A great little vocal session on Bethlehem – and maybe the only record we've ever seen from singer Betty Blake! Blake's a great vocalist right from the start – one who balances swing and sophistication wonderfully – amidst some very hip jazz backings from a combo that features Zoot Sims and Roland Alexander on tenor, Marcus Belgrave on trumpet, Teddy Charles on vibes, Kenny Burrell on guitar, and Mal Waldron on piano! The set's got a bit more punch than some other Bethlehem vocal dates, but it also has a nice sense of spontaneity too – never over-arranged or too staid, in ways that really show off Blake's swinging side. Titles include "Moon and Sand", "I'll Be Around", "While We're Young", "Blue Fool", and "Trouble Is A Man". CD

Hardbop godfather Art Blakey cut some fantastic work in the studio with his Jazz Messengers group – but in a live setting, the group sometimes sound even more amazing than on record – and that's definitely the case with this unreleased live date from the early 60s! Art has a really seminal version of the group here, with three key young stars in the lead – Lee Morgan on trumpet, Wayne Shorter on tenor, and Bobby Timmons on piano – all players who, along with bassist Jymie Merritt, helped Blakey craft some of the most memorable albums in the Blue Note catalog at the time. Yet here, as things are live, the tunes are even more stretched out – which means a lot more work from Art on the drum kit, in solos that are totally mindblowing, and really get at the complexity he can bring to his percussion – plus more pronounced work from Merritt, who's always been a hell of a bassist, but never fully gets his doe. The whole thing is fantastic – a double-length set with great sound, rescued from the vaults – with tunes that include "Now's The Time", "Blues March", "Moanin", "Dat Dere", "Night In Tunisia", "Round Midnight", and two takes on "The Theme". CD

Trombonist Samuel Blaser pays tribute to the legacy of Jamaican music – but in a way that also resonates strongly with some of his more jazz-based releases too! The record's mostly instrumental – but does have vocals from Carroll Thompson on two tracks, and Lee Scratch Perry on two more – yet the main focus is on the horn work, with Blaser echoing earlier greatness of players like Vin Gordon or Don Drummond – but in a more jazz-based setting with work from Alex Wilson on keyboards and Hammond, Soweto Kinch on alto, Michael Blake on tenor, and Alan Weekes on guitar. The set also features guest work from Steve Turre on one track – and titles include "Rainy Days", "Silver Dollar", "End Of The Beginning", "Rainy Days Dub", "Chronicles", "Beautiful Bed Of Lies", and "Green Island Dub". CD

That's the middle finger of David Boykin on the front cover – bidding a bold farewell to the year of 2016 – with a record that offers up some of the most soul-nourishing sounds we've ever heard from the reedman! The album's got a sharper, almost funkier sound than some of Boykin's other work – a double-length performance that features David on tenor, in a group that also has James Baker on a piano that sounds electric, and which is often played in these blocky chords that fit well with the bass of Alex Wing and drums of Isaiah Spencer – all working as a cohesive trio unity, while Boykin takes off with these searing, searching solos! The mix of spiritual reeds and chunkier rhythms is almost a bit like some of the early "funk" work of Joe McPhee – but Boykin's clearly got his own agenda in the music, and comes off with a mindblowing positive sound. All tracks are long, and titles include "Coronal Mass Ejection", "Wherever You At", "Make It Count", "You Know Who You Are", and "Jaglavak". CD

A great reworking of the extended Solar Suite by Chicago saxophonist David Boykin – issued many years back in a studio version, and presented here in a bold new take done at the same 63rd Street Beach House that used to host performances by Phil Cohran & The Artistic Heritage Ensemble! Boykin is tremendous here as a key soloist – and the group is led by Renee Baker as part of the Chicago Modern Orchestra Project – although the ensemble here is just a septet, with work from Joshua Abrams on bass, Jim Baker on keyboards, Alex Wing on guitar, Tony Herrera on trombone, Quentin Coaxum on trumpet, and Marcus Evans on drums! The set's worth it alone for Boykin's wonderful tenor work, but the whole group is fantastic as well – soaring up with a mighty spirit that lives up the legacy of the storied space of the recording – on titles that include "Midnight & Sunrise", "Midday", "Sunset", and "Enocturnal Sun". CD

We're not sure why David Boykin couldn't name the club for this performance – as the set's every bit as great as his other live recordings in other venues, and is a testament to the continuing development of this underground saxophone giant of the 21st century! The group is a quartet, with Jim Baker on piano, Alex Wing on bass, and Isaiah Spencer on drums – and at points, Baker's presence on the record is as strong as the raspy tenor of Boykin – even on one track where David vocalizes a bit too. Titles include "Despair", "Big & Fine", and "Fantasy Island". CD

The great Bobby Bradford recorded famously for the Nessa label back in the 70s – but here he's heard in the company of some younger players on a contemporary recording – one that shows that his fire hasn't dimmed at all! The group's a quartet – with Frode Gjerstad on alto and clarinet, Ingebrigt Haker Flaten on bass, and Frank Rosaly on drums – and the three tracks are all relatively long and quite free – but have this organic sense of building that really matches some of Bradford's energy from the early days – a style that's not as rhythmic or modal as before, but partly because Rosaly and Flaten are such amazingly complex musicians! Titles include "The Silver Cornet Tells", "A Story About You", and "And Me Me & You". CD

Funky soul from Harriet Brown – a record that's very well-steeped in 80s modes, including a bit of funk from Prince and some of the leaner currents of the boogie generation! Yet Harriet's got a style that's very contemporary, too – a leaner, more independent approach to soul that's really great – very personal, probably because Brown handles just about everything here himself, with just a bit of assistance from co-producer Alex Talan. Titles include "Cybernetiplegia", "Obsession", "Cryptid", "Atlantis", "In My Head", "Paralyzed", "Contact", "Mother", and "ESP". CD

A pair of great albums back to back – both rare albums from a percussionist who worked with Sun Ra! First up is Mora volume 1 – a legendary early set from percussionist Francisco Mora Catlett – and a really sublime blend of spiritual jazz and Latin rhythms! Mora's percussion is definitely at the core – but the set also features wonderful contributions from Vincent Bowens on tenor and soprano sax, Jerome LeDuff on berimbau, Alberto Nacif on quinto, and Detroit jazz legend Kenny Cox on piano! There's a balance here that really matches the best Strata East energy of the 70s – an open, flowing approach that's completely sublime, and very righteous too – even more so than anything Mora's done since the 70s – making this record one of his greatest achievements ever. Tersa Mora sings a bit of vocals at times – and titles include "Afra Jum", "Five AM", "Rumba Morena", "Samba De Amor", and "Cultural Warrior". Mora 2 is a set recorded in Detroit, but one that's got a globe's worth of elements in the mix – originally recorded in the mid 80s, but not released until a brief CD issue in the early part of the 21st Century! Despite that history, the album's a really timeless record that encompasses a world's worth of elements in jazz! Francisco Mora Catlett's at the height of his powers here – leading the group with a sense of righteous majesty that takes us back to some of the most ambitious heirs of the post-Coltrane generation, but with perhaps an oddly rhythmic twist as well – such as you might find in some of the 70s classics of Bobby Vince Paunetto. Echoes of Latin, Afro, and spiritual jazz come together as one – soaring to the skies on soulful waves of sound – brought together with a sense of focus and spirit that really moves us a lot. Players include Marcus Belgrave and John Douglass on trumpets, Sherman Mitchell on trombone, Vincent Bowens on tenor and flute, Alex Harding on baritone and bass clarinet, Kenny Cox on piano, and Rodney Whitaker on bass – and titles include "Samba/Conga De Amor", "Amazona Prelude/Dawn", "Old Man Joe", "Por Que Paro", and "Afra-Jum (parts 2 & 3)". CD

An album that really lives up to its title – as the record sets out to prove to the world that Isaiah Collier is one of the most almighty talents on the saxophone in recent years! The album has a spiritual majesty that tops even the previous album with the Chosen Few group – as in addition to work from the quartet that includes Julian Davis Reid on piano, Jeremiah Hunt on bass, and Michael Shekwoaga Ode on drums – the group adds in extra instrumentation, light strings, and added horns at times too – all of which push the music into territory that's right up there with Nimbus or Strata East back in the glory days! Collier is a true jazz visionary, and his message here is bold and brilliant – given some key support from older Chicago legends who include saxophonist Ari Brown on one track, and vocalist Dee Alexander on another – getting maybe one of her most beautiful showcases ever on record. Titles include "Love", "Compassion", "Duality Suite", "The Almighty", and "Perspective (Peace & Love)". CD

Really mindblowing work from legendary drummer Ivan "Mamao" Conti – a key part of Azymuth through that group's many years – and still going strong here as a solo artist on his own! The album's almost a 21st Century realization of the sound that Azymuth was going for back in the day – cascading percussion with plenty of influences from Brazilian music and jazz, often given some electric elements along the way – but always in a style that's warmly organic, and right on the groove! Conti gets help from younger Azymuth and Incognito generations – as Alex Malherios plays bass on the record and Daniel Maunick handles keyboards, more percussion, and production – all at a level that never stomps on Ivan's vision at all – and which instead makes the whole thing as rewarding as any Azymuth session we've heard over the past few decades. Most tracks are instrumental, save for some airy wordless vocals – but Thiago Martins sings lead on "Que Legal", and other titles include "Aroeira", "Bacurau", "Poison Fruit", "Jemburi", "Ecos Da Mata", "Encontro", and "Tempestades". CD features bonus mixes – "Ilha Da Luz (Tenderlonius rmx)", "Encontro (Glenn Astro rmx)", "Que Legal (Reginald Omas Mamode IV rmx)", "Encontro (Max Graef rmx)", and "Poison Fruit (Dokta Venom's digital dub rmx)". CD

A pair of really unusual albums from Mike Cooper – presented here in a single package! The core set, Life & Death In Paradise, is one of the last in a run of classics that Cooper gave the world at the start of his career – and has really unusual collaborations with members of the London jazz scene – including bassist Harry Miller, saxophonist Mike Osborne, and drummer Louis Moholo! The jazz component of the record is small – this is definitely acoustic singer/songwriter material, not the work the musicians might have issued on the Ogun label – but the set does represent a really nice shift for Cooper, and a great setting for the kind of offbeat songs he does so well. Titles include "Critical Incidents", "OMM Coda", "Suicide De Luxe", "Black Night Crash", "Rocket Summer", and the long "Life & Death In Paradise" suite. The package also features material from many years later – a live acoustic set recorded in Milan in 2018, showing Cooper still as a hell of a talent, with an even more complex understanding of the acoustic guitar – matched by his own unique vocalizations on some of the best tracks. Titles include "Peach Trees", "In Moments Of Reverie", "Lord Franklin", "Sage & Thyme", and "Industrial Hazard". CD

An amazing blend of free jazz and fusiony touches – a partially electric session that's a real standout in the New York loft jazz scene! The album was produced by Noah Howard at Ornette Coleman's Artist House studio – but it's got a sound that's quite different from work by either of those big names associated with the set. Daniel plays trumpet and flugelhorn on the record – always with an open, spacious tone that soars one minute, meanders the next – allowing plenty of room for contributions from other group members who include Khan Jamal on vibes, Jerome Cooper on drums, Tim Ingles on electric bass with wah wah, and Richard Daniel on Fender Rhodes – again played with wah wah and echoplex! The added processing really does cool things to the electric sides of the music – spacing them out nicely, and creating a wide-toned sound that's a nice contrast to Jamal's vibes and Daniel's horn. All tracks are long, and titles include "Tapestry", "Sweet Dreams", and "Mozambique". CD also features the previously unreleased bonus track "Asagefo". CD

Yussef Dayes works here under a title that was first coined by Rahsaan Roland Kirk to refer to jazz – but Dayes takes the term to a whole new level with this groundbreaking set – really moving past jazz to unlock a whole field of soulful expression – served up an excellent group at the core, and key contributions from very hip guests throughout! Dayes has always been someone who defies expectations, but here he's going past just some sort of unconventionality to really make his own mark in music – letting an instrumental solo take center stage when needed, or working through vocals in another moment – but all with this effortless flow that really comes together over the course of the album! The group features Charlie Stacey on keyboards, Alexander Bourt on percussion, and Venna on tenor – and guests include Shabaka Hutchings, Leon Thomas, Miles James, Theon Cross, Chronixx, and others. Titles include "Early Dayes", "Afro Cubanism", "Black Classical Music", "Rust", "The Light", "Pon Di Plaza", "Marching Band", "Tioga Pass", "Cowrie Charms", "Crystal Palace", and "Presidential". CD

Brazilian percussion mixed with 21st Century sounds – all served up sublimely in the hands of Kirk Degiorgio – one of the few artists we could ever expect to get a project like this just right! The album follows nicely off Kirk's previous collaboration with Azymuth – but has an even starker sound overall, as core acoustic percussion bits are worked into contemporary rhythm programs – then topped with some of the crackling electric touches that you'd expect – often with a warmer sound than other projects of this nature, but a groove that's plenty driving overall. Titles include "Babilonia", "Morro Da Formiga", "Dende", "Borel", "Vidigal", "Rocinha", "Prazeres", and "Complexo Do Alemao" – plus remixes "Babilonia (Rick Wilhite dub)", "Borel (Jonas Kopp my vision of samba rmx)", and "Borel (Nxi rmx)". CD

The notes on the cover use the term "Latinx Futurist" to refer to the work of Dos Santos – and that may be one of the best ways we've ever heard to describe their really unique blend of modes – served up here with a sound that firmly places the group at the crossroads of some great contemporary currents of music! Instrumentation is a familiar blend of percussion, guitar, and keyboards – but the presentation is nicely unique – as echoes of older Latin styles come into play with more creative elements, all in a small combo mode that's produced to perfection by Elliot Bergman – who did plenty of his own genre-crossing work in the group Nomo over the years. Lead vocals are by Alex Chavez, a really wonderful singer – and titles include "Shot In The Dark", "City Of Mirrors", "Palo Santo", "Jaguar De Rosas", "Lejos De Ti", and "Glorieta". CD

One of the few albums we've ever seen by keyboardist Hubert Eaves – a great player whose work crops up on some of our favorite 70s soul jazz and jazz funk sides, but who rarely got a chance to lead his own group! Fortunately, he did get the chance to cut this one – as the session's a real doozy – sweet mellow fusion, handled very soulfully, with a kicked-back feel that's right up there with the most righteous soulful fusion of the time. Players include Mtume, John Lee, Reggie Lucas, Malachi Thompson, and Rene McLean – and Cheryl Alexander sings vocals on the track "Under Standing". A great blend of laidback funk and soulful grooves – in the manner of Bobby Lyle at his best – and titles include "Slow Down", "Painful Pleasure", "Call To Awareness", and "Flead Dancing". CD

Quite possibly the greatest record that Don Ellis ever recorded – and his hippest too! The trumpeter's playing here with a quartet that includes Jaki Byard on alto and piano, Ron Carter on bass, and Charlie Persip on drums – coming together perfectly in that arch-modern style that you'd find on the best Candid albums from the time. Ellis tone is skittish and fragile – and sounds here almost like he's working in a Mingus-y mode, quite possibly because Byard's influence on the session is pretty strong. Titles include "Waste", "A Simplex One", and "Sallie" – and an extended "Improvisational Suite #1". CD

Brian Eno at the crux of his career – hanging perfectly between the guitar-heavy glam of earlier years, and the spacey electronics of later material – both of which he presents wonderfully on the record! The album is one of his last to feature real rock songs, with the kind of vocals you'd know from Eno's first two albums – and it mixes straighter styles with more complex electronic soundscapes, resulting in some wonderfully cold and abstract material that prefaces musical territory that many other artists wouldn't hit until the following decade! Titles include "Golden Hours", "The Big Ship", "St Elmos Fire", "Sky Saw", "Spirits Drifting", and "Becalmed". CD

Some of the finest Peruvian grooves of the 60s and 70s – served up by three different groups headed by reedman Nilo Espinosa, plus a few other combos as well! Nilo's got a way with a groove that's totally unique – a bit soul jazz a times, influenced by bossa at others, and sometimes even moving into sweet electric fusion – always with a very pronounced sense of rhythm that makes nearly all of his numbers into the kind of groovers that can easily traverse the globe far from their roots in the Peruvian scene! The package features work from the mid 60s Los Hilton's, the early 70s Bossa 70, and the mid 70s Nil's Jazz Ensemble – the last of whom have been favorites for years with crate-diggers, due to their use of electric keyboards and very tasty drums! Titles include "Here Come The Hilton's" and "Sherezade" by Los Hilton's; "El Gato", "Think", "Get Out Of My Way", and "Las Mariopsas" by Bossa 70; "Reflexiones", "Summer Love", "Hard Work", "Looking For A Blues", and "Somos Nada" by Nil's Jazz Ensemble; "El Bueno El Feo Y El Malo" by Nilo Espinosa Con Los 007; "Light My Fire" by Charlie Guerrero; "Gotas De Miel" by Nilo Espinosa Y Orquesta; and "People Got To Be Free" by Charlie & Many. CD

Fantastic sounds from the Far Out Monster Disco Orchestra – a group with family ties to Azymuth and Incognito, and who work here in the best blend of Brazilian and soulful elements that might imply! The ensemble is a crowning achievement for the Far Out label – a summation of all the great work they've done from the London scene, including their reintroduction of key Brazilian musicians of the 70s – all soaring to the skies here, with a richly collaborative energy! The group features lots of keyboards from Jose Roberto Bertrami, guitars from Alex Malheiros, and keyboards and rhythms from Daniel Maunick – plus great contributions from many others, including some help from the legendary Arthur Verocai. Most tunes groove in a mighty nice way – not vintage disco, but a soaring, righteous 21st Century version of club – on tunes that include "Step Into My Life", "Flying High", "Black Sun", "The Two Of Us", "Walking Bass", "Give It To Me", and "Where Do We Go From Here". CD also features bonus instrumentals of most songs on the album! CD

Lawrence Fields is a pianist with a wonderful blend of complexity and rhythm – a player who can spin out quick lines that almost verge into modern jazz territory, yet one who also holds things back to reach the right sort of interplay with bassist Yasushi Nakamura and Corey Fonville – trio members who really set fire to the lyrical ideas in Lawrence's music! Fields is young, but comes on here with a depth that almost makes us think of mature Cedar Walton at his best – and the set's full of original tunes that showcase Field's strong powers as a composer as well. Titles include "LBF", "New Season Blues", "Moving On", "Parachute", "Yasorey", "Vision", and "Sketches". CD

Completely unreleased music from this legendary Boston group – one that features Mission Of Burma working with leader Dredd Foole, in a set of cuts that are completely incendiary all the way through! The material is mostly live, and even edgier than their studio work – and shows the sonic intensity and complexity that the Burma musicians bring to the performance – especially the organ and guitar work of Roger Miller, which really shows how much understanding of sound and power he's picked up in a few short years! The set features 10 live tracks – 9 of which were recorded at the legendary Rat Club – plus 2 more home recordings that are solo numbers – titles that include "So Tough", "Play With Fire", "Not A Beast", "Touch", "Greatest Band In Hell", "TV Eye", "Not The Same", "Behind You", and "Paint It Black". CD

One of the best records in years from the mighty Far Out label – and a set that really takes the imprint back to its roots! The name of the record echoes the first Friends From Rio session that launched Far Out almost two decades ago – and like that classic, this one's a collaborative effort between a range of Brazilian and British talents – served up in a style that bridges the gap between older bossa and more contemporary modes! The music is perfect from the ground up – not a cheesy bossa remix project, but a true blend of all the best elements, served up in a rich new style. The project gets key Incognito-style help from Daniel "Venom" Maunick, and a real Azymuth pedigree from Alex Malheiros – and the whole thing features a great range of different singers, including Hyldon, Robertinho Silva, Aleh Ferreira, Ivan Matheus, Denise Pinaud, Sabrina Malheiros, and Carlos Dafe – each wrapped up in a sweet blend of Fender Rhodes, organ, riffing guitar, and sweet jazzy horns. Titles include "So Resta A Porta Se Abrir", "Mas Que Nada", "Garota", "Aguai", "Casino Bangu", "Batucada Bidu", "Anthemia", "Leita De Pedra", and "Mulher Malagueta". CD

The second part of a great Japanese-only session recorded in 1980 – one that features a later edition of the Great Jazz Trio – with Eddie Gomez on bass and Al Foster on drums, next to piano by usual group member Hank Jones! The set's got a hipper feel than usual for the group – partly because Jones plays Fender Rhodes on part of the record, and partly because Gomez's work on bass gives the proceedings a warm and soulful sound – that deep-flowing groove we first came to love in Eddie's work with Bill Evans and Jeremy Steig. Foster's drums are great too – and have a sense of sharpness that changes the Great Jazz Trio sound nicely. Titles include "Peedlun", "Light Listened", "Duplex", "Just Before Dawn", and "Sublime". CD

A set titled after a Beatles hit of the 60s, but one that's got a lot more depth than that – as the record is a landmark moment in the development of organ/guitar jazz at the time – a set that features the key pairing of guitarist Grant Green and Hammond modernist Larry Young! As with other records from the duo, there's a sense of rhythmic progression and tonal inflection here that's quite different than more standard soul jazz of the time – a complexity that also comes from the drum work of Elvin Jones, and which is topped by the soulful expressions of Hank Mobley on tenor – the last member of this all-star quartet! The whole thing's great – based around loose, free rhythms – and featuring searching solos that also still remain nicely swinging and in the pocket! Titles include "Corcovado", "Stella By Starlight", "I Want To Hold Your Hand", and "At Long Last Love". CD

An incredible record – and virtually the blueprint for countless other keyboard records to come! At the height of his 70s powers, Herbie really takes off into space with this set – moving away from more commercial music, and hitting a groove that's totally righteous, totally electric, and completely mindblowing! The album's got a bit of a Headhunters vibe, but it also veers off into some very wild analogue electronics too – a mix of Fender Rhodes, clavinet, melotron, and echoplex processing – augmented by additional work on Arp from Patrick Gleeson. Other players on the set include Bennie Maupin on reeds, Eddie Henderson on trumpet, Julian Priester on trombone, Buster Williams on bass, and Billy Hart on drums – and the great Buck Clarke rounds out the combo on percussion. The album only features three long tracks – "Rain Dance", "Hidden Shadows", and "Hornets" – but all of them are killers! CD

Lezlie Harrison's a great singer, and she sounds especially wonderful here next to the Hammond B3 of Ben Paterson – a player who really seems to click with Lezlie's great approach! There's a slight current of soul in Harrison's music, but the music is definitely jazz – as she's got a richness of expression, and way of using her voice that we'd rank right up there with vocalists like Carmen Lundy or Dee Alexander – given plenty of space to open up and soar here in a small combo setting, with work also from Matt Chertkoff on guitar and Pete Zimmer on drums. The approach is great – very different than some straight old school Hammond/vocal session – as Harrison's take on the tunes is very fresh, with more contemporary approach to arrangements – on titles that include "Love Won't Let Me Wait", "Let Them Talk", "A Lover Is Forever", "What A Little Moonlight Can Do", "Fly Like An Eagle", and "Close Your Eyes". CD

The seminal debut of Hatfield & The North – a group that maybe came a bit late in the UK prog scene of the early 70s, but who had a huge influence for decades to come! The quartet are a late transformation of the earlier Canterbury sound – leaner, maybe jazzier, and with a great ear for warm tones and organic elements that help hold the complexity of their music to the surface of the planet. Plus, there's this more open, honest quality to some of the work – especially the vocals – that quality, say, that made Matching Mole so different than Soft Machine. The whole lineup is an all-star affair – Richard Sinclair on bass and vocals, Pip Pyle on drums, Phil Miller on guitars, and Dave Stewart on organ, piano, and tone generator – plus some nice guest sax and flute from Geoff Leigh of Henry Cow, and vocals from Robert Wyatt on one track. Titles include "The Stubbs Effect", "Calyx", "Licks For Ladies", "Bossa Nochance", "Big Jobs No 2", "Lobster In A Cleavage Probe", and "Rifferama". This CD edition includes the bonus tracks "Let's Eat Real Soon", "Fitter Stoke Has A Bath" and "Your Majesty Is Like A Cream Donut". CD

Joe Acheson works here with a group he originally described as an "imagined orchestra" – but which here is actually a relatively large group of musicians coming together to follow Joe's lead! The players shift from track to track, and Joe himself handles a lot of the instrumentation – on piano, basses, keyboards, percussion, and even some field recordings and zither as well – all layered in a sonically complex way that echoes some of the London experiments in recent years, augmented by other work on cello, trumpet, drums, bass clarinet, and trombone. The sound is often dark, but with these warm currents of hope – and titles include "Skylarks", "Nightfall", "Ripple", "Broken", "Cage Then Brick", "Reverse Learning", "Little Buddy Move", and "Hammered". CD

An obscure set of solo tunes from modernist Andrew Hill – originally recorded for the Japanese East West label in 1975, and a very different side of Andrew's music than his Blue Note work of the 60s – but one that's equally great!. Hill's playing a grand piano – with a complex approach to chords that's really compelling – this sense of flow and majesty that we really love, as Andrew tries out some sharp edges at points – but still retains some of that soulfulness he rediscovered as the 70s approached. There's a darkness to the material that we didn't always hear in Hill's other sides – and the intimacy of the recording shows that his talents are still extremely rich at this point in his career. Titles include "Naked Spirit", "Rambling", "Vision", "Clayton Gone", and "Insanity Riff". CD

A trio of later gems from this legendary South African pianist! Mindif is a great set that features Abdullah Ibrahim's soundtrack music for the 1988 Clair Denis film Chocolat – some of his best group recordings of the 80s! The feel here is a bit more African-styled than usual – even for Ibrahim – with strong use of reeds to inflect the tunes with the right degree of color and tone for their use in the film. The ensemble on the record features Ricky Ford on tenor and soprano, Craig Handy on flute and tenor, Benny Powell on trombone, David Williams on bass, and Billy Higgins on drums – and the tracks have a languid groove that recalls some of Dollar Brand's best South African recordings with Kippie Moketsie. Titles include "Earth Bird", "African Market", "Pule", "Star Dance", and "Serenity". African River is one of the great larger group recordings that pianist Abdullah Ibrahim gave us in the 80s – from a moment when he was able to use added horns to really expand that amazing sense of color and rhythm he'd brought to his music on earlier trio recordings! There's a sense of musical vision here that really lives up to Abdullah's majestic look on the cover – a fantastic merging of flute and tenor from John Stubblefield, soprano and alto from Horace Alexander Young, tuba and baritone from Howard Johnson, and trombone from Robin Eubanks – all vibrant horn players who seem to have just about every tone and mood covered with their horns – given this wonderfully warm support from Buster Williams on bass, and Brian Adams on drums. All titles are originals by the leader – and tunes include "Chisa", "Sweet Samba", "Duke 88", "The Wedding", and "Joan Capetown Flower". Yarona is a beautifully sensitive set from Abdullah Ibrahim – recorded live at the Village Vanguard, and with an open, lyrical sound that almost seems to recall some of Bill Evans' magical moments in the venue! Ibrahim's quite a different player, of course – but there's an open, exploratory quality to his music that's a bit unusual here – maybe not as rhythmically based as it is balanced between sound and silence – given very respectful company in the bass of Marcus McLaurine and drums of George Johnson. Titles include "Cherry/Mannenberg", "Duke 88", "African River", "Stardance", "Tuang Guru", "Tintinyana", and "African Marketplace". CD

One of the most beautiful records to come out of the early 70s – a tremendous indie effort from a young Weldon Irvine! Irvine put this album together as sort of a musical "time capsule" of his generation – an effort to capture the era's thoughts, feelings, and emotions through a mix of music, vocals, and a few spoken bits – all woven together in a way that changes moods nicely, but always keeps the same righteously spiritual vibe! Weldon plays keys that are both electric and acoustic throughout – and he's joined by a very hip batch of players who include Jimmy Owens, Lenny White, Alex Blake, George Cables, and others – all working here in a very rough-edged and soulful mode. Titles include the classic break track "Bananas", the sweet vocal number "Deja Vu",and the soul classic "Feelin' Mellow" – also covered by Fatback Band, but even better here in the original! Other tracks include "Soul Sisters", "Watergate Don't Bug Me", "Spontaneous Interaction", and "I Am". CD

A beautiful demonstration of the unique piano genius of Ahmad Jamal in the early years of his career – his way of blending together some of the complex fluidity and keyboard range of postwar pianists from more staid settings, while also picking up a warmer, more soulful groove – but in styles that are so different than soul jazz contemporaries like Ramsey Lewis and Ray Bryant! Instead, Jamal's got this way of swinging the whole trio with a beautiful sense of cohesion – pulsating enough to groove, but also light enough to be lyrical as well – qualities that are really shared by the bass of Israel Crosby and drums of Vernell Fournier – as they work here alongside Jamal in the space of his famous Alhambra nightclub. Titles include "Time On My Hands", "Angel Eyes", "You Go To My Head", "Star Eyes", and "What Is This Thing Called Love". CD

A stunning mix of talents that brings the heavenly piano and guitar of Antonio Carlos Jobim into play with the lush, but light arrangements of Claus Ogerman – a swirling mix of post-bossa loveliness that redefines Jobim's sound, and opens up new avenues for exploration in sound! The production is amazing – pillowy-soft, but with a complex depth that's hardly been matched again – and although Jobim's the main player, other great musicians include Dom Um Romao, Claudio Slon, Jerome Richardson, Ron Carter, and others. Tracks include "Wave", "Mojave", "Lamento", "Batidinha", "The Red Blouse", "Antiguq", and the groovy "Captain Bacardi". Beautiful all the way through! CD

A huge 90s album from Montell Jordan – one that formed a big bridge between the worlds of hip hop and R&B, and which has had some surprisingly strong legs in the years after it was first crafted! Plenty of folks blended hip hop elements with soul, but Montell may well have been one of the few to really knock it out of the park like this – not just with the oft-played title track, but also over the course of the whole record, which blends some more attitude-heavy cuts with others that are emotionally open as well! Montell handled a lot of the production himself, clearly with an ear for his strengths – and titles include the classic "This Is How We Do It", plus "Don't Keep Me Waiting", "Comin Home", "Payback", "Somethin 4 Da Honeyz", "I Wanna", "Gotta Get My Roll On", "Down On My Knees", and "Daddy's Home". CD features bonus tracks – "This Is How We Do It (Puff Daddy radio mix)" and "This Is How We Do It (Funkmaster Flex radio mix)". CD

A truly amazing album – unlike anything Eddie Kendricks ever did before, or since – and one of those records that really helped shape the sound of soul in the 70s! The music is as rich and powerful as the image on the cover – with some righteous undercurrents that really mark the time and place of the record, yet also help it transcend so many other standard soul modes of the period too! Arrangements are wonderfully complex – as you'll hear on the classic groovers "Girl You Need A Change Of Mind" and "Date With The Rain" – each very different numbers, but both a showcase for Kendricks' wonderful vocal approach. Other titles include the progressive "People Hold On" – plus "I'm On The Sideline", "Day By Day", "If You Let Me", "Let Me Run Into Your Lonely Heart", and "Someday We'll Have A Better World". CD

One of the greatest Kool & The Gang albums ever – a monster live session that almost blows away their studio classics! The groove here is far more freewheeling and complex than some of their singles from the 70s – longer, tripped-out tunes with a definite undercurrent of jazz amidst the funk – loads of wicked horn bits from Ronnie Bell and Dennis Thomas that complicate things up nicely, while still staying soulfully in the groove. There's no vocals at all on the record – which further enforces the Kool Jazz sound of the set – and the album's even harder-hitting than their previous Sex Machine live album, so much so, the PJ's club had to close its doors shortly after the Gang's performance! Titles include the all-time killer sample cut "Duji" – plus "NT", "Ronnie's Groove", "Ricksonata", "Lucky For Me", "Sombrero Sam", and a medley of "Ike's Groove/You've Lost That Lovin Feeling". CD also features a rare bonus cut – "The Penguin" – recorded at the time, but not issued on the original album! Plus, this reissue is even better than the previous one – packaged with a full-color booklet of notes and rare images. CD

The album's got just the right title, as it's a wonderful album from Hammond player Mike LeDonne! Mike's got a key partner here in tenorist Eric Alexander – a player who started out in the company of older organ jazz legend Charles Earland, so he's got just the right chops for this set – working alongside Peter Bernstein on guitar and Joe Farnsworth on rock-solid drums! Perhaps the most interesting aspect of the record is the presence of a vocal group, who sing on a fair bit of the album – adding a lightly soulful touch that really sets the record apart from other Hammond jazz recordings. Titles include "Lonnie's Lament", "Ain't Nothing Like The Real Thing", "Make Someone Happy", "Genesis", "Put It Back", and "Let Us Go". CD

The debut album by a guitarist who might well go into the realm of the classics – as he plays here with a sense of care and balance of tone that's very much his own – handling a hollow-body electric with a sound that's simply stunning from the very first note! Hugo Lippi isn't one of those "too clean" guitarists from the vintage years – as he loves to get some richer sounds out of the guitar, while also never rasping the strings or pushing distortion at all either – always playing with a sense of clarity that's great, while also touching on the complexity of acoustic players with an effortless touch! Lippi handles his instrument with the skills of Baden Powell or Paco DeLucia – although he sounds nothing like either of them – while also using the electric side of the instrument to effortlessly create amazing colors throughout. Titles include "A Child Is Born", "Reflections In B", "Land Of Hope & Glory", "Girl", "La Ballade De Johnny Jane", "Be Yourself", "Choros No 1/Bossa Antigua", and a surprising medley of "Wuthering Heights/Babooshka". CD

Two rare albums from Dutch reedman Theo Loevendie – both amazing little records that sound beautiful here on a single CD! Mandela features complicated lines from a hip Netherlands combo of the late 60s – one headed up by Theo Loevendie on alto sax, but which acts a lot more like a collective of modernists working together – Hans Dulfer on tenor and bamboo flute, Willem Van Manen on trombone, Nedly Elstak on trumpet, Joop Mastenbroek on baritone and clarinet, Maarten Altena on bass, and Martin Van Dunhoven and John Engels on drums. The tunes all have a nice sense of structure – energy that's more like the early 60s modernism of the European scene – particularly some of the more rhythmic styles – than the looser freedoms that some of Loevendie's contemporaries were hitting at the same time. There's definitely plenty of offbeat sounds in the mix – but the group also knows how to swing, too – on titles that include "Trombomanie", "Mr Brook", "Timbuktu", "Trompedly", and "Pepy". Chess is a really playful outing from a very cool Dutch combo – one with lead alto from Theo Loevendie, but a rich array of sounds from the other members too! The reeds are especially nice – often coming together with a complexity that goes back to older European modern traditions, yet with a swinging sensibility that's still plenty jazz, too – kind of a mix of composition, arrangement, and inherent swinging – with standout work from Hans Dulfer on tenor, Leon Van Oostrom on baritone, Leo Cuypers on piano, and Willem Van Manen on trombone – a player we barely know at all, but whose bold tones really bring a lot to the record. Titles include "Lapsang Souchong", "Scratch", "Brasilia", and "Tremolo". CD

The great Harold Mabern kicks it hard with a key core group – then finds a way to open up with some surprise guest artists as well – including singers Gregory Porter, Kurt Elling, Jane Monheit, and Norah Jones! The core of the album features Mabern's piano rocketing out with rhythm from John Webber on bass and Joe Farnsworth on drums – and getting some strong tenor work from the mighty Eric Alexander – and as the set goes on, the group also brings in Jeremy Pelt on trumpet, Peter Bernstein on guitar, and Steve Turre on trombone. But the key force here is the singers – especially Porter and Elling, who seem to find an old school space with the group that really takes them back to their roots. Elling sings on "You Needed Me", "Portrait Of Jennie", and "Billie's Bounce"'; Porter sings on "Afro Blue" and "The Man From Hyde Park"; Monheit sings on "I'll Take Romance" and "My One & Only Love"; and Norah Jones sings on "Don't Misunderstand" and "Fools Rush In". CD also features Alexis Cole on "Such Is Life" – and the instrumental tracks "The Chief", "Mozzin", and "Bobby Benny Jymie Lee Bu". CD

Insanely wonderful early work from Charlie Mariano – some of the freshest, cleanest alto sax work of its time – blown with a tone and sense of soul that goes way beyond some of Mariano's contemporaries at the time! The album was recorded for Bethlehem Records, and is relatively straight – but Charlie already shows a sense of complexity in his presentation that hints at all the greatness to come – and which bursts out here with some refreshing energy that really makes the whole thing sparkle. Charlie's tone is impeccable – somewhere between Lee Konitz and Charlie Parker, with that back bay Boston blend of soul and modernism, making the city one of the best scenes for alto players in the 50s – and he gets some strong rhythm support from the trio of John Williams on piano, Max Bennett on bass, and Mel Lewis on drums. Titles include "Blues", "Floormat", "I Heard You Cried Last Night", "Johnny One Note", and "King For A Day". CD

One of the best of the early 60s comeback albums by the legendary bop trumpeter Howard McGhee – and a record that really has the player finding a whole new groove in his music! At this point, Maggie's got a fantastic tone that was missing from his earlier records, filled with pain and raw emotion – but also measured with a maturity that gives his solos an incredible sense of economy that delivers a whole hell of a lot with just a few simple notes – a balance that comes through beautifully here, maybe even more so than on any other record by Howard from the time! He's playing here in a great group that includes Roland Alexander on tenor, Bennie Green on trombone, Tommy Flanagan on piano, and Pepper Adams on baritone – and tracks include "Dusty Blue", "Groovin High", "Cottage For Sale", "Flyin Colors", and "With Malice Towards None". CD

Jimmy McGriff in a very cool 70s mode – hitting some of the fuller, more soul-based styles that Johnny Hammond and Jimmy Smith were exploring in the middle of the decade – while still also displaying a hell of a talent on the organ as well! The album has extra keyboards from Pat Rebillot and Paul Griffin – which makes for a nice mix of organ and electric piano sounds, plus some occasional moog that's very nicely placed – all backed by a largeish group that has tight horns, and some occasional soul vocals from Al Downing and Denise Wooten. The vocals are often an augmentation of the tunes, and there's still plenty of room for solos by Jimmy in the middle – on titles that include "Tailgunner", "Flexible Flyer", "Sky Hawk", "Grandma's Toe Jam", and "Bullfrog". CD

A wonderful live set – and one that really reflects the rebirth of a legend! Ethiopian keyboardist Hailu Mergia cut some fantastic records back in the day, but had spent years driving a cab in Washington, DC – before the reissue of some of his older gems led the musician to come back out of retirement and play live again – which he does on this really fantastic set recorded in New York! The group's a trio – just bass and drums behind Hailu's keyboards, melodica, and occasional accordion – and the vibe is nicely different than some of his earlier material, with more complexity on some of the solos, and maybe a deeper sort of sophistication in the overall approach – as if Mergia spent all that time away from music cooking up new ideas that burst forth in the performance! Titles include "Yetewat Hil", "Yegle Nesh", Abichu Nega Nega", "Belew Beduby", and "Tizita". CD

One of the coolest jazz vocal albums you'll ever find! Frank Minion sings this suite of tracks billed as an "Introduction To Black Opium Street", and he puts the music together with little recitations in between the tracks, so that the whole thing sounds like one of the great Langston Hughes jazz albums from the same period. Minion's singing voice is in the same rich-toned tradition as singers like Johnny Hartman, but his speaking voice is raw and very soulful – and he gets more than able backing by a great set of players that includes Tommy Flanagan on piano, Roland Alexander on tenor and flute, Dannie Richmond on drums, and Paul Chambers on bass. The whole album sounds more like a rare session on Candid than it does the usual stuff on Bethlehem – and it's a surprisingly hip album that still holds up well over the years! Titles include "Oddsville USA", "Bongo Blues", "Autobiography Of A Musician", "Watermelon", "Flamenco Sketches", "Laughing Boy", and "Later". CD

A seminal session from Roscoe Mitchell – beautiful work recorded for the small Nessa label, and a real testament to the fragile beauty of his music! Some of the tracks are solo, and others feature Roscoe in shifting groups with other AACM players – a duet with bassist Malachi Favors, another with reedman Anthony Braxton, a trio with Muhal Richard Abrams on piano and George Lewis on trombone, and a quartet with Joseph Harman, Henry Threadgill, and Wallace McMillan. The sound's about as haunting as you can get for the AACM in the 70s – sensitive sounds, complex tones, and a rich approach to creative music that goes far beyond jazz – a really stark contrast to the styles of New York or European avant players from the same period! Titles include "Off Five Dark Six", "A1 Tal 2LA", "Nonaah", "Sing", "Chant", "Ericka", and "Tahquemenon". CD

One of the greatest Blue Note albums of all time – a record that's even better than the look of it's cover – which is already pretty darn classic! Hank Mobley had been making records for Blue Note for a number of years before this set – but Caddy For Daddy is one in which he really takes off – mixing earlier hardbop modes with a more complex approach to both rhythm and lyricism – matched with some wonderful work from Lee Morgan in the frontline, who was also really hitting new heights at the time – in a group that also includes Curtis Fuller on trombone, McCoy Tyner on piano, Bob Cranshaw on bass, and Billy Higgins on drums. The group plays this amazing mix of soul jazz and modal grooves that sets a whole new standard in the Blue Note catalog – and every cut is a winner, with titles that include "Venus Di Mildew", "The Morning After", "3rd Time Around", and "Ace Deuce Trey". Fantastic material all the way through, with tracks that will stay in your head for years – and one of the greatest jazz album covers ever! CD

Tremendous work from the great Mark Murphy – a great reminder that he's still one of the greatest jazz vocalists to come our way in the past 50 years! The short set's a loving tribute to the late Shirley Horn – delivered by Mark in some of his most personal, poetic modes in years – with backing from a trio that features Alex Minasian on piano and Curtis Lundy on bass – plus guest trumpet from Til Bronner on two of the album's tracks! Bronner's trumpet rings out warmly alongside Murphy's vocals – which have the same edge we've loved for so many years. The pairing is one that would definitely make Shirley Horn smile – and titles include "A Beautiful Friendship", "Get Out Of Town", "Here's To Life", and "But Beautiful". CD

That's Antonio Neves wielding a trombone on the cover – but the set's got elements that move way past his great work on that horn – drawn from very collaborative contributions from different members of the contemporary scene in Rio! The record's got a jazz basis at the core, but quickly explodes into a real style-shifting approach – that legacy of easily mixing modes that has been the hallmark of some of the most creative work from Brazil in recent decades – guided perfectly here by Neves on drums as well as trombone! Antonio sings on one track, and the record also features vocals at points from Leda, Alice Caymmi, Ana Frango Eletrico, and Marcos Esgulera – amidst a whole host of guest musicians too, including Edu Neves on flute, Leo Gandelman on alto, and Hamilton De Holanda on mandolin. Titles include "Lamento De Um Perplexo", "Forte Apache", "Simba", "A Pegada Agora E Essa", "Noite De Temporal", and "Jongo No Feudo". CD

A masterpiece of hard and heavy funk – from one of the best bands of the early 70s! The Nite Liters were a legendary funky combo that provided the backing for some of New Birth's best albums – but on their own, they were even funkier, and had a sound that was part JBs, part Meters, and all funky! This album may well be the group's best – their last for RCA, and a set that really has them honing their edge incredibly. The drums are amazing, the keyboards great, and the horns have this quality that's both complex, yet right on the money – making for a richness in sound that really sets the group apart from their contemporaries. A few singers from The New Birth provide chorus vocals on a few tracks – but most of the set is instrumental, and the record's one we'd gladly stack next to our Meters albums on Josie or JBs classics on People. Every track's a gem – and titles include "Drumology", "Excuse Me While I Do My Thing", "Serenade for a Jive Turkey", "Happy Hooker", "Craaashing", "Damn", "Pee-Foul", and a sweet cover of "Valdez in the Country" that's been sampled at least once over the years! CD

No charity needed here – as reedman Eji Oyewole's got a wealth of talent on his own! Eji's a musician with roots in the 60s Nigerian scene, but left to follow a personal path through Europe and the US, where he picked up some wonderfully funky styles which are then brought home to create this completely cooking late 70s album! The style's different than other big Afro Funk names of the time – like Fela Kuti or Manu Dibango – but shares a similar sense of flowing, open grooves – and Eji's ability to act strongly as both a lead vocalist, and a soaring soloist on tenor, soprano, and flute! Rhythms are damn funky at the core – with almost a blacksploitation vibe at times – and the tracks are all quite long, with most of the real "voice" coming from the saxes, which speak volumes on their solos. Titles include "Gele Odun (Oil Boom)", "Lagos Complex Highways", "Unity In Africa", and "Charity Begins At Home". CD

Trumpeter Jeremy Pelt is always a player who finds a way to bring a little something extra to a record – shifting his sound, changing his tone, and always finding a way to offer us a fresh approach – but all while really holding strong to his core principles! Here, Plet's a sonic master – blowing both muted and unmuted, in a very cool lineup that includes excellent work on vibes from Jalen Baker and guitar from Alex Wintz – players whose combinations come across wonderfully – augmented at a few spots by Fender Rhodes and piano from Frank LoCrasto. Leighton McKinley Harrell plays both acoustic and electric bass, drums are by Allan Mednard or Deantoni Parks, and titles include "No AI", "Earl J", "Ante Meridiem", "Basquiat", "Milocraft", and "Amma Is Here". CD

Seminal sounds from Placebo – one of the hippest electric groups going on the European scene of the early 70s, thanks to some great keyboards and electronics from the legendary Marc Moulin! Placebo's sound here is a unique approach to funky jazz – one that certainly draws from the electric modes of the American scene, and without any of the jamming elements of other Euro fusion groups – but there's also a touch of rockish inflection at points too – especially in the way the rhythms have a tightly pulsating groove. There's none of the indulgence of prog, but there's definitely a lineage going on somewhere in the mix too – and in addition to Moulin's keyboards, the group also features great horns from Nick Fissette, Alex Socrier, and Richard Rousselet. Titles include "Bolkwush", "Temse", "Balek", "Phalene", "Re-Union", and "Only Nineteen". CD

A definite real thing from the mighty David Porter – one of his killer solo albums for Stax Records, after splitting his partnership with Isaac Hayes at the end of the 60s – and a record that really matches some of Ike's classic solo sets for sheer ambition and power! Porter's approach is a bit more earthy – almost some deeper soul currents in the music, set alongside fuller arrangements that bring in some gentle funk currents at the bottom, and a complicated instrumental approach that still stays plenty soulful, while stunning us with a level of complexity. Like Hayes, Porter talks a bit along with his vocals – and Ike helps out on one track, but clearly lets David give the album most of his own flavor. Titles include a long version of "Hang On Sloopy", one that goes on for over 11 minutes, and with a soul sound that's very different than the original – and other tracks include "I Don't Wanna Cry", "Ooo Wee Girl", "Thirty Days", "Grocery Man", and "Too Real To Live A Lie". CD features three rare, originally unissued bonus tracks too – "Come Get From Me (parts 1 & 2)", "Gotta Get Over The Hump", and "Somebody's Trying To Ride Piggy Back". CD

Wonderful later work from Brazilian guitar legend Baden Powell – an artist whose sound just deepened and got more complex as the years went on! Here, Baden's just playing solo, but with a vibrancy that's amazing – fingers moving across the strings of the guitar in this amazing way, spinning out rhythm and melody at once – and often topped with some vocals by Powell himself – a light-voiced singer with a sound that adds this special sort of personal sparkle to the music! There's plenty of jazz influence at work here, and Baden's got a strong sense of improvisation as well – on titles that include "Odeon", "Vento Vadio", "Garota De Ipanema", "Para Nao Sofrer", "Tributo Ao Meira", "Na Baixa Do Sapateiro", "Samba Do Aviao", "Bolina De Papel/A Premiera Vez", and "Interrogando". CD

Massive work from one of the funkiest drummers of all time – the legendary Bernard Pretty Purdie, stepping out here in a batch of instrumentals that may well be his greatest album ever! Bernard's drums are right up front in the mix – leading off all tunes with a full, funky, echoey sort of approach that's unlike anything else we can think of – and certainly different from any other late 60s albums of this type! The production is totally great – and has a way of pulling out some of the weirdest aspects of the music – which itself features guitar from Billy Butler and Eric Gale, bass from Bob Bushnell, tenor and flute from Seldon Powell, and organ and piano from Richard Tee – who also handled all the arrangements on the set! The centerpiece is the hit single "Funky Donkey", but just about every track's a groover in its own way – and titles include "Soul Drums", "Bill's Groove", "Jimmy's Back", "Testifyin", "Modern Jive", "Blow Your Lid", "Bee N Tee", and "Soul Bossa Nova". This new edition includes 8 bonus tracks, with a couple rare 45 tracks and more that have never been released – all soulful & funky – well paired with the Soul Drums album! Bonus tracks are in stereo, and include "Alexander's Rag Time Band", "Genuine John", "Soul Clappin", "If You Never Cried", "Stop" and "Time Is Tight". Also comes with a nice booklet with new liner notes, and choice quotes from Purdie's peers and those he influenced, from Galt MacDermot to Large Professor. CD

A perfect illustration of the rich new directions Wayne Shorter was taking at the start of the 70s – an amazing flurry of sounds and styles that's light years ahead of where he began in the 60s! Shorter's one of those players who was already great at the start – an amazing tenorist, both on his own and with the groups of Art Blakey and Miles Davis – yet by the time of this record, he'd absorbed a huge amount of influences from Brazilian music, modal jazz, the spiritual underground, and even the free European scene – all of which come to play on the long, complex tunes on the set! The record has Shorter working with some other key contemporaries of this new moment in jazz – John McLaughlin on 12 string guitar, Chick Corea on marimba and percussion, Dave Holland and Miroslav Vitous on bass, and Ron Carter on cello – all players who have the same open, exploratory vibe as Wayne's own lines on tenor and soprano sax. Titles include an excellent cover of Milton Nascimento's "Vera Cruz", plus the tracks "Antiqua", "Iska", and "Montezuma". CD

A record that definitely lives up to its promised title – as the whole thing brims over with excellent work from players you might know from other albums on the Posi-Tone label! The group name doesn't get at the heart of the sound, though – as there's a sharp, soulful focus to the music throughout – kind of a classic hardbop approach, but with maybe a more contemporary sense of freshness, especially on the solo voices – which is no surprise, given that the sextet features Nick Finzer on trombone, Alexa Tarantino on alto, Sam Dillon on tenor, Art Hirahara on piano, Boris Kozlov on bass, and Rudy Royston on drums! The album's also brimming over with original material – tunes composed by group members or their labelmates – with tracks that include "Coppertone", "Slick", "New Directions", "Why Aren't You Excited", "Breeze", "Vast", and "Overcooked". CD

Terrell Stafford's one of those musicians who started out great, and just seems to keep on maturing over the years – to a point where a record like this really stands as such a strong testament to his power as both a player and a leader! The music has a sense of majesty to fit the image of Stafford on the cover – well-penned tunes, played by a great lineup of players who clearly want to rise up and follow Terrell's lead – really bringing their all to their solos, while also holding tight to formation to realize the larger thematic qualities of the tunes. Players include Tim Warfield on tenor and soprano, Bruce Barth on piano, David Wong on bass, Johnathan Blake on drums, and Alex Acuna on percussion – on titles that include "Blood Count", "Wruth's Blues", "Mia A Mia", "Between Two Worlds", and "Manaus At Dusk". CD

A huge amount of work from a reedman we'd never heard before – Martinique-born Alexandre Stellio – a hell of a clarinet player, and one who effortlessly weaves together island rhythms and early strands of jazz! All of the recordings here were done in Paris during the mid 30s, and provide a great illustration of the way that the crumbling French colonial empire was allowing all sorts of unusual criss-crossing in sound – in this case, the already-strong Parisian love of jazz mixed with the influence of new phrasings, colors, and rhythms from the French Caribbean – very much in the spirit that would soon become known as biguine! Stellio recorded a surprising amount of music during these years – and the set brings together every session with detailed notes and excellent sound – recordings that are all awash with his amazingly deft, edgey reed lines over romping rhythms, piano, and guitar – the last of which has some slight echoes of Parisian swing. 85 tracks in all – and notes in French and English! CD

A really compelling set from this important Japanese group of the 70s – a quartet headed up by guitarist Masayuki Takayanagi – but which features a very complex balance of work from all the individual members! The set initially begins with a traditional vibe, but then seems to step out with each new track – almost encompassing a history of modern jazz in the music, then moving past with its own sense of invention! Masayuki's guitar rings out on the spare "The Blues", which begins – but then moves aside for free flute work from Kenji Mori on a mindblowing take of "You Don't Know What Love Is" – almost handled with a late Dolphy vibe. "Sun In The East" has the ensemble moving boldly together – with double drums and percussion from Joe Mizuki and Hiroshi Yamazaki – and the set concludes with the extended "Free Form Suite" – a tune that definitely lives up to its name! CD

A pair of records from Tempest – a group formed by drummer Jon Hiseman after the breakup of Colosseum! First up is the self-titled Tempest record – music by a hell of a group from the glory days of the Bronze Records scene – a group who boast some fantastic guitar work from a young Allan Holdsworth that are more than enough to get them on the label – but who also have a richness and complexity that rivals some of the hippest prog acts on labels like Vertigo or Harvest too! Ex-Colosseum member Jon Hiseman handles drums and percussion with a mighty nice edge, Mark Clarke delivers some heavy sinister basslines, and Paul Williams echoes all of those strengths with his dark-tinged vocals – in a mode that's nicely beyond some of the cliches that other groups might hit on a record like this. Titles include "Gorgon", "Brothers", "Foyers Of Fun", "Upon Tomorrow", "Grey & Black", "Up & On", and "Dark House". Next up is Living In Fear – a really great record from Tempest – a group who have so many different things going on at once – guitars that would be right at home on a hard rock effort, rhythmic complexity that verges on prog, and a tunefulness that really sends the whole thing over the top with an unexpected appeal that keeps on going throughout the entire set! Maybe the tipoff is the group's great cover of "Paperback Writer" – showing a love of the harmony in earlier work by The Beatles – updated here to a more guitar-based, fuzz-heavy style for the 70s – and matched with some equally groovy songs that have us wondering why these guys never found more of a following at the time! Other titles include "Funeral Empire", "Stargazer", "Dance To My Time", "Living In Fear", and "Waiting For A Miracle". CD set features two bonus tracks – "You & Your Love" and "Dream Train". CD

The fantastic first record from Chicago's Territory Band – a project headed up by saxophonist Ken Vandermark, and one that definitely builds the Transatlantic Bridge that's promised by the title! During the second half of the 90s, the Chicago avant scene really exploded with some great younger players – and also drew a lot of guests from other global scenes too – creating a lively cross-breeding of sounds, styles, and ideas – all of which are represented strongly by this group! The lineup features Jim Baker on piano, Jeb Bishop on trombone, Axel Dorner on trumpet, Dave Rempis on alto and tenor, Kent Kessler on bass, Fred Lonberg-Holm on cello, and both Paul Lytton and Tim Mulvenna play drums – which makes for a super heavy sense of energy throughout. Vandermark blows tenor, bass clarinet, and b flat clarinet – on titles that include "Collage (for Kurt Schwitters)", "RM (for Marcel Duchamp)", "Mobile (for Alexander Calder)", and "Stabile (for Hans Hoffmann)". CD

A lovely little record – every bit as wonderful as you might expect from the cover, with an evocative sound that fits right in with the concept of a rainy day raga! Peter Walker plays acoustic guitar, but he does so in these long, winding ways that are clearly inspired by Indian music – yet which come across with much more of an Americanist vibe – supported with some additional guitar from Monte Dunn, a 12 string "drone" from Alex Lukeman, and even some flute from Jeremy Steig – plus a bit of tamboura and bells too! The album's one of the most haunting we've ever heard on Vanguard – way more than familiar folk – and titles include "Morning Joy", "River", "April In Cambridge", "Sunshine", "Rainy Day Raga", "White Wind", and "Bianca". CD

An incredible album – and one of the most revolutionary rock albums of the late 60s! The Who recorded this one as a tribute to mainstream radio at the time – linking together some solid stand alone tunes with shorter, wittier tracks that were recorded as commercials for products that included baked beans, acne cream, and deodorant – as well as cool announcer bits too! The end result is one of the most sonically complex records issued by a mainstream rock act of the time – sort of like The Who said "yeah, everyone's trying to copy Sgt Peppers with big arrangements, but we'll take this concept album thing in a whole new direction!" Brilliant all the way through, and with tracks that include "Armenia City In The Sky", "Heinz Baked Beans", "Mary Anne With The Shaky Hand", "I Can See For Miles", "I Can't Reach You", "Rale", "Sunrise", and "Silas Stingy". This fantastic new package features the whole album in stereo and mono – plus 26 more bonus tracks, and a 16 page booklet of new notes and photos! CD

An excellent album by Mary Lou Williams – a set recorded during the 70s period when she was mixing in a bit of funk with her jazz! The sound here is wonderful – quite different than other work you might know from Williams, and much more in the sort of groove you'd expect from Junior Mance, Ray Bryant, Ramsey Lewis, or other soul jazz-oriented pianists! Williams plays acoustic piano in a very hip trio with Mickey Roker on drums and Bob Cranshaw on electric bass – the latter of whom brings in this well-rounded, soul-drenched tone that's a lot like the bass work on some of Monty Alexander's own best albums from the 70s. And Williams herself is totally great too – playing with some slightly exotic tones at points, and with a really in-the-pocket groove at others. Funky tracks include "Intermission" and "Rosa Mae" – and other titles include "Ghost Of Love", "Medi II", "Zoning Fungus", and a great version of Dizzy Gillespie's "Olinga". CD also features 2 previously unreleased tracks – "Syl-O-Gism" and an alternate of "Gloria". CD

A fantastic combination of funky grooves – the studio talents of Adrian Younge & Ali Shaheed Muhammad, and the Brazilian-tinged fusion of the legendary Azymuth! The jazzy trio are in great form here – tunes that are lean, and which really offer up all the best aspects that the group brought to their music back in the late 70s and early 80s – spun with a slightly different format by the lineup of Alex Malheiros on bass, Ivan Mamao Conti on drums, and Linklon Kiko Contentino on Fender Rhodes and keyboards – but handled perfectly by Adrian and Ali in the studio – with just the right sort of sound to avoid some of the slicker production that the group had on some of their other American recordings from years back. All tunes are new originals – and titles include "Pulando Corda", "Friendship Samba", "Apocolyptico", "Cat Jump", "Fall Afternoon", "Ao Redor Do Samba", and "Sumare". CD

Torbjorn Zetterberg has always been a hell of a bassist – but in recent years, he really seems to be exploding as a greater jazz visionary – working with a group like this in a range of explosive new ideas we never would have expected just a few years ago! The music is often incredibly dense – Zetterberg's bass in the lineup, but also part of a rich array of sounds from Susana Santos Silva on trumpet, Mats Aleklint on trombone, Jonas Kullhammar on tenor and alto, Alberto Pinto on clarinet and baritone, Jon Falt on drums, Alexander Zethson on Hammond and Fender Rhodes, and Lars Skoglund on drums – mostly players that have worked together often over the years, and who beautifully interpret the stunning arrangements and compositions by Zetterberg. There's definitely plenty of outside moments on the record, but as with much Moserobie material, things also swing at times too – a balance between freedom and structure that matches the balance between group and individual on the album. Titles include "Drommusik", "Meningen Med Vad", "Oraklet I Finnaker", "Plingplongpiano", and "Nytt Hopp Over Atlanten". CD

The evolution of Far Out's excellent Brazilian Love Affair series – featuring standouts from earlier volumes as well as new and exclusive tracks! Brazilian Love Affair Revisited celebrates the series to date as well as it charts the evolving sounds of Brazil and its London interpreters – and shows where the sound is going via newer material and younger talents. A great set with both classic and contemporary legends such as Ed Motta, Marcos Valle, Joyce, Azymuth and others, respectful remixes and interpretations by Osunlade, Mark Pritchard and Kirk Degiorgio, newer tracks from more recent Far Out arrivals such as Raf Vilar and Clara Moreno. 15 tracks in all: "Os Escravos Do Jo (Precussion Edit)" and more by Friends From Rio 2, "Ponteio" by Da Lata, "Nova Bossa Nova" by Marcos Valle, "Paz" by Troubleman feat Nina Miranda, "Todos Os Santos" by Joyce, "Preguiciman" by Mamond, "Bossa Me" by Raf Vilar, "Without Words" by 4 Hero Presents Nature's Plan feat Ed Motta, "Sem Pressa (Remix By Danny Wheeler)" by Alex Malheiros And Banda Utopia feat Sabrina Malheiros and more. CD

Southern soul galore – a wonderful range of tracks that are done in that best deep soul mode that borrowed heavily from country music – but also really transformed things to fit their own righteous needs! Make no mistake, the collection is all soul music all the way through – but the songs also echo some of the more heartbreaking themes and local needs you'd find in country music – and also use some isolated elements in the instrumentation and production too! The best way to think of the package is as a collection of southern soul, but one that shows a surprising lack of color barrier when it comes to musical styles – and as always with Ace/Kent, the notes and overall conception of the whole thing is really wonderful. 24 tracks in all – including "Easy Loving" by Bo Kirkland & Ruth Davis, "Big Blue Diamonds" by Little Johnny Taylor, "I Hang My Head & Cry" by Arthur Alexander, "True Love Travels On A Gravel Road" by Percy Sledge, "Touch Your Woman" by Margie Joseph, "Who Will The Next Fool Be" by Bobby Bland, "Stand By Your Man" by The Mirettes, "Till I Get It Right" by Bettye Swann, "Another Man's Woman Another Woman's Man" by Laura Lee, and "Jambalaya" by Ralph Soul Jackson. CD

The funky third volume of the Living In The Streets series – and easily the best in this great series – a really hard and heavy batch of rare funk tunes that pushes past the cliches of the title to come up with an all-solid batch of tracks that's sure to please any fan of deep funk. Loads of great little groovers from a range of different labels – organ jazz meets heavy soul vocals meets dancing bassline funk, hard drums, heavy riffing, and beyond – all wrapped up together with a sound that never lets up. Tracks include "Mary Jane" by Bobby Rush, "Bustin Outta The Ghetto" by Carlos Malcolm, "I'm A Good Woman" by The Generation, "Dance Girl" by The Mighty Tom Cats, "Peace Love Not War" by Johnny King with The Fatback Band, "The Truth Shall Make You Free" by King Hannibal, "I'm Wishin" by Lorez Alexandria, "I've Known Rivers" by Gary Bartz, "Viva" by Jade, "Seeds Of Life" by East LA Car Pool, "Starvin" by Winfield Parker, and "He Called Me Baby" by Spanky Wilson. CD

Great work from a pivotal year in modern music – a time when some of the experiments of the early prog generation were working their way into shorter, catchier work – not entirely the kind of pop that American audiences were digging on the radio in 1974, but instead some forward-thinking music that would set the tone for years to come! There's a smartness and sophistication to most of these tracks, but also a down to earth quality that makes them easy go get into too – music that came out right before the punk and disco years, but which has gone on to provide endless appeal to listeners in much later generations too. As with Grapefruit sets, the track list is superb – with a great blend of familiar and lesser-known acts, all supported with detailed notes that really help you get into the music. 67 tracks in all – a few unreleased – with music from Ron Wood, Georgie Fame, Hello, Fancy, Unicorn, Bryan Ferry, Sparks, Status Quo, John Cale, Tramp, Snafu, Bebop Deluxe, Roxy Music, Man, Fox, Holy Mackerel, Carmen, Stackridge, Farm, Dave Cousins, Slade, Sensational Alex Harvey Band, Billy Kinsley, and many others! CD