A dancing soul party, but one that's got a nice sort of focus too – not a completely random collection of cuts, but one that features a fair bit of very early work from Van McCoy, and some great group soul too! Unlike a DJ set in the clubs, the collection's got no problem with mixing together a few tracks in a row by certain artists – which does a great job of compartmentalizing the big run of 25 tracks that make up the set – almost all unusual numbers that really keep things interesting! Titles include "Help Is On The Way", "The Woman Who Made Me A Man", "Ain't Got No Love", "Generation Gap", "Back Tracking", "Just Another Dress Rehearsal", and "If I Could Make You Mine" by Van McCoy; "Appreciation", "Giving Up", and "If She Wants Him" by The Ad-Libs – plus "Funky Drop" by The Soul Suspects, "I'm Stuck On You" and "Merry Christmas Baby" by The Poets, "Hold On Baby" and "It Hurts So Bad" by Sam Hawkins, "I'm Your Love Man" and "If Change Don't Come Soon" by The Lost Souls, "When I Fall In Love" by The Imperial Wonders, and "Ain't It Funny What Love Can Do" by Kenny Young. CD

Tremendous work from the mighty Sam Records – a New York indie that was born in the disco generation, but continued to keep great sounds going long after the crash! Sam started in the underground, and always kept a great ear to that scene, even when scoring big with hits – and the label's work often had all the polish of bigger companies, but a bit more bite as well – with all the right elements in all the right places, which has kept its music mighty strong over the years! There's no throwaway trash here, or easy dancefloor cuts – and instead the sound of Sam stays plenty strong from the earliest burst of disco through the big wave of indie club and old school in the early 80s. This massive 3CD package is shaped like a 7" single – and features 36 classic 12" singles and album cuts from Sam – titles that include "Kojak Theme" by John Davis Monster Orchestra, "Dreamin" by Greg Henderson, "Love Magic (disco version)" by John Davis Monster Orchestra, "Woman Of The Ghetto (UK 12" mix)" by Doris Duke, "Just A Groove" by Glen Adams Affair, "Come On Back To Mama" by Wardell Piper, "Begging For More" by Monica Neal, "Gotta Get Outta Here" by Lucy Hawkins, "I Found Love In You" by Rhyze, "Hold On (Jellybean mix)" by Kreamcicle, "This Best Is Mine" by Vicky D, "You Can't Stop (Shep Pettibone mix)" by David McPherson, "Don't Let Go Of Me (Shep Pettibone mix)" by Mike & Brenda Sutton, "Free (disco version)" by Rhyze, "Let's Love Dance Tonight (disco version)" by Gary's Gang, "Behind My Back" by Underground, "Just Let Me Dance (Jim Burgess mix)" by Scandal, "Don't Stop" by KID, "Can You Really See Me" by Sound Troupe, "Keep On Dancing" by Gary's Gang, and "Don't Give Your Love Away (Shep Pettibone mix)" by Steve Shelto. CD

with Pepper Adams, Art Blakey, Donald Byrd, Paul Chambers, John Coltrane, Johnny Griffin, Coleman Hawkins, Roy Haynes, Billy Higgins, Philly Joe Jones, Sam Jones, Thad Jones, Harold Land, Gerry Mulligan, Max Roach, Sonny Rollins, Charlie Rouse, and others. CD

A great example of the way that older trad players found new life in the 60s modern scene – as the set was part of the same Candid Records series that captured genius from Cecil Taylor and Charles Mingus! Bob Brookmeyer brings some modern trombone elements to the set, alongside Pee Wee Russell on clarinet and Coleman Hawkins on tenor – with piano from Nat Pierce, trumpet from Emmett Berry, bass from Milt Hinton, and drums from Jo Jones! CD

A great example of the way that older trad players found new life in the 60s modern scene – as the set was part of the same Candid Records series that captured genius from Cecil Taylor and Charles Mingus! Bob Brookmeyer brings some modern trombone elements to the set, alongside Pee Wee Russell on clarinet and Coleman Hawkins on tenor – with piano from Nat Pierce, trumpet from Emmett Berry, bass from Milt Hinton, and drums from Jo Jones! CD

The Hawk Relaxes, but never lets himself go – and a set like this is a great illustration of the gentle genius that made so many later Coleman Hawkins records so great! The relaxed setting for this record is a perfect setting for Hawkins to open up and stretch out – working his tenor with a sound that has surprising modern edges, and unusual twists and turns, yet still all the careful economy of his better-known classic sides. There's a command of the instrument here that few other aging players ever seemed to muster – always a sense of new discovery and invention that marks the work strongly, even at a time when Hawkins could have been sitting on his laurels, playing the same old tune! Titles are all standards, but don't let that fool you – because there's plenty of magic in Coleman's versions of "Moonglow", "Just A Gigolo", "Speak Low", "When Day Is Done", and "I'll Never Be The Same". Oh, and we almost forgot – just because we're so focused on Hawkins – the other players include Ronnell Bright on piano, Kenny Burrell on guitar, Ron Carter on bass, and Andrew Cyrille on drums – making a surprising early appearance here! CD

The Hawk Relaxes, but never lets himself go – and a set like this is a great illustration of the gentle genius that made so many later Coleman Hawkins records so great! The relaxed setting for this record is a perfect setting for Hawkins to open up and stretch out – working his tenor with a sound that has surprising modern edges, and unusual twists and turns, yet still all the careful economy of his better-known classic sides. There's a command of the instrument here that few other aging players ever seemed to muster – always a sense of new discovery and invention that marks the work strongly, even at a time when Hawkins could have been sitting on his laurels, playing the same old tune! Titles are all standards, but don't let that fool you – because there's plenty of magic in Coleman's versions of "Moonglow", "Just A Gigolo", "Speak Low", "When Day Is Done", and "I'll Never Be The Same". Oh, and we almost forgot – just because we're so focused on Hawkins – the other players include Ronnell Bright on piano, Kenny Burrell on guitar, Ron Carter on bass, and Andrew Cyrille on drums – making a surprising early appearance here! CD

A massively expanded package of music – filled with previously unreleased gems! The 2CD set features a landmark collaboration between John Coltrane and Thelonious Monk – two generations of jazz modern, working here to create some really incredible music! The core of this material is from the pair's work issued on the amazing Monk's Music album for Riverside – but the expanded collection also features lots of additional work from the same period too – including some unusual and alternate studio moments too! Other players vary from track to track – and include Gigi Gryce on alto sax, Ray Copeland on trumpet, Coleman Hawkins on additional tenor, Wilbur Ware on bass, and Art Blakey on drums. Titles wonderful versions of "Ruby My Dear", "Trinkle Tinkle", "Nutty", "Well You Needn't", "Crepescule With Nellie" and "Monk's Mood" – plus some alternate versions, false starts, and more – all wrapped up with notes and reflections from original producer Orrin Keepnews. CD

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". CD

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

A rich testament to the strength of the Parisian traditional jazz scene in the early 70s – as key players Coleman and Lafitte work here with a quintet live at the Montreux jazz fest in 1973. Lafitte's tenor is always a treasure, warm and rich, but moody and edgey at the same time – like the best late work of Coleman Hawkins. The longish tracks on the set give him plenty of space to solo – and titles include "Sur Les Quais Du Vieux Paris", "L and L Blues", "Tour De Force", and "Montreux Jump". CD

Very hip work from Art Turk Burton – percussionist, educator, and underground figure on the AACM scene in Chicago for decades – working here on a set of very long, live readings of key jazz tunes, served up with help from some equally hip musicians on the scene! The great Ari Brown plays tenor in the group, alongside the alto of Edwin Daugherty, keyboards of Ed Beard, and bass of Yosef Ben Israel – in a group that also features plenty of congas from Art, and more percussion from Sammie Torres and Dushun Mosley too – as the group takes off on these very extended performances that are filled with plenty of strong solos over equally strong percussion too! Maggie Brown brings in some vocals and spoken parts too – and titles include long takes on "Song For My Father", "Freedom Jazz Dance", "Listen Here", "Afro Blue", and "Inner City Blues". CD

Fantastic work from Hawkins – recorded for a small label at a time when his star had fallen a bit, but with some AMAZING tone that really makes the album cook! The group's a combo that features piano and organ by Earl Knight, trumpet by Ernie Royal, trombone by Eddie Bert, and guitar by Sidney Gross – and the whole thing has a laidback blowing feel that really lets Hawkins hit some of those fantastic notes he keeps pulling out at the end of his career. If you've ever doubted why folks think Hawk's a genius, check this one out, and prepare to have your ears cook! Titles include "My Own Blues", "What's New", "Running Wild", "Blue Room", and "I'll Never Be The Same". CD

The Hawk, in prime late form, lays down some beautiful tenor solos over gentle bossa nova accompaniment – working in a mode that's much more satisfying than just a "classic player meets bossa" session, angularly crafting the solos with that dark edge that he had in all of his later work. The groove's similar to a Stan Getz bossa outing, with light acoustic guitar backing him up, but Hawkins' playing is very deep and soulful, and the groove gets very low. With the great cuts "Samba Para Bean" and "Stumpy Bossa Nova". CD

The title's terrible, but the album's a great one – a really classic-styled jam session, of the sort that the Prestige label hardly ever recorded! The session features 4 tenor giants of slightly older vintage – Eddie Lockjaw Davis, Coleman Hawkins, Arnett Cobb, and Buddy Tate – all coming together in some loosely-structured arrangements that offer the same sympathetic blowing space that you might get from an all-star tenor date on Verve. Rhythm is by a trio with Shirley Scott on organ, George Duvivier on bass, and Art Edgehill on drums – and titles include "Very Saxy", "Fourmost", "Foot Pattin", and "Light & Lovely". CD

The Hawk, in prime late form, lays down some beautiful tenor solos over gentle bossa nova accompaniment – working in a mode that's much more satisfying than just a "classic player meets bossa" session, angularly crafting the solos with that dark edge that he had in all of his later work. The groove's similar to a Stan Getz bossa outing, with light acoustic guitar backing him up, but Hawkins' playing is very deep and soulful, and the groove gets very low. With the great cuts "Samba Para Bean" and "Stumpy Bossa Nova". CD

A great little album from Kenny Burrell – one that has Ray Barretto's congas on most cuts, giving the album a similar Latiny feel to Kenny's classic Midnight Blue album on Blue Note! The Latin undercurrent hits both New York and bossa-styled modes – a great setting for Burrell's thin, snakey lines on guitar – and also a surprisingly great showcase for the tenor of Coleman Hawkins, which really opens up nicely in this setting – in ways that are a bit like his own bossa date for Impulse, or the sound of Ike Quebec's Soul Samba album! Rhythm is by Tommy Flanagan on piano, Major Holley on bass, and Eddie Locke on drums – and titles include "Tres Talbras", "Montono Blues", "Guilty", "No More", and "It's Getting Dark". CD

A wonderful little record – a real standout in both the careers of Milt Jackson and Coleman Hawkins! The album captures Hawk during his great later years – that time when his sound was even more soulful and inventive than ever – with lots of odd modern undercurrents that really work nicely with the album's slight Latin inflections – a bit like those you might hear on some of Hawkins' Impulse Records material from the same generation. Milt Jackson's vibes are great too – chromatic and edgey, and set up with rhythm support from Kenny Burrell on guitar, Tommy Flanagan on piano, Eddie Jones on bass, and Connie Kay on drums. Titles include "Indian Blues", "Don't Take Your Love From Me", "Sandra's Blues", "Stuffy", and "Close Your Eyes". CD

Something wonderful happened to Coleman Hawkins at the end of his career – record companies started letting him record in really long formats, stretching out creatively on extended solos that continued to push the boundaries of his talents! This set is a prime example of that shift – as it features Hawkins alongside Roy Eldridge and Johnny Hodges – all working with trio backing by Tommy Flanagan, Major Holley, and Eddie Locke in a live setting at the Village Gate. Tracks are all well over ten minutes long – 2 at eleven minutes, and 1 at sixteen – and they allow the three lead soloists to really stretch out in a warmly improvisatory manner that surpasses even the easygoing Verve studio sessions of the 50s. Titles include "Satin Doll", "Perdido", and "The Rabbit In Jazz". Plus, added to these 3 are 4 more bonus tracks from the Hawkins Alive album – recorded at the same time, but without the other 2 soloists. These titles include "It's The Talk Of The Town", "Mack The Knife", "Caravan", and "Bean & The Boys". CD

A really unique album from the great Etta Jones – a session recorded down in Muscle Shoals, and not in Chicago – a setting that gives James an extra sort of deep soul power! The backing is nicely different than some of the other Chess material – killer work from the legendary Fame Studios lineup that included Barry Beckett on organ, Charles Chalmers on tenor, and Roger Hawkins on drums – all coming together with the great Rick Hall at the production helm! Etta's back in hard-belting R&B-tinged territory here – a bit more sophisticated than the 50s, with a good mix of hard soul numbers and ballads, opening up in some southern territory that really suits her well. Titles include "The Same Rope", "Watch Dog", "Tell Mama", "I'd Rather Go Blind", "Just A Little Bit", and "Don't Lose Your Good Thing". CD adds a whopping 10 bonus tracks to include other material recorded by Etta for the album – issued only on singles during the 60s, or never issued until this CD. Additional tracks include "Do Right Woman, Do Right Man", "Misty", "I've Gone Too Far", "You Took It", "I Worship The Ground You Walk On", and "You Got It". CD