A rock-solid set from Donald Byrd and a great group of players – a record that's got the same sharp edges and dark undercurrents of late 60s classics like Black Jack, Mustang, and Slow Drag! As with those gems, this album's got Donald really experimenting a bit more – especially with the rhythms – which are put forth by a hip trio that features Chick Corea on piano, Miroslav Vitous on bass, and Mickey Roker on drums! But almost even better is the frontline – with Sonny Red making one of his sublime appearances with Byrd, blowing alto with an edge that's amazing – and frequent partner Pepper Adams, adding plenty of baritone on the deep end. The whole thing's great – oddly unreleased until the start of the 80s – and titles include "Samba Yanta", "I Will Wait For You", "Blues Medium Rare", "The Creeper", "Chico-San", "Early Sunday Morning", and "Blues Well Done". CD

One of Donald Byrd's most fantastic records for Blue Note – and one of three gems that he recorded with the great Sonny Red on alto sax! Byrd and Red work magnificently together – and the two of them play with a tightness and funkiness that's missing from a lot of their other records as leaders – this really sharp edge that makes Sonny sound even better than ever, and a slight funkiness in Byrd's trumpet – which really seems to point the way towards his groove of the 70s! Hank Mobley joins the group on tenor, Walter Booker is on bass, McCoy Tyner's on piano, and Freddie Waits is on drums – and the groove is tight and funky, with a mix of hard bop soloing and funkier Blue Note rhythm playing. Red burns throughout, especially on his own "Mustang", and on the cut "Dixie Lee". Other tracks include "Fly Little Bird Fly", "On The Trail", and "I'm So Excited By You". Plus, this CD reissue also includes 2 non-LP bonus cuts – "Gingerbread Boy" and "I'm So Excited By You". CD

One of our favorite records of all time from trumpeter Donald Byrd – a sometimes-overlooked gem from the late 60s, and one that has Byrd really playing with a slightly different edge than before! The set's recorded with a group that Byrd maintained for two years – a stunning lineup that features Sonny Red on alto sax, Cedar Walton on piano, Walter Booker on bass, and Billy Higgins on drums – all of whom come together magnificently in a razor-sharp formation, mixing hardbop and soul jazz with an edge that you'll hardly find on any of Byrd's other albums from the time. A lot of the credit is due to Sonny Red – who plays with a raspy tone that's odd for the alto, and which really draws out Byrd's solo skills. Walton's got a heavy left-handed approach that really hits some great grooves – and the team of Booker and Higgins leap lyrically, yet also throw just the right amount of funk into the rhythms. Includes the Blue Break classic "Jelly Roll", the amazing jazz dancer "Book's Bossa", and the sublime "Slow Drag", one of the strangest groovers you'll ever hear! CD

British tenor giant Tubby Hayes left the planet all too soon – passing away at the age of 38 in 1973 – but right up to the end, he continued to blow away most of his contemporaries – as you'll hear from this set of unreleased live material from 1972! The recording is from a time when Hayes was actually coming back out of a bit of time away from the scene – recuperating from heart issues that were soon to take away his life – and the period is almost a return to the basics of Tubby's breakout recordings of the late 50s – when he emerged as a tenor soloist to rival American greats like Sonny Rollins or Dexter Gordon! You can definitely hear that quality here, as Tubbs takes on some older standards, plus a few originals – and spins out these wonderful long solos that never fair for imagination or soulful expression – and which also feature some occasional great moments on flute too. The group is a very familiar one – Mike Pyne on piano, Tony Levin on drums, and Ron Mathewson on pass – who happened to record the proceedings over the course of two nights at Ronnie Scotts. Titles include long takes on "Lady Celia", "Trane's Blues", "Someday My Prince Will Come", "I've Got You Under My Skin", "Trenton Place", and "I Thought About You" – plus two shorter incomplete tracks, "Seven Steps To Heaven" and "Sienna Red". CD

That slightly creepy photo on the cover makes the kids look a bit more like cult members than the kind of sunny, happy flower children you might normally expect – and that's actually part of the quality of the package, too – as the set really gets at all the wonderful tensions taking place in American music in 1967 – a time of great freedom and optimism, but one with an undercurrent of darkness as well! The set really dives deeply into the crucial year of 1967, and goes way past the oldies and radio hits that most people associate with the musical moment – to bring together all sorts of cool cuts that often were only trading hands with the deeper chapters of the underground, mixed with a few other tracks from artists who got more play at the time, but were also changing the system from within! As with other Grapefruit collections, the notes and presentation are as great as the song choices – and the set features 85 titles in all, with work from The Balloon Farm, Gates Of Eden, Zodiac, Vanilla Fudge, Red Crayola, Lemon Drops, Cyrkle, Peppermint Trolley Company, Tim Rose, Spike Drivers, Blues Magoos, Sound Barrier, Grateful Dead, Thursdays Children, The ID, Zakary Thaks, Velvet Underground, Clear Light, Critters, Sagittarius, Jim & Jean, Sonny, Blue Things, Morning Dew, and many others! CD

Lots of jazzy Christmas gems here – including a few that we've never seen before on CD! These cuts do a great job of sticking to the melody of the original tune, while also adding in some special solo flair as well – still festive, but with a fresh vibe too – one that really keeps things interesting, given the range of music in the set! Titles include "Rudolph The Red Nosed Reindeer" by Don Patterson, "Winter Wonderland" by Ronnie Kole, "Santa Claus Is Coming To Town" by Duke Pearson, "Christmas Song" by Sonny Stitt, "Jingle Bells" by Jimmy Smith, "Winter Wonderland" by Bobby Timmons, "Santa Claus Is Coming To Town" by Bill Evans, "Deck The Halls" by Herbie Hancock, "Merry Christmas Baby" by Kenny Burrell, and "The Christmas Song" by Gene Ammons. CD

A great little set, even if it's not what you might expect – not the kind of cuts that heralded the early years of country soul – and instead an even cooler batch of tracks from those years when R&B and hillbilly records often crossed paths on the postwar scene! Many of the small indie labels of the 50s recorded both country and blues, sometimes even having different artists take on the same songs, but in different ways – which meant that there was often a lot of cross-pollination going on in the farther reaches of the music business! The cuts here definitely show that approach – as a good many of them were originally country hits for other singers, but sound great and very different in the hands of R&B artists – and are mixed with a few others that follow similar themes, and really fit into the set in a great way. As always with Bear Family, the whole thing is presented with great notes and details on the music – in a set list of 29 tracks that include "Steel Guitar Rag" by Earl Hooker, "Sixteen Tons" by BB King, "Lovesick Blues" by Sonny Knight, "Big Mamou" by Smiley Lewis, "Ghost Riders In The Sky" by Scatman Crothers, "It'd Surprise You" by The Griffin Brothers with Margie Day, "Indian Love Call" by Hal Singer, "No Help Wanted" by Bob Gaddy & His Alley cats, "Cherokee Boogie" by Moose Jackson, "It Makes No Difference Now" by Piano Red, and "You Can't Stay Here" by Pearl Reaves & The Concords. CD

The first new studio recording by tenorist Fred Anderson since 1980 – and a set that shows just how much he'd grown in the intervening years! Here, Fred's newly alive with a younger Chicago group – a great quartet with Jim Baker on piano, Harrison Baker on bass, and Hamid Drake on drums – all players openly fluid to move with Anderson from swinging passages to freer ones – a beautiful balance of soul and experimentation, captured in a way that maybe links Fred more closely to Von Freeman than any other record in his career – yet which still captures all the AACM vitality in his music too. Titles include "Birdhouse", "Bernice", "Like Sonny", and "Waiting For Me". CD

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 Count Basie Band at all their speaker-blasting best – heard here in a very dynamic live performance from Argentina at the end of the 60s – during a time when the revived Basie groove was very much in top formation! There's a great mix here between full-on energy and more contemplative moments – as the group have this way of coming together that's pure Basie, and a real refinement of that rhythm he was bringing to large ensembles in years past, taken in even bolder directions from the Neal Hefti years onwards. Yet in keeping with his best tradition too, the record's got plenty of great solo moments – and features a lineup that includes Sonny Cohn and Oscar Brashear on trumpets, Grover Mitchell on trombone, Marshall Royal and Bobby Plater on alto, Eric Dixon and Eddie Lockjaw Davis on tenor, Charles Fowlkes on baritone, and Freddie Green on guitar. Harold Jones is mighty tight on drums – and tracks include "Corner Pocket", "The Flight Of The Foo Birds", "Sunset Glow", "Hittin Twelve", "Whirly Bird", "Hay Burner", "The Magic Flea", and "Lil Darlin". CD

Tenor player Rodrigo Amado spearheads an excellent international quartet session – bridging the inspiration of 60s heavyweights Sonny Rollins and Albert Ayler to a modern, boldly improvisational sound that still connects strongly to the inspired roots! The group features pianist Alexander Von Schlippenbach, bassist Ingebrigt Haker Flaten and Gerry Hemingway on drums, with each getting strong lead moments on the 40+ minute "Beyond The Margins", the length offering plenty of space to roll from loose beauty to heavy-hitting tension. The shorter, no less brilliant group composed "Personal Mountains" might be all the more impressive for doing so much with a bit of brevity, and a take on Ayler's "(Visiting) Ghosts" closes it out. CD

Drummer Tim Carman is best known for his work in the bluesy trio GA-20, but here he's in much more of a jazz-based mode overall – leading a trio that features some stunning organ work from Ken Clark, a player we don't know at all, but who clearly knows how to channel the best soul jazz styles of the 60s! There's a fierce, freewheeling vibe to the cuts – not funk, but more classic organ jazz – supported throughout with equally strong work on guitar from Steve Fell. If we had to come up with a reference for the vibe, we might go back to the 60s trio work of Don Patterson with Pat Martino and Billy James – and that's a heck of a compliment from us! Titles include "Blues For Bob", "Buster Rides Again", "Insomnia", "Sonnymoon For Two", "Not A Tear", "Key Lime", and "Scoochie". CD

70s brilliance from tenorist Teddy Edwards – a really overlooked album, and one that marks a great step forward from some of Edwards' better-known material of the 60s! That impeccable tone is still very strongly in place – that Edwards way of blowing smooth, but with a subtle bite, too – and Teddy's also developed this sense of flow that's really special – a difference than the way he played fifteen or twenty years before – with almost a Sonny Criss-like approach that really holds us rapt, even in more subtle moments. The album's beautifully recorded – in that stunning Xanadu label way – and the group's a quartet, with Duke Jordan on piano, Larry Ridley on bass, and Freddie Waits on drums. Edwards is clearly the start of the show, though – and really shines on titles that include "Sunset Eyes", "Imagination", "One By One", and "Stella By Starlight". CD

A long-overdue look at the mighty mid 60s work of The Falcons – a group who are usually only covered during their early doo wop years, but who went onto do some tremendous group soul as well! The work here features many of the group's excellent recordings for the Big Wheel label with vocalist Sonny Munro in the lead – a really great singer who more than carries on the strong traditions started in the group by earlier singers who include Eddie Floyd and Wilson Pickett! The Big Wheel work is really great – often a bit Northern and upbeat, but with a very deep vocal style overall that's totally great. Added to the set is some additional material that Sonny Munro cut in later years – showing him to be an equally great solo act, working in some more sophisticated modern soul modes – briefly recording for Epic in the 70s, but represented here on some previously unissued tracks from the time. CD also features two tremendous Falcons-backed cuts on Big Wheel with singer Sandy Hollis in the lead – "I'm Tempted" and "Tables Will Turn" – plus the cuts "Good Good Feeling", "Standing On Guard", "Love You Like You Never Been Loved", "I Can't Help It", "Love Love Love", "In Time For The Blues", and "Standing On Guard" by The Falcons – as well as "Don't Leave Me Alone", "On The Other Side Of Pride", "Why Do I Let You Do The Things You Do", and "I'm Tired Of Being Your Play Thing" by Sonny Munro. CD

Lost funky work from one of the soulful sisters of Aretha Franklin! Erma's got a hard-hitting style that's right up there with Aretha's best for Atlantic – and on this album, she's working in Chicago with Johnny Pate, Sonny Sanders, and Willie Henderson – for a harder-hitting sound than her famous sis, really in the groove with the best of Brunswick from the late 60s! There's as much funk on the record as there is the deep soul you'd expect from the Franklin family, and Erma's vocals are incredible – equally at home with the original tracks on the record, as well as some late 60s hits that are nicely soulized by the boys in the band! Titles include "Hold On I'm Coming", "Baby I Love You", "Light My Fire", "You've Been Cancelled", "Can't See My Way", and "Gotta Find Me A Lover". CD features five bonus tracks – including "Whispers", "It Could've Been Me", "I Just Don't Need You", "Higher & Higher", and "I Get The Sweetest Feelin". CD

An expanded, remastered version of this legendary live performance from British tenor giant Tubby Hayes – a 1965 session recorded at the famous Hopbine club, owned by saxophonist Tommy Whittle, who also makes an appearance on two numbers in the set! The recording quality of the CD is quite strong – and Hayes is caught in strong Sonny Rollins-like territory – improvising strongly and creatively over longer selections, never failing to delight with his rich command of the tenor. Most tracks are in the 10 minute and more range – and the group features Tubby as the main soloist with a rhythm section that includes Kenny Powell on piano, Ron Mathewson on bass, and Dick Brennan on drums. Titles include "Night & Day", "It Never Entered My Mind", "I Remember You", "No Blues", "On Green Dolphin Street", "Have You Met Miss Jones", and "What's New". CD

A great later set from 70s guitar genius O'Donel Levy – slightly different than his earlier work for the Groove Merchant label, but equally great in its own sort of way! Levy's still working here with producer Sonny Lester on the LC label – and the tone is great, with this clear, clean, soulful line that should have made O'Donel one of the giants of his generation – tripping along with these well-crafted solos that are a perfect fit for the laidback rhythms of the tunes! And if you're worried that the later date and different cover style is too much of a shift for Levy, don't – because there's plenty of greatness within – and the record really knocks it out of the park compared to some of his more mainstream contemporaries. Titles include the great "Butta" – plus "Love Will Never Die", "Have You Heard", "Dancing Girl", and "Time Has Changed". CD

A set of free improvised duets that are so fierce, they've been kept from the public for decades – finally seeing the light of day in this long-overdue package! Percussionist/electronicist Paul Lytton is a player known to many, and known for his always-incredible ear for sonic intensity – yet we've maybe never heard him this intense before, working alongside guitarist Erhard Hirt, a player with an approach to his instrument that's unlike anyone else in the free jazz universe at the time! Hirt often plays with a great sense of noise – not as bombastically as Sonny Sharrock, or as rock-influenced as some of the others – but almost as if he's using his electric guitar as the gateway to some darker universe, opening a passage that Lytton dives in to follow very quickly with some especially great electronics. Even the percussion has this electrified spark – and titles include "Orbod", "The Sensitive Stickler", "Don't Wait Too Long", "Deder", "Clip", and "175". CD

An overlooked soul jazz treasure from the early 90s – the debut as a leader by saxophonist Zane Massey, and still possibly his greatest record to date! Massey's the son of jazz composer/trumpeter Cal Massey – and the vibe here is similar to that of his father's best music – sophisticated, but never too heady – done with a nicely understated quality, yet still quite possessed of its own musical vision. Massey's got a great tone on his tenor here – sharp, but never too bitten – and the instrumentation features only saxophone, bass, and drums – in a style that reminds us a bit of the freedoms of Sonny Rollins in the late 50s, yet also with a consciousness of the 60s ESP and 70s loft jazz generations. Massey hits some incredibly soulful moments here – at a level that was hardly being recorded this well at the time – and titles include "Nu Kingdom", "Trickle Down Economics", "Message From Trane", "Through The Eyes Of A Child", "Assunta", "Walk Right In", and "Ms Magic". CD

If the cover image of a Akira Miyazawa fishing in a trout stream wasn't already enough to make us love this one, the music on the disc certainly is – as the album's a real shining jewel in the Japanese jazz scene of the 60s, the kind of record that really set a whole new standard for the players involved! Miyazawa's got a tone here that's really incredible – an approach to the alto that's a bit like Lou Donaldson during his bop years for Blue Note, but which is also recorded here with a great sense of space that echoes out wonderfully – even when Akira's just doing a little. The group is relatively large, but all focused around Miyazawa's horn – and other players include Sadao Watanabe on flute and Masahiko Sato on piano. Titles include the great originals "Yamame" and "Fly Casting", plus "Out Of Nowhere", "Like Sonny", and "Le Crespuscule Enbaume". CD

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

Mindblowing work from tenorist Sonny Rollins – a set of recordings that we'd rank right up there with his groundbreaking Village Vanguard sessions for Blue Note! As with those recordings, the setting here is live, and a trio – Sonny blowing with incredible imagination in the very open space of the tunes, many of which are very long – with accompaniment from the wonderful bassist Henry Grimes on all numbers, and a shifting lineup of very hip drummers – Pete LaRoca on most tracks, sometimes replaced by Joe Harris or Kenny Clarke. The huge package features a wealth of live tracks, including some material that has been bootlegged before – concerts from 1959 in Stockholm, Zurich, Aix-En-Provence, Frankfurt, and Laren – all presented here with superb sound, voluminous notes, and through cooperation with Sonny Rollins himself. Titles include "Lady Bird", "But Not For Me", "Cocktails For Two", "I Want To Be Happy", "Oleo", "Paul's Pal", "Love Letters", and "I've Told Every Little Star" – but as always with live Sonny Rollins at this point in his career, it's not the melodies, but what he does with them – which is amazing! CD

Two classic albums from the great Sonny Rollins – both made during some time on the LA scene of the late 50s, and matched here with a more obscure third album that issued alternate sides from the sessions! First up is the classic Way Out West – a set that brings the east coast tenor of Sonny Rollins into contact with a west coast rhythm section of Ray Brown and Shelly Manne! Despite Rollins' silly look on the cover, and the album's overall "western" theme, the session's a brilliant one – right up there with Sonny's strongest trio sides of the late 50s, and a key link in a string of excellent recordings for Blue Note, Prestige, and Riverside! The lack of a piano really opens up the style of the set – letting Sonny explore freely on his solos, while Brown's bass and Manne's drums do more than enough to keep the rhythms going on their own. Solos aren't as "out" as on the Village Vanguard sessions, but certainly every bit as inspired – and titles include "I'm An Old Cowhand", "Solitude", "Come, Gone", "Way Out West", and "Wagon Wheels". Next is Sonny Rollins & The Contemporary Leaders – one of Sonny's brilliant west coast sessions for Contemporary – records that shouldn't sparkle as much as they do, but which actually stand with his best work of the 50s! Sonny's blowing in front of a session of "leaders" that includes Hampton Hawes, Barney Kessel, Leroy Vinnegar, Shelly Manne, and Victor Feldman, who plays vibes on one track. Sonny's the real leader here, though – as his bold, proud tenor tone really takes front seat, carving lines that never get tired, bringing a sparkle into tunes like "You", "How High The Moon", "I've Found A New Baby", "The Song Is You", and "I've Told Ev'ry Little Star". Heck, even with songs like those, the album should be weak – but there's an undeniable magic that really makes it great! Last is Contemporary Alternate Takes – a great collection of alternate takes from Sonny's landmark recordings for Contemporary Records in the late 50s – material recorded in LA with an easier-swinging groove than some of his New York work, in a style that let Sonny blow in round, warm, and really open tones – almost foreseeing his work for RCA in the mid 60s. Players include Ray Brown, Shelly Manne, Victor Feldman, and Barney Kessel – and the set features alternate takes of "I'm An Old Cowhand", "Come Gone", "Way Out West", "The Song Is You", and "You". CD

The complete recordings of sessions that led to one of the greatest Sonny Rollins records ever – and a genre-defining record that really introduced the world to the concept of a tenor saxophone trio! Rollins is incredible here – really at his best and most adventurous, and almost light years ahead of his work from just a few short years before – working just with the drums of Elvin Jones and bass of Wilbur Ware for accompaniment – as he spins out these long solos that are full of all sorts of sharp modern edges! The lack of piano really makes for something different and fresh in the music – and with this record, Rollins created a format that so many others would take up in years to come. Note that the record also features a small bit of work with Donald Bailey on bass and Pete LaRoca on drums – an equally great rhythm duo! This package features all the material recorded for the Village Vanguard album, plus lots more unissued at the time – titles that include "Night In Tunisia", "Softly As In A Morning Sunrise", "Old Devil Moon", "Striver's Row", "Get Happy", "Four", "Woody N You", "All The Things You Are", "I Can't Get Started", and "I've Got You Under My Skin" – some in more than one version! CD

One of the best albums ever cut by trombonist Frank Rosolino – an open-ended quartet session that really lets him do his thing! The tracks are long, with plenty of room for solo space, and Frank's working with a really great quartet that includes the legendary Sonny Clark on piano – a key force on the west coast scene during his stay in the late 50s – plus Wilfred Middlebrooks on bass, and Stan Levey on drums. Rosolino's tone is tremendous – a perfect tone, but never too polished – and although Clark doesn't play with the same sense of fire as on his Blue Note sessions, his presence is still strongly felt on the date. 3 of the album's tracks are over 7 minutes long – quite rare for a Bethlehem session – and titles include "Doxy", "My Delux", "Flamingo", "I May Be Wrong", and "Frieda". CD

A very heady combo from the French scene at the start of the 70s – one who seem to have really been inspired by the free jazz experiments of the BYG/Actuel scene right at the end of the 60s! The group's a septet, as you'd guess from their name – and they shift between unified expressions and very frenzied moments when each individual player is doing their own thing – yet somehow managing to make a sense of the sound as it rises together! Players include Sonny Grey on trumpet – a surprise if you know his straighter work from earlier years – plus William Treve on trombone, Jean-Francoise Sicard on alto sax and flute, Gerard Coppere on tenor and flute, Jean-Louis Mechali on vibes and drums, Francois Mechali on bass, and Manuel Villarroel on piano. Titles include "Parisionophobie", "Theme Z", "Relaxin", "Terronesia", "Brack", and "Amma". CD

Two 60s classics from Wayne Shorter – back to back in a single set! First up is Adams Apple, an incredible album – one of our favorite Blue Notes ever! Despite the fact that the album's a spare quartet session, the record is one of Wayne Shorter's richest – and features his gutsy young tenor soloing insanely with a rhythmically intense combo that includes Herbie Hancock on piano, Reggie Workman on bass, and Joe Chambers on drums – a wonderfully free-thinking rhythm trio! Workman's bass is especially strong, and it underpins the cuts with a throbbing pulse that takes them past any simple hardbop conventions. Every cut's a winner – and this is one album we reach for time and time again over the years! Titles include "Adam's Apple", "El Gaucho", "Footprints", and "Teru". Next is Super Nova – a bit of a hint of the 70's work by Shorter – as he plays here with a slightly larger group, and a bit of an electric sound. Sonny Sharrock and John McLaughlin play guitar, Airto plays percussion, and Maria Booker sings vocals on a rendition of "Dindi" – and this complicated larger group gives Shorter a quite different sound than some of his earlier Blue Note quartet and quintet sides. The session's got a great spiritual soul jazz undercurrent – pointing the way towards aspects of jazz in the 70s – and titles include "Super Nova", "Swee Pea", "Water Babies", and "Capricorn". CD