One of the most iconic rock and roll shows of all time – the late 70s farewell to The Band, captured by Martin Scorcese in a famous film of the same name – and presented on record in a package that really lives up to the majesty of the moment! In the world of 2LP live sets of the 70s, the 3LP presentation gave the group even more space to stretch out and say their goodbyes to the world – while also opening the door up for a large lineup of guests who include The Staple Singers, Muddy Waters, Ron Wood, Van Morrison, Dr John, Bob Dylan, Ronnie Hawkins, and other well-chosen artists who allow the group to show off their roots and inspirations while also wrapping things up. Robbie Robertson produced, and the whole thing is pretty darn iconic from start to finish – on titles that include "The Last Waltz", "Up On Cripple Creek", "The Shape I'm In", "Down In South New Orleans", "Forever Young", "I Shall Be Released", "Rag Mama Rag", "Further Up The Road", "Dry Your Eyes", "Evangeline", and "The Weight". This 4CD box set edition nearly doubles the original 1978 release – including more tracks with Muddy Waters, Bob Dylan, Neil Young, Joni Mitchell, Van Morrison, Dr. John – plus other previously unreleased Band-only tunes, rehearsal pieces and more! CD

Features Ottilie Patterson, Lonnie Donegan, Dickie Bishop, Monty Sunshine, Pat Halcox, Jim Bray, Mickey Ashman and Ron Bowden. CD

One of Gato's best! The record's neither too out, nor too poppy – and it has Barbieri playing with that incredible raspy tone – and working over modal grooves laid down by a hip group that includes Lonnie Liston Smith on acoustic and electric pianos, Ron Carter on bass, Lennie White on drums, and additional percussion on most tracks. The cuts have a Latin finish to them, but they've also got a strongly pronounced soul jazz vibe – something that's missing from lots of Gato's other work, and which feels a lot here like some of Pharoah Sander's best work for Impulse! Titles include "Tupac Amaru", "Bahia", "Falsa Bahiana", "El Dia Que Me Quieras", "El Arriero" and "Carnavalito". CD

With Arthur Blythe on alto, Ron Carter on bass, and Bill Frisell on guitar! CD

Not a trio date, but an unusual moody set – one that mostly has Kenny Barron on piano in duos with alternating bass accompaniment by Ron Carter and Michael Moore. LP, Vinyl record album

A stunning collection of work from one of our favorite bands of the 60s – a group who sprung up on the San Francisco scene of the mid 60s, then evolved with an amazing sound in just a few short years! The set begins with the group's three albums for the Autumn label – Introducing, Volume Two, and Beau Brummels 66 – and packs those with 47 related demo tracks, outtakes, and alternates – giving a really amazing picture of the group at the start! Then, the package moves into their two tremendous albums for Warner Brothers – Triangle and Bradley's Barn, both of which are real highlights on the late 60s creative landscape of the label – presented here with 32 associated demo tracks and rarities from those sessions! Then, the set moves into a 1965 demo session for Autumn Records, with over two dozen songs in development form in the studio. CD7 features solo work from Ron Elliott and Sal Valentino of the group – including some unheard material! CD8 features 28 more tracks – all single cuts from the group, including cancelled releases, and some solo singles from Sal Valentino. 228 tracks in all – all newly mastered, with many titles on CD for the first time ever! CD

A gimmicky record, but one that's pretty darn great – thanks to a very unusual approach that mixes the music of Miles Davis with Indian instrumentation! The players are a big part of the album's success – as they include Miles Davis alums like Gary Bartz on alto sax, Lenny White and Jimmy Cobb on drums, Michael Henderson on bass, Pete Cosey on guitar, Dave Liebman on flute, and Ron Carter on bass – and although a few tracks feature Wallace Roney on trumpet, that instrument is possibly one of the least-featured in the set! Instead, Miles' legacy is traced through very different territory – with a much stronger emphasis on the sitar, sarod, and percussion used on the record – often played with a spacious, exploratory feel that's quite unusual. Most numbers are completely transformed from their famous original versions – and titles include "Miles Runs The Voodoo Down", "Blue In Green", "In A Silent Way", "All Blues", "Spanish Key", "So What", and "Miles From India". CD

A great early CTI session by George Benson, and one of the most stripped-down, straight-ahead funky records he did for the label! There's a sharpness here that's different than the larger feel of some of Benson 's later records – a sound that almost links back to his soul jazz roots in the 60s – played by a tight combo that features Benson on guitar, Clarence Palmer on organ, Ron Carter on bass, and Jack DeJohnette on drums – plus percussion from Michael Cameron and Albert Nicholson. There's a version of "So What" on here that's got to be one of the best funky takes of that standard ever – with great hard grooves on the intro – and on other cuts, the real genius is in the way the simple tracks are arranged to shift between darkly chromatic passages and slight bits of funk. Titles include "All Clear", "Ode To A Kudu", and "Somewhere In The East". LP, Vinyl record album

A great early CTI session by George Benson, and one of the most stripped-down, straight-ahead funky records he did for the label! There's a sharpness here that's different than the larger feel of some of Benson 's later records – a sound that almost links back to his soul jazz roots in the 60s – played by a tight combo that features Benson on guitar, Clarence Palmer on organ, Ron Carter on bass, and Jack DeJohnette on drums – plus percussion from Michael Cameron and Albert Nicholson. There's a version of "So What" on here that's got to be one of the best funky takes of that standard ever – with great hard grooves on the intro – and on other cuts, the real genius is in the way the simple tracks are arranged to shift between darkly chromatic passages and slight bits of funk. Titles include "All Clear", "Ode To A Kudu", and "Somewhere In The East". Plus, the CD features 3 bonus tracks – alternate versions of "Ode To A Kudu", "Somewhere In The East", and "All Clear". CD

One of the moodiest sessions on CTI from the early days – and a landmark album that took George Benson from the funky jazz scene into the upper reaches of 70s jazz. The record was put together by Don Sebesky, and it's a lot more high concept than some of George's earlier work – and proof that he was a totally great player who just needed a push in the right direction to find his own vibe. Other players include Ron Carter, Herbie Hancock, and Airto – and titles include "California Dreaming", "El Mar", "White Rabbit", and "Little Train". This CTI Records 40th Anniversary edition was remastered using the original analog tapes. CD

One of the moodiest sessions on CTI from the early days – and a landmark album that took George Benson from the funky jazz scene into the upper reaches of 70s jazz. The record was put together by Don Sebesky, and it's a lot more high concept than some of George's earlier work – and proof that he was a totally great player who just needed a push in the right direction to find his own vibe. Other players include Ron Carter, Herbie Hancock, and Airto – and titles include "California Dreaming", "El Mar", "White Rabbit", and "Little Train". CD

Max Bessesen on alto saxophone, Ron Miles on cornet, and piccolo trumpet, Eric Krouse on piano and wurlizer, Ethan Philion on piano, and Nathan Friedman on drums. CD

Amazing spiritual jazz treasure – the only album ever issued by this obscure avant trio from the Cleveland scene – a group that includes a young Abdul Wadud on bass and cello! The style is nicely loose and open, but also very different than the sound of the AACM at the time – almost more with the slowly building style that would dominate in the loft jazz years, even though these guys were years ahead of that moment. In addition to Wadud – then known as Ron DeVaughn – the group also features Joseph Phillips/Yusuf Mumin on alto, and Hasan Adbur Shahid on percussion. Both players are amazing – Shahid can go from full intensity to spacious sonic territory at a level that matches Sunny Murray – and Mumin's alto can cry plaintively some moments, and come on with the ferocity of a tenor the next. Wadud is wonderful, too – balancing plucked and bowed moments with the quality that we love on later recordings – already very well-formed here, at a time when he was attending Oberlin College. The album's one that really lives up to the promise of its cover and group name – and titles include "Birth Life & Death", "In Light Of Blackness", "Final Expression", "Opening Prayer", and "Al Nisa". LP, Vinyl record album

Cindy Blackman on drums, Ron Carter on bass, Jacky Terrasson on piano, and Ravi Coltrane on tenor saxophone. 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

Great work from this cool Dutch group – a quratet with lots of piano and organ from bassist Robert Verwey, lead guitar and "mouthorgan" from Ron Meyjes, percussion from Frans Smit, and vocals and flute from Michel Van Dijk! The set's after Jan Akkerman left the group, but they still have a pretty striking progressive sound. LP, Vinyl record album

One of the greatest jazz vocal albums of all time – and one of the first true moments of genius from a young Dee Dee Bridgewater! The album's a Japanese only release (proof that they're always hipper to our jazz artists than we are!) – and it features Dee Dee singing material that's quite different than her later R&B-inflected sides from the late 70s – very soaring and spiritual work, delivered in a way that set a whole new standard for jazz at the time! Backing is by a small combo with brothers Ron and Cecil Bridgewater, plus Roland Hanna on acoustic and electric piano, George Mraz on bass, and Motohiko Hino on drums and percussion – but the star of the set is always Dee Dee, who sparkles beautifully on the album's classic versions of "Afro Blue" and "Little B's Poem" – both of which have been redone by many other singers over the years. Other great cuts include "People Make The World Go Round", "Love From The Sun", and "Love Vibrations". CD

One of the greatest jazz vocal albums of all time – and one of the first true moments of genius from a young Dee Dee Bridgewater! The album's a Japanese only release (proof that they're always hipper to our jazz artists than we are!) – and it features Dee Dee singing material that's quite different than her later R&B-inflected sides from the late 70s – very soaring and spiritual work, delivered in a way that set a whole new standard for jazz at the time! Backing is by a small combo with brothers Ron and Cecil Bridgewater, plus Roland Hanna on acoustic and electric piano, George Mraz on bass, and Motohiko Hino on drums and percussion – but the star of the set is always Dee Dee, who sparkles beautifully on the album's classic versions of "Afro Blue" and "Little B's Poem" – both of which have been redone by many other singers over the years. Other great cuts include "People Make The World Go Round", "Love From The Sun", and "Love Vibrations". LP, Vinyl record album

Sound, space, tone, and color – a tremendous effort from trombonist Bob Brookmeyer, and a record with a really unique feel! The album features a wonderful group that includes Brookmeyer on valve trombone, Stan Getz on tenor, Gary Burton on vibes, Herbie Hancock on piano, Ron Carter on bass, and Elvin Jones on drums – all coming together in a way that's extremely equally-weighted – with less of Brookmeyer as the leader, than as a warm friend, gathering together a few key players in the studio. Given that Getz worked with Brookmeyer back in the early 50s, and had Burton in his group at the time, the album's always a link between both sides of a decade in Stan's career – but with the presence of the modernists on the rhythm team, there's a sound here that's much more unique – one that has a place for Stan's wonderful tone, and Brookmeyer's airy phrasing – but which also drives along in a rhythmically pulsing mode that almost puts Burton's vibes at the top of the set on some numbers. There's a change in mood from tune to tune that gives the record a remarkable depth, but without sounding schizophrenic – and titles include "Bracket", " Wrinkle Time", "Jive Hoot", "Skylark", "Sometime Ago", and "Who Cares". LP, Vinyl record album

Glen Brown's often the producer here – helming the decks on a host of classic cuts from the early 70s – but he also emerges as the main character too, at times when he steps to the mic and adds in a bit of encouragement to the proceedings! Brown's not really working in deejay mode – he's more in the background on most cuts, but then gets to shine as the lead artist on some of the later tracks in the package – especially the numbers that feature Glen on melodica, blowing the sweet keyboard with a spacious style that's a bit like Augustus Pablo! Titles include "Get Up" by Ron Wilson, "Scatter Light Rock" by Ron Wilson & Lennox Brown, "Dirty Harry" by Tommy McCook & Richard Hall, "Determination Skank" by Tommy McCook & Glen Brown, "Mr Ball Head Aitken" by Bobby Aitken, and the Glen Brown cuts "No More Slavery", "Crisp As A Ball", "Pantomine Rock", "The Winner", "Mitchville Rock", and "School Call". LP, Vinyl record album

A classic album from San Francisco pianist Dave Brubeck – recorded at Oberlin College, the mid-Ohio haven of bohemiana, and a growing hotbed of jazz activity centered around students in the college's conservatory of music at the time of the recording! Dave and crew made the trip at the request of the kids – breaking from their mostly San Francisco-based recording career to cut what would end up becoming a very successful album in Dave's catalog, and begin a whole "at" or "goes to" series in his career – followed up at many other locations. The group's the early quartet with Paul Desmond on alto, Ron Crotty on bass, and Lloyd Davis on drums – and tunes include long and jamming versions of "The Way You Look Tonight", "How High The Moon", and "Stardust". LP, Vinyl record album

Two classic early albums from San Francisco pianist Dave Brubeck! Jazz at Oberlin was famously recorded at the mid-Ohio college and haven of bohemiana, and a growing hotbed of jazz activity centered around students in the college's conservatory of music at the time of the recording! Dave and crew made the trip at the request of the kids – breaking from their mostly San Francisco-based recording career to cut what would end up becoming a very successful album in Dave's catalog, and begin a whole "at" or "goes to" series in his career – followed up at many other locations. The group's the early quartet with Paul Desmond on alto, Ron Crotty on bass, and Lloyd Davis on drums – and tunes include long and jamming versions of "The Way You Look Tonight", "How High The Moon", and "Stardust". College Of The Pacific is another great live set from the Dave Brubeck Quartet – already humming along nicely with some great alto sax from Paul Desmond! The group's in fine form here – a bit more relaxed and open than on their Columbia recordings – with plenty of creative piano lines from Dave, showing just a slight dose of modernism, and lots more of that cool, icy alto sax work that made Desmond a standout right from the start. Rhythm is by Ron Crotty on bass and Joe Dodge on drums – and titles include "Laura", "Lullaby In Rhythm", "For All We Know", "All The Things You Are", and "I'll Never Smile Again". CD

Classic early live material from the Dave Brubeck Quartet – already humming along nicely with some great alto sax from Paul Desmond! The group's in fine form here – a bit more relaxed and open than on their Columbia recordings – with plenty of creative piano lines from Dave, showing just a slight dose of modernism, and lots more of that cool, icy alto sax work that made Desmond a standout right from the start. Rhythm is by Ron Crotty on bass and Joe Dodge on drums – and titles include "Laura", "Lullaby In Rhythm", "For All We Know", "All The Things You Are", and "I'll Never Smile Again". CD

A great set – unissued material from the same concert that gave us the original College Of The Pacific album! Classic early live material from the Dave Brubeck Quartet – already humming along nicely with some great alto sax from Paul Desmond! The group's in fine form here – a bit more relaxed and open than on their Columbia recordings – with plenty of creative piano lines from Dave, showing just a slight dose of modernism, and lots more of that cool, icy alto sax work that made Desmond a standout right from the start. Rhythm is by Ron Crotty on bass and Joe Dodge on drums. CD

Features unreleased bonus material! Includes Phil Woods on alto and clarinet, Ron Carter on bass, Grady Tate on drums, Mike Maineri on vibes, and Richard Wyands on piano. CD

Grover Washington Jr on Blue Note – but sounding really great here in the company of guitarist Kenny Burrell – very much back to the more basic reed work of his roots, and away from some of the smoother settings of his bigger dates from a few years before! Kenny's well-crafted guitar lines really direct the set – spinning out with energy and soul, and shaping the sound in tones that work especially well with Washington's soprano sax lines. The rest of the group features Ron Carter on bass, Jack DeJohnette on drums, and Ralph MacDonald on percussion – and titles include "Togethering", "Daydream", "Sails Of Your Soul", "Soulero", and "What Am I Here For". LP, Vinyl record album

Important early work from Jaki Byard – one of his first records as a leader, and a wonderful set of quirky piano trio tunes! Jaki's working here with Ron Carter on bass and Roy Haynes on drums – in a format that's similar to other trio records of the time, but which is really pushed to the limit by Byard's unique conception of the keys, and his unabashed ability to play well and whimsical at the same time! And by "whimsical", we're not saying "goofy", or "silly" – but really just are referring to Jaki's clearly unabashed love of all things musical – a joyous celebration of many strands of jazz, all coming together in a sound that's all his own! (Jaki worked often with Roland Kirk – and that's a good point of comparison.) Titles include "Cinco Y Quatro", "Giant Steps", "Garnerin A Bit", "To My Wife", and "Mellow Septet". 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

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". LP, Vinyl record album

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". LP, Vinyl record album

The group's listed here as the Double Quintet of trumpeter Ian Carr, but the sound is right next to the best work of his Nucleus group for Vertigo Records – a groundbreaking blend of jazz and electric elements, served up in a style that's very different from American work of the time! At one level, Carr and his group mates have this sophisticated style that's awash in complicated colors and very rich tones – but at another, they're able to open up and really let things fly – not really in prog directions, or avant improvisation either – but with a very freewheeling spirit that has Ian and the group exploding with new ideas all the way through! Other players include Harry Beckett on trumpet, Brian Smith on tenor and soprano, Tony Roberts on tenor and bass clarinet, and the electric core of Chris Spedding on guitar, Ron Matthewson on electric bass, and Karl Jenkins on electric piano – on long takes of tracks that include "Element 1", "Bedrock Deadlock", "Torso", "Snakehips Dream", and "Spirit Level". First-ever release – pulled from a well-recorded radio session in 1970! LP, Vinyl record album

Benny Carter plays with The American Jazz Orchestra, directed by John Lewis, with John Eckert, Virgil Jones, Bob Millikan, and Marvin Stamm on trumpets, Eddie Bert, Jack Jeffers, Jimmy Knepper, and Britt Woodman on trombones, Bill Easley and John Purcell on alto and flute, Loren Schoenberg on tenor, Lew Tabackin on tenor and flute, Danny Bank on baritone and bass clarinet, Dick Katz and John Lewis on piano, Ron Carter on bass, and Mel Lewis on drums. CD

There's a nice sense of urgency on this album from Michael Carvin – a sort of soulful fire and creative energy that shows that his work was still burning strongly in the 80s! The set's almost more of a 70s session at heart – a no-nonsense record that's filled with the best post-Coltrane influences, and a bit of a Wayne Shorter vibe at times – no limits in the expressions of the players, but always a strong sense of unity, and solos that are never too overindulgent. Players include John Stubblefield and Ron Bridgewater on tenor – each getting two tracks apiece – Claudio Roditi and Cecil Bridgewater on trumpets, again on different tracks – Frank Lace on trombone, Onaje Allen Gumbs on piano, and David Williams on bass – all driven strongly by Carvin's great work on drums. Titles include "Dear Trane/Dear Hippo With Green Shoes On", "Night In Tunisia", "MR", and "Caravan" – mostly all taken in long versions. LP, Vinyl record album

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

With Ron Sutton Jr on alto saxophone and Tarus Mateen on bass. CD

A large group in a small club – the legendary Clarke Boland Big Band, playing at the home turf of one of their key members – tenorist Ronnie Scott! The set features a very legendary performance by the ensemble – a crack lineup that's easily one of the best ever sported by the CBBB – perfectly mixing American rhythms, and a trans-Atlantic lineup of soloists – all tied together with just the sort of rich arrangements that make the group so great! Things groove right from the get-go – thanks to a rhythm lineup that features Kenny Clarke on drums, and Francy Boland on piano – plus bassist Ron Matthewson, sitting in for the usual Jimmy Woode. The horn players really send things off, though – tight trumpets from Benny Bailey, Idrees Sulieman, and Dusko Goykovich; bold trombones from Ake Persson and Nat Peck; and some searing reed lines from Johnny Griffin and Ronnie Scott on tenor, Derek Humble on alto, Sahib Shihab on baritone, and Tony Coe on both tenor and clarinet. This CD features both the first and second sets at Scotts by the group – albums titled Volcano and Rue Chaptal – with titles that include "Volcano", "Griff's Groove", "Now Hear My Meanin", "Box 703 Washington DC", "Thence We Issued Out Again to See the Stars", "Rue Chaptal", "I Don't Want Nothin From Nobody & I Ain't Giving Nothin Away", "Sax No End", "Minor Blues", and "The Girl & The Turk". CD

A large group in a small club – the legendary Clarke Boland Big Band, playing at the home turf of one of their key members – tenorist Ronnie Scott! The set features a very legendary performance by the ensemble – a crack lineup that's easily one of the best ever sported by the CBBB – perfectly mixing American rhythms, and a trans-Atlantic lineup of soloists – all tied together with just the sort of rich arrangements that make the group so great! Things groove right from the get-go – thanks to a rhythm lineup that features Kenny Clarke on drums, and Francy Boland on piano – plus bassist Ron Matthewson, sitting in for the usual Jimmy Woode. The horn players really send things off, though – tight trumpets from Benny Bailey, Idrees Sulieman, and Dusko Goykovich; bold trombones from Ake Persson and Nat Peck; and some searing reed lines from Johnny Griffin and Ronnie Scott on tenor, Derek Humble on alto, Sahib Shihab on baritone, and Tony Coe on both tenor and clarinet. This album features the full "first set" at Scotts by the group – with titles that include "Volcano", "Griff's Groove", "Now Hear My Meanin", "Box 703 Washington DC", and "Thence We Issued Out Again to See the Stars". LP, Vinyl record album

A large group in a small club – the legendary Clarke Boland Big Band, playing at the home turf of one of their key members – tenorist Ronnie Scott! The set features a very legendary performance by the ensemble – a crack lineup that's easily one of the best ever sported by the CBBB – perfectly mixing American rhythms, and a trans-Atlantic lineup of soloists – all tied together with just the sort of rich arrangements that make the group so great! Things groove right from the get-go – thanks to a rhythm lineup that features Kenny Clarke on drums, and Francy Boland on piano – plus bassist Ron Matthewson, sitting in for the usual Jimmy Woode. The horn players really send things off, though – tight trumpets from Benny Bailey, Idrees Sulieman, and Dusko Goykovich; bold trombones from Ake Persson and Nat Peck; and some searing reed lines from Johnny Griffin and Ronnie Scott on tenor, Derek Humble on alto, Sahib Shihab on baritone, and Tony Coe on both tenor and clarinet. This album features the full "second set" at Scotts by the group – with titles that include "Rue Chaptal", "I Don't Want Nothin", "Sax No End", and "The Girl & The Turk". LP, Vinyl record album

Pusha T and Malice step out strongly on their final album as a duo – a set that's maybe got a slightly different vibe than their previous run for Jive Records, but in a way that also has us wondering how much they would have grown, had they stayed together! Production features heavy work by The Neptunes and DJ Khalil – and Clipse have definitely discovered an ear for a hook, especially on the singles "Kinda Like A Big Deal" featuring Kanye West, "Popular Demand (Popeyes)" featuring Cam'Ron and Pharrell, and "All Eyes On Me" featuring "Keri Hilson. Other cuts include "There Was A Murder", "Showing Out", "I'm Good", "Door Man", "Never Will It Stop", "Life Change", "Champion", "Footsteps", and "Counseling". LP, Vinyl record album

Michael Cochrane on piano, Ron McClure on bass, and Yoron Israel on drums. CD

Spiritual sounds galore – an amazing 2-fer from Alice Coltrane! Huntington Ashram Monastery is powerful work from Alice Coltrane – an incredible trio album that features her heavily on harp, plus a bit of piano – in a trio with Ron Carter on bass and Rashied Ali on drums! The sound is wonderful – lush, yet contemplative – in a personal style that really shows Alice beginning to express herself in new modes after the death of The Great One. The us of harp is especially incredible – handled here with a sense of majesty that really leaves us breathless, and which goes far beyond other use of that instrument in jazz. And even Alice's piano is surprisingly nice – with these mellow, earthy undertones that bubble at the bottom and ground the whole effort on earthly territory. Titles include "Turiya", "HIS", "Jaya Jaya Rama", and "Via Sivanadagar". World Galaxy is one of Alice Coltrane's most ambitious albums of the early years – recorded with a full set of heavenly orchestrations! The core group features Alice on piano, organ, and harp – alongside Frank Lowe on saxes, Reggie Workman on bass, Leroy Jenkins on violin, and Ben Riley on drums. Added to this combo is a much larger set of strings – swirling around in a rich musical backdrop that gives Alice's work a sense of majesty and power we could have never imagined. This is the album that really showed the world that she was far far more than just the wife of the late great one – a true mystical visionary with a sound that demanded to be heard! Side 2 features a recitation by Alice's spiritual mentor, Swami Satchdiananda – and the album features a wonderful version of "My Favorite Things", done with both organ and harp, plus the tracks "Love Supreme", "Galaxy In Turiya", and "Galaxy In Satchidandana". CD

Our favorite-ever album by Alice Coltrane – a masterpiece of spirit and soul, recorded in a wonderfully open-handed style – and with a vibe that's maybe a bit different than some of her other records, especially the ones with larger groups! The album's mostly a spare batch of tracks cut by Alice and her trio with Ron Carter on bass and Ben Riley on drums – a group who are already wonderful, and maybe a bit more introspective than Coltrane in other settings – and they're joined at a few points by guest tenor from both Joe Henderson and Pharoah Sanders – both at key parts of their career, and really adding a lot to the album! Pharoah and Joe blow with beautiful post-Coltrane spirituality on the tracks "Ptah The El Daoud" and "Mantra" – but equally great is the beautiful spare piano cut "Turiya & Ramakrishna" – an incredible tune that has Alice playing with a soulfulness you'd hardly expect! A real treasure all the way through – and the kind of album that ranks with the best in the Impulse catalog! CD

Our favorite-ever album by Alice Coltrane – a masterpiece of spirit and soul, recorded in a wonderfully open-handed style – and with a vibe that's maybe a bit different than some of her other records, especially the ones with larger groups! The album's mostly a spare batch of tracks cut by Alice and her trio with Ron Carter on bass and Ben Riley on drums – a group who are already wonderful, and maybe a bit more introspective than Coltrane in other settings – and they're joined at a few points by guest tenor from both Joe Henderson and Pharoah Sanders – both at key parts of their career, and really adding a lot to the album! Pharoah and Joe blow with beautiful post-Coltrane spirituality on the tracks "Ptah The El Daoud" and "Mantra" – but equally great is the beautiful spare piano cut "Turiya & Ramakrishna" – an incredible tune that has Alice playing with a soulfulness you'd hardly expect! A real treasure all the way through – and the kind of album that ranks with the best in the Impulse catalog! CD

Our favorite-ever album by Alice Coltrane – a masterpiece of spirit and soul, recorded in a wonderfully open-handed style – and with a vibe that's maybe a bit different than some of her other records, especially the ones with larger groups! The album's mostly a spare batch of tracks cut by Alice and her trio with Ron Carter on bass and Ben Riley on drums – a group who are already wonderful, and maybe a bit more introspective than Coltrane in other settings – and they're joined at a few points by guest tenor from both Joe Henderson and Pharoah Sanders – both at key parts of their career, and really adding a lot to the album! Pharoah and Joe blow with beautiful post-Coltrane spirituality on the tracks "Ptah The El Daoud" and "Mantra" – but equally great is the beautiful spare piano cut "Turiya & Ramakrishna" – an incredible tune that has Alice playing with a soulfulness you'd hardly expect! A real treasure all the way through – and the kind of album that ranks with the best in the Impulse catalog! LP, Vinyl record album

A spiritual jazz classic from Detroit – and one of the few records from this important Motor City group! The Contemporary Jazz Quintet were a groundbreaking ensemble that mixed together hardbop and modernist playing – sometimes with a keen ear for Miles Davis' experiments of the late 60s, but also with an underground Detroit flavor that's well in keeping with that city's rich traditions! The group was ostensibly led by pianist Kenny Cox – and it's his name that their two Blue Note albums were issued under – but on this rare third set from the Detroit-based Strata label, the group appears more as a larger collective with an even more freewheeling vibe – a lineup that includes Cox on piano, Charles Moore on trumpet, Leon Henderson on tenor, Ron Brooks on bass, Charles Eubanks on electric piano, and Ron English on guitar. Tracks are long, with a stretched-out pre-Bitches Brew sound – plus some freer avant jamming – and titles include "Noh Word", "Bang", "Tao", and "Nguzo Saba". CD

One of those records that really takes you by surprise – a set that doesn't look like much on the front, but which opens up immediately the minute you drop it on the turntable – with a sense of soul and swing that really hold on throughout! The group's a great one – a quintet with Jimmy Heath on tenor, Slide Hampton on trombone, Kenny Barron on piano, Ron Carter on bass, and Art Taylor on drums – all seasoned players working together here on a set of Tadd Dameron tunes, but inflected with a nice early 80s sense of soul – almost a more relaxed Muse Records vibe that really makes the album way more than just another reading of Dameron's classics. Titles include "Lady Bird", "Squirrel", "The Scene Is Clean", "Sid's Delight", and "Nearness". CD

One of those records that really takes you by surprise – a set that doesn't look like much on the front, but which opens up immediately the minute you drop it on the turntable – with a sense of soul and swing that really hold on throughout! The group's a great one – a quintet with Jimmy Heath on tenor, Slide Hampton on trombone, Kenny Barron on piano, Ron Carter on bass, and Art Taylor on drums – all seasoned players working together here on a set of Tadd Dameron tunes, but inflected with a nice early 80s sense of soul – almost a more relaxed Muse Records vibe that really makes the album way more than just another reading of Dameron's classics. Titles include "Lady Bird", "Squirrel", "The Scene Is Clean", "Sid's Delight", and "Nearness". LP, Vinyl record album

A multi-part tone poem inspired by L Ron Hubbard and Arabian Nights. Album features Hubert Laws, Steve Gadd, Aito Moreira, and others. CD

Amazing lost sounds from Detroit – a previously unissued album from pianist Kenny Cox – best known for his late 60s albums on Blue Note, but working here in a really righteous style, and using a fair bit of Fender Rhodes as well! The album's a lost gem from the Strata label – home to Lyman Woodard's Saturday Night Special album – and there's definitely a side to this record that's shared with that one – a bit more laidback, definitely, but equally soulful, and mixed with spiritual jazz elements that echo the style of Kenny's Tribe Records contemporaries on the Detroit scene. Other players include Charles Moore on flugelhorn, Buzz Jones on soprano sax and flute, Ron English on bass, and Skeets Curry on electric guitar – and in addition to Fender Rhodes, Cox also plays clavinet, mellotron, and Arp as well! The set's got a bit of vocals – from Fito Foster and Nengue Hernandez – but the main focus is instrumental, and the long tracks really have the group spinning out beautifully. Titles include "Clap Clap The Joyful Noise", "Samba De Romance", "Island Song", "Lost My Love", and "Beyond The Dream". CD

An overlooked late 60s treasure on Blue Note – 2 rare albums by Kenny Cox & The Contemporary Jazz Quintet – one of the few new groups to work on the label at the time, and an up-and-coming modern combo from Detroit! The first album's quite unique for a number of reasons – not just because the group was a little-known new signing to the label, but also because the work is quite far-reaching at times – some of the most free-thinking jazz recorded for Blue Note during the time, with a sense of boldness that almost stretches back to Jackie McLean's first few records of the new thing years, or a sense of lyrical invention that's a bit like Wayne Shorter when he made a shift towards the outside. Some numbers are awash in fast colors and changes, while others are a bit more in the pocket, with echoes of soul jazz – but the whole thing's incredibly fresh and free, a wonderful little record that only gets better and better over the years! The group features pianist Kenny Cox as the leader, plus Charles Moore on trumpet, Leon Henderson on tenor, Ron Brooks on bass, and Danny Spencer on drums. Titles include "Mystique", "You", "Trance Dance", "Eclipse", and "Number Four". The CD also features the group's second Blue Note album, Multidirection – a session of work that builds strongly on the colors and changes explored by Miles Davis earlier in the 60s, but which takes things off into a whole new direction! (A Multidirection?) The horns on the record have incredible interplay – trumpet by Charles Moore and tenor from Leon Henderson, playing together with a sense of dexterity that may even beat the team of Davis and Wayne Shorter – angular one moment, softly lyrical the next, and always in pursuit of fresh tones and righteous sounds. Kenny Cox's piano is great too – an exercise in understatement at times – getting as much done with one note as other players would with five – as he slowly guides the group along, and grounds their freer expressions with a good sense of humanity. Titles include "What Other One", "Gravity Point", "Spellbound", "Snuck In", and "Sojourn". CD

Tremendous work from this lesser-known combo from Detroit – a session of work that builds strongly on the colors and changes explored by Miles Davis earlier in the 60s, but which takes things off into a whole new direction! (A Multidirection?) The horns on the record have incredible interplay – trumpet by Charles Moore and tenor from Leon Henderson, playing together with a sense of dexterity that may even beat the team of Davis and Wayne Shorter – angular one moment, softly lyrical the next, and always in pursuit of fresh tones and righteous sounds. Kenny Cox's piano is great too – an exercise in understatement at times – getting as much done with one note as other players would with five – as he slowly guides the group along, and grounds their freer expressions with a good sense of humanity. Rhythm is by Ron Brooks on bass and Danny Spencer on drums – and titles include "What Other One", "Gravity Point", "Spellbound", "Snuck In", and "Sojourn". LP, Vinyl record album

With a record like this, it's clear that bassist Jamale Davis is a player to watch – as he's got a way of really bringing something new to the table, and presenting us with a very fresh conception of jazz! Way back through a legacy that includes albums by Ron Carter, Richard Davis, and Oscar Pettiford, it's often the case that groups led by a bassist can really deliver something different – not just a way of pushing a player who's sometimes in the background to the front, but maybe changing up approaches to rhythm and melody in all these really inventive ways – something that Jamale definitely does here – working with a lineup who shape their sounds beautifully – Dario Terzuolo on tenor, John Mosca on trombone, Mferghu on piano, and Ben Zweig on drums and pandeiro. The mix of tenor and trombone is beautiful next to the bass – and the album has a good blend of unusual tunes and a few well-chosen remakes – in a set list that includes "Rabbit Island", "Indra", "Taxi Bird", "Star Eyes", "Run With The Hunted", "Congo Blues", and "Hello I Must Be Going". CD

With Ron Carter on bass, Tony Williams on drums, Herbie Hancock on piano & Wayne Shorter on tenor saxophone. CD

One of the great Miles 70s groove albums – an album that's often as funky as you might expect from the cover, with a sound that's gone onto become the stuff of legend over the years! The noise of previous electric sessions is nicely toned down a bit here – leaving lots more room for soulful grooving – and although the selections were recorded over different dates, there's a very unified feel to the record – as most tracks have a similar groove, away from other Davis electric work of the period. Players vary throughout – and include Wayne Shorter and Sonny Fortune on reeds, Lonnie Smith and Chick Corea on keyboards, Ron Carter and Dave Holland on basses, John McLaughlin on guitar, and Al Foster and Billy Cobham on drums. Titles include "Great Expectations", "Ife", "Go Ahead John", and "Lonely Fire" – and the whole thing kicks! CD

A massively expanded version of a landmark album – and fantastic glimpse of recordings that went on to form the legendary 2LP record that opened up a whole new electric world for Miles Davis – and which also yielded a huge amount of wonderful tracks that never made it onto the original release! The lineup here is the stuff of legends – Herbie Hancock, Chick Corea, and Joe Zawinul on keyboards – plus Wayne Shorter on saxes, Ron Carter and Dave Holland on basses, John McLaughlin on guitar, and Jack DeJohnette on drums – all working with Miles in some very new directions in jazz! CD

One of the most formative periods of Miles Davis' career, with lots of new ideas taking shape – including Fender Rhodes from Herbie Hancock, guitar from George Benson and Joe Beck, and plenty of great tenor from Wayne Shorter, bass from Ron Carter, and drums from Tony Williams! Includes material that appeared on the albums Miles Smiles, ESP, Sorcerer, Nefertiti, Water Babies, Miles In The Sky, and Filles De Kilimanjaro – as well as unreleased tracks, alternates, and material that showed up on Directions and Circle In The Round. CD

One of those key cases where Miles Davis took a familiar song and made it his own! The set's a live one, and features a famous 15 minute version of "My Funny Valentine" – played by Davis in a spacious, open sort of way – and one that has key hints of the modernism to come in his music, yet still rings out with some of his more easygoing late 50s appeal. The group here features George Coleman on tenor alongside the rhythm section of Herbie Hancock piano, Ron Carter bass, and Tony Williams on drums – all three of whom help Davis edge into darker territory, even when things are ostensibly sweet! Apart from the version of "My Funny Valentine", other titles include "All Blues", "All Of You", "I Thought About You", and "Stella By Starlight". Four & More is breakneck live work from Miles Davis – and proof that his famous 60s quintet wasn't only just about mellow and spacious sounds! The set was recorded at the same concert as the album My Funny Valentine – and while that one's mostly ballads, this one's mostly high tempo numbers that skip along with incredible ease – crackling with modern touches on the rhythm from Herbie Hancock, Ron Carter, and Tony Williams – and featuring some really excellent work by George Coleman on tenor sax! Titles include "Four", "So What", "Joshua", and "Seven Steps To Heaven". CD

A dark blend of acoustic and electric modes from Miles Davis – a set that still has him working with elements of the classic 60s quintet, but which also brings in a stronger emphasis on electric piano too! The rhythms here are really fantastic – ready to burst forth into a whole new direction, yet still not hitting the Bitches Brew level of freedom – and drummer Tony Williams may well be the real star of the set for his tremendous work on the kit – even though, as stated, the album's got some heavy electric piano contributions both from Herbie Hancock and Chick Corea! All titles feature Miles on trumpet, Wayne Shorter on tenor, and Tony Williams on drums – and the titles with Herbie feature Ron Carter on bass, while the rest with Chick Corea feature Dave Holland. Titles include "Frelon Brun", "Tout De Suite", "Petits Machins", "Mademoiselle Mabry", and "Filles De Kilimanjaro". CD

A dark blend of acoustic and electric modes from Miles Davis – a set that still has him working with elements of the classic 60s quintet, but which also brings in a stronger emphasis on electric piano too! The rhythms here are really fantastic – ready to burst forth into a whole new direction, yet still not hitting the Bitches Brew level of freedom – and drummer Tony Williams may well be the real star of the set for his tremendous work on the kit – even though, as stated, the album's got some heavy electric piano contributions both from Herbie Hancock and Chick Corea! All titles feature Miles on trumpet, Wayne Shorter on tenor, and Tony Williams on drums – and the titles with Herbie feature Ron Carter on bass, while the rest with Chick Corea feature Dave Holland. Titles include "Frelon Brun", "Tout De Suite", "Petits Machins", "Mademoiselle Mabry", and "Filles De Kilimanjaro". CD also features a bonus alternate take of "Tout De Suite". CD

A dark blend of acoustic and electric modes from Miles Davis – a set that still has him working with elements of the classic 60s quintet, but which also brings in a stronger emphasis on electric piano too! The rhythms here are really fantastic – ready to burst forth into a whole new direction, yet still not hitting the Bitches Brew level of freedom – and drummer Tony Williams may well be the real star of the set for his tremendous work on the kit – even though, as stated, the album's got some heavy electric piano contributions both from Herbie Hancock and Chick Corea! All titles feature Miles on trumpet, Wayne Shorter on tenor, and Tony Williams on drums – and the titles with Herbie feature Ron Carter on bass, while the rest with Chick Corea feature Dave Holland. Titles include "Frelon Brun", "Tout De Suite", "Petits Machins", "Mademoiselle Mabry", and "Filles De Kilimanjaro". CD also features a bonus alternate take of "Tout De Suite CD

A dark blend of acoustic and electric modes from Miles Davis – a set that still has him working with elements of the classic 60s quintet, but which also brings in a stronger emphasis on electric piano too! The rhythms here are really fantastic – ready to burst forth into a whole new direction, yet still not hitting the Bitches Brew level of freedom – and drummer Tony Williams may well be the real star of the set for his tremendous work on the kit – even though, as stated, the album's got some heavy electric piano contributions both from Herbie Hancock and Chick Corea! All titles feature Miles on trumpet, Wayne Shorter on tenor, and Tony Williams on drums – and the titles with Herbie feature Ron Carter on bass, while the rest with Chick Corea feature Dave Holland. Titles include "Frelon Brun", "Tout De Suite", "Petits Machins", "Mademoiselle Mabry", and "Filles De Kilimanjaro". CD includes bonus alternate take of "Tout De Suite". CD

Breakneck live work from Miles Davis – and proof that his famous 60s quintet wasn't only just about mellow and spacious sounds! The set was recorded at the same concert as the album My Funny Valentine – and while that one's mostly ballads, this one's mostly high tempo numbers that skip along with incredible ease – crackling with modern touches on the rhythm from Herbie Hancock, Ron Carter, and Tony Williams – and featuring some really excellent work by George Coleman on tenor sax! Titles include "Four", "So What", "Joshua", and "Seven Steps To Heaven". CD

There's nothing "silent" here – as the album's a bold entry in the electric years of Miles Davis – one that still features contributions from Herbie Hancock, Wayne Shorter, and Tony Williams – but which also expands the lineup considerably – really reaching out towards the sound of Bitches Brew! Herbie's on electric keys here, working alongside Chick Corea and Joe Zawinul, who really help increase the flow of the tunes and enforce the "directions in music" stated on the cover of the set! Shorter's on soprano sax, playing in an even more angular way – and Dave Holland is on bass, replacing the sound of Ron Carter, getting some rhythmic assistance at times from John McLaughlin, whose sound really helps to shape the record! Titles include 2 side-long tracks – "Shhh/Peaceful" and "In A Silent Way/It's About Time" – both long, and both beautiful! CD

There's nothing "silent" here – as the album's a bold entry in the electric years of Miles Davis – one that still features contributions from Herbie Hancock, Wayne Shorter, and Tony Williams – but which also expands the lineup considerably – really reaching out towards the sound of Bitches Brew! Herbie's on electric keys here, working alongside Chick Corea and Joe Zawinul, who really help increase the flow of the tunes and enforce the "directions in music" stated on the cover of the set! Shorter's on soprano sax, playing in an even more angular way – and Dave Holland is on bass, replacing the sound of Ron Carter, getting some rhythmic assistance at times from John McLaughlin, whose sound really helps to shape the record! Titles include 2 side-long tracks – "Shhh/Peaceful" and "In A Silent Way/It's About Time" – both long, and both beautiful! LP, Vinyl record album

Not just Miles Davis live at Newport – but Miles at Newport over the course of 20 years, in the space of eight different live performances – almost all of which are previously unreleased! Apart from the 1958 and 1969 Newport material here, most of the 4CD set features all-new, all-great vintage Miles material – with Newport performances from 1955, 1958, 1966, 1967, 1969, 1971, 1973, and 1975 – the last three of which are Newport festivals in Europe and New York. And these aren't just random tracks, but full sets, too – even with some announcements at the start or end – and players include Gerry Mulligan and Zoot Sims for the 1955 concert; John Coltrane, Cannonball Adderley, and Bill Evans in 1958; Herbie Hancock, Wayne Shorter, Ron Carter, and Tony Williams for 1966 and 1967; Jack DeJohnette, Dave Holland, and Chick Corea in 1969; a big electric group with Keith Jarrett, Gary Bartz, Michel Henderson, and Mtume in 1971; and Pete Cosey, Davie Liebman, Reggie Lucas, and Mtume for the 1973 and 1975 shows. A huge amount of material – 4 CDs in a great package, with detailed notes, too! CD

A wonderful live set from the Seven Steps-era Miles group – with rhythm by Herbie Hancock, Ron Carter, and Tony Williams – and tunes that are all in that transformative mode that really showed Miles hitting a new voice at the time! Tenorist George Coleman's playing with the group on the set – proving again that he's got a depth that few people ever seem to give him credit for – and that it wasn't just Wayne Shorter who made the 60s Davis quintet so great. Titles include "Autumn Leaves", "All Of You", "Walkin", and "Joshua". CD

A wonderful live set from the Seven Steps-era Miles group – with rhythm by Herbie Hancock, Ron Carter, and Tony Williams – and tunes that are all in that transformative mode that really showed Miles hitting a new voice at the time! Tenorist George Coleman's playing with the group on the set – proving again that he's got a depth that few people ever seem to give him credit for – and that it wasn't just Wayne Shorter who made the 60s Davis quintet so great. Titles include "Autumn Leaves", "All Of You", "Walkin", and "Joshua". CD features the bonus track "I Thought About You" – and new liner notes by Harvey Pekar! CD

Amazing live documents of Miles Davis and his incredible mid-to-late 60s quintet – Wayne Shorter on tenor, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums – complete concert recordings from Antwerp, Copenhagen and Paris on 3CDs seeing release for the first time ever, plus a DVD featuring the only known video footage of this group from the period! CD 1 features material from 10/28/68 in Antwerp, CD 2 on 11/2/67 in Copenhagen and 11/6/67 in Paris, with the latter concert continued on CD 3. This is landmark stuff here – a surprisingly rare opportunity to hear first rate live recordings of legendary material from the ESP, Miles Smiles, Sorcerer and Nefertiti albums – as well as brilliant revisits of vital earlier material. Includes live takes on "Agitation", "Foot Prints", "No Blues", "Gingerbread Boy", "On Green Dolphin Street", "The Theme", "Footprints", "Masqualero", "I Fall In Love Too Easily", "Walkin'" and more. The DVD starts with five numbers recorded on 11/7/67 in Karlzruhe, Germany: "Agitation", "Footprints", "I Fall In Love Too Easily", "Gingerbread Boy" and "The Theme". It concludes with material in Stockholm on 10/31/67: "Agitation", "Footprints", "'Round Midnight", "Gingerbread Boy" and "The Theme". CD

A really great bit of live work from Miles Davis – and the first-ever recorded appearance of the quintet with Herbie Hancock, Wayne Shorter, Ron Carter, and Tony Williams – even though the album was never issued in the US at the time! The set follows very strongly in the mode of the group's work at the Plugged Nickel – with a pace that's faster than usual, and bristling with freely exploratory energy. Titles include "Milestones", "So What", "Walkin", and a nicely stepped-up version of "Autumn Leaves". Shorter's solos are worth the price of the record alone, but Williams' work on the kit never ceases to amaze! LP, Vinyl record album

A really great bit of live work from Miles Davis – and the first-ever recorded appearance of the quintet with Herbie Hancock, Wayne Shorter, Ron Carter, and Tony Williams – even though the album was never issued in the US at the time! The set follows very strongly in the mode of the group's work at the Plugged Nickel – with a pace that's faster than usual, and bristling with freely exploratory energy. Titles include "Milestones", "So What", "Walkin", and a nicely stepped-up version of "Autumn Leaves". Shorter's solos are worth the price of the record alone, but Williams' work on the kit never ceases to amaze! CD features a bonus track – "Stella By Starlight"! CD

Miles Davis makes the electric transition – in this groundbreaking set from the late 60s! The classic mid 60s quintet is still in place here – Wayne Shorter on tenor, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums – but the sound is looser, freer, and more spacious – often echoing some of the rhythmic concerns that would dominate Miles' music in a few more years, but without as much of a bombastic sound. Williams' drums are amazing – fierce one minute, then fading the next – and Herbie Hancock's use of both electric and acoustic piano really points at his own directions in coming years. George Benson plays one one track – "Paraphernalia" – introducing electric guitar to the Miles Davis sound – and other long tracks on the set include "Stuff", "Black Comedy", and "Country Son". CD

Miles Davis makes the electric transition – in this groundbreaking set from the late 60s! The classic mid 60s quintet is still in place here – Wayne Shorter on tenor, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums – but the sound is looser, freer, and more spacious – often echoing some of the rhythmic concerns that would dominate Miles' music in a few more years, but without as much of a bombastic sound. Williams' drums are amazing – fierce one minute, then fading the next – and Herbie Hancock's use of both electric and acoustic piano really points at his own directions in coming years. George Benson plays one one track – "Paraphernalia" – introducing electric guitar to the Miles Davis sound – and other long tracks on the set include "Stuff", "Black Comedy", and "Country Son". LP, Vinyl record album

Miles Davis makes the electric transition – in this groundbreaking set from the late 60s! The classic mid 60s quintet is still in place here – Wayne Shorter on tenor, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums – but the sound is looser, freer, and more spacious – often echoing some of the rhythmic concerns that would dominate Miles' music in a few more years, but without as much of a bombastic sound. Williams' drums are amazing – fierce one minute, then fading the next – and Herbie Hancock's use of both electric and acoustic piano really points at his own directions in coming years. George Benson plays one one track – "Paraphernalia" – introducing electric guitar to the Miles Davis sound – and other long tracks on the set include "Stuff", "Black Comedy", and "Country Son". CD

Miles Davis makes the electric transition – in this groundbreaking set from the late 60s! The classic mid 60s quintet is still in place here – Wayne Shorter on tenor, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums – but the sound is looser, freer, and more spacious – often echoing some of the rhythmic concerns that would dominate Miles' music in a few more years, but without as much of a bombastic sound. Williams' drums are amazing – fierce one minute, then fading the next – and Herbie Hancock's use of both electric and acoustic piano really points at his own directions in coming years. George Benson plays one one track – "Paraphernalia" – introducing electric guitar to the Miles Davis sound – and other long tracks on the set include "Stuff", "Black Comedy", and "Country Son". CD features 2 bonus alternate takes of "Black Comedy" and "Country Son". CD

Miles Davis makes the electric transition – in this groundbreaking set from the late 60s! The classic mid 60s quintet is still in place here – Wayne Shorter on tenor, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums – but the sound is looser, freer, and more spacious – often echoing some of the rhythmic concerns that would dominate Miles' music in a few more years, but without as much of a bombastic sound. Williams' drums are amazing – fierce one minute, then fading the next – and Herbie Hancock's use of both electric and acoustic piano really points at his own directions in coming years. George Benson plays one one track – "Paraphernalia" – introducing electric guitar to the Miles Davis sound – and other long tracks on the set include "Stuff", "Black Comedy", and "Country Son". CD features 2 bonus alternate takes of "Black Comedy" and "Country Son". CD

Miles Davis makes the electric transition – in this groundbreaking set from the late 60s! The classic mid 60s quintet is still in place here – Wayne Shorter on tenor, Herbie Hancock on piano, Ron Carter on bass, and Tony Williams on drums – but the sound is looser, freer, and more spacious – often echoing some of the rhythmic concerns that would dominate Miles' music in a few more years, but without as much of a bombastic sound. Williams' drums are amazing – fierce one minute, then fading the next – and Herbie Hancock's use of both electric and acoustic piano really points at his own directions in coming years. George Benson plays one one track – "Paraphernalia" – introducing electric guitar to the Miles Davis sound – and other long tracks on the set include "Stuff", "Black Comedy", and "Country Son". CD features 2 bonus alternate takes of "Black Comedy" and "Country Son". CD

Miles Davis' first-ever performance in Japan – a really unique concert that featured the quintet with Herbie Hancock, Ron Carter, and Tony Williams – augmented by a young Sam Rivers on tenor! The presence of Rivers really gives the set an edge – and although Miles is holding Sam a bit more in check than on some of his "new thing" albums from the time, there's an overall quality here that's different than the other Davis quintet albums of the time. The set was one of a number of important Miles Davis live sessions from the period – including albums from Berlin, Antibes, and Chicago – and titles include "If I Were A Bell", "My Funny Valentine", "So What", "Walkin'" and "All Of You". CD

Miles Smiles, but his grin is a wry one – given the angular energy of the set! The album's a landmark effort from the mid 60s quintet that includes Wayne Shorter, Herbie Hancock, Ron Carter, and Tony Williams – all of whom work without fail to capture Davis' newly emerging approach to jazz – a style that's touched with some of the light lyricism of the late 50s, but which has much sharper edges overall – and really approaches some of the best "new thing" modes that were going down at labels like Blue Note or Impulse! Many tunes have a subtly spare quality, but nonetheless work with a tremendous amount of power – and titles include a classic version of "Freedom Jazz Dance", a haunting take on Shorter's "Footprints", and the titles "Orbits", "Circle", "Dolores", and "Gingerbread Boy". CD