A record that could have been the biggest breakthrough in the career of the legendary Joyce – yet the set was never issued at the time! The late 70s session has Joyce recording in New York, under the guidance of studio maestro Claus Ogerman – who has a wonderful way of elevating the overall quality of the proceedings, while never getting in the way of that special magic that made Joyce so wonderful – especially on her albums for EMI! As with those records, Joyce plays acoustic guitar alongside her amazing vocal approach – a style that's unlike anything else we can describe – informed by jazz and Brazilian music, yet soaring and gliding in a completely sublime style – awash in color and light as it flies to the sky. Mauricio Maestro helped out heavily on the record too – and the other players include Mike Manieri on vibes, Michael Brecker on tenor, Joe Farrell on flute, and Nana Vasconcelos on percussion – on titles that include a fantastic early reading of "Feminina" – plus "Miserios", "Descompassadamente", "Pega Leve", "Ciclo Da Vida", "Coracao Sonhador", and "Moreno". LP, Vinyl record album

Maybe one of the most soul-based records ever from percussionist Ralph MacDonald – partly because Ralph does a bit of singing, in addition to playing the heavy congas on the cover! Yet the record's still got the core jazz vibe of his other sets from the late 70s – served up with an all-star lineup that includes Grover Washington Jr on soprano and tenor, David Sanborn on alto, Randy Brecker on trumpet, Michael Brecker on tenor, Richard Tee on keyboards, and Eric Gale on guitar – all musicians who help give the whole thing the warm funky fusion vibe of late 70s albums on labels like Kudo or Tappan Zee! Some of the best cuts slide into a snapping 80s groove that opens up nicely with the instrumentation – and Ralph only sings a bit, leaving plenty of room for solos from the players. Titles include the great Latin-inflected groover "East Dry River" – plus "You Are In Love", "I Need Someone", "Tell The Truth", and "Always Something Missing". LP, Vinyl record album

One of the most striking Pat Metheny albums of the period – as the set features the guitarist working with an all-star group that actually features 2 horn players! The group's a quintet, with Dewey Redman and Michael Brecker on tenor sax – blowing in open and spacious modes that complement the sound of Metheny's guitar nicely and really give the set a different feel. The rest of the group features Charlie Haden on bass and Jack De Johnette on drums – and the double space of the set is well used on a set of tracks that includes "Two Folk Songs", "The Bat", "Turnaround", "Open", "Pretty Scattered", and "Goin Ahead". LP, Vinyl record album

Steve Million on piano, Randy Brecker on trumpet, Chris Potter on tenor and soprano sax, Michael Moore on bass, and Ron Vincent on drums. CD

A set of incredible records from Charles Mingus – all presented together in one mighty nice package! First up is Mingus Moves – a fantastic fresh new chapter in the career of Charles Mingus – a set that features the addition of two key players who would really shape his sound in the 70s – Don Pullen on piano and George Adams on tenor, both completely wonderful here! The group also features excellent trumpet from Roland Hampton, a player we don't know from many other settings – and the set also features some really nice vocal work from Honi Gordon and Doug Hammond. Titles include "Canon", "Moves", "Wee", "Flowers For A Lady", "Opus 3", and "Newcomer". CD also features bonus tracks – "Big Alice" and "The Call". Changes is key 70s work from Charles Mingus – an album that was recorded over the course of three days of creative activity at the end of 1974, but somehow split into two different albums under the Changes name! The lineup here is prime 70s Mingus – George Adams on tenor, Jack Walrath on trumpet, and Don Pullen on piano – young players who really give a fresh voice to Mingus' musical ideas, and help him find this beautiful late life sense of color, tone, and timing that's completely sublime! Titles on this second volume include "Sue's Changes", "Devil Blues", "Remember Rockefeller At Attica", "Free Cell Block F Tis Nazi USA", "Black Bats & Poles", "For Harry Carney", and "Duke Ellington's Sound Of Love" – which features a guest appearance by Marcus Belgrave on trumpet and Jackie Paris on vocals. On 3 Or 4 Shades Of Blues, Charles Mingus is returning to the soulful gospel-influenced mode he swung big in the early 60s! The record's something of a later predecessor of the classics Blues & Roots for Atlantic and Mingus (x5) for Impulse – and the style is slightly less dramatic, but still quite steeped in soulful explorations that feature plenty of notes from the bluer side of the spectrum! Players include George Coleman and Ricky Ford on tenor, Jack Walrath on trumpet, and Larry Coryell on guitar – and titles include new takes on "Better Git Hit In Your Soul" and "Goodbye Porkpie Hat" – plus"Nobody Knows", "Noddin Ya Head Blues", and "Three Or Four Shades Of Blues". Next is Cumbia & Jazz Fusion – one of the most enigmatic albums that Charles Mingus ever recorded – especially in his later years! The set features two very long tracks done by Mingus for use in a film about cocaine traffic between New York and Columbia – but considering the nature of the music, and the freely exploratory style, both numbers here stand very well on their own! Although touched with some of the Latin influences you might expect from the title, the sounds are often darker and more brooding than, say, the Mingus style on the classic Tijuana Moods set. And instead, there's a very serious soundtrack-like vibe going on through most of the set – larger jazz orchestrations used to beautifully underscore subtle themes, and breakout solo moments from players who include Mauricio Smith on flute, Paul Jeffrey on tenor sax, Jack Walrath on trumpet, and Jimmy Knepper on trombone. The album also features a fair bit of added percussion – and features two long tracks, "Cumbia & Jazz Fusion" and "Music For Todo Modo". Me Myself An Eye is complicated later work from Charles Mingus – a great illustration of the way his power to command a large ensemble never wavered as the years went on! The album features two different large groups of players – filled with modernists young and old – including Ricky Ford, George Coleman, and Michael Brecker on tenors; Ronni Cuber and Pepper Adams on baritone; Randy Brecker and Jack Walrath on trumpets; Lee Konitz on alto, Larry Coryell on guitar, Slide Hampton on trombone, and Eddie Gomez on bass. Side one features the 30 minute track "Three Worlds Of Drums", and side two contains a remake of "Wednesday Night Prayer Meeting", plus "Devil Woman" and "Carolyn Keki Mingus". Something Like A Bird is one of the last albums Charles Mingus ever gave us – before departing this planet way way too soon! The set shows the increasing sophistication of Mingus' music in these later years – a mode that almost echoes the path that Duke Ellington would take in his final decade – a move towards some larger-form material that still holds onto all the raw energy of the early days, but finds a way to not only bridge larger musical ideas – but musical generations as well! As part of this, the set's got a wonderful lineup – with Lee Konitz on alto, Pepper Adams on baritone sax, George Coleman on tenor, Eddie Gomez on bass, and Joe Chambers on drums – and titles include the long title track, "Something Like A Bird", split up over 2 sides of the LP, plus "Farewell Farwell". CD

A set that's especially sexy, and especially jazzy too – as Jun Miyake works here with a whole host of American fusion players – a really great lineup who make the record soar! Jun's definitely in the more fusion-oriented side of his music here – blowing trumpet and flugelhorn, and handling keyboards too – with a shifting array of great sidemen who include Michael Brecker on tenor, David Sanborn on alto, Victor Bailey on bass, and Poogie Bell on drums – plus some especially nice work from guitarist Bobby Broom, who's very much in the mode of his best Arista records, and even sings a bit on one cut too! Titles include "JFK Express", "Becoming To You", "Wish", "June Night Love", "Twist To Open", "Crossing", and "Sea Born Mind". CD

Moody brilliance from pianist Mike Nock – a solid quartet date that features plenty of edgey tenor from Michael Brecker, who's in really great form throughout! The rhythm section has a nicely snakey vibe too – with George Mraz on bass and Al Foster on drums – and both players can come on strong when Mike needs them to, then lay back into some warmer, lyrical modes that really show Nock's melodic development at this point in his career. The piano is acoustic throughout – and titles include "Break Time", "Dark Light", "Shadows Of Forgotten Love", "Hadrian's Wall", and "The Gift". CD

Band includes Randy and Michael Brecker, Joe Farrell, Joe Beck, and Richard Davis. LP, Vinyl record album

Features Michael Brecker on tenor, Bob Mintzer on tenor and soprano, Peter Erskine on drums, and Don Alias on congas! CD

With Michael Brecker and Chris Potter on tenor sax, John Scofield on guitar, and Bill Stewart on drums. CD

Featured soloists include Michael Brecker, James Carter, and Joe Lovano. CD

Bernard Purdie takes a trip down 40 years of soul jazz history – starting with late 50s jazz experiments by Art Blakey, Cannonball Adderley, and others – and working his way up through 60s soul and 70s funk! The set's got a slightly polished feel, but still plenty of nice moments – with soloists that include Michael and Randy Brecker, Eddie Harris, and Nils Landgren, plus larger arrangements by the WDR Big Band, conducted by Gil Goldstein. Titles include "Moanin", "Superstition", "Iko Iko", "Senor Blues", "Sidewinder", "Freedom Jazz Dance", "Work Song", "Land Of 1000 Dances", and "Brother Where Are You". CD

A buttery smooth set of Japanese fusion from the 70s – featuring all-star American players like Eric Gale, Steve Gadd, Ralph MacDonald, Cornell Dupree, Michael Brecker, and keyboardist Will Boulware. The strength of the set lies on the interplay between Boulware's work on Fender Rhodes and Arp, and Michael Brecker's tightly crafted tenor lines that nicely dot the album's lively soulful tunes – and the whole thing sparkles with the same mix of R&B and jazz that you'd expect from late 70s work by The Crusaders. Titles include "Hossan", "So True", "It Ain't No Use", "I Like It", and a smooth soulful cover of "Feel Like Makin Love". CD

Alex Riel on drums – with Jerry Bergonzi and Michael Brecker on saxophone, Mike Stern on guitar, Kenny Werner on piano, and Chris Minh Doky on bass. CD

A surprisingly great later album from Horace – with Steve Turre on trombone, Ronnie Cuber on baritone, Claudio Roditi on trumpet, and Michael Brecker on tenor. CD

Marc Copland on piano, Gary Peacock on bass, and Bill Stewart on drums – plus Joe Lovano and Michael Brecker on tenor saxophone and Tim Hagans on trumpet. CD

Highlights from a three week stand at the Blue Note in New York City – including collaborations with Bobby McFerrin, Gary Burton, Gonzalo Rubalcaba, Roy Haynes and Miroslav Vitous, Michael Brecker, and Corea's own Akoustic Band. CD

A great straight set from Chick Corea – one that has him playing acoustic piano throughout, and reclaiming some of the bolder jazz territory he first forged in the 60s! The tracks are long and soaring – very soulful in their construction, and played in a dynamic way that's surprisingly without cliche – no easy "hit" jazz moves, and instead a real return to basics for a quartet that includes Chick on piano, Michael Brecker on tenor, Steve Gadd on drums, and Eddie Gomez on bass. Gomez, as usual, really makes the record sound great – giving it a round, warm heart that glows throughout – and titles include "Quartet No 1", "Quartet No 2", and "Quartet No 3". LP, Vinyl record album

A really lovely album from pianist Masaru Imada – a set that has some elements of the great Japanese fusion scene of the time, but a record that also has some warmer more acoustic moments too! Imada does a great job of balancing between upbeat groovers and some more personal, lyrical songs – and although he plays a bit of keyboards, most of his work is on acoustic piano – in a lineup of players that also includes Grovewr Washington Jr on soprano sax, Steve Khan or Kazumi Watanabe on guitar, Michael Brecker on tenor, and Steve Jordan on drums. There's some great interplay between the American and Japanese players – and titles include a version of Azymuth's "Carnival", plus "Morning Dream", "Blue Marine", "Secret Sounds", "Jumpin Dolphin", and "Andalusian Breeze". CD

An excellent solo set as a leader from drummer Mel Lewis – one that reminds us that he can still cook very strongly away from his big band with trumpeter Thad Jones! The set has Lewis in different groupings with an excellent set of the friends mentioned in the title – a top-shelf lineup that includes Freddie Hubbard on trumpet, Michael Brecker on tenor, Gregory Herbert on alto, Hank Jones on piano, and Ron Carter on bass – working their way through a mix of different material that really takes on some great new energy in Lewis' hands – that mix of swing and complexity he forged in the group with Jones, but maybe even more compelling here in a smaller combo format. Titles include "Windflower", "De Samba", "Ain't Nothin Nu", "A Child Is Born", and "Sho Nuff Did". LP, Vinyl record album

Heavy-jamming fusion from Billy Cobham – done at a time when he was already cutting plenty of heavy-jamming fusion! The album was recorded live in Switzerland and London – all very much in a post Bitches Brew approach to jazz that has all players going pedal to the metal in pursuit of their ends – thankfully working together well here, and really propelled into the cosmos by Billy's mighty work on the drums! Players include John Abercrombie, Michael Brecker, Randy Brecker, and Milcho Leviv – and the tracks are all long, with titles that include "Red Baron (Revisited)", "Tenth Pinn", "Shabazz", and "Tauranian Matador (revisited)". CD

Features Michael and Randy Brecker plus Terri Lyne Carrington on drums. CD

Eliane Elias really shows off her vocal skills here – singing the music of Antonio Carlos Jobim at a level that really recalls some of the best breathy singers of the 60s – a mode that was especially rare at the time this set was recorded! Eliane definitely references Astrud Gilberto a lot in her approach, but also finds here own level too – a sound that's also shaped by her own work on the record on piano, in a group that also features Oscar Castro Neves on guitar and Michael Brecker on tenor sax. Titles include "Por Toda A Minha Vida", "Samba Do Aviao", "Ela E Carioca", "Anos Dourados", "Caminhos Cruzados", and "Modinha". CD

A record that some saw as a bit of a jolt in the career of Herbie Hancock when it was released – but a set that's actually gone on to become one of the classics in his catalog, thanks to the mix of material and the players on the date! The "new standard" in the title is a reference to many of the songs in the collection – taken from more (then) recent rock and pop, but then turned into jazz instrumental tapestries with Herbie on acoustic piano, Michael Brecker on tenor and soprano, John Scofield on guitars, Dave Holland on bass, and Jack DeJohnette on drums. Titles include versions of "You've Got It Bad Girl", "Thieves In The Temple", "Your Gold Teeth II", "All Apologies", "Love Is Stronger Than Pride", "Mercy Street", and "Scarborough Fair".. CD

Starring Diana Ross, Michael Jackson, Nipsey Russell, Ted Ross, Lena Horne and Richard Pryor. Soundtrack features work by Toots Thielemans, Jerome Richardson, Eric Gale, and Michael Brecker, with compostions by Ashford & Simpson and Luther Vandross. LP, Vinyl record album

The last in a classic trilogy of late 70s fusion albums that Steve Khan cut for Columbia records – and a set that really has him bringing his sound together in a wonderful way! Khan was working with Steely Dan on the Gaucho album at the time of the recordings – testified by Donald Fagan's notes to the record – and he really seems to have picked up their large overall musical vision, that way of making things perfect, but never in a slick style – working here with other fusion giants who include Don Grolnick on Fender Rhodes, Michael Brecker on tenor and soprano sax, and Randy Brecker on trumpet – plus lots of great drums from Steve Gadd. Titles include the extended "City Suite", plus "Candles", "Daily Village", "Calling", and "Some Arrows". LP, Vinyl record album

Steve Million on piano – with Randy Brecker on trumpet and flugelhorn, Chris Potter on tenor and soprano sax, Michael Moore on bass, and Ron Vincent on drums. CD

A set of incredible records from Charles Mingus – all presented together in one mighty nice package! First up is Mingus Moves – a fantastic fresh new chapter in the career of Charles Mingus – a set that features the addition of two key players who would really shape his sound in the 70s – Don Pullen on piano and George Adams on tenor, both completely wonderful here! The group also features excellent trumpet from Roland Hampton, a player we don't know from many other settings – and the set also features some really nice vocal work from Honi Gordon and Doug Hammond. Titles include "Canon", "Moves", "Wee", "Flowers For A Lady", "Opus 3", and "Newcomer". CD also features bonus tracks – "Big Alice" and "The Call". Changes is key 70s work from Charles Mingus – an album that was recorded over the course of three days of creative activity at the end of 1974, but somehow split into two different albums under the Changes name! The lineup here is prime 70s Mingus – George Adams on tenor, Jack Walrath on trumpet, and Don Pullen on piano – young players who really give a fresh voice to Mingus' musical ideas, and help him find this beautiful late life sense of color, tone, and timing that's completely sublime! Titles on this second volume include "Sue's Changes", "Devil Blues", "Remember Rockefeller At Attica", "Free Cell Block F Tis Nazi USA", "Black Bats & Poles", "For Harry Carney", and "Duke Ellington's Sound Of Love" – which features a guest appearance by Marcus Belgrave on trumpet and Jackie Paris on vocals. On 3 Or 4 Shades Of Blues, Charles Mingus is returning to the soulful gospel-influenced mode he swung big in the early 60s! The record's something of a later predecessor of the classics Blues & Roots for Atlantic and Mingus (x5) for Impulse – and the style is slightly less dramatic, but still quite steeped in soulful explorations that feature plenty of notes from the bluer side of the spectrum! Players include George Coleman and Ricky Ford on tenor, Jack Walrath on trumpet, and Larry Coryell on guitar – and titles include new takes on "Better Git Hit In Your Soul" and "Goodbye Porkpie Hat" – plus"Nobody Knows", "Noddin Ya Head Blues", and "Three Or Four Shades Of Blues". Next is Cumbia & Jazz Fusion – one of the most enigmatic albums that Charles Mingus ever recorded – especially in his later years! The set features two very long tracks done by Mingus for use in a film about cocaine traffic between New York and Columbia – but considering the nature of the music, and the freely exploratory style, both numbers here stand very well on their own! Although touched with some of the Latin influences you might expect from the title, the sounds are often darker and more brooding than, say, the Mingus style on the classic Tijuana Moods set. And instead, there's a very serious soundtrack-like vibe going on through most of the set – larger jazz orchestrations used to beautifully underscore subtle themes, and breakout solo moments from players who include Mauricio Smith on flute, Paul Jeffrey on tenor sax, Jack Walrath on trumpet, and Jimmy Knepper on trombone. The album also features a fair bit of added percussion – and features two long tracks, "Cumbia & Jazz Fusion" and "Music For Todo Modo". Me Myself An Eye is complicated later work from Charles Mingus – a great illustration of the way his power to command a large ensemble never wavered as the years went on! The album features two different large groups of players – filled with modernists young and old – including Ricky Ford, George Coleman, and Michael Brecker on tenors; Ronni Cuber and Pepper Adams on baritone; Randy Brecker and Jack Walrath on trumpets; Lee Konitz on alto, Larry Coryell on guitar, Slide Hampton on trombone, and Eddie Gomez on bass. Side one features the 30 minute track "Three Worlds Of Drums", and side two contains a remake of "Wednesday Night Prayer Meeting", plus "Devil Woman" and "Carolyn Keki Mingus". Something Like A Bird is one of the last albums Charles Mingus ever gave us – before departing this planet way way too soon! The set shows the increasing sophistication of Mingus' music in these later years – a mode that almost echoes the path that Duke Ellington would take in his final decade – a move towards some larger-form material that still holds onto all the raw energy of the early days, but finds a way to not only bridge larger musical ideas – but musical generations as well! As part of this, the set's got a wonderful lineup – with Lee Konitz on alto, Pepper Adams on baritone sax, George Coleman on tenor, Eddie Gomez on bass, and Joe Chambers on drums – and titles include the long title track, "Something Like A Bird", split up over 2 sides of the LP, plus "Farewell Farwell". CD

Two late albums from Charles Mingus – back to back on a single CD! Me Myself An Eye is complicated later work from Mingus – a great illustration of the way his power to command a large ensemble never wavered as the years went on! The album features two different large groups of players – filled with modernists young and old – including Ricky Ford, George Coleman, and Michael Brecker ont enors; Ronni Cuber and Pepper Adams on baritone; Randy Brecker and Jack Walrath on trumpets; Lee Konitz on alto, Larry Coryell on guitar, Slide Hampton on trombone, and Eddie Gomez on bass. Side one features the 30 minute track "Three Worlds Of Drums", and side 2 contains a remake of "Wednesday Night Prayer Meeting", plus "Devil Woman" and "Carolyn Keki Mingus". Something Like A Bird is one of the last Mingus albums ever recorded – large group material that's a lot more complex than his work from the 60s, performed by a variety of players from old and recent years, including Lee Konitz, Pepper Adams, George Coleman, Joe Chambers, Eddie Gomez, Ronnie Cuber, and others. The long title track is split up over 2 sides of the LP, and the remaining piece of the second side is given over to "Farewell Farwell". CD

A top-shelf set of smooth fusion work from Alphonse Mouzon – recorded with a host of excellent players from the LA scene, in a style that sits nicely with his work from the earlier part of the decade. The overall feel is smooth, but there's some nice funky undercurrents on the tunes, thanks to Al's great drum work – and the players on the set really help keep the quality high – as you'd guess from names that include Paul Jackson Jr, Tom Scott, Herbie Hancock, Michael Brecker, and Lee Ritenour. Titles include "Saving My Love For You", "I Don't Want To Lose This Feeling", "That's Right", "Everybody Party", and "Step Into The Funk". LP, Vinyl record album

With Wallace Roney on trumpet, Antoine Roney on reeds, Geri Allen and Chick Corea on piano, Clarence Seay on bass, and Lenny White on drums – plus guest tenors Michael Brecker and Pharoah Sanders! CD

A hokey cover, a hokey title, but a surprisingly great little record – Horace Silver's first quintet session in many many years, and a record that comes across with a really lyrical sense of soul! And sure, the album's not one of his classics for Blue Note, but the format is quite the same – tenor, trumpet, piano, bass, and drums – all woven into a warm tapestry of groove, based around some wonderful original compositions from Horace himself! The whole thing is surprisingly wonderful – especially for the date and the cover – and we'll be honest in saying that we actually passed this one up when it came out back in the 90s (effete jazz snobs we are), but we're really digging it a lot these days, and are glad we finally gave it a chance. Players include Michael Brecker on tenor and Randy Brecker on trumpet – both following Horace's lead strongly – plus Ron Carter on bass and Louis Hayes on drums. Tracks include "Walk On", "Sunrise In Malibu", "You Gotta Shake That Thing", "Whenever Lester Plays The Blues", "Free At Last", and "Brother John & Brother Gene". CD

A great little set from the precursor to Steps Ahead – heard here on a Japanese-only album that's got a really wonderful sound! The group's a quintet that includes Michael Brecker on tenor, Mike Maineri on vibes, Don Grolnick on keyboards, Eddie Gomez on bass, and Peter Erskine on drums – working together in a style that's mostly acoustic, but which has some slight electric touches on the bottom – expanding the sound ever so slightly, but still letting the jazz colors and tones of the players dominate the set. Tracks are all originals, and all quite long – and the bass of Gomez and vibes of Maineri really give the whole thing a sense of soul that pushes it ahead of the pack. Titles include "The Aleph", "NL4", "Patch Of Blue", "Four Chords", and "Nichka". CD

With Michael Brecker on tenor and guest percussion from Valtinho Anastacio. CD

Unusual work from the great George Benson – a wonderful session that was recorded by CTI during George's classic years for the label – but issued only briefly a number of years later, and slightly lost amongst the rest of his catalog! The material's great, though – and has George in top form for the sweet 70s funk years – working with arrangements by Ronnie Foster and David Matthews – on tunes that also include keyboards by Foster and Bobby Lyle, trombone from Fred Wesley, saxes from David Sanborn, Joe Farrell, Michael Brecker, and Ronnie Cuber – and even a bit of additional guitar from Eric Gale! There's a nice mix of modes here – some tight funky cuts, some more flowing numbers, and even one more traditional jazz tune with a great vocal by George – on the classic "Moody's Mood For Love". Other titles include "Melodia Espanol", "Pacific Fire", "Em", "Bandoleros Caballa", "Let Your Love Come Out", and "Knock On Wood". LP, Vinyl record album

With Eddie Gomez, Will Calhoun, Phil Hamilton, Toots Thielemans, Paul Griffin, Joe Bonadio, Allen Toussaint, Michael Brecker, Ray Anderson, and Chuck St. Troy. CD

Featuring Branford Marsalis, Jerry Bergonzi & Michael Brecker on saxophones, Joey Calderazzo on piano, Jay Anderson on bass, and Adam Nussbaum & Peter Erskine on drums. CD

Important 70s work from Don Cherry – one of the first albums to bring his overseas experiments to a larger US audience! The set builds nicely off of styles that Don forged earlier in France and Scandinavia – a freer style of music than his work with Ornette Coleman, and a richly organic groove that builds up strongly from the bottom, often with elements of world music settled in alongside the jazz – but there's also some funkier moments here too, a bit like the Brown Rice album, but looser overall! The groups on most numbers are relatively large and spiritual – almost like Alice Coltrane at times, but a bit more electric and funky at others – and players include Collin Walcott on sitar, Michael Brecker on saxes, Cliff Carter on keyboards, Lenny White and Tony Williams on drums, Lois Colin on harp, and Raphael Cruz on percussion. Cherry himself plays conch shells, bells, and flute in addition to his usual trumpet – and he even sings a bit on a few numbers, in a soulful, scatting sort of groove. Narada Michael Walden produced, and the whole set's got a very righteous feel – with tracks that include "Universal Mother", "Buddah's Blues", "Eagle Eye", "Mahakali", "Karmapa Chenno", "Surrender Rose", and "Journey Of Milarepa". LP, Vinyl record album

Eldar Djangirov on pinao, John Patitucci on bass, Todd Strait on drums and percussion, and special guest Michael Brecker on tenor sax. CD

A funky fusion classic – the second Columbia set from this killer group of all-star players! The style's like the first Dreams album – a bit rock-influenced at times, but filled with jazzy instrumentation by players who include Randy Brecker on trumpet, Michael Brecker on saxes, Don Grolnick on keyboards, and Billy Cobham on drums! Edward Vernon sings on most numbers, with a soulful style that's a bit of a change from usual work of this type – and the set's got a feel that's definitely in keeping with the odd Gahan Wilson cartoon on the front cover – familiar grooves, but a bit offbeat too, and very much in its own sort of space. Titles include "Here She Comes Now", "Imagine My Surprise", "Medicated Goo", "Don't Cry My Lady", "Just Be Ourselves", "Why Can't I Find A Home", and "Calico Baby". CD

One of the greatest albums ever recorded by pianist Hal Galper – and that's saying a lot, given his huge legacy of records! This set has Hal working in a strongly electric mode – using an electric piano with the same sort of spacious qualities he could bring to acoustic – never jamming as hard as some of his more dynamic 70s contemporaries, but in a really great way that creates a special energy on the record – not just for Galper, but also for the groupmates, who really seem to bring out their best. The lineup includes Randy Brecker on trumpet and Michael Brecker on tenor and soprano sax – both playing in the darker edges of their sound – and the record also features guitar, bass, and drums. Some moments are funky, but the real stand out tracks have an even more special electric vibe – and titles include "This Moment", "Whatever", "Wild Bird", and "Change Up". LP, Vinyl record album

Features Michael Brecker on tenor sax. CD

Features Grolnick on piano, Michael Brecker on tenor, Randy Brecker on trumpet, Bob Mintzer on bass clarinet, Barry Rogers on trombone, Dave Holland on bass, and Peter Erskine on drums. Tracks are mostly originals and include "Five Bars", "Nothing Personal", "Persimmons", "I Want To Be Happy", and the title track, "Weaver Of Dreams". CD

Great work from Neil Larsen – a keyboardist who doesn't always get his due in the hipper sides of the jazz spectrum, but who sounds mighty nice on this solo album for A&M! The set's got Neil's keyboards very firmly in the lead, and also features lots of fuzzy guitar from Buzz Feiten – a player who has the same laidback groove as Larsen – and the record group gets some nice rhythmic help from the mighty Steve Gadd on drums and Paulinho Da Costa on percussion. There's a bit of horns on the set – courtesy of Michael Brecker on tenor and Joe Farrell on flute – and one track features a bit of backing vocals. Nick De Caro did Arp arrangements – and titles include "Nile Crescent", "Rio Este", "Night Letter", "Futurama", and "Demonette". LP, Vinyl record album

A set that's especially sexy, and especially jazzy too – as Jun Miyake works here with a whole host of American fusion players – a really great lineup who make the record soar! Jun's definitely in the more fusion-oriented side of his music here – blowing trumpet and flugelhorn, and handling keyboards too – with a shifting array of great sidemen who include Michael Brecker on tenor, David Sanborn on alto, Victor Bailey on bass, and Poogie Bell on drums – plus some especially nice work from guitarist Bobby Broom, who's very much in the mode of his best Arista records, and even sings a bit on one cut too! Titles include "JFK Express", "Becoming To You", "Wish", "June Night Love", "Twist To Open", "Crossing", and "Sea Born Mind". LP, Vinyl record album

With Gary Bartz, Michael Brecker, and Randy Brecker! CD

With Chris Potter and Michael Brecker on tenor saxophone. CD

Alex Riel on drums, Jerry Bergonzi and Michael Brecker on saxophone, Mike Stern on guitar, Niels Lan Doky on piano, and Eddie Gomez on bass. CD

Features Michael Brecker on tenor, Mike Mainieri on vibes, Don Grolnick on piano, Eddie Gomez on bass, and Steve Gadd on drums. A double-length set – with cuts that include "Young & Fine", "Soul Eyes", "Lover Man", "Tee Bag", and "Fawlty Tenors". CD

Jack Wilkins on guitar, Randy Brecker on flugelhorn, Michael Brecker on tenor saxophone, Phil Markowitz on piano, Eddie Gomez and Jon Burr on bass, and Al Foster and Jack DeJohnette on drums. CD

A well-crafted comeback from pianist Will Boulware and his Rainbow group – one that shares many qualities of his Over Crystal Green album, but which also takes things a bit further! Will's still got that great blend of acoustic and electric keys here – a sound that's really the strongest side of the record, and which takes us back to those first mid 70s moments when keyboardists were blending the two modes to reach an even fuller sound than before. But one main difference here is the presence of Phoebe Snow on vocals on 3 of the album's tracks – giving the record a bit more of a "soul" feel at those moments, in a way that occasionally disturbs the gentle Rainbow balance. Still, the overall sound here is still pretty great – with tenor from Michael Brecker, guitar from Peter Bernstein, drums from Steve Gadd, and a bit of guest keys from Philippe Saisse. Titles include "One Finger Snap", "Trouble In Mind", "Kentucky", "Foolish Door", "New & Old", "Peace", and "Rainbow". CD

Great work from Neil Larsen – a keyboardist who doesn't always get his due in the hipper sides of the jazz spectrum, but who sounds mighty nice on this solo album for A&M! The set's got Neil's keyboards very firmly in the lead, and also features lots of fuzzy guitar from Buzz Feiten – a player who has the same laidback groove as Larsen – and the record group gets some nice rhythmic help from the mighty Steve Gadd on drums and Paulinho Da Costa on percussion. There's a bit of horns on the set – courtesy of Michael Brecker on tenor and Joe Farrell on flute – and one track features a bit of backing vocals. Nick De Caro did Arp arrangements – and titles include "Nile Crescent", "Rio Este", "Night Letter", "Futurama", and "Demonette". CD

A set of incredible records from Charles Mingus – all presented together in one mighty nice package! First up is Mingus Moves – a fantastic fresh new chapter in the career of Charles Mingus – a set that features the addition of two key players who would really shape his sound in the 70s – Don Pullen on piano and George Adams on tenor, both completely wonderful here! The group also features excellent trumpet from Roland Hampton, a player we don't know from many other settings – and the set also features some really nice vocal work from Honi Gordon and Doug Hammond. Titles include "Canon", "Moves", "Wee", "Flowers For A Lady", "Opus 3", and "Newcomer". CD also features bonus tracks – "Big Alice" and "The Call". Changes is key 70s work from Charles Mingus – an album that was recorded over the course of three days of creative activity at the end of 1974, but somehow split into two different albums under the Changes name! The lineup here is prime 70s Mingus – George Adams on tenor, Jack Walrath on trumpet, and Don Pullen on piano – young players who really give a fresh voice to Mingus' musical ideas, and help him find this beautiful late life sense of color, tone, and timing that's completely sublime! Titles on this second volume include "Sue's Changes", "Devil Blues", "Remember Rockefeller At Attica", "Free Cell Block F Tis Nazi USA", "Black Bats & Poles", "For Harry Carney", and "Duke Ellington's Sound Of Love" – which features a guest appearance by Marcus Belgrave on trumpet and Jackie Paris on vocals. On 3 Or 4 Shades Of Blues, Charles Mingus is returning to the soulful gospel-influenced mode he swung big in the early 60s! The record's something of a later predecessor of the classics Blues & Roots for Atlantic and Mingus (x5) for Impulse – and the style is slightly less dramatic, but still quite steeped in soulful explorations that feature plenty of notes from the bluer side of the spectrum! Players include George Coleman and Ricky Ford on tenor, Jack Walrath on trumpet, and Larry Coryell on guitar – and titles include new takes on "Better Git Hit In Your Soul" and "Goodbye Porkpie Hat" – plus"Nobody Knows", "Noddin Ya Head Blues", and "Three Or Four Shades Of Blues". Next is Cumbia & Jazz Fusion – one of the most enigmatic albums that Charles Mingus ever recorded – especially in his later years! The set features two very long tracks done by Mingus for use in a film about cocaine traffic between New York and Columbia – but considering the nature of the music, and the freely exploratory style, both numbers here stand very well on their own! Although touched with some of the Latin influences you might expect from the title, the sounds are often darker and more brooding than, say, the Mingus style on the classic Tijuana Moods set. And instead, there's a very serious soundtrack-like vibe going on through most of the set – larger jazz orchestrations used to beautifully underscore subtle themes, and breakout solo moments from players who include Mauricio Smith on flute, Paul Jeffrey on tenor sax, Jack Walrath on trumpet, and Jimmy Knepper on trombone. The album also features a fair bit of added percussion – and features two long tracks, "Cumbia & Jazz Fusion" and "Music For Todo Modo". Me Myself An Eye is complicated later work from Charles Mingus – a great illustration of the way his power to command a large ensemble never wavered as the years went on! The album features two different large groups of players – filled with modernists young and old – including Ricky Ford, George Coleman, and Michael Brecker on tenors; Ronni Cuber and Pepper Adams on baritone; Randy Brecker and Jack Walrath on trumpets; Lee Konitz on alto, Larry Coryell on guitar, Slide Hampton on trombone, and Eddie Gomez on bass. Side one features the 30 minute track "Three Worlds Of Drums", and side two contains a remake of "Wednesday Night Prayer Meeting", plus "Devil Woman" and "Carolyn Keki Mingus". Something Like A Bird is one of the last albums Charles Mingus ever gave us – before departing this planet way way too soon! The set shows the increasing sophistication of Mingus' music in these later years – a mode that almost echoes the path that Duke Ellington would take in his final decade – a move towards some larger-form material that still holds onto all the raw energy of the early days, but finds a way to not only bridge larger musical ideas – but musical generations as well! As part of this, the set's got a wonderful lineup – with Lee Konitz on alto, Pepper Adams on baritone sax, George Coleman on tenor, Eddie Gomez on bass, and Joe Chambers on drums – and titles include the long title track, "Something Like A Bird", split up over 2 sides of the LP, plus "Farewell Farwell". LP, Vinyl record album

A slew of notable guests on this record, including Arthur Blythe, Steve Gadd, Richard Tee, Hiram Bullock, Ralph MacDonald, Hugh McCracken, Michael & Randy Brecker, George Adams, Jon Faddis, Howard Johnson, and Mike Mainieri. CD

Featuring Michael Brecker, Joey Calderazzo, Ed Calle, Eddie Daniels, Greg Hutchinson, John Patitucci, Dana Teboe, Clark Terry, and Mike Stern. CD

Stone Alliance move down to a duo here – the mighty team of Don Alias on drums and Gene Perla on bass – and the pair bring in a whole host of great guest stars to take the place of recently-departed reedman Steve Grossman! To us, the record would be more than great enough on its own with just the grooves of Perla and Alias – but the set really warms up from contributions by artists who include Michael Brecker on tenor, Dave Liebeman on reeds, Randy Brecker on trumpet, Alex Acuna on percussion, and Jan Hammer on keyboards – keeping things as tight and focused as on his best 70s funky fusion outings. Perla and Alias keep things tight and choppy in the rhythms – a nice undercurrent of funk on most tracks – and titles include "Pedra Da Lua", "Trampoline", "Aunt Remus", "Tribute To Afreeka", and "Uncle Jemima". LP, Vinyl record album