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

Quite possibly our favorite album ever from Chico Freeman – a beautiful set that was originally issued only in Japan, and which has Chico hitting some of his strongest, most spiritual modes on record! The album features Freeman's reeds in the company of other Chicagoans – AACM players who include Henry Threadgill on saxes, Muhal Richard Abrams on piano, and Steve McCall on percussion – plus added work from Cecil McBee on bass and Ben Montgomery on drums – both players who round out the group with a very solid rhythmic focus. There's a bold sense of direction to this record that you don't always get in other work from Chico – a sound that's almost more Strata East at points, and which serves to bring the AACM players into sharp formation, and a strongly rhythmic orientation at times. The whole thing's wonderful – very well-crafted, and filled with spirit and soul – and titles include "The In Between", "Like The Kind Of Peace It Is", "Morning Prayer", "Pepe's Samba", and "Conversations". CD also features a bonus 19 minute version of "Pepe's Samba". CD

An overlooked 70s gem from the legendary saxophonist Sonny Stitt – recorded in Chicago, and with a hip vibe that ties things very much to the best spirit of the Chess/Cadet world of the time! There's two different approaches used on the record – and on the first four, the group is a bit on the larger side – with Chess/Cadet touches from Richard Evans on bass, Morris Jennings on drums, Tennyson Stephens on piano, a bit of strings, and vocalizing by "Kitty Hayward" – who is likely Kitty Heywood, of Kitty & The Heywoods! The remaining tracks are done in a smaller setting – and they feature a rare appearance by AACM avant legend Muhal Richard Abrams on piano, who plays straight ahead here – in a quartet with Wilbur Campell on drums and Cleveland Eaton on bass. Titles include "Got To Get Over", "Soul Girl", "Jeep Blues", and "I Know That You Know" with the larger group – plus the quartet pieces "I Should Care", "Eight Track Blues",and "Gone With The Wind". CD

Even at an early age, Anthony Braxton was already experimenting with new forms of jazz composition – and this 1968 debut as a leader is filled with the imaginative approaches to music that would make him a key shaper of jazz in the next decade! The tracks here are all quite long, and although free-sounding, still have an intrisic logic dictated by Braxton's compositional ideals – played by himself on alto, soprano sax, clarinet, flute, and a variety of other instruments – in a quartet that features Leo Smith on trumpet and mellophone, Muhal Richard Abrams on piano and cello, and Leroy Jenkins on violin and viola. In true AACM fashion, all players pick up other instruments as the tunes roll on – percussion bits, kazoo, slide whistle, bells, and more – almost more Art Ensemble-like than some of Braxton's more tightly-controlled environments on later records. Titles include two pieces titled in Braxton's equation-like style – plus "The Bell". CD