A pretty great set from Les McCann – and quite a bit different than some of his other work of the time! This one's sub-billed as "the ballad style of Les McCann" – but it features Les playing these laidback, mellow numbers that are way different than most jazz ballads of the time – almost darkly modern moments that draw a lot from rich tones and gentle chromes – of the sort we've hardly ever heard McCann play this way, and which almost hint at some of the gentler touch he'd use on the keys during the Fender Rhodes generation – even though this one's recorded a decade before. Backing is equally thoughtful and sensitive – with Herbie Lewis on bass and Ron Jefferson on drums – and titles include two originals – "Pretty Lady" and "Dorene Don't Cry I" – plus "Django", "Stella By Starlight", "On Green Dolphin Street", "Ill Take Romance", and "Little Girl Blue". CD

A nice session of west coast soul jazz – and one that has Les McCann fronting the soulful group of Gerald Wilson. Les sings on a few tracks, but these are mostly sleepy covers of bluesy standards – like "Please Send Me Someone To Love" and "Since I Fell For You". The nicer cuts have Les' piano out front, playing instrumentally on nice originals like "Someone Stole My Chittlins", "Nairobi Nights", and "Lavande". LP, Vinyl record album

Bassist Ron McClure heads up a wonderfully warm group here – one that features excellent tenor from Anthony Ferrara, a player who blows with a slightly raspy, nicely soulful tone that's a wonderful complement to the bass! Other players include Michael Eckroth on piano and Steve Johns on drums – and the well-recorded session has Ron right out front with a strong vibe that reminds us what a great player he can be – while also letting Ferrara and Eckroth to have some great time in the spotlight as well. There's plenty of great originals by McClure on the session – including "Topanga", "Pure Imperfection", "Vinnie's 8 Bar Blues & Bridge", "Nimbus", "Let's Pretend Everything's Cool", and "Dog Day Rain". CD

A killer live set from Hammond genius Jack McDuff – one of a few totally smoking records he did in this style for Prestige during the 60s! The group's a quartet, with stunning work from the young George Benson on guitar, burning tenor from Red Holloway, and amazing drums from Joe Dukes – one of the few players on the kit who really got the right energy to match McDuff on the keys! The album's filled with screamin' groovers throughout, including a great version of "Girl From Ipanema", plus originals like "Another Goodun" and "S'Okay". McDuff was always best in a live setting – and this rare gem is a great testament to that fact! LP, Vinyl record album

Easily one of the best albums ever cut by this oft-overlooked bop trumpeter – and a clean, clear, no-nonsense session played with some great modern touches! The session really steps off from McGhee's earlier work nicely – and is noteworthy not only for Howard's great trumpet work, but also for the presence of baritonist Sahib Shihab in the group, making a great small group appearance here and really dominating the session with his strong sound. Other players include Duke Jordan on piano, Percy Heath on bass, and Philly Joe Jones on drums – and titles include a good number of originals by McGhee. Tracks include "Tweedles", "Tahitian Lullaby", "Rifftide", "Oo Wee But I Do", "Transpicious", and "Don't Blame Me". CD

A hard and heavy Hammond jazz classic – and one of Jimmy McGriff's greatest recordings of the 60s! The title track's a new rendition of Ray Charles' famous tune "I've Got A Woman" – recorded here in a rolling, vamping groove that must have blown the woofer out of countless jukeboxes in the east coast lounge scene back in the 60s! Jimmy's use of the bass pedals on the tune is incredible, and really sets the stage for the rest of the album's powerhouse grooves – a nice blend of originals by Jim, plus some wonderfully re-worked jazz classics – played by a trio that included guitarist Morris Dow and drummer Jackie Mills. Other tracks include "M.G. Blues", "All About My Girl", "Flying Home", and "That's The Way I Feel". LP, Vinyl record album

Most likely our favorite album by John McLaughlin – and one that features him in a wonderfully spare setting – alongside John Surman on saxes, Brian Odges on bass, and Tony Oxley on drums. The playing has a free and loose quality that McLaughlin would later lose on some his more fusion-y outings, and the group runs through some excellent post bop originals and modal excursion – all done with a wide open sound and a great sense of dynamics. Titles include "Extrapolation", "It's Funny", "Argen's Bag", "Pete The Poet", "This Is For Us To Share", "Spectrum", "Binky's Beam", "Really You Know", "Two For Two", and "Peace Piece". CD

If you ever needed a record to re-remind you of the genius of Jackie McLean, this Blue Note classic may well be it! At first glance, the session appears to be the usual sort of date – a quintet outing, with help from Donald Byrd on trumpet, Walter Davis on piano, Paul Chambers on bass, and Pete LaRoca on drums – yet as with all of McLean's best moments on records, the album explodes with freshly creative energy from the start – getting way past any easy expectation in the way it sets up the groove and delivers the sound! Jackie's tone is amazing – very modern at times, yet with all the soul of hardbop – and although the rhythms are relatively straight, there's always a slight setting-free at points – that pre-new thing groove that McLean further explored on records like Capuchin Swing or Fickle Sonance. The sound is amazing throughout – and titles are all originals by McLean and Davis – great gems that include "Davis Cup", "Sweet Cakes", "Hip Strut", "Minor Apprehension", and "Greasy". LP, Vinyl record album

A very apt title – as Jackie McLean sits in for a soulful session with the Great Jazz Trio of Hank Jones, Ron Carter, and Tony Williams – all "old bottles" at this point in their career, but working together beautifully to brew some very mellow "new wine"! The album's easily one of the best in the trio's run of the time – as Jackie's alto sax really helps flesh things out a bit more than usual – and moves the album past the trio sound of their other records. McLean gets plenty of space to do his thing on the longer tracks – and the piano of Jones, bass of Carter, and drums of Williams have a solid, soulful approach that's really wonderful. Titles include 2 McLean originals titled "Appointment In Ghana Again" and "Little Melonae Again", both remakes of older tunes – plus "Confirmation", "Bein Green", and "Round Midnight". CD

A very apt title – as Jackie McLean sits in for a soulful session with the Great Jazz Trio of Hank Jones, Ron Carter, and Tony Williams – all "old bottles" at this point in their career, but working together beautifully to brew some very mellow "new wine"! The album's easily one of the best in the trio's run of the time – as Jackie's alto sax really helps flesh things out a bit more than usual – and moves the album past the trio sound of their other records. McLean gets plenty of space to do his thing on the longer tracks – and the piano of Jones, bass of Carter, and drums of Williams have a solid, soulful approach that's really wonderful. Titles include 2 McLean originals titled "Appointment In Ghana Again" and "Little Melonae Again", both remakes of older tunes – plus "Confirmation", "Bein Green", and "Round Midnight". CD

Obscure pop/soul release recorded for Audio Fidelity, with arrangements by Coleridge Perkinson. Babs runs through a set of mostly pop stuff, like "Windows of the World" and "Didn't We", but there's also some originals like "I Can Tell" and "Something Happy". LP, Vinyl record album

Insanely beautiful work from the great Joe McPhee – an album that was recorded and intended to be issued during his groundbreaking stretch with Hat Art Records – but which never saw the light of day at the time! Why that happened, we're not entirely sure – because the album is tremendous right from the very first note – as McPhee blows alto, tenor, and pocket cornet alongside the work of Andre Jaume on alto, tenor, and bass clarinet – in a set of horn-only performances that are breathtaking from start to finish! Jaume's a great player too – and his work of the time, especially on Hat Art, is a masterpiece of subtlety and soul – and he balances McPhee perfectly here, often with some deeper currents that create a beautifully organic energy between the two. Jaume's got this way of handling his reed that's amazing – and, of course, Joe's phrasing is as incredible as always. Titles include great reworks of modern jazz classics – including "Pithecanthropus Erectus", "Self Portrait In Three Colors", "Evidence", "Chelsea Bridge", and "Lonely Woman" – plus the originals "Nuclear" and "Rue St Jaume". CD

Insanely beautiful work from the great Joe McPhee – an album that was recorded and intended to be issued during his groundbreaking stretch with Hat Art Records – but which never saw the light of day at the time! Why that happened, we're not entirely sure – because the album is tremendous right from the very first note – as McPhee blows alto, tenor, and pocket cornet alongside the work of Andre Jaume on alto, tenor, and bass clarinet – in a set of horn-only performances that are breathtaking from start to finish! Jaume's a great player too – and his work of the time, especially on Hat Art, is a masterpiece of subtlety and soul – and he balances McPhee perfectly here, often with some deeper currents that create a beautifully organic energy between the two. Jaume's got this way of handling his reed that's amazing – and, of course, Joe's phrasing is as incredible as always. Titles include great reworks of modern jazz classics – including "Pithecanthropus Erectus", "Self Portrait In Three Colors", "Evidence", "Chelsea Bridge", and "Lonely Woman" – plus the originals "Nuclear" and "Rue St Jaume". CD

Sweet modern southern soul by The Meadows – recorded at Muscle Shoals with a warm harmony sound that's better than you'd expect from the date. The album features a nice version of Leon Ware's "I'll Be Your Sunshine", plus the funky cut "Wheels", and the originals "Body Power", "I Can't Understand", "She's Gone", and "I Wanna See You Right Now". LP, Vinyl record album

The great keyboardist Mike Melvoin is at the top of his game here – getting a rare session as a leader, and working on Hammond, electric harpsichord, electric piano, and even ondoline! The small combo features Emil Richards on percussion, Don Peake on guitar, and Hal Blaine on drums – and the set features groovy versions of "Summer in the City" and "For No One", plus some originals, all played on a number of different keyboards. LP, Vinyl record album

One of the best-remembered albums from the moog pop generation – a record that's definitely a cut above the rest, thanks to the top-shelf talents of pianist Mike Melvoin! Melvoin is a name you'll recognize from countless other great LA sessions of the 60s – and Mike was always able to shift and move into the best sorts of styles when he wanted – jazz, soul, funk, and here, the new world of moogy instrumentals – served up here with some nice electronic effects that really keep things interesting! The record also features groovy help from Paul Humphrey and Earl Palmer on drums, and Dennis Budimir on guitar – and Beaver and Kraus were the "moog consultants" on the record too. There's some nice originals – including "One Man One Volt", "Plastic Cow", and "Medicine Man" – plus covers of "Born To Be Wild", "Sunshine Of Your Love", "Spinning Wheel", and "Ballad Of John & Yoko". LP, Vinyl record album

A solo record with Pat Metheny on baritone guitar. Tracks are mostly originals, but also include a version of Keith Jarrett's "My Song". CD

A tremendous first outing as a leader for Japanese saxophonist Kosuke Mine – one of our favorite players of the 70s, already sounding wonderful here right at the start! The album's got a freewheeling vibe – not entirely avant, and maybe more in the modal territory unlocked by Miles Davis a few years before – although with a very different vibe, given the Mine's in the lead on alto! Yet the group also features some very Miles-like use of electric piano – handled here by Masabumi Kikuchi, a key young contemporary of Mine, and one who'd gotten a bit more of a head start in the world of recording – really adding a lot to the record here, next to the very forward-thinking rhythm duo of American players Larry Ridley on bass and Lenny McBrowne on drums! All tracks are nice and long, and most are originals – the kind of open, long-spun cuts that really herald all the great changes taking place on the Japanese jazz scene at the time. Titles include "Little Abbi", "McPhee", "Love Taken", "Morning Tide", and "Bar L'Len". CD

A tremendous first outing as a leader for Japanese saxophonist Kosuke Mine – one of our favorite players of the 70s, already sounding wonderful here right at the start! The album's got a freewheeling vibe – not entirely avant, and maybe more in the modal territory unlocked by Miles Davis a few years before – although with a very different vibe, given the Mine's in the lead on alto! Yet the group also features some very Miles-like use of electric piano – handled here by Masabumi Kikuchi, a key young contemporary of Mine, and one who'd gotten a bit more of a head start in the world of recording – really adding a lot to the record here, next to the very forward-thinking rhythm duo of American players Larry Ridley on bass and Lenny McBrowne on drums! All tracks are nice and long, and most are originals – the kind of open, long-spun cuts that really herald all the great changes taking place on the Japanese jazz scene at the time. Titles include "Little Abbi", "McPhee", "Love Taken", "Morning Tide", and "Bar L'Len". LP, Vinyl record album

Early work from this tremendous Japanese saxophonist – working here on both alto and soprano sax, in styles that are sharply angular, but also quite warm and soulful! Kosuke Mine's got a quality that's a bit like Joe Henderson at the same time – obviously informed by earlier hardbop, but let loose in some bolder lines that snake out with a rich, bold feel that's totally great. His group here features Fender Rhodes from Hideo Ichikawa – possibly further underscoring some of the Henderson electric styles of the set – and other players include Takashi Imai on trombone, Takashi Mizuhashi on bass, and Hiroshi Murakami on drums. The record's got a nice sense of freedom, but is never too far outside – and titles include a version of Joe Henderson's "Isotope", plus the originals "Morningtide", "Dream Eyes", and "Work I". CD

One of Charles Mingus' excellent albums for the Bethlehem label – recorded during that magical year of 1957, a real turning point in his career! There's a sharpness here to Mingus' musical vision that hadn't shown up in previous years – a refinement of ideas expressed for Savoy and Prestige on previous sessions, drawn with tighter tension, and a bolder sense of spirit and emotion throughout. The group's a well-chosen batch of modernists – with Shafi Hadi on alto and tenor, Jimmy Knepper on trombone, Clarence Shaw on trumpet, and the surprising addition of Bill Evans on piano – sounding a fair bit bolder here than elsewhere. Titles are almost all Mingus originals with a great balance of modern structures and freer solo moments – and tracks include "Conversation", "West Coast Ghost", "Fifty First Street Blues", "East Coasting", and the sublime "Celia", which Mingus and Hadi performed in the film Shadows by John Cassavettes. CD reissue also features bonus alternate takes of "East Coasting" and "Memories Of You". CD

One of Charles Mingus' excellent albums for the Bethlehem label – recorded during that magical year of 1957, a real turning point in his career! There's a sharpness here to Mingus' musical vision that hadn't shown up in previous years – a refinement of ideas expressed for Savoy and Prestige on previous sessions, drawn with tighter tension, and a bolder sense of spirit and emotion throughout. The group's a well-chosen batch of modernists – with Shafi Hadi on alto and tenor, Jimmy Knepper on trombone, Clarence Shaw on trumpet, and the surprising addition of Bill Evans on piano – sounding a fair bit bolder here than elsewhere. Titles are almost all Mingus originals with a great balance of modern structures and freer solo moments – and tracks include "Conversation", "West Coast Ghost", "Fifty First Street Blues", "East Coasting", and the sublime "Celia", which Mingus and Hadi performed in the film Shadows by John Cassavettes. CD reissue also features bonus alternate takes of "East Coasting" and "Memories Of You". CD

A pivotal album in the career of Charles Mingus – one that really has him honing his sound, and reaching for that trademark mix of modernism and raw emotion that set a whole generation on fire! The album's a lot more freewheeling than other Mingus material from the time – although still a bit more compact than the Atlantic or Columbia sides – and the group's staffed with key early interpreters of Charles' vision – including John LaPorta on alto, Teo Macero on tenor and baritone, Thad Jones on trumpet, Clem DeRosa on drums, and Jackson Wiley on cello – an instrument that really helps shade in some of the darker corners of the tunes. Titles include great early originals like "Four Hands", "Minor Intrusion", "Thrice Upon A Theme", and "The Spur Of The Moment" – plus his great take on "Stormy Weather", which is a bit stormier than most! LP, Vinyl record album

A landmark recording from Mingus – and one of his best of the mid 60s! The album was recorded live at the Montery Jazz fest – and it features great work by Jaki Byard, Charles McPherson, John Handy, and Lou Blackburn. Mingus explores his increasing fascination with the work of Ellington on the extended Ellington Medley, which takes up most of the first record – and then he moves into two long fantastic originals, "Orange Was The Color Of Her Dress, Then Blue Silk" and "Meditations On Integrations. Both works represent some of his most sophisticated compositions – and the performances here are legendary. CD

Fantastic mid-50's work by Mingus, and a pivotal pair of recordings that clearly show his transition from bop bassist to groundbreaking modernist. The CD brings together two rare 10" albums that originally came out on the Period label in 1954. The albums are also noteworthy for the incredible talents of reed player John LaPorta, a mid-50's Mingus collaborator, and one of the most overlooked geniuses of that decade's jazz scene. Other players include John LaPorta, Thad Jones, and Clem DeRosa – and the titles are a good mix of originals and strangely-arranged standards (which were sort of Mingus' trademark at the time). Includes "The Spur Of The Moment/Echonitus", "Stormy Weather", "Minor Intrusion", "Four Hands", and "Thrice Upon A Theme". CD

A classic early 60s session for Candid Records – put together by a group that includes Charles Mingus, Max Roach, and a host of other musicians who were working here as "Newport Rebels" – by setting up the Jazz Artists Guild Festival as a protest against the increasingly commercialized Newport date! And for the record, the group definitely live up to their name – really shaking off the easier modes popularized at the Newport festival, and coming across with a style that's much more modern, firey, and righteous! Other artists include Abbey Lincoln on vocals, Booker Little on trumpet, Tommy Flanagan on piano, Eric Dolphy on saxophone, and Jimmy Knepper on trombone – and titles include a great rendition of "Tain't Nobody's Business If I Do" – plus 2 other great originals, "Cliff Walk" by Booker Little and "Mysterious Blues" by Mingus. CD

A classic early 60s session for Candid Records – put together by a group that includes Charles Mingus, Max Roach, and a host of other musicians who were working here as "Newport Rebels" – by setting up the Jazz Artists Guild Festival as a protest against the increasingly commercialized Newport date! And for the record, the group definitely live up to their name – really shaking off the easier modes popularized at the Newport festival, and coming across with a style that's much more modern, firey, and righteous! Other artists include Abbey Lincoln on vocals, Booker Little on trumpet, Tommy Flanagan on piano, Eric Dolphy on saxophone, and Jimmy Knepper on trombone – and titles include a great rendition of "Tain't Nobody's Business If I Do" – plus 2 other great originals, "Cliff Walk" by Booker Little and "Mysterious Blues" by Mingus. LP, Vinyl record album

The group billed as "The Mitchells" is an unusual "family" projects put together by Leonard Feather – featuring Whitey Mitchell on bass, Blue Mitchell on trumpet, and Red Mitchell on both bass and piano – none of them related, but coming together here because they all share a last name! Whitey directs the music on the record, and is really the boss of the set – and other players include Frank Rehak on trombone, Pepper Adams on baritone sax, and Andre Previn on piano – working together in a tightly-focused way that carries some of the hallmarks of some of Adams' other albums of the period. Titles include the originals "Three Cheers", "Blues For Brian", "Get Those Elephants Outta Here", and "Monster Rally". LP, Vinyl record album

If the cover image of a Akira Miyazawa fishing in a trout stream wasn't already enough to make us love this one, the music on the disc certainly is – as the album's a real shining jewel in the Japanese jazz scene of the 60s, the kind of record that really set a whole new standard for the players involved! Miyazawa's got a tone here that's really incredible – an approach to the alto that's a bit like Lou Donaldson during his bop years for Blue Note, but which is also recorded here with a great sense of space that echoes out wonderfully – even when Akira's just doing a little. The group is relatively large, but all focused around Miyazawa's horn – and other players include Sadao Watanabe on flute and Masahiko Sato on piano. Titles include the great originals "Yamame" and "Fly Casting", plus "Out Of Nowhere", "Like Sonny", and "Le Crespuscule Enbaume". CD

If the cover image of a Akira Miyazawa fishing in a trout stream wasn't already enough to make us love this one, the music on the disc certainly is – as the album's a real shining jewel in the Japanese jazz scene of the 60s, the kind of record that really set a whole new standard for the players involved! Miyazawa's got a tone here that's really incredible – an approach to the alto that's a bit like Lou Donaldson during his bop years for Blue Note, but which is also recorded here with a great sense of space that echoes out wonderfully – even when Akira's just doing a little. The group is relatively large, but all focused around Miyazawa's horn – and other players include Sadao Watanabe on flute and Masahiko Sato on piano. Titles include the great originals "Yamame" and "Fly Casting", plus "Out OF Nowhere", "Like Sonny", and "Le Crespuscule Enbaume". CD

A rock-solid 60s session from Blue Note tenor giant Hank Mobley – and a set with a sound that's as iconic as its cover! The record comes from a key point in Mobley's career – when he was shifting from some more conventional hard bop to a variant of his style that was filled with newer, fresher ideas – slight currents of modernism, mixed in with a soulful groove – served up here with a killer group that also features Lee Morgan on trumpet and Harold Mabern on piano, both players hitting a similar stretching out point in their own careers! Rhythm features Larry Ridley on bass and Billy Higgins on drums – a fluid duo who really help open up Hank's ideas – on titles that include the Mobley originals "Ballin", "The Vamp", "The Dip", and "The Break Through". The sound is incredible – full, rich, soaring – uniquely Mobley's own vision, and not a copycat approach to the styles of Coltrane, Rollins, or other 60s tenorists. CD

An excellent Hank Mobley session – with an unusual twist that takes it past his earlier work! The lineup's great all the way through – with Woody Shaw on trumpet, George Benson on guitar, and Billy Higgins on drums – and the addition of Benson's guitar gives the tracks a groovily swinging edge that really makes them dance nicely! The set's got 4 originals – "Good Pickins", "Up Over & Out", "Beverly", and "Lookin East" – and 2 soul covers – "Reach Out" and "Goin' Out Of My Head" – and Mobley never misses a beat. Mobley was so great during this period, and we always mourn the fact that he hardly recorded much afterward! CD

One of the key classics from the hardbop years of Blue Note – the kind of album that really set the label apart from the rest at the time! Soul Station is a deceptively simple album that has tenor giant Hank Mobley playing standards and originals in a quartet with Wynton Kelly on piano, Paul Chambers on bass, and Art Blakey on drums– a spare and simple group, but one with a direct energy that's really amazing – in a way that makes for some of Mobley's best solos on record! The tracks here are all relatively basic in construction, but this territory allows all players to really relax and open up – especially Mobley, who really dominates the proceedings with some well-blown lines on tenor. Blakey's work is great too – nicely restrained, and the date marks one of his last sessions ever as a sideman. Titles include "Soul Station", "Split Feelin's", "Dig Dis", and "This I Dig Of You". CD

One of the key classics from the hardbop years of Blue Note – the kind of album that really set the label apart from the rest at the time! Soul Station is a deceptively simple album that has tenor giant Hank Mobley playing standards and originals in a quartet with Wynton Kelly on piano, Paul Chambers on bass, and Art Blakey on drums– a spare and simple group, but one with a direct energy that's really amazing – in a way that makes for some of Mobley's best solos on record! The tracks here are all relatively basic in construction, but this territory allows all players to really relax and open up – especially Mobley, who really dominates the proceedings with some well-blown lines on tenor. Blakey's work is great too – nicely restrained, and the date marks one of his last sessions ever as a sideman. Titles include "Soul Station", "Split Feelin's", "Dig Dis", and "This I Dig Of You". CD

One of the key classics from the hardbop years of Blue Note – the kind of album that really set the label apart from the rest at the time! Soul Station is a deceptively simple album that has tenor giant Hank Mobley playing standards and originals in a quartet with Wynton Kelly on piano, Paul Chambers on bass, and Art Blakey on drums– a spare and simple group, but one with a direct energy that's really amazing – in a way that makes for some of Mobley's best solos on record! The tracks here are all relatively basic in construction, but this territory allows all players to really relax and open up – especially Mobley, who really dominates the proceedings with some well-blown lines on tenor. Blakey's work is great too – nicely restrained, and the date marks one of his last sessions ever as a sideman. Titles include "Soul Station", "Split Feelin's", "Dig Dis", and "This I Dig Of You". CD

One of the key classics from the hardbop years of Blue Note – the kind of album that really set the label apart from the rest at the time! Soul Station is a deceptively simple album that has tenor giant Hank Mobley playing standards and originals in a quartet with Wynton Kelly on piano, Paul Chambers on bass, and Art Blakey on drums– a spare and simple group, but one with a direct energy that's really amazing – in a way that makes for some of Mobley's best solos on record! The tracks here are all relatively basic in construction, but this territory allows all players to really relax and open up – especially Mobley, who really dominates the proceedings with some well-blown lines on tenor. Blakey's work is great too – nicely restrained, and the date marks one of his last sessions ever as a sideman. Titles include "Soul Station", "Split Feelin's", "Dig Dis", and "This I Dig Of You". CD

That's the Modern Jazz Sextet – not the Modern Jazz Quartet – although the group definitely borrows a bit of energy from the MJQ, and some personnel too! The group was only put together for this date – and combines the subtle touches of MJQ members John Lewis on piano and Percy Heath on bass, with some harder-edged, hardbop-driven sounds from Dizzy Gillespie on trumpet, Sonny Stitt on alto, Skeeter Best on guitar, and Charlie Persip on drums! The set's got an open, easygoing feel – that loose Verve studio mode of the time – which stems from their jam session modes, but is a bit tighter overall – in ways that really help the players find their energy together in the tunes. Titles include 2 standards, in the usual Verve style – "Mean To Me" and a ballad medley of "Old Folks", "What's New" and "How Deep Is The Ocean" – plus 3 originals – "Blues For Bird", "Tour De Force", and "Dizzy Meets Sonny". LP, Vinyl record album

That's the Modern Jazz Sextet – not the Modern Jazz Quartet – although the group definitely borrows a bit of energy from the MJQ, and some personnel too! The group was only put together for this date – and combines the subtle touches of MJQ members John Lewis on piano and Percy Heath on bass, with some harder-edged, hardbop-driven sounds from Dizzy Gillespie on trumpet, Sonny Stitt on alto, Skeeter Best on guitar, and Charlie Persip on drums! The set's got an open, easygoing feel – that loose Verve studio mode of the time – which stems from their jam session modes, but is a bit tighter overall – in ways that really help the players find their energy together in the tunes. Titles include 2 standards, in the usual Verve style – "Mean To Me" and a ballad medley of "Old Folks", "What's New" and "How Deep Is The Ocean" – plus 3 originals – "Blues For Bird", "Tour De Force", and "Dizzy Meets Sonny". LP, Vinyl record album

A double-length live set from the legendary Modern Jazz Quartet – recorded in Scandinavia in 1960, almost as a summation of the group's growing genius in the 50s! The tunes are a mix of John Lewis and Milt Jackson originals, plus other songs all given the wonderful MJQ twist – distilled into a sublime blend of piano, vibes, bass, and drums – all delivered with a sense of class, but never too much polish. Set features 15 tracks in all – including "Django", "Bluesology", "La Ronde", "Festival Sketch", "Vendome", "Odds Against Tomorrow", "Skating In Central Park", "The Cylinder", and"Round Midnight". CD

A double-length live set from the legendary Modern Jazz Quartet – recorded in Scandinavia in 1960, almost as a summation of the group's growing genius in the 50s! The tunes are a mix of John Lewis and Milt Jackson originals, plus other songs all given the wonderful MJQ twist – distilled into a sublime blend of piano, vibes, bass, and drums – all delivered with a sense of class, but never too much polish. The album is live, but still has that sophisticated composure that made the group so unique at the time – and the whole thing's a perfect complement to their famous studio albums on Atlantic! This edition collects both of the original LP's in their entirety – titles include "Django", "Bluesology", "La Ronde", "Festival Sketch", "Vendome", "Odds Against Tomorrow", "I Should Care", "I Remember Clifford", "Pyramid", "Cylinder", and "Bags' Groove". CD

An extremely haunting version of the score to Porgy & Bess – recorded by the Modern Jazz Quartet at the height of their powers, in a gently soulful version that really takes off from the original. The group have a very free approach here – one that uses Gershwin's originals as a set of loose guidelines to work from – shading in the spaces with their own tones and colors on vibes, piano, bass, and drums. The album features some great modern takes on "Summertime" and "It Ain't Necessarily So" – and other tracks include "O Bess, Where's My Bess", "I Love You Porgy", "My Man's Gone Now", and "There's A Boat Dat's Leavin Soon For New York". CD

An extremely haunting version of the score to Porgy & Bess – recorded by the Modern Jazz Quartet at the height of their powers, in a gently soulful version that really takes off from the original. The group have a very free approach here – one that uses Gershwin's originals as a set of loose guidelines to work from – shading in the spaces with their own tones and colors on vibes, piano, bass, and drums. The album features some great modern takes on "Summertime" and "It Ain't Necessarily So" – and other tracks include "O Bess, Where's My Bess", "I Love You Porgy", "My Man's Gone Now", and "There's A Boat Dat's Leavin Soon For New York". LP, Vinyl record album

Beautifully spacey work from the Modern Jazz Quartet – a record that more than earns its enigmatic title! The session's an odd one – in that the MJQ are recording for the Beatles' famous Apple label – but that fact is also one of the best aspects of the record, as it seems to push the group past the staid third stream sound of some of their 60s recordings for Atlantic, into territory that's a bit more experimental, and concerned with sound, colors, and texture. The album's got 2 incredible originals from John Lewis – "Visitor From Mars" and "Visitor From Venus" – plus the tracks "Dilemma" and "Adagio From Concierto De Aranjuez". LP, Vinyl record album

A classic solo piano album from Thelonious Monk – recorded live in San Francisco, and maybe one of his best albums ever in the format! There's a special sort of quality that makes Monk's solo work so different from his trio, quartet, and larger group music – this real understanding of the piano, and a personal sense of sonic shading, even when covering some of his familiar compositions – maybe a bit like the way that Sun Ra's solo piano is also so distinct. Most of the tunes here are Monk originals or standards that Thelonious has played before at least a few times on record – but the solo setting almost has him pulling the tunes apart slowly – contemplating their components, then stepping through them with new inspiration as he puts them back together. Titles include "Blue Monk", "Pannonica", "Remember", "Reflections", "Bluehawk", "Everything Happens To Me", and "Round Lights". CD

Monk plays unaccompanied on a mix of standards and originals, including "Monk's Point", "Dinah", "Ruby, My Dear", "Ask Me Now", and a classic version of "I Surrender, Dear" – done spare and moodily, with a really haunting tone! LP, Vinyl record album

This is the kind of moog album we can get behind – a sweet 70s update of the moogy groovy that Hugo Montenegro first started crafting in the 60s! The album's got both moog and Arp – the latter of which brings in more of a 70s electric vibe – and there's also some very cool sound effects on the record too, which really ups the ante for the sort of groove that Montenegro was creating! Tunes are all pretty well chosen – making for a super-dope batch of numbers that really gets past the usual – and the set includes an excellent reading of "Me & My Arrow", from Nilson's The Point; 2 versions of Nino Rota tracks from The Godfather; a nice version of Faure's "Pavane", with lots of spirally keyboards; a medley of "Baby Elephant Walk" and "Moon River"; and even a few nice originals, like "Quadimodo" and "Stutterology". LP, Vinyl record album

Groovy stuff! After paying tribute to Stevie Wonder and Bob Dylan on other LPs, Hugo Montenegro turns his talents to the groovy compositions of Elton John in this nice album of moogy instrumentals – a set that's got some upbeat material that almost hits a funky club style – graced with loads of work on Arp by John Montenegro! The tune are all big ones by Elton, mostly – and the presentation here is pretty cool, with a very different vibe than the big hits. There's also a few solos by trumpeters Chuck Findley and Gary Barone – and titles include "Rocket Man", "Bitch Is Back", "Daniel", "Take Me To The Pilot", "Philadelphia Freedom", and "Goodbye Yellow Brick Road" – plus the originals "Splashdown" and "Blastoff", which bracket the album in a "rocket" theme. LP, Vinyl record album

Early greatness from Wes Montgomery – and a session that's got a gritty edge that takes Wes back to his Indianapolis roots! The album's one of the few of the time to feature the unsung Hammond hero Mel Rhyne – a player who worked with Wes at his start, but has only gotten stronger acclaim in recent decades as part of his comeback. Rhyne's a key force in the record – working alongside Montgomery's guitar and the drums of Jimmy Cobb – in a loose, open trio that has Mel participating as strongly in the rhythms as he does in the solo side of the album. Titles include a few Montgomery originals – "The Trick Bag" and "Fried Pies" – plus the tunes "Besame Mucho", "Dearly Beloved", "Days Of Wine & Roses", "Canadian Sunset", "The Breeze & I", and "For Heaven's Sake". LP, Vinyl record album

Early greatness from Wes Montgomery – and a session that's got a gritty edge that takes Wes back to his Indianapolis roots! The album's one of the few of the time to feature the unsung Hammond hero Mel Rhyne – a player who worked with Wes at his start, but has only gotten stronger acclaim in recent decades as part of his comeback. Rhyne's a key force in the record – working alongside Montgomery's guitar and the drums of Jimmy Cobb – in a loose, open trio that has Mel participating as strongly in the rhythms as he does in the solo side of the album. Titles include a few Montgomery originals – "The Trick Bag" and "Fried Pies" – plus the tunes "Besame Mucho", "Dearly Beloved", "Days Of Wine & Roses", "Canadian Sunset", "The Breeze & I", and "For Heaven's Sake". CD includes bonus tracks "Besame Mucho (take 2)", "Trick Bag (take 6)", and "Fried Pies (take 1)". CD

With grooves this great, the house must have been full – and the album's a gem of an early live date by Wes Montgomery, recorded in Berkeley with a quartet that includes Johnny Griffin on tenor, Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums! The tunes have a nicely cooking feel throughout – even when they're more gentle ones – and the record's a good reminder that outside of the studio, Wes could sometimes play with a bit more force on the strings – raspily hitting notes that explode off the guitar with tremendous precision and a good deal of feeling. Titles include the Montgomery originals "Full House", "SOS", and "Cariba", plus the tunes"Blue N Boogie" and "Come Rain Or Come Shine". This great set brings together a full batch of alternate takes from the sessions, some appearing here for the first time ever, some on vinyl-only releases – with different versions of "Blue N Boogie", "Cariba", "Come Rain Or Come Shine", "Born To Be Blue", "SOS", and a take on "Full House" with the original solo restored! CD

With grooves this great, the house must have been full – and the album's a gem of an early live date by Wes Montgomery, recorded in Berkeley with a quartet that includes Johnny Griffin on tenor, Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums! The tunes have a nicely cooking feel throughout – even when they're more gentle ones – and the record's a good reminder that outside of the studio, Wes could sometimes play with a bit more force on the strings – raspily hitting notes that explode off the guitar with tremendous precision and a good deal of feeling. Titles include the Montgomery originals "Full House", "SOS", and "Cariba", plus the tunes"Blue N Boogie" and "Come Rain Or Come Shine". This great set brings together a full batch of alternate takes from the sessions, some appearing here for the first time ever, some on vinyl-only releases – with different versions of "Blue N Boogie", "Cariba", "Come Rain Or Come Shine", "Born To Be Blue", "SOS", and a take on "Full House" with the original solo restored! CD

With grooves this great, the house must have been full – and the album's a gem of an early live date by Wes Montgomery, recorded in Berkeley with a quartet that includes Johnny Griffin on tenor, Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums! The tunes have a nicely cooking feel throughout – even when they're more gentle ones – and the record's a good reminder that outside of the studio, Wes could sometimes play with a bit more force on the strings – raspily hitting notes that explode off the guitar with tremendous precision and a good deal of feeling. Titles include the Montgomery originals "Full House", "SOS", and "Cariba", plus the tunes"Blue N Boogie" and "Come Rain Or Come Shine". LP, Vinyl record album

With grooves this great, the house must have been full – and the album's a gem of an early live date by Wes Montgomery, recorded in Berkeley with a quartet that includes Johnny Griffin on tenor, Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums! The tunes have a nicely cooking feel throughout – even when they're more gentle ones – and the record's a good reminder that outside of the studio, Wes could sometimes play with a bit more force on the strings – raspily hitting notes that explode off the guitar with tremendous precision and a good deal of feeling. Titles include the Montgomery originals "Full House", "SOS", and "Cariba", plus the tunes"Blue N Boogie" and "Come Rain Or Come Shine". CD features 5 bonus tracks – alternate takes of "Cariba", "Come Rain Or Come Shine", "Born To Be Blue", and "SOS". CD

With grooves this great, the house must have been full – and the album's a gem of an early live date by Wes Montgomery, recorded in Berkeley with a quartet that includes Johnny Griffin on tenor, Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums! The tunes have a nicely cooking feel throughout – even when they're more gentle ones – and the record's a good reminder that outside of the studio, Wes could sometimes play with a bit more force on the strings – raspily hitting notes that explode off the guitar with tremendous precision and a good deal of feeling. Titles include the Montgomery originals "Full House", "SOS", and "Cariba", plus the tunes"Blue N Boogie" and "Come Rain Or Come Shine". CD features 3 bonus tracks! CD

A rare setting for Moody – a player who rarely cut sides with larger backing, but who sounds really wonderful here! The album's got Moody blowing mostly alto, and a bit of flute – over large backings by Torrie Zito that feature equal parts strings and woodwinds – conducted in a way that's got the same modern touches as the best Verve "with strings" work from the 50s, but which also shares some of the boozier, more mature touches that Zito brought to his work for vocalists in the 60s. There's a sad, languid feel to the record that's emotively redeemed by Moody's soulful and contemplative solo work – breaking out nicely on titles that include Zito originals "Somerset", "Another Day", "Dorothee", "A Song Of Love", and "Dorian Mood" – plus versions of "I Remember Clifford", "Love For Sale", and "All My Life". LP, Vinyl record album

A long-overdue return as a leader for tenor genius Ralph Moore – an artist who first blew us away when he appeared on the scene in the 80s, but who hasn't gotten this sort of time in the spotlight in many many years! The passage of time hasn't dimmed Ralph's genius at all – as the record bursts forward with the kind of joyous colors and tones that always made us such big fans – and which, in a way, made Moore's appearance on the scene almost a tenor equivalent to the work of Bobby Watson on alto – a whole new voice for a new generation – straight ahead, but filled with positive energy and a very strong spirit – such that he always seems to play with a warmth and soul that really sets him apart. The group here is superb – a quartet with Eric Reed on piano, Gerald Cannon on bass, and Willie Jones III on drums – the last of whom deserves a huge "thanks" for producing the record and getting Ralph back out in the lead. Titles include the Moore originals "Donny", "Three Score", "Blues Alliance", and "623 C Street" – and Reed tunes "Carol", "Another Time", and "Una Mujer Muy Elegante". CD

A solo set by pianist Jason Moran – but one that's got the intensity of a full group session! We honestly didn't know how we'd respond to this one, but we find the album to be really compelling – a great blend of tunes from sources that include James P Johnson, Arthur Baker, and Muhal Richard Abrams, next to some sparkling originals by Moran. Titles include "Planet Rock", "You've Got To Be Modernistic", "Passion", "Gansterism On A Lunchtable", "Time Into Space Into Time", and "Gentle Shifts South". CD

Jason Moran and The Bandwagon – his stellar jazz trio featuring the top tier jazz pianist along with drummer Nasheet Waits & Tarus Mateen on bass – marking their 10th year with this thoroughly excellent album for Blue Note! Moran has stayed plenty busy in the aughties, but Ten is actually his first album since 2006 – and it's a great one, rivaling his first couple records for Blue Note – and that's saying something, because those are among our favorite modern albums for the venerable jazz label in many years. Includes several sharp Moran originals such like "Blue Blocks", "RFK In The Land Of Apartheid", "Pas De Deux-Lines Ballet", "Gangsterism Over 10 Years", "Old Babies" and "Playtolive" (the latter with the great Andrew Hill) – plus Mateen's "The Subtle One" and readings of Jaki Byard's "To Bob Vatel Of Paris" and Monk's "Crepuscule With Nellie". Brilliant stuff! CD

One of Lee's totally great hard bop sessions for Vee Jay, recorded around the time of his best early work for Blue Note, and with a good hard group that includes Clifford Jordan on tenor, Eddie Higgins on piano, and Art Blakey on drums. The material's a tight set of tracks that includes originals by Jordan, Higgins, Morgan, and Wayne Shorter – with titles like "Fire", "Lost & Found", "The Hearing", "Triple Threat", and "Expoobidient" – all burners that really sum up the majestic power of the young Lee Morgan at his best! CD

One of the hardest to find of the early Lee Morgan albums on Blue Note – and a very lyrical batch of hardbop tracks, played with a slightly exotic flair! Morgan's group on the date features melodic modernists Benny Golson on tenor and Gigi Gryce on alto sax – both of whom push Morgan past his youthful bop approach into more sensitive areas – especially Golson, who wrote and arranged the tunes on the date with a sublime mix of hardbop and deeper musical ideals! Rhythm is from the trio of Wynton Kelly on piano, Paul Chambers on bass, and Charlie Persip on drums – and titles include a great reading of Golson's "I Remember Clifford", plus four other originals by Benny – "Hasaan's Dream", "Domingo", "Mesabi Chant", and "Tip Toeing". CD features a bonus alternate take. CD

US issue of some of Gerry's classic Vogue recordings, done in Paris in 1954 with a quartet that featured Bob Brookmeyer on valve trombone, Red Mitchell on bass, and Frank Isola on drums. This is Gerry at the height of his powers, and playing classic piano-less material with supberb accompaniment by Brookmeyer. Tracks include a number of originals, including "Utter Chaos", "Five Brothers", and "Walkin' Shoes", plus others like "Bernies Tune", "Come Out Wherever You Are", and "Laura". LP, Vinyl record album

Easily the greatest album that vocalist Mark Murphy has recorded in years – and a surprising departure from a lot of his recent work! Murphy did the album in collaboration with German trumpeter Til Bronner – a player we mostly know for his own smoothly soulful, and often-grooving albums. Yet here, Bronner's got both himself and Murphy working in a lush mode that recalls the spirit of 60s sessions arranged by Claus Ogerman or Don Sebesky – Bronner on trumpet with a core jazz group, augmented by larger orchestrations on most tracks – and recorded in a spaciously sublime way that often has Murphy's vocals hanging beautifully in mid-air! There's a breathtaking depth to the album that gets past some of the simple tracks and over-tread territory of other recent Murphy albums – almost as if the album's the "classic" that Mark never got to record back in the day, but which is finally coming out now, 50 years into his career in music! A real contrast to the recent Mark Murphy dancefloor work – such as his vocals with Five Corners Quintet – and featuring the originals "I Know You From Somewhere" and "Our Game" – plus standards "It Never Entered My Mind", "I'm Through With Love", "When I Fall In Love/My One & Only Love", and "Love Is Here To Stay". Japanese pressing features the bonus track "Detour Ahead". CD

A huge crossover album of the 70s – one that took an east coast disco groove, and introduced influences from a wide variety of classical themes – best summed up in the title hit "A Fifth Of Beethoven", which was a surprisingly successful radio tune at the time! The effort's a strange one, but was part of a larger movement at the time that was introducing many older musical modes – such as standards or showtunes – onto the dancefloor in an effort to give the less underground clubgoers something to sink their teeth into. And while the approach seemed like a bit of a gimmick, it was also probably inspired by Deodato's big hit with "Zarathustra" and a few other classical themes – echoed here by Murphy's great keyboard work on a few other numbers. The album features the classical tracks "Flight 76", "Night Fall", "Fifth Of Beethoven", and "Russian Dressing" – plus the non-classical Murphy originals "California Strut" (with vocals by Angie Bofil), "Be Your Own Best Friend", "Suite Love Symphony", and "Midnight Express". LP, Vinyl record album

Beautifully soulful work by David Murray – a mostly-straight session, but one that seems to push his level of expression even further than before! Murray's working here in a "deep river" style that seems to draw on decades of jazz influence, yet forge it into a fresh modern voice – played on both tenor and bass clarinet, in a quartet that includes Dave Burrell on piano, Fred Hopkins on bass, and Ralph Peterson on drums. The tracks have a nice easy feel, with solos that are laidback, never forced – and the album features originals that include "Dakar Dance", "Home", and "Mbizo" – plus a great 13 minute reading of Coltrane's classic "Mr. PC". CD

A trio of albums from the great David Murray! Ming is beautifully arranged work from David Murray – an important early large group recording, one that really helped point the way to some of his later genius! The session features Murray leading an all-star octet that includes Henry Threadgill on alto, Olu Dara on trumpet, Butch Morris on cornet, George Lewis on trombone, Anthony Davis on piano, Wilbur Morris on bass, and Steve McCall on percussion. Tracks are a very hip set of original compositions that display an incredible range of soulful feeling and expression – and which open a door to a whole new chapter of Murray's career. Titles include "Ming", "Dewey's Circle", "Jasvan", "The Fast Life", and "The Hill". Sacred Ground is a beautifully spiritual set that really reminds us of the promise we first heard in his music decades ago! Murray's working here with a lean, soulful ensemble that includes Lafayette Gilchrist on piano, Ray Drummond on bass, and Andrew Cyrille on drums – all in a groove that has plenty of sharp edges, but which is also nicely inside – very focused, and with a sense of depth that's really wonderful! All tracks are originals by Murray – penned with the sensitivity of an older soul jazz recording – and two numbers feature lyrics by Ishmael Reed, sung by Cassandra Wilson on guest vocals. Titles include "Sacred Ground", "Transitions", "Family Reunion", "The Prophet Of Doom", "Believe In Love", and "Banished". Lucky Four is a gentler set than some of David Murray's other US dates from the time – but in a really great way that nicely gets at the more sensitive side of his work on tenor and bass clarinet! There's a bit of a hardbop groove to the album, but also a bit more freedom too – a style that never goes that far out, but which reminds us through subtle cues that most of these players have a longer legacy in more avant-oriented work. The group features Dave Burrell on piano, Wilbur Morris on bass, and Victor Lewis on drums – and Burrell especially echoes a range of influences here – almost pulling from older eras of jazz in the way that Jaki Byard used to – an approach that's often echoed by Murray in his horn. Titles include "Valley Talk", "Chazz", "As I Woke", "Abel's Blissed Out Blues", "Sharing", and "As I Woke". CD

One of David Murray's straighter sides from the early 80s – and exactly the kind of record to prove to the world that he could be a strong tenor traditionalist while still bringing an inventive sound to play! Murray's tone is deep and soulful, and often quite lyrical – set nicely in a quartet that features warm piano from John Hicks, bass from Reggie Workman, and drums from Ed Blackwell. The Workman/Blackwell component ensure that things still have an edge at times, even when swinging – and the tunes are a mix of Murray originals and a few standards. Titles include "Morning Song", "Light Blue Frolic", "Off Season", "Duet", "Body and Soul", and "Jitterbug Waltz". CD

One of David Murray's straighter sides from the early 80s – and exactly the kind of record to prove to the world that he could be a strong tenor traditionalist while still bringing an inventive sound to play! Murray's tone is deep and soulful, and often quite lyrical – set nicely in a quartet that features warm piano from John Hicks, bass from Reggie Workman, and drums from Ed Blackwell. The Workman/Blackwell component ensure that things still have an edge at times, even when swinging – and the tunes are a mix of Murray originals and a few standards. Titles include "Morning Song", "Light Blue Frolic", "Off Season", "Duet", "Body and Soul", and "Jitterbug Waltz". LP, Vinyl record album

David Murray finds a fantastic new outlet for his many talents here – working with the younger songwriter Saul Williams – who delivers some fantastic lyrics throughout! Saul's as much a spoken word artist as he is a singer – and his passages on the album have this righteous power that takes us back to the hippest sort of music like this from the 70s – but also filtered through some of the lyrical possibilities of the better side of the hip hop generations, especially in the way the power of his messages come across! Murray is fantastic, too – really soulful and swinging, both on tenor and clarinet – and the songs often have Williams or Murray soloing first, then the other taking over. The rest of the group is pretty great as well – with Orrin Evans on piano, Craig Harris on trombone, Jaribu Shahid on bass, Nasheet Waits on drums, and a bit of Fender Rhodes from Jason Moran. Almost all tracks are originals – with titles that include "A Mirror Of Youth", "Kush", "Forever Brothers", "Music Of The Mind", "Deep In Me", "Positive Messages", "Obe", and "Citizens" – and the album also features a version of the Sun Ra tune "Enlightenment". CD

Mylon LeFevre ended up on the more spiritual side of the spectrum in his later years – but here on this great early set, he manages to blend gospel roots with some great elements of southern rock and soul – all produced by Allen Toussaint, and handled with a surprisingly soulful groove at times! Mylon handles lead vocals and acoustic guitar – but he's backed by a very sharp combo who effortlessly blend influences from soul with rockish guitar lines – maybe more Capricorn Records than Cotillion, and given some additional soul touches from the backing vocals on the record from Merry Clayton, Clydie King, and Venetta Fields! Tracks are almost all originals by Mylon – and titles include "Who Knows", "Sweet Peace Within", "Trying To Be Free", "Pleasing Who Pleases You", "The Only Thing That's Free", and "Peace Begins Within". CD

A fantastic lost set from the Detroit jazz scene of the 60s – by a group who was years ahead of their time, and who bridged a number of different parts of the city's scene! The group's listed here under the name of drummer Bert Myrick, but was actually co-led by George Bohanon on trombone – who also blew on sides for Motown, and went onto a big range of west coast work in the 70s – but has a razor-sharp edge here! The other co-leader was tenorist Ronnie Fields – a lesser-known player, but a great one too – and a perfect pairing with Bohanon for a soaring, soulful voice on the record. A young Kenny Cox is also in the group on piano – best known for his later albums for Blue Note, which were some of the most modern the label issued at the time – and the last member of the group is Will Austin on bass. Myrick's drums are great – as powerful a force in leadership as Art Blakey with the Messengers – and all tracks are nice and long, and all originals too. The groove is soaring, modal, and very soulful – and titles include "Sevenths", "Paramour", "Scorpio's Child", and "The Latin Bit". CD

Estonian pianist Tonu Naissoo really shines here – bringing his years of experience into play with a sublime recording setting that makes his piano sparkle with this very vibrant sense of tone and timing! The setting is a trio – with frequent partners Taavo Remmel on bass and Ahto Abner on drums – and Tonu has this way of balancing darkness and light that's really beautiful – expansive in a subtle sort of way, but never trying to overdo things, or be showy just for his own sake! There's two really beautiful originals on the set – "Dirhami" and "Cycles" – both worth the price of admission alone – alongside great takes on "Pensativa", "My back Pages", "Moon & Sand", and "What A Difference A Day Made". LP, Vinyl record album

A great piano trio set from the start of the 60s – performed by a Japanese player we know little about! Hachidai Nakamura isn't a name that we remember from many other records, but on this beautifully-titled record he steps forth with a command of the keys that's really wonderful – a sound that's got a mix of soulfulness and sensitivity that reminds us a fair bit of Red Garland on Prestige, but which also seems to get a bit more kick here from the bolder lines of Hachiro Kurita on bass and Jimmy Takeuchi on drums. Titles are all in Japanese, but most seem to be originals – and Hachidai's got a sharp-edged way of stating his intentions on the tunes, then leaping into the groove with a freer sort of solo. CD presents the original album, beautifully remastered – with stereo and mono takes of all titles! LP, Vinyl record album

A great tenor saxophonist from the Japanese scene of the 70s – heard here in one of his hippest settings ever! Seiichi Nakamura really knows how to stretch things out, yet still keep things interesting – working here with a strong sense of rhythm that's really augmented by the use of guitar in the group alongside piano, bass, and drums – and instrument handled by Kiyoshi Sugimoto with these wide flares that roll along beautifully and give the rhythm a strong sense of color – while Nakamura blows these brilliantly bold lines over the top! Most tracks push past the ten minute mark, and more are very creative originals by Nakamura too – with titles that include "Himalayas", "Adventure In My Dream", and "Too Beauty". CD

The first full album from the great Fred Neil – recorded for Elektra Records in the years before his underground fame on Capitol – and with a sound that's maybe a bit more bluesy overall, but in a very cool way! Fred's songwriting strengths are very much at play here – as almost all songs are originals – but there's also a tighter focus that compresses most numbers to the 2/3 minute range – instead of making them more of the wispier workouts of later years. The group's quite an interesting one – with on guitar and dobro from Pete Childs, bass from Felix Pappalardi, and harmonica from John Sebastian – all at a young point that has them bringing plenty of folk blues inflections to their performances, but in a way that's completely free of any hoke or cliche. CD

New Edition show they're no Johnnies-come-lately on the harmony soul scene – and pay tribute to a host of older groups from the 50s and 70s – singing a mix of hits and soul classics in a laidback late nite mode that brings a real focus on their vocals. Given their age, there's a sound here that's still a bit kiddie at times – but that works well on the tunes that have a more youthful approach in the originals. Backings still have a relatively 80s sound to them, and production was handled by Freddie Perren. Titles include "Duke Of Earl", "Hey There Lonely Girl", "A Thousand Miles Away", "What's Your Name", "Tears On My Pillow", "Blue Moon", and "Bring Back The Memories", an original tune written for the set. LP, Vinyl record album

Naoki Nishi's not the biggest name from the glory days of the Japanese piano trio scene, but he's a great musician, and one with a lyrical quality that really links his style to that of important American greats from the time – maybe some of the warmth of Hank Jones, but mixed with some of the longer form ideas of Cedar Walton too! There's also a nice sense of space between his notes, but not in a Bill Evans way, as the through line is always clear – and given nice support here from Osamu Kawakami on bass and Michael Reznikoff on drums. Titles include the originals "A Little Song", "Monstar", "Dewdrops", and "Giant From The West" – plus versions of "Ugestu" and "On Green Dolphil Street". CD

Totally great work from one of the grooviest singers of the 60s and 70s – and on our shores, one of the most overlooked as well! Claude Nougaro has a style that's rooted in jazz, but picks up on influences from Brazilian music and other styles – with a real knack for setting fresh Lyrics to tunes, and creating some great originals of his own! His work of the 60s is already pretty darn groovy – and as the years move on, he just gets hipper – working with jazz talents like Michel Legrand, Maurice Vander, and Aldo Romano. This set brings together great tracks from these key years – and includes new versions of "Work Song" and "The Cat" – plus his wonderful re-reading of "O Que Sera", and the cuts "Rimes", "Le Cinema", "Le Jazz Et La Java", "Cecile Ma Fille", "Armstrong", "La Pluie Fait Des Claquettes", and "Toulouse". LP, Vinyl record album

Pianist Caili O'Doherty has a great sort of shimmer to her tone – a sense of swing that's familiar, but nicely personal as well – a bit hard to describe in words, but a charm that grabs you instantly from the very first note! Her look on the cover, and the somewhat dated title reference might get in the way of the contents of the record – which are rock-solid, and a great statement from this young artist who's really found a way to leave her mark on the piano trio format – proof that with the right player, the trio still has a long way to go! Tamir Shmerling plays bass, Cory Cox handles drums, and Nicole Glover blows a bit of tenor and soprano sax on a few tracks – titles that include a great remake of the well-chosen Duke Pearson number "You Know I Care", plus the originals "Salt & Vinegar", "Runaway", "Mr O", "Al", "Quarantine Dream", and "Reach Within". CD

A massively expanded version of a legendary album – presented here as a 2CD set, with 22 tracks that appear on CD for the first time ever! At the core is the original Dubbing With The Observer album, the first-ever dub album from Niney The Observer – based around rhythms he'd cooked up for Dennis Brown, Max Romeo, and Delroy Wilson – all transformed completely in the studio by King Tubby! The sounds here are often very abstract – light years away from the originals – and given these spacey, repetitive cycles that seem to trip out even more than conventional dub! A landmark little record, and one that sounds even darker all these many years later – with cuts that include "Casanova Dub", "Rebel Dance", "Jam Down", "Parade Dub", "Turntable Dub", "Corn Man", "Mister D Brown Skank", and "Youth Man". The set then goes way way deep, with 37 more bonus tracks, that really take off as a magnificent demonstration of Niney's skills in the studio – all presented here with very detailed notes that really get at this important moment of genius in the history of dub! CD

One of the many obscure albums of material by The Ohio Players – material that was recorded in the late 60's by Capitol, but frequently repackaged and retitled in the early 70's to cash in on the big hit status of the band. The band has elements of their funky 70s style on Westbound – but also sounds a bit rougher, with arrangements and playing that have a hard edge, and a slight southern touch. There's a lot of originals, like "A Thing Called Love", "Tell Me Why", "It's A Cryin Shame", and "Trespassin". Also includes the weird version of "Somewhere Over The Rainbow" that was played at Judy Garland's funeral! LP, Vinyl record album