The fantastic first Verve album from Tim Hardin – a record that's almost a genre unto itself, given the very unique approach that Tim brings to his music! The set might be one of the first times that the world of folk was able to reach out and really find a home in so many other styles too – as there's a blend of jazz-inflected instrumentation and vocals that helped lift Hardin and these songs way past the pop folk moment of the mid 60s – so much so, there's arguably an influence here that just keeps going on over the decades! Gary Burton provides some great vibes, John Sebastian blows a bit of harmonica, and Artie Butler creates these gentle arrangements that are perfect – still making you feel like you're meeting Tim Hardin on his own, but with secret subtle support. Nearly every song's a classic – and titles include "Don't Make Promises", "It'll Never Happen Again", "Reason To Believe", "How Can We Hang On To A Dream", and "Misty Roses". CD

The "plus one" on the set is Stanley Turrentine – who really warms up the sound nicely! Titles include "Gene's Lament", "Misty", "Uptown Sop", and "Yours Is My Heart Alone". CD

Solo guitar by Joe Pass – a beautiful little album that's a perfect showcase for the new sensitivity in his music during his years at Pablo records! The Joe Pass heard here is light years away from the guitar player who made a few gimmicky records a decade before – and this album has Joe coming across with a gentle, but sophisticated approach to his instrument that we never would have expected in the past! Titles include "Blues For Basie", "Blues For OP", "Misty", "Grooveyard", "Giant Steps", "Five Hundred Miles High", and "Limehouse Blues". CD

The Johnny Smith sound is a wonderful one – not just the sound that he makes with his groundbreaking work on the strings of the guitar, but also the way he records the instrument – which set a new standard in jazz guitar albums, and also helped pave the way for countless generations to come! A date like this is a great example of the standard-setting work that Smith was able to give us in his prime – and the approach slightly updates the Smith guitar sound of the early 50s – clarifying it a bit, but still keeping that great tone right out front – with a group that includes Hank Jones on piano, George Duvivier on bass, and Ed Shaughnessey on drums. Titles include "Misty", "Embraceable You", "Blues Chorale", "Prelude", "As Long As There's Music", and "Round Midnight". CD

A Capitol classic from Dakota Staton – and the record that made her a real leading lady at the label in the years before Nancy Wilson's rise! The set's got a wonderfully laidback feel that's in keeping with the title, yet it also swings nicely too – kind of a new level of soul in jazz vocals that really points the way towards 60s recordings by Gloria Lynne, Etta Jones, and others. Backings are by Van Alexander, and include solos from Hank Jones on piano and Jonah Jones on trumpet – plus some great un-credited vibes and guitar – and titles include "The Late Late Show", "Give Me The Simple Life", "Moonray", "Ain't No Use", "Misty", "Summertime", and "What Do You See In Her". CD

The classiest lady of Philly Soul gets a chance to lay down some new vocal tracks in this recent recording with a nice feel! The sound is fairly strong, with the high quality modern production that characterizes other recent releases on the Expansion label. Billy Paul guests on the cut "Good Thing Goin On", and other tracks include "Make Love", "Don't Stop Doin Whatcha Doin", "Fallin For You", and "No One Does It Better". Jean also shows her jazz roots on the tracks "Someone To Watch Over Me" and "Misty". CD

Nothing chilled out here – as this Chill comes from the time before heavy hip hop usage of the word, and instead has a nicely upbeat sort of groove! There's a definite 80s sort of vibe going on here – thanks to keyboards and drum programs from Chuckii Booker, who's certainly left his mark on the record – working tightly with guitarist Ronnie Vann, who also co-produced the set with Booker. Vocals are slid in nicely next to the beats and keyboards – more catchy than deep – and titles include "Sexy So Nasty", "Think About It", "Misty", "Lady Seduction", "Hanging On", "Do It With Control", and "Never Walk Another Day Without You". CD

One of the best Sonny Criss albums ever – one of our favorites from his late 60s run at Prestige – and that's really saying a lot! The set's a warmly lyrical session that really has Criss opening up, changing up his groove to display the deep growth he'd experienced as a musician in the 60s. The rhythm section is wonderful – pianist Eddie Green, over the rock-solid team of Bob Cranshaw on bass and Alan Dawson on drums – who really help Sonny Criss transform the tunes on the record. Even 60s pop tunes like "Misty Roses" and "Eleanor Rigby" come off sounding fresh and wonderful – as do older jazz nuggets "The Masquerade Is Over" and "Rockin In Rhythm" – both tunes that are recorded so often you might expect hoke, but which sparkle anew in the hands of Sonny's soulful vision! CD

Quite a popular live album from Ella – recorded in Berlin at the height of the cold war years – featuring a famous recording of "Mack The Knife" that almost blew away Bobby Darin's hit with the cut! The album's nicely free of some of the stodginess of some of Ella's Songbook albums from the same time – with light and jazzy backing by a group that includes Jim Hall, Paul Smith, Wilfred Middlebrooks, and Gus Johnson. Titles include "Mack The Knife", "How High The Moon", "Too Darn Hot", "Gone With The Wind", "Misty", and "Summertime". Features bonus tracks not on the original album! CD

Quite a popular live album from Ella – recorded in Berlin at the height of the cold war years – featuring a famous recording of "Mack The Knife" that almost blew away Bobby Darin's hit with the cut! The album's nicely free of some of the stodginess of some of Ella's Songbook albums from the same time – with light and jazzy backing by a group that includes Jim Hall, Paul Smith, Wilfred Middlebrooks, and Gus Johnson. Titles include "Mack The Knife", "How High The Moon", "Too Darn Hot", "Gone With The Wind", "Misty", and "Summertime". Features bonus tracks not on the original album! CD

A beautiful version of one of Erroll Garner's best-selling albums ever – in a special oversized package that features the full unedited concert on two CDs, plus a third CD with the original edited album and special interview material too! The album's a famous live date recorded in the mid 50s – and a record that's as important to his catalog as the classic Misty! Garner's playing before an apparently large audience, but the recording quality is still nice and clear – a strong focus on his amazing work on the keys of the piano – filled with rhythmic invention at every turn, in a way that can only be described as Garner-esque, and which still leaves us breathless after all these years. Despite the oft-heard power of the record, it's still a great one – worthy of discovery even if it wasn't a hit, and still great even if it was. Rhythm is by Eddie Calhoun on bass and Denzil Best on drums – and the 3CD package was co-produced by pianist Geri Allen, with a total of 36 tracks that include "Teach Me Tonight", "I'll Remember April", "Autumn Leaves", "Red Top", "April In Paris", "They Can't Take That Away From Me", "Erroll's Theme", and "Where Or When". CD

One of Erroll Garner's best-selling albums ever – a famous live date recorded in the mid 50s – and a record that's as important to his catalog as the classic Misty! Garner's playing before an apparently large audience, but the recording quality is still nice and clear – a strong focus on his amazing work on the keys of the piano – filled with rhythmic invention at every turn, in a way that can only be described as Garner-esque, and which still leaves us breathless after all these years. Despite the oft-heard power of the record, it's still a great one – worthy of discovery even if it wasn't a hit. Rhythm is by Eddie Calhoun on bass and Denzil Best on drums – on tracks that include "Teach Me Tonight", "I'll Remember April", "Autumn Leaves", "Red Top", "April In Paris", "They Can't Take That Away From Me", "Erroll's Theme", and "Where Or When". CD

A great Erroll Garner double-header – two 60s albums back to back on a single CD! First up is Dreamstreet – a record in which Garner grooves nicely, finding an almost renewed energy for the 60s, but still hitting all those highly-rhythmic modes we love so much in his early work! The recording quality is great – lots of bold echo from the piano, and even a bit of Erroll's grunting vocalizations somewhere in the mix – kind of an extra added emphasis that sounds great next to the bass of Eddie Calhoun and drums of Kelly Martin. Titles include "Just One Of Those Things", "Blue Lou", "The Lady Is A Tramp", "Dreamstreet", and the groovy "Mambo Gotham" – an especially jaunty little number! One World Concert is a set with an ambitious title, but a nicely earthy feel – a live recording that features Erroll Garner's trio with Eddie Calhoun on bass and Kelly Martin on drums – stretching out strongly in front of a live audience. Titles include "Mack The Knife", "Misty", "Dancing Tambourine", "Happiness Is A Thing Called Joe", and "Sweet & Lovely". CD

A great album from Astrud Gilberto – one that has her pushing past the simple bossa of early years, running through a range of 60s styles that all sound great – really opening up, finding new confidence in her vocals, and bridging a few different musical worlds in the process! Arrangements are by Deodato and Don Sebesky – and handled with this growing sophistication that holds on to bossa elements, but elevates the style with some of the cooler late 60s touches we love on Verve Records – all at a level that's completely sublime, and which does really wonderful things for Astrud's vocals. There's still plenty of Brazilian tunes in the mix – like "Oba, Oba", "Canoeiro", "Bossa Na Praia", "Nao Bate O Corocao", and Marcos Valle's great "The Face I Love" – and the album also features great versions of "Misty Roses", "You Didn't Have To Be So Nice", and "Stay". CD

A great album from Astrud Gilberto – one that has her pushing past the simple bossa of early years, running through a range of 60s styles that all sound great – really opening up, finding new confidence in her vocals, and bridging a few different musical worlds in the process! Arrangements are by Deodato and Don Sebesky – and handled with this growing sophistication that holds on to bossa elements, but elevates the style with some of the cooler late 60s touches we love on Verve Records – all at a level that's completely sublime, and which does really wonderful things for Astrud's vocals. There's still plenty of Brazilian tunes in the mix – like "Oba, Oba", "Canoeiro", "Bossa Na Praia", "Nao Bate O Corocao", and Marcos Valle's great "The Face I Love" – and the album also features great versions of "Misty Roses", "You Didn't Have To Be So Nice", and "Stay". Plus, this CD reissue features 5 bonus tracks not on the original LP! CD

2 late 60s sides by Groove Holmes – back to back on one CD! The Groover is a nice one from the days when Groove was playing with guitarist George Freeman! The core of the tracks on here feature a trio of Holmes, Freeman, and drummer Billy Jackson – and the trio knows how to cook nice and nicely, especially on the original cut "The Walrus", a groovy number written by Freeman, with his usual off-kilter approach. Other cuts include "My Scenery", "Blue Moon", and "I'll Remember April". That Healin Feelin is a tight, no-nonsense set of hard grooves featuring a quartet that includes Rusty Bryant, Billy Butler, and Herbie Lovelle. There's a strong bottom sound to the session – picking up from the Misty days, when Groove learned that he could take just about any track, and make it groove like a mofo! Because of this, the album's selections – "That Healin Feelin", "Irene Court", "Castle Rock", and "On a Clear Day" – all sound night and tight, as Groove would have delivered the tunes playing before one of his many well-attended audiences at the time! CD

Hard rock perfected! It's around Led Zeppelin IV that you can easily say that the group moved up from being incredibly great to flat-out legendary – really in a class by themselves, although maybe they'd already reached that point with the sublime sounds of the previous three records! There's a darkness here – and a sense of magick too – an eerie new energy that still has all the balls-out rock power of before, but which has the group moving into this heady territory that's really all their own. Every song is a classic – and tracks include "Black Dog", "Stairway To Heaven", "Rock And Roll", "Misty Mountain Hop", "When The Levee Breaks", "Going To California", "Four Sticks", and "Battle Of Evermore". CD

Sublime work from trumpeter Hannibal Marvin Peterson – a rare set that really shows him at the top of his game! There's a depth here you don't always find in other Hannibal records – a careful, complex sound that's also still deeply soulful as well – building up from the work of a tight quintet (tagged as an "orchestra" on the cover) – and set loose over a handful of long tracks that have a really righteous sound! Peterson's trumpet hits some of its sharpest notes ever here – really bold musical statements that show none of his fire dimming as the 70s were coming to a close – supported by wonderful piano work from the amazing Michael Cochrane, plus cello from Diedre Murray, bass from Errol Walters, and drums from Makaya Ntshoko. Titles include a searing version of Coltrane's "Dahomey Dance", a take on Monk's "Well You Needn't", and one of the hippest readings of "Misty" you'll ever hear – plus Peterson's own tune "Even Steven". CD

Both of the rare original albums by this legendary 60s electronic group – out now on one lovely 18 track CD! The Apples were one of the most unique groups of their era, and they mixed electronics with a throbbing rock groove in a way that not only predicted lots of the musical trends of the 70's, but which has also been taken up again in the 90's by a host of young bands. The group has reformed these days, but these two albums are still their best. Titles include "Velvet Cave", "Oscillations", "Whirly-Bird", "Dust", "Misty Mountain", "Water", "Pox On You", "Confusion", and "Fantasies". CD

Classics from sassy Sarah Vaughan's Mercury years, including "Misty", "Broken Hearted Melody", "Make Yourself Comfortable", "Autumn In New York", "Moonlight In Vermont", "How Important Can It Be", "Smooth Operator", "Whatever Lola Wants", "Lullaby Of Birdland", "Eternally", "Poor Butterfly" and "Close To You". CD includes six bonus tracks not included on the original LP release. CD

Ben Webster on tenor saxophone, Kenny Drew on piano, Niels-Henning Orsted Pedersen on bass, and Alex Riel on drums. Tracks include "Perdido", "Over The Rainbow", "Indiana", "Misty", "Set Call", and "Yesterdays". CD

A jazz guitar/Hammond organ session – the former by Shoji Yokouchi, the latter by Yuri Tashiro – but a variation on the form that's quite different than usual, and very much in the groundbreaking style of the Three Blind Mice label! Shoji plays a few different guitars – both acoustic and electric – and rather than just ape an American use of guitar next to organ, the style here is often nicely changed up – partly because the phrasing can be different when the guitar is acoustic, but also because in true Three Blind Mice form, the arrangements are often very inventive and unusual. Other players include Kunimitsu Inaba on bass and Hajime Ishimatsu on drums – and titles include "New Orleans Sunday", "Drink Up Vodka Martini", "Misty", "Moanin", "Greensleeves", and "Your Watch Is Ten Minutes Slow". CD

Wonderfully tripped-out pop from the late 60s – served up by a few famous names and an even better band of lesser-knowns – all of whom recorded for Warner Brothers and related labels at the time! The package does a great job of showing the "pop" side of psychedelia – a sound that's a lot harder than the Sunshine Pop end of the spectrum, but which also shares a similar love of groovy themes, sweet vocals, and cool production techniques! A few of the tunes get a bit way out, but most of the numbers manage to pack a whole trip's punch within a short little 3 or 4 minute song – leaving us to marvel even more at the deft economy in the studio, and the wonderful quality this kind of music had before it succumbed to too many of its own excesses. Titles include "Her Name Is A Melody" by Adrian Pride, "It's Love" by The Misty Wizards, "Break Away" by Next Exit, "Hallucinations" by Baker Knight & The Knightmares, "That's The Way It's Gonna Be" by Lee Mallory, "Wildflowers" by The Holy Mackerel, "Smell Of Incense" by West Coast Pop Art Experimental Band, "My Mind Goes High" by MC2, "Straight Aero" by Jeff Thomas, and "The White Pony" by Ellen Margulies. CD

Four great albums from reedman Arthur Blythe – all together in one collection! First up is Lenox Avenue Breakdown – a stunning Columbia Records debut from Blythe! At the time of the date, Blythe had already spent years working in the jazz undergrounds on both coasts – developing a searing sound on alto sax that's perfect for the focused structure of this album – almost a tone poem of sorts, offering up a portrait of the Harlem scene that was a key part of Arthur's life at the time. The sounds are sharp, but also have a sense of energy that really holds them together – guiding the players through long readings of well-penned tunes by Blythe that are filled with loads of energy and life! Players include James Newton on flute, James Blood Ulmer on guitar, Bob Stewart on tuba, Cecil McBee on bass, Jack DeJohnette on drums, and Guillermo Franco on percussion – and titles include "Odessa", "Slidin Through", "Down San Diego Way", and "Lenox Avenue Breakdown". In The Tradition is a gem – as the set represents the modern musician taking on a host of older jazz currents, while carving things out with his own special sort of soul! Half the tunes are familiar favorites, the other half originals – and Blythe moves far past his avant roots, to showcase his deep understanding of so many different shades of jazz – blowing alto beautifully throughout, in a very hip quartet that features Stanley Cowell on piano, Fred Hopkins on bass, and Steve McCall on drums! Titles include great takes on "Naima", "Jitterbug Waltz", "Caravan", and "In A Sentimental Mood" – plus the originals "Break Tune" and "Hip Dipper". Illusions is maybe the boldest of Arthur Blythe's albums for Columbia Records – as the set bristles with newly creative energy right from the start, and provides a great showcase for some of the criss-crossings of styles and rhythms that were taking place on the New York scene at the time! The lineup alone announces something special – a cool combination of James Blood Ulmer on guitar, John Hicks on piano, Fred Hopkins on bass, Abdul Wadud on cello, Bob Stewart on tuba, and Steve McCall on drums – working together in some slight variations at times, often with these angular edges that are perfectly sharpened by Arthur's amazing work on alto sax. The music's never too free, but quite outside for a major label at the time – balanced out so that it's never overindulgent at all. Titles include "Bush Baby", "Miss Nancy", "My Son Ra", and "Carespin With Mamie". Blythe Spirit is a set that showcases the never-ending growth and imagination of reedman Arthur Blythe during this fruitful period of his career – and his ability to effortlessly blend together different elements in his music – especially sides of the New York loft jazz scene, and the Chicago-based AACM! The tunes are beautiful – mostly originals, and showing a richer spirituality than even a year before – while still working in that compellingly rhythmic mode that Arthur was hitting during these years – in a lineup that features Blythe on alto, Abdul Wadud on cello, Kelvyn Bell on guitar, Steve McCall and Bobby Battle on drums, John Hicks on piano, Amina Claudine Myers on organ, and Fred Hopkins on bass. The mix of electric and acoustic elements is fantastic – very fresh, even all these many years later – and titles include "Misty", "Spirits In The Field", "Just A Closer Walk With Thee", "Reverence", and "Contemplation". CD

Two great forces from the postwar world of jazz, coming together here in a rare set that was originally only issued in Japan! The alto of Lou Donaldson had cut plenty of funky, soulful records in the 70s – but here, he's returned to the charms of his earliest work on Blue Note – and spins out these stunning long solos alongside the piano of Red Garland – who's equally great, and supports Donaldson with the soulful style of his best work alongside Coltrane on late 50s sessions for Prestige! The rest of the group features the great Jamil Nasser on bass and Jimmy Cobb on drums – players who really help make this session a cut above anything you might expect – and titles include "Stella By Starlight", "Blues", "Misty", "Fine & Dandy", and "The Best Things In Life Are Free". CD

Quite a popular live album from Ella – recorded in Berlin at the height of the cold war years – featuring a famous recording of "Mack The Knife" that almost blew away Bobby Darin's hit with the cut! The album's nicely free of some of the stodginess of some of Ella's Songbook albums from the same time – with light and jazzy backing by a group that includes Jim Hall, Paul Smith, Wilfred Middlebrooks, and Gus Johnson. Titles include "Mack The Knife", "How High The Moon", "Too Darn Hot", "Gone With The Wind", "Misty", and "Summertime". CD

Tracks include "Misty", "Oh, Lady Be Good", "That Old Black Magic", "Russian Lullaby", "Exactly Like You", and "Rosalie". 14 tracks total. CD

Not much here in the way of notes, but a great little session – one of those mature, intimate sessions that Irene Kral recorded so beautifully in the later years of her life! The track selection is quite strong – lesser-known numbers that offer a sophisticated look at love and live, often with a nice undercurrent of wit – sung just right by Irene with the sort of inflections to underscore the best elements of the lyrics, without getting too kitschy or cloying. There's only a bit of piano and bass to back up the vocals on most tracks – although the instrumentation, which is uncredited, also features guitar, flute, and percussion on other numbers. Titles include "Unlit Room", "On Top Of Mt Tipsy", "Once Upon Another Time", "Misty Roses", "Wheelers & Dealers", "Lady Of Lavender", "Lucky To Be Me", "Little Bitty Boy", and "Poems To Eat". CD

A Johnny Hammond 2-fer – a pair of very early albums, back to back on a single CD! First up is Talk That Talk – subtle early magic from Johnny Hammond Smith, and the kind of sweet organ jazz set that really set Smith apart from his contemporaries in the 60s! There's a slightly offbeat vibe here that's hard to peg, but which already marks Hammond as one of the more inventive players of his generation – never content to just rehash R&B modes for jazz organ, and instead really exploratory in terms of timings and phrasings – using his instrument to great effect in a hip combo that features George Tucker on bass, Art Taylor on drums, and Ray Barretto on congas – plus some excellent tenor from Oliver Nelson on three tracks! Titles include "Talk That Talk", "Bennie's Diggin", "Portrait Of Jennie", "An Affair To Remember", "The End Of A Love Affair", "Riptide", "Misty", and "Minors Allowed". Getting The Message is a vibes and organ delight – a rare early set from Johnny Hammond Smith, and a date that features a key appearance from vibist Lem Winchester! Winchester only cut a handful of dates before shuffling off this mortal coil far too soon – and he's a hell of a player, with a richly chromatic tone that works beautifully next to Smith's organ lines – a pairing that's quite different than other organ/vibes duos you might know from the time, and one that's got to be heard to be fully appreciated! There's a complexity here that we love, even when things are straight and swinging – and titles include "Lid Flippin", "Getting The Message", "Princess", and "Dementia". CD

A 70s set from Sarah Vaughan, but one that's recorded in a classic small combo mode – acoustic overall, and a bit of a change from her other sessions for Mainstream Records! The date's a live one, and the tracks are taken at a looser level than some of Vaughan's studio work – a bit more open, and with a bit of conversation too – which is a nice surprise, and which has the singer really hitting this personal vibe that's great – even though we also love her when she's polished too! The group's a trio – with Carl Schroeder on piano, John Gianelli on bass, and Jimmy Cobb on drums – and titles include "I Could Write A Book", "Love Story", "The Nearness Of You", "Bye Bye Blackbird", "Wave", "Misty", "There Will Never Be Another You", "A Foggy Day", and "Round Midnight". CD

A 70s set from Sarah Vaughan, but one that's recorded in a classic small combo mode – acoustic overall, and a bit of a change from her other sessions for Mainstream Records! The date's a live one, and the tracks are taken at a looser level than some of Vaughan's studio work – a bit more open, and with a bit of conversation too – which is a nice surprise. The group's a trio – with Carl Schroeder on piano, John Gianelli on bass, and Jimmy Cobb on drums – and titles include "I Could Write A Book", "Love Story", "The Nearness Of You", "Bye Bye Blackbird", "Wave", "Misty", "There Will Never Be Another You", "A Foggy Day", and "Round Midnight". CD

If this is what they call an Encyclopedia, the folks at Britannica can sign us up! The set's a smoking selection of older soul jazz numbers from the glory days of Prestige Records – that key late 50s/1960s time when the label was helping forge a whole new sound in jazz – mixing in elements of R&B, hardbop, and gospel – and letting fly with a whole range of great tenor and organ players! The tracks here are all classics, all presented in nice long full versions that show what music like this can really do when let loose in the studio – and titles include "Seed Shack" by Gene Ammons, "Nother Futher" by Sonny Stitt & Jack McDuff, "Misty" by Groove Holmes, "Soul Meeting" by King Curtis, "The Honeydripper" by Jack McDuff, "When My Dreamboat Comes Home" by Arnett Cobb, "In The Kitchen" by Eddie Lockjaw Davis, "More Today Than Yesterday" by Charles Earland, "Please Mr Jackson" by Willis Jackson, and "Dirty Apple" by Johnny Hammond Smith. CD