A real standout in Chris Connor's legendary run for Atlantic Records – and a unique double-length set that was almost her answer to some of the 2LP Verve songbook sessions from Ella Fitzgerald! Like those, this album's based upon the work of a single composer – and features key Gershwin compositions from the 20s and 30s, redone here with a moody, mellow, jazz-based approach – one that unlocks even more darkness in these tunes than you might expect! Instrumentation is by a number of different small groups – assemblages of players who include Joe Newman on trumpet, Sam Most on clarinet, Herbie Mann on flute, Milt Jackson on vibes, Al Cohn on tenor, and Ralph Sharon on piano – all working with arrangements by Sharon, Ray Ellis, and Stan Free. The album features a whopping 34 titles in all – with tracks that include "A Foggy Day", "Strike Up The Band", "Nice Work If You Can Get It", "Little Jazzbird", "My One & Only", "That Certain Feeling", "Fascinating Rhythm", "Our Love Is Here To Stay", "Liza", "Soon", and "I Can't Be Bothered Now". CD features 2 bonus tracks – "Strike Up The Band" and "Summertime", done in different takes. CD

Beautiful stuff – and a great CD that brings together 2 of Chris Connor's best jazz albums for Atlantic! Just about all of Chris' records are great, but on both of these she really hits her stride – working in the small combo setting that she first recorded with, singing to sensitive backing by players like Lucky Thompson, Mundell Lowe, Oscar Pettiford, Joe Puma, and Al Cohn. Arrangements on A Jazz Date are by Ralph Sharon, and those on Chris Craft are by Stan Free – and they both work perfectly to bring out the best of Chris' icy cool vocals! 24 cuts in all, including "The Night We Called It A Day", "Lover Man", "Be My All", "Here Lies Love", "Moon Ray", "All I Need Is You", "Driftwood", and "Lonely Town". CD

One of the best albums in years from altoist Jesse Davis – recorded in a relaxed, open-ended style that really unlocks some new magic in his horn! Davis' studio records are all quite nice, but this live date really takes him to places we've never heard before – a really old school exploration of alto modes that brings us back to Stitt or Criss, and shows a long-winded creativity we hardly knew that Jesse had. The rhythm section really helps the feel of the record, too – with a lot of humanity in the piano of Spike Wilner, mixed with the impeccable work of Peter Washington on bass and Billy Drummond on drums. Ryan Kisor's trumpet adds one more horn to the mix – and titles include "I'll Close My Eyes", "Piece Of The Apple", "Pray Thee/Beyond The Storm", "Journey From The Lighthouse", and "Body & Soul". CD

The birth of a legend, and easily one of the heaviest records to hit the mainstream in the late 60s! The album's got a sinister quality that you can hear on the first few notes – a low-end, rumbling approach that brings in a lot more fuzzy bass than other groups of the time had ever thought to use – all topped with some of the most wickedly edgey guitar put on record to date, and undercut by drums that are almost verging on funk at times! Basslines set the tone for most of the tunes in the set – creating a bottom-heavy groove that would be copped many times in years to come, but which still sounds tremendously fresh here in the original. Titles include "Mandrake Root", "I'm So Glad", "One More Rainy Day", "Help", "Love Help Me", "And The Address", and "Hey Joe". With 5 bonus tracks. CD

Two post-CTI gems from Deodato – back to back on a single CD! Whirlwinds is sweet keyboard soul from Deodato – a set that steps off nicely from the strengths of his big hits on CTI, hitting a similarly flowing groove that's really great! The instrumentation here is a bit more expanded than before, but never in a way that buries the keyboards – and Deodato's right out front on a range of electric keys that get some great support from John Tropea's finely-honed work on guitar! Titles include "Havana Strut", "Whirlwinds", "West 42nd Street", and a nice cover of Steely Dan's "Do It Again". And heck, even the album's version of Glen Miller's "Moonlight Serenade" manages to come off like a funk tune! Artistry is a live set from Deodato – but one that's very much in the mode of his best CTI studio sessions – with soaring, over the top keyboard work that's totally great – backed by some tightly compressed guitar, bass, and drums, with just enough funk in the mix to keep things interesting! As with other Deodato records from the time, there's a mix of moods here that comes together nicely – a range that goes past his easy hits, and shows Deodato to be one of the hippest, most soulful keyboard talents of his generation. Titles include a great version of "Super Strut" that grooves for over 8 minutes, and which has some firey guitar that really competes with Deodato's work on the keys – and other tracks include "Farewell To A Friend", "Pavane For A Dead Princess", "Rio Sangre", and "Jivin". CD

A rare bit of Dutch jazz from the 60s – a hip quintet led by pianist Cees Slinger, and featuring a cooking lineup that's every bit as great as groups coming out of the British or French scenes at the time. Slinger was the pianist in the legendary Wessel Icken trio – and through his years in that group, he developed a solid swing that started stretching out into a more modal styled groove – and works here with Cees Smal on trumpet, Harry Verbecke on tenor, Jacques Schols on bass, and John Engels on drums – all top shelf players too! Many of the tracks on this set are a lot more adventurous than you might expect from the staid look of the group – and the album burns with the warmth and originality of some of the best Saba records of the late 60s, with slightly longer tracks that really stretch out, both in terms of rhythm and solo work. The writing is superb, and all titles are originals by European players – with tracks that include "Ruined Girl", "Lutuli", "Lining Up", "New Born", and "Monosyl". CD

2 wonderful late 50s sessions from arranger Gil Evans – both of which we'd rank right up there with his best work with Miles Davis, or the albums under his own name for Impulse in the 60s! The first half of the CD is from the album New Bottle Old Wine – a record of swinging modern backdrops, used to showcase both the solo talents of a young Cannonball Adderley, and the dynamic energy of Evans himself! Cannon's sharp-edged early tone is a really great sound for the record – far more modern than you might expect from later funk and soul sides of the 60s – and perfectly poised next to Gil's larger back drops to reignite a host of older tunes with new energy! And while the titles are familiar, the readings certainly are not – as the Evans pen has really changed things up beautifully – as you'll hear on numbers that include "St Louis Blues", "King Porter Stomp", "Willow Tree", "Struttin' With Some Barbeque", "Lester Leaps In", "Round About Midnight", "Manteca", and "Bird Feathers". Great Jazz Standards is equally great, a fantastic lost set from Evans – and one that features Mingus trumpeter Johnny Coles as the lead soloist in front of Evans-led modern groups that include players like Elvin Jones, Ray Crawford, Steve Lacy, Budd Johnson, Rod Levitt, and Chuck Wayne. Despite the "standards" in the title, most of these numbers are modern tunes from the 50s – like "Joy Spring", "Ballad Of The Sad Young Men", "Django", "Straight No Chaser", and "Chant Of The Weed" – all given Evans' unique style of arrangement, tweaked up a few notches to give them a really edgey quality. Coles is clearly standing in for Miles here, but the format works well overall! CD features 15 tracks in all, including some newly-improved versions of a few tracks, correcting mistakes in the original records! CD

Ella Fitzgerald in Budapest – but swinging just as hard as on any of her other records from the time! The set's a later issue of an unreleased live date recorded in 1970 – a set that captures Fitzgerald right at the height of her international fame, at a time when she could captivate just about any audience with her inherent charm and amazing vocals! Backings are by a trio that features Tommy Flanagan on piano, Frank De La Rosa on bass, and Ed Thigpen on bass – and titles are a hip mix of tunes that include a funky take on "Spinning Wheel", plus "Hello Young Lovers", "The Girl From Ipanema", "You Better Love Me", "As Time Goes By", "Crazy Rhythm", "People", "Mack The Knife", "Raindrops Keep Falling On My Head", and "Dancing In The Dark". CD

A sweetly swinging seventies set from pianist Tommy Flanagan – one of those records that's a perfect balance between the bop-inspired dexterity of his work on the keyboard, and that undeniable warmth he always brought to his best recordings! Tommy's got maybe a bit more bite on the keys, especially when moving at a quicker pace – and backing is by George Mraz on bass, whose round tones emphasize the warmer elements, and Elvin Jones on drums – who may well be part of the reason for the bite! The set features a number of bop classic tunes – like "Oleo", "Confirmation", and "Relaxin At Camarillo" – plus the great title cut "Eclypso", and a moody reading of Tom McIntosh's excellent "The Cup Bearers". CD

One of the most compelling Bill Laswell productions of the 90s – partly because the work of Maleem Mahmoud Ghania is so great – and also because tenor genius Pharoah Sanders turns in some great work on the set! The core sound comes from Ghania's roots in gnawa – vocals and guimbri from the leader, mixed with rising voices and percussion from a larger ensemble – the topped with the sorts of searing solos that only Pharoah can deliver – usually at a level that's a lot more outside than most of his other recordings of the period! Unlike some other Laswell records, Bill doesn't seem to be involved at all in the music – and instead really just steps back and lets Sanders and Ghania really work magic together with the rest of the ensemble – on titles that include "Bala Moussaka", "Peace In Essaouria", "Salat Anbi", "Mahraba", "Casa Casa Atougra", "Boulandi Samawi", and "Hamdouchi". CD

A wonderful small combo session from tenorist Benny Golson – one of a few key albums like this from the early years! Although Golson is perhaps best known as a lively arranger in the modern idiom, he's also a kick-ass tenor player when he wants to be – and on this classic, he definitely wants to be! Unlike some of Golson's more tightly arranged records of the early years, this date is a deeply gutsy soul jazz session – support from a group that includes Ray Bryant on piano, Paul Chambers on bass, Art Blakey on drums, and Curtis Fuller on trombone – all sliding into long tracks that have plenty of room for solos! The whole thing's a bit like the more spontaneous side of the Jazz Messengers groove – and titles include "The Stroller", "Drumboogie", "My Blues House", and a beautiful version of "Yesterdays". 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

What can we say but more, more, more! Al Green's great – always great – so we're more than happy to have this second volume to his greatest hit set, one that features some unusual tunes from later years, plus classics from his 70s tenure at Hi Records. Titles include "As Long As We're Together", "Back Up Train", "Let's Stay Together (long version)", "Take Me To The River", "Right Now Right Now", "For The Good Times", "Let It Shine", "Funny How Time Slips Away", "I Feel Good", "Wait Here", "How Can You Mend A Broken Heart", "You Say It", "Guilty", and Al's great remake of "To Sir With Love". 18 tracks in all! CD

A work of understated brilliance from guitarist Jim Hall – and one of our favorite records by him! The setting is simple – Hall plays live with a trio, on a set of familiar standards – but the results are remarkable, as both Hall and the rhythm section manage to bring a hell of a lot of swing and imagination into such a tiny space! Hall's always had a rhythmic approach to his work, but here, playing with drummer Terry Clarke and bassist Don Thompson, he really opens into a great groove – stretching things past his usual standard, and bringing a lot more soul into the set than you might expect. The tunes are ones you'll recognize – "Angel Eyes", "Round Midnight", and "The Way You Look Tonight" – but the real charm is what Hall and the trio do with them! CD

A work of understated brilliance from guitarist Jim Hall – and one of our favorite records by him! The setting is simple – Hall plays live with a trio, on a set of familiar standards – but the results are remarkable, as both Hall and the rhythm section manage to bring a hell of a lot of swing and imagination into such a tiny space! Hall's always had a rhythmic approach to his work, but here, playing with drummer Terry Clarke and bassist Don Thompson, he really opens into a great groove – stretching things past his usual standard, and bringing a lot more soul into the set than you might expect. The tunes are ones you'll recognize – "Angel Eyes", "Round Midnight", and "The Way You Look Tonight" – but the real charm is what Hall and the trio do with them! CD

Scott Hamilton's first two albums in one great package! Good Wind is the great opening statement from tenorist Scott Hamilton – a young player who emerged in the late 70s, but one with a definite old school sound! Scott blows here with a wind that's plenty good – very deep-toned, and with a raspy, honest quality that almost takes us back to Ben Webster in the 50s – quite a surprise for the Concord Records sound. The record's got a very well-matched group, too – Nat Pierce on piano, Monty Budwig on bass, Bill Berry on trumpet, and Jake Hanna on drums – all of whom give Hamilton's tenor plenty of space to dominate the session. Titles include "Stuffy", "Indiana", "Blue Room", "Sometimes I'm Happy", "Ill Wind", and "Broadway". Scott Hamilton 2 builds on the same foundation as its predessor, but swaps Berry's trumpet for guitarist Cal Collins. Tracks include "East Of The Sun", "There Is No Greater Love", and the Hamilton original "Blues For The Players". CD

A wonderful Herbie Hancock session from the 60s – a Blue Note album that's sometimes overlooked, but which really shows Herbie taking off – as he adds a nice dose of lyricism into his usual soul jazz approach from the 60s! The sound's a bit farther-reaching than on some of Hancock's smaller group sessions – and the record features a sextet that includes Jerry Dodgion on flute, Thad Jones on flugelhorn, and Peter Phillips on bass trombone – an instrument that combines wonderfully with Thad's horn, to create all these cool, compressed elements. Herbie plays piano alongside Ron Carter on bass and the great Mickey Roker on drums. The harder-hitting soul jazz riffs and hooks of Herbie's first few records are nicely replaced by more thoughtful lines that get a bit deeper, soulfully – and nearly all tracks on the set are originals by Hancock! The album's filled with great moments – and tracks include "The Sorcerer", "Riot", and "Goodbye To Childhood". CD

A wonderful Herbie Hancock session from the 60s – a Blue Note album that's sometimes overlooked, but which really shows Herbie taking off – as he adds a nice dose of lyricism into his usual soul jazz approach from the 60s! The sound's a bit farther-reaching than on some of Hancock's smaller group sessions – and the record features a sextet that includes Jerry Dodgion on flute, Thad Jones on flugelhorn, and Peter Phillips on bass trombone – an instrument that combines wonderfully with Thad's horn, to create all these cool, compressed elements. Herbie plays piano alongside Ron Carter on bass and the great Mickey Roker on drums. The harder-hitting soul jazz riffs and hooks of Herbie's first few records are nicely replaced by more thoughtful lines that get a bit deeper, soulfully – and nearly all tracks on the set are originals by Hancock! The album's filled with great moments – and tracks include "The Sorcerer", "Riot", and "Goodbye To Childhood". CD features 3 bonus alternate takes! CD

Hampton Hawes isn't exactly the first pianist we think of when it comes to bluesy lines in his music – but there's definitely a blue-tinged undercurrent to most of the work in this set – a well-chosen batch of tracks from Hamp's early years as a leader on Contemporary Records! The album features work in a variety of settings – with players who include Red Mitchell, Ray Brown, or Scott LaFaro on bass – Shelly Manne, Chuck Thompson, or Frank Butler on drums – and some occasional work by Harold Land on tenor sax, and either Jim Hall or Barney Kessel on guitar. Titles include "Blues The Most", "Hamp's Blues", "Hip", "Soul Sign Eight", "The Sermon", "For Real", "Hampton's Pulpit", "Takin Care", "Up Blues", and "Blues For Jacque". CD

Very hip work from a young Jimmy Heath – a relative newcomer to the scene at this point, but breaking out with a firm conception and tone, exercised strongly here in a set of large group arrangements worked out in collaboration with Tom McIntosh. McIntosh's work in this format is well known from albums by Dizzy and James Moody – and as with those records, this one has an edgey quality that really keeps the music fresh, and which provides a good foil for solos by Heath, McIntosh, Pat Patrick, and Cannonball Adderley. Titles include "Big P", "Mona's Mood", "Nails", and "The Picture Of Heath". CD

Very hip work from a young Jimmy Heath – a relative newcomer to the scene at this point, but breaking out with a firm conception and tone, exercised strongly here in a set of large group arrangements worked out in collaboration with Tom McIntosh. McIntosh's work in this format is well known from albums by Dizzy and James Moody – and as with those records, this one has an edgey quality that really keeps the music fresh, and which provides a good foil for solos by Heath, McIntosh, Pat Patrick, and Cannonball Adderley. Titles include "Big P", "Mona's Mood", "Nails", and "The Picture Of Heath". CD features the bonus track "Nails", in an alternate take! CD

A later set from tenor legend Red Holloway – but one that really revives the style of his 60s soul jazz classics on Prestige Records! Red gets plenty of old school company on the set – a group that features Frank Wess on additional tenor, Lonnie Smith on Hammond, Melvin Sparks on guitar, and Paul Humphrey on drums – all cookers we love from years back, doing a pretty great job of keeping things groovy here. Titles include "Avalon", "3 Steps Up Clark", "Water Jug", "Struttin With Julie", "Good To Go", "Million Dollar Secret", and "Still Groovin". CD

Two great Bobby Hutcherson albums – both recorded at the end of the 60s, but not released by Blue Note until years later! Both records – Medina and Spiral – give you a glance at the early years of Bobby's famous association with tenorist Harold Land. The Land/Hutcherson combo turned out some of the best modernist soul jazz albums of their age, and their unique interplay, a mixture of free-thinking solos and tight groovy rhythms, set the pattern for so many other 70's jazz groups. Stanley Cowell plays piano on the session, and Bobby's longtime rhythm partner Joe Chambers is on drums. With the tracks "Avis", "Orientale", "Spiral", "Ruth", and "Visions". CD

Wonderfully groovy work from the team of Jackie Cain & Roy Kral – a set that has the pair moving into much hipper modes for the 60s, and really taking off from the greatness of earlier records! Backing is still by Roy's core trio, with acoustic piano at the lead – but the addition of electric bass to the lineup really helps the tunes step along nicely – hitting a groove not heard before from Jackie & Roy, with results that are completely sublime! There's a definite bossa influence that comes into some of the best tracks – a skipping, lilting approach to rhythm that's made even better by the unique dual vocals of the team, especially when they're singing wordlessly. But even when lyrical vocals are part of the mix, the sound is still great too – and Jackie & Roy have a way of bringing charm to a tune that few other singers can touch! Titles include "Lovesick", "A Big Beautiful Ball", "You Really Started Something", "Let's Begin", "Mimosa & Me", "Corcovado", "Samba Triste", and "The World Is Your Balloon". CD

Early genius from these Bay Area stalwarts – one of the greatest rock records of its time! Surrealistic Pillow is the second Jefferson Airplane album, but they took a number of huge creative leaps in the 8 months or so between their debut record and this one. This one is where they're joined by psych siren Grace Slick, but it's not just the line-up change that sets it apart. Surrealistic Pillow is a perfect title, as it's comforting and disorienting at the same time. It's also the magical confluence of wildly different spirits – with standout contributions by the entire band. Titles include the seminal "White Rabbit" – plus "Embryonic Journey", "3/5 Of A Mile In 10 Seconds", "DCBA 25", "How Do You Feel", "Today", "She Has Funny Cars", and "Plastic Fantastic Lover". CD

The album that really broke Jethro Tull out of the prog rock underground and into the mainstream – and a set that showed that the group weren't just a combo with creative use of flute, but a band that could really rock off their ass when they wanted to! Previous records were all pretty great, but there's definitely something special in the air with this one – an extra-amped version of the group that even seems to have Ian Anderson's flute blowing out all stops, and his vocals sounding even more menacing than before! Martin Barre's maybe the real master, though – searing on guitar, and punctuating all of Anderson's efforts with his own mad energy – on titles that include the classic "Aqualung", plus "Wondering Aloud", "Cheap Day Return", "Cross Eyed Mary", "My God", "Slipstream", "Locomotive Breath", "Wind Up", and "Mother Goose". CD

One of the most wonderfully lyrical records ever cut for Blue Note – and a shimmering early showcase for the genius of trumpeter Thad Jones! Jones is maybe best remembered for his work in bigger groups, but at the start of his career he's a lyrical genius – as you'll hear on this sublime session that also features tremendous tenor from Billy Mitchell – a player who was also often lost in larger groups, but who really shines wonderfully here next to Thad! The pair are perfect together, and move seamlessly through the session, trading solos with incomparable ease – yet never getting too perfect, and never lacking the humanity that makes a record like this so great. Barry Harris plays some wonderful piano – and the tracks include "If I Love Again", "Thedia", "If Someone Had Told Me", and "April In Paris". CD features 2 bonus tracks – "I've Got A Crush On You" and "Something To Remember You By". CD

One of the only two vocal jazz albums that the Blue Note label recorded back in the day – and a haunting batch of tracks from a young Sheila Jordan! The style here is quite different than that of Jordan's later, more experimental records – and this early session shows her as an extremely talented young vocalist, with a unique approach that adds a sparkling modernist touch to familiar tunes – yet which still keeps things in a relatively more straightforward fashion. There's a great mixing of older and newer visions in the set – not just in Jordan's vocals, but also in the small combo backing by the trio of Barry Galbraith on guitar, Steve Swallow on bass, and Denzil Best on drums. Titles include great versions of "Baltimore Oriole", "Dat Dere", and "Hum Drum Blues" – plus the tunes "I'm A Fool To Want You", "Am I Blue", "Laugh Clown Laugh", and "Who Can I Turn To?". CD

A pivotal album for Gladys Knight and group – as the record features their super-huge hit "The Midnight Train To Georgia", a landmark track that not only had a catchy pop hook, but which spoke volumes about African-American migration in the postwar years. The track's one of those you've heard a million times, but it's got a strength that still holds up tremendously. Part of this is due to great production work by Tony Camillo – who handled arrangements and studio work on about half the tracks – and part is due to Jim Weatherly, who wrote the song, and about half the others on the album. The whole album's great – one of the best Buddah Records moments for the group – and titles include "I've Got To Use My Imagination", "Window Raising Granny", "Where Peaceful Waters Flow", "Once In A Lifetime Thing", "Best Thing That Ever Happened To Me", and "Storms Of Trouble Times". Includes three bonus tracks ; "We Don't Look For Trouble", "Alone Again" & "Rainbow Ride". CD

Maybe the strongest creative statement to date from tenorist James Brandon Lewis – an album of work inspired by the legacy of George Washington Carver – served up here with a sense of depth that's certain to open even more doors for Lewis in years to come! There's a majesty to the music that's apparent in the very first notes, and which keeps on coming as each song unfurls – that search for truth talked about in Carver's writings, quested here with a quintet that includes William Parker on bass, Chad Taylor on drums, Kirk Knuffke on cornet, and Chris Hoffman on cello! The energy of Parker and Taylor is sublime – and makes for a setting that's different than other recent records we've heard from Knuffke, who also seems to draw new currents of sonic inspiration from the gentle but powerful use of the cello. The tenor has a raw, sharp edge throughout – a personality that would be striking, even without the beautiful setting of Lewis' original material – and titles include "Lowlands Of Sorrow", "Jesup Wagon", "Experiment Station", "Fallen Flowers", "Seer", and "Arachis". CD

A classic bit of indie blues from the Chicago scene – featuring some great players from the second generation after Chess Records stopped picking up the younger local talents! Magic Sam leads the group on vocals and guitar, and he's working here with Mighty Joe Young on guitar, Odie Payne on drums, and Mack Thompson on bass – all to craft a set of rough and ready blues tunes that would have played well on both sides of the tracks at the time. Titles include "That's All I Need", "All Of Your Love", "I Don't Want No Woman", "Mama Mama Talk To Your Daughter", and "Lookin Good", a nice instrumental! CD

A really fantastic large project by Christian McBride – maybe one of his most ambitious records ever, and one that really lives up to its intention! The movement here is the Civil Rights movement – recalled through the words of Malcolm X, Muhammad Ali, Rosa Parks, and Dr Martin Luther King Jr – then set to jazz instrumentation by a wonderful lineup that includes Warren Wolf on vibes, Steve Wilson on alto and flute, Ron Blake on tenor and soprano sax, Michael Dease and Steve Davis on trombones, Lew Soloff on trumpet, and Geoffrey Keezer on piano. Four different figures each take on the voices, with an approach that's as great as the music – actors Wendell Pierce, Vondie Curtis Hall, and Dion Graham – plus poet Sonia Sanchez – often shifting the words of the key figures throughout a single musical work, with results that are surprisingly powerful. Titles include "Brother Malcolm", "Sister Rosa", "Rumble In The Jungle", "Ali Speaks", "Soldiers", and "A View From The Mountaintop". A fantastic record – and one that reminds us of the great power in this nation, at a time when its light is sometimes eclipsed. CD

An incredible step forward for 60s soul singer Gene McDaniels – so much so, that most folks hearing this album can't believe he's the same guy who recorded for Liberty Records a few years before! The album's incredibly righteous right from the start – and has a genre-busting quality that isn't quite soul, but isn't rock or anything else either – and instead, the kind of progressive, "years ahead of its time" sort of set that guys like David Axelrod were cutting in the same stretch. Apart from the title, the whole record's got a strong political message that's probably best embodied in the statement on the back – "Under conditions of national emergency, like now, there are only two kinds of people – those who work for freedom, and those who do not – the good guys vs the bad guys". With words like that, you can definitely bet that Eugene is on the side of the good guys – really pushing a social agenda with some wonderfully-penned tunes on the album – set to cool musical backdrops from the equally-righteous William S Fischer. Titles include "Love Letter To America", "Black Boy", "Outlaw", and "Sagittarius Red". 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

One of Carmen McRae's great 60s albums for Atlantic Records – a set that's still strongly jazz-based overall, but which seems to have an extra dose of soul at the bottom! The approach is a bit like the best late 60s sides by Nancy Wilson or Marlena Shaw – rooted in jazz, but hipper with some soulful elements in the backdrops – penned in this case by Jimmy Jones and Shorty Rogers, both of whom do a great job with the arrangements. The crispness of Carmen's voice works perfectly in the setting – and titles include "Watch What Happens", "Sound Of Silence", "MacArthur Park", "Can You Tell", and "Gloomy Sunday". CD

A really great later effort from Helen Merrill – one recorded in Paris at the end of the 80s with some excellent tenor sax work from Stan Getz! The mode of the record is similar to other Merrill records from the time – spare, gentle, and moody – sometimes threatening to lapse into its own blueness, but wonderfully redeemed by Stan's solo lines – which push a boldness and raspy edge into the tunes that really livens things up. The album's a great demonstration of the Getz power on a vocal session – a sound that never overtakes the presence of the singer, but really brings in something fresh – a voice of its own that helps redefine the tunes and create some of the most exciting moments on the record. Other players include Joachim Kuhn and Torrie Zito on piano, JF Jenny-Clark on bass, and Daniel Humair on drums – and titles include "Music Makers", "Cavatina", "It's Not Easy Being Green", "Yesterdays", "If You Go Away", and "Just Friends". CD

Key early trio material from Thelonious Monk – a record that features seminal recordings of important compositions, all done in sharply angular versions that showcase the best modern Monk touch on piano! As with a number of early Prestige LPs, the material here is pulled from 2 different sessions that were originally issued as smaller records – but there's a deeply unified sound to the record, and the raw early Monk sound is undeniably great! The trios here feature either Gary Mapp or Percy Heath on bass, and Art Blakey or Max Roach on drums – and titles include "Monk's Dream", "Little Rootie Tootie", "Bemsha Swing", "Trinkle Trinkle", "Blue Monk", "Just A Gigolo", and "Bye-Ya". 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

One of our top 5 favorite Blue Note records of all time – a bold and powerful session from trumpeter Lee Morgan, but one that sat in the vaults for 15 years before release! The session was recorded around the same time as Morgan's hit The Sidewinder (which eclipsed its release at the time) – but it's got the soaring, searching energy of later Morgan work on records like Sixth Sense or Charisma – a whole new groove at the time, and one that's explored perfectly by a group that includes Jackie McLean on alto sax, Curtis Fuller on trombone, McCoy Tyner on piano, Bob Cranshaw on bass, and Art Blakey on drums. Modal lines come into play with older hardbop and soul jazz modes – and the result is an explosive batch of tunes that resonate with bold power throughout! Nearly all tunes are incredible originals by Lee Morgan – and titles include "Tom Cat", "Exotique", "Twice Around", and the completely captivating "Rigor Mortis". A treasure, and one not to pass up! CD

It's hard to sum up the genius of the Ohio Players at Westbound Records in words – but this set does a pretty good job of doing the whole thing with music! The group are at their trippy, early best here – much more funk and soul than on their initial psych debut, yet still not as smooth or clubby as in their later years – coming across with a badass righteous vibe that takes full advantage of the unique Detroit spirit of Westbound Records – best known as the initial home of Funkdelic. The Ohio Players are maybe not as tripped-out as that group, but maybe not that far away either – and come across beautifully here on a stunning back of 15 tracks that includes "Funky Worm", "Varee Is Love", "Walt's First Trip", "Food Stamps", "Laid It", "Singing In The Morning", "Ecstasy", "Climax", "Pain", "Sleep Talk", and "Player's Balling". CD

A great litle early album from Ann Peebles – rawer than most of her more familiar stuff, with a gutbuckety soul quality that really keeps things fresh! We always love Ann's work, but in these early years she has a deep soul vibe that few other singers can touch – a level that easily rivals Aretha Franklin, but has more real southern roots – and which is handled here by the Hi Records sound. Willie Mitchell produced and arranged (of course!), and the record's got some sweet backing vocals by Rhodes, Chalmers, & Rhodes – very much in a Sweet Inspirations mode, but again maybe a bit deeper too. Tracks include a funky remake of The Isleys' "It's Your Thing", plus "Solid Foundation", "Crazy About You Baby", "Give Me Some Credit", and "Generation Gap Between Us". CD

A lost treasure – finally brought back to light! The album features previously unissued material by the team of Art Pepper and Warne Marsh – tracks recorded back in 1956 for Contemporary records, but only issued many years later as part of the Complete Contemporary project for Pepper's work. Why these dates never made it to wax is a real mystery to us – because the pairing of Pepper's alto and Marsh's tenor is perhaps even greater than the more famous team of Marsh & Konitz – and the sound here is completely wonderful – fluid, modern, and exceptionally poised – yet never without soul! CD includes a few master and original takes of some numbers – and titles include "All The Things You Are", "Tickle Toe", "Warnin", "Stompin At The Savoy", "What's New", "Avalon", and "I Can't Believe That You're In Love With Me". CD

One of the moogiest records of all time – a legendary LP of "electronic pop music of the future" – sourced and claimed as an influence by everyone from Stereolab to the Beastie Boys! The legendary team of Gershon Kingsley and Jean-Jaques Perry are working here in early tape experiments that chop up quirky analogue electronics – and uses them to produce moogy songbits and space sounds, all with a really groovy beat! There's a simple magic here that has made the album hold up for years, and stand apart from a legion of later imitators with a clear, simple, and effective style that makes the best of all the bleeps and blonks in the set! Titles include "Unidentified Flying Object", "Spooks in Space", "Barnyard In Orbit", "Swan's Splashdown", and "Girl From Venus". A loving musical space party! CD

A pair of late 70s albums from Esther Phillips – '77's You've Come A Long Way, Baby and '78's All About Esther Phillips – together in a single set! The cover of You've Come A Long Way, Baby which has Phillips standing in front of a limo, might be a bit "on the nose" – but the album itself has some really nice tracks, thanks in part to production and arrangements by Pee Wee Ellis, who always managed to get the best out of Esther during the 70s! The groove's got a lot top shelf clubby soul and easygoing funky swagger – and Esther sounds great out front! Tracks include "Into The Mystic", "Love Addict", "If I Loved You", "In A Soft & Subtle Way", "My Prayer", and "Somewhere Along The Line". This version includes "My Prayer (Previously Unreleased Extended Mix)". All About Esther Phillips is a sweet 70s Wayne Henderson-produced set – quite a different groove for Esther! It's got elements of the lightly funky soul of some of the immediately preceding records, but this one has some elements in the arrangements that bring a more gentle touch – particularly the chimes & strings. Groovy stuff! Titles include "The Man Ain't Ready", "Native New Yorker", "SOS", "Pie In The Sky", "If I Fall In Love By Morning" and more. CD

The greatness of Gregory Porter continues to grow and grow – as the vocalist keeps moving past the straighter jazz of his roots, into a role as one of the greatest soul singers of the 21st Century! Porter's got a depth and maturity that few folks have had in recent years – especially in the realm of male vocals – very much that manner of important 70s singers like Bill Withers, Billy Paul, or Al Jarreau – who were schooled in jazz, but worked more in soulful styles that gave them a wider reach, and helped them to find a very personal voice in the process! We'd easily place Gregory in that legacy – one that he's definitely earned by this point – and he sounds arguably even better here than on his debut for Blue Note – working with arrangements from co-producer Kamau Kenyatta, who mixes in just the right current of jazz to keep things on track with the energy we first loved in Porter's first records – while still really letting his new energy open up and soar. Titles include "Holding On", "Insanity", "Don't Lose Your Steam", "Daydream", "Don't Be A Fool", "More Than A Woman", and "French African Queen". Also features different versions of two songs, with guest appearances – "Holding On" with Kem, and "Insanity" with Lalah Hathaway. CD

Prince in a grand groove – really hitting a new level of funk with a razor-sharp edge – and even blowing away some of his work on previous records! The record's a soundtrack for a film – Under The Cherry Moon – and although that movie never had the success of Purple Rain, we actually think it left behind an even stronger musical legacy – one that has Prince finding even more of a funky voice than before, with so many wonderfully freaky twists and turns! The music never got the showcase it might have deserved, because of the failure of the film – but it's one of our favorite Prince albums ever, and includes the massively funky "Kiss", the closest Prince ever got to James Brown, The whole album's got some great sweeping, pop psyche orchestral arrangements by Clare Fischer – and titles include "Christopher Tracey's Parade", "I Wonder U", "Under The Cherry Moon", "Girls & Boys", and "Anotherloverholenyohead". CD

Really unique material from Sun Ra – a pair of recordings that were initially circulated much more strongly than some of his Saturn Records material, thanks to the power of the BYG/Actuel label in the early 70s – but tracks that actually come from a variety of different sessions that Ra himself did with the Arkestra in the late 60s! Tracks are shortish, but very inventive – a well-chosen snapshot of all the new ideas that the group were cooking up during the end of the 60s in New York, with an increased mission to explore the outer reaches of space, and use more electronics than ever before! Ra plays some killer keyboards – moog, spacemaster, and acoustic piano – often with these really eerie tones – and other players include Kwame Hadi on trumpet, Akh Tal Ebah on space dimension mellophone, Ali Hassan on trombone, Marshal Allen and Danny Davis on alto and flute, John Gilmore on tenor, and Pat Patrick on baritone – and the whole group vocalizes at points, joined by other singers who include June Tyson and Art Jenkins. There's also some great use of "strange strings" on the sessions, not to mention a bit of reverb – and tracks on this second volume include "The Utter Nots", "Outer Spaceways Inc", "Scene 1 Take 1", "Strange Worlds", "Ancient Ethiopia", "Pyramids", and "Interpretation". CD

Really unique material from Sun Ra – a pair of recordings that were initially circulated much more strongly than some of his Saturn Records material, thanks to the power of the BYG/Actuel label in the early 70s – but tracks that actually come from a variety of different sessions that Ra himself did with the Arkestra in the late 60s! Tracks are shortish, but very inventive – a well-chosen snapshot of all the new ideas that the group were cooking up during the end of the 60s in New York, with an increased mission to explore the outer reaches of space, and use more electronics than ever before! Ra plays some killer keyboards – moog, spacemaster, and acoustic piano – often with these really eerie tones – and other players include Kwame Hadi on trumpet, Akh Tal Ebah on space dimension mellophone, Ali Hassan on trombone, Marshal Allen and Danny Davis on alto and flute, John Gilmore on tenor, and Pat Patrick on baritone – and the whole group vocalizes at points, joined by other singers who include June Tyson and Art Jenkins. There's also some great use of "strange strings" on the sessions, not to mention a bit of reverb – and tracks titles include "Spectrum", "The Satellites Are Spinning", "Seen III Took 4", "Adventures Of Bugs Hunter", "Legend", "The Realm Of Lightning", "The Utter Nots", "Outer Spaceways Inc", "Scene 1 Take 1", "Strange Worlds", "Ancient Ethiopia", "Pyramids", and "Interpretation". CD

Really unique material from Sun Ra – a pair of recordings that were initially circulated much more strongly than some of his Saturn Records material, thanks to the power of the BYG/Actuel label in the early 70s – but tracks that actually come from a variety of different sessions that Ra himself did with the Arkestra in the late 60s! Tracks are shortish, but very inventive – a well-chosen snapshot of all the new ideas that the group were cooking up during the end of the 60s in New York, with an increased mission to explore the outer reaches of space, and use more electronics than ever before! Ra plays some killer keyboards – moog, spacemaster, and acoustic piano – often with these really eerie tones – and other players include Kwame Hadi on trumpet, Akh Tal Ebah on space dimension mellophone, Ali Hassan on trombone, Marshal Allen and Danny Davis on alto and flute, John Gilmore on tenor, and Pat Patrick on baritone – and the whole group vocalizes at points, joined by other singers who include June Tyson and Art Jenkins. There's also some great use of "strange strings" on the sessions, not to mention a bit of reverb – and tracks titles include "Spectrum", "The Satellites Are Spinning", "Seen III Took 4", "Adventures Of Bugs Hunter", "Legend", "The Realm Of Lightning", "The Utter Nots", "Outer Spaceways Inc", "Scene 1 Take 1", "Strange Worlds", "Ancient Ethiopia", "Pyramids", and "Interpretation". CD

The title's no lie, as Wallace Roney serves up a set of jazz standards – yet in keeping with his other great work on Muse Records, the album's also got a heck of a lot going on as well! The album's hardly the kind of "trumpeter hits the classics" album you might expect – as throughout the session, things open up nicely – starting with sparkling notes on trumpet, but pushing into some of the bolder territory Roney was known for at the time, eventually ending on a number composed by the group. Players include Gary Thomas on tenor, Mulgrew Miller on piano, Charnett Moffett on bass, and Cindy Blackman on drums – and titles include "Loose", "When Your Lover Has Gone", "Con Alma", "Giant Steps", "The Way You Look Tonight", and "Don't Blame Me". CD

A classic of spiritual, soulful jazz – and one of Archie Shepp's greatest albums! The set was recorded in New York after a few free and festive years in Paris, and it's an amazing about-face that has Archie stepping into a world of righteous, full-on, political, and funky themes – the likes of which are far more outspoken than any of his previous recordings. The group on the set is quite a large one – hip New York underground players, a small string ensemble, and even a few singers – like soul diva Joshie Armstead and vocalist Joe Lee Wilson. Overall, the sound's somewhere in the same place as the Art Ensemble of Chicago's amazing Les Stances A Sophie – in that the record comes from a free jazz tradition, but moves into a more rhythmic focus in order to communicate its message. The added vocals and recitations are wonderful – very moving, and much less hippy-dippy than on other Shepp records of the time – and the whole thing holds together with a unique sound and substance that's made it a treasure that holds up again and again. A true gem, and one we'll never part with! Tracks include "Quiet Dawn", "Goodbye Sweet Pops", "Steam (parts 1 & 2)", "Attica Blues", "Blues For Brother George Jackson", and "Ballad For A Child". CD

Attica Blues, and beyond – a great late 70s performance that has Archie Shepp turning the clock back towards that famous album – but also making some very new grooves with a richly expanded lineup! The double-length set was recorded in Paris, in front of a very lively crowd – and it's honestly one of Shepp's most dynamic records from the time – definitely inspired by all the freedom he'd had in the French scene for the previous decade – yet also brought together with a great sense of focus too. The lineup is excellent – with vocals from Joe Lee Wilson and Irene Datcher – trumpets from Malachi Thompson, Charles McGhee, and Roy Burrowes; trombones from Charles Greenlee, Dick Griffin, and Steve Turre; reeds from Marion Brown, James Ware, and Marvin Blackman; plus piano from Art Matthews, some added strings, great percussion, and piano, tenor, and soprano sax from Shepp himself! Ray Copeland directs the group – giving it the hip focus of his few key recordings like this – and titles include "Star Love", "Moon Bees", "Attica Blues" (in two parts), "Steam", "Quiet Dawn", "Hi Fly", "U-Jaama", "Ballad For A Child", "Simone", "Crucificado", :A Change Has Come Over Me", "Goodbye Sweet Pops", and "Skippin'". CD

One of the most perfectly-realized early Archie Shepp albums on Impulse Records – a set that brilliantly brings together all the different influences that inspired his sense of creation, but with a lean energy that takes everything far from its roots – and puts the music firmly in the best "new thing" territory of the mid 60s! The players shift around a bit from track to track – that sense of creative combination that really marked this moment in avant jazz expression – and about half the record features Bobby Hutcherson on vibes, in a lineup that also includes Henry Grimes and Barre Phillips on bass, and David Izenzon, Rashied Ali, and Joe Chambers on drums and percussion! Shepp contributed some of his most haunting compositions to the set – including "On This Night", "The Mac Man", and "The Pickaninny" – and the whole thing's amazing enough to make you an Archie Shepp convert for life! CD

One of the more avant-oriented 60s sessions cut by Wayne Shorter for Blue Note – a record that's not entirely part of the "new thing" generation, but which definitely has Shorter pushing the boundaries from his previous records for the label! The lineup here is a key batch of players who can handle both sides of the fence – inside and outside – Freddie Hubbard on trumpet, Grachan Moncur on trombone, Herbie Hancock on piano, James Spaulding on alto, Ron Carter on bass, and Joe Chambers on drums – all players who were really breaking their own boundaries at the time. The set also features work from Wayne's Brother on one track – avant trumpeter Alan Shorter, who's only known for a few records under his own name, and who really brings a great sound to play here. At times, the record builds into a sound that's freer and more challenging than on some of Shorter's other albums from the time – but less in a free jazz mode, than with an overall sense of purpose that really keeps the message clear. Features all original compositions by the Shorter brothers – and cuts include "Chaos", "Face Of The Deep", "Mephistopheles", and "Genesis". CD

5 classic albums from Nina Simone – packaged together in one sweet little set! First up is Nuff Said – a great little album from Nina – mostly recorded live at the Westbury Music Fair, with a hip mix of jazz, soul, and folk that's stretched out in a slightly informal setting that always brings out the best of Nina's vocals! Tracks include "The Backlash Blues", "Please Read Me", "Sunday In Savannah", "Why? (The King Of Love Is Dead)", and the nice jazzer "In The Morning". Plus, the album also includes one straight soul number – "Do What You Gotta Do", with some great arrangements by Horace Ott. Next is To Love Somebody – one of Nina's greatest records – recorded with her cool combo that included Weldon Irvine! Weldon's on organ on the set, and he co-wrote the two-part track "Revolution" with Simone, one of the album's strongest numbers! That track is set amidst covers of other hip 60s material, including "Turn Turn Turn", "To Love Somebody", "I Can't See Nobody", and "Just Like Tom Thumb's Blues" – all done with a freely righteous style that has Nina cutting loose at the end of the 60s! Black Gold is a real classic from Nina, one of the excellent sets she cut with the Stroud Productions imprint during the early 70s! The style here is even hipper than her late 60s work on Philips – with a mixture of open-ended jazz and soul that's best summed up in the album's extended reading of "Black is the Color of My True Love's Hair", and a great version of "To Be Young Gifted & Black", which was written by Weldon Irvine, who's probably playing piano here with Nina. It Is Finished is the kind of record that once made purists turn up their noses, but which is now being rediscovered as a unique jazz/soul crossover album, filled with loads of nice moments! The instrumentation's pretty darn interesting – and includes sitar, harp, Spanish guitar, and other odd percussion instruments. Includes Nina's nice version of "Funkier Than a Mosquito's Tweeter", plus "I Want A Little Sugar In My Bowl", "Dambala", "Obeah Woman", and "The Pusher". Nina Simone & Piano is a strong back to basics session for Nina, one that featured her piano and vocals only, a very spare approach that was markedly different from her work a few years previously for other labels. Nina's tone on the piano is incredible – and she's working with some striking modern jazz changes that offset the folksiness of her vocals in a fantastic way, creating a sound that's a lot fuller than you'd expect! Titles include "Seems I'm Never Tired Lovin You", "Compensation", "Everyone's Gone To The Moon", "Nobody's Fault But Mine", "I Think It's Going To Rain Today", "The Desperate Ones", "The Human Touch", and "Another Spring". CD

One of the hippest records we've ever heard from Esperanza Spalding – a set that almost feels as if she's stepping back into some of the more experimental, individual qualities that made her so different at the start! There's definitely some appealing, catchy songs here – but the record is one to definitely be taken as a whole – this really lovely tapestry of voice and music that shimmers and glistens throughout – tunes that work together as a single suite that really keeps the album sounding fantastic all the way through, in this blend of jazz and soul that comes not just from Esperanza's vocals and work on bass, but also from the piano of Leo Genovese, who co-wrote most of the material on the album. Wayne Shorter plays on one track, the record features guest vocals from Corey King and Ganavya, and the set features 13 tracks, all numerically titled "Formwela". CD

It's time to swing, but with a classy sound throughout – very much the best mix of modes Dakota Staton brought to her key early years at Capitol Records! Backings are by Sid Feller, and are pretty darn jazzy throughout – more so than some of Sid's other work of the time – a perfectly soulful setting for Staton's amazing vocals – very poised at points, yet never as stiff or stodgy as some of her contemporaries. Dakota's got a deep-toned approach to these tracks that really helps make the album way more than just another recording of familiar standards – and instead, does a great job of taking tunes into rich new territory. There's loads of great reedwork – from Phil Woods, Jerome Richardson, and Budd Johnson – and titles include "If I Should Lose You", "When Lights Are Low", "Willow Weep For Me", "But Not For Me", "The Song Is You", and "Until The Real Thing Comes Along". Bonus tracks include "You'd Better Go Now", "You've Changed", "All In My Mind", "Detour Ahead", and "Once There Lived A Fool". 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

A classic early session from Alligator Records – with Hound Dog Taylor on guitar and vocals, plus Brewer Phillips on second guitar and Ted Harvey on drums – all working in a style that's a lot leaner than other work on the label! CD

One of the greatest all-star groups in jazz – a short lived sextet that featured some of the best players working for Timeless Records – and a group that recalls the brilliance of the early recordings of Harold Land and Bobby Hutcherson! Both Hutcherson and Land are part of the group – as are Cedar Walton, Curtis Fuller, Buster Williams, and Billy Higgins – and the amazing thing about the set is the way that such top-shelf players can come together, yet manage to work in a mode that's far greater than the sum of its equally great parts! CD

One of our favorite recordings ever of George Gershwin's Porgy & Bess – done by Bethlehem Records in the mid 50s, and featuring nearly every one of the label's great talents at the time! The choice of the lead characters is a bit odd – as Mel Torme plays Porgy and Francis Faye plays Bess – but both singers are actually pretty darn great for the set, and really bring a lot out of the tunes. Plus, the other artists on the set really keep things interesting – as the collection features vocal performances by Johnny Hartman, Frank Rosolino, Betty Roche, Bob Dorough, and Sallie Blair. Plus, the whole thing's presented as Gershwin wrote it – complete with narration by Al Jazzbo Collins, and a number of strong instrumental passages. Music is performed by groups led by Russ Garcia, Duke Ellington, Pat Moran, and Stan Levy – and players are an array of the best of both the New York and LA scenes at the time! CD

Pivotal work from Waldron – stepping out of the blowing session mode, emerging as one of the 60s most striking moderinists. Like a lot of Waldron's records from the time, this set shows an amazing desire for new forms and modern ideas, and the mix of players – Eric Dolphy, Booker Ervin, Ron Carter, Joe Benjamin, and Charlie Persip – pulls the material in a number of different ways. Carter plays bowed cello, as he did on Dolphy's Out There session, and he gives the set a dark moody feel. Ervin's in his best modernist mode, and he ably trades lines with Dolphy and keeps the whole thing moving nicely. Waldron's writing and arranging is superb, and the tracks feature a lot of weird time structures and unusual modal patterns. Includes the tracks "Status Seeking", "Warm Canto", "Warp and Woof", and "Fire Waltz". CD

Some of the most important work ever recorded by Randy Weston – 5 early albums that really pushed the boundaries of modern jazz! First up on the set is Little Niles – a fantastic set that features some of Weston's best early compositions – angular and Monk-ish numbers, but with a profound influence from African rhythms. Next up is Live At The Five Spot – a really compelling live set that features Randy working out Little Niles-ish numbers with a live group that includes Kenny Dorham and Coleman Hawkins. After that is Piano A La Mode – a sublimely simple album of mellow piano tracks – followed by a series of previously unissued tracks done with a quartet that includes Roy Haynes, Cecil Payne, and Ron Carter. Following that are some of Randy's most Afro-centric albums – very unique for the time, and equally powerful today – the records Uhuru Afrika and Highlife – both of which feature larger groups working through some distinctly African ideas in jazz. Nearly every record features arrangements by Melba Liston – and if you've ever wondered where to start with Randy, this is it – because the set encapsulates nearly all of the biggest contributions he ever made to jazz! 40 titles in all – with tunes that include "Little Niles", "Nice Ice", "Earth Birth", "Gingerbread", "Saucer Eyes", "204", "CB Blues", "Where", "Fe Double U Blues", "African Lady", "Bantu", "Kucheza Blues", "Blues To Africa", and "Congolese Children". CD

A wonderfully soulful session from the best years of the DIW label – a set that has pianist James Williams recording with tremendous tenor work from Billy Pierce, George Coleman, and Joe Henderson! The album parcels the players out – so that 2 tracks only feature Pierce, and the others feature all 3 players, recorded with placement in different channels of the record – making for a spaciously collaborative sound that's really unique! Williams' piano is great – strong and bold, and without some of the too-traditional echoes that sometimes lose us on other records – and as with a number of the best DIW sessions from the time, there's a bit more grit in the production, which really helps deepen the sound of the music. Titles include "Common Knowledge", "Afro Centric", "Up To The Minute Blues", "Girl Talk", and "Three Card Molly". CD

An early masterpiece from Frank Zappa – one of those records that looks like it's going to be a big ol' mess when you first see the cover – but which turns out to be a carefully calculated act of madness in the end! The Mothers have all their freeform freaky brilliance intact here – still some of the snide edges of the early years, but also really learning their craft as well – and stretching out under Zappa's direction into a pastiche of songs that explore the anxieties and inanities of late 60s America! Frank produced the whole thing with an approach that others wouldn't reach for years – shifting styles, instrumentation, and sound sources with effortless ease – over tracks that include "Hot Poop", "The Idiot Bastard", "Lonely Little Girl", "Take Your Clothes Off When You Dance", "Harry You're A Beast", "Mom & Dad", "Who Needs The Peace Corps", and "Flower Punk". CD

Frank Zappa at his mid 70s best! A bit of everything we love most about Frank Zappa records comes in to play on Zoot Allures. There's the oddball, yet accessible rock tunes that are as infectious as anything he ever composed – plus some bawdy, almost sleazy humor – and plenty of scorching guitars! There's a bit of global guitar experimentation, too – but it's ultimately a driving rock 'n' roll record – albeit with Zappa's particular freewheeling impulses well in play! Includes "Wind Up Working In A Gas Station", "Black Napkins", "The Torture Never Stops", "Find Her Finer", "Friendly Little Finger", "Wonderful Wino", "Zoot Allures" and "Disco Boy". CD

32 tracks from artists such as the Heartbeats, the Desires, the Monotones, the Pastels, the Elegants, Jackie & the Starlites, The Avons, the Beltones, the Legends, Shep & the Limelites and more. CD

20 tracks produced by Allen Toussaint – one of the greatest talents to ever emerge from the New Orleans soul scene, working here in his earlier years, coming up with a rough and chunky groove that's virtually defined the sound of the city! Titles include "It Will Stand" by The Showmen, "Mother In Law" by Ernie K Doe, "Over You" by Aaron Neville, "Heavenly Baby" by Allen & Allen, "Te Ta Te Ta Ta" by Ernie K Doe, "It's Raining" by Irma Thomas, "A Certain Girl" by Ernie K Doe, "Whip It On Me" by Jessie Hill, "Fortune Teller" by Benny Spellman, "Lipstick Traces" by Benny Spellman, "39 21 46" by The Showmen, and "Ooh Poo Pah Doo (parts 1 & 2)" by Jessie Hill. CD