The title gets it partly right, as the Manhattan Jazz Quintet have some added help on guitar from John Scofield on a few tracks – whose lines definitely underscore some of the more blues-based colors in the music! Scofield's an open, chromatic master on his instrument – and that approach turns out to be a great match for the group's lead horns of Lew Soloff on trumpet and George Young on tenor – both players with very different inflections than John, but who complement his sound in all the right ways. The rhythm's also a bit sharper than usual for the group – with snapping drums from Steve Gadd, and always-great work from Eddie Gomez on bass. Titles include "Basin Street Blues", "Blues March", "Bag's Groove", and "Sweet Basil Blues". CD

Includes "Basin Street Blues", "Dallas Blues", "Rhythm Saved The World", and "Sing Me A Swing Song". 7-inch, Vinyl record

A great set of early-to-mid 60s soul sides from Bobby Marchan – recorded at Stax, Fame and American Studios – singles released on Dial, Cameo and Volt back in the day and put together beautifully by Kent UK! Marchan is beloved for a slew of more rockin' rhythm & blues he cut from the mid-to-late 50s, but his 60s work is underappreciated – and we can't think of any good reason for that to be the case! His voice is just incredible throughout, on numbers that are natural next soulful step from the rhythm & blues years to others that are clear precursor to more famous southern soul to come later in the decade. Includes "Funny Style", "Just Be Yourself", "You Won't Do Right", "Hooked", "What Can I Do" (Pts 1 & 2), "You Better Hold On", "Sad Sack", "Help Yourself", "Don't Worry About It", "Get Down With It" and more. CD

Insanely wonderful early work from Charlie Mariano – some of the freshest, cleanest alto sax work of its time – blown with a tone and sense of soul that goes way beyond some of Mariano's contemporaries at the time! The album was recorded for Bethlehem Records, and is relatively straight – but Charlie already shows a sense of complexity in his presentation that hints at all the greatness to come – and which bursts out here with some refreshing energy that really makes the whole thing sparkle. Charlie's tone is impeccable – somewhere between Lee Konitz and Charlie Parker, with that back bay Boston blend of soul and modernism, making the city one of the best scenes for alto players in the 50s – and he gets some strong rhythm support from the trio of John Williams on piano, Max Bennett on bass, and Mel Lewis on drums. Titles include "Blues", "Floormat", "I Heard You Cried Last Night", "Johnny One Note", and "King For A Day". LP, Vinyl record album

Insanely wonderful early work from Charlie Mariano – some of the freshest, cleanest alto sax work of its time – blown with a tone and sense of soul that goes way beyond some of Mariano's contemporaries at the time! The album was recorded for Bethlehem Records, and is relatively straight – but Charlie already shows a sense of complexity in his presentation that hints at all the greatness to come – and which bursts out here with some refreshing energy that really makes the whole thing sparkle. Charlie's tone is impeccable – somewhere between Lee Konitz and Charlie Parker, with that back bay Boston blend of soul and modernism, making the city one of the best scenes for alto players in the 50s – and he gets some strong rhythm support from the trio of John Williams on piano, Max Bennett on bass, and Mel Lewis on drums. Titles include "Blues", "Floormat", "I Heard You Cried Last Night", "Johnny One Note", and "King For A Day". CD

Mid 70s magic from the team of Warne Marsh and Lee Konitz – playing together here with an even sharper edge than their recordings of two decades before! The recordings are all live – done at the Club Montmartre in December of 1975 – but they've got a clarity that's almost studio-worthy, which really captures the tone of the players. Marsh is especially great – working with that stretched-out sense of freedom he was hitting in the 70s – and Konitz is pretty swinging himself, with a bit less of the more modern tones of that decade. Rhythm is from a trio that features Ole Kock Hansen on piano, Niels Henning Orsted Pedersen on bass, and Alex Riel on drums – and titles include "Background Music", "Kary's Trance", "Lennie-Bird", "Blues By Lester", "April", and "You Stepped Out Of A Dream". CD

The bass of Christian McBride has maybe never sounded this bold and clear before – set up in an album of bass duets with Edgar Meyer, a musician whose style complements McBride's in a mighty nice way! The title's question definitely gets answered on the record – as both players switch back and forth between melody and rhythm – doing a really great job of opening up the sound while still swinging too – with a quality that's really rich and soulful, thanks to a superb job of recording! Each musician plays piano on two different tracks – meaning that four out of fifteen have piano/bass duets – and titles include "Canon", "Philly Slop", "Solar", "Barnyard Disturbance", "Green Slime", "Lullaby For A Ladybug", and "Tennessee Blues". LP, Vinyl record album

Rare material from one of our favorite jazz musicians of all time – legendary Hammond hero Jack McDuff, heard here in a really wonderful setting! McDuff in the 60s was already great – an organist who played in ways that really stood out, with a sense of rhythm that was completely unique – and which only took off even more strongly as the 70s approached. Here, McDuff is in a very fruitful part of that decade – playing live in a way that really echoes his classic Heatin System album, recorded in the same year for Chess Records – really long, exploratory tracks that also feature strong solo work from Dave Young on tenor and soprano sax, Leo Johnson on tenor and flute, and Vinnie Corrado on guitar. There's an unknown trumpeter on two tracks too – and titles include "Ain't No Sunshine", "Blues 1 & 8", "6:30 In The Morning", "Middle Class Folk Song", "Jolly Black Giant", and the killer "Theme From Electric Surfboard". CD

Rare material from one of our favorite jazz musicians of all time – legendary Hammond hero Jack McDuff, heard here in a really wonderful setting! McDuff in the 60s was already great – an organist who played in ways that really stood out, with a sense of rhythm that was completely unique – and which only took off even more strongly as the 70s approached. Here, McDuff is in a very fruitful part of that decade – playing live in a way that really echoes his classic Heatin System album, recorded in the same year for Chess Records – really long, exploratory tracks that also feature strong solo work from Dave Young on tenor and soprano sax, Leo Johnson on tenor and flute, and Vinnie Corrado on guitar. There's an unknown trumpeter on two tracks too – and titles include "Ain't No Sunshine", "Blues 1 & 8", "6:30 In The Morning", "Middle Class Folk Song", "Jolly Black Giant", and the killer "Theme From Electric Surfboard". LP, Vinyl record album

Some great down-home work from Jimmy McGriff – a session that's a bit less funk-based than some of his others for the Groove Merchant label, but still plenty darn great! The set's kind of a nice link between the straighter soul jazz of McGriff's 60s years, and his return to the format at the end of the 70s – and the group's a quintet, with Ronald Arnold on tenor, George Freeman on guitar, John Thomas on rhythm guitar, and Marion Booker on drums. There's some slight funky undercurrents – especially from Freeman's guitar lines, which have a nice degree of grit – which Jimmy seems to match nicely. Titles include "The Groove Fly", "It's You I Adore", "Jumping The Blues", and "Healin' Feeling". CD

A great meeting of these two alto giants – and a wonderfully soulful session that matches Gary Bartz's own great work from the same time! The overall feel of the session is quite spiritual – as Bartz and McLean seem to egg each other on, into far-reaching lines and freespirited grooves that are totally great. Rhythm is by a European trio of Thomas Clausen, Bo Steif, and Alex Riel – but the trio does more than enough of a good job to set the mood – especially on the excellent track "Great Rainstreet Blues", which sounds like some lost dark groove from the Black Jazz label! Other titles include "Watercircle", "Monk's Dance", and "Ode To Super". CD features a few bonus alternate takes, too. 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 second of 4 LPs, issued both separately and in a box set format, and features a nicely snapping hard bop quintet on side one, with Jackie McLean, Woody Shaw, McCoy Tyner, Cecil McBee and Jack DeJohnette running through "Sweet & Lovely", "Appointment In Ghana", "Passion Dance" and "Blues On The Corner". Side two shows two different sides of Blue Note, with Cecil Taylor appearing in a solo setting, performing the lengthy "Pontos Cantados" and the then contemporary Blue Note artist Bennie Wallace leading a Newk-inspired pianoless trio, with McBee and DeJohnette reprising their rhythm section role on "Broadside". 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 second of 4 LPs, issued both separately and in a box set format, and features a nicely snapping hard bop quintet on side one, with Jackie McLean, Woody Shaw, McCoy Tyner, Cecil McBee and Jack DeJohnette running through "Sweet & Lovely", "Appointment In Ghana", "Passion Dance" and "Blues On The Corner". Side two shows two different sides of Blue Note, with Cecil Taylor appearing in a solo setting, performing the lengthy "Pontos Cantados" and the then contemporary Blue Note artist Bennie Wallace leading a Newk-inspired pianoless trio, with McBee and DeJohnette reprising their rhythm section role on "Broadside". LP, Vinyl record album

An incredible record from the Danish scene of the late 60s – beautifully spiritual, and a set that we might well place next to our classics from John Coltrane and Pharoah Sanders! The album grabs us right away – not just because leader Carsten Meinert begins the record with aversion of Coltrane's "Naima", but also because his tone on tenor is incredibly moving – both bold and fragile at the same time, as he blows tremendously on the tune, then leads the group through these wonderful modal compositions of his own – all building in this round, elliptical energy through the piano of Ole Matthiessen, bass of Henrik Hove, and drums of Ole Streenberg – as Meinert soars over the top with these incredible solos, and this sense of freedom that still holds onto plenty of soul, and which works with a really inherent sense of rhythm. The approach is wonderful – and the players build together in a style that's certainly informed by the work of the Coltrane Quartet of the early 60s, but which definitely comes through in their own voices as well – not a European rehashing of the inspiration of the Great One – but a step forward, using his genius as a platform. Titles include "Naima", "One For Alice", "Blues To Someone", "To You", "Dansevise", and "Before Sunrise". CD also features bonus tracks – "This Time", "To Trane", "The Promise", and a live version of "Dansevise". CD

A double-length set of work from this classic ensemble – served up here in a great Robert Crumb cover image too! The set's one of the richest collections done by Yazoo during their crucial reissue period – and features late 20s material from the group that often (but not always) featured jug work in the rhythm, plus bluesy vocals from Will Shade, Minnie Wallace, Charlie Nickerson, Hattie Hart, and others – as well as guitar, harmonica, and kazoo. The lineup changes from track to track, documented well in the notes – and titles include "Memphis Yo Yo Blues", "Gator Wobble", "I'll See You In The Spring When The Birds Begin To Sing", "Insane Crazy Blues", "On The Road Again", and "Fourth Street Mess Around". CD

One of the first great pairings of Hank Mobley and Lee Morgan – a trumpet/tenor team that was always a treasure, no matter what the setting! This one's a pretty open-ended blowing date – one that gives both horn players plenty of room to stretch out, in a setting that's filled with sharp-edged, and imaginative lines! The rhythm section is rock solid too – with Wynton Kelly on piano, Paul Chambers on bass, and the great Charlie Persip on drums – kicking things nicely on the kit to get a groove going. Tracks are all quite long, and titles include "Git Go Blues", "Stretchin Out", and "High & Flighty". LP, Vinyl record album

One of the first great pairings of Hank Mobley and Lee Morgan – a trumpet/tenor team that was always a treasure, no matter what the setting! This one's a pretty open-ended blowing date – one that gives both horn players plenty of room to stretch out, in a setting that's filled with sharp-edged, and imaginative lines! The rhythm section is rock solid too – with Wynton Kelly on piano, Paul Chambers on bass, and the great Charlie Persip on drums – kicking things nicely on the kit to get a groove going. Tracks are all quite long, and titles include "Git Go Blues", "Speak Low", "Stretchin Out", and "High & Flighty". This CD edition includes 3 bonus tracks – alternate takes of ""High & Flighty", "Speak Low" and "Stretchin Out". CD

One of the first great pairings of Hank Mobley and Lee Morgan – a trumpet/tenor team that was always a treasure, no matter what the setting! This one's a pretty open-ended blowing date – one that gives both horn players plenty of room to stretch out, in a setting that's filled with sharp-edged, and imaginative lines! The rhythm section is rock solid too – with Wynton Kelly on piano, Paul Chambers on bass, and the great Charlie Persip on drums – kicking things nicely on the kit to get a groove going. Tracks are all quite long, and titles include "Git Go Blues", "Speak Low", "Stretchin Out", and "High & Flighty". This CD edition includes 3 bonus tracks – alternate takes of ""High & Flighty", "Speak Low" and "Stretchin Out". CD

A supremely wonderful album from The Modern Jazz Disciples – a great little combo who had a much more cooking sound than any other groups of the time with "modern jazz" in their name! The group have a distinctly soul jazz sort of approach, but one that has enough modern touches to warrant their name – and although the group hailed from the Ohio scene, which was one of the reasons why they probably never got their due back in the day, a record like this really stands as a great testament to the wonderful energy that was going on in local US jazz spots in the postwar years! The horn work in the set is really wonderful – played by Curtis Peagler on alto sax and William Hickey Kelly on normaphone and euphonium, both horns that really add some unusual colors to the set. Rhythm is tight, sharp, and extremely soulful – thanks to fluid piano from William Billy Brown, bass from Lee Tucker, and drums from Roy McCurdy, who'd later go on to greater fame. Titles include "Disciples Blues", "Slippin & Slidin", "Little Taste", "Perhaps", and "Huck's Delight". LP, Vinyl record album

A brilliant title for this brilliant album from Thelonious Monk – a set that really has him coming back strongly in the second half of the 50s – with a new talent for arrangements that really goes past his previous work! Monk's piano and compositions are every bit as great as before – but what really makes the album amazing is his ear for horn lines – particularly the alto of Ernie Henry and tenor of Sonny Rollins, both of whom add in an additional angular quality to Monk's groove. Clark Terry replaces Henry on a few numbers – and the rhythm is from the wonderful team of Oscar Pettiford and Max Roach – on classic long takes of "Brilliant Corners", "Ba-Lue Bolivar Blues Are", "Pannonica", and "Bemsha Swing". CD

A brilliant title for this brilliant album from Thelonious Monk – a set that really has him coming back strongly in the second half of the 50s – with a new talent for arrangements that really goes past his previous work! Monk's piano and compositions are every bit as great as before – but what really makes the album amazing is his ear for horn lines – particularly the alto of Ernie Henry and tenor of Sonny Rollins, both of whom add in an additional angular quality to Monk's groove. Clark Terry replaces Henry on a few numbers – and the rhythm is from the wonderful team of Oscar Pettiford and Max Roach – on classic long takes of "Brilliant Corners", "Ba-Lue Bolivar Blues Are", "Pannonica", and "Bemsha Swing". LP, Vinyl record album

A brilliant title for this brilliant album from Thelonious Monk – a set that really has him coming back strongly in the second half of the 50s – with a new talent for arrangements that really goes past his previous work! Monk's piano and compositions are every bit as great as before – but what really makes the album amazing is his ear for horn lines – particularly the alto of Ernie Henry and tenor of Sonny Rollins, both of whom add in an additional angular quality to Monk's groove. Clark Terry replaces Henry on a few numbers – and the rhythm is from the wonderful team of Oscar Pettiford and Max Roach – on classic long takes of "Brilliant Corners", "Ba-Lue Bolivar Blues Are", "Pannonica", and "Bemsha Swing". LP, Vinyl record album

A brilliant title for this brilliant album from Thelonious Monk – a set that really has him coming back strongly in the second half of the 50s – with a new talent for arrangements that really goes past his previous work! Monk's piano and compositions are every bit as great as before – but what really makes the album amazing is his ear for horn lines – particularly the alto of Ernie Henry and tenor of Sonny Rollins, both of whom add in an additional angular quality to Monk's groove. Clark Terry replaces Henry on a few numbers – and the rhythm is from the wonderful team of Oscar Pettiford and Max Roach – on classic long takes of "Brilliant Corners", "Ba-Lue Bolivar Blues Are", "Pannonica", and "Bemsha Swing". CD

A classic cooker from Thelonious Monk – recorded during his legendary run at the Five Spot in the late 50s, and featuring some especially great work on tenor from a young Johnny Griffin! Griffin's filling a role here that would be cemented a bit more firmly in the 60s by Charlie Rouse – but what we like about his playing here is that it's not as clearly codified "Monkish" as some of Rouse's work (even though that's all pretty darn great) – sometimes a bit more open, although still filled with angular tones and changes on this set of all-original compositions by Monk. Rhythm is by Ahmed Abdul-Malik on bass and Roy Haynes on drums – and titles include "Evidence", "Epistrophy", "Blue Monk", "Rhythm-a-ning", "Light Blue", and "Coming on the Hudson". CD features 3 bonus tracks too – "Unidentified Solo Piano", "Blues Five Spot", and "In Walked Bud/Epistrophy". CD

A classic cooker from Thelonious Monk – recorded during his legendary run at the Five Spot in the late 50s, and featuring some especially great work on tenor from a young Johnny Griffin! Griffin's filling a role here that would be cemented a bit more firmly in the 60s by Charlie Rouse – but what we like about his playing here is that it's not as clearly codified "Monkish" as some of Rouse's work (even though that's all pretty darn great) – sometimes a bit more open, although still filled with angular tones and changes on this set of all-original compositions by Monk. Rhythm is by Ahmed Abdul-Malik on bass and Roy Haynes on drums – and titles include "Evidence", "Epistrophy", "Blue Monk", "Rhythm-a-ning", "Light Blue", and "Coming on the Hudson". CD features 3 bonus tracks too – "Unidentified Solo Piano", "Blues Five Spot", and "In Walked Bud/Epistrophy". CD

An extremely rare set – recorded in 1970 in Holland, and featuring the tenor of JR Monterose in quintet with Jon Eardley on trumpet, Rien De Graaff on piano, Henk Haverhoek on bass, and Pierre Courbois on drums. The set's a key lost chapter in the career of this enigmatic tenor player – as it's got a sound that reaches back to his few hardbop recordings from the 50s, but also shows that Monterose had grown a lot as a soloist in the past decade, inserting a lot more freeness to his style, possibly an influence from 60s modernists like Coltrane or Ayler. The Dutch rhythm of the set works quite well for the nature of the materials – and Courbois' drums are especially compelling, nicely held back here from some of their more over-the-top tendencies, but adding in a lot of complicated fills and rhythmic changes underneath the sax solos. Titles include "Short Bridge", "Old Folks", "For Hank", "Just Blues", and "Body & Soul". CD

Three albums in one package! First up is TTT – a great later date from tenor genius JR Monterose – a set that's deceptively simple at the outset, but which has JR playing with all of those wonderfully sharp lines and well-chosen phrases of earlier years! Monterose is a real unsung talent on his instrument – a player who never went too far out on most recordings, but managed to pack an incredible amount of ideas into each solo – a bit like Sonny Rollins at his most inventive, but with a raspier tone that's got to be heard to be fully appreciated. This set features Monterose continuing his genius in a live setting – working in a Danish club in 1988 with a quartet that includes Hod O'Brien on piano, Guffy Pallesen on bass, and Jesper Elen on drums. The titles are all familiar ones, but the solos are the sort of thing that make you fully appreciate jazz at its best – the kind of phrasing, timing, and tone that true giants like Monterose bring to their best work. Tracks include "All The Things You Are", "What's New", "Central Park West", "Airegin", and "You Don't Know What Love Is". Next is Alive In Amsterdam – some of the rawest work ever from this under-recorded tenor genius – a late 60s Dutch set that's very different than both the famous blue album by JR Monterose, and his later comeback material too! Here, the bulk of the record is just JR on tenor with percussion accompaniment – the drums of Han Bennink on side one, then added percussion from three other players alongside Bennink on side two – while JR switches to a very cool electrified, amplified version of the tenor! His tone and texture are wonderful right from the start – as he and Bennink deliver fantastic duet performances of "I Remember Clifford" and "Sonnymoon For Two" – before joining with the other percussionists on the extended "Reborn" on side two – a very well-titled number, given JR's sound! Last is Body & Soul – an extremely rare set – recorded in 1970 in Holland, and featuring the tenor of JR Monterose in quintet with Jon Eardley on trumpet, Rien De Graaff on piano, Henk Haverhoek on bass, and Pierre Courbois on drums. The set's a key lost chapter in the career of this enigmatic tenor player – as it's got a sound that reaches back to his few hardbop recordings from the 50s, but also shows that Monterose had grown a lot as a soloist in the past decade, inserting a lot more freeness to his style, possibly an influence from 60s modernists like Coltrane or Ayler. The Dutch rhythm of the set works quite well for the nature of the materials – and Courbois' drums are especially compelling, nicely held back here from some of their more over-the-top tendencies, but adding in a lot of complicated fills and rhythmic changes underneath the sax solos. Titles include "Short Bridge", "Old Folks", "For Hank", "Just Blues", and "Body & Soul". CD

They're not kidding with the title of this one – because although the record was only Wes Montgomery's second album as a leader, he was already making plenty of waves with the sound of his guitar! The session lines Wes up with the very tight rhythm team of Tommy Flanagan on piano, Percy Heath on bass, and Albert Heath on drums – all of whom lay back and mostly let Wes take center stage – sparkling on a number of original tunes that include "West Coast Blues", "Mister Walker", and "D Natural Blues". Other tracks include a great fast take on Sonny Rollins' "Airegin", plus "In Your Own Sweet Way" and "Polka Dots & Moonbeams". CD

Rare live work by Wes Montgomery – 2 sets from 1965, both with different groups, and both a lot harder-hitting than Wes' studio albums from the time! The first 4 tracks were recorded in New York, at the Half Note, with a quartet that features Harold Mabern on piano, Art Harper on bass, and Jimmy Lovelace on drums. The last 4 were recorded about 6 months later, in Hamburg, Germany, with a European rhythm section that features Martial Solal, Michel Gaudry, and Ronnie Stephenson. Tracks are all pretty long, and titles include "Bleu Monk", "Four On Six", "Twisted Blues", "Round Midnight", and "Caravan". CD

They're not kidding with the title of this one – because although the record was only Wes Montgomery's second album as a leader, he was already making plenty of waves with the sound of his guitar! The session lines Wes up with the very tight rhythm team of Tommy Flanagan on piano, Percy Heath on bass, and Albert Heath on drums – all of whom lay back and mostly let Wes take center stage – sparkling on a number of original tunes that include "West Coast Blues", "Mister Walker", and "D Natural Blues". Other tracks include a great fast take on Sonny Rollins' "Airegin", plus "In Your Own Sweet Way" and "Polka Dots & Moonbeams". CD

They're not kidding with the title of this one – because although the record was only Wes Montgomery's second album as a leader, he was already making plenty of waves with the sound of his guitar! The session lines Wes up with the very tight rhythm team of Tommy Flanagan on piano, Percy Heath on bass, and Albert Heath on drums – all of whom lay back and mostly let Wes take center stage – sparkling on a number of original tunes that include "West Coast Blues", "Mister Walker", and "D Natural Blues". Other tracks include a great fast take on Sonny Rollins' "Airegin", plus "In Your Own Sweet Way" and "Polka Dots & Moonbeams". LP, Vinyl record album

They're not kidding with the title of this one – because although the record was only Wes Montgomery's second album as a leader, he was already making plenty of waves with the sound of his guitar! The session lines Wes up with the very tight rhythm team of Tommy Flanagan on piano, Percy Heath on bass, and Albert Heath on drums – all of whom lay back and mostly let Wes take center stage – sparkling on a number of original tunes that include "West Coast Blues", "Mister Walker", and "D Natural Blues". Other tracks include a great fast take on Sonny Rollins' "Airegin", plus "In Your Own Sweet Way" and "Polka Dots & Moonbeams". CD

Beautifully-recorded material by the great Wes Montgomery – some fairly open-ended tracks recorded for French radio in the 60s – with guest work from tenorist Johnny Griffin on a number of tunes! The core group here is great enough on its own – as Wes' guitar is backed by superb piano from Harold Mabern – who's really opening his flow at this time in his career, and makes for some really imaginative collaboration here with Montgomery – and the rest of the combo features tight rhythm from Arthur Harper on bass and Jimmy Lovelace on drums. The addition of Griffin is a nice surprise – especially as Montgomery wasn't often playing with tenor in a small group setting by this point – and titles include "Twisted Blues", "Blue N Boogie/West Coast Blues", "Full House", "To wane", "Jingles", "Impressions", "Four On Six", and "Round Midnight". CD

Additional material and unreleased from one of the greatest 60s recordings from the Wynton Kelly Trio – thanks to some wonderful guest work from guitarist Wes Montgomery! Montgomery's working here in a gusty, rootsy style that recalls his best soul jazz sides from the earlier years – and which have a feel that's quite different than his later, more largely-arranged work for Verve. The Kelly Trio is in perfect form – with Wynton's heavy left hand leading the group on the piano, and superb rhythm backing from the team of Paul Chambers and Jimmy Cobb. This massive set marks the first official release of all these tracks that were recorded at the time, but not on the original Verve album Smokin At The Half Note – with work from Larry Ridley on bass on a number of tracks, and titles that include very long versions of "The Song Is You", "Star Eyes", "Four On Six", and "Cherokee" – plus takes on "Cariba", "Blues", "Laura", "Impressions", "Mi Cosa", "No Blues", and "All The Things You Are". CD

Additional material and unreleased from one of the greatest 60s recordings from the Wynton Kelly Trio – thanks to some wonderful guest work from guitarist Wes Montgomery! Montgomery's working here in a gusty, rootsy style that recalls his best soul jazz sides from the earlier years – and which have a feel that's quite different than his later, more largely-arranged work for Verve. The Kelly Trio is in perfect form – with Wynton's heavy left hand leading the group on the piano, and superb rhythm backing from the team of Paul Chambers and Jimmy Cobb. This massive set marks the first official release of all these tracks that were recorded at the time, but not on the original Verve album Smokin At The Half Note – with work from Larry Ridley on bass on a number of tracks, and titles that include very long versions of "The Song Is You", "Star Eyes", "Four On Six", and "Cherokee" – plus takes on "Cariba", "Blues", "Laura", "Impressions", "Mi Cosa", "No Blues", and "All The Things You Are". LP, Vinyl record album

Mostly solo material from Tete Montoliu – playing piano, as well as eating lunch, on this sweet LA date from the start of the 80s! The spare setting allows Montoliu to do a lot more here than usual – really freed from rhythm on some numbers, and stretching out into territory that might almost be "out" in the hands of some other players – yet which still comes through with all the warmth and lyricism we've come to love in Tete's music over the years. Titles include "Blues After Lunch", "Sophisticated Lady", "Blues Before Lunch", "Airegin", and "I Want To Talk About You". CD also features the bonus track "Margareta". CD

A great pianist and a great rhythm section – two factors that make this one of the best albums ever from Spanish pianist Tete Montoliu! The session's got a tightness that some of Tete's other records are missing – a style that still allows him to display his free command of the keys, but which also holds him into a structured groove that produces even more intensity. Tete's working here with Peter Trunk on bass and Albert Tootie Heath on drums – both excellent players who bring plenty of their own spirit to the session, and work well in a three-pronged approach to the tunes that has plenty of melody coming from the drums and bass – and a fair bit of rhythm coming from Montoliu's heavy left hand as well! Titles include some great originals – like Trunk's "Tranquillogy" and "Visca L'Ampurda" – as well as Montoliu's "Blues For Nuria", and versions of "Stablemates" and "I Surrender Dear". LP, Vinyl record album

A trio of classics from this groundbreaking group! First up is Living With The Animals – fantastic early work from Mother Earth – one of those special late 60s groups who emerged out of the rock, folk, and blues scenes – but who somehow managed to make a very special sound of their own! Part of the group's strength is the lovely Tracey Nelson – a singer who could have been a soul artist if she wanted – but who works here with a looser approach to generic conventions as she moves through a number of different modes – sometimes stepping aside for the group's lead singer, R Powell St John Jr, who also plays a bit of harmonica. Instrumentation is given some stronger currents from a combo that features Mike Bloomfield on guitar, Barry Goldberg on organ, and Luis Gasca on trumpet – and titles include "Marvel Group", "Mother Earth", "It Won't Be Long", "Down So Low", "The Kingdom Of Heaven", and "My Love Will Never Die". Make A Joyful Noise is an album that has slightly fuller backings than their debut, but in a way that only seems to bring out more of the soulful currents of their sound! The mix of rural inspiration and tighter presentation is a great illustration of the changing North Cali style of the period – and no surprise, a young Boz Scaggs is in the group, providing rhythm guitar next to the vocals of Tracy Nelson and R Powell St John. A few country legends provide extra support on fiddle, dobro, and steel – balanced nicely by a strong horn section too – on titles that include "Stop The Train", "Soul Of The Man", "Blues For The Road", "Come On & See", "I The Fly", "Wait Wait Wait", "I Wanna Be Your Mama Again", and "Then I'll Be Moving On". Last up is Satisfied – countrified rock from Tracy Nelson and Mother Earth – done in a warm and sincere style that goes way beyond any of the cliches of the genre! There's something about the way the group put together the tunes that really makes us like this one – an honesty that's not bogged down in any hippy dippy expectations, and which never tries to be anything other that what it is. And yes, that's not much of a good description of the set – but it's also our way of identifying the uniqueness that set Mother Earth apart from a lot of their contemporaries. Titles include "Satisfied", "Groovy Way", "Andy's Song", "Ruler Of My Heart", "This Feeling", and "You Won't Be Passing Here No More". CD

2 great Paris live sets from Gerry Mulligan – with his Concert Jazz Band at L'Olympia in 1960 – followed by a 1962 quartet set at the same venue serving as bonus tracks! The 11 titles on the first CD and the first titles on the second CD are culled from the 1960 set – a tight affair with great solo work from a larger group of players – which includes Don Ferrara and Conte Candoli on trumpet, Bob Brookmeyer on valve trombone, Willie Dennis and Alan Raph on trombone, Bob Donovan and Gene Quill on alto, Jim Reider and Zoot Sims on tenor, Buddy Clark on bass and Mel Lewis on drums. A real triumph! Titles include "You Took Advantage Of Me", "Black Nightgown", "Body And Soul", "Barbara's Theme", "Apple Core", "Out Of This World", "Go Home", "I'm Gonna Go Fishing", "Blueport" and more! The second CD is closed out by a 1962 set by the the Gerry Mulligan Quartet – originally released as the LP Gerry Mulligan & His Quartet Live At The Olympia Theatre 1962! The tracks are long, and the setting fluid – as Gerry plays baritone on most tracks, but piano on a couple; and Bob Brookmeyer does the same, taking a break from valve trombone to play piano for one track as well. Rhythm is by the team of Bill Crow on bass and Gus Johnson on drums – and titles include "Spring Is Sprung", "Five Brothers", "Subterranean Blues", "Blue Port", and "Utter Chaos". More than 2 1/2 hours of music on 2CDs! CD

A great little small group session by Nelson – one that has him working in a quintet with Eric Dolphy, one that shows that Nelson could be a strongly modernist player when he wanted to be! Dolphy plays alto, bass clarinet, and flute – and Nelson's tone is appropriately biting to match the set – way harder and stark than on some other albums, with an edge that we really like a lot! Rhythm is by Richard Wyands, George Duvivier, and Roy Haynes – and titles include "Ralph's New Blues", "Straight Ahead", "111 44", and "Images". CD

A great little small group session by Nelson – one that has him working in a quintet with Eric Dolphy, one that shows that Nelson could be a strongly modernist player when he wanted to be! Dolphy plays alto, bass clarinet, and flute – and Nelson's tone is appropriately biting to match the set – way harder and stark than on some other albums, with an edge that we really like a lot! Rhythm is by Richard Wyands, George Duvivier, and Roy Haynes – and titles include "Ralph's New Blues", "Straight Ahead", "111 44", and "Images". LP, Vinyl record album

A warmly flowing set of tunes from vibist Steve Nelson – working here with an excellent rhythm section that includes Mulgrew Miller on piano, Peter Washington on bass, and Lewis Nash on drums! The style isn't as archly modern as some of Nelson's previous records – and with Miller's piano to propel him along, many of the longer tunes spin out nicely with a very open-handed approach – but one that still has those great darker tones and colors that we love so much in Nelson's vibes, and which are one of the reasons why we'd call him one of the players of his generation on the instrumen. Titles include "Airoso", "Sound Essence", "Song For Tina", "Night Mist Blues", "You & The Night & The Music", and "Up Jumped Spring". CD

Wonderfully romping work from Phineas Newborn – and a great showcase for the harder side of his sound on the piano, something that didn't always show up on his RCA albums of the 50s! The style here has plenty of bluesy overtones – not in a cliched soul jazz way, but in an earthy mode that's natural and spontaneous – thanks, possibly, to some excellent rhythm accompaniment from the team of Sam Jones and Louis Hayes, who work with Phineas on side two of the record. Side one features Leroy Vinnegar and drummer Milt Turner – and titles include the originals "Theme For Basie" and "New Blues" – plus versions of "This Here", "Way Out West", "Four", and Bud Powell's "Celia". CD

2 albums on 1 CD – and a package that not only features great work from leader Lennie Neihaus, but also some great tenor from Bill Perkins too! On the first album Lennie swings, but he keeps it cool too – as this rare Mercury set steps off of the same octet energy Niehaus brought to his better-known sides for Contemporary in the mid 50s! The players here are a bit lesser known than some of Niehaus' other all-star groups – with Ken Shroyer on trombone, Ed Leddy on trumpet, and Steve Perlow on baritone – alongside some nicely searing tenor from Bill Perkins, whose presence always makes a set like this sparkle! Lou Levy plays piano and Red Kelly is on bass – and titles include "Soon", "Little Girl Blues", "P & L", "Four Eleven West", "He Ain't Got Rhythm", "Kiss Me & Kill Me With Love", and "I See Your Face Before Me". The second half of the CD drops out Lennie Niehaus entirely, and features the album Bill Perkins Live On Stage – originally recorded for Pacific Jazz in 1956, and featuring Niehaus arrangements on 2 tracks. The group includes Perkins on tenor, Bud Shank on alto, Jack Nimitz on baritone, Stu Williamson on trumpet, Carl Fontana on trombone, Russ Freeman on piano, Red Mitchell on bass, and Mel Lewis on drums. The live setting takes nothing away from the perfection of the group's conception, as Perkins' leadership is impeccable, bringing together the horns in a beautiful wash of sound. Titles include "Let Me See", "Zing Zang", "For Dancers Only", "One Hundred Years From Today", "Song Of The Islands", and "As They Reveled". CD

Fantastic small group work from tenorist Sal Nistico – and one of the few records that really finds a way to capture his genius! Sal got his start in the Woody Herman band of the 60s – and although a standout there, he really shines even more brightly here in a small group setting – with a sharp edge on his horn that maybe only comes through this well in a handful of his European recordings, especially for the Ego label. In the spirit of that imprint, the great trumpeter Ted Curson is on board – and Sal's tone is also balanced out nicely by some equally great work from Nick Brignola on baritone. The rest of the combo is equally great – with superb rhythm from Ronnie Mathews on piano, Sam Jones on bass, and Roy Haynes on drums – and titles include "Be My Love", "Blues For KD", "Bambu", "Fee Fi Fo Fum", and "Anthropology". LP, Vinyl record album

A really mighty collection, and really the first to give NRBQ their full due – as the set not only brings together an amazing scope of sounds recorded over the space of decades, but also includes some new material never issued elsewhere! The package is kind of a history book that starts at the present, then leaps into the past – as some of the new material is on CD1, then CDs 2 through 5 take a very long journey from the group's mid 60s roots as underground southern rockers, through a variety of changes over the 70s, 80s, and 90s. CD2 might well be the coolest – as it features 23 tracks that are just from the years 1966 through 1970 – really demonstrating that New Rhythm & Blues Quartet element that gave the group their name – a fresh take on older R&B modes, but given a bit of a southern rock spin – almost making the group an equivalent to that music that Nitty Gritty Dirt Band were to roots and bluegrass. The package features an insane amount of music – 106 tracks in all, some of them live, some of them rare, and even early home recordings – and the whole thing comes with a huge booklet of notes as well! CD

The amazing debut of NRBQ – a set that might come as quite a surprise if you only know some of this group's later work! The New Rhythm & Blues Quintet were maybe one of the first great groups to hail from Louisville – an early part of the legacy that would later include Squirrel Bait, Palace Brothers, Slint, and many others – and the group already show a unique placement at the crossroads – working sometimes in rootsy modes with a bit of twang, sometimes in rawer styles with a bit of garage, and even taking stops along the way for bits of influence from Sun Ra and Carla Bley! The mix of modes here is maybe a lot more along the lines of what was happening in the Bay Area scene of the late 60s – but is even more revolutionary as a lone sound from the heartland – and titles include "Ids", "C'Mon Everybody", "Stomp", "Hymn Number 5", "Stay With Me", "Hey Baby", "You Can't Hide", and a surprising version of Sun Ra's "Rocket Number 9". CD

The great reedman Mark Whitecage is a player who never fully got his due – a really unique talent in terms of phrasing and rhythm, finally given one last chance at the spotlight here on this final recording with The Nu Band, a group in which he played for many years! All four players here are great – Thomas Heberer on quarter tone trumpet, Joe Fonda on bass, and Lou Grassi on drums and percussion – but it also feels as if there's a special sort of focus on the very personal, very expressive sounds that Whitecage can create – as he plays here on alto, flute, and clarinet. There's a mixture of modern structure and free improvisation here – that great legacy of the group, which is there way of bringing forward some of the new thing ideas of the 60s with more personal contemporary improv modes. Titles include "Christophe & Ornette", "Five O'Clock Blues", "The Closer You Are The Further It Gets", "Prayer For The Water Protectors", and "Minor Madness". CD

A live set with all the big players listed above – plus Willie Smith on alto, Howard McGhee on trumpet, and Arnold Ross on piano – on long jamming versions of "Sweet Georgia Brown", "Crazy Rhythm", "Blues For Norman", and "I Can't Get Started". We're not sure, but this may be the same material on Jazz At The Philharmonic Vol 2. LP, Vinyl record album

Wicked work by pianist Horace Parlan – and one of his most stunning Blue Note sessions ever! The album was first recorded in 1963, but then kept on the shelf for years – seeing only brief release as part of a Booker Ervin package in the late 70s, and finally coming out with the proper cover and lineup at some point in the 80s! Why Blue Note waited so long is a mystery, because the album's a gem throughout – almost more important, and more starkly modern than any of Parlan's other work for the label. Booker Ervin leads the frontline on tenor, alongside Johnny Coles on trumpet, Grant Green on guitar, and the rhythm section of Butch Warren and Billy Higgins. Parlan's choice of material is fantastic – with a number of Africanist tracks that feature unique rhythmic patterns that really push the soloists! Titles include "A Tune For Richard", "Dexi", "Home Is Africa", "Kucheza Blues", and "Back From The Gig". CD

Wicked work by pianist Horace Parlan – and one of his most stunning Blue Note sessions ever! The album was first recorded in 1963, but then kept on the shelf for years – seeing only brief release as part of a Booker Ervin package in the late 70s, and finally coming out with the proper cover and lineup at some point in the 80s! Why Blue Note waited so long is a mystery, because the album's a gem throughout – almost more important, and more starkly modern than any of Parlan's other work for the label. Booker Ervin leads the frontline on tenor, alongside Johnny Coles on trumpet, Grant Green on guitar, and the rhythm section of Butch Warren and Billy Higgins. Parlan's choice of material is fantastic – with a number of Africanist tracks that feature unique rhythmic patterns that really push the soloists! Titles include "A Tune For Richard", "Dexi", "Home Is Africa", "Kucheza Blues", and "Back From The Gig". CD

Three later albums from pianist Horace Parlan – all cut overseas, many years after his early work for Blue Note! On Joe Meets The Rhythm Section, the "Joe" is Dutch tenorist Joe Van Enkhuizen, who's a great fit with a trio that features Horace Parlan on piano, Rufus Reid on bass, and Al Harewood on drums! The album's got that subtle approach that marks Parlan's later years – a less all-out style than his start on Blue Note, but one that's maybe even more rewarding if you're willing to let yourself slide into it – something that's easy to do when you've got Joe pointing the way with his well-blown, raspy-edged tenor! Reid is mighty nice too – with those instantly-deep notes that always grab us strongly when he's recorded this well – the sort of presence that most other bassists would need to be electric to reach. Titles include "Alfie's Theme", "Bluesville", "FSR", "Wadin", and "Willow Weep For Me". Ellington Ballads is a nice little record that's very much along the lines of the duet sessions that pianist Horace Parlan cut with Archie Shepp – done with a similar open, soulful style that really brings a lot of personal energy to these tunes penned by Duke Ellington! This might be the first time we've ever heard tenorist Joe Van Enkhuizen, but he's a surprisingly great player – and one who carves out these raspy lines on his instrument that fit really well with the well-crafted lines from Parlan's piano – a lot more subtle and spacious than during his Blue Note years, but maybe even more powerful because of that. Titles include "Serenade To Sweden", "I Got It Bad", "Prelude To A Kiss", "Melancholy", "Sophisticated Lady", and "Creole Blues/Tonight I Shall Sleep". Pannonica is a tight little live set from pianist Horace Parlan – recorded with a wonderful trio that features Reggie Johnson on bass and Alvin Queen on drums – both players who seem to effortlessly match Parlan's shifts at every stage of the proceedings! The tracks are relatively long, and showcase all those changes that Horace had made on the European scene since his earlier years on Blue Note – that move towards warmer, more lyrical elements in his music – but still shaped with his ear for soulful modernism too. The titles are all familiar, but served up at the level that can make the right sort of live piano date sound so great – on selections that include "Hi Fly", "Who Cares", "No Greater Love", and "Pannonica". CD

A legendary album from alto genius Art Pepper – a set in which he meets up with the famous Miles Davis rhythm section of the time – Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums – a trio of players who really help send the album over the top! There's maybe a bit more of a crackle in the rhythms here than on some of Art's other 50s records – which makes for a classic meeting of east and west coast scenes, and some especially nice raspy lines from Pepper – delivered at that level that always made his music of this period so nicely complex – outwardly cool, but with some seething energy at the core. Titles include a definitive take on Art's classic "Straight Life" – plus "Waltz Me Blues", "You'd Be So Nice To Come Home To", and "Star Eyes". CD

A legendary album from alto genius Art Pepper – a set in which he meets up with the famous Miles Davis rhythm section of the time – Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums – a trio of players who really help send the album over the top! There's maybe a bit more of a crackle in the rhythms here than on some of Art's other 50s records – which makes for a classic meeting of east and west coast scenes, and some especially nice raspy lines from Pepper – delivered at that level that always made his music of this period so nicely complex – outwardly cool, but with some seething energy at the core. Titles include a definitive take on Art's classic "Straight Life" – plus "Waltz Me Blues", "You'd Be So Nice To Come Home To", and "Star Eyes". LP, Vinyl record album

A legendary album from alto genius Art Pepper – a set in which he meets up with the famous Miles Davis rhythm section of the time – Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums – a trio of players who really help send the album over the top! There's maybe a bit more of a crackle in the rhythms here than on some of Art's other 50s records – which makes for a classic meeting of east and west coast scenes, and some especially nice raspy lines from Pepper – delivered at that level that always made his music of this period so nicely complex – outwardly cool, but with some seething energy at the core. Titles include a definitive take on Art's classic "Straight Life" – plus "Waltz Me Blues", "You'd Be So Nice To Come Home To", and "Star Eyes". CD

Late live work from Art Pepper – and a set that has him blowing a bit of clarinet, in addition to his usual alto sax! The session was recorded in performance in Tokyo, but it's got the close-up feel of some of Art's studio sets from the time – beautifully blown, with an open quality in the way the tunes unfold, yet a tightness on the solos that's undeniable! The rhythm section features George Cables on piano, Tony Dumas on bass, and Billy Higgins on drums – and Pepper plays clarinet on the tune "Sometime", and alto on "True Blues", "Landscape", "Avalon", and "Straight Life". Recorded over two nights of July '79 and consists of two sets each night. CD

A New York album, but one that was oddly recorded in Burbank – and which has Art Pepper sounding very much at the top of his game! The format here is a bit like the other Artist House Pepper sessions, and those he did for the Japanese Atlas label – tight, focused, often tunes that are older jazz or bop standards – but swing with a great rhythm section, and topped with completely sublime alto solos from the leader! The quartet features Hank Jones on piano, Ron Carter on bass, and Al Foster on drums – but one number is a duo between Carter and Pepper, and another features just piano and alto. Titles include "Night In Tunisia", "Lover Man", "Duo Blues", "My Friend John", and "Straight No Chaser". LP, Vinyl record album

A New York album, but one that was oddly recorded in Burbank – and which has Art Pepper sounding very much at the top of his game! The format here is a bit like the other Artist House Pepper sessions, and those he did for the Japanese Atlas label – tight, focused, often tunes that are older jazz or bop standards – but swing with a great rhythm section, and topped with completely sublime alto solos from the leader! The quartet features Hank Jones on piano, Ron Carter on bass, and Al Foster on drums – but one number is a duo between Carter and Pepper, and another features just piano and alto. Titles include "Night In Tunisia", "Lover Man", "Duo Blues", "My Friend John", and "Straight No Chaser". CD features bonus tracks – a version of "Lover Man" with clarinet, the tune "Johnny's Blues", and three more alternate takes from the album! CD

Five tremendous albums from saxophone genius Art Pepper – presented here with a lot of bonus tracks too! First up is So In Love – beautiful late work from Art Pepper – one of his albums recorded for the well-done Artist House label, and a set that's maybe got a different vibe than some of his Galaxy recordings of the time! There's a rock-solid sense of soul to the record – one that comes from the work of two different rhythm trios – one that features George Cables on piano, Charlie Haden on bass, and Billy Higgins on drums – a rhythm trio who keep things swinging, but never in a way that's too straight – pushing Art a bit around the edges, but letting him come right down the middle with some fantastic solos on alto – the other with Hank Jones on piano, Ron Carter on bass, and Al Foster on drums. Tunes are a bit shorter than on some other albums of the period, but in a great way that really lets you focus in on Pepper's amazing sound –and titles include "Diane", "Stardust", "Blues For Blanche", and "Straight No Chaser". Artworks is a nicely focused set from the great Art Pepper – a record that features a number of familiar bop and jazz themes, but set to a more open, relaxed, and very soulful style that wonderfully reflects all the greatness of Pepper in his final years! The group on the record is nicely understated, but still very hip – George Cables on piano, Charlie Haden on bass, and Billy Higgins on drums – and Art gets plenty of space to step out front and really blow these amazing solos, including one number that features just bass and drums, while Pepper blows a bit of clarinet – which we always love. All other titles feature alto sax – and titles include "Donna Lee", "Anthropology", "You Go To My Head", "Body & Soul", and "Desafinado". Next is a New York Album, but one that was oddly recorded in Burbank – and which has Art Pepper sounding very much at the top of his game! The format here is a bit like the other Artist House Pepper sessions, and those he did for the Japanese Atlas label – tight, focused, often tunes that are older jazz or bop standards – but swing with a great rhythm section, and topped with completely sublime alto solos from the leader! The quartet features Hank Jones on piano, Ron Carter on bass, and Al Foster on drums – but one number is a duo between Carter and Pepper, and another features just piano and alto. Titles include "Night In Tunisia", "Lover Man", "Duo Blues", "My Friend John", and "Straight No Chaser". Stardust is a great little record from Art Pepper – four long tracks that really have him stretching out on alto – but in a way that's maybe a bit different than some of his more burning albums on the Galaxy label at the time! The group here follows from some of the previous Artist House recordings – George Cables on piano, Charlie Haden on bass, and Billy Higgins on drums – a rhythm combo that's mighty nice – and which benefits from some great straight basswork from Haden, and Higgins' always compelling sense of rhythm! Titles include "My Friend John", "Stardust", and "Tin Tin Deo" – plus a reading of "In A Mellotone" that has Art on clarinet. CD5 features a full disc of Sessions material, titled as such – alternates, and unusual versions from the recording dates – and all other of the four CDs feature bonus material as well – different takes and alternates! CD

Beautiful late work from Art Pepper – one of his albums recorded for the well-done Artist House label, and a set that's maybe got a different vibe than some of his Galaxy recordings of the time! There's a rock-solid sense of soul to the record – one that comes from the work of two different rhythm trios – one that features George Cables on piano, Charlie Haden on bass, and Billy Higgins on drums – a rhythm trio who keep things swinging, but never in a way that's too straight – pushing Art a bit around the edges, but letting him come right down the middle with some fantastic solos on alto – the other with Hank Jones on piano, Ron Carter on bass, and Al Foster on drums. Tunes are a bit shorter than on some other albums of the period, but in a great way that really lets you focus in on Pepper's amazing sound –and titles include "Diane", "Stardust", "Blues For Blanche", and "Straight No Chaser". CD

Beautiful late work from Art Pepper – one of his albums recorded for the well-done Artist House label, and a set that's maybe got a different vibe than some of his Galaxy recordings of the time! There's a rock-solid sense of soul to the record – one that comes from the work of two different rhythm trios – one that features George Cables on piano, Charlie Haden on bass, and Billy Higgins on drums – a rhythm trio who keep things swinging, but never in a way that's too straight – pushing Art a bit around the edges, but letting him come right down the middle with some fantastic solos on alto – the other with Hank Jones on piano, Ron Carter on bass, and Al Foster on drums. Tunes are a bit shorter than on some other albums of the period, but in a great way that really lets you focus in on Pepper's amazing sound –and titles include "Diane", "Stardust", "Blues For Blanche", and "Straight No Chaser". CD

Beautiful late work from Art Pepper – one of his albums recorded for the well-done Artist House label, and a set that's maybe got a different vibe than some of his Galaxy recordings of the time! There's a rock-solid sense of soul to the record – one that comes from the work of two different rhythm trios – one that features George Cables on piano, Charlie Haden on bass, and Billy Higgins on drums – a rhythm trio who keep things swinging, but never in a way that's too straight – pushing Art a bit around the edges, but letting him come right down the middle with some fantastic solos on alto – the other with Hank Jones on piano, Ron Carter on bass, and Al Foster on drums. Tunes are a bit shorter than on some other albums of the period, but in a great way that really lets you focus in on Pepper's amazing sound –and titles include "Diane", "Stardust", "Blues For Blanche", and "Straight No Chaser". LP, Vinyl record album

Beautiful late work from Art Pepper – one of his albums recorded for the well-done Artist House label, and a set that's maybe got a different vibe than some of his Galaxy recordings of the time! There's a rock-solid sense of soul to the record – one that comes from the work of two different rhythm trios – one that features George Cables on piano, Charlie Haden on bass, and Billy Higgins on drums – a rhythm trio who keep things swinging, but never in a way that's too straight – pushing Art a bit around the edges, but letting him come right down the middle with some fantastic solos on alto – the other with Hank Jones on piano, Ron Carter on bass, and Al Foster on drums. Tunes are a bit shorter than on some other albums of the period, but in a great way that really lets you focus in on Pepper's amazing sound –and titles include "Diane", "Stardust", "Blues For Blanche", and "Straight No Chaser". CD

A great little record from Art Pepper – four long tracks that really have him stretching out on alto – but in a way that's maybe a bit different than some of his more burning albums on the Galaxy label at the time! The group here follows from some of the previous Artist House recordings – George Cables on piano, Charlie Haden on bass, and Billy Higgins on drums – a rhythm combo that's mighty nice – and which benefits from some great straight basswork from Haden, and Higgins' always compelling sense of rhythm! Titles include "My Friend John", "Stardust", and "Tin Tin Deo" – plus a reading of "In A Mellotone" that has Art on clarinet. CD features six bonus tracks – the tune "Art's Sweet Blues", and alternates of "But Beautiful", "Yesterdays", "Stardust", "In A Mellow Tone", and "You Go To My Head". CD

A double-length live set from Art Pepper – recorded quite late in his all-too-short life, but a really wonderful batch of material that shows he was still burning strong near the end! As with other Pepper material of this vintage, the tracks are all nice and long – very open and spacious, and dominated with the kind of soloing that Art Pepper hardly would have managed a few decades before – searing, searching lines that almost make the alto sound more like a tenor – with rhythm support from Milcho Leviv on piano, Bob Magnusson on bass, and Carl Burnett on drums. Titles include "Ophelia", "Blues For Blanche", "Mambo De La Pinta", "Patricia", "Cherokee", "Goodbye", and "Dedicated". CD

A killer date from two of the hippest tenors of the west coast scene in the 50s – Bill Perkins and Richie Kamuca – both musicians who worked in the cool school, but could also come across with plenty of soul! The album's got both tenors working head on – hitting counterpoint modes at times, but also opening up more freely at others – showing the balance between composition, arrangement, and improvisation that made the scene so great at the time – yet executed with a bit more depth of feeling, as we'd expect from Perkins and Kaumca. Rhythm is from the trio of Pete Jolly on piano, Red Mitchell on bass, and Stan Levey on drums – and titles include "Spain", "Pick A Dilly", "Oh Look At Me Now", "Don't Be That Way", and "Blues For Two". CD

Herb Ellis is reunited with the Oscar Peterson trio – in a sweet set of mellow grooving tunes that stretches nicely beyond their earlier work for Verve! Rhythm is by the team of Sam Jones and Bobby Durham, and the tracks are mostly standards, played with a light and magical touch and that rare ease that Peterson and Ellis always seemed to have in the studio. There's a warmth here that's evident from the very first note – and Herb and Oscar fit together so well, we find ourselves wondering why they ever parted! Titles include "Blues For HG", "Seven Come Eleven", "Exactly Like You", "Naptown Blues", "Hamp's Blues", and "Day By Day". LP, Vinyl record album

A beautiful pairing of Oscar Peterson and Stephane Grappelli – two artists who'd recorded together before, but who sound especially nice in this live setting! The group's a quintet – with the guitar of Joe Pass, bass of Niels Henning Orsted Pedersen, and drums of Mickey Roker – but many moments feature these open passages where Peterson or Grappelli dominate – the latter of whom is fluid and swinging in a way we don't always hear this well. Titles include "Nuages", "That's All", "Skol Blues", "How About You", and "Someone To Watch Over Me". CD features three previously unissued bonus tracks from the same performance – "Solitude", "Honeysuckle Rose", and "I Got Rhythm". CD

Oscar Peterson's trio is augmented here by a famous guest – trumpeter Clark Terry, whose horn adds a nice bit of punctuation to the set, and makes the record a strong standout in the 60s catalogs of both players! The addition of Terry to the record is a great one – as Clark's rising fame at the time merges nicely with the popularity of the Peterson group – and since both players share a talent for mixing earthy moments with tighter playing, the whole thing comes off pretty darn nicely! Peterson's piano is supported by rhythm work from Ray Brown on bass and Ed Thigpen on drums – and Terry not only plays trumpet and flugelhorn, but also vocalizes a slight bit too – sometimes at the same point he's playing his horn! Titles include "Mumbles", "Mack The Knife", "Jim", "Blues For Smedley", "Brotherhood Of Man", and "Incoherent Blues". CD

Oscar Peterson's trio is augmented here by a famous guest – trumpeter Clark Terry, whose horn adds a nice bit of punctuation to the set, and makes the record a strong standout in the 60s catalogs of both players! The addition of Terry to the record is a great one – as Clark's rising fame at the time merges nicely with the popularity of the Peterson group – and since both players share a talent for mixing earthy moments with tighter playing, the whole thing comes off pretty darn nicely! Peterson's piano is supported by rhythm work from Ray Brown on bass and Ed Thigpen on drums – and Terry not only plays trumpet and flugelhorn, but also vocalizes a slight bit too – sometimes at the same point he's playing his horn! Titles include "Mumbles", "Mack The Knife", "Jim", "Blues For Smedley", "Brotherhood Of Man", and "Incoherent Blues". LP, Vinyl record album

Oscar Peterson's trio is augmented here by a famous guest – trumpeter Clark Terry, whose horn adds a nice bit of punctuation to the set, and makes the record a strong standout in the 60s catalogs of both players! The addition of Terry to the record is a great one – as Clark's rising fame at the time merges nicely with the popularity of the Peterson group – and since both players share a talent for mixing earthy moments with tighter playing, the whole thing comes off pretty darn nicely! Peterson's piano is supported by rhythm work from Ray Brown on bass and Ed Thigpen on drums – and Terry not only plays trumpet and flugelhorn, but also vocalizes a slight bit too – sometimes at the same point he's playing his horn! Titles include "Mumbles", "Mack The Knife", "Jim", "Blues For Smedley", "Brotherhood Of Man", and "Incoherent Blues". CD

If this is disco, point us in the direction of Studio 54! The album's one of Ra's greatest from the 70s – recorded in Italy in 1978, and featuring some incredibly otherworldly keyboards that are some of his most enigmatic on record! This hugely expanded version features a whopping 12 tracks in all – the complete performance that originally spawned the album, all of which is as delightful as the 3 tracks that were originally issued on vinyl. Finding all this extra Ra material from the 70s – over 2 hours of music – is like finding a time machine – and the well-done package comes with great notes and excellent sound. Original tracks from the album include "Disco 3000", an incredible workout on synthesizer, with a tiny bit of drum machine, a little "Space Is The Place" breakdown, and all of the wild sound you'd expect from a Sun Ra album – plus more long tracks – the sweetly soulful "Friendly Galaxy", a great soul jazz number, and "Dance Of The Cosmo Aliens", which has spooky organ, frenetic bass, and somber percussion! Additional material includes "Echoes Of The World", "Sun Of The Cosmos", "Geminology", "Sky Blues", "We Travel The Spaceways", and "Spontaneous Simplicity" – all played by a group that includes John Gilmore on tenor, Luqman Ali on drums, Michael Ray on trumpet, June Tyson on vocals, and Sun Ra on piano, organ, moog, and rhythm machine. CD

One of the greatest albums to ever sum up the genius of Lou Rawls in the 60s – a brilliant live set put together with the talents of David Axelrod! The record perfectly captures the easy-going soul of Rawls in the early years – a natural approach to his music that made him one of the best singers of his genre at the time, and which comes out especially strong in the album's upbeat monologues, which are often delivered by Lou with musical accompaniment, then leap strongly into the lyrics of a tune. Backing is by a small jazzy combo that includes Herb Ellis on guitar and the great rhythm team of Jimmy Bond on bass and Earl Palmer on drums – both of whom bring a nice little groove to most of the album's numbers. Titles include "Street Corner Hustler's Blues/World Of Trouble", "Southside Blues/Tobacco Road", "The Shadow of Your Smile", "In The Evening When The Sun Goes Down", "I Got It Bad And That Ain't Good", and "The Girl From Ipanema". LP, Vinyl record album

An amazing set from altoist Sonny Red – a player who hardly ever got to make any albums as a leader, and who really burns brightly on this Blue Note classic! Red's got a tone on alto that's as deep and sharp as most tenorists of his generation – extremely soulful, but with a really raspy edge that's almost modern at times – a combination that's quite unique, and which makes his playing on a few key albums well worth tracking down. This album's one of the best of Sonny's few dates on record – and it features the saxophonist working with two different groups – both headed by Wynton Kelly on piano, and with either Sam Jones or Paul Chambers on bass, and either Roy Brooks or Jimmy Cobb on drums – a hell of a great rhythm lineup, no matter how you slice it! Both groups are right on the money, and the whole album swings very nicely – and titles include "Alone Too Long", "The Lope", "Nadia", "Bluesville", and "Blues In the Pocket". LP, Vinyl record album

An amazing set from altoist Sonny Red – a player who hardly ever got to make any albums as a leader, and who really burns brightly on this Blue Note classic! Red's got a tone on alto that's as deep and sharp as most tenorists of his generation – extremely soulful, but with a really raspy edge that's almost modern at times – a combination that's quite unique, and which makes his playing on a few key albums well worth tracking down. This album's one of the best of Sonny's few dates on record – and it features the saxophonist working with two different groups – both headed by Wynton Kelly on piano, and with either Sam Jones or Paul Chambers on bass, and either Roy Brooks or Jimmy Cobb on drums – a hell of a great rhythm lineup, no matter how you slice it! Both groups are right on the money, and the whole album swings very nicely – and titles include "Alone Too Long", "The Lope", "Nadia", "Bluesville", and "Blues In the Pocket". LP, Vinyl record album

An amazing set from altoist Sonny Red – a player who hardly ever got to make any albums as a leader, and who really burns brightly on this Blue Note classic! Red's got a tone on alto that's as deep and sharp as most tenorists of his generation – extremely soulful, but with a really raspy edge that's almost modern at times – a combination that's quite unique, and which makes his playing on a few key albums well worth tracking down. This album's one of the best of Sonny's few dates on record – and it features the saxophonist working with two different groups – both headed by Wynton Kelly on piano, and with either Sam Jones or Paul Chambers on bass, and either Roy Brooks or Jimmy Cobb on drums – a hell of a great rhythm lineup, no matter how you slice it! Both groups are right on the money, and the whole album swings very nicely – and titles include "Alone Too Long", "The Lope", "Nadia", "Bluesville", and "Blues In the Pocket". CD features 5 previously unreleased bonus tracks too – "Crystal", "Lost April", "Blues For Kokee", "You're Driving Me Crazy", and "You're Sensational". CD

Some of the last great recordings by Django Reinhardt – a series of 78 rpm recordings for the Blue Star label in Paris, done in a variety of settings, both large and small! About half the tracks on the CD feature Django with the Hot Club lineup that included Hubert Rostaing on clarinet and Joseph Reinhardt on rhythm guitar – and other titles include 2 recorded with the quintet of trumpeter Rex Stewart, 1 with the Orchestre Du Boeuf Sur Le Toit, and 1 with a quintet that includes Michel De Villers on alto sax. The CD features 12 titles in all, all remastered from the original 78s – and titles include "Vette", "Swing 48", "Minor Blues", "Peche A La Mouche", "Danse Norvegienne", and "Blues For Barclay", done in 2 takes. CD

A lost gem from Buddy – recorded in the years between his more famous work for Verve in the 50s, and his later 60s comeback as the hard-swinging leader of a big band! The album's a really unusual one for Buddy, in that it really plays around a lot with the rhythms in the tunes – not just using the "blues" phrasing that you might expect from the title, but also hitting bits of lighter, Latiny styles – as well as some slightly modal moments that emerge from longer solo drum passages by Rich. Part of the album's strength is the players – as Buddy's working here with Mike Mainieri on vibes, Sam Most on flute, and Rolf Ericson on trumpet – as well as the unusual rhythm team of Johnny Morris on piano and Wyatt Ruther on bass, neither of whom we really know. Tracks include "Caravan", "Blow'n The Blues Away", "BR Blues", "Late Date", and "I Remember Clifford". CD

Three groovy 70s albums from Buddy Rich! Roar Of 74 is one of the funkiest Buddy Rich albums of the 70s – a mad screaming affair that's overflowing with great tunes! The band on the set is very full – with a heck of a lot of trumpets in the brass section, set next to searing sax work by the great Pat LaBarbera. But even better is the rhythm section – which grooves in a hard electric funk mode, thanks to guitar from Joe Beck, bass from Tony Levin, and some surprisingly smoking drums from Buddy himself! Tracks are all very nicely grooving – and titles include "Kilimanjaro Cookout", "Nuttville", "Senator Sam", "Waltz Of The Mushroom Hunters", and "Big Mac". Last Blues Album has a misleading title, as there's nothing "blues" about this set – as Buddy Rich is working with some of the best soul jazz players of the Groove Merchant label – on a set that's one of his few small combo albums from the 70s! The vibe is very relaxed and laidback, and even Buddy's tight drumming can't over-hype the sound. Tracks are longish and open – more in the Prestige jazz mode of the 60s than the usual funkier style of the Groove Merchant label – and the sextet features Jimmy McGriff on organ, George Freeman on guitar, Kenny Barron on electric piano, Illinois Jacquet on tenor, and Bob Cranshaw on bass. Titles include "Soft Winds", "Sweet Georgia Brown", "How Long", "Courage", and "Alright". Very Live At Buddy's Place is hard-swinging Buddy Rich from the prime early 70s years – not exactly an all-out funk affair, but still a great groover, with plenty of hip little big band numbers! The groove here is nice and lean – and Buddy and the group are working at Buddy's own club – hitting that trademark all-out Rich sound, but still leaving plenty of room for the soloists. The group's got some great soul jazz players – including Sonny Fortune on alto, Jack Wilkins on guitar, and Kenny Barron on piano – as well as some really smoking tenor work from Sal Nistico, who's always adaptable to a setting like this. The album's got a tasty version of Herbie Hancock's "Chameleon", plus other nice tracks that include "Sierra Lonely", "Nica's Dream", "Billy's Bounce", "Cardin Blue" and "Jumpin At The Woodside". CD

One of the greatest modern moments on Blue Note – ever! From the cover, to the compositions, to the playing on the set – the whole album crackles with an unbelievable fire that was hardly ever matched again. A young Sam Rivers leads a quartet that includes Jaki Byard on piano, Ron Carter on bass, and Anthony Williams on drums – coming together in a sound that's got lots of sharp edges, yet which also beats with an undeniably swinging heart. Rivers blows incredibly on the session – held in check by the rhythm section, and never getting too free (or sloppy, as on some later sides) – and instead hitting these hard tones that really push the envelope of 60s jazz without rewriting the rules entirely. Brilliant all the way through, with tracks that include "Beatrice", "Ellipsis", "Cyclic Episode", and "Downstairs Blues Upstairs". LP, Vinyl record album