Duke joins the combo of Louis Armstrong on piano – a group that includes Trummy Young on trombone and Barney Bigard on clarinet! CD

On Great Summit Duke joins the combo of Louis Armstrong on piano – a group that includes Trummy Young on trombone and Barney Bigard on clarinet! We've always loved Duke Ellington's soundtracks, and Paris Blues is one of his best! The score is a moody introspective one, written for a 1961 film that starred Paul Newman as a frustrated jazz musician living in Paris. The "Paris Blues" theme is a dark, somber composition that is supposedly Newman's masterpiece as a jazz writer – and it works beautifully with the film's themes of frustration and unfulfilled desire. Ellington's at his best here, and apart from the main theme, the score also has great versions of classics like "Mood Indigo" and "Take The A Train", plus originals like "Nite", "Wild Man Moore", "Guitar Amour", and "Paris Stairs". Also features Louis Armstrong on one track! CD

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A huge batch of tracks from the Atmosphere vault – 21 cuts from their cassette series, volume 7 to be precise, tracks recorded between the Overcast and Lucy records. Cuts include "Round And Round", "Chokin' On The Wishbone", "Jackpot/Swept Away", "@ It Again", "Higher Livin", "A Tall Seven And Seven" and lots more. Rhymesayers being a more bang for your buck kinda enterprise, the package comes with a bonus CD featuring 10 tracks by Atmosphere and others, including "Industrial Warfare" by Dynospectrum, "Travel (rmx)" by Atmosphere, "Mushroom Trails" by Sess & Slug, "Dubs" by Beyond & Slug and more! CD

The third and fourth albums from Atomic Rooster – back to back in a single set! First up is Made In England – a really striking album in the career of Atomic Rooster – one that's a little bit groovier than most, and maybe a bit funky as well! The drums are great, and have plenty of soulful currents – and the Hammond, piano, and electric piano work of Vincent Crane almost seem to echo earlier UK beat group currents, but turned towards a much hipper 70s vibe – one that's followed by an equally extended range from vocalist Chris Farlowe, who seems to fold together both his mod and prog experience in the vocals! Steve Bolton brings in some tight, riffing guitar – and titles include "Time Take My Life", "Never To Lose", "Breathless", "People You Can't Trust", "All In Satan's Name", "Close Your Eyes", "Little Bit Of Inner Air", and "Stand By Me". On Nice N Greasy, Atomic Rooster definitely get a bit greasy – using some funkier elements at times, and bluesier currents at others – all at a level that really lets singer Chris Farlowe hit some of his most expressive modes! The group's got a fresh guitarist this time around, Johnny Mandala on lead – and his presence gives some of the cuts a harder rock edge than before, often taking the lead more than the keyboards of longtime member Vincent Crane, which helps shape the sound of the set. Titles include "Voodoo In You", "Save Me", "Satan's Wheel", "Can't Find A Reason", "Take One Toke", and "All Across The Country". CD set features the bonus tracks "Moods" and "What You Gonna Do". CD

A great return to form for drummer Donald Bailey – a player who's probably best known for his work in the classic Jimmy Smith Trio of the late 50s/early 60s – but who sounds especially amazing here in a recent, righteous recording! Bailey's working with some very tight talent – the mighty Odeon Pope on tenor sax, Charles Tolliver on trumpet, George Burton on piano, and Tyrone Brown on bass – all players with a lot of depth in their music, and a brooding intensity that makes the record burn a lot more fiercely than anything Bailey ever recorded back in the day. The horns are especially nice – and although Tolliver's only on two of the album's nine tracks, Pope more than holds his own on the others – blowing that heady tenor sound that always grabs attention right from the get-go. Titles include "Blues It", "Gone Now", "For All We Know", "USQ/Trilogy", "Blue Gardenia", "Plant Life", and "Variations". CD

A trio of solo albums from Phillip Bailey – presented here with bonus material too! First up is Continuation – an 80s soul classic from Philip Bailey – stepping out here from Earth Wind & Fire in a set that has him sparkling strongly as a solo act! The vocals still have that trademark Bailey sound – a wonderful range that's never overdone, and which seems to shine especially well on the mellow and midtempo tunes in the set! Production is by George Duke, who does a lot to preserve the jazzier warmth of Bailey's previous settings – and although there's a bit more crossover potential here, the sound is still never too commercial or aimed at the charts. Titles include "It's Our Time", "Trapped", "I Know", "I'm Waitin For Your Love", "Desire", "The Good Guy's Supposed To Get The Girls", and "Your Boyfriend's Back". Next is Chinese Wall – a big breakthrough for Philip Bailey – and a record that was kind of a second-level explosion for the Earth Wind & Fire sound in the 80s! There's a definite crossover feel to the record – a style that takes Bailey's soulful vocals, and mixes them with lots of catchy hooks – in ways that push the Kalimba aesthetic even more into mainstream modes. Yet the album's still got some solid soul grounding, too – thanks to arrangements by Tom Tom and Arif Mardin – which is a nice contrast to the production by Phil Collins, who also guests on the hit "Easy Lover". Other cuts include "Time Is A Woman", "Go", "Walking On The Chinese Wall", "Photogenic Memory", "I Go Crazy", and "Children Of The Ghetto". Last is Inside Out – a set that has Philip Bailey working with Nile Rodgers, who gives him a lean, clean sound that works perfectly with his vocals! The sound is a nice change from the direction Bailey was heading in previously – a return to the focused soul of the later Earth Wind & Fire years, with his amazing lead opening up in ways that few other singers can match. Tunes are pretty well-penned too – catchy, but never cloyingly commercial – and titles include "State Of The Heart", "Welcome To The Club", "Special Effect", "Because Of You", "Take This With You", "The Day Will Come", "Back It Up", and "Echo My Heart". 3CD set features nice bonus material – "I Know (ext dance mix)", "Love Is Alive", "Easy Lover (with Phil Collins)", "Walking On The Chinese Wall (single)", "State Of The Heart (dub mix)", "Twins (with Little Richard)", "Twins (club mix)", and "Easy Lover (ext dance mix)". CD

Massively heavy sounds from A Bolha – a Brazilian group who were previously known as The Bubbles, and backed up Gal Costa during the Tropicalia years – but who work here in a fuzzy, bassy groove that's totally great – definitely an heir to the headier sounds of the UK scene at the start of the 70s! The guitars are definitely in full force here, but the basslines drive things along strongly too – echoing some of the Peruvian sounds of the time, but with a bit more Brazilian sophistication – and definitely a musical echo of lessons learned during Tropicalia, even though the set's a fully instrumental one. Organ also figures in the mix too – and titles include "Bye My Friend", "Razao De Existir", "Um Passo A Frente", "A Esfera", and "Neste Rock Forever". CD is beautifully done – with full notes in the great Lion tradition – and bonus tracks that include "Sem Nada" and "18.30 Parte 1". CD

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A tremendous step forward for the young Muhal Richard Abrams – a set that still shows his early roots in the AACM, but which also blossoms with some of his more serious compositional efforts to come! There's a sensitivity here that really stands out – even among Abrams' contemporaries – a striving for a wider range of expression – some as bold as before, some much more deeply personal and intimate. The tracks feature a shifting array of players – working alongside Abrams piano, and building up the sound in a number of different ways. Players include Wallace McMillan on flute and sax, Edwin Daugherty on sax, Richard Brown on sax, Emanuel Cranshaw on vibes, Rufus Reid on bass, and Steve McCall and Wilbur Campbell on drums. Ella Jackson provides vocals on "How Are You?" – and other titles include "Ballad For New Souls", "Things To Come From Those Now Gone", "In Retrospect", "Ballad For Old Souls", "1 & 4 Plus 2 & 7", and "March Of The Transients". CD

A long-overdue full length album from Ace Of Cups – a really unusual female group from the Bay Area scene of the late 60s – but one who never hit the heights of their bigger San Francisco contemporaries! The girls have this really great look on the back – kind of flower power, but with a bit more charm – a quality that comes through in the music, with is often more garagey than trippy – but which also has a way of putting forth female vocals and honest ideas that might not flourish this strongly for similar groups until the post-punk years. That approach makes the whole thing a truly timeless collection of tracks – of the sort that maybe resonate more strongly today than they did back in the 60s. Titles include "Music", "Boy What You'll Do Then", "Glue", "Taste Of One", "Stones", "Looking For My Man", "Pretty Boy", "Waller Street Blues", "Catch You Later", "Simplicity", "I Wanna Testify", "Hear Every Sound", and a great version of "Afro Blue". CD

Bold new work from the legendary Pyramids ensemble – a spiritual jazz group who go back to the 70s, but who've reemerged in recent years with a renewed sense of energy, and a very forward-thinking sound! Leader Idris Ackamoor is still a master of tone and feeling on reeds – including alto and tenor, plus some other instrumentation as well – and he also vocalizes a bit on the record too hitting some righteous expressions that are in the spirit of Leon Thomas or Dwight Trible, mixed along with instrumentation from other players on drums, percussion, keyboards, trumpet, trombone, and guitar. The album's got a beautifully positive vibe – and titles include "Police Dem", "First Peoples", "Afro Futuristic Dreams", "Garland Rose", "Truth To Power", and "Requiem For The Ancestors". CD

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Rare Capitol country from the great Kay Adams – a female singer with a distinct love of trucking songs, and one who also hails from the Buck Owens side of the spectrum too! Kay only cut a handful of records over the years, and this set's a great addition to her catalog – as it features unissued cuts that were recorded live with backing from Buck's group The Buckaroos – all done at the Buck Owens Ranch Show, and with a sound that's very much like Owens' excellent work of the time – with some of the more truck-themed tunes you'd be likely to hear from labelmate Red Simpson. Titles include "Rocks In My Head", "Six Days A Waiting", "Roll Out The Red Carpet", "Little Pink Mack", "Bottle Baby", "I Let A Stranger Buy the Wine", "Down Down Down", "Loose Talk", and a duet with Dick Curless on "A Devil Like Me". CD features three bonus tracks too! CD

A record that definitely earns its title – as the combination of sounds here is really transcendent – the piano of Nicki Adams and tenor of Michael Eaton, both working together without any other instrumentation at all! The players complement each other in a great way – as Adams has a style on the keys that's very fluid, and filled with notes – never too busy, but almost like these waves of sound that are balanced by the more punctuated style of Eaton – who's a player who's also got a nice flow, but with maybe a different approach to the wave cycle than the pianist. Titles include nice takes on the Joe Henderson tunes "Afro Centric", "Inner Urge", and "Black Narcissus" – plus "Tres", "Intrinsic Value", "The Transcendental", and "Myshkin". CD

An obscure late 50s gem from Pepper – a stripped-down quartet session that has him blowing in a very open-ended mode – quite a difference from some of his more tightly arranged sets! The feel's a bit like Pepper's work with Donald Byrd, but even more openly swinging – played by a quintet that includes Stu Williamson on trumpet, Carl Perkins on piano, Leroy Vinnegar on bass, and Mel Lewis on drums. Tracks are all long and fresh – and the record's almost got the feel of a great Prestige blowing session from the time. Pepper's work on baritone is jaw-dropping throughout – and titles include "Unforgettable", "Baubles Bangles & Beads", "Freddie Froo", and "Muezzin". CD

A stone classic from Cannonball Adderley – and a pivotal set that has him continuing the live recording setting of some of his best 60s albums, while also stretching forward to some of the more inventive ideas of the latter part of the decade! David Axelrod produced, and the album's definitely got his ear firmly in place – a great way of bringing together the album's hip instrumentation – Cannon's alto, Nat Adderley's cornet, and the wicked electric piano of Joe Zawinul – played here in a style that would go onto have a huge influence on countless other musicians on the instrument. Rhythm is by Victor Gaskin on bass and Roy McCurdy on drums – and as with other Axelrod live albums, there's some great spoken bits left in the mix – Cannon's charming conversation with the audience, which really opens up the tunes. Titles include the 2 title hits – "Walk Tall" and "74 Miles Away" – plus "I Remember Bird", "Oh Babe", and "Do Do Do". CD

The hippest side of Cannonball Adderley at the end of the 60s – that loose, soulful vibe he was serving up on some of his coolest records for Capitol at the time – stretched out here over some very long tracks recorded live in France! The year alone marks the record as a great one – as Cannon in 1969 could do no wrong – and he's working here with his crack quintet that includes Nat Adderley on cornet, Victor Gaskin on bass, and Roy McCurdy on drums – plus the mighty Joe Zawinul on both acoustic and electric piano – really finding his groove here, with that incredible sense of chunky rhythm that really seemed to set Cannonball and Nat on fire! Titles include "Why Am I Treated So Bad", "The Scavenger", "Experience In E", "Blue No Boogie", "Walk Tall", "Come Sunday", "Work Song", and "Manha De Carnaval". CD

A rare live set by Cannonball Adderley – unreleased in America at the time, and performed with the style of Cannon's best work for Riverside! The album's very similar to some of the group's best live sets for Riverside – like the San Francisco or other Tokyo recording – done with tracks that are long and a bit stretched out, performed with Nat Adderley on cornet, Joe Zawinul on piano, Vic Gaskin on bass, and Roy McCurdy on drums. Titles include "Work Song", "Mercy Mercy Mercy", "This Here", "Jive Samba", and "Money In The Pocket". CD

Very early work from Cannonball Adderley – recorded way before the funky years, when he was a hard-wailing soulful soloist with a lot of bop in his style! Cannon's paired here with brother Nat, a good companion even at this early stage – and the two of them solo in front of a large group that features Jerome Richardson, Max Roach, Cecil Payne, and Jimmy Cleveland, all blowing away in hard heavy form, similar to that used on other Mercury/Emarcy jazz sessions from the time. Quincy Jones handled the arrangements, and Cannonball holds his own nicely – and serves up a whole new tone that's a lot more measured than in later years. Tracks include "Fallen Feathers", "Song Is You", "Willows", and "Everglade". CD

A landmark album – even if it was the only session that Cannonball Adderley ever cut for Blue Note! The album was recorded at a time when Adderley was working with Miles Davis – and as such, the session features a group that includes Miles, blowing trumpet in a cool tone that's a perfect offset to Cannonball's more soulful style on alto sax – also different than the sound of his brother Nat, who was Adderley's more frequent partner on records. The rest of the group includes Hank Jones on piano, Sam Jones on bass, and Art Blakey on drums – and like John Coltrane's Blue Train, the record's more of an "special session" than the usual Blue Note album, but the strength of the players make it one of the more memorable records of its day! Titles include "Somethin' Else", "One For Daddy-O", "Autumn Leaves", "Love For Sale", and a nice moody take on "Dancing In The Dark". Includes bonus track "Alison's Uncle". CD

A real treat for Cannonball Adderley fans in the years after his passing – vintage live material recorded in 1960, right at a time when Adderley was really finding his groove! The lineup here features a classic quintet – with brother Nat on cornet, Victor Feldman on piano, Sam Jones on bass, and Louis Hayes on drums – rolling out in a heavy soul jazz groove that's right up there with Cannon's best Riverside albums from the time! The tracks are longish, given the live setting – with energy to match his Live In San Francisco or Japan albums – and titles include "Big P", "One For Daddy O", "The Chant", "Azule Serape", and "What Is This Thing Called Love". CD

A strong showcase for young Nat Adderley's talents on cornet – and an album that's got a different feel that his work with his more famous brother's combo at the same time! The style here is simple – Nat blowing with 2 different quartets – one with Joe Zawinul on piano, Sam Jones on bass, and Louis Hayes on drums (all from Cannonball's group) – the other with the rhythm section of Wynton Kelly on piano, Paul Chambers on bass, and Philly Joe Jones on drums. Despite's Nat's reputation as a gutbuckety soul jazz player, he actually gets in some nicely lyrical licks in this set – blowing in a soulful modern style that almost recalls the work of Carmell Jones at times! Titles include "Chloe", "Images", "Scotch & Water", and "Naturally". CD

Includes the songs "Work Song", "Stay On It", "Walkin' Shoes", "Sweet And Slow", "Blueport", "Billy Boy", "Cubana Chant", "Lorraine", "Norms Norm", and "A Night In Tunisia". CD

From what we remember about the story of this film, the original score was supposedly written by Bernard Herrman, then discarded – although we're not sure if that story's actually true. Whatever the case, John Addison does a surprisingly nice job with this one – and his music for the film is one of the better things about this oft-forgettable cold war thriller. The main theme has a nice dark little melody – one that shows up in the better numbers on the album – and although the overall approach is dramatic, it's handled with a rare flourish that makes it stand alone fine away from the film. Titles include "Premonitions Of Trouble", "Michael & Sarah", "Escape On The Bus", "Pi Bus Theme Variations", "Sarah Alone", and "Love Theme From Torn Curtain", sung by the Johnny Mann Singers. CD

With a record like this, it's hard to believe that Christian Scott started out in more standard jazz – as Chief Xian Atunde Adjuah is a very different artist altogether, one who wraps together worlds and eras of musical heritage – working here in a set that's very heavy on percussion, vocal refrains, and other elements you never would have heard in his earlier music! The leader works a whole host of percussion along with other members of the group, but also adds in some larger production elements too – always in a way that's nicely subtle, and preserves the acoustic energy at the core – yet which really enriches the proceedings too! The album's overflowing with righteous power – and titles include "On To New Orleans", "Bark Out Thunder Roar Out Lighting", "Xodokan Iko Hu Na Ney", "Trouble That Mornin", "Blood Calls Blood", "Ashe Chief Donald", "Golden Crown", and "Shallow Water". CD

Features tenor from Joe Lovano, flugelhorn from Randy Brecker and Claudio Roditi, and drums from Duduka Da Fonseca CD

The return of a legend – and a tremendously groovy little record! Brazilian keyboardist/composer Antonio Adolfo's been making records for years – but easily his greatest albums were those cut at the end of the 60s with his Brazuka group – a cool combination of funky rhythms, electric keyboards, spacious production, and female vocals – all wrapped up with that glorious Blue Brazil sound of the EMI/Odeon label. Here, Adolfo recaptures that sound beautifully – returning to modes he hasn't touched in decades – and getting tremendous treatment from the Far Out label, who really help him hit that classic sound right. The record's an instantly timeless set that rivals all of Antonio's wonderful work from many years back – recorded with Adolfo on keyboards, live jazzy rhythms, a bit of strings, and twin harmony vocals from daughters Carol Saboya and Luisa Saboia – soaring out beautifully with a really groovy sound. The whole thing's wonderful – even better than you might expect – and titles include "Bola Da Vez", "Papo Furado", "Luizao", "Eu E Voce", "Tudo E Brasil", "Domingo Azul", "Tao Iguais", "SOS Amazonas", "Sonho Estelar", and "Dono Do Mundo". CD

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A fictitious soundtrack inspired by the likes of Francois de Roubaix and Phil Spector! CD

Previously unreleased material including soundtack work and live recordings. CD

Three film soundtracks from Morio Agata, including the animated film Red Elegy. CD

Includes singles and both episodes of the Futuristic Youth Exhibition! CD

Three full albums from this great Dutch pianist! Miss Dee is a heck of a set from Dutch pianist Rob Agerbeek – easily one of the most soulful European pianists of the 70s, even in an acoustic setting like this! Rob's got a bite on the keys that reminds us a lot more of American players from the 60s – not a straight soul jazz groove, but a style that definitely draws from that mode – then opens up into some more lyrical elements that are more in keeping with overseas expression in the 70s. The trio matches his energy nicely – especially on the upbeat numbers that rule the set – with bass from Harry Emmery and drums from Eric Ineke – on titles that include "Little Miss Dee", "Cup Bearers", "Birk's Works", "Caravan", and "Out Of This World". Second Opinion is a trio set from the great Rob Agerbeek – one that lets him open up on familiar tunes, but with a sense of imagination that really packs a lot into a small space! The lineup features Paul Berner on bass and Ben Schroeder on drums – and titles include "Summertime", "East Of The Sun", "Lover Man", "Besame Mucho", "Mad About The Boy", "Girl Talk", "As Time Goes By", and "Things Ain't What They Used To Be". Lock Stock & Barrell is a relatively recent set from Dutch piano Rob Agerbeek – who locks it up nicely, in a trio with Erik Albjerg on bass and Tjeerd Klapwijk on drums! Titles include "Lock Stock & Barrel", "A Child Is Born", "Round Midnight", "O Morro Nao Tem Vez", "Thora's Dance", "Cubano Chant", "Nearest & Dearest", and "Footprints". CD

An incredible compilation of classic era dub work from King Tubby's – played by producer Bunny Lee's legendary Aggrovators band and showcasing the mixing skills of Tubby, Prince Jammy, Scientist and others! This is prime era hypnotic dub of the finest caliber – originally issued on Jamaican 45s, and hard-to-find for decades! The great Blood & Fire label did the dub digging community a major solid by issuing the material on some wonderful compilations, but even those had been out of print for a couple decades before this much needed, sprawling VP/17th North Parade assemblage. Includes "A Bag Of Wire Dub", "Dub Of Rights", "A Heavy Dub", "A Living Version", "How Long Dub", "Breaking Up Dub", "Poor Barber", "Sub To The Rescue", "King Tubby's In Fine Style", "Horn For I", "Jah Love Rocker's Dub", "Stealing Version", "Fatter Dub", "Satta Dread Dub", "Tubby Get Smart", "Beat Them In Dub", "Version Of Class", "Peace And Love In The Dub", "Thunder Rock", "Channel Is A Joker", "Peace And Love In The Dub", "Step It Up In Dub", "Chapter Of Money" and more. 44 tracks on 2CDs! CD

One of their early classics, and still one of the greatest groups with roots in the Chicago AACM scene! The lineup is wonderful – drums and percussion from the late Steve McCall, bass from Fred Hopkins, and alto, tenor, and flute from the always-amazing Henry Threadgill! The group do a wonderful job reworking older themes from Jelly Roll Morton and Scott Joplin – plus Threadgill's own "Paille Street" – a really amazing mix of eras and styles on one record. CD

A seminal 70s set from the legendary Air trio – and one of their wonderful non-American dates from the early years – material recorded overseas, where this famous AACM trio was maybe getting more attention than in the US! The album was originally a Japanese-only album, and it's easily one of the group's greatest of the decade – a sublime set that really has them working strongly in their AACM roots, yet also reaching for a new sound too – a beautiful balance between jazz generations, carried off perfectly by the trio of Henry Threadgill on reeds, Fred Hopkins on bass, and Steve McCall on drums! Tracks are long, and extremely inventive – and titles include "Through A Keyhole Darkly", "Air Raid", and "Midnight Sun". CD

A warm and soulful set of fusion tracks – issued only in Japan, but recorded by a hip group from the US! Air Pocket features the Fowler Brothers – Walt, Bruce, Ed, and Steve – on trumpet, trombone, bass, and alto, respectively – plus drummer Chester Thompson, guitarist Mike Miller, and pianist Stu Goldberg, who really plays some great moog, clavinet, and electric keys on the set! Tunes are well-written – a bit choppy, but never too jamming, and really just done in this nice blocky way that creates a slightly funky approach, and a good degree of soul. Titles include "Elephant's Graveyard", "Hi Lo Redic", "Colors For Marvin", "Night's Move", and "Becky". CD

A stunning celebration of one of the greatest pairings in Brazilian music – and in American music as well, given that both Airto Moreira and Flora Purim recorded plenty of these cuts up in our neck of the woods! Airto's percussion is the stuff of legend – a key force in Brazilian recordings in the late 60s, and then equally important in American jazz – in famous recordings with Miles Davis and other artists, and plenty of great records on his own! Flora's vocals are equally crucial – a soaring, fluid approach that forever changed the way that female singers approached jazz – bred in 60s bossa, but instantly something new by the time the 70s came along – especially when Airto was supporting her with great grooves! This huge package brings together material that both artists recorded – often under the name of one or the other, but often with the other artist present on the recording – with a heavy batch of work from the 70s and 80s, but also crucial cuts from other years too! 3CD set features 37 tracks and a really great package – with titles that include "Love Lock", "The Happy People", "Hungry On Arriva", "The Road Is Hard", "Samba De Flora", "O Canto Da Sereia", "Jeito Bom De Sofrer", "Papo Furado", "Xibaba", "Back Streets Of Havana", "Vera Cruz", "Flora's Song", "When Angels Crie", "Celebration Suite", "Casa Forte", "Black Narcissus", "A Secret From The Sea", "O Cantador/I Just Want To Be Here", "Jump", and "Hot Sand". CD

CTI Records meets that Brazilian fusion sound of the 70s – served up here on two classic albums! Fingers is one of Airto's greatest records ever – a really hard hitting batch of tracks that mix sharp-edged fusion lines with some earthier Brazilian percussion touches – all in a way that nicely steps off of Airto's first few American releases, and warms the groove up with a nice dose of California soul! Flora Purim joins in here on both vocals and percussion – and the rest of the group features Hugo Fattoruso on keyboards and harmonica, Jorgte Fattoruso on drums, and David Amaro on both electric and acoustic guitars – shifting nicely between both instruments in a way that further underscores the blended vibe of the record! Most of these tracks are Airto classics – like "Tombo in 7/4", "San Francisco River", "Romance Of Death", "Ringers", and "Wind Chant" – and the record has a very sweet CTI production style, but is still rough enough around the edges to keep things nice and real! Deodato In Concert is an excellent little live set from Deodato – hard to believe because the sound's just as tight and funky as his studio albums, and possibly even more interesting because he manages to pull it off equally well in a live setting! The record features percussion by Airto, guitar by John Tropea, and vocals by Flora Purim – and those are just the marquee names of a large and amazing grew of great musicians! All tracks are long and complicated, for very hynotic feel throughout. The funkiest number is "Tropea", which has a nice long 8 minute groove – and the set also features a cover of Steely Dan's "Do It Again", plus the tracks "Parana", "Branches", "Baubles, Bangles And Beads" and "Skyscraper". Amazing! CD

A real mindblower from the Japanese scene of the 70s – a perfect illustration of why that world of records was so incredible during the decade! The music here is spiritual, but also somewhat free – served up by musicians who'd clearly been inspired by John Coltrane and the Impulse Records generation, but who've clearly moved to their own plane of existence as a unit – really feeling each others' impulses automatically, and creating this cohesive vision of music that's simply fantastic from start to finish! All tracks are long, and often quite spiritual too – especially when the tenor and soprano sax of Kyoichiroh Morimura soar out in the lead – driven on by the fantastic piano of leader Tohru Aizawa, and the bass of Kohzoh Watanabe and drums of Tetsuya Morimura. None of the players achieved the same fame as some of their bigger contemporaries, but really sound wonderful here – on titles that include "Dead Letter", "Sacrament", "Philosopher's Stone", and a great version of the Chick Corea tune "La Fiesta". CD

The music here is as evocative as the title – almost a mix of contemporary Blue Note modes with older ECM styles – all served up as a perfect showcase for the ever-growing talents of trumpeter Ambrose Akinmusire! We've really dug the last two records from Ambrose, and this one seems to push his voice even father than before – sometimes in smaller acoustic settings, sometimes with a bit of vocals, and sometimes a bit of strings – performed by a shifting lineup that includes guests Becca Stevens, Theo Bleckmann, and Cold Specks on vocals – plus a core group that includes Walter Smith on tenor and Sam Harris on piano. Titles include "Marie Christie", "Memo", "Ceasless Inexhaustible Child", "Rollcall For Those Absent", "Vartha", and "Our Basement". CD

A fantastic album from trumpeter Ambrose Akinmusire – a set that really kicks his career up to the next level, and which is easily the most powerful record he's ever given us! The music finds Ambrose in many moods, all of them righteous – sometimes blowing hard and fierce in a small combo, sometimes issuing out more personal statements in a more stripped-down setting – working with players that include Harish Raghavan on bass, Justin Brown on drums, and Sam Harris on piano – plus vocalist Genevieve Artadi on one especially beautiful number that features Akinmusire on Fender Rhodes! We've loved the music of Ambrose for many years – and this is one of those faith-rewarding sets that always makes it so wonderful to follow the career of any key jazz musician – as we hope you'll also find on titles that include "Roy", "4623", "Moon", "Tide Of Hyacinth", "Cynical Sideliners", and "Mr Roscoe". CD

A gently beautiful record from trumpeter Ambrose Akinmusire – one driven by a desire to create open space, which Ambrose does wonderfully in the company of Bill Frisell on guitar and Herlin Riley on drums! All players have a great sense of timing and work with a "less is more" sort of approach – a quality you'll certainly know from some of Frisell's music, but which is delivered here with a warm balance that's also nicely different than those recordings too! In the wrong hands, the set could have the coldness of an ECM recording, but instead there's a much more sensitive approach going on here – but also one that's never sleepy or too laidback. Titles include "Mr Frisell", "Owl Song 2", "Weighted Corners", "Grace", "Mr Riley", "Henya", and "Flux Fuelings". CD

Early genius from Toshiko Akioshi – a set of live recordings with the early quartet formed with her (then) husband and reedman Charlie Mariano! Mariano's a real treat to our ears in just about any setting – but we're especially fond of his alto work during these under-recorded years – a time when Charlie was really stretching out past the sound of his more familiar 50s sides, yet still with that amazing sense of tone, space, and timing he had at the start! The recordings are relatively laidback – a nice change from the tightness that both Toshiko and Charlie might show in the studio – with a roughness at points that only seems to deepen the soul of their playing. Titles include "Elegy", "Deep River", "Song Of The Farm", "Blues For Father", and "When You Meet Her". CD

An early Verve album by Japanese pianist Toshiko Akioshi – recorded during her 50s years in the US, with a heavy boppish sound that's quite different than her later work! At the time, Toshiko was a strong disciple of Bud Powell – and there's a lot of Powell's fluid frenetic playing in her work – recorded on the first eight tracks with a quartet that includes Herb Ellis on guitar, in sessions from 1953, and recorded on the last four tracks live at the Newport Jazz Festival in 1957 with her trio that includes Gene Cherico on bass and a young Jake Hanna on drums. Twelve tracks in all, with titles that include "Shadrack", "Gone With The Wind", "Toshiko's Blues", "Squatty Roo", "Laura", "Between Me & Myself", "Lover", and "Blues For Toshiko". CD

Don't let the title fool you, because although the cover of the record says "Many Sides Of Toshiko", the album only features one – her great approach to bop-inflected trio material – recorded here in a classic Verve session with a distinct Bud Powell influence! Not that we're complaining, though – because Toshiko's at her youthful best here, working with Eugene Cherico on bass and John Hanna on drums – in a set that's even got a few original numbers! The best of these is the 3-part suite "Tosh's Fantasy" – a trio adaptation of one of Akioshi's larger jazz orchestra works. Other titles include "Imagination", "Minor Mood", "Studio J", and "Bags Groove". CD

Features Toshiko Akiyoshi on piano – with either Ray Drummond or George Mraz on bass, and Lewis Nash or Al Harewood on drums! CD

One of the few recorded meetings of alto saxophonist Charlie Mariano and pianist Toshiko Akioshi in the studio – quite strange given that they were a couple at the time! The session's easily one of the last great American sessions by either player – a work that shows Mariano's alto really building on the strengths of his work in the 50s, and Akioshi's piano shedding some of its early bop influences, and going for the richly-toned sound that would serve her greatly in the 70s. The long tracks here offer plenty of space for Charlie's sharp tone to really do its thing – and that raspy warmth of the 50s is even more deeply soulful at this point – and augmented by a new sense of composition that gives the record some of its best tracks. There's almost a nascent sense of spiritualism here – quite unusual for the time – and titles include "When You Meet Her", "Toshiko's Elegy", "Deep River", and "Little T". CD

One of our favorite mixing of modes from the old school – a tremendous second album from the legendary Aksak Maboul! The record mixes arty playfulness with some rootsier elements – bits of Eastern instrumentation, jazz, improvisation, and even some post-punk elements – all in a way that makes for one of the most creative recordings of its time – a set that easily provides key inspiration for more recent genre-crossing acts like this! There's a bit of Y or Ze Records whimsy at times – but the end result is much deeper, and much more compelling– as you'd expect from a group that features Fred Frith on guitar, Chris Cutler on drums, Marc Hollander and Michel Berkmans on reeds, and Denis Van Hecke on a range of cool cellos! Each tune has a slightly different flavor, but there's still a really unified feel to the record too – one of those European projects that comes together like nothing you'd hear from the US. Titles include "Geistige Nacht", "A Modern Lesson", "Palmiers En Pots", "Inoculating Rabies", "Cinema", and "Bosses De Crosses". CD

The music of Lebanon never got much global exposure during the 70s – but it's clear that Ferkat Al Ard was bringing plenty of the globe's influences to play on this amazing record – mixing together bits of electric funk, Brazilian jazz, and soulful strings at a level that completely transcends the boundaries of language! The set's a bit like the classic self-titled set by Arthur Verocai from the 70s – music that's completely in a space that's all its own, and which has legendary properties, but also opens up to the listener with charms of its own that require no history or introduction at all – a set that's both personal and majestic at the same time, and which has charms that are impossible to put in words, but which grab you the moment you first give the set a listen. Titles include "Matar Naem", "Juma'A 6 Hziran", "Oghneya", "Matar Al Sabah", "Entazerni", and "Lahnon Lemra'Ati Wa Beladi". CD

A great large group project from arranger Manny Albam – one that teams him up with "jazz greats" of the east coast scene. Manny's working here with a set of players who are well-chosen for their ability to work strongly in an ensemble, yet also break out with strong solo work when the moment comes – and the lineup includes Gerry Mulligan, Al Cohn, Zoot Sims, Phil Woods, Bob Brookmeyer, and Art Farmer – with rhythm by the trio of Hank Jones, Milt Hinton, and Osie Johnson. CD

The tenor of Melissa Aldana fits right in here with the contemporary sound of Blue Note – especially given that labelmate Lage Lund is on guitar, and has a way of folding together all the tones from his strings very nicely next to the sharper edges of Aldana's tenor! The set begins with a dedication to Wayne Shorter – and that number maybe really sets the spirit of the album – as Melissa has a way of phrasing that's equally distinct, and very much her own – soulful and modern at the same time, set up in a quintet that also includes Fabian Almazan on piano, Pablo Menares on bass, and Kush Abadey on drums. Titles include "Echoes Of The Inner Prophet", "A Purpose", "I Know You Know", "The Solitary Seeker", "Unconscious Whispers", and "A Story". CD

The sound of industry, circa 1969 Italy – which means that everything sounds a heck of a lot groovier than you might expect! Soundtrack genius Alessandro Alessandroni handled the album – and it's completely fantastic right from the very first note – nothing like an industrial album, nor even some of the peppier "industry themed" sound library sets of the European postwar theme – and instead, the music is full of jazzy elements and cool wordless vocals – especially those scatting styles you'd know from Alessandroni's work with I Cantori Modern! Tremendous throughout – and quite possibly one of the grooviest albums the composer has ever given us. Titles include "Moto Blues", "Dialogando", "Circolazione", "Basso Regime", "Vie Motrici", "Escursione", and "Numero Uno". CD

Amazing work from singer Dee Alexander – a wonderfully soulful album of jazz vocals, and one that we'd rank right up there with our favorite records by Carmen Lundy or Dee Dee Bridgewater! Dee's a singer who's worked in Chicago for years, but we've honestly only begun to appreciate her talents of late – possibly because she's really hipped up her sound a lot over the years, picking up a range of spiritual, soulful influences that push her music to a whole new level – as you might have heard on her recent collaboration with IG Culture. The music on the set is wonderful too – work by Chicago players we know, but have never heard this strongly before – grooving in modal and soulful modes behind Dee's great vocals, with a lineup that includes Miguel De La Cerna and Michael Logan on piano, Harrison Bankhead on bass, and Leon Joyce on drums and percussion. Titles include versions of two tunes by AACM member Henry Huff – "Live" and "You & I" – plus the Alexander originals "Long Road Ahead", "Rossingnol", "Butterfly", and "C U On The Other Side". CD

Titles include "Rainbow Road", "You Got Me Knockin", "Go Home Girl", "Down The Backroads", "Burning Love", "Call Me Honey", and more – 15 tracks total. CD

Another chapter of greatness from one of the greatest living tenorists in jazz – the mighty Eric Alexander, recording here in quartet formation with longtime partner Harold Mabern on piano! The album's got a fluid groove that's right up there with Alexander's best recent work for other Milestone – a timeless approach to soul jazz that's crafted with an ease and grace that few other players can match. Mabern's accompaniment is right on the money, and rhythm from the team of drummer Joe Farnsworth and bassist John Webber is never too cluttered, nor too laidback. As usual, Alexander's got a hell of an ear for a tune – and has come up with some great gems for the set, including Herbie Hancock's "Sonorisa", Mabern's classic "A Few Miles From Memphis", and Pat Martino's "Dead Center". Other tracks include "One For Steve", "It's Magic", and "Search For Peace". CD

A hokey kind of cover, but a great little album – another easy winner from the team of Eric Alexander and Harold Mabern, easily one of the greatest pairs working together in jazz for the past decade or so! Alexander's got a tremendous tone on the tenor – finely-honed with the maturity of a later Dexter Gordon, but also open to fluid, free moments too – with a sense of joy and exploration that recall our favorite moments on mid 60s Blue Note or Prestige. Mabern is great too – warm on the keys, but never sloppy – a player more filled with soul these days than ever, and always a great accompanist to Alexander's shifting range of modes in a set like this. Drums are by Joe Farnsworth, another trustworthy regular partner to the pair – and Nat Reeves completes the quartet on bass. Titles include 3 excellent Alexander originals (always his best work on record) – "Typhoon 11", "Little Lucas", and "Open & Shut" – plus versions of "Where Is The Love", "Where Or When", "Ruby My Dear", and "It's All In The Game". CD

The great Eric Alexander in a trio mode – soaring out with a lot more space and soul than some of his albums with a pianist – and that's saying a lot, given the wonderfully soulful sound of that work too! The style is a mode that Alexander has explored a bit over the years, but which really comes out with great force here – and opens up a sharper, more biting tone than you might be used to hearing from the saxophonist over his 25+ years of recording! It's almost as if Eric's awoken with a whole new sense of spirit – and we mean that quite literally, as the album has Alexander arising as a very powerful saxophonist in a spiritual tradition – with a sound that's still very individual, but which has links to a legacy that includes Pharoah Sanders and Charles Lloyd – something we never would have said about Eric just a few years ago. The other trio members are key to the sound, too – Doug Weiss on bass and Jonathan Blake on drums – and titles include "Corazon Perdido", "Luquitas", "Mars", "Magyar", "Big Richard", "Second Impression", and "Frenzy". CD

A definite new beginning for reedman Eric Alexander – a set that has him turning to alto sax, instead of his very familiar tenor – and also working with some larger string backings on most of the set – something we're not sure Alexander has ever done before! The vibe is great, and Eric brings a depth to the alto that really reflects his decades on the tenor – a style that's very different than a Charlie Parker or Sonny Stitt "with strings" section from years back – in part because the arrangements by Bill Dobbins have a very fresh feel too. There's a familiar combo at the core – David Hazeltine on piano, John Webber on bass, and Joe Farnsworth on drums – and titles include "All My Tomorrows", "Too Late Now", "Blues For Diane", "Maybe September", "Anita", and "To Love & Be Loved". CD

Always-great work from Eric Alexander – one of our favorite tenor players of the modern age, and a talent who gets better and better with each album! This one features Eric working with pianist Harold Mabern – in a wonderful union that's been forged over the course of a number of records, and which seems to be one of the greatest things that's happened to either player. Mabern lays out loads of wonderful modal lines in the set – keeping a rhythmic pulse that stretches out Alexander's solos in sweeping brilliance on the upbeat tracks, holding them back with gentle soul on the mellower ones. The rest of the group is completed by Ron Carter on bass and Joe Farnsworth on drums – and titles include "Nemesis", "I Can Dream, Can't I?", "Nightlife In Tokyo", "Cold Smoke", "Island", and "Big RC". CD

Alexander's second outing for the Milestone label (hence the title), and a wonderful album of soulful tenor tracks that has him working in a quintet with Harold Mabern on piano and Jim Rotondi on trumpet. Mabern and Alexander have, by this time, forged quite a sympathetic relationship – and, dare we say it, their pairing here reminds us a lot of the warmly soulful styles forged by Mabern and Frank Strozier in years past. The set's sparkling with original tunes that include "The Man From Hyde Park", "Luna Naranja", and "The Second Milestone" – plus Mabern's classic "John Neely Beautiful People", and great versions of "Estate" and "Matchmaker Matchmaker". CD

This tenor giant gets better and better with each new album! Eric Alexander is one of our favorite new jazz artists of the past decade – still a relatively young player, but with a sound that's incredible, steeped in years of tradition, yet freely creative in his own unique way. His tenor solos on this set stand up to some of our favorite older work by players like Clifford Jordan or Sonny Rollins, and if anything, the backing may be some of the best he's ever received on record. Alexander's playing here with longtime friend and musical partner Harold Mabern – who's as sympathetic to Alexander's sound as he once was to that of Frank Strozier – and the other players in the group include trumpeter Nicholas Payton, John Webber, and Joe Farnsworth. Titles include "Andre's Turn", "After The Rain", "This Girl's In Love With You", "A House Is Not A Home", and "Summit Meeting". CD

A cheesy cover, but a rock-solid set of work from the mighty Eric Alexander – who seems to be stretching out even more here than before! Alexander's always been a hell of a straight ahead talent on the tenor, but here he's almost hitting a few more modern modes at times – not "out" in his soloing, but a bit more free thinking in the overall construction and execution of the tunes – willing to change things up a bit in the rhythms, and give the record even more freshness than we might have expected. Alexander's easily one of the greatest living talents in jazz recording today – and we're already huge fans of his work – but he's won us over even more with this set, and a few of the chances he takes on some of the tunes. The group's a well-matched batch of regulars – including Jim Rotondi on trumpet, David Hazeltine on piano, Nat Reeves on bass, and Joe Farnsworth on drums – and titles include "The Temple Of Olympic Zeus", "Someday We'll All Be Free", "Lucas Too", "Blues For David", "I'm Gonna Laugh You Right Out Of My Life", "I'll Keep Loving You", and "Dave's System". CD

Clear, clean, and tremendous tenor work from a young Eric Alexander – working here in one of his early partnerships with pianist Harold Mabern – in a way that really helps to re-direct Mabern's energy, and take him back to the glory days of his recordings in the 60s! Alexander's tenor has a classic sound here that's wonderful – focused and very sure of itself, and able to roll out on longer numbers with a great sense of imagination that avoids any too-easy notes or hackneyed choices. Mabern follows suit strongly – sounding better than on any of his trio records from the same period, and matching Alexander's youthful energy with some soaring lines of his own – often in a modal mode that seems to bring out the best in both players. Drums are by the rock-solid Joe Farnsworth, and bass is by John Ore – on tracks that include "Up Over & Out", "Eronel", "Flying Fish", "Blues For Mabe", "I Remember Clifford", and "Bewitched". CD