A really great session from pianist Andrew Hill – and one of his few post-Blue Note sessions to feature a horn player! The style of the set draws from a few strands of Hill's career – in that Hill is playing in some freely exploratory piano modes, yet also manages to swing soulfully with the rest of the group, especially sax player Jimmy Vass – who makes a rare appearance here on soprano, alto, and flute. In a way, the album probably most closely resembles the Andrew LP on Blue Note – which is great by us, as it's one of his best sets! Titles include "One For", "Remnants", "Blue Black", and "Golden Spook". CD

A wonderful session by Andrew Hill – recorded in 1968, but issued only briefly in 1981 – and out of print for years! The session is a key one in understanding Hill's work – as it's a bridge between the arch modernism of his early Blue Note sides, and the more soul-oriented playing of the Grass Roots album. The set features wonderful frontline work in the trumpet of Charles Tolliver, and tenor and soprano of Joe Farrell – both players who open up the sound at the same time they're giving it a nice bottom – egged on by the rest of the combo, which includes Victor Sproles on bass and Billy Higgins on drums. The album's an enchanting one – not as dark as early years, but still with a compelling vision that's all Hill's own. Titles include "Dance With Death", "Love Nocturne", "Black Sabbath", "Partitions", and "Fish N Rice". CD features a bonus alternate take of the title cut. CD

A wonderful session by Andrew Hill – recorded in 1968, but issued only briefly in 1981 – and out of print for years! The session is a key one in understanding Hill's work – as it's a bridge between the arch modernism of his early Blue Note sides, and the more soul-oriented playing of the Grass Roots album. The set features wonderful frontline work in the trumpet of Charles Tolliver, and tenor and soprano of Joe Farrell – both players who open up the sound at the same time they're giving it a nice bottom – egged on by the rest of the combo, which includes Victor Sproles on bass and Billy Higgins on drums. The album's an enchanting one – not as dark as early years, but still with a compelling vision that's all Hill's own. Titles include "Dance With Death", "Love Nocturne", "Black Sabbath", "Partitions", and "Fish N Rice". LP, Vinyl record album

A wonderful session by Andrew Hill – recorded in 1968, but issued only briefly in 1981 – and out of print for years! The session is a key one in understanding Hill's work – as it's a bridge between the arch modernism of his early Blue Note sides, and the more soul-oriented playing of the Grass Roots album. The set features wonderful frontline work in the trumpet of Charles Tolliver, and tenor and soprano of Joe Farrell – both players who open up the sound at the same time they're giving it a nice bottom – egged on by the rest of the combo, which includes Victor Sproles on bass and Billy Higgins on drums. The album's an enchanting one – not as dark as early years, but still with a compelling vision that's all Hill's own. Titles include "Dance With Death", "Love Nocturne", "Black Sabbath", "Partitions", and "Fish N Rice". CD features a bonus alternate take of the title cut. CD

One of Andrew Hill's best records of the 70s – a soulful trio recording performed with Richard Davis on bass and Roger Blank on drums – and a real return to the glory of his 60s material! Hill's piano still has that fresh angular modern approach of his Blue Note sides – but the bass and drum work on the album ground it a bit more – adding in some additional rhythmic components, and giving the session the spiraling searching mode of some of the other Japanese trio sessions from the time, in the spirit of the best recordings on the East Wind label for which this gem was recorded! Hill wasn't always at his best in the decade, but he definitely shines here on some long, very expressive tracks – with titles that include "Mudflower", "Nefertiti", "Blue Black", and "Relativity". CD

A fantastic session by this groundbreaking modernist – essentially a piano trio album, but recorded with two bass players – Richard Davis and Eddie Kahn – one of whom plays rhythm, the other who solos along with Hill – which makes for a really amazing sound – especially when you realize that the great Roy Haynes is on drums! The result is one of Hill's darkest piano outings, brought even deeper by the bass accompaniment, and the lack of any other horns to support the set – the kind of standout session that somehow made every one of his Blue Note albums so distinct from each other – even though they are so fantastic when considered as a whole – a key moment in jazz during the 60s. The album includes Hill's brilliant "Ode to Von", dedicated to Von Freeman, one of his early teachers – plus the tracks "Verne", "Not So", "Wailing Wall", and "The Day After". CD features 4 bonus alternate takes too! CD

A totally cool session of avant Parisian jazz – assembled by the great Andre Hodeir, whose Jazz Et Jazz is one of the best modernist jazz efforts from postwar France. The work attempts to set music to the writings of James Joyce – and it features the voices of Nicole Croisille and Monique Aldebert, plus the musicians Pierre Michelot on bass, Bernard Lubat on vibes, Daniel Humair on drums, Michel Portal and Pierre Gossez on saxes, and Roger Guerin on trumpet. A bit odd – but very nice! LP, Vinyl record album

Includes the albums Once Upon a Time, Stride right, and Swing's Our Thing – plus track from a 1970 arranged by Oliver Nelson session and an early 1944 date for Apollo records. CD

The album's hardly an overview of Jay Hoggard's career – and instead, it's a nicely focused little session that sparkles with fresh warmth and imagination! Jay's vibes get some great accompaniment from Geri Allen's piano on the date – and both players show a similar style of keeping one ear towards the outside, but mostly playing inside – mixing piano and vibes up nicely with a warmly chromatic feel. Rhythm is from Ed Rozie on bass and Freddie Waits on drums – and titles include "Blues Bags", "Aguacate", "Overview", "Put On A Happy Face", and "Convergence". CD

About as classic as you can get for Billie Holiday on Verve – a wonderfully intimate small group session, recorded with top-shelf players and a smokey torchy mood! Billie's in her later years by the time of the set, but somehow singing with even more emotion and life – working with a group that includes Benny Carter, Jimmy Rowles, Harry Edison, Larry Bunker, and John Simmons – on tracks that include "It Had To Be You", "A Fine Romance", "Gone With The Wind", "Isn't It A Lovely Day", "Ghost Of A Chance", and "Come Rain Or Come Shine". LP, Vinyl record album

A velvet mood, but one with a bit of an edge – as you might expect from Billie Holiday in the 50s, hardly the stuff of a too-soft vocal date! The album's got Holiday working in wonderful small combo mode – getting some key Verve backup from players who include Sweets Edison on trumept, Benny Carter on alto sax, Barney Kessel on guitar, and Jimmy Rowles on piano – a warmly intimate group who really fit the sad-tinged vocals from Billie. Tracks are longish – maybe a bit more so than usual for a Holiday Verve session – and the set list includes beautiful renditions of "What's New", "I Gotta Right To Sing The Blues", "Prelude To A Kiss", and "When Your Lover Has Gone". CD

Landmark improvisations from two of the most important bassists in avant garde jazz – Dave Holland and Barre Phillips – two players each coming from two different scenes and styles, but working together here perfectly in a groundbreaking session of all-bass work! Holland plays a bit of cello on the album, and the interplay of the instruments is wonderful – open and flowing in the space of a young ECM, but with a lot more bite than other work for the label too. Side one features two longer improvised works – while side two features shorter tracks that include "Song For Clare", "Beans", "Maybe I Can Sing It For You", and "Just A Whisper". LP, Vinyl record album

A great big band indeed – a session from 1960 that has Bill Holman still sitting nicely at the top of the west coast large group format from the 50s! As with previous dates of this nature, Holman's got a way around the charts that few can match – a way of swinging the whole ensemble strongly, yet never in ways that are cloying, commercial, or cliched. All the right players find a space for expression – and the lineup includes Richie Kamuca and Bill Perkins on tenor sax, Frank Rosolino on trombone, and Conte Candoli on trumpet – all players who really sparkle nicely when they step out from the larger group. Titles include "Stereoso", "Shadrack", "Quickstep", "Aura", "The Moon Is Blue", "June Is Busting Out All Over", and "Spinuet". LP, Vinyl record album

A pair of very stripped-down albums from John Lee Hooker – issued together in this 70s set! First up is Country Blues Of John Lee Hooker – featuring the legendary John Lee Hooker, heard here in one of his more obscure recordings from the late 50s – at least in contrast to his famous sides for Vee Jay Records! This set's an unusual date – recorded in Detroit, despite the claim of the title – and featuring Hooker on acoustic guitar and vocals, without any other instrumentation at all – pitched much more towards the growing folk blues scene than some of his more familiar Chicago recordings. Tracks are short, but pack plenty of punch – and titles include "Black Snake", "I Rowed A Little Boat", "Bundle Up & Go", "Behind The Plow", "Water Boy", "Tupelo Blues", and "Pea Vine Special". That's My Story is from 1960, and features great rootsy blues from John Lee Hooker – and an unusual session that has him getting backup help from jazz players Sam Jones on bass and Louis Hayes on drums! Jones and Hayes only play on a handful of tracks, and most of the focus is on Hooker's damn-great vocals, and acoustic guitar – spun out nicely over a set of tracks that includes "I Need Some Money", a controversial clash with early Motown – plus "One Of These Days", "Gonna Use My Rod", "I Want To Talk About You", "Democrat Man", and "I'm Wanderin". LP, Vinyl record album

Great rootsy blues from John Lee Hooker – and an unusual session that has him getting backup help from jazz players Sam Jones on bass and Louis Hayes on drums! Jones and Hayes only play on a handful of tracks, and most of the focus is on Hooker's damn-great vocals, and acoustic guitar – spun out nicely over a set of tracks that includes "I Need Some Money", a controversial clash with early Motown – plus "One Of These Days", "Gonna Use My Rod", "I Want To Talk About You", "Democrat Man", and "I'm Wanderin". LP, Vinyl record album

A pretty great little set that combines both of the rare early Elmo Hope 10" LPs for Blue Note – plus some additional material! Introducing The Elmo Hope Trio is seminal early work from Hope – and one of the 10" LP releases that was part of Blue Note's "New Faces – New Sounds" series during the early 50s. Hope's working here with Percy Heath and Philly Joe Jones – and the trio go to town on numbers that include complicated bop tunes like "Carving The Rock" and "Hot Sauce", plus more melodic tunes like "Freffie" and "Mo Is On". As always, Hope proves himself to be one of the greatest pianists in jazz history – right up there with Monk, Herbie Nichols, and Bud Powell, bristling with excitement that few of his contemporaries (save those three) could match! The Elmo Hope Quintet session has Hope grooving in a very modernist approach to bop, working perfectly with a tight little quintet. Frank Foster wails on tenor, Freeman Lee soars on trumpet, and Percy Heath and Art Blakey keep the whole thing going on rhythm – while Hope plays madly on piano, adding in rich tones and colors to a set that might have otherwise been a straighter bop outing. Titles include "Chips", "Crazy", "Abdullah", and "Low Tide". The CD also adds in 2 tracks from the 40 Years Of Jazz collection in 1979 – "It's A Lovely Day Today" and "Crazy (alternate)" – plus 3 from the Art Blakey/Elmo Hope album – "So Nice", "St Elmo's Fire", and "Vaun Ex". CD

One of the few key pairings of Noah Howard and Frank Wright – and a great session that stands perfectly next to those recordings made by the pair under Wright's name! The record bristles with the best energy of the BYG and America sides from the time – but possibly goes even beyond those with a sense of cohesion and soulfulness that is especially gripping. The pairing of Howard's alto and Wright's tenor is one of those few avant matches made in heaven, and they work together wonderfully in freely exploratory territory that recalls the best of the ESP scene of the 60s. The group's a quartet – with Bobby Few on piano and Art Taylor on drums – and tracks include the Howard originals "Space Dimension", "Viva Black", "Song For Poets", and "Blues For Thelma" – plus a shorter version of Wright's classic "Church Number Nine", recorded with Muhammad Ali on drums. LP, Vinyl record album

Quite an unusual session for trumpeter Freddie Hubbard – a set done during his early run of albums for Blue Note, but one that's got some much darker, more modern qualities than the rest! The music here almost verges on some of the "new thing" material of the period on the label – although is not as far outside as some of the others – and the record features two different groups – both with excellent early work from James Spaulding on alto and flute, and really unique use of euphonium from Kiane Zawadi, whose depth on the instrument really explores the darker currents of sound. In addition to Freddie's trumpet work, the set also features Joe Henderson and Hank Mobley on tenors, Harold Mabern and McCoy Tyner on pianos, and Clifford Jarvis and Pete LaRoca on drums. Big Black also adds in percussion on the cuts "Cunga Black" and "Soul Surge" – and other titles include "Outer Forces", "Blue Spirits", and "Jodo". LP, Vinyl record album

Quite an unusual session for trumpeter Freddie Hubbard – a set done during his early run of albums for Blue Note, but one that's got some much darker, more modern qualities than the rest! The music here almost verges on some of the "new thing" material of the period on the label – although is not as far outside as some of the others – and the record features two different groups – both with excellent early work from James Spaulding on alto and flute, and really unique use of euphonium from Kiane Zawadi, whose depth on the instrument really explores the darker currents of sound. In addition to Freddie's trumpet work, the set also features Joe Henderson and Hank Mobley on tenors, Harold Mabern and McCoy Tyner on pianos, and Clifford Jarvis and Pete LaRoca on drums. Big Black also adds in percussion on the cuts "Cunga Black" and "Soul Surge" – and other titles include "Outer Forces", "Blue Spirits", and "Jodo". CD

A real standout in the early career of trumpeter Freddie Hubbard – a very unique session that has him working with some larger arrangements in the background – blowing these magical solos over the top, while still hitting a great edge with the rest of the musicians as well! There's a sound here that's unlike anything else we can think of – including other big band trumpet dates of the time – partly because the set features a fair bit of arrangements by Wayne Shorter – a very rare side of his talents, but one that's equally as soulful as his sublime small group albums of the time. The record has an undeniable depth right from the start – magical, mystical, and very soulful – with a group that includes Eric Dolphy and Wayne Shorter on saxes, Curtis Fuller on trombone, Cedar Walton on piano, and Reggie Workman on bass. Tracks include "Chocolate Shake", "Thermo", "Clarence's Place", and "Aries". CD

A great Blue Note 2-fer from the 70s – one that features the first issue of the album Here To Stay, plus the classic Hub Cap! On the first session on the set, the sound is sharp-edged and soulful – a reflection of the groove that Freddie was hitting in the Jazz Messengers of the early 60s, played by a group that features three members of that ensemble – Wayne Shorter, Cedar Walton, and Reggie Workman – along with Philly Joe Jones on drums! Tracks are hard, straight, and soulful – not bogged down in some of Hubbard's misdirected modernism – and titles include "Philly Mignon", "Father & Son", "Nostrand & Fulton", and "Assunta". Hub Cap is one of Freddie Hubbard's all-time best from the early days – and features a very hard wailing lineup that mixes tight hardbop rhythms with some more adventurous soloing that almost has a modern jazz kind of tinge. Cedar Walton's on piano, Julian Preister's on trombone, and Jimmy Heath is on tenor – working with Freddie to craft some mindblowing work on titles that include the amazing "Plexus", plus "Hub Cap", "Cry Me Not", and "Earmon JR." LP, Vinyl record album

Classic Freddie Hubbard on Blue Note – from the hip cover to the magical music in the grooves! The session is one of Freddie's all-time best from the early days – and features a very hard wailing lineup that mixes tight hardbop rhythms with some more adventurous soloing that almost has a modern jazz kind of tinge. Cedar Walton's on piano, Julian Preister's on trombone, and Jimmy Heath is on tenor – working with Freddie to craft some mindblowing work on titles that include the amazing "Plexus", plus "Hub Cap", "Cry Me Not", and "Earmon JR." CD also features a bonus alternate of "Plexus". CD

Seminal work from Freddie Hubbard – an early hardbop session that features some great work by Tina Brooks on tenor, piano by McCoy Tyner, and rhythm from the team of Sam Jones on bass Clifford Jarvis on drums! And although Freddie's great at this early point in his career – playing with a brash, urgent tone that's totally compelling – we're even bigger fans of the Tina Brooks work on this record! Brooks' tone is amazing – right up there with the style he used on his own rare few Blue Note sides, full of fresh fire and a really edgey approach to the tenor – and together with Hubbard, he helps craft a tight little set that's one of Hubbard's best-ever straight sides from the 60s. Titles include "But Beautiful", "One Mint Julep", "Hub's Nub", "Open Sesame", and "Gypsy Blue". LP, Vinyl record album

A landmark meeting of two talents! This rare session has the poet Langston Hughes reading his own jazz-based work, set to arrangements by Charles Mingus, with additional work by Horace Parlan. Hughes' voice is incredible – a bit frail, with a wispy integrity that really opens up his own writings. Hughes was always a big jazz listener, and his work in this respect is a perfect consummation of ideas that he'd always said were present in his work. Titles include "Could Be", "Testament", "Commercial Theater", "Consider Me", "Jump Monk", and "Weird Nightmare". LP, Vinyl record album

Hunter's getting a lot more sophisticated in his style, and is moving past the heavy funky sound of early days – to a mix of soulful styles that opens him up a lot more. This sextet session features drummer Leon Parker, who always works well with Hunter – plus tenorist Peter Apfelbaum, and percussionists Stephen Chopek and Robert Perkins. Titles include "Two For Bleu", "Al Green", "Rendezvous Avec La Verite", "Flau Flau", and "Cloud Splitter". Also features a nice solo version of Donny Hathaway's "Someday We'll All Be Free". CD

Pianist Per Husby is a player with a rich, warm tone – one that really sets the stage here for some wonderfully soulful explorations by a very hip group – a combo who sound perfect when they hit a modal mode, but can also do some other wonderful things as well! Husby's piano is rich at the core, but the record is balanced with all sorts of great reed work – Knut Riisnaes on tenor, Harald Bergsen on alto and tenor, and Bjorn Johansen on soprano, tenor, and baritone – balanced nicely by the trumpet work of Bernt Anker Steen, and given a strong rhythmic pulse from Carl Morten Iversen on bass and Svein Erik Gaardvik on drums. And if you think all these Norwegian names might add up to a sleepy session, you're totally wrong – as the record is a great example of the way the better players on the European scene were absorbing American spiritual jazz experiments, then using the energy to make something new of their own. The title track "The Peacemaker" is worth the price of admission alone – and other titles include "Introduction To No Particular Song", "Smatta", "Nokve", "Fantasy In D", and "Adgang F". LP, Vinyl record album

One of the greatest Bobby Hutcherson albums for Blue Note – a classic session recorded in quartet form, with a style that seems to set a whole new standard for the vibes in modern jazz! The group here is sublime – Herbie Hancock on piano, Bob Cranshaw on bass, and Joe Chambers on drums – all working with Bobby in cool, blocky chords, with a sound that lies somewhere on the road to "out", but has more of a swing than Hutcherson's "new thing" recordings! The balance is a perfect one – exciting and fresh, but still always soulfully grooving – and titles include a sublime version of Herbie's "Maiden Voyage" – plus originals by Hutcherson that include "The Omen", "Aquarian Moon", "Rojo", and "Head Start". CD

One of the greatest Bobby Hutcherson albums for Blue Note – a classic session recorded in quartet form, with a style that seems to set a whole new standard for the vibes in modern jazz! The group here is sublime – Herbie Hancock on piano, Bob Cranshaw on bass, and Joe Chambers on drums – all working with Bobby in cool, blocky chords, with a sound that lies somewhere on the road to "out", but has more of a swing than Hutcherson's "new thing" recordings! The balance is a perfect one – exciting and fresh, but still always soulfully grooving – and titles include a sublime version of Herbie's "Maiden Voyage" – plus originals by Hutcherson that include "The Omen", "Aquarian Moon", "Rojo", and "Head Start". CD

Two great Bobby Hutcherson albums – both recorded at the end of the 60s, but not released by Blue Note until years later! Both records – Medina and Spiral – give you a glance at the early years of Bobby's famous association with tenorist Harold Land. The Land/Hutcherson combo turned out some of the best modernist soul jazz albums of their age, and their unique interplay, a mixture of free-thinking solos and tight groovy rhythms, set the pattern for so many other 70's jazz groups. Stanley Cowell plays piano on the session, and Bobby's longtime rhythm partner Joe Chambers is on drums. With the tracks "Avis", "Orientale", "Spiral", "Ruth", and "Visions". CD

One of our favorite Bobby Hutcherson albums ever – and a magical session filled with electric Latin vibes! The album's quite a different one for Bobby at the time – as it has him working with some larger arrangements, in a soulful west coast groove that's almost got the feel of a hip 70s soundtrack. Bobby's vibes are nicely set up against Fender Rhodes on most tracks – and the group's got some added Latin percussion that really opens up the rhythms. The whole thing's totally wonderful – brimming over with sun and soul, the kind of magic record that will never be made again! Tracks include "Camel Rise", "Yuyo", "Montara", "La Malanga", "Little Angel", and "Love Song". CD

One of our favorite Bobby Hutcherson albums ever – and a magical session filled with electric Latin vibes! The album's quite a different one for Bobby at the time – as it has him working with some larger arrangements, in a soulful west coast groove that's almost got the feel of a hip 70s soundtrack. Bobby's vibes are nicely set up against Fender Rhodes on most tracks – and the group's got some added Latin percussion that really opens up the rhythms. The whole thing's totally wonderful – brimming over with sun and soul, the kind of magic record that will never be made again! Tracks include "Camel Rise", "Yuyo", "Montara", "La Malanga", "Little Angel", and "Love Song". CD

One of Bobby Hutcherson's greatest records ever – and a session that never got released at the time! The album's an excellent quartet session, one that's very much in the best spirit of Bobby's great Happenings album on Blue Note – and it features a similar group that includes Hutcherson on vibes, Herbie Hancock on piano, Albert Stinson on bass, and Joe Chambers, one of Hutcherson's best accompanists from the 60s, on drums. The format's a bit more modal than Happenings – and the set features 6 wonderful little tracks that mix together the "new thing" sound of earlier Hutcherson Blue Notes, with some of the nascent soulfulness that started creeping into his work at the end of the 60s. The album was recorded in 1967, but only first issued in Japan in at the end of the 70s – and then later in the US, and even then only briefly – but we'd still rank the set as one of Bobby's best for Blue Note! Titles include "Til Then", "Mr Joy", "Subtle Neptune", and "Theme From Blow Up". CD

A really obscure session for the Japo label – with Ken Hyder on drums, Marcio Mattos and John Lawrence on bass, Davie Webster on alto, John Rangecroft on tenor, Ricardo Mattos on soprano, tenor, and flute – and some occasional vocals from Phil Monton and Maggie Nichols! LP, Vinyl record album

A sublime album from The Insect Trust – a really unique group who blend folk rock, jazz, and some nice trippy Eastern overtones! The style's really a great product of the time – a cross-cultural late 60s session recorded with a freedom from labels and categories – featuring instrumentation that includes bottleneck guitar, soprano recorder, kalimba, banjo, and a rich array of percussion – all in support of lead vocals from the lovely Nancy Jefferies. The sound is wonderful – experimental, but always tuneful – and titles include "The Skin Game", "Special Rider Blues", "Miss Fun City", "Declaration Of Independence", "Mountain Song", and "Going Home". LP, Vinyl record album

One of the funkiest entries in this killer Madlib sound library series – thanks to some mighty heavy drums from J-Zone! The set begins with a rock-solid break right from the start, then keeps on going strongly in a similar mode – mixing warmer keyboards, guitar lines, and even a bit of kalimba into the mix from time to time – but all with a lean energy that shows the influence of beatmaking on the process of live funk, and not the other way around! The vibe is much less slavish to 70s sound library material, but equally funky – and the shift makes for a real standout session, with titles that include "Shiva Strut", "Mr Mean", "Seebourg", "Intoxicated Skull", "Oyster Sammich", "Truck Stop", "Gangsta Boogie", "Side Eye", "Nasty Popcorn Ceiling", and "Shirley Got Bigger". LP, Vinyl record album

Jackie & Roy are definitely getting bit wilder here – hitting an electric early 70s CTI mode, and really growing a lot in the process! The session has the vocal pair working with CD players who include Hubert Laws on flute, Joe Farrell on saxes, Roy Pennington on vibes, and Steve Gadd on drums – all working with arrangements from Roy that are every bit as hip as the Don Sebesky treatments they previously got on CTI. The tracks are all longish, with plenty of room for complex vocals and great interaction with the instruments – and the titles are all originals, sounding really great and creative! Titles include "Good & Rich", "The Way We Are", "Waltz For Dana", "Niki's Song", and "A Wilder Alias". CD

Jackie & Roy are definitely getting bit wilder here – hitting an electric early 70s CTI mode, and really growing a lot in the process! The session has the vocal pair working with CTI players who include Hubert Laws on flute, Joe Farrell on saxes, Roy Pennington on vibes, and Steve Gadd on drums – all working with arrangements from Roy that are every bit as hip as the Don Sebesky treatments they previously got on CTI. The tracks are all longish, with plenty of room for complex vocals and great interaction with the instruments – and the titles are all originals, sounding really great and creative! Titles include "Good & Rich", "The Way We Are", "Waltz For Dana", "Niki's Song", and "A Wilder Alias". LP, Vinyl record album

A classic! This is one of the rarest of the rare of all Blue Note albums – and it's the only-ever session cut as a leader by the great tenor player Fred Jackson! The album's a really heavy burner – an all-out organ/tenor assault with the kind of gutbuckety soul groove that only peaked on a rare few Blue Note sessions! Earl Van Dyke plays organ on the session, and it's one of the few jazz albums he appears on, apart from the "soul instrumental" sessions he cut later for Motown. The whole thing's down-n-dirty and mighty nasty – with a feel that's much more like some of the Prestige soul jazz cookers of the time than the usual Blue Note set! Tracks include "Preach Brother", "Dippin In the Bag", "Hootin N Tootin", and "Easin' On Down". CD

A sweet larger group session from vibist Milt Jackson – proof that he was really trying to stretch his wings, and get into new things during the 60s! The set's got Milt working with some great help from Tadd Dameron and Ernie Wilkins on larger group arrangements – nicely swinging charts that have a nice touch of modern, but lots of straightforward grooving too! Milt's the primary soloist, buoyed by an orchestra built around a rhythm section of Hank Jones on piano, Ron Carter on bass, and either Connie Cay or Philly Joe on drums – plus loads of great horn players like Clark Terry, Nat Adderley, Melba Liston, James Moody and Jimmy Heath among others. Titles include renditions of "Old Devil Moon", "'Round Midnight", "The Dream Is You", "You'd Be So Nice To Come Home To", "Echoes", "If You Could See Me Now", "Star Eyes", "Namesake", "If I Should Lose You", and "Later Than You Think". LP, Vinyl record album

Wicked early work from Milt Jackson – a record that's got a lot more of an edge than some of his later work with the Modern Jazz Quartet – a near-perfect modernist bop sound that's every bit the best side of Blue Note in the early 50s! The groups here are really great – one a quintet that features Jackson's partners in the MJQ – John Lewis on piano, Percy Heath on bass, and Kenny Clarke on drums (who was in the first rendition of the quartet) – the group's also joined by Lou Donaldson on alto sax, who blows with this boppish edge that really deepens the sound! And the other quintet is even better – with Thelonious Monk on piano and Sahib Shihab on alto sax. Milt's vibes ring out in this boldly chromatic way – clearly a sense of discovery in process during the session – and titles include "Bag's Groove", "On The Scene", "Willow Weep For Me", "Criss Cross", "Eronel", "Tahiti", and "What's New". LP, Vinyl record album

One of the best-known 50s jazz sessions from the Savoy label – a laidback classic that's a great illustration of the label's shift in modes after the early bop years! The setting here is relatively informal – with Milt Jackson as the ersatz leader, working almost in blowing session mode with hip players who include Frank Wess on flute and tenor, Hank Jones on piano, Eddie Jones on bass and Kenny Clarke on drums – all players who relax into a groove wonderfully, and really open up on the album's four long tracks. Titles include the classic reading of "Opus De Funk", plus "Opus Pocus", "You Leave Me Breathless", and "Opus & Interlude". LP, Vinyl record album

One of the best-known 50s jazz sessions from the Savoy label – a laidback classic that's a great illustration of the label's shift in modes after the early bop years! The setting here is relatively informal – with Milt Jackson as the ersatz leader, working almost in blowing session mode with hip players who include Frank Wess on flute and tenor, Hank Jones on piano, Eddie Jones on bass and Kenny Clarke on drums – all players who relax into a groove wonderfully, and really open up on the album's four long tracks. Titles include the classic reading of "Opus De Funk", plus "Opus Pocus", "You Leave Me Breathless", and "Opus & Interlude". LP, Vinyl record album

Plenty plenty soul here – as Milt Jackson's moving away from the Modern Jazz Quartet, and working with a great group of players that really expand his sound! The session's a bit like some of Milt's soul jazz work for Riverside and other labels – in that it's got rhythms, timings, and solos that all are much more gutbuckety than you'd expect from the other side of his career – a real nod towards the nascent soul jazz sound in the late 50s, served up with lots of undercurrents from R&B and gospel in the mix. Side one features players that include Ronnie Peters on alto sax, Frank Foster on tenor, and Sahib Shihab on baritone – plus Horace Silver on piano – and Silver makes a return appearance on side two, alongside a group that includes Lucky Thompson on tenor and Joe Newman on trumpet. Titles include "Plenty, Plenty Soul", "Boogity Boogity", "Heartstrings", "Sermonette", "The Spirit Feel", "Ignunt Oil", and "Blues At Twilight". LP, Vinyl record album

Not a vocal session from Ray Charles, but instead a set that showcases his great abilities in jazz – a side of Charles' talents that Atlantic was focusing on a bit more at the end of the 50s! The record's a collaboration with vibist Milt Jackson, who's nicely more loose and gritty here than in the company of the Modern Jazz Quartet – and in addition to piano, Ray also plays a bit of alto sax too – which comes as a nice surprise! Other players include the great Billy Mitchell on tenor sax, Skeeter Best on guitar, Oscar Pettiford on bass, and Connie Kay on drums – and titles include "Blue Funk", "Cosmic Ray", "Soul Brothers", and "How Long Blues". LP, Vinyl record album

A beautiful combination we'd like to hear more of – one that comes from the meeting of Milt Jackson's vibes and the guitar of Wes Montgomery – both recorded here in easygoing brilliance! The session's a nice break from the usual sound of both players at the time – and although Wes played a bit with vibes when working in The Montgomery Brothers, the Jackson approach here is a bit different – more soulful, and a bit more driven on by the rhythm section of Wynton Kelly, Sam Jones, and Philly Joe Jones. Titles include the originals "SKJ", "Blue Roz", "Jingles", and "Sam Sack" – plus versions of "Stairway To The Stars" and "Delilah". LP, Vinyl record album

Jackson, Johnson, Brown, and company – and a few more too – a nicely laidback sextet date from the later years of Pablo Records, done in the great mode that always made the label's work a 70s extension of the Verve Records ethos! Key players here, obviously, are Milt Jackson on vibes, JJ Johnson on trombone, and Ray Brown on bass – Brown also produced the set – and the group also features John Collins on guitar, Tom Rainer on piano, and Roy McCurdy on drums. Tracks are shorter and tighter than a jam session mode for three such heavy players – and titles include "Jaybone", "Lament", "Our Delight", "Bag's Groove", "Watch What Happens", and "The Jumpin Blues". LP, Vinyl record album

A great lost session from tenorist Willis Jackson – who also plays his gator horn here – right up there with some of his best groovers of the 60s, and recorded with a nice little group of fresh players! The lesser-known organist Jackie Ivory is on the session, and Wild Bill Jennings makes a good reappearance on guitar – sounding leaner than on some of his earlier work, in a great way. Richard Landrum plays conga behind the drums of Jerry Potter, which gives the set a nice kick, and a Gator Groove! Titles include "Brother Ray", "This Is The Way I Feel", "Blue Jays", "Stolen Sweets", and "Long Tall Dexter". LP, Vinyl record album

A sweet session of laidback trio material – recorded by Dutch pianist Pim Jacobs in the early 80s, with a much more expansive sound than his more famous recordings from the 50s! In the postwar years, Pim was one of the bigger new talents on the European scene – famous for his backing work with a number of singers – but this set from later years shows that he hasn't lost an ounce of his talent, and has really developed a way of stretching out, even in a small space – to make the most of whatever tune he takes on! The album has Pim on acoustic piano – working across the keys with a nice light touch that almost shows the influence of the electric generation – and tracks include "Come Fly With Me", "I've Got The World On A String", "I Love You", "Body & Soul", and "Sultry Serenade". CD

Nice mixture of boppish and swing-based material, and an excellent soulful session that has Illinois Jacquet playing in a stripped-down setting with Ben Tucker on bass, Alan Dawson on drums, and Barry Harris on piano, who adds a nice warm dimension to the set. Jacquet's tone is fantastic as always, and it's a real treat to hear him work his way around the tracks in a relatively free environment. Titles include "Sassy", "Bottoms Up", "Jivin With Jack The Bellboy", and his classic "Port Of Rico". CD

Go Power indeed – as the album's a really stripped down groover, and one that has the tenor of Illinois Jacquet working in spare trio formation with Milt Bucker on Hammond and Alan Dawson on drums! The record's got a sound that's even earthier than some of Jacquet's other work for Argo – partially because the session was recorded live at Lennie's On The Turnpike in Boston, but also because the tracks are longer and a bit more open-ended. Buckner's a great counterpart for the album, with a groove that's deeper than we remember – and the hip drumming of Alan Dawson helps keep things in a groovier 60s mode throughout. Titles include "Watermelon Man", "Illinois Jacquet Flies Again", "On A Clear Day", and "Pamela's Blues". CD

A rare early session from vibist Khan Jamal – recorded with his Philly-based Creative Arts Ensemble collective! The group follows strongly in the spirit of similar combos from Chicago and St Louis – particularly the latter – and Jamal's group is working here in a mode that's initiated by the original sonic experiments of the AACM, but taken to deeper, more organic levels. Given Khan's later work, the thing that's most surprising here is the sound texture of the record – because although seemingly improvised, there's also a greater feel towards a whole here – a spacey, ethereal quality that reminds us of some of Sun Ra's most creative moments. Jamal plays vibes, marimba, and clarinet – and the rest of the group includes Monette Sudler on guitar and percussion, Alex Ellison on drums, Dwight James on drums and clarinet, and Billy Mills on both electric and acoustic bass. Although not overly electric, there's a shimmering quality to the music here – as if the production abstracted the original acoustic sound with weird echo and other techniques! Titles include "Inner Peace", "Drum Dance", "Cosmic Echoes", and "Breath Of Life". LP, Vinyl record album

Early early work by Bob James – recorded years before his classic 70s sides on electric piano, and in a brightly modern mode that recalls the spirit of Steve Kuhn and Paul Bley at the time! The set's a trio session – produced by Quincy Jones, who'd heard the young James and rushed him into the studio. Bob's playing in a group that includes Ron Brooks on bass, and the great Bob Pozar on drums – who went onto do some of his own excellent avant work in later years. The tracks are relatively straight, but have some nice jagged edges at times – and light experimentation that makes the set way more than just a standard piano trio session! Titles include "My Love", "Moment's Notice", "Quest", "Trilogy", "Nardis", and "Birk's Works". LP, Vinyl record album

An unissued session from pianist David Janeway, done at a time when he was really hitting his stride – moving across the keys of the piano with this intuitive sense of feeling that makes for a very special record! The quality is a bit hard to describe, but if you've heard other Janeway sessions from the 90s, you'll know what we mean – a lyrical swing that's never sleepy or sloppy, and which always seems to sparkle with these fresh combinations of notes, yet never in a way that's trying too hard, or seems forced! The rhythm work of Harvie S on bass and Steve Johns on drums is a perfect complement to Janeway's piano – and on one track, they're joined by Pete Yellin on alto, for a great reading of "Invitation". Other titles include "Last Embrace", "Very Early", "Interchange", "Who Cares", "Return", and "Yours Is My Heart Alone". CD

A seminal session from 70s French synth maestro Jean-Michel Jarre – a great bit of electronics that was almost France's answer to Kraftwerk at the time! Jarre's style is a bit warmer and more focused on the melody – and the range of keyboards and synthesizers used create a rich tapestry of sound that almost has a soundtrack-y feel at the best moments. 7-inch, Vinyl record

Seminal work from one of the hippest jazz singers ever – a session that showed the world that Eddie Jefferson was firmly back in business during the 60s! The set's got a really rollicking feel, and a bit more influence from soul than the bop of Eddie's roots – with elements of gospel and R&B filtering into the mix from time to time, alongside some of the more sophisticated jazz styles we've always loved in Jefferson's vocals. The group features some great tenor work from James Moody – one of Eddie's frequent musical partners – plus Dave Burns on trumpet, Barry Harris on piano, Steve Davis on bass, and Bill English on drums. Titles include "Now's The Time", "So What", "Psychedelic Sally", "Filthy McNasty", "Oh Gee", and "See If You Can Git To That" – plus a very cool spoken introduction by Ed Williams! CD

Seminal work from one of the hippest jazz singers ever – a session that showed the world that Eddie Jefferson was firmly back in business during the 60s! The set's got a really rollicking feel, and a bit more influence from soul than the bop of Eddie's roots – with elements of gospel and R&B filtering into the mix from time to time, alongside some of the more sophisticated jazz styles we've always loved in Jefferson's vocals. The group features some great tenor work from James Moody – one of Eddie's frequent musical partners – plus Dave Burns on trumpet, Barry Harris on piano, Steve Davis on bass, and Bill English on drums. Titles include "Now's The Time", "So What", "Psychedelic Sally", "Filthy McNasty", "Oh Gee", and "See If You Can Git To That" – plus a very cool spoken introduction by Ed Williams! LP, Vinyl record album

An amazing record that predates many ideas in soul jazz by a decade! Drummer Ron Jefferson was a lesser-known member of the LA bebop scene of the late 50s and early 60s, but by the time he cut this album for French Polygram in the mid 60s, he'd been to Africa, and had discovered a whole new set of musical visions – many of which are worked out in this unique trio session that features bassist Roland Haynes, guitarist Buz Saviano, and Jefferson himself on flute and drums. The music is incredibly spiritual, righteous, and free – and sounds much more like something you'd find on a hip American underground label1975, than it does a French session from the 60s – especially on side two, which features a long track that mixes more freethinking work on guitar with the kind of work on drums that should have made Jefferson a legend – very different than on his other recordings. The span of playing is amazing, and despite the seemingly familiar trio setting, the group hits a wide range of sounds as they play through a set of Jefferson's unique compositions like "Africa The Beautiful", "Every Little Bit Helps", "Fu Yu", and "The Speaker". LP, Vinyl record album

Obscure southern soul material by Joe Jeffrey, recorded around his big title hit "Pledge Of Love", and recorded in Cleveland and in Memphis (the latter session with Chips Moman). The album's got a great version of The Impressions' "It's All Right", plus the tracks "Hey Hey Woman", "Melodee", "Margie", and "The Chance Of Loving You". LP, Vinyl record album

One of the lesser-known JJ Johnson albums of the mid 60s – and nice little session that's done with a fresh sort of style! The album's got JJ playing mostly with larger arrangements – penned by Dick Hyman, Slide Hampton, and Billy Byaers – in modes that range from upbeat, mod, and swinging – to mellow, lush, and soulful. A few cuts have vocalists – like the lovely Marlene Ver Planck, who sings wordlessly on the album's amazing groover "Pense A Moi" – a sweetly skipping jazz waltz that's almost worth the price of the record alone! Marlene returns on a great version of "Agua De Beber", and Osie Johnson sings on versions of "The Seventh Son" and "In The Name Of Love" – and other nice tracks include "008", "Feeling Good", and "G'Won Train". LP, Vinyl record album

JJ Johnson's greatest album – without a doubt! This gem of a session was recorded in 1960 in New York, with an incredibly hip sextet that includes Cedar Walton, Clifford Jordan, and Freddie Hubbard. The tracks are all long, hip, and very much in a Blue Note soul jazz mode – very unusual not only for Johnson, but for Columbia records as well. The album feels like it should have been issued on Epic, with those killer Dave Bailey sides from 1961 – which might be why it has frequently gotten lost in Johnson's career, hidden amidst some of the sleepier material that seems to see the light of day more often than this one. The album's a stone winner all the way through – and features Johnson playing some of his gutsiest solos ever. Tracks include "Minor Mist", "In Walked Horace", "Fatback", "Aquarius", and "Shutterbug". LP, Vinyl record album

One of the hippest, hardest albums that trombonist JJ Johnson ever cut for Columbia – a session we'd rank right up there with his amazing JJ Inc record, and like that one a really cooking hardbop record that maybe even rivals the best on Blue Note and Prestige at the time! As with that gem, the strength here is really the group – not just tremendous trombone from JJ, but great work from Nat Adderley on trumpet, Bobby Jaspar on tenor and flute, Cedar Walton on piano, Spanky DeBrest on bass, and Albert Heath on drums – all working with a soaring, soulful energy that's a lot more hardbop heavy than you might expect from JJ Johnson on some of his other projects for the label. Titles include "Me Too", "Decision", "Stardust", "Sidewinder", "Speak Low", and "Red Cross". LP, Vinyl record album

Rare work as a leader from drummer Osie Johnson – two sessions recorded during the heyday of his career, when he was appearing as a sideman on countless other albums! The style here is similar to some of Johnson's other session work – particularly his contributions to the labels RCA and Bethlehem – as most of the numbers are relatively tightly arranged, and given a playful, slightly modern spin that usually features a fair bit of interplay between the horns in the group. Players vary here – both between the albums, and the tracks on each set – and key musicians include Frank Wess, Thad Jones, Ernie Wilkins, Dick Katz, and Benny Powell. The CD features both albums done for the Period label – and titles include "Johnson's Whacks", "Osmosis", "Don't Bug Me Hug Me", "Midnight Mirage", "Cokernut Tree", "Blues For The Camels", "Osie's Oasis", "Cat Walk", and "Flute To Boot". CD

Includes a side's worth of piano solos recorded in 1944, plus a collection of tracks from the mid to late 40s with his All Stars that include Hot Lips Page and Budd Johnson, a trio session with Bill Cooper on bass and Al Wichard on drums, and a live performance at the Blues Jubilee Concert with Johnn Rogers on guitar, Johnny Parker on bass, and Roy Milton on drums. LP, Vinyl record album

One of our favorite-ever keyboard albums – a rare lost session from pianist Pete Jolly – one of his only electric dates, and a completely improvised set of grooves! Pete plays electric piano, organ, and even a bit of musette – jamming in the studio with help from Chuck Berghofer on bass, Paul Humphrey on drums , John Pisano on guitar, and Milt Holland and Emil Richards on percussion – all of whom bring in some sly, subtle touches to the grooves that are totally great! The album's much more open than other keyboard dates from the time – almost in the territory of some of Herbie Hancock's most experimental work, but a fair bit more groove-based too – given that the album's filled with short, funky tracks all the way through. There's some echoes of Bob James work to come – and given the 1970 date of the record, it could almost be said that Jolly predates a whole host of 70s keyboard talents – setting his mark with this uniquely laidback set of tracks. Titles include the classic "Plummer Park", plus "Rainbow", "Seasons", "Indian's Summer", "Pete Jolly", "Leaves", "Springs", "Bees", and "Sand Storm". LP, Vinyl record album

2 of Boogaloo Joe's best and rarest albums on one CD – guitar jazz funk at its best! First up is Boogaloo Joe – a killer session of funky guitar jazz, and the record that gave Ivan "Boogaloo" Joe Jones his nickname! The set's a full-on wailer that really blows away Joe's first two on Prestige – breaking out ouf the box with a killer lineup that includes Rusty Bryant on tenor, Bernard Purdie on drums, and Sonny Phillips on organ – all working with Joe's incredibly tight guitar lines to craft some wicked tunes that take soul jazz firmly into the sound of the 70s! Titles include "Boogaloo Joe", "People Are Talking", "Dream On Little Dreamer", and "Atlantic City Soul". Right On Brother is next – and is Ivan's first truly sublime album – a set that showed the world that he was easily one of the greatest jazz guitarists of his generation – able to spin out single-note jams with a speed and dexterity that few others could match! The groove here is totally great and very righteous – heavy drums from Bernard Purdie, wailing organ from Charles Earland, and saxophone from Rusty Bryant – all cooking together in the best early 70s Prestige jazz funk mode! Titles include "Right On", "Brown Bag", "Things Ain't What They Used To Be", and "Poppin". CD

Elvin Jones rose to fame in the company of one of the greatest saxophone players ever – the mighty John Coltrane – and his post-Coltrane work like this really continues a keen respect for the role of the reeds in jazz – and really does a lot to push it forward as well! There's a compelling edge to the record that's light years from Elvin's work with Coltrane – a completely new sensibility that can be spacious one minute, extremely powerful the next – and quite possibly realized to its fullest potential here, thanks to the mindblowing contributions of Dave Liebman on tenor and soprano sax, Frank Foster on tenor and flute, and Joe Farrell on alto and soprano sax. All three players work together on each track – and all shift reeds throughout the session – opening up majestically with inspiration from Elvin's drums, and some wonderful work from Gene Perla on bass. The sound is beyond easy categorization or simple style – and the record's filled with wonderful titles that include "PP Phoenix", "For All The Other Times", "Three Card Monty", and "Cecilia Is Love". LP, Vinyl record album

The title's a great one for this post-Coltrane cooker from Elvin Jones – as the set really has Elvin exploring some really fresh currents in jazz, with a range of complicated rhythms that really pull the whole session along strongly! Rhythm is really set free on the record – as Elvin works to unlock some tremendous new possibilities in jazz, but all at a level that's quite different than his previous work with his famous leader – a rich tapestry of new spiritual expression that's carried off wonderfully by Joe Farrell on flute, tenor, and English horn – plus George Coleman on tenor, Pepper Adams on baritone, and a bit more flute from Fred Tompkins. There's no piano on the album at all – and Wilbur Little plays some tremendous bass, with some occasional conga work from Candido as well. Titles are all originals by group members – or Mrs Jones – and titles include "Whew", "Agenda", "Agappe Love", "Mr Jones", and "Yes". LP, Vinyl record album

The title's a great one for this post-Coltrane cooker from Elvin Jones – as the set really has Elvin exploring some really fresh currents in jazz, with a range of complicated rhythms that really pull the whole session along strongly! Rhythm is really set free on the record – as Elvin works to unlock some tremendous new possibilities in jazz, but all at a level that's quite different than his previous work with his famous leader – a rich tapestry of new spiritual expression that's carried off wonderfully by Joe Farrell on flute, tenor, and English horn – plus George Coleman on tenor, Pepper Adams on baritone, and a bit more flute from Fred Tompkins. There's no piano on the album at all – and Wilbur Little plays some tremendous bass, with some occasional conga work from Candido as well. Titles are all originals by group members – or Mrs Jones – and titles include "Whew", "Agenda", "Agappe Love", "Mr Jones", and "Yes". CD

A nice back to basics session from jazz singer Etta Jones – recorded with backing by a small combo that includes Houston Person on tenor – and done in the laidback style that always seems to bring out the best in her singing. Other players include Idris Muhammad, Jimmy Ponder, and Sonny Phillips – and tracks include "The Way You Look Tonight", "Be My Love", "Don't Misunderstand", and "Gloomy Sunday". CD