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If you've only ever thought of Gary McFarland as the composer of groovy bossa nova-oriented work, you owe it to yourself to check this one out – as McFarland wrote and arranged the whole thing, with a modernist approach that's very sympathetic with the piano of a young Steve Kuhn. The session mixes Kuhn's piano with strings and woodwinds – never too stale or academic, but definitely different than McFarland's usual work, with odd little twists and turns that are really beautiful, a mixture of warm, memory, and the love of life that would show up in Gary's most brilliant moments. Kuhn is fantastic too – not nearly as overindulgent as in later years – fresh on the keys with the spirit of a young Bill Evans, but also willing to work more with the larger format of the record. Titles include "Remember When", "Traffic Patterns", "Open Highway", and "Childhood Dreams". CD

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Roberto Magris plays piano with Frantisek Uhlir on bass and Jaromir Helesic on drums. CD

Features Nighthawk on vocals and guitar – plus a bit of guest harmonica from Carey Bell! CD

A damn soulful album from Ghanaian percussionist Rim Kwaku Obeng – recorded in LA at the end of the 70s, with loads of sweet clubby touches in the mix! Rim gets in plenty of tight percussion – lots of which showcases his rim-heavy approach to the drums – and also plays keyboards and sings a bit too – in a larger group that mixes in some very hip LA funky elements, a bit like some of the criss-crossing that Hugh Masekela did on his Chisa Records sessions! The style makes for a great bit of funky club with lots of deeper acoustic percussion elements in the sound – and titles include the massive break classic "Funky Drummer", plus "Nothing Is Free", "Spend Your Money", "Gas Line", "Sunkwa", and "Believe In Yourself". Special package – also includes the bonus 12" tracks "International Funk (voc)", and "International Funk (inst)". CD

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Recorded in 2004 with Mark Reboul on saxophone, Roberta Piket on piano, and Billy Mintz on drums. CD

With Vincent Courtois on violoncello and Cyril Atef on drums. CD

The important first album by singer Judy Roberts – an excellent jazz talent with a sound that's up there with the best jazz fusion vocalists of the 70s! Judy comes at the end of a decade that scored big recordings for singers like Flora Purim and Urzula Dudziak – and she's easily as great as any of those three, and often sadly lost to time because of the later years in which she recorded, and the Chicago scene in which she made her home! This first self-produced album is a rare groovehound's gem – filled with soaring numbers that feature Roberts on both vocals and keyboards – including electric piano, Arp, clavinet, and other keyboards. Titles include "Fantasy", "Thumbs", "Never Was Love", "Dandelion", "Yes Indeed", and "Watercolors". CD

A sweet set of vocal tracks from Judy Roberts – a mix of original tunes and a few covers, all done with a warm fusiony style, and plenty of Brazilian touches! Judy's at the height of her powers here – partly jazzy, partly in a songstress mode that's inspired by the advances that female singers made during the 70s – stretching out in the new freedoms, but never forgetting the lyric, or a need to swing. Includes a great remake of Ivan Lins' "Common Ground", plus the tracks "Two & A Half", "Country Samba", "Save That Time", "Nights In Brazil", "I Can't Help It", and "Starlight Haunted Ballroom". CD

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Titles include "Spiritual Awakening", "Mysterious Interlude", "The Governor", and "Spiritual Awakening". CD

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With Clancy Hayes, Alexander's Jazz Band, Darnell Howard, Bob Scobey's Frisco Band, and Darnell Howard's Frisco Footwarmers. CD

A real standout in the classic catalog of ECM – not only because the record's got a slightly different inspiration than most, but also because it seems to unlock some especially beautiful moments from players who could sound different in other settings on the label! As the title indicates, the tunes here all take inspiration from the poetry of Robert Creeley – but never in a mode that's got the usual jazz meets poetry approach – as Sheila Jordan sings the lyrics when they appear, with a sense of her own power that's very different than a more standard recitation – and which, to us, really feels a lot like her great vocal performances with Steve Kuhn for ECM. Kuhn is also in the group on piano, and other musicians include David Liebman on saxes, Lyle Mays on keyboards, and Bob Moses on drums – all working under the superb leadership of bassist Steve Swallow – who really outdid himself with the depth of feeling in this project. Titles include "Colors", "In The Fall", "She Was Young", "Some Echoes", "Ice Cream", and "You Didn't Think". CD

Poems by Robert Creeley, performed by the author alongside Steve Swallow on bass and Steve Kuhn on piano, accompanied by a small string quartet! CD

This bossa LP on Columbia is pretty good stuff! The record was recorded with some of Brazil's best bossa players – like Luiz Bonfa, Roberto Menescal, and Luiz Eca (of Tamba Trio fame). John Hammond produced the session, so you can be sure it's got the kind of rootsy sound that will make the tracks have a bit more kick than if the album was in the hands of a regular pop-bossa producer. Titles include "Avion", "Reza", "Vagamente", "Ela E Carioca", "Zomba", and "Alem Da Imaginacao". CD

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A thoughtful set of duets – just Robert Barry on drums and Fred Anderson on tenor! CD

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Monty Alexander on piano, Hassan Shakur on bass, and Mark Taylor and Robert Thomas Jr on drums. CD

Seminal work from the Art Ensemble of Chicago – recorded during their most creative period ever! The album was recorded live in October of 1969 – at a time when the group had pulled up roots and moved to France for a few years, bursting on the European scene with unique creativity that was not getting the recognition it deserved in their hometown of Chicago. The studio sets from this time are already the stuff of legend, and have thankfully made it back on reissue heavily the past few years – and this brilliant live set stands perfectly next to them – matching any of the LPs in the Great Black Music series on BYG/Actuel for sheer creative brilliance and soulful energy! Fontella Bass joins the group for a bit of vocals, and the 2CD set features 2 long tracks – "Bon Voyage" and "Oh Strange". CD

A fantastic classic from The Band – a set that's hardly got them cowering in the corner the way the "stage fright" title might imply – and which instead seems to have the group at their most confident during the early years, effortlessly spinning impeccable musicianship and some surprisingly biting lyrics! The young Robbie Robertson is on guitar, Garth Hudson warms things up with organ lines, and vocals are handled by the shifting array of other players in the lead – Rick Danko, Levon Helm, and Richard Manuel. Titles include "The Shape I'm In", "Sleeping", "Strawberry Wine", "Just Another Whistle Stop", "Daniel & The Sacred Harp", "Stage Fright", and "Time To Kill". CD reissue includes an alternate take of "Daniel & The Sacred Harp", two alternate mixes, and a radio commercial. CD

Tracks include "Mister Roberts' Roost", "Seventh Avenue Express", "Sophisticated Swing", and "House Rent Boogie". CD

Tim Berne on alto saxophone & vocals, Hank Roberts on cello and vocals, Mark Dresser on contrabass, giffus and bungy, Joey Baron on drums, synthesizer and electronics, Herb Robertson on trumpet, cornet and laryngeal crowbar, and Mark Feldman on violin. CD

Features Tim Berne on alto, Steve Swell on trombone, Herb Robertson on trumpet and various instruments, Marc Ducret on guitar, Mark Dresser on bass, and Bobby Previte on drums. CD

Beautiful sounds from Joanna Brouk – an artist who was sometimes lost amidst the new age scene of the 80s, but one who's got a much deeper, more intellectual approach overall! True, Brouk's music does have a certain meditative spirit – but she also was a student of Terry Riley and Robert Ashley, and drank deep of the new compositional spirit of the time – especially in the work of Riley, which is often reflected here, but in a more contemplative way than his own recordings. Music sometimes features a core line on flute, opening up and unfolding slowly – and there's also some nice piano, and even a bit of conch shell and Orca sounds too. Double-length set features the usual strong Numero Group level of notes and history – and contains 22 tracks in all, some of which were only ever issued on cassette! CD

An album with as much depth and richness as the title might imply – a wonderful record from Chico Buarque's newly sophisticated years at the end of the 70s! The set's got a quality that's almost timeless – an interwoven blend of styles that features some of Chico's modes from earlier years, but also an influence that's almost European at times – an approach that has Buarque rising up with some of the great global singer/songwriters, transcending standard MPB with a sense of confidence and personality that's really amazing. Arrangements are by Francis Hime, Tom Jobim, and Roberto Menescal – and most tracks have some prominent guitar played gently, but effectively next to the vocals – handled by players who include Octavio Burnier, Arthur Verocai, and Geraldo Azevedo. Titles are nearly all originals by Chico – with tracks that include "Vida", "Ja Passou", "Fantasia", "Qualquer Cancao", "Nao Sonho Mais", "Bye Bye Brasil", "Morena De Angola", and "De Todas As Maneiras". CD

Jazzy folk soul survivor Terry Callier returns to Mr Bongo with Hidden Conversations – with Terry's soul searching lyricism, warm vocals, and mood setting acoustic guitar paired with laidback production by trip hop pioneer Robert Del Naha of Massive Attack! The styles work pretty well together – Terry's way with a song and his performances are built ready to soar, even at their most stripped down and spare, and his voice and guitar are leading lights of the production, over spacey keys and trippy beats. Terry sings, speaks, scats, and tells stories wonderfully, and we're as proud as ever to have him as our Chicago-to-the-cosmos soul sage! Titles include "Wings", "Sunset Boulevard", "Hidden Conversations", "The Hood I Left Behind", "Once I Dreamed Of Heaven", "Fool Em I Fool R U", "Rice And Beans – Grace", "Jessie And Alice", "John Lee Hooker" and "Live With Me". CD

A gem of a record from the pre-bossa years in Brazil – a set that's not just noteworthy for rich vocals from Elizeth Cardoso, but also for some early arrangements by Antonio Carlos Jobim! Jobim scored the whole set – and while the style is quite different than his later bossa material, there's still a wonderful sensitivity to sound – that richness that Jobim discovered strongly in later years, and a perfect fit for the soulful vocals of Elizeth. The pair at this point went onto have an undeniable influence on Brazilian music for years to come – as you'll hear on tracks that include "Caminha", "Linda Flor Yaya", "So Voce Mais Nada", "Nunca Mais", and "Cancao Da Volta". CD features 6 bonus tracks that include "Ocultei", "Zanguei Com Meu Amor", "Nao Tenho Lar", and "Velha Praca". CD

Dave Samuels on vibraphone and marimba, Romero Lubambo on guitar, Dario Eskenazi on piano, Ray Vega on trumpet and flugelhorn, Randy Brecker on trumpet, Ruben Rodriguez on bass, Roberto Quintero on congas and percussion, Dafnis Prieto on drums and timbales, Mark Walker on drums, and Cafe on percussion. CD

One of the best American psyche albums we've heard from the late 60s – a near-perfect record that's head and shoulders above the rough experimentation of most other groups from the period! Colours spell their name with a definite British twist, and there's clearly a Beatles influence going on here – a sound that's almost pre-Sgt Peppers, but which has wonderfully complicated time changes, vocal parts, and production techniques that must have cost a pretty penny to such a little-known group! Horns and strings are arranged by Dave Roberts, and handled with a sensitivity that almost matches The Zombies' best at times – and the tunes themselves are a fresh variety of odd themes, including one number about robbing a liquor store. Titles include "Brother Lou's Love Colony", "Bad Day At Black Rock Baby", "Love Heals", "Rather Be Me", "I'm Leaving", "Cataleptic", "Don't You Realize", and "Lovin". CD

Danny Turner and Manny Boyd on alto saxophone and flute, John Williams on baritone saxophone and bass clarinet, Bill Hughes on bass trombone, Charlton Johnson on guitar, George Caldwell on piano, Doug Miller and Kenny Hing on tenor saxophone and flute, Clarence Banks, Robert Trowers, and Mel Wanzo on trombone, Bob Ojeda, Derrick Gardner, Melton Mustafa, and Mike Williams on trumpet, Cleveland Eaton on bass, and David Gibson on drums. CD

Really wonderful early work from pianist Berndt Egerbladh – a player who's gotten a lot more global attention in recent years, but who sounds especially great on this rare date from the 60s! The album's a masterful showcase for Berndt's warm, fluid approach on the keys of the piano – a style that's really quite unique for the time, and a very strong precursor to modes that wouldn't show up that strongly on other scenes until the following decade. There's a really mature sound to the record, but one that never tries to hard to be "new", nor pushes its own sense of specialness too strongly. Instead, Berndt manages to stretch out spaciously, but in an understated way – a beautiful balance of color and sound that gives the record a really timeless quality. Bass is by Bjorn Alke, drums by Sten Oberg – and titles include "Mr Idrees", "Eva", "Sarek", "Monique", "Schizo", and "Days Of Wine & Roses". CD

Dave Ellis on tenor saxophone, Marty Wehner on trombone, Dmitri Matheny on flugelhorn, Eric Reed and Jeff Chimenti on piano, Peter Barshay and Robert Hurst on bass, and Albert "Tootie" Heath and Deszon Claiborne on drums. CD

Beautiful Brazilian-tinged jazz from the legendary Dusko Goykovich – one of the best new albums we've heard from the European trumpeter in a long time, and one of the few that really lives up to the cross-cultural genius of his key albums from many years back! As you'd guess from the title, there's a fair bit of influences here from Brazilian jazz – acoustic guitar, flute, and percussion – all dancing along in a lively blend of bossa, samba, and more – served up with a warm glow and soulful finish that's a perfect foil for Dusko's bold and well-stated solos! The mix of modes here is perfect – and almost recalls the genius of Goykovich's legendary Slavic Mood album from the 70s – with a depth and sense of feeling that really brings out an added layer in his music. Celine Rudolph sings a bit on a few tracks on the record – and titles include "Samba Tzigane", "Melodia Sentimental", "Menina Moca", "A Descoberta De Lentidao", "Trio Loco", "Samba Triste", and "Every Day & Every Night I Dream Of You". CD

Prime mid 70s live Dead from a monumental series of shows at Winterland in late October, 1974! Steal Your Face is something of a benchmark in the official Dead archives, as it not only captures the band during their "farewell" run before going on hiatus, it was also the final album on their own Grateful Dead Records label in it's original incarnation when it first came out in 1976. Historical significance aside, it's just a great snapshot of the band at a peak level, with "The Promised Land", "Cold Rain & Snow", "Around And Around", "Stella Blue", "Ship Of Fools", "Big River", "El Paso", "Sugaree", "I Must Have Been The Roses", "Casey Jones" and more. CD

A beautiful return to acoustic soul jazz work for Wendell Harrison – after a string of more electrified albums in the 80s. Wendell's working here on tenor sax and clarinet – the latter of which he plays in these spiraling long lines that use the instrument in a searching, soprano sax-like manner – getting a sound that's really fantastic, and a depth of soul that really links the record back to the tradition of Wendell's work of the 70s. The group is great too – with players that include Kirk Lightsey and Pamela Wise on piano, Cecil McBee & Jaribu Shahid on bass, Doug Hammond on drums, and Robert Pipho on vibes – all working with Harrison on some creatively inventive tunes that sparkle with soulful energy! Titles include "Changing The Scene", "Merciful", "Fly By Night", "In Your Own Sweet Way", "Spank", and "Tons & Tons Of BS". CD

The moody trumpet of Jon Hassell is set up here with some live sampling from Jan Bang, guitar from Eivind Aarset, and keyboards from Jamie Muhoberac! CD

Hunter's getting a lot more sophisticated in his style, and is moving past the heavy funky sound of early days – to a mix of soulful styles that opens him up a lot more. This sextet session features drummer Leon Parker, who always works well with Hunter – plus tenorist Peter Apfelbaum, and percussionists Stephen Chopek and Robert Perkins. Titles include "Two For Bleu", "Al Green", "Rendezvous Avec La Verite", "Flau Flau", and "Cloud Splitter". Also features a nice solo version of Donny Hathaway's "Someday We'll All Be Free". CD

A seminal album – a late 60s classic meeting of the brain trust of the avant garde jazz scene in New York, recorded for the young JCOA label – and put forth as one of their early attempts to prove that musicians could be in charge of the means of production! Michael Mantler provided the core composition, and directs the group – but the lineup is a who's who of forces who'd record for ESP, Impulse, and other labels – with bold solos from Don Cherry on cornet, Gato Barbieri on tenor, Larry Coryell on guitar, Roswell Rudd on trombone, Cecil Taylor on piano, and Pharoah Sanders on tenor – in a larger lineup of players who also include Steve Marcus, Andrew Cyrille, Reggie Workman, Alan Silva, Carla Bley, Beaver Harris, Charles Davis, Robert Northern, Kent Carter, and many other key avant musicians! Titles include "Communications 8", "Communications 9", "Communications 10", and "Communications 11".' CD

One of Henry Kaiser's more widely-circulated albums of the 80s – with work from Joey Baron on drums, Hank Roberts on cello, David Balakrishnan on violin, and a host of other artists too! CD

One of the heaviest early King Crimson albums – a set that really has the group taking off even more than before – pushing the needles way into the red with their own sort of sonic intensity! The group's a trio this time around – with the legendary Robert Fripp on guitar, really carving out the sound with an edge that's incredibly sharp – plus the great John Wetton on vocals and bass, giving the group an unexpected sense of soul – and lots of mighty drums from Bill Bruford too! Additional instrumentation comes from some cats who really help round out the more complicated edges of the Crimson sound – David Cross on violin, Mel Collins on soprano sax, Marc Charig on cornet, and Ian McDonald on soprano sax. Tracks are all nice and long – and titles include "Starless", "Providence", "One More Red Nightmare", and "Red". CD

Seun Anikulapo Kuti returns with another strorming set of neo classic Afro Funk in the great tradition of his father – once again fronting the incredible Egypt 80 group! It's remarkable stuff that finds Seun – the youngest son of Fela – standing up as a visionary talent. He's not only living up to an immense legacy, but moving forward with it in ways that will absolutely stand the test of time. The insistent rhythms and intense energy of the Egypt 80 group – led by Lekan Animashaun – are Afrobeat perfection, with Seun's forthright vocals out front of it. But their approach here is anything but a retread of family glories. The songs are urgent and fierce, and there are subtle modern florishes in the production – thanks in part, no doubt, to co-producer Brian Eno. Titles include "African Soldier", "You Can R Un", "Rise", "Slave Masters", "For Dem E Ye", "The Good Leaf" and "Giant Of Africa". CD

Features Ingrid Laubrock on saxophones, Cory Smythe on piano and quarter-tone keyboard, Sam Pluta on electronics, Zeena Parkins on electric harp, Adam Matlock on accordion, Josh Modney on violin, Robert Landfermann on bass, and Tom Rainey on drums. CD

With Kenny Kirkland on piano, Robert Hurst on bass, and Jeff 'Tain' Watts on drums. CD

Wynton Marsalis, Marcus Printup, Riley Mullins, Roger Ingram, Russell Gunn, Ryan Kisor, and Seneca Black on trumpet, Wess Anderson on clarinet, alto and soprano saxophone, James Carter on clarinet, bass clarinet, and baritone saxophone, Victor Goines on clarinet, tenor and soprano saxophone and bass clarinet, Walter Blanding on soprano saxophone, Robert Stewart on tenor saxophone, Ron Westray and Wayne Goodman on trombone, Wycliffe Gordon on trombone and tuba, Michael Ward on violin, Eric Reed on piano, Reginald Veal on bass, and Herlin Riley on drums and tambourine with vocals from Cassandra Wilson, Jon Hendricks, and Miles Griffith. CD

A nice little take on the "city symphony" mode that was big in American music a few decades back – served up by the Wynton Marsalis Septet of the early 90s, with decidedly modern touches! The double-length album's a three-tiered affair – with part one standing out as Wynton's extended "Cityscape" – a tribute to New York, done in styles that range from mellow and contemplative, to more hustling and bustling, in true speed of the city. Next up is another suite of tracks titled "Transatlantic Echoes" – work that's still jazz-based, but with a nod to African roots in some of the percussion and phrasing. Last up is "Some Present Moments Of The Future" – the final suite of the album, and one that almost echoes some of the rootsier modes explored by Wynton in his southern trilogy of a few years before. Players include Wynton on trumpet, Todd Williams on tenor and soprano sax, Wes Anderson on alto, Wycliffe Gordon on trombone, Reginald Veal on bass, Herlin Riley on drums, and Eric Reed on piano – and the album also features some guest tenor from Herb Harris and a bit of piano by Marthaniel Roberts. CD

Wynton Marsalis is working in lean quartet formation here – no sax from brother Branford, whose own star was rising – and instead lots more room to really stretch out on his own languid lines on trumpet! The rest of the quartet features Marcus Roberts on piano, Robert Hurst on bass, and Jeff Watts on drums – all of whom work in subtle ways to match Marsalis' shadings in sound – a rich tapestry of colors and tones that lies somewhere in a space between early Miles and modern Freddie Hubbard. Titles include "J Mood", "Insane Asylum", "After", "Much Later", "Skain's Domain", and "Melodique". CD

A bit more of a high concept album than some of Wynton Marsalis' previous efforts – a set with a few more added horns on side one, and an extended suite on side two! The work definitely shows Wynton's increasing concern with jazz history – his desire to embrace, and sometimes represent, decades of past musical expression in his work – a real Lincoln Center sort of impulse, but one that still comes off relatively well here, and without as much hoke as you'd expect. Side one has Wynton working with regular pianist Marcus Roberts, plus Todd Williams on tenor and soprano sax and Wes Anderson on alto – and side two features a completely different group, much more in an older-styled jazz vein – with Michael White on clarinet, Danny Barker on banjo, Teddy Riley on trumpet, and Freddie Lonzo on trombone. Titles include "The Majesty Of The Blues", "Hickory Dickory Dock", and the expanded "New Orleans Function" suite. CD

A brilliant pairing of two generations of the AACM – as Roscoe Mitchell writes and conducts, and the group's led by Nicole Mitchell – and features a great assortment of very creative musicians! The blend of talents is key to the strength of the set – as the record avoids some of the coldness that you might find in some of Mitchell's other recent compositions – and really brings in the kind of warmth and humanity we've always loved in Nicole's recordings! In addition to Nicole Mitchell on flute, the set also features work by David Boykin on tenor, Josh Abrams on bass, Maia on harp, Tomeka Reid on cello, Greg Ward on alto, Robert Griffin on trumpet, Myra Melford on piano, and Mankwe Ndosi on voice – on titles that include "Quintet 1 For Eleven", "Cards For Orchestra", and "Quintet 9 For Eleven". CD

An all-star quintet session from tenor genius Hank Mobley – originally recorded during his classic run for Blue Note in the late 50s – but then unissued for decades, until a CD-only appearance in Japan many years later! Hank's in tremendous young formation here – blowing with that rich, soulful style that made him an instant winner as a leader – especially when he get the chance to record for Blue Note! The rest of the group is top-shelf too – with sparkling trumpet from Kenny Dorham, piano from Sonny Clark, bass from Jimmy Rower, and drums from Art Taylor – stepping out strongly together on tracks that include "The Mobe", "Don't Get Too Hip", "Curtain Call", "On The Bright Side", and "My Reverie". CD

Ralph Moore's a player we always like to keep our ear on, and this album's no exception – a cracklingly soulful batch of tunes played with a razor-sharp quintet, all tied together beautifully with Moore's tenor on top! The date's great proof that rock-solid sessions could still be cut well after the classic Blue Note or Prestige Records years – and Moore's sense of timing and guidance easily matches that of many other tenor titans from previous years. And even more than some tenorists, who really see themselves as the star of the show, Ralph's got a sense of warmth and comradeship that always seems to bring out the best in his players – who on this date include Roy Hargrove on trumpet, Benny Green on piano, Peter Washington on bass, and either Victor Lewis or Kenny Washington on drums. Titles include "Pheobe's Samba", "Girl Talk", "Line D", "Monk's Dream", "310 Blues", and "Hopscotch". CD

Electronic dance music for both lobes of the brain not to mention the posterior. CD

David Murray on tenor saxophone and bass clarinet, Olu Dara on cornet, Bobby Broom and Daryl Thompson on guitar, Robert Irving III on synthesizer and organ, Darryl Jones on bass, Toby Williams on drums, and Kahil El'Zabar on percussion. CD

David Murray on tenor saxophone and bass clarinet, Olu Dara on cornet, Bobby Broom and Daryl Thompson on guitar, Robert Irving IIIon synthesizer and organ, Darryl Jones on bass, Toby Williams on drums, Kahil El'Zabar on percussion and vocals, and G'ra on voice. CD

Robert Hopps on prepared guitar, Jonathan Webb on turntables, and both musicians on electronics. CD

Luis Perdomo on piano, Miguel Zenon on alto saxophone, Max King on tenor saxophone, Ravi Coltrane on tenor and soprano saxophone, Ugonna Okegwo, Carlo DeRosa, and Miriam Sullivan on bass, Ralph Peterson Jr on drums, and Roberto Quintero on batas and Afro Venezuelan percussion. CD

A record that features a slightly expanded concept on the ideas that Astor Piazzolla had unleashed with his Zero Hour album – all those incredible twists and turns he'd been using to transform Argentine modern music – roots in the tango, but expressions that are up there with some of the most creative 20th Century performances from other parts of the globe! As before, Piazzolla's bandoneon is at the center – but the inflections on piano and violin are also key too – on titles that include "Fugata", "Soledad", "Sur Los Suenos", and the longer "La Camorra" suite. CD

Gregory Porter arrives on Blue Note Records – and the result is Porter's most fully-formed set so far – just the kind of album that will push him firmly into the limelight – a place that we've felt he's deserved for quite a few years! Porter's a hell of a singer, and a hell of a songwriter too – and although his roots are in jazz, he's got a rare ability to step between genres with plenty of soul – a special space that belongs to a very rare few – like Nina Simone, Bill Withers, Roberta Flack, or Gil Scott-Heron! Gregory's voice is amazing, his lyrics are both personal and pointed – and he does so much here with so little, the album should be handed out to the hundreds of mis-directed vocalists who think that a few extra tweaks in the studio is all they really need. Most numbers just feature small combo backing, with wonderfully warm piano from Chip Crawford – and the whole thing's got a timeless feel that makes us think this is the beginning of a rich new season for Porter. Titles include "Free", "Water Under Bridges", "Lonesome Lover", "Liquid Spirit", "No Love Dying", "Brown Grass", "When Love Was King", and "Wind Song". CD

Key Sun Ra albums for ESP records – the Heliocentrics World trifecta – in a 3CD set! The work here is a bit more intense than usual – almost cerebral at times, with very contemplative passages on percussion and reeds, offset by strong piano lines from Ra – all in a mode that marks a sharp break from earlier Saturn albums. Volume One finds the group working in an interstellar formation that holds up strongly with the Saturn sides – John Gilmore on tenor, Marshall Allen on alto, Teddy Nance on trombone, Chris Capers on trumpet, Danny Davis on flute and alto, and Ra on piano, bass marimba, and some especially nice electronic celeste! Things get quite out at points – freer almost than other Arkestra sides of the time – and titles include "Outer Nothingness", "Other Worlds", "Nebulae", "Dancing In the Sun", "The Cosmos", and "Of Heavenly Things". Volume Two has a freer feel than the first volume, and a bit more avant-oriented work overall. Ra and the group play a lot of percussion – and Ra himself is on tuned bongos, piano, and clavioline, which has a very nice spooky sound! The reed work on the album is by Robert Cummings, John Gilmore, Pat Patrick, and Marshall Allen – with bass by Ronnie Boykin and percussion by Roger Blank. Tracks include "Cosmic Chaos", "House of Beauty", and "The Sun Myth". Volume Three features tracks recorded during the sessions for Volume Two, but it was lost to the sands of time for nearly 40 years! Like that previous album, this one features a smaller version of the Arkestra than usual – an octet that has Ra working with core hornmen Pat Patrick, John Gilmore, Marshall Allen, Walter Miller, and Robert Cummings – supported by a rhythm section that includes Ronnie Boykins on bass and Roger Blank on percussion. Apart from a lot of added percussion by various members of the group, the instrumentation overall is relatively straightforward – even if Ra's compositions are not. The set kicks off with the 17 minute "Intercosmosis" – a relatively free, stretched-out tune – then is followed by shorter numbers that travel along darker, more introspective pathways. These titles include "World Worlds", "Interplanetary Travelers", "Mythology Metamorphosis", and "Heliocentric Worlds". CD

Bassist Marlene Rosenberg leads a hell of a trio here – one that features Kenny Barron on piano and Lewis Nash on drums – both tremendous players who sound even better in the round, rich company of Rosenberg's bass! Most titles are trio numbers, but driven as much by the bass as by the always-wonderful work of Barron – and the tunes include many originals by Marlene – instrumentals, but with a current of the more righteous energy promised by the title. One exception is the great "Not The Song I Wanna Sing" – a number that has Rosenberg on vocals while Christian McBride handles the bass – alongside other vocal contributions from Thomas Burrell and Robert Irving III – which help make the song the most political number on the set. Titles include "The Line Between", "American Violet", "Togetherness", "And Still we Rise", "Visions", "The Barron", "Rain", "Love's In Need Of Love Today", and "Not The Song I Wanna Sing". CD

The start of a fantastic tradition – the first-ever recording of the SF Jazz Collective, a kickoff to a series that would give us amazing records for years to come! This time around, the group work through a series of Ornette Coleman tunes, re-arranged by Gil Goldstein for the octet – which features an all-star lineup that includes Bobby Hutcherson on vibes, Joshua Redman on tenor, Nicholas Payton on trumpet, Miguel Zenon on alto, Josh Roseman on trombone, Renee Rosnes on piano, Robert Hurst on bass, and Brian Blade on drums – all strong leaders on their own, but doing a remarkable job here of putting aside egos and working together as a whole! Coleman tunes include "Una Muy Bonita", "Lonely Woman", "School Work", "Happy House", and "When Will The Blues Leave" – and originals include "Of This Day's Journey", "Wages", "March Madness", and "Rise & Fall". CD

Growing brilliance from the young Archie Shepp – a record that's not just about Archie's own amazing work on the tenor, but also his keen modern vision as a leader! The combo here is an ensemble that features some of the hippest modernists of the 60s – Roswell Rudd and Grachan Moncur on trombone, Perry Robinson on clarinet, Howard Johnson on tuba, Charlie Haden on bass, and Tommy Turrentine on trumpet – making a rare non-bop appearance here, and further enforcing our already-high estimation of his talents! The style's somewhat in the "new thing" mode of the period, but it's also a bit more tightly arranged too – almost hitting Mingus-like modes for the bigger ensemble – balancing the force of the group together with very free, bold solo impulses from the players. Side one features the extended "Portrait Of Robert Thompson (As A Young Man)" – and side two features "Mama Too Tight", "Theme For Ernie", and "Basheer". CD

2 soundtracks by David Shire – an oft-overlooked film composer, best known for his work on Pelham 123! Farewell My Lovely is a great late Robert Mitchum film – kind of a 70s noir, featuring Mitchum as Philip Marlowe – and the music is kind of a reworking of an older style of dramatic crime soundtrack styles, with the additional of some more off-beat and edgey passages that create a more sinister feel. The score's actually got some nice jazz work by players that include Dick Nash, Don Menza, and Artie Kane – and features 12 titles that include "Mrs Grayle's Theme", "Amthor's Place", "Marlowe's Trip", "Three Mile Limited", and "Moose Finds His Velma". That soundtrack is followed up by Monkey Shines – a dark 80s horror flick, done with a mix of atonal orchestrated numbers, and others that somehow have a sweeter more redemptive feel. Titles include "The Lab", "Death Of A Parakeet", "The Reascent Of Man", "Agon: Man Versus Monkey", and "Asocial Climbing". CD

Two great albums from Chicago's Argo label brough together on one great CD! Norman Simmons is a wonderfully soulful piano player, of the rare kind who always seems to bring something "extra to the table"! The set's more than the usual piano trio side of the time, as Simmons contributes a number of original tunes, and works with bassist Victor Sproles and drummer Vernel Fournier to craft some lean tunes that have a nice dose of modernism from time to time. Titles include "Peppe", "Capacity In Blues", "Jan", "Chili Bowl", and "Tranquility". Richard's Almanac is a rare early trio session from bassist Richard Evans – known much more famously for his late 60s soul and jazz arrangements at Chess! The set's not only unique for it's exposure of Evans as a jazz artist, but it also marks one of the first appearances of pianist Jack Wilson – still a part of the Chicago scene at the time of this album, but already playing with the fluid lyricism we love so much from his 60s LA recordings! Wilson's piano is a really key part of the record, and he works a groove that's simply sublime – filled with lots of flowing, gliding touches on the top of the keys, but also coming across with enough of a bottom to give the record plenty of soul! The drummer in the group is Robert Barry, another noteworthy south sider at the time – and titles include "Consu", "The Preacher", "Trees", "Vera", "Should I", and "Daybreak". Nice cover, too, with a young Evans sitting in front of a globe! CD

The amazing debut of Soft Machine! It's hard to find a more seminal moment of jazz rock from the British scene – and there's certainly few albums from its generation that stand up as well over the years as this one! The trio of Robert Wyatt, Kevin Ayers, and Michael Ratledge carve out the future of progressive playing on this excellent set of shorter tunes that still offer up all the hard jamming of later years. Beat group morphs into prog jazz before your very eyes – on tracks like "Hope For Happiness", "Why Am I So Short", "Save Yourself", "Priscilla", "So Boot If At All", "A Certain Kind", "Lullabye Letter", and "Why Are We Sleeping?". CD

A great later date from this legendary pianist and singer – part of the great Delmark revival of his talents! Other players include King Kolax on trumpet, Oett Mallard on tenor, and Robert Lockwood Jr on guitar! CD

One of the most ambitious albums ever from pianist Horace Tapscott – a double-length set that has him working with a large lineup of underground musicians from the 70s Los Angeles scene – all united in spirit and power as the Pan-African Peoples Arkestra! Tapscott's piano directs the group strongly – as an extension of the vision that he brought to the late 60s Sonny's Dream album by Sonny Criss – but the music is freer, more spiritual, and often graced with bursts of ensemble energy, balanced by some really tremendous solos from other musicians too! The lineup includes some other key members of the Nimbus Records collective – including Jesse Sharps on saxes and flute, Linda Hill on piano, Adele Sebastian on flute, and Roberto Miranda on bass – and other players include James Andrews and Sabia Matteen on tenor, Archie Johnson and Lester Robertson on trombone, Billy Harris on soprano, Herbert Callies on alto clarinet, and Michael Session on alto. Titles include "Flight 17", "Breeze", "Horacio", "Clarice", and "Maui". CD

Maybe the greatest record so far from Tinariwen – and a set that definitely has them really honing their amazing guitar-based skills, yet all without sounding commercial or crossover at all! The album's got a fullness that we've never heard before from the group – kind of a righteous power that really pushes their sounds and social agenda forward very strongly – at a level that really descends regional boundaries, and really lives up to the globe-trotting spirit of the group in recent years. The sound is wonderful – completely evocative right from the start, yet still very much focused on the core energy of the group, without any attempts to ever overproduce anything at all. Titles include "Emajer", "Koud Edhaz Emin", Tahalamot", "Sendad Eghlalan", "Toumast Tincha", and "Timadrit In Sahara". CD

Rosana Toledo's got some mighty hefty hair on the front cover – but the album is much less stiff and formal – as the singer really taps into her emotive depths throughout – showing us that although life goes on, as promised by the title, it's not without its melancholy moments! Arrangements are relatively full, with light percussion underneath larger orchestrations – all handled by Maestro Nelsinho, on titles that include "Nao Me Diga Adeus", "Salve Ogum", "E A Vida Continua", "Porque Fui Te Encontrar", "Desolacao", "Pra Que Mentir", and "Feitio De Oracao". CD

A whole new side of Charles Tolliver's talents – a majestic big band album, with Charles' trumpet right out front in the lead! At some level, the album's an extension of Tolliver's larger group projects with Music Inc back in the 70s – but at another level, the feel here is totally different – much more complex and dynamic, with a rich array of colors and tones we'd never heard before in his work! The group's definitely a big band – with a full brace of trumpets, trombones, and saxes – all working together in very tight formation to realize Tolliver's musical vision. Solos are by Charles on trumpet on most tracks, plus Bill Saxton and Billy Harper on tenor, Staffort Hunter on trombone, Todd Bashore on alto sax, and Robert Glasper and Stanley Cowell on piano. Titles include "With Love", "Rejoicin", "Mournin Variations", "Right Now", "Suspicion", and "Hit The Spot". CD