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A sweet set of soundtrack funk – from a film named after one of our favorite streets in Chicago! Although the record's got an approach that's perhaps a bit tighter and smoother than anything going down on Stony in the late 70s, it does manage to share a good deal of styles with the Chi-soul scene of the time – thanks to work on the record from Chicagoans Gene Barge, Sonny Seals, and Tennyson Stephens! Many of the tracks on the set have a bad-walking soul approach – one that's kind of a mixture of funky and bluesy – and these are laid out next to some jazzier instrumentals that we like most of all – tunes that have a great funky soundtrack feel, but with a bit more fusion touches than usual, probably because of the work of David Matthews. Titles include "Percy Fired", "Party Lights", "High Speed Posters", "Back To Business", "Chase The Train", "Gangster City", "Dream Ride", and "Peace Of Mind". CD

The even more obscure second volume to the great soul/gospel classic Do Not Pass Me By – and like the first, the product of a wonderfully spiritual setting on Chicago's south side – music created in the church, but with all the same vibe as the hippest secular soul coming from the Windy City in the early 70s! The set does a great job of alternating strong lead singers with the rest of the group – a bit like Voices Of East Harlem, but with more of a larger ensemble feel – and there's some really wonderful moments on the record throughout – even a bit of funk amidst the more righteous soul-styled tunes. Tracks include "I Shall Wear A Crown", "O Sinner", "I Want To Be In Love With You", "Do Not Pass Me By", "O What A Day", "Here I Am", and "There Is Only One". CD

Kenny Barron on piano and Regina Carter on violin. CD

Tremendous work from one of the greatest pairings in 50s jazz – the crack later group of Count Basie and the amazing arranging talents of the great Neal Hefti! Hefti later went onto greater fame as a 60s soundtrack composer, but back in the day him and Basie were an incredible team together – as Hefti's talent for quirky, witty, whimsical horn passages really opened up the Basie sound of earlier years – and took the band far past any Kansas City cliches, into a groove that was much more suited for a modern audience! This album's one of the best the two ever cut together – and it's overflowing with Hefti gems that include "Cute", "Pensive Miss", "Sloo Foot", "Scoot", "A Little Tempo Please", "Count Down", and "Pony Tail". CD

Plenty of feeling here from Lurrie Bell – a Chicago bluesman who still holds onto the deepest sound of the scene from years back – especially the modes of that late 60s moment where the Chicago electric sound was really finding a wider voice! Bell's a bit too tight to be an early Chess player, but he's also got a rawer edge than some of his other contemporaries on different labels – a nice sense of grit in both his vocals and guitar work, given string support by a sweet small combo in a similar vibe. Titles include "Sinner's Prayer", "Blues Is Trying To Keep Up With Me", "Drifting", "One Eyed Woman", "Do You Hear", "Hidden Charms", and "Faith & Music". CD

A fantastically soulful album from Jorge Ben – one of his greatest records ever, and a key part of Brazilian music in the 70s! The album marks an earthier shift for Jorge – a sound that's still rooted in the samba influences of the 60s, but which also takes on a bit more soul at the bottom – thanks to rhythmic contributions from Trio Mocoto, who work here famously to help Ben shape the overall feel of the set! There's still a bit of larger orchestrations at moments, but these are used sparingly just to sweeten the sound – leaving the main force of the music to come from Jorge's guitar, and the cuica, percussion, and tamborim of the trio. The vocals are wonderful too – slightly raspy, and with a bit more feeling than we ever remember Jorge having on record – sometimes a bit intimate, yet always with an undeniable presence throughout. One of those records that still sends chills up our spines, year after year – with tracks that include "Oba La Vem Ela", "Ze Canjica", "Pulo Pulo", "Apareceu Aparecida", "Terezinha", "Mulher Brasileira", "Forca Bruta", "O Telefone Tocou Novamente", and "Charles Junior". CD

A great little record from the days before George Benson had totally hit his smooth jazz sound of the 70s, and was being pushed by Columbia as a hard wailing soul jazz leader! The record features his classic quartet with Lonnie Smith on organ – grooving away hard hard hard, sometimes even harder than George! Benson's fresh off his work with the Jack McDuff quartet, and his style's nice and lean, with some good riffs, and a very tight approach to the strings. Titles include "The Cooker", "Benny's Back", "Bossa Rocka", and "Benson's Rider". The CD adds four tracks, including "Slow Scene", "The Man From Toledo". and the previously unreleased "Let Them Talk"! CD

An explosive session from an expanded edition of the Jazz Messengers – recorded at a key point when Art Blakey moved the group up to six members instead of five! Although bigger than the group on most Jazz Messenger Blue Notes, the sextet have an energy that's almost tighter – a sense of poise, focus, and vision that's not just driven by Blakey's drum kit alone – but by the kind of unique magic that only happens during rare groupings in classic jazz. A key part of the energy here comes from pianist Cedar Walton – who's replacing the Bobby Timmons soul jazz mode with a sound that's a bit more expansive and visionary. But equally important is the three horn lineup of Freddie Hubbard on trumpet, Curtis Fuller on trombone, and Wayne Shorter on tenor – a two-brass frontline that's used far differently than other groups – bold one minute, but personal and sensitive the next. There's a mixture of warmth and driving energy here that's simply incredible – a prime example of Blakey taking things to the next level, when it would have been easy enough for him to sit on his laurels and keep doing the same thing over and over again! Includes classic readings of Cedar Walton's "Mosaic", Freddie Hubbard's "Crisis", and Curtis Fuller's "Arabia" – as well as Shorter's excellent "Children Of The Night". CD

Warmth and magic from Terence Blanchard – an album of simple beauty and timeless soul that's one of the best we've heard from him to date! The set features a group that includes tenor, guitar, piano, Fender Rhodes, and organ – and overall, it's got a soulful depth that reminds us of some of the hidden treasures in mid 80s soul jazz. Blanchard never tries to overstate his case, but plays within a world of confident righteousness that issues forth in waves of well-stated sound, color, and tone. Titles include "Fred Brown", "Passionate Courage", "On The Verge", "Innocence", "Transform", and "Footprints". CD

Solo piano album – tracks include "Breakdown", "Blues Waltz", "8th Avenue", and "Nothing To Declare". CD

This Blue Cheer record, their first of 2 in 1969, has a different lineup on each side–with Bruce Stephens on guitar, tortoise shell, & sandblocks, and Burns Kellogg on piano & organ on the somewhat more bluesy & song-oriented Side 1, while Randy Holden takes over guitar & vocals for the much heavier psych-rock approach on Side 2. Titles include "When It All Gets Old", "I Want My Baby Back", "Aces'N'Eights", "Peace Of Mind", "Honey Buter Lover", and the mind-melting "Fruit & Iceburgs". CD

Tracks include "De Cigarro Em Cigarro", "O Barbinah Branca", "Engano", "Perdido De Amor", "Manha De Carnaval", and "Eu Voce E O Mar". 14 tracks total. CD

A beautiful session from Italian trumpeter Fabrizo Bosso and saxophonist Javier Girotto – one that's filled with all the Latin Moods promised in the title! The set steps nicely off some of Bosso's other recent work for Blue Note – with a sound that's evocative, but also pretty lively too – especially given the small combo setting for the date! Bosso's trumpet and flugelhorn come into great play with Girotto's soprano and baritone sax lines – dancing beautifully over some rhythmic backings shaded in with keyboards, piano, and electric bass. The large booklet features some poetic prose that really set the scene for each tune – and although there's a bit of vocals on the record, most numbers are instrumental. Titles include "Volver", "Matias", "Pescao Blanco", "Wide Green Eyes", "Ochenta", "El Cacerolazo", "African Friends", and "Penny". CD

Anthony Braxton's reeds meet the piano and accordion of Ted Reichman – a player we don't really know at all, but who manages to craft some creative moments in the company of Braxton! There's moments at which it really seems like Anthony's reeds are taking center stage – but Reichman soon comes into the mix with his own angular lines too – and the use of accordion is especially nice, as it's made to breathe in these sharp, offbeat ways that really echo the saxophone passages. Titles include "No 168", "No 167", "No 101", "No 136", and "No 86". CD

An extended live session from the team of Clifford Brown and Max Roach – recorded together at the Cotton Club in Cleveland at the end of May in 1956 – over the course of three nights of performance that are all represented in this overstuffed set! The group here is a classic one – with Brown on trumpet, Roach on drums, Sonny Rollins on tenor, Richie Powell on piano, and George Morrow on bass – an ensemble that's been famously documented on record by Emarcy, but which is heard here in a more relaxed, rougher-edged mode – not just because of the slightly amateur sound quality on the CDs, but also because of the open-ended, club-styled performance by the group. What the date lacks in polish, it more than makes up for in edge – especially from Rollins, who's really beginning to stretch out during these years. Titles include a 23 minute take on "Get Happy", a 14 minute "Untitled Blues", a 13 minute "Delilah", a 16 minute "Jordu", an 18 minute "Nice Work If You Can Get It", a 19 minute version of "I'll Remember April", and a 10 minute take on "Daahoud" – plus versions of "Lover Man", "Take The A Train", "Valse Hot", "Lover", and "What's New". CD also features 3 bonus tracks – the same group broadcast from Town Casino in Buffalo in February of 1956 – on "Round Midnight", "Daahoud", and "The Blues Walk". CD

The great bassist Ray Brown proves that any instrument can swing – here picking up a cello, and grooving wonderfully in a very warm setting! The album features arrangements by Russ Garcia – slightly modern, and with lots of space, so that Ray can play both bass and cello with room to stretch out in complicated solos that might have gotten buried under larger backings. Other players include Don Fagerquist, Paul Horn, Bob Cooper, and Jimmy Rowles – and titles include "Rosalie", "Alice Blue Gown", "Tangerine", "That Old Feeling", and "Memories Of You". CD

Bravo Brubeck, indeed – as this great live set not only has the Brubeck quartet in Mexico, working through some surprising Latin-themed tunes – but also includes some added percussion and guitar, which brings a whole new dimension to their sound! The album's still got the core Brubeck approach at its heart – with Dave on piano, Paul Desmond on incredible alto sax, Eugene Wright on bass, and Joe Morello on drums – but the quartet finds a way to really open up on these numbers, and expand their sound into new modes – as they'd done on some of their Japanese and Eurasian explorations. A number of tunes are Latin American numbers, re-arranged in a modern way by Brubeck – and titles include "Cielito Lindo", "Sobre Las Olas", "Nostalgia De Mexico", "Poinciana", "Estrellita", and "Alla En El Rancho Grande". CD features the bonus track "Frenesi". CD

Like Dave Brubeck's legendary Time Out set? Try this one – a great record that takes off from the concept of the first, but which goes in some very fresh new directions – using the same great group with Paul Desmond on alto, Eugene Wright on bass, and Joe Morello on drums! Dave's still working out some nutty time signatures here – but apart from the science, the thing that really makes the record cook is Desmond's alto – icy, edgey, floating, and always a treat – almost even more amazing in the space of some of these offbeat numbers. Titles include "Maori Blues", "Far More Drums", "Bluetee", "Far More Blue", and "It's A Raggy Waltz". CD features 2 bonus tracks "Slow & Easy" and "It's A Raggy Waltz (live at Carnegie Hall)". CD

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An overlooked gem from Chico's mid 80s period – a record filled with strong and subtle songs, often backed by some nicely jazz-tinged arrangements from Cristovao Bastos! The album's not as revolutionary as some of Chico's earlier records, but it more than makes up for that with an incredibly solid quality overall – and a mature, sophisticated approach to songwriting that easily matches some of Caetano Veloso's best work of the same time. Titles include "Pleas Tabelas", "Samba Do Grande Amor", "Mil Perdoes", "Vai Passar", "As Cartas", and "Suburbano Coracao". CD

Chico Buarque's fourth album – a mainstream Brazilian success at the time, but a record that's still as great as any of the more experimental sides from the time! Buarque has a sense of timing and charm here that are undeniable – an approach to the music that's aware of all the youthful inventions of the 60s, but which moves it to a much more sophisticated level, one that's especially touched by some of the European greats of the era. Backings range from simple samba to larger strings – and Chico's voice is incredible – with a slight rasp that would go on to influence a generation of popular Brazilian singers in years to come! Titles include "Rosa Dos Ventos", "Samba E Amor", "Pois E", "Cara A Cara", "Nao Fala De Maria", and "Gente Humilde". CD

A wonderful mid 70s album by Chico Buarque – proof that he was still one heck of a songwriter, and a pretty decent singer, despite the fact that he'd grown a silly-looking moustache! The production's very nice, too – with that excellent compressed sound that was being used on some Brazilian vocal albums at the time, like work by Joao Donato. Includes the "O Que Sera", a sublime duet with Milton Nascimento that's one of the best versions we've ever heard of the song. Other tracks include "Vai Tabalhar Vagabundo", "Voce Vai Me Sequir", "Corrente", and "Passaredo". CD

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

The classic recording of Chico Buarque's opera Malandro – done with the supervision of Chico himself, who also stars on vocals along with singers that include Gal Costa, Zizi Possi, MPB4, Nara Leao, Alcione, Moreira Da Silva, and Francis Hime. Hime handled the arrangements and directed the music – and titles include "O Malandro", "Viver De Amor", "Hino De Duran", "Terezinha", "O Meu Amor", "Pedaco De Mim", and "Opera". CD

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

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

Sublime solo piano from the great Dave Burrell – maybe one of his best records ever! CD

One of the more legendary albums on Blue Note from the label's classic run – and for many folks, the quintessential album from guitarist Kenny Burrell! Burrell had been playing for a number of years, and had been already recorded by Blue Note on some other excellent records – yet here, there's really something different going on – a bit more of a groove, and a harder edge from Kenny's guitar – augmented with superb work from a group that features Stanley Turrentine on tenor, Major Holly on bass, Bill English on drums, and the great Ray Barretto on congas! The vibe is fantastic, and Turrentine's horn has a raspy edge that's beautiful – while the whole record moves with a very rhythmic groove – thanks to Ray's extra percussion contribution on the bottom! Titles include the classic groover "Chittlins Con Carne", an early jazz dance classic – plus "Soul Lament", "Wavy Gravy", and "Mule". CD

One of Donald Byrd's first albums on Blue Note – tight, soulful, and a firm statement of hardbop truth – a record that showed that Byrd was firmly on the map! The ensemble features Jackie McLean on alto, and the rhythm section includes Duke Pearson, Doug Watkins, and Lex Humphries – all of whom bring in a sense of lyrical interplay that really shows off a newer side of Byrd's trumpet that didn't emerge in earlier 50s recordings – one that opens up in the individuality of the Blue Note mode, and shakes off some of the more academic trappings of his early work with Gigi Gryce. All tunes are proud originals by Byrd himself – written with a real sense of color, tone, and timing – and titles include "Bup A Loup", "Funky Mama", "Lament", and "Amen". CD

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

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A gem of a record from the pre-bossa years in Brazil – a set that's not just noteworthy for rich vocals from Elizeth Cardoso, but also for some early arrangements by Antonio Carlos Jobim! Jobim scored the whole set – and while the style is quite different than his later bossa material, there's still a wonderful sensitivity to sound – that richness that Jobim discovered strongly in later years, and a perfect fit for the soulful vocals of Elizeth. The pair at this point went onto have an undeniable influence on Brazilian music for years to come – as you'll hear on tracks that include "Caminha", "Linda Flor Yaya", "So Voce Mais Nada", "Nunca Mais", and "Cancao Da Volta". CD features 6 bonus tracks that include "Ocultei", "Zanguei Com Meu Amor", "Nao Tenho Lar", and "Velha Praca". CD

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Francois Carrier on alto saxophone, Dewey Redman on tenor saxophone, Michel Donato or Ron Seguin on bass, and Michel Lambert on drums. CD

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

There's nothing prehistoric about this set – as saxophonist James Carter's working here in an angular mode that's strikingly modern, despite the "classics" in the title! The tunes are all familiar ones, but they're recast by Carter with a deep tone on tenor, alto, and soprano sax – one that recalls the freshness of Sonny Rollins during his most creative period, but which also is recorded here with a bit more looseness and sense of freedom. The group are all players from Carter's Detroit scene – Craig Taborn on piano, Jaribu Shahid on bass, and Tani Tabaal on drums – and titles include "Oleo", "Out Of Nowhere", "Take The A Train", "Ask Me Now", "Sandu", and "Equinox". CD

Includes the songs "I Wanna Talk To You", "When I Hear Your Name", "Ain't Nobody", "The Last Time...", "Sticks And Stones (Sticks)", "Beau Regard", "First Impression", "He'll See You Through", "Sticks And Stones (Stones)", and "Don't Explain". CD

Classic 70s samba from one of Brazil's lovliest sambistas! Titles include "Sempre So", "O Mundo E Um Moinho", "As Mocas", "Vingaca", "Deus Nao Castiga Ninguem", "Saco De Feijao", and "Carro De Boi". CD

Philip Catherine on guitar, Bert Joris on trumpet and bugle, Hein Van De Geyn on double bass, and Hans Van Oosterhout on drums. CD

Vincent Chancey on French horn, David Gilmore on guitar, Kevin Bruce Harris on bass, and Ronny Burrage on drums. CD

An odd collection of tracks, but they're all great, and the set's an excellent batch of some of Chandler's harder-to-find material from the mid and late 60s! The tracks are pulled from his years at Chess, Brunswick, and Mercury (one of the advantages of the recent Universal/Polygram merger!) – and there's a total of 10 songs, including "Rainbow '65 (part 2)", "To Be True", "Groovy Situation", "I Won't Need You", "Think Nothing About It", "From The Teacher To The Preacher", "To Be A Lover", "I Fooled You This Time", "River Of Tears", and "Nothing Can Stop Me". CD

Cyrus Chestnut on piano, Michael Hawkins on bass, Neal Smith on drums, with Russell Malone on guitar and Steven Kroon on percussion. CD

One of the most classic Blue Note sessions ever – and for good reason too! From the cover, to the title, to the hardbopping grooves of the set, this Sonny Clark late 50s smoker is one of the label's best – as pianist Clark is working here at the height of his powers – leading an all-star group that includes Art Farmer on trumpet, Curtis Fuller on trombone, Hank Mobley on tenor, Wilbur Ware on bass, and Louis Hayes on drums – all coming together magically on open-ended tunes that tighten up from the blowing session format, and really send the groove home! Plus, Sonny's writing is also great – as the set's got a number of great originals by Clark – and titles include "Bootin' It", "Sonny's Mood", "Shoutin On A Riff", and "Dial S For Sonny" – plus a bonus alternate take of the cut "Bootin' It"! CD

Classic trio material from pianist Sonny Clark – a talent who left our planet all too soon, but who managed to record quite a number of really great albums for Blue Note in the second half of the 50s! Clark's talents were always great in a group with horns, but he's equally wonderful on a trio date like this – and gets a chance to show off both his strong sense of rhythm, and some more lyrical modes that really make the album sparkle – playing here in a perfect lineup with Paul Chambers on bass and Philly Joe Jones on drums. The set's easily one of the best straight trio sessions ever cut for Blue Note – tracks are longish, with a very hardbop groove – and titles include "Be Bop", "Two Bass Hit", "Tadd's Delight", and "Softly As In A Morning Sunrise". CD features 3 bonus alternate takes! CD

Great live material from the best years of this amazing ensemble that included some of the finest American and European players of the 60s! The band's at its best here – wailing away in a firey live setting, recorded with high quality by Europe 1 Radio in 1969. Players include Tony Coe, Johnny Griffin, Benny Bailey, Art Farmer, Sahib Shihab, and Derek Humble – plus the great rhythm team of Jimmy Woode, Francy Boland, and Kenny Clarke! Most of the tunes are classics of the band – and titles include "All Through The Night", "Now Hear My Meaning", "New Box", "Volcano", "Box 702", "Sax No End", "Sonor", "The Jamfs Are Coming", "Doing Time", and "Evanescence". CD

Cohn's legendary sax meets the backing of The Jazz Seven, a UK group with a lineup that includes tenor, alto, trumpet, and trombone. The tracks are long, with an easy swing-based feel, and titles include "High On You", "Bilbo Baggins", "Casa 50", and "Feel More Like I Do Now". CD

Sharp-edged John Coltrane at his best – a record that we'd rank right up there with Love Supreme, and which is a key transition point in Coltrane's musical ideas! There's a very strong edge to Coltrane's tone here – and even on the mellower ballads, he plays with a sound not always heard before – a quality that's bristlingly modern, and which really opens up on some of the longer numbers on the set. Rhythm is by the classic quartet with McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums – and the sound is always pushing the boundaries towards new ideas, but always keeps nicely inside throughout! Titles include "Crescent", "Wise One", "Lonnie's Lament", and "The Drum Thing". CD

Coltrane caught live in France in 1962 – working with the classic quartet of McCoy Tyner, Jimmy Garrison, and Elvin Jones. The set's surprisingly well recorded (although transferred here on the CD from vinyl, with a few flaws) – and features extended readings of classic Coltrane tunes from the Impulse years, done in the stretched-out searching style that we loved from his classic Village Vanguard sessions of the time! Includes a great take on "Naima", a two-part reading of "Blue Valse", a 10 minute version of "Afro Blue", and a nicely grooving version of "Impressions". CD

Includes the songs "Sonny Moon For Two", "Brother K", "Spring Is Here", "Pavane De La Belle Au Bois Dormant", "Spring Will Be A Little Late This Year", "Something", "Hot House", "Prelude #2", "Django Fantasy", "Spanish Suite", "Body And Soul", and "Moon River". CD

A very cool album from Noel Coward – a talent you're probably more familiar with as a playwright, but who also happens to be quite the entertainer! This album is one of two great sets that Coward recorded live in the US in the mid 50s, and they really show him opening up a lot from earlier recordings – singing with an ease and swinging style that adds a whole new level to his classic compositions. It helps that Peter Matz is handling the backing and arrangements – jazzing up Noel's tunes with a nice 50s style – and the live setting of the recordings make them come off well, especially as the audiences are very enthusiastic! Titles include "Wait A Bit Joe", "Why Must The Show Go On", "I Like America", "Luisa", "I Went To A Marvelous Party", and "20th Century Blues". CD

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Bluesy quartet material by Lockjaw, with his combo that featured Shirley Scott on organ and Arthur Edgehill on drums. The tracks are standards, but Davis plays them with a nice deep soulful sound, reaching deeply into his tenor, wrenching out hard-edged notes that drip with a deep rich emotion. Titles include "I'll Never Be The Same", "Old Devil Moon", "Too Close For Comfort", "Tangerine", and "But Not For Me". CD

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A near-lost album from Sammy's years at Reprise – and an album that's got that nice bouncey style that the label was using with Dean Martin and Frank Sinatra in the 60s! A lot of the thanks goes to producer Sonny Burke, who inflects Sammy's vocals with a punched-up set of rhythms that makes even the most familiar numbers come out groovy – a factor that Sam's certainly aware of, as he reaches to the top with that "yeah, man" style that helps to completely transform some of the tunes. Titles include great versions of "The Days Of Wine & Roses", "Not For Me", "I Wanna Be Around", "It's All In The Game", "Fools Rush In", and "Choose". CD

Beautiful work from singer Doris Day – and a record that may well be her jazziest for Columbia – thanks to backing from the Andre Previn trio! The pianist is still at the height of his early jazz powers here – able to solo boldly when needed, but almost more equipped as a painter in tonal color – which he uses beautifully to emphasize all the right emotive currents in Day's vocals. The approach is great – quite sophisticated, and almost at the level of a Chris Connor record at times – and very different than the Doris you might expect from her comedic films of the time. Yet that sense of surprise is also what always made her one of the secret sexy stars of her generation – as comes through beautifully on tunes that include "Yes", "Close Your Eyes", "Remind Me", "Daydreaming", "Give Me Time", and "Nobody's Heart". Includes five bonus tracks. CD

Funky samba and modern beats collide in this great set of tracks by Max De Castro – a newer gem on the Trama label, with a similar spirit to the label's debut by Otto, and recent work from Brazil in the modern samba soul vein! Max is clearly inspired by 70s soul artists like Tim Maia or Cassiano – but he's also got an ear for the modern studio, pushing his work out of the straight soul vein with some pretty adventurous production and arrangements! Titles include "Afrosamba", "Samba Raro", "Ella Disse Assim", "Onda Differente", "Flash", and "Voce E Eu". CD

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Sweet sweet work from Deodato – a great little set that almost makes us think it's the 70s all over again! Deodato's working in that great blend of jazz and soul he first set down during his CTI years – then took to new heights on MCA and Warner too – a wonderfully warm blend that's filled with plenty of jazz at the core, but which also features key soulful touches from guests who include Al Jarreau, John Tropea, Novecento, and Londonbeat! Most numbers feature vocals, but there's plenty of space for Deodato's keyboards too – which have that round sound and deep feel we really remember from the Fender Rhodes generation. Titles include "Night Passage", "The Crossing", "Double Face", "I Want You More", "Border Line", and "Rule My World". CD

Funky keyboards galore – and one of the greatest records ever from this legendary Brazilian jazz talent! The album follows nicely off Deodato's Prelude classic for CTI – and like that one, this set's built on long-flowing tunes that rise and fall with a wonderful sense of rhythm – a sublime electric piano groove that's quite different than anything Deodato recorded before – and possibly never realized this perfectly again after his CTI years. Other players include Stanley Clarke on bass, Billy Cobham on drums, and Hubert Laws on flute – and titles include the massive Latin funk track "Super Strut", plus the tunes "Pavane For A Dead Princess", "Skyscrapers", and a great version of "Nights In White Satin". Plus, this CD reissue features 3 bonus tracks – "Venus", "Do It Again", and "Latin Flute"! CD

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Includes the songs "Cheek To Cheek", "Cookin'", "Lou's Blues", "Dorothy", "Herman's Mambo", "The Blues Walk", "The Masquerade Is Over", "Funky Mama", "Caracas", "What Will I Tell My Heart", "Alligator Bogaloo", "Peepin'", and "Caravan". CD

A gem of a record – one we wouldn't part with for anything! Joao Donato's best known as one of the founding fathers of bossa nova – better known for his 60s work over the years, than he was for 70s electric work like this. Fortunately, international groove hounds picked up on the record years back, and it's been firmly brought back into the limelight as the classic it truly is! The set's an incredible reworking of Donato's sound – the gentle jazzy phrasing of the bossa years turned towards mellow groovers that feature a heck of a lot of electric piano. The album's got a few classic funky tracks, and some even more wonderful tracks that feature Joao working sparely on Fender Rhodes – accompanying himself on raspy vocals on most of the cuts! The whole thing's great – and titles include "Nana Das Aquas", "A Ra", "Amazonas", "Mentiras", "Cala Boca Menino", "Cade Jodel", "Me Deixa", and "Ate Quem Sabe". CD

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With Dave Douglas on trumpet, Chris Potter on tenor sax and bass clarinet, Uri Caine on electric piano, James Genus on bass, and Clarence Penn on drums. CD

Silent film score by trumpeter Dave Douglas – with Jamie Saft on wurlitzer, Marcus Strickland on saxophones, Brad Jones on bass, Gene Lake on drums, and DJ Olive on turntables. Tracks include "Just Another Murder", "Fatty's Day Off", "Famous Players", and "Barnyard Flirtations" – plus a DVD featuring the original 1916 Fatty Arbuckle movie "Fatty & Mabel Adrift" with score by Douglas. CD

Dave Douglas on trumpet, Chris Speed on clarinet and tenor saxophone, Joshua Roseman on trombone, Greg Tardy on clarinet, bass clarinet and tenor saxophone, Uri Caine on piano, James Genus on bass, and Joey Baron on drums. Tracks are a mix of originals and compositions by Mary Lou Williams. CD