well as the drum and bass work of his partners in the Tamba Trio – but without the vocals, of course! There's a great sense of sensitivity here, without ever sounding too sleepy – and titles include "Samba Do Veloso", "Agua De Beber", "Pra Viver Feliz", "Favela", "Bocoxe", and "Kao, Xango". LP, Vinyl record album

A treasure for all jazz fans worldwide! As is known to many, the great Blue Note label often recorded more material than it could issue on a regular basis – and some of the label's best bits often got lost in the cracks, and never saw the light of day! Over the past 30 years, many of these lost albums have come out on their own – but there's still been a lot of great single tracks that have never been issued before. This CD corrects that trend, by bringing together a sumptious batch of single titles from groups that are hardly (or never) represented in Blue Note's regular line of releases. You'll get Charlie Rouse leading a quintet on the track "One For Five"; Tadd Dameron heading up a large group on "Bevan Beeps", "The Elder Speaks", and "Aloof Spoof"; Sonny Stitt wailing with Dexter Gordon on "Lady Be Good"; Fred Jackson playing tenor with John Patton and Grant Green on "Cowbell Boogie"; Ike Quebec blowing with The Three Sounds on "Blues On Trial", and Herbie Hancock leading a very hip 2-guitar group on the track "Don't Even Go There". Like finding a time machine, this CD will introduce you to a world of jazz history you never even imagined! CD

A very groovy idea! This sparkling set takes older vocal jazz tunes from the Verve catalog, and uses the songs as the basis for new tracks by some of the better producers in the global groove underground. The mix of styles and eras is quite compelling – as torchy vocals drift over the top of cutting edge beats – creating a sound that's bound to get you digging through the crates for some of these singers, and reevaluating work from the past like never before! Titles include "Who Needs Forever" by Astrud Gilberto remixed by Thievery Corporation, "Strange Fruit" by Billie Holiday remixed by Tricky, "Hare Krishna" by Tony Scott remixed by King Britt, "See Line Woman" by Nina Simone remixed by Masters At Work, "Return To Paradise" by Shirley Horn remixed by Mark De Clive-Lowe, "Feelin Good" by Nina Simone remixed by Joe Claussell, "Is You Is Or Is You Ain't My Baby?" by Dinah Washington remixed by Rae & Christian, and "How Long Has This Been Going On" by Carmen McCrae remixed by MJ Cole. And don't miss the super-low priced Verve Unmixed CD! CD

A great set of older tracks – at a really nice price! The package features 12 older jazz and vocal tunes that formed the basis for the slick new set Verve Remixed – the original versions of tracks on that set, offered here without any remixing, so that you can put the classics back to back with the new ones, for comparison! And even if you haven't heard Verve Remixed, the package is still a wonderfully priced set of tunes – with a wealth of great vocal jazz performances that are a treat to listen to, no matter what the setting. Titles include "Who Needs Forever" by Astrud Gilberto, "Strange Fruit" by Billie Holiday, "Hare Krishna" by Tony Scott, "See Line Woman" by Nina Simone, "Return To Paradise" by Shirley Horn, "Feelin Good" by Nina Simone, "Is You Is Or Is You Ain't My Baby?" by Dinah Washington, and "How Long Has This Been Going On" by Carmen McCrae. CD

Joyously romping grooves from Auteur Jazz – a combo who take the modal style of the 60s European scene, and infuse it with a few contemporary touches of their own! The group are a bit more open-ended than some of the other club jazz combos on the Ricky Tick label – willing to stretch out in some occasional exploratory modes or mellower moments, then step back with a hard-hitting groove to round things in place – often getting a surprisingly rich sound from their relatively small lineup, which is mostly based around reeds and piano from Antti Hynninen, but also features occasional other saxes, strings, keyboards, and percussion. Sara Sayaed sings on the tracks "Kill You Alive" and "Tomorrow Knows" – and other instrumental tracks include "Two Jaguars In Warsaw", "Marbles", "Who Struck John", "Gris Gris", "Uruguayo", and "Najgo". Japanese CD features 2 bonus tracks – "Aphorisms" and "Gui-Do". CD

An excellent funky fusion group from Chicago – and one of the best ensembles to record for the Black Jazz label! The group's made up of hip Chicago underground players – and includes Ken Chaney on electric piano, Ari Brown on saxes, and Frank Gordon on trumpet – a lineup that comes together with the same sort of righteous energy and soulful power as Windy City contemporaries like The Pharoahs or Earth Wind & Fire! On this first LP, they jam with a mix of righteous funk and spiritual soul jazz, mixing electric piano, choppy reeds, and tight horns with a powerful rhythm backing that never goes too over the top, and which stays in a good modal mode that works great for the soloists – soaringly expressive at a personal level, yet coming together with a really righteous group feel in the end. Tracks include "Jupiter", "Brand New Feeling", "Convulsions", and "Kera's Dance". CD

An excellent funky fusion group from Chicago – and one of the best ensembles to record for the Black Jazz label! The group's made up of hip Chicago underground players – and includes Ken Chaney on electric piano, Ari Brown on saxes, and Frank Gordon on trumpet – a lineup that comes together with the same sort of righteous energy and soulful power as Windy City contemporaries like The Pharoahs or Earth Wind & Fire! On this first LP, they jam with a mix of righteous funk and spiritual soul jazz, mixing electric piano, choppy reeds, and tight horns with a powerful rhythm backing that never goes too over the top, and which stays in a good modal mode that works great for the soloists – soaringly expressive at a personal level, yet coming together with a really righteous group feel in the end. Tracks include "Jupiter", "Brand New Feeling", "Convulsions", and "Kera's Dance". LP, Vinyl record album

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

A far-reaching early gem from Roy Ayers – a set that's much more jazz-based than his later work, and a record that has him touching base with the Blue Note and Strata East sides of the jazz spectrum! The lineup here is incredibly hip – a mix of players that includes a young Charles Tolliver on trumpet, Harold Land and Joe Henderson on tenor, Jack Wilson on piano, and Reggie Workman on bass – not to mention Roy himself on some mighty great vibes! There's a surprising spiritual undercurrent to the music – pointing the way towards jazz to come in the 70s – and titles include "Glow Flower", "Ayerloom", "Virgo Vibes", and "In The Limelight" – plus an early take on Charles Tolliver's "The Ringer". LP, Vinyl record album

Two Latin funk classics – back to back in a single set! First up is the self-titled Azteca album – a crowning moment for the west coast Latin scene in the 70s – a wonderful Bay Area set that brings together some of the best talents working on that scene at the time! The set's got a great blend of modes – Latin soul, touches of funk, and plenty of the jazzy inflections you'd expect from a lineup that includes Coke Escovedo on timbales, Paul Jackson on bass, Lenny White on drums, George Muribus on Fender Rhodes, Tom Harrell on trumpet, and Victor Pantoja on congas! Vocals are by Pete Escovedo – who brings in a heady soulful sound to the set – and the vibe is a bit like work by Malo or El Chicano, but even more jazz-based overall! Titles include "Peace Everybody", "Empty Prophet", "Can't Take The Funk Out Of Me", "Azteca", "Ah! Ah!", and "Mamita Linda". Next is Pyramid Of The Moon – a really special record from a really special group – one of two sublime 70s gems from Azteca – a wicked blend of jazz, funk, Latin, and soul – all put together by a young Coke Escovedo! Coke's ostensibly the leader of the group, but there's also a richly collaborative feel going on – a style that brings together jazz players like Tom Harrell on trumpet, Mel Martin on saxes, George Muribus on Fender Rhodes, and Flip Nunez on organ – and Latin players like Victor Pantoja on congas, Coke Escovedo on timbales, and Pete Escovedo on added percussion. In fact, the set's a key early example of the strength of the Escovedo family – and like their best later efforts, the set really stretches out and pushes the boundaries of conventional genres. There's also some great guest work from Lenny White on drums, Mike Nock on keyboards, and Neal Schon on guitars – and vocals are by a range of singers who really keep things fresh. Titles include "Red Onions", "Mazatlan", "Whatcha Gonna Do", "Mexicana, Mexicana", and "Love Is A Stranger". CD

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

One of the greatest soundtracks ever from Luiz Bacalov – a set that's filled with sex and slink, but which also has a great sense of groove as well – blending bossa jazz, mod moments, and all the best styles of the late 60s Italian scene! The music is mostly acoustic, but has a really great way of using sustained notes on flute – which creates this dreamy vibe that's almost electric, especially when offset by acoustic basslines, percussion, and piano – all used at a level that's right up there with the best from Morricone or Trovajoli at the time! There's also wonderful drifting vocals in the mix – courtesy of Nora Orlandi – and titles include "Round Nassau", "Swingin Easy In Tanganika", "Rio Zona Sul", "L'Amica", and "Taxi Cab 67". Features two bonus tracks – "L'Amica (ripresa)" and "The Bitter Truth (inst)". LP, Vinyl record album

Excellent work from one of the funkiest steel bands around – a totally hip combo who just seem to be getting better and better with each new release! This time around, they've stepped up the beats even more than before – mixing their 70s funk and steel drum work with just a slight current from hip hop production – all of which almost makes you feel like Wu-Tang made a trip to the Caribbean, then came back with these tapes as a result! There's also some additionally cool touches in the horns – used with maybe some slight Ethio jazz inflections at points – alongside other elements that really help move the Bacao aesthetic forward in a mighty nice way. Titles include "Hotline Bling", "Grilled", "How We Do", "Hazy Memories", "In The Crosshairs", "The Champion's Walk", and a very cool take on the "Stranger Things Theme"! CD

Excellent work from one of the funkiest steel bands around – a totally hip combo who just seem to be getting better and better with each new release! This time around, they've stepped up the beats even more than before – mixing their 70s funk and steel drum work with just a slight current from hip hop production – all of which almost makes you feel like Wu-Tang made a trip to the Caribbean, then came back with these tapes as a result! There's also some additionally cool touches in the horns – used with maybe some slight Ethio jazz inflections at points – alongside other elements that really help move the Bacao aesthetic forward in a mighty nice way. Titles include "Hotline Bling", "Grilled", "How We Do", "Hazy Memories", "In The Crosshairs", "The Champion's Walk", and a very cool take on the "Stranger Things Theme"! LP, Vinyl record album

Hardbop albums don't get any better than this – and although drummer Dave Bailey only recorded for a brief stretch as a leader, this session's one that shows that he was a heck of a force to contend with! The record's got an intensity that easily rivals the best by Art Blakey over at Blue Note during the early 60s – but Dave's also got a slightly looser groove too – a bit more sense of humanity, and one that allows for really organic interplay between the players. There's a slight soul jazz undercurrent – especially in the piano lines of Billy Gardner – and other players in the quintet include Bill Hardman on trumpet, Frank Haynes on tenor, and Ben Tucker on bass. The group wails on an early version of Tucker's classic "Comin' Home Baby", plus other great originals like "Coffee Walk", "Lady Iris B", and "Two Feet In the Gutter". A old favorite on the south side of Chicago! LP, Vinyl record album

Hardbop albums don't get any better than this – and although drummer Dave Bailey only recorded for a brief stretch as a leader, this session's one that shows that he was a heck of a force to contend with! The record's got an intensity that easily rivals the best by Art Blakey over at Blue Note during the early 60s – but Dave's also got a slightly looser groove too – a bit more sense of humanity, and one that allows for really organic interplay between the players. There's a slight soul jazz undercurrent – especially in the piano lines of Billy Gardner – and other players in the quintet include Bill Hardman on trumpet, Frank Haynes on tenor, and Ben Tucker on bass. The group wails on an early version of Tucker's classic "Comin' Home Baby", plus other great originals like "Coffee Walk", "Lady Iris B", and "Two Feet In the Gutter". A old favorite on the south side of Chicago! CD

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

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

Searing live work from Gato Barbieri – a brilliant little album that follows on the spirit of his other Latin America sessions for Impulse! The format here is similar to those studio outings – an organic blend of percussion, keyboards, and sax – all bubbling together in a highly rhythmic mode that easily shifts between electric and acoustic statements, all in a jazz-based pursuit of older Latin American rhythms and expressions! Eddie Martinez plays some great Fender Rhodes on the album – ringing out with warm tones that are strongly offset by Gato's sharp-edge tenor lines – and all tracks are nice and long, and flow with a sense of creative energy that almost surpasses the studio albums in the series! Titles include "Milonga Triste", "La China Leoncia", "Baihia", and "Lluvia Azul". CD

A jazz record, but one with a vibe that's all its down – and a sound that definitely echoes some of the tropical elements hinted at in the title and on the cover! Laurent Bardainne is a saxophonist who blows with a really rich sound – nicely soulful, and with a raspy, laidback quality that's really seductive – set up here amidst a mix of acoustic and electric elements, including great percussion, occasional keyboards, and just the right electric basslines to trip things along in a sweet midtempo groove! The mix of jazz soloing and nods to global elements takes us back to similar French albums of the 80s – and most of the set is instrumental, although there are occasional vocals from guests, next to great use of outside sound recordings too. Titles include "Singing", "Eden", "We Try", "Serpent Kaa", "Gobules Rouges", "Dance For Eternity", "Welcome", and "Meilleur". CD

Modern Records sessions by Jimmy Beasley – done for the famous LA label, but all recorded in Beasley's home town of New Orleans – with a very raw, early Crescent City vibe! Many of these cuts were done with the group of Dave Bartholomew at Cosimo's Studios – and they're filled with the kind of romping rhythms and piano lines that you'd know from some of Dave's bigger-name sessions with artists like Fats Domino or Smiley Lewis – yet Jimmy's approach here is nicely different, and far less familiar – almost jazzy at times, and with less of a need to "rock" than some of his contemporaries! That doesn't mean that these tracks don't groove with the New Orleans best – just that they've got some very cool, individual touches – and sophisticated shadings that we really appreciate. LP, Vinyl record album

A fantastic early album from Jorge Ben – and one that's also a bit obscure, given that it was one of the few that he didn't cut for Philips Records during the first decade of his career! The album's one of Jorge's most upbeat, most lively – with the kind of ebullient mix of samba and soul influences that he brought to his first big hits – but recorded here in a way that's maybe even more frenetic, especially when piano lines spin out quickly next to his incredible vocals – with a style that's almost soul jazz at times! The whole thing's wonderful – a record that matches, if not tops any of his other 60s albums – and titles include the killer "A Jovem Samba" – worth the price of the album alone – plus "Nascimento De Um Principe Africando", "Menina Gata Augusta", "Si Wanda", "Rosa Mas Que Nada", "Amor De Carnaval", and "Todo Colorida". LP, Vinyl record album

Lakecia Benjamin has become one of the most unique saxophonists in jazz over the course of her past few records – an artist who can hit deeply spiritual tones when she wants to, but one who's also got a strong sense of soul – able to mix inspirations from the farther reaches with some warmer, straight-ahead grooves – all at a level that's got her hitting strongly in both the worlds of jazz and R&B! Here, Lakecia really expands her palette – blowing the alto pictured on the cover, but also adding in keyboards and shaping the overall sound of the set with the ear of a great producer – in a core lineup that features Victor Gould on Fender Rhodes and organ, EJ Stickland on drums, and Josh Evans on trumpet – with plenty of guest work throughout, including appearances from Dianne Reeves, Patrice Rushen, Georgia Anne Muldrow, and even the great Angela Davis! Titles include "Moods", "Rebirth", "Trane", "Amerikkan Skin", "New Mornings", "Phoenix", "Jubilation", "Basquiat", and "Supernova". LP, Vinyl record album

Don't think "rock", think "groove" – because oud player John Berberian takes his instrument into some very groovy territory here – mixing its Mid-East roots with a sweet array of modal rhythms and psychedelic elements – all of which make for an album that's even trippier than you'd guess from its cover! The album's one of the few "jazz meets world" sets that really gets things right – bringing together different global elements to come up with a sound that's wonderfully new and fresh – and which moves the whole thing way past its roots in Turkish, Greek, Armenian, and North African styles! Joe Beck plays some great electric guitar on the record – but the main string focus is on the oud, which Berberian uses with this exotic tinge that rivals the instrument in the hands of Ahmed Abdul-Malik on his own albums like this. The lineup also includes tenor and other reeds from Souren Baronian, plus other percussion, and nice use of electric bass to hold the whole groove together – and titles include "The Oud & The Fuzz", "Tranquility", "Chem-oo-Chem", "Iron Maiden", "Flying Hye", "3/8=5/8=8/8", and "The Magic Ground". CD

Don't think "rock", think "groove" – because oud player John Berberian takes his instrument into some very groovy territory here – mixing its Mid-East roots with a sweet array of modal rhythms and psychedelic elements – all of which make for an album that's even trippier than you'd guess from its cover! The album's one of the few "jazz meets world" sets that really gets things right – bringing together different global elements to come up with a sound that's wonderfully new and fresh – and which moves the whole thing way past its roots in Turkish, Greek, Armenian, and North African styles! Joe Beck plays some great electric guitar on the record – but the main string focus is on the oud, which Berberian uses with this exotic tinge that rivals the instrument in the hands of Ahmed Abdul-Malik on his own albums like this. The lineup also includes tenor and other reeds from Souren Baronian, plus other percussion, and nice use of electric bass to hold the whole groove together – and titles include "The Oud & The Fuzz", "Tranquility", "Chem-oo-Chem", "Iron Maiden", "Flying Hye", "3/8=5/8=8/8", and "The Magic Ground". LP, Vinyl record album

Not the best of the German prog bands, but still a compelling one that starts with a basic jazz/rock lineup of organ, guitar, and bass – and which plays jamming tracks that are peppered with vocals. Includes nice version of "Light My Fire", plus the originals "Sundown", "Change Of Mind", and "No Drugs". LP, Vinyl record album

The keys are coral, and the sound is sublime – one of the greatest albums ever from pianist Walter Bishop Jr, and proof that he can really stretch out, given the right setting! The piano here is all acoustic, but there's an almost-electric vibe to the date – long, open tracks that sway and swell with some great spiritual energy – made even more wonderful by work from reedman Harold Vick, who plays tenor, flute, and soprano sax on the record – and makes it one of his best recordings ever! The reedwork alone is worth the price of admission – but the rhythms are also great too – a mix of soulful, modal, and some slight funky bits – handled by Reggie Johnson on bass, and either Idris Muhammad or Alan Benger on drums. Woody Shaw plays trumpet on some cuts, too – and titles include "Coral Keys", "Soul Turn Around", "Freedom Suite", "Track Down", "Waltz For Zweetie", and "Three Loves". CD

This ultra-hip ensemble is celebrating its 10th Anniversary – and in doing so, has maybe given us their best album yet! The group's overflowing with work from an all-star lineup – Wayne Escoffery on tenor, Jeremy Pelt on trumpet, James Burton III on trombone, Victor Gould and Xavier Davis on pianos, Vicente Archer and Rashaan Carter on basses, and Johnathan Blake and Mark Whitfield Jr on drums – the last two pairs of whom shift in and out of the ensemble as the set moves on – but with such rock-solid energy, there's a unified vibe to the whole set. Some of the best tracks have this soaring, searching energy – and the whole album's got a very visionary approach, served up by musicians who are looking to do way more than just run through a few standards. Titles include "Black Heart", "Cold Switching", "Soliloquy", "Lookin For Leroy", "Coming Of Age", and "Truth To Power". CD

Don't think "disco", think "funky jazz" – because this sweet South African group from the 70s is filled with lots of groovy twists and turns – all in a mode that's quite different than any of the American or European jazz albums we know from the time! The lineup here includes reed heavyweight Basil Coetzee on both flute and tenor sax – working in a quartet with some sublime organ lines from Pops Mohamed – who plays in this snakey sort of way that's a bit like South African jazz piano, but maybe even more flowing and moody. The grooves are sometimes funky, sometimes more modal – but always forward moving in a really great way, but again with a very fresh approach to rhythm! Titles include "Super Natural Love", "Yasmeen's Blues", "Night Express", "Odd's On", and "Echo On The Delay". LP, Vinyl record album

A jazz funk masterpiece, and THE record by the legendary Don Blackman – the only one issued under his own name for many many years, and a famous little set that's been sampled endlessly over the years, and for good reason! The vibe here is one that's barely been matched again – a blend of 70s fusion, bassy funk, and even tighter riffing – all put together with a greater depth and sense of soul than most other records of its type. Blackman's a GRP contemporary of Bernard Wright, Tom Browne, and Weldon Irvine – and there's bits of all their sound in the work here, but somehow Don does it even better – hitting these grooves, notes, and lines that seem to fall from the heavens – and which still stand as some of the hippest music of his generation. A record to file proudly next to your copies of Ramp and James Mason – and like those gems, the kind of record that only happens once in an artists career! Titles include "You Ain't Hip", "Yabba Dabba Do", "Heart's Desire", "Deaf Hook Up Connection", "Never Miss A Thing", and "Holding You Loving You", and "Since You Been Away So Long". CD

Killer work from the classic late 50s years of the Jazz Messengers – and an album that Blue Note didn't choose to release until the end of the 70s! The record's a historic one – as it mark's Wayne Shorter's first session with the group, and the first time that they recorded his great composition "Lester Left Town" – a wonderful tune that sounds a bit different here than on the later Jazz Messengers recording of the composition. Shorter's talent is already burning brightly at this point – as is that of trumpeter Lee Morgan – and other group members include Walter Davis Jr on piano, Jymie Merritt on bass, and Blakey on drums. Titles include "Lester Left Town", "Haina", "The Midget", "Celine", and "Africaine", which has a guest appearance by Dizzy Reece on congas! LP, Vinyl record album

A legendary lineup of Art Blakey's Jazz Messengers – heard here on an extended set of concert performances done in France at the start of the 60s! As on the Blue Note live albums by the group, there's a special sort of energy going on here that pushes past the already-great studio material – long solos, and a tremendous showcase for the talents of the key players in the group – the genius young trio of Lee Morgan on trumpet, Wayne Shorter on tenor, and Bobby Timmons on piano – all at the height of their early powers! The group also features the great Jymie Merritt on bass next to Art's drums – and titles include nice long versions of "Noise In The Attic", "It's Only A Paper Moon", "Night In Tunisia", "So Tired", "Blues March", "Kozo's Waltz", "Close Your Eyes", "Lost & Found", "Dat Dere", and "Moanin" – plus "My Funny Valentine", "Round Midnight", "Yama", and "The Summit". CD

Killer stuff by Art Blakey – one of his few non-Blue Note sessions from the time, and a hard-wailing set that features the Jazz Messengers as a sextet! The format is one that flourished briefly in these early 60s years – and in this case, the already great lineup of Lee Morgan on trumpet, Wayne Shorter on tenor, and Bobby Timmons on piano is joined by Curtis Fuller on trombone – a frontline that makes for some really amazing music, and which starts to bring in a lyrical energy to the group that's really amazing! The force of Fuller on the ensemble cannot be denied – and the group shift from straight hardbop with a soulful bent into an even more inspired mode – as you'll hear on the album's classic reading of Fuller's "Ala Mode" – nestled in alongside Jazz Messenger takes on standards like "Invitation", "I Hear A Rhapsody", and "You Don't Know What Love Is". CD

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

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

One of the greatest Art Blakey Blue Note sessions of all time – and perhaps one of the greatest to realize the genius of the Jazz Messengers lineup that included Lee Morgan on trumpet, Wayne Shorter on tenor, and Bobby Timmons on piano! The trio of young talents are at the height of their early soulful powers here – working with Blakey and bassist Jymie Merritt in a set of tunes that are overflowing with expressive solos, unusual timings, and the Blakey genius for mixing bold statements with personally introspective moments. Nearly every track on the record's a classic – and titles include an early version of Bobby Timmons' "Dat Dere", plus Wayne Shorter's beautiful tunes "Lester Left Town", "Chess Players", and "Sakeena's Vision". LP, Vinyl record album

One of the greatest Art Blakey Blue Note sessions of all time – and perhaps one of the greatest to realize the genius of the Jazz Messengers lineup that included Lee Morgan on trumpet, Wayne Shorter on tenor, and Bobby Timmons on piano! The trio of young talents are at the height of their early soulful powers here – working with Blakey and bassist Jymie Merritt in a set of tunes that are overflowing with expressive solos, unusual timings, and the Blakey genius for mixing bold statements with personally introspective moments. Nearly every track on the record's a classic – and titles include an early version of Bobby Timmons' "Dat Dere", plus Wayne Shorter's beautiful tunes "Lester Left Town", "Chess Players", and "Sakeena's Vision". CD

A landmark recording by a whole new chapter in Art Blakey's career! During the early 60s, Blakey expanded the Jazz Messengers from a quintet to an incredibly tight sextet – adding in the trombone of Curtis Fuller for an extra-punched up frontline that also included Freddie Hubbard on trumpet, and Wayne Shorter on tenor, who had returned to the group after a short departure. The band was augmented by the wonderfully lyrical and soulful piano of a young Cedar Walton – who brought a strong degree of sophistication, and who was a perfect interpreter of Shorter's rich writing talents. The whole group performs together perfectly on this wonderful (and oft-overlooked) session – especially on the tracks "Shaky Jake", "Backstage Sally", and "Bu's Delight". LP, Vinyl record album

One of the best non-Blue Note sessions from Art Blakey in the 60s – a really searing set that features the sextet lineup of the Jazz Messengers – a group that's filled with legends who include Freddie Hubbard on trumpet, Wayne Shorter on tenor, Curtis Fuller on trombone, Reggie Workman on bass, and Cedar Walton on piano! The sextet format really pushes the energy of the group – and allows for even more wonderful horn interplay than before – while still allowing for lots of solo space for individual voices. Tracks are long and open, with a bouncing lyrical groove that's more soaring than some of the heavy-hitting earlier albums from Blakey, but no less pleasing – and possibly even a bit more soulful! Titles include "Sweet N Sour", "This Is For Albert", "Skylark", and "Thermo". LP, Vinyl record album

One of the best non-Blue Note sessions from Art Blakey in the 60s – a really searing set that features the sextet lineup of the Jazz Messengers – a group that's filled with legends who include Freddie Hubbard on trumpet, Wayne Shorter on tenor, Curtis Fuller on trombone, Reggie Workman on bass, and Cedar Walton on piano! The sextet format really pushes the energy of the group – and allows for even more wonderful horn interplay than before – while still allowing for lots of solo space for individual voices. Tracks are long and open, with a bouncing lyrical groove that's more soaring than some of the heavy-hitting earlier albums from Blakey, but no less pleasing – and possibly even a bit more soulful! Titles include "Sweet N Sour", "This Is For Albert", "Skylark", and "Thermo". LP, Vinyl record album

A well-titled set from Art Blakey – considering the hard-driving sound of the group! The album's one of the best from that unusual year of 1957 – almost a "lost" year for Art, when he was working away from Blue Note with a very different lineup of the Jazz Messengers than on his famous sessions for that label! The players here are all great – and include Johnny Griffin on tenor, Bill Hardman on trumpet, Junior Mance on piano, and Spanky DeBrest on bass – all working with a style that's a bit loose and open, allowing plenty of space for solos! Griffin's horn has all the sharp edges you'd expect, and Hardman's great too – and Blakey himself seems to sit back a bit more than usual in his chair, letting the soloists lead the tracks, instead of kicking things into gear from the drums. Titles include "Deo X", "Sweet Sakeena", "Late Spring", "Krafty", and "For Miles & Miles". CD

A well-titled set from Art Blakey – considering the hard-driving sound of the group! The album's one of the best from that unusual year of 1957 – almost a "lost" year for Art, when he was working away from Blue Note with a very different lineup of the Jazz Messengers than on his famous sessions for that label! The players here are all great – and include Johnny Griffin on tenor, Bill Hardman on trumpet, Junior Mance on piano, and Spanky DeBrest on bass – all working with a style that's a bit loose and open, allowing plenty of space for solos! Griffin's horn has all the sharp edges you'd expect, and Hardman's great too – and Blakey himself seems to sit back a bit more than usual in his chair, letting the soloists lead the tracks, instead of kicking things into gear from the drums. Titles include "Deo X", "Sweet Sakeena", "Late Spring", "Krafty", and "For Miles & Miles". LP, Vinyl record album

Art Blakey at the Keystone Korner – really rattling the rafters with a great lineup that includes Bobby Watson on alto sax, David Schnitter on tenor, and Valery Ponomarev on trumpet! Although the Shorter/Morgan lineup is always hailed as one of Blakey's best, we're also pretty partial to this great late 70s stretch of The Jazz Messengers – as it shows some wonderful early flowering of Watson's alto, and his songwriting abilities; Ponomarev's well-blown trumpet lines; and Schnitter's crisp, sharp lines on tenor – always carved out with a great depth of feeling. Add to the mix some great piano from James Williams, and bass from Dennis Irwin, and you've got a great lineup next to Blakey's drums – all working together in a rough-edged, hard soul space on tracks that include "Pamela", "Unlimited", "Dark Side Light Side", "Blues For Two", and "In This Korner". LP, Vinyl record album

Art Blakey at the Keystone Korner – really rattling the rafters with a great lineup that includes Bobby Watson on alto sax, David Schnitter on tenor, and Valery Ponomarev on trumpet! Although the Shorter/Morgan lineup is always hailed as one of Blakey's best, we're also pretty partial to this great late 70s stretch of The Jazz Messengers – as it shows some wonderful early flowering of Watson's alto, and his songwriting abilities; Ponomarev's well-blown trumpet lines; and Schnitter's crisp, sharp lines on tenor – always carved out with a great depth of feeling. Add to the mix some great piano from James Williams, and bass from Dennis Irwin, and you've got a great lineup next to Blakey's drums – all working together in a rough-edged, hard soul space on tracks that include "Pamela", "Unlimited", "Dark Side Light Side", "Blues For Two", and "In This Korner". CD also features the bonus track "1977 AD". CD

Art Blakey, without any Jazz Messengers – but still coming through loud and clear, thanks to help from a unique group that features Sonny Stitt on tenor, McCoy Tyner on piano, and Art Davis on bass! The album's still got all the hardbop charm of Blakey's best Blue Note dates, but also feels a bit more spontaneous too – and the basslines of Davis are a wonderful change from the usual – beautiful sounds that drive the record quite strongly up from the bottom! Titles include the killer "Cafe", plus "Blues Back", "Just Knock On My Door", "Summertime", and "The Song Is You" – and the album features fantastic blowing from Stitt! CD

Killer stuff by Art Blakey – one of his few non-Blue Note sessions from the time, and a hard-wailing set that features the Jazz Messengers as a sextet! The format is one that flourished briefly in these early 60s years – and in this case, the already great lineup of Lee Morgan on trumpet, Wayne Shorter on tenor, and Bobby Timmons on piano is joined by Curtis Fuller on trombone – a frontline that makes for some really amazing music, and which starts to bring in a lyrical energy to the group that's really amazing! The force of Fuller on the ensemble cannot be denied – and the group shift from straight hardbop with a soulful bent into an even more inspired mode – as you'll hear on the album's classic reading of Fuller's "Ala Mode" – nestled in alongside Jazz Messenger takes on standards like "Invitation", "I Hear A Rhapsody", and "You Don't Know What Love Is". LP, Vinyl record album

Art Blakey and the Jazz Messengers, recording in the very familiar territory of the Birdland nightclub – in a format that was handled previously by the Blue Note label, but maybe never with a lineup this great! The performance features the sublime frontline trio of Lee Morgan on trumpet, Wayne Shorter on tenor, and Bobby Timmons on piano – all players that are their youthful best, and completely on fire with creative imagination under Blakey's leadership – the start of a great run for all of them as solo stars too. The tracks are long, and even if the tunes are sometimes familiar, the performances are spectacular – that special Jazz Messengers energy that makes records like this so great. This second volume includes the tracks "Night Watch", "The Summit", "High Modes", and "The Things I Love". LP, Vinyl record album

Art Blakey and the Jazz Messengers, recording in the very familiar territory of the Birdland nightclub – in a format that was handled previously by the Blue Note label, but maybe never with a lineup this great! The performance features the sublime frontline trio of Lee Morgan on trumpet, Wayne Shorter on tenor, and Bobby Timmons on piano – all players that are their youthful best, and completely on fire with creative imagination under Blakey's leadership – the start of a great run for all of them as solo stars too. The tracks are long, and even if the tunes are sometimes familiar, the performances are spectacular – that special Jazz Messengers energy that makes records like this so great. This second volume includes the tracks "Night Watch", "The Summit", "High Modes", and "The Things I Love". CD

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

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

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