The first new studio recording by tenorist Fred Anderson since 1980 – and a set that shows just how much he'd grown in the intervening years! Here, Fred's newly alive with a younger Chicago group – a great quartet with Jim Baker on piano, Harrison Baker on bass, and Hamid Drake on drums – all players openly fluid to move with Anderson from swinging passages to freer ones – a beautiful balance of soul and experimentation, captured in a way that maybe links Fred more closely to Von Freeman than any other record in his career – yet which still captures all the AACM vitality in his music too. Titles include "Birdhouse", "Bernice", "Like Sonny", and "Waiting For Me". CD

A beautiful little record from this overlooked Windham Hill team – pianist Barbara Higbie and violinist Darrol Anger – working here in an open live setting that really lives up to the best spirit of the label! Both instruments are used in very fresh ways – moving through that new acoustic underground generation into modes that are more open to new phrasing and concepts, yet without any of the colder, quieter styles you'd hear from ECM records of a similar generation. Instead, there's this subtle sense of brightness, but one that's never too cloying or sentimental – as the players work with a quintet that also includes Mike Marshall on mandolin and guitar, Todd Phillips on bass, and Andy Narell on a bit of steel drums. Titles include "Egrets", "Egypt", "Brann St Sonata", "Pumpkin Time", "Duet", "Tideline", "Near Northern", and "Daughter Of Cups". CD

Piano and violin come together beautifully here – the former by Barbara Higbie, the latter by Darrol Anger – who also plays mandolin and cello as well! There's an acoustic balance here that's more jazz than some of the other Windham Hill albums of the time – especially in the music's sense of rhythm and phrasing – and the rich acoustic tones of both players get wonderfully past some of the new age cliches that are too-often wrongly associated with the label – and remind us that at their best, records like these offer up a key flowering of the acoustic underground of the 70s. Mike Marshall plays guest mandolin on one title – and tracks include "Movie", "Tideline", "Above The Fog", "True Story", "Onyame", and "Gemini". CD

An early album as a leader from the great Roy Ayers – a set that captures the vibes man at a time when he'd been working on the west coast soul jazz scene, and was stepping into even greater fame in the group of Herbie Mann! Yet this set is definitely Roy's own – kind of an introduction to the more righteous sounds he'd pursue in the 70s, set up in an instrumental mode with great help from Herbie Hancock on piano, Gary Bartz on alto, Charles Tolliver on trumpet, and Hubert Laws on flute – all ultra-hip players who really bring a lot to the record! And despite the colorful cover, and its reference of a pop hit, there's a much deeper vibe going on here – on titles that include a great version of Jobim's "Wave" – done like we've never heard it before – plus the original cuts "What The People Say", "Lil's Paradise", and "A Rose For Cindy". CD

Essential stuff! This 2 CD set includes the entirety of Albert Ayler's Live In Greenwich Village album – plus a huge amount of previously unreleased live material, played by the Ayler group in New York, during 1966 and 1967. Ayler's brother Don is on trumpet, and other players include Joel Freedman, George Steele, Bill Fowell, Beaver Harris, Sunny Murray, Alan Silva, and Henry Grimes. The tracks have the same intensity of Ayler's ESP work – and many tunes are quite long, very free and open. Titles include "Light In Darkness", "Divine Peacemaker", "Angels", "Omega Is The Alpha", "Universal Thoughts", "Change Has Come", "Infinite Spirit", and "Spiritual Rebirth". 14 tracks in all – and one of the most important slices of Ayler's career! CD

Brilliant late work from spiritual saxophone genius Albert Ayler – one of his last truly great albums! The session has none of the jazz-meets-other music feel of some of the other Impulse albums – and is more in the straight expressive style of the ESP recordings. Tracks are more reined in here – with some short themes that are almost a distillation of the freedom Ayler had been expressing for a few years, summed up beautifully in tunes that have a plaintive cry, filled with as much soul and love as Ayler could muster into his horn! Players include Donald Ayler on trumpet, Cal Cobbs on harpsichord, Alan Silva on bass, and Milford Graves on drums – and titles include "Zion Hill", "Love Flower", "Love Cry", "Ghosts", "Omega", and "Dancing Flowers". CD also includes some extra bonus material! CD

An excellent album that's a perfect document of the strong impact that Quincy Jones had in the transatlantic jazz scene of the late 50s and early 60s! The set was recorded in 1960, and features two players that Quincy would leave behind in Europe to have a huge influence on the scene. Trumpeter Benny Bailey is the greatest of these – and his impact on jazz in Germany and Sweden during the 60s and 70s cannot be discounted. The other is drummer Joe Harris, who does excellent work here in a group that includes Arne Domnerus on sax, Ake Persson on trombone, and Gunnar Svensson on piano – all Swedes that Quincy picked up after touring the country heavily during the late 50s. The set grooves with the best of Jones' work on Mercury from the time – and although Quincy's not listed in the credits, it's probably only because of contractual reasons. Titles are all Jones originals – including "Meet Benny Bailey", "Plenty, Plenty Soul", "Fallen Feathers", and "The Midnight Sun Never Sets". CD

A great return to form for drummer Donald Bailey – a player who's probably best known for his work in the classic Jimmy Smith Trio of the late 50s/early 60s – but who sounds especially amazing here in a recent, righteous recording! Bailey's working with some very tight talent – the mighty Odeon Pope on tenor sax, Charles Tolliver on trumpet, George Burton on piano, and Tyrone Brown on bass – all players with a lot of depth in their music, and a brooding intensity that makes the record burn a lot more fiercely than anything Bailey ever recorded back in the day. The horns are especially nice – and although Tolliver's only on two of the album's nine tracks, Pope more than holds his own on the others – blowing that heady tenor sound that always grabs attention right from the get-go. Titles include "Blues It", "Gone Now", "For All We Know", "USQ/Trilogy", "Blue Gardenia", "Plant Life", and "Variations". CD

Killer work from the late 50's by Chet! Although Baker's trumpet playing in the early part of the decade became known as one of the trademark "cool" sounds of the west coast, he started to move towards a sound that was a lot more hardbop at the end of the decade – as you'll hear on this tasty album. The session's got a great (and unlikely) batch of players accompanying Chet – like firey young soul jazz pianist Bobby Timmons, modal grooving bassist Jimmy Bond, and cool tenorist Phil Urso. The set's a great one, and pushes Chet's sound way past the usual stereotypes. Titles include "Medium Rock", "Lucius Lu", "Revelation", and "To Mickey's Memory". Plus, this excellent reissue CD also adds a number of bonus tracks recorded by the same group, but not issued with the original album. Added titles include "Chippyin", "Line For Lyons (vocal version!)", and "Jumpin Off A Clef". CD

One of Chet Baker's most classic albums of the 50s – a record that features both vocals and strong trumpet solos – all from a time when Baker was one of the hottest things going in jazz! The album's different from records from previous years, in that it moves Baker from LA to New York – where he works with a great quartet that features Kenny Drew on piano, George Morrow or Sam Jones on bass, and Philly Joe Jones or Danny Richmond on drums – all players who have a slightly different approach than some of Baker's compatriots on Pacific Jazz sessions, which also seems to bring out a bit more bite in Chet too. Tracks are still shortish, with those breathy Baker vocals we love so much, balanced with really well-crafted trumpet solos – and titles include "It Could Happen To You", "Do It The Hard Way", "Old Devil Moon", "Dancing On The Ceiling", and "The More I See You". CD features 2 bonus tracks! CD

Includes seven tracks recorded with three different quartets. Other players include Amadeo Tommasi, Bob Mover, Larry Ridley, Jacques Peltzer, Lucio Terzano, and Giancarlo Pillot. CD

An excellent session that stands as one of both players' strongest from the time! Baker's really opening up here, moving more into that hardbop mode of the late 50s – and Pepper's already hit his stride here – with the pair of them working in a group that includes Phil Urso on tenor, Carl Perkins on piano, Curtis Counce on bass, and Larry Marable on drums. The whole set's got that west coast cool crossover to hardbop feel that you'd get on Baker's Chet Baker And Crew set – thanks to fire from the rhythm section, and a sharp edge from Urso. Tracks include "Minor Yours", "Tynan Time", "For Miles & Miles", "CTA", and "Picture Of Heath". CD

A great later date from CTI – proof that the label still had its magic going on well into the 80s! The session's a larger group effort headed up by Don Sebesky, and featuring key solos by Chet Baker, Jim Hall, and Hubert Laws – all of whom get plenty of room to do their thing on the album's longer tracks! Other players include Kenny Barron, Jack Wilkins, Jorge Dalto, George Mraz, and Steve Gadd – plus bit of added percussion – and although the group is large, the overall sound is relatively lean – spacious and airy, in keeping with Baker's best moments on records like these, and always sensitive enough to let Hall's gentle work on the strings of his guitar shine through nicely! Titles include "Malaguena", "Django", "Swan Lake", and "All Blues". CD

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

The Maybeck solo series produced plenty of greatness when it was going on – and one of the greatest moments was this sweet solo set from Kenny Barron! Barron's one of those players we never get tired of – and while we love him in group and trio settings, he's equally magical here working by himself – opening up on these long, lyrical numbers that have a really evocative feel – beautiful runs up and down the keyboard, but in ways that are extremely thoughtful and well-paced – and not just an unbridled display of his talents. There's a sense of soul to the set that never lets up – and titles include "Bud Like", "Witchcraft", "Sunshower", "And Then Again", "Skylark", and "Spring Is Here". CD

Stripped-down Count Basie from the start of the 60s – a great little set that has the Count working with some of the best players from his larger group, in a session of even more intimate small combo material! The sounds here echo the Basie groove of the earlier years, but the overall presentation is a fair bit more modern – nicely syncopated with that sense of space discovered by Basie in the 50s – and perfectly interpreted by players who include Thad Jones on trumpet, Frank Wess on flute, Frank Foster on tenor, Freddie Green on guitar, Eric Dixon on flute, and Basie himself on both piano and organ – the latter of which is quite a treat! Titles include "Secrets", "Count's Place", "I Want A Little Girl", "Tally Ho Mr Basie", "Senator Whitehead", "Whatcha Talkin", and "Shoe Shine Boy". CD

One of Tony Bennett's greatest jazz sessions – a sublime mid 50s outing that features small combo backing from guitarist Chuck Wayne! The setting is extremely spare for the time – a real contrast from the higher drama of some of Tony's 50s chart hits, and the kind of a record that really lets him open up with the warmer vocal tones that could sometimes be lost on the pop numbers. Wayne's guitar is great too, really chromatic and moody, bringing out the darker colors in the tunes nicely. Other players include Dave Schildkraut on alto and Al Cohn on tenor – and titles include "Darn That Dream", "My Reverie", "I Fall In Love Too Easily", "My Heart Tells Me", "Old Devil Moon", and "Love Letters". CD

That's no snake oil in the bottle, it's fantastic music from this razor-sharp quintet – maybe one of the most fantastic projects that saxophonist Tim Berne has given us in many years, and a group that just seem to get better and better with each new record! There's a combination of reed and percussive elements here that's really wonderful – alto from the leader, bass clarinet from Oscar Noriega, piano and tack piano from Matt Mitchell, and drums, vibes, gongs, tanbou, and glockenspiel from Ches Smith – all then strung together by guitar work from Marc Ducret, whose range of sounds really matches those of the other players! Mitchell also adds in a bit of modular synth – and titles include "Surface Noise", "Rolo", "Dear Friend", "The Amazing Mr 7", "Third Option", "Rose Colored Assive", and "The Fantastic Mrs 10". CD

A fantastic comeback moment for the great Andy Bey – a singer who did incredible work in the 60s and 70s – then disappeared from the recording scene for awhile! The set's a compelling batch of jazz vocal tracks that show Andy reinventing himself for a whole new generation of jazz listeners. The backing's by a nice small group that includes Gary Bartz on alto, with whom Andy recorded extensively in the 70s – and other players include Geri Allen on piano, Peter Washington on bass, and Victor Lewis on drums. The album includes a haunting reworking of Nick Drake's amazing song "River Man", plus a version of Dori Caymmi's "Like A Lover", Monk's "Straight No Chaser", and the moody "Dark Shadows", which was a page from Earl Coleman's songbook. CD

Cindy Blackman's one of those players who always surprises us with her music – coming across with a lot more to offer than just her unique role as a girl drummer in jazz – sounds so bold, we instantly forget her gender and pretty image on the cover, and always just let ourselves get swept away by the power of her music! This set is possibly one of Blackman's best from the Muse Records years – thanks to a top-shelf quartet that includes Gary Bartz on alto and soprano sax, Kenny Barron on piano, and Ron Carter on bass – a great trio even on their own, but given a nice sense of focus through Blackman's drums. As usual, Blackman penned some great originals for the date – and the setting is an especially nice one for Bartz, who's really given a lot of space for great solo work on the set. Titles include "The Oracle", "AJ", "Beatrice", "Traffic", "Why", "Our Blues", and "Who Needs Forever". CD

The rarest of all of Art Blakey's percussion group projects – and quite possibly the best, too! The session features Blakey at the head of a strong mix of jazz and percussion players – with Art Taylor and Philly Joe Jones on the regular drum kit, Donald Byrd on trumpet and Ray Bryant on piano, and a host of assorted percussion work by the likes of Ray Barretto, Sabu Martinez, Victor Gonzalez, Julio Martinez, and others. The resultant sound is incredible – very full, rich, and earthy – and done in a way that interweaves African and Latin percussion styles with straighter American jazz! A few cuts have chanting by Blakey and Sabu – and titles include "The Feast", "Mirage", "Lamento Africano", "O'Tinde", "Swingin Kilts", "Dinga", "Reflection", and "Aghano". CD

Art Blakey and the Jazz Messengers, recording in the very familiar territory of the Birdland nightclub – in a format that was handled previously by the Blue Note label, but maybe never with a lineup this great! The performance features the sublime frontline trio of Lee Morgan on trumpet, Wayne Shorter on tenor, and Bobby Timmons on piano – all players that are their youthful best, and completely on fire with creative imagination under Blakey's leadership – the start of a great run for all of them as solo stars too. The tracks are long, and even if the tunes are sometimes familiar, the performances are spectacular – that special Jazz Messengers energy that makes records like this so great. This second volume includes the tracks "Night Watch", "The Summit", "High Modes", and "The Things I Love". CD

Killer work by Art Blakey from the last years of his life – and proof that the drummer still had an amazing ear for the best young talent in jazz! The session's got Art working with (then) up-and-comers Steve Davis on trombone, Brian Lynch on trumpet, Geoff Keezer on piano, and Javon Jackson on tenor sax – giving them all the same space to write, arrange, and solo freely with the same sort of limelight placement Blakey gave Lee Morgan, Wayne Shorter, and Bobby Timmons in earlier years! Art's still more than holding his own on drums, but as with much of his excellent later work, the real strength of the set is the way in which the younger players hold the set together with a fluid sense of soul. Titles include "Bunyip", "Logarhythms", "I'll Wait & Pray", "Green Is Mean", "Accidentally Yours", "One For All", and "Theme For Penny". CD

One of our favorite albums ever from Art Blakey and the Jazz Messengers – but a set that was unreleased by Blue Note for quite a few years! The set's one of two gems the group recorded in 1961, but which were held back until the end of the 60s – and it features a stellar version of the group with Wayne Shorter on tenor, Lee Morgan on trumpet, and Bobby Timmons on piano – all wonderful players who were really coming into their own at the time, and starting to bring a richness to the Messengers sound that would leave its mark in jazz for many years to come! The group is razor-sharp on the rhythms, but also really able to take new chances with their phrasing and timing – on a host of wonderful tracks that include "Those Who Sit & Wait", "The Witch Doctor", and "A Little Busy" – all real classics from this special group. CD

Seminal Art Blakey material from the early 70s – a real change from his 60s vibe on Blue Note, in a style that really opens up to a host of more spiritual touches! The album's a counterpart to the classic Buhania set, also issued on Prestige at the time – and like that record, this one features a very spiritual group of younger players, and some slight electric touches too – all with a sound that's almost at the level of work on the Strata East or Black Jazz labels! Players include Woody Shaw on trumpet, Ramon Morris on tenor and flute, George Cables on piano and Fender Rhodes, and Buddy Terry on soprano sax – and tracks are nice and long, often with a hip modal groove. Titles include "Child's Dance", "CC", and "Song For A Lonely Woman". CD also includes some nice bonus cuts: the amazing "Kaku Aka", which is 15 minutes long, and has never been reissued, plus "Anthenagain" and "I'm Not So Sure", which are both from another Blakey Prestige session. CD

Angular Monk meets hard-driving Art Blakey – in a session that's quite unique, and which has gone onto become one of the best-remembered Atlantic jazz sessions of the late 50s! The album features Blakey in that key non-Blue Note year of 1957 – a time when he was working with a variety of players, at a variety of labels, and taking some real chances with his music before settling into his more established hit Jazz Messengers sound. The group here is Art's own – with Johnny Griffin on tenor, Bill Hardman on trumpet, and Spanky DeBrest on bass – augmented by the piano of Thelonious Monk – a match that might seem unlikely at first, but not so much so after you consider the great work that Monk and Griffin did together at Riverside during the late 50s. There's a nice match between Johnny's sharp-edged tenor and Monk's imaginative playing – and if anything, the record has Blakey, Hardman, and DeBrest moving dynamically to keep up with the flurry of modern ideas coming from Griffin and Monk! Tracks are almost all originals by Thelonious too – a fact that definitely helps keep up the "Monk-ish" sound of the record – titles that include "Evidence", "Blue Monk", "I Mean You", and "Rhythm A Ning" – alongside Griffin's "Purple Shades". Includes bonus alternate takes of "Evidence", "Blue Monk", and "I Mean You". CD

This session shouldn't work, but it does – and beautifully! By all means, an album that includes Diz, Art Blakey, Monk, and Sonny Stitt playing together should be a first-rate snoozer, with hackneyed performances of common-denominator material that they can all get their hooks around – but instead, it's an amazing bit of work that has all players hitting some of their best moments of the 70's! Diz has that great deep 70's funk sound in his trumpet, Stitt's solos are razor sharp, and Blakey's drums have a good snap to them, and were recorded extremely well, despite the fact that this was a live session. All tracks are long, and the record includes great versions of "Tin Tin Deo", "Night In Tunisia", "Allen's Alley", "Blue Monk", "Woody N You", and "Tour De Force". CD

A landmark concert from the mid 80s – one held to honor the resurrection of the Blue Note label, featuring a wealth of some of the best players for the label – from the 80s back to the 50s bebop years. This is the third of 4 LPs, issued both separately and in a box set format. This volume features an all-star line-up with Art Blakey, Freddie Hubbard, Johnny Griffin, Curtis Fuller, Walter Davis Jr., Jimmy Smith, Stanley Turrentine, Lou Donaldson, Kenny Burrell, Reggie Workman, Grady Tate, and Grover Washington Jr. Tracks include "Moanin'", "A Child Is Born", "The Jumpin' Blues", "Summertime", "I'm Glad There Is You", and "Medley: Blues Walk/Getting' Sentimental Over You". CD

Players include Andy Sheppard, Steve Swallow, Lew Soloff, Gary Valente, Victor Lewis, and Wolfgang Puschnig. CD

A brilliant celebration of Blue Note Records – one that features some key songs from the label's classic years, interpreted by a sharp-edged group of younger players! The lineup here is wonderful – Nicholas Payton on trumpet, Steve Wilson on alto and flute, Ravi Coltrane on tenor, Peter Bernstein on guitar, and rhythm from Bill Charlap on piano, Peter Washington on bass, and Lewis Nash on drums – all players who are great in their own right, but who really come together with a classic sort of sound here – a vibe that really respects the Blue Note leaders of years past, and which really gets their energy right! The rhythms are tremendous – no surprise, given how great Nash and Washington can be – and the tunes have a soulful, soaring quality that draws on all the joy Blue Note's given the world over the years – proclaimed boldly by the horn solos in the set. Titles include "Little B's Poem", "Inner Urge", "Mosaic", "Dolphin Dance", "Criss Cross", "Search For Peace", "The Outlaw", and "Idle Moments". Limited Japanese pressing contains a bonus CD – featuring the 8 original versions of the tunes by Art Blakey, Joe Henderson, Bobby Hutcherson, Grant Green, Horace Silver, and others! CD

A great showcase for the alto talents of Arthur Blythe – a set that's maybe a bit more stripped-down than some of his bigger label albums of the 80s, but in a way that really lets you focus on his strength of tone and phrasing! The group's a quartet, working in an open live setting – John Hicks on piano, Cecil McBee on bass, and Bobby Battle on drums – and while all players certainly know how to go inside, they keep things swinging and relatively straight at the core – while Blythe waxes beautifully on the alto, with these sharp edges that mix nicely with more lyrical moments. Titles include "Jana's Delight", "JB Blues", "Lenox Avenue Breakdown", "Faceless Woman", and "Peacemaker". CD

A great late 70s performance from Bobby Bradford and his Extet – a group that wasn't nearly as well documented as his combo with John Carter, but one that's almost equally great! The material here is from a 1977 radio broadcast, and is very well recorded – quite open and unrestrained, with lots of space for the group to open up in a range of new ideas! Bradford's in the lead on cornet, and other members include James Newton on flute, Richard Rehwald on bass, and John Goldsmith on drums – the latter two of whom we don't know at all, but both players who really hold their own in the company of these horn heavyweights. Newton's flute has a nice degree of bite, and matches the fire in Bradford's horn nicely – and like other records of the time from Bobby, there's a nice sense of soul and structure – a bit more tightness than work of the period from the east coast, and a somewhat spiritual undercurrent, even when things get a bit free. Titles include "Improvisation #12", "Blue Monk", "She", and "Comin On" – and the CD also features the bonus track "She", recorded in 2003 as a duet between Bradford and Vinny Golia. CD

The baritone sax of German musician Helmut Brandt is at the helm– but the album's equally noteworthy for its strong use of American players Benny Bailey on trumpet, Nat Peck on trombone, and Herb Geller on alto! The concert is one of those wonderful meetings of American and European jazz talents in a large group setting – the kind of mode that cooked up most famously in the Clark Boland Big Band of the 60s – but which also was simmering all over Europe in the decade – as it does here with additional work from Europeans Ack Van Rooyen on trumpet, Stefan Von Dobrzynski on tenor and flute, Gunter Meier on piano, and Siegfried Schmidt on trombone. The tunes are mostly hard-swinging, and exploding with colors – very much in a mid 60s MPS/Saba mode – with a nice balance between individuality and group sound. Titles include "Berlin Calling", "Boris", "Opus C-Moll 794", "Trifi", "Boogie Waltz", and the long "Ferien Suite". CD

One of Braxton's first recordings of his work for larger ensembles, and a masterpiece that gives a good example of the kind of early ideas that have informed some of his recent work in the same style. The orchestras vary from track to track, but they all include excellent players like Roscoe Mitchell, George Lewis, Seldon Powell, and Cecil Bridgewater – players who are more than capable of meeting the demands of Braxton's writing, and who can bring a lot of their own to the session. Great stuff, and with a good set of notes. CD

A pair of unusual Anthony Braxton albums – brought together here on a single CD! Silence features Anthony Braxton, recorded in Paris at the end of the 60s – but in the company of two very familiar talents from his hometown – Wadada Leo Smith on trumpet and Leroy Jenkins on violin! Unlike some of Braxton's other Paris recordings, there's a very strong Chicago vibe going on here – as both of the album's long tracks unfold with thoughtful, almost gentle improvisation at times – a very different current of spiritualism than the post-Coltrane world, with all players picking up other instruments at times – in that mode-shifting way that made the early AACM so wonderfully creative! The set features two side-long titles – "Silence" and "Off The Top Of My Head". Time Zones is one of Anthony Braxton's most compelling albums of the 70s – a series of sonic explorations recorded with electronic music artist Richard Teitelbaum – whose work on a variety of moog synthesizers makes for a very groundbreaking accompaniment to Braxton's work on soprano, alto, and bass clarinet! The album features two long improvisations – "Crossing" and "Behemoth Dreams" – both of which are maybe more in the organic territory of the AACM than some of the later experiments that have electronics and improvisation – a really special space that the pair create together that's different from earlier electro-acoustic work, and even the sound of MEV or AMM – a completely fresh approach to electronics in improvisation – graced with some very interesting moments from Braxton as well. CD

The Brecker brothers meet the WDR Big Band. Tracks include "Shanghigh", "Freefall", "Song For Barry", "Wayne Out", and "Some Skunk Funk". CD

A pair of later jazzy vocal LP gems by Teresa Brewer, both backed by jazz greats – Songs Of Bessie Smith with Count Basie and Thad Jones, and It Don't Mean A Thing If It Ain't Got That Swing with Duke Ellington – both released by Flying Dutchman in 1973! Teresa's popularity peaked a couple decades earlier as a girlish pop singer, and she succeeds strongly on both records – not just because of the jazz heavies in the band, but because she has the pipes and genuine affection for the material to pull it off. It's lovely stuff! Songs Of Bessie Smith have the bluesy overtones necessary to make it work, without trying the hide Teresa's naturally softer approach. Basie on piano throughout, with arrangements by Jones, and a great big band on half and more intimate arrangements on the other half. It Don't Mean A Thing. . .works just as wel, with Duke Ellington and Ernie Wilkins arrangements, and great Flying Dutchman players that include Bernard Purdie, Joe Beck and Mtume. 20 tracks in all, including "Trombone Cholly", "Gmme A Pigfoot", "I Ain't Got Nobody", "St Louis Blues", "I Ain't Got Nothing But The Blues", "Mood Indigo", "I'm Beginning To See The Light", "I've Got To Be A Rug Cutter", "Tulip Or Turnip", "I'ts Kinda Lonesome Out Tonight" and more. CD

A modern classic from Dee Dee Bridgewater – one of her hippest albums of the later years, thanks to a great choice of material, and some really wonderful execution! The album's a beautiful set of straight jazz vocal readings of some of Horace Silver's best compositions, and it also features guest appearances by Silver and Jimmy Smith – both players who still had plenty going on at the time of the sessions. The real strength, though, is Dee Dee – as she proves once and for all that she's one of the best female true jazz singers of this era, capable of rich emotion on ballad tracks, and swinging free vocalese on more uptempo numbers. Titles include "Nica's Dream", "Pretty Eyes", "St. Vitus Dance", "Soulville", "Lonely Woman", and "Tokyo Blues". One of the greatest jazz vocal albums of the past 10 years! CD

A key slice of Clifford Brown from the 50s – two long tracks both recorded in an open-ended jam session format, showing a side of Brown's powers that's even bolder and more inventive than some of his previous studio work! The album soars along beautifully – with Brownie in the lead amongst an unusual, but well-chosen batch of players that includes Herb Geller and Joe Maini on alto saxes, Walter Benton on tenor, Kenny Drew on piano, Curtis Counce on bass, and Max Roach on drums – all grooving alongside Clifford on the album's nicely extended tracks. The album was released after Brown's death in 1956, features the side-long tracks "Caravan" and "Autumn In New York". CD also features a bonus take on "Caravan" – much shorter, called "Caravan (The Boss Man)". CD

A nice album compiling of some of the less-collected work by Clifford Brown – 1953 recordings done in Europe for the Metronome and Vogue labels, recorded with a great larger group. Sides feature Brown working with Quincy Jones, Gigi Gryce, Anthony Ortega, Juimmy Cleveland, and others alongside Parisian and European players that include Henri Renaud and Pierre Michelot. The set features "Brown Skins", "Keeping Up With Jonesy", "Bum's Rush", "Chez Moi", "All Weird" and "No Start No End". CD

A nice album compiling of some of the less-collected work by Clifford Brown – 1953 recordings done in Europe for the Metronome and Vogue labels, recorded with a great larger group. Sides feature Brown working with Quincy Jones, Gigi Gryce, Anthony Ortega, Juimmy Cleveland, and others alongside Parisian and European players that include Henri Renaud and Pierre Michelot. The set features 9 tracks in all – with a couple of multiple takes, and titles include "Brownskins", "Keeping Up With Jonesy", "Bum's Rush", "Chez Moi", "All Weird" and "No Start No End". CD

Seminal west coast recordings by Clifford Brown – recorded in LA in 1954, with a mixture of hard bop and lyricism, in that sparkling mode that Brownie left as his indelible imprint on the west coast scene of the 50s! Players include Bob Gordon on baritone, Stu Williamson on trombone, Zoot Sims on tenor, and Russ Freeman on piano – and Jack Montrose arranged the set. Titles include "Tiny Capers", "Bones For Jones", "Joy Spring", "Finders Keepers", and "Daahoud". CD

Really unusual large group work from bassist Ray Brown – already a key small combo player in the Verve Records universe, and here exploring some of the larger ideas in his music! The set features arrangements from Marty Paich – and players include Herb Geller on alto, Jimmy Giuffre on tenor, Pete Candoli on trumpet, and Herb Ellis on guitar – all working in a way that still allows Brown to get plenty of exposure, right up front in the mix! Brown is totally exposed on the haunting "Solo For Unaccompanied Bass" – and other titles include "Little Toe", "Alone Together", "Blues for Sylvia", and "All Of You". CD

Ray Brown on bass – accompanied by Gene Harris on piano, and Jeff Hamilton on drums. CD

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

With a cell phone on the cover, blues has definitely gone far from the delta – yet this recent set from Willie Buck still keeps strongly in a Chicago electric tradition! Backing is by a tight group of north side players – including Rockin Johnny on guitar, who helps underscore Willie's soulful lead vocals as the set rocks and rollicks along! There's a surprising amount of cuts on the record – and titles include "Streamline Woman", "What's The Matter With The Mill", "Tow Truck Man", "Doin Good & Bad At The Same Time", "Cell Phone Man", "Strange Woman", and "Blow Wind Blow". CD

Amazing small group work from Ralph Burns – a real standout, given the amount of his larger ensemble sessions in the 50s! The album features Burns on piano – overdubbed on some tracks – working with a combo that includes Jimmy Raney on guitar, Clyde Lombardi on bass, and Osie Johnson on drums – all gently modern players who fit perfectly with Ralph's vision for the record. Things aren't as dark or as arch as on some of Burns' bigger dates of the decade – almost a bit warm at times, especially thanks to Ralph's piano lines. Titles include "Autobahn Blues", "Echo Of Spring", "Spring Sequence", "Sprang", "Spring Is Here", and "Gina". CD

One of the best blowing sessions on Prestige – and proof that Kenny Burrell could hit a nice groove when he wanted to! The record is a very open-ended set, and players include Burrell, Donald Byrd, Frank Foster, Tommy Flanagan, Doug Watkins, and Art Taylor. Side one features a great long track called "All Day Long", with loads of space and plenty of great soloing – a cut that is quite possibly THE blowing session tune from Prestige – as it's a perfect example of the label's work in that style, and one of the longest ever recorded in that format. Side two features shorter cuts "Slim Jim", "Say Listen", and "AT" – all a bit tighter, and still very nice! CD features the bonus track "CPW". CD

A smoking live set from the Butterfield Blues Band – and like all the group's work, as much of a jazz and soul album as a blues one! Butterfield drew his inspiration from the Chicago bluesmen, it's true – but his style also has plenty of echoes of New Orleans soul, Memphis R&B, and other strands of American work – in a mode that's quite similar to some of the changes that were going on in the British beat group scene at the end of the 60s. The lineup here features some really nice touches on sax from Trevor Lawrence and Gene Dinwiddie – and the live setting only seems to loosen all the players up even more than usual, and let them hit a few nice funky moments. Titles include "Get Together Again", "Love Disease", "The Boxer", "No Amount Of Loving", "Driftin & Driftin", "Number Nine", and "Born Under A Bad Sign". CD

One of the greatest records ever from pianist Jaki Byard – a razor-sharp set that features some tremendous work from tenorist Booker Ervin and trumpeter Richard Williams! Byard starts out the set in trio formation for the first two numbers – echoing the great qualities of his earlier albums for New Jazz/Prestige – and then Ervin and Williams slide in on the following two tracks – really expanding the sound with a nice sense of added fire. Both players are a perfect fit for Byard – schooled in a Mingus modernist sensibility that has them really pushing the edges, but never going too far out or getting too free. A few numbers have almost a gutbuckety sense of soul – one that stretches back over previous eras of jazz expression – and titles include "Searchlight", "European Episode", "Out Front", "Two Different Worlds", and "When Sunny Gets Blue" – a track that has Byard on alto and piano, recorded a few years before. This CD includes two previously unreleased tracks, "I Like To Lead When I Dance" and "After The Lights Go Down Low." CD

Artistry is a word that's not used lightly here – as the album gives Charlie Byrd plenty of space to show off his deepest talents on the acoustic guitar – in a spare trio setting with Keter Betts on bass and the lesser-known Buddy Deppenschmidt on drums! The format is one that was rare at the time – used for only a handful of virtuoso players, such as Laurindo Almeida – but the setting is a perfect one for Byrd's introspective approach, and gives him plenty of room to illustrate the rich array of influences that go into his sound. Tracks are short, and Byrd's guitar is upfront – and titles include "Django", "Nice Work If You Can Get It", "The House Of The Rising Sun", "Taboo", and "Ring Them Harmonics". CD

A collection that Milestone issued in 1973 that includes tracks from three of Byrd's early 60s Bossa Nova records – Latin Impressions, Bossa Nova Pelos Passaros and Once More/Charlie Byrd's Bossa Nova. Byrd and his unamplified guitar are joined by Keter Betts on bass and Bill Reichenbach on drums and Latin percussion; other players are also featured. The tracks are mainly composed by the big names of Bossa Nova – Jobim, Powell, Caymmi, Lyra – but there are several Byrd originals as well such as "Azul Tiple", "Bogota", "Mexican Song No 2", and "Amor Flamengo". CD also includes the album Once More! Charlie Byrd's Bossa Nova, a lovely little record from the man who helped Stan Getz find his bossa – and a set that's done with just a bit more backing than usual from Byrd for the time! The album makes nice use of additional percussion, vibes, cello, and a bit of flugelhorn to back up Byrd's work on acoustic guitar – never in a way that dominates too strongly, with just enough added sound to color in the grooves with a slightly deeper tone. Titles include "Presente De Natal", "Three Note Samba", "Limehouse Blues", "Cancao De Nimar Para Carol", "Chega De Saudade", and "Anna". CD

Donald Byrd in a sweet electric mode – as you'd guess from the title! The set was recorded right before Byrd's legendary run with Larry Mizell in the early 70s – and the electric approach is a bit different here – a style that blends Byrd's wonderful trumpet lines with the larger ensemble mode Blue Note sometimes used in the late 60s, but with a spacey, stretched-out feel that's mighty nice! The album's somewhat similar to Byrd's Kofi set – but possibly a bit more open overall – and players here include Duke Pearson on electric piano, Jerry Dodgion on alto and sopranos ax, Frank Foster on tenor, Pepper Adams on baritone, Hermeto Pascoal on flute, Wally Richardson on guitar, Ron Carter on bass, Mickey Roker on drums, and Airto on percussion. Pearson produced, and probably arranged too – given a slight Brazilian undercurrent to the grooves – and titles include "Estavanico", "Essence", "The Dude", and "Xibaba". CD

A really early nugget from the Detroit jazz scene of the 50s – and a record that marks a key moment for players who would soon become huge on a variety of different labels! The group here features a very young Donald Byrd on trumpet, with Yusef Lateef on tenor, Barry Harris on piano, Alvin Jackson on bass, and Frank Gant on drums – plus Bernard McKinney blowing euphonium – an instrument he would use on a number of other important recordings over the years to really deepen their sound. The date was originally issued by the Transition label, and very quickly disappeared when they quickly closed up show – brought back over the years in a few variations by Delmark, to keep the memory of this moment alive. Tracks include "Yusef", "Parisian Thoroughfare", "Blues", "Dancing In The Dark", and "Tortion Level". CD

Incredible work from the team of Donald Byrd and Gigi Gryce – crisp modern jazz, filled with soul, and never failing to swing! During the time of these recordings, Gryce was one hell of an arranger – with a tight ensemble approach that worked magic in a small combo setting. He was also a tremendous alto player – with a tone that was unlike any other musician at the time, magically sharp, with a sound that always seemed to inspire a great deal of energy from his bandmates. He gets plenty of that here from trumpeter Donald Byrd – sounding better on these sides than on most of his other 50s recordings – thanks also to some great accompanists, who include Tommy Flanagan, Wendell Marshall, and Art Taylor. Some tunes feature additional horn work from players that include Benny Powell, Julius Watkins, and Sahib Shihab. Volume 1 in this Lonehill's Complete Jazz Lab Studio Sessions mixes 13 tracks originally released on the LPs Jazz Lab, Modern Jazz Perspective, plus mutual tracks with the rare compilation Jazz Omnibus. Titles include "Nica's Tempo", "Smoke Signal", "Over The Rainbow", "Sans Souci", "Speculation", "Stablemates", "Steppin Out", "Social Call", "Satellite", "An Evening In Casablanca" and more! CD

A brilliant tribute to one of the greatest jazz trumpeters of the 50s – featuring 3 full albums of material, plus some bonus tracks as well! Conte Candoli is a name that's appeared on countless sessions as a sideman or studio player, but here, Conte really sparkles as a leader – setting fire amidst some great small group lineups that include the players Bill Holman, Lou Levy, Lawrence Marable, Leroy Vinnegar, Max Bennett, Stan Levey, and Ira Sullivan. The set features material from 2 Bethlehem albums by Conte – Sincerely Conte and Powerhouse Trumpet – plus an Atlantic album, West Coast Wailers – and a rare 78rpm session for the Chicago-based Chance label, and a few additional tunes from a New York session in 1956 with Hank Jones! Conte's never sounded better – and with all this material in one place, the 2CD set is a great bargain overall. 30 tracks in all – with titles that include "Mambo Junior", "Flamingo", "TNT", "Thank You Judge", "Comes Love", "Tune For Tex", "Fine & Dandy", "Night Flight", "Toot Sweet", "Jazz City Blues", "Four", "Groovin Higher", "Lover Man", "Pete's Alibi", "Cheremoya", and "Jordu". CD

A great example of the cool, classy swing that Benny Carter hit in the 1960s – a groove that was more regularly brought to backings for standout singers of the time, but which also works beautifully here in an instrumental mode! Carter's alto sax is at the top of the charts, but the album's almost more of an ensemble effort overall – with great reed work from Bud Shank on alto, Teddy Edwards and Bill Perkins on tenor, Bill Hood on baritone sax, Don Abney on piano, Barney Kessell and Mundell Lowe on guitar – all coming together as kind of a mini-large ensemble – never that big in the number of players, but grooving with a great sense of poise, class, and soul. There's a number of originals written by Carter, including "Doozy", "Prohibido", "Come On Back", "Rock Bottom", "We Were In Love", and "Titmouse" CD

A classic from the young James Carter – really coming on strong on tenor, plus some baritone and bass clarinet too – with players who include Craig Taborn on piano, Harry Edison and Lester Bowie on trumpet, Hamiet Bluiett on baritone, Jaribu Shahid on bass, and Tani Tabaal on drums! CD

A landmark recording – one of a handful of early documents of the avant garde LA scene, featuring a nimble quartet headed up by the inventive frontline of John Carter on reeds and Bobby Bradford on trumpet, over the fluid rhythm team of Tom Williamson on bass and Chicago expatriate Bruz Freeman on drums! Carter and Bradford's energetic approach followed its own line of development, much in the way that other small cells of improvisers were developing their own take on the "new thing" in the post-Coltrane/Coleman environment of the late 60s and early 70s throughout the country. The compositions unfold in a way that implies both multi-linear improvisation and composed events, but blurs the line between the two, all the while played with a great deal of fire and few of the intellectual abstractions of other free players! Titles include "The Sunday Afternoon Jazz Blues Society", "The Eye Of The Storm", "Loneliness", and "Encounter". CD

The music of Michael Carvin is always a revelation – a joyous, soulful outpouring of feeling that never fails to move us – and which always makes us wonder why more folks don't treasure gems like this that he made as a leader! Carvin's drum work is filled with energy from the get-go – but never in a too-showy, too-unbridled sort of way – just perfectly-balanced, perfectly-timed sense of rhythm that really seems to inspire the key players he's gathered around him. For this date, the lineup is especially nice – Claudio Roditi and Cecil Bridgewater on trumpets, Sonny Fortune on alto sax and flute, Cyrus Chestnut on piano, and David Williams on bass. John Hicks sits on on piano on one track – and the album's got some of the free-soaring spirituality that you'll find in Sonny Fortune's best work as a leader. Titles include "Morning", "Revelation", "Effi", "Thabo", "Avotcja", and "We Three Kings". CD

Young lion jazz from a great little combo – one headed up by pianist Marc Cary, and featuring Roy Hargrove on trumpet, Ron Blake on tenor, and Yarborough Charles Laws on flute! The record's got the positive, forward-thinking sound you'd guess from the players – a great mix of entitled optimism with some nice undercurrents of darkness – really showing this generation of players on the cusp of their maturing talents! The horn work from Blake and Hargrove is especially nice – full of soulful colors that really make the record sparkle – and other players include Dwayne Burno on bass, Dion Parson on drums, and Charlene Fitzpatrick on a bit of vocals. Titles include "Melody In C", "The Trial", "The Vibe", "He Who Hops Around", and "We Learn As We Go". CD

Guitaris David O'Rourke leads a group of traditional Irish players – plus bassist Peter Washington and drummer Lewis Nash. CD