Grant's First Stand – and a mighty one at that! The set was recorded when Green was a guitarist fresh on the scene – showing up in New York from St Louis, where he'd been discovered by Lou Donaldson and brought to Blue Note with great acclaim! For this first date, Green's heard in really stripped-down company – just Hammond from Baby Face Willette and drums from Ben Dixon – a spare trio setting that makes for a madly cooking little record, and one without some of the smoother edges of Greens' later years! The set's as raw and soulful as Willette's own Blue Note classics – and is very much in the side of the spectrum that Donaldson was bringing to the label at a time – a much-needed dose of new energy from the Prestige Records side of the tracks. Every track's a winner – and titles include "Blues For Willarene", "Baby's Minor Lope", "Miss Ann's Tempo", and "A Wee Bit O Green". CD

Grant's First Stand – and a mighty one at that! The set was recorded when Green was a guitarist fresh on the scene – showing up in New York from St Louis, where he'd been discovered by Lou Donaldson and brought to Blue Note with great acclaim! For this first date, Green's heard in really stripped-down company – just Hammond from Baby Face Willette and drums from Ben Dixon – a spare trio setting that makes for a madly cooking little record, and one without some of the smoother edges of Greens' later years! The set's as raw and soulful as Willette's own Blue Note classics – and is very much in the side of the spectrum that Donaldson was bringing to the label at a time – a much-needed dose of new energy from the Prestige Records side of the tracks. Every track's a winner – and titles include "Blues For Willarene", "Baby's Minor Lope", "Miss Ann's Tempo", and "A Wee Bit O Green". CD

A really unique album in the career of Johnny Griffin – and one of the few entries in the short-lived "jazz meets folk" genre of the 60s! The record features Griffin blowing through versions of older folk numbers – mostly traditional tunes, re-arranged by Johnny here with a swinging vibe that's a bit soul jazz, but also slightly more exotic and lyrical – in keeping with the timeless themes of the compositions. The rest of the group includes Barry Harris on piano, Ron Carter on bass, and Ben Riley on drums – a trio who seem well-suited to match the sensitive spirit of some of the tunes! And while you might have reservations about a record like this, don't – because Griffin's tone and phrasing are great, and really keep things away from the gimmicky side of the spectrum! Titles include "The Kerry Dancers", "Green Grow The Rushes", "Black is The Color of My True Love's Hair", "25 1/2 Daze", and "The Londonderry Air" – plus the Griffin original "Oh Now I See". CD

The group's first, with production courtesy the great Gary Katz, who's put a fine touch on many Steely Dan LPs. While we were a bit dismissive of this effort at the time, it's kind of become a bit of a watershed in retrospect, the high water mark for the American Acid Jazz scene, if a bit commercial, and definitely a nice portrait of the mid 90s NYC scene, with loads of great players from all over the spectrum. Titles include "El Gollpe Avisa", "Buddah Head", "Nerd", "Balimka", "Rentstrike", and "Saturday Afternoon". CD

One of the most compelling larger projects put together by Merle Haggard during his "concepts" years at Capitol Records – a double-length set that has the country legend dipping into the spiritual side of the spectrum, with key recordings at a number of different locations! The album features work recorded at the chapel at San Quentin Prison, at the Big Creek Baptist Church in Tennessee, a Rescue Mission in Nashville, and at the Assembly Of God Tabernacle back in California – all of which make for a nicely varied expression of the way that country music comes into play with spiritual themes, along with help from famous guests The Carter Family, and some vocals from Bonnie Owens too! The Strangers provide the backings, and although there's some spoken bits from time to time, the clear appeal of the record is Merle's great vocals as he takes on tunes that include "The Family Bible", "Guide Me Lord", "Life's Railway To Heaven", "Steal Away", "On The Jericho Road", "Precious Memories", "Turn Your Radio On", "Where Could I Go", "If We Never Meet Again", and "I Saw The Light". CD

Barry Harris recorded live in Tokyo – working at the intimate Dug nightclub, with backing from Japanese players Kunimitsuj Inaba on bass and Fumio Watanabe on drums! The style here is in the warmer side of the Harris spectrum – sometimes introspective, sometimes a bit more grooving – but always played with a strong degree of sensitivity on the keys of the piano, and recorded in a way that has Barry right out front in the mix. There's a great sense of maturity and grace going on here – and if anything, Harris has become an even more interesting pianist as the years have gone on – dropping some of his too-powerful styles from earlier years, in favor of well-placed notes and a greatly expanded sense of space that really comes through on this set. Titles include "Luminescence", "Somebody Loves Me", "No Name Blues", "Oblivion", "It Could Happen To You", "East Of The Sun", and "Nascimento". CD

Remarkable modern jazz, from one of the most unique voices in the genre! Hill's piano work and compositions fall into a category of their own, working outside the limits of predominant bop sound, but not quite falling into the world of free jazz that rules the avant scene. This outstanding Mosaic box collects his seminal 60s recordings, comprising of the LPs Black Fire, Smokestack, Judgment, Point Of Departure, Andrew!, One For One, and Compulsion, plus plenty of alternate takes and some material that was issued under Sam Rivers name on the LP Involution. Sidemen include Joe Henderson, Bobby Hutcherson, Kenny Dorham, Eric Dolphy, John Gilmore, Freddie Hubbard, Sam Rivers, Richard Davis, Cecil McBee, Roy Haynes, Elvin Jones, Tony Williams and Joe Chambers. There's 52 tracks in all, spread out over 7 CDs, with titles that include "Land Of Nod", "Black Fire", "McNeil Island", "Tired Trade",Pumpkin", "Subterfuge", "Smokestack", "Ode To Von", "The Day After", "Verne", "Not So", "Flea Flop", "Siete Ocho", "Yokada, Yokada", "Reconciliation", "New Monastary", "Flight 19", "Spectrum", "Symmetry", "The Griots", "Duplicity", "Le Serpenmt Qui Danse", "Euterpe", "Erato", "Roots 'n Herbs", "Compulsion", "Premonition", "Violence" and "Desire". CD

Mindblowing work from pianist Andrew Hill – one of the key records during that short initial run when Blue Note was really giving him a special showcase for his talents – and when the label was dabbling in more avant jazz as part of the "new thing" moment on the scene! The group here is really the stuff of legends – as the set features a very late performance from Eric Dolphy on alto, plus Joe Henderson on tenor, Kenny Dorham on trumpet, Richard Davis on bass, and Tony Williams on drums – all players at the prime of their young talents, soaring to the skies under the leadership of Hill – skittishly working their way into territory that's never truly free, but wonderfully expressive and exploratory – a clear summation of the sense of "modern" in modern jazz! All tracks are originals by the pianist, too – and titles include "New Monastery", "Flight 19", "Spectrum", "Dedication", and "Refuge". CD reissue also features 2 bonus alternate takes of some of these, for a total of 7 tracks in all. CD

Mindblowing work from pianist Andrew Hill – one of the key records during that short initial run when Blue Note was really giving him a special showcase for his talents – and when the label was dabbling in more avant jazz as part of the "new thing" moment on the scene! The group here is really the stuff of legends – as the set features a very late performance from Eric Dolphy on alto, plus Joe Henderson on tenor, Kenny Dorham on trumpet, Richard Davis on bass, and Tony Williams on drums – all players at the prime of their young talents, soaring to the skies under the leadership of Hill – skittishly working their way into territory that's never truly free, but wonderfully expressive and exploratory – a clear summation of the sense of "modern" in modern jazz! All tracks are originals by the pianist, too – and titles include "New Monastery", "Flight 19", "Spectrum", "Dedication", and "Refuge". CD reissue also features 3 bonus alternate takes of some of these, for a total of 8 tracks in all. CD

The first two albums from HP Lovecraft – a wonderfully trippy group from late 60s Chicago – one who shined briefly, but brilliantly enough to give the world two great albums and a few singles! Like so many groups of their time, HP Lovecraft have their roots in the later years of the folk scene – where they clearly picked up a sense of free being and personal expression. Yet unlike so many other groups, who turned that energy into a warmer, sunshiney approach, Lovecraft really kept on the dark end of the spectrum – in a spacey, tripped-out mode that was very much in keeping with their name. There's almost a Love-like sense of madness to some of these tunes – but a bit less focused and baroque – and by the time of the group's second album, they were actually de-intensifying their sound a bit, creating more space and a sense of stark loneliness that's really compelling! CD

A beautiful little album of sweet late 60s easy – originally recorded by British producer Mike Hurts for Phase 4 at the end of the 60s, but never issued until now! The set has a really warm and glowing sort of groove – one that's a fair bit more dynamic than most of the rest of the Phase 4 sets, with evocative qualities that almost push the record more into the soundtrack side of the spectrum. Hurst's arrangements of the tunes are often quite driving, but never too dramatic – and although the set's an orchestral one, there's a great sense of pacing, timing, and rhythm to all the numbers. Titles include "April Fools", "Cool", "Sound Of Silence", "Wednesday's Child", "Good Vibrations", "Image", "Mission Impossible", and "Theme From The Wild Ones". CD

We've always loved the wonderfully dark corners in the tenor work of saxophonist Mark Turner – but it sounds especially great here, in the company of pianist Ethan Iverson – as the two players deliver a superb album of duo material for ECM! Iverson never softens the sound of Turner, but he does bring out a greater current of sentiment than we sometimes hear in his work – especially when Mark might get a bit too "arch", and maybe limit himself to the moodier side of the spectrum. Instead, both he and Iverson create this sublime balance of darkness and light throughout – in a mode that's very unique, even in a familiar ECM setting – on original material that includes "Lugano", "Temporary Kings", "Dixie's Dilemma", "Seven Points", "Myron's World", and "Third Familiar". CD

A later set by Jackie & Roy, but still plenty darn great – and not nearly as hokey as you might expect from the title! All tracks are sea-themed – but the range of work is surprisingly sophisticated, and perfectly illustrates the ever-deep quality of the Jackie & Roy sound, even at a time when it would be easy for the pair to fall into simple cliches of their older work. As before, the pair display a wonderful ear for a compelling tune – and draw here on work from traditional sources, as well as the hipper end of the jazz songwriting spectrum – work by Tommy Wolf, Mark Murphy, Dave Frishberg, and even Herbie Hancock. The set includes a great vocalese take on "Dolphin Dance", the original number "Full Moon", a slight reworking of "Song Of The Boy & The Dolphins", and the tracks "Boats", "The Shining Sea", "Moon Over Miami", "Home By The Sea", "Zanzibar", and "Sand In My Shoes". CD

About as hip as you can get for a hardbop session – a real cooker from the left end of the spectrum, filled with great work from all three players in the title! The pairing of Clifford Jordan's tenor and John Jenkins' alto is especially nice – as Jordan seems to bring out a bit of a deeper groove than Jenkins' gets on other records. And we're always big fans of Bobby Timmons' work on piano in just about any group setting – and here he's working with unique rhythm backing by Wilbur Ware on bass and Dannie Richmond on drums – making a rare non-Mingus appearance on the set!. The tracks are long, but extremely tight – in the manner that you'd expect from some of those modernist soul jazz sets on Riverside/Jazzland, particularly the work of Johnny Griffin and Wilbur Ware – with titles that include "Cliff's Edge", "Tenderly", "Princess", and "Soft Talk". CD

Very rare indeed – and one of the best 70s albums from Elvin Jones – thanks to a tight quartet lineup who follow his every move with tremendous energy! The style's not as all-out bombastic as Jones could sometimes be in these days – and with a group that includes Roland Hanna on piano, Art Pepper on sax, and Richard Davis on bass, Elvin's in company that allows him to be strongly expressive on both sides of the spectrum! Sure, there's a few searching, soaring numbers that show Elvin's Coltrane roots – but there's also some gentler more introspective moments too, ones that provide great space for solos from Hanna and Pepper. Titles include "Witching Hour", "Pitter Pat", "Tin Tin Deo", "Zange", "Sweet Mama", and "Passion Flower". CD

A wonderful set, and one that's definitely filled with spirits – most particularly from the tenor of Kidd Jordan, which has all this subtle power behind it, at a level that really gives proof to Jordan's many years on the freer side of the jazz spectrum! The trio here also features Alvin Fielder on drums and percussion, and Joel Futterman on piano, Indian flute, and curved soprano sax – but throughout the proceedings, which are freely improvised, the tenor of Jordan seems to be the real anchor in sound – an element that can match the modes of the other players, but also provide some direction too. Titles include "Start Stop", "Run Drop", "Start Continue", "Ripples, and "Double Strike". CD

A legendary pairing of talents – as Japanese jazz singer Kimiko Kasai works alongside Herbie Hancock – in a setting that's very much on the soul side of the spectrum! Both Herbie and Kimiko started out with a straighter jazz sound in their early years – but by the end of the 70s, they'd both picked up plenty of influences from R&B – although Kasai's work was largely unknown to American audiences. This set is one of those rare Japanese-only sessions by Herbie at the time – a few of which have gotten released overseas as the decades have gone on – and Hancock is in his best keyboard groove, and also gets additional help on the keys from Webster Lewis – who no doubt brings a strong soul current to the music too. Other musicians include Bennie Maupin on soprano and tenor sax, Paul Jackson on bass, Ray Obeido on guitar, Alphonse Mouzon on drums, and Bill Summers on percussion – in a groove that's like a tighter take on the sound of The Headhunters. Kimiko sings in English – and titles include some great versions of Herbie Hancock tunes – including "Maiden Voyage", "Sunlight", "Butterfly", "Tell Me A Bedtime Story", and "Harvest Time" – plus a great take on Stevie Wonder's "As", the cut "Head In The Clouds", and the funk-steeped opener "I Thought It Was You". CD

One of the strangest things about Abbey Lincoln's career is the fact that, despite her hip affiliations with the left end of the jazz spectrum, she's actually been slotted into a fair number of straighter projects, not only in music, but in film as well. This album's a perfect example of that – and may well be the reason for Abbey's later leanings towards the left – as here, in her debut LP, she comes off as a dreamy girl singer, recorded by Liberty almost in a mode that's similar to Julie London or some of their other gal stars – with complicated backings from Benny Carter and Marty Paich. The record is lacking the stark captivating quality of Abbey's later records, but it does have a certain kind of charm – especially as the love themes in the set are all-adult, at a mature level that you'd really only hear from a rare few other singers, like Shirley Horn or Lorez Alexandria. Titles include "Two Cigarettes In The Dark", "Take Me In Your Arms", "No More", "Affair", "This Can't Be Love", "I Wake Up Smiling", and "Love Walked In". CD

A stunning spinoff from the first incarnation of King Crimson – a brilliant record from the team of Ian MacDonald and Michael Giles – both of whom move into territory that's quite different than their work with the more famous Fripp-led group! There's definitely elements here of the music the pair brought to King Crimson – but the songs are looser, more personal, and often have more jazz-rock elements in the mix – which can even result in some cool funky passages at times that are a quite soulful surprise! The album also features strong lyrical contributions from Peter Sinfield, who also sounds a bit hipper here – and work from Steve Winwood, who may well be one of the forces for the more soulful side of the spectrum. Lots of nice flute lines – almost Harold McNair-ish at times – and titles include "Suite In C", "Flight Of The Ibis", "Is She Waiting", "Tomorrow's People The Children Of Today", and "Birdman". CD

A stunning spinoff from the first incarnation of King Crimson – a brilliant record from the team of Ian MacDonald and Michael Giles – both of whom move into territory that's quite different than their work with the more famous Fripp-led group! There's definitely elements here of the music the pair brought to King Crimson – but the songs are looser, more personal, and often have more jazz-rock elements in the mix – which can even result in some cool funky passages at times that are a quite soulful surprise! The album also features strong lyrical contributions from Peter Sinfield, who also sounds a bit hipper here – and work from Steve Winwood, who may well be one of the forces for the more soulful side of the spectrum. Lots of nice flute lines – almost Harold McNair-ish at times – and titles include "Suite In C", "Flight Of The Ibis", "Is She Waiting", "Tomorrow's People The Children Of Today", and "Birdman". CD

Most likely our favorite album by John McLaughlin – and one that features him in a wonderfully spare setting – alongside John Surman on saxes, Brian Odges on bass, and Tony Oxley on drums. The playing has a free and loose quality that McLaughlin would later lose on some his more fusion-y outings, and the group runs through some excellent post bop originals and modal excursion – all done with a wide open sound and a great sense of dynamics. Titles include "Extrapolation", "It's Funny", "Argen's Bag", "Pete The Poet", "This Is For Us To Share", "Spectrum", "Binky's Beam", "Really You Know", "Two For Two", and "Peace Piece". CD

Most likely our favorite album by John McLaughlin – and one that features him in a wonderfully spare setting – alongside John Surman on saxes, Brian Odges on bass, and Tony Oxley on drums. The playing has a free and loose quality that McLaughlin would later lose on some his more fusion-y outings, and the group runs through some excellent post bop originals and modal excursion – all done with a wide open sound and a great sense of dynamics. Titles include "Extrapolation", "It's Funny", "Argen's Bag", "Pete The Poet", "This Is For Us To Share", "Spectrum", "Binky's Beam", "Really You Know", "Two For Two", and "Peace Piece". CD

A tremendous set from Jackie McLean – perfectly poised between his hardbop and modern years, with a set of compositions that are as great as the performances! The lineup on this one's a bit unusual – with Walter Bishop on piano, Blue Mitchell on trumpet, Paul Chambers on bass, and Art Taylor on drums – but that mix of players makes for a really unusual sound – as the rhythm section's often straight ahead, Blue Mitchell's notes are bold and sparkling, and Jackie's own solos are reaching for the darker corners of the spectrum! There's a great sense of tension here that heralds the genius of later McLean sides of the 60s – and original titles include "Francisco", "Condition Blue", "On The Lion", and "Capuchin Swing". CD

A tremendous set from Jackie McLean – perfectly poised between his hardbop and modern years, with a set of compositions that are as great as the performances! The lineup on this one's a bit unusual – with Walter Bishop on piano, Blue Mitchell on trumpet, Paul Chambers on bass, and Art Taylor on drums – but that mix of players makes for a really unusual sound – as the rhythm section's often straight ahead, Blue Mitchell's notes are bold and sparkling, and Jackie's own solos are reaching for the darker corners of the spectrum! There's a great sense of tension here that heralds the genius of later McLean sides of the 60s – and original titles include "Francisco", "Condition Blue", "On The Lion", and "Capuchin Swing". CD

A set of incredible records from Charles Mingus – all presented together in one mighty nice package! First up is Mingus Moves – a fantastic fresh new chapter in the career of Charles Mingus – a set that features the addition of two key players who would really shape his sound in the 70s – Don Pullen on piano and George Adams on tenor, both completely wonderful here! The group also features excellent trumpet from Roland Hampton, a player we don't know from many other settings – and the set also features some really nice vocal work from Honi Gordon and Doug Hammond. Titles include "Canon", "Moves", "Wee", "Flowers For A Lady", "Opus 3", and "Newcomer". CD also features bonus tracks – "Big Alice" and "The Call". Changes is key 70s work from Charles Mingus – an album that was recorded over the course of three days of creative activity at the end of 1974, but somehow split into two different albums under the Changes name! The lineup here is prime 70s Mingus – George Adams on tenor, Jack Walrath on trumpet, and Don Pullen on piano – young players who really give a fresh voice to Mingus' musical ideas, and help him find this beautiful late life sense of color, tone, and timing that's completely sublime! Titles on this second volume include "Sue's Changes", "Devil Blues", "Remember Rockefeller At Attica", "Free Cell Block F Tis Nazi USA", "Black Bats & Poles", "For Harry Carney", and "Duke Ellington's Sound Of Love" – which features a guest appearance by Marcus Belgrave on trumpet and Jackie Paris on vocals. On 3 Or 4 Shades Of Blues, Charles Mingus is returning to the soulful gospel-influenced mode he swung big in the early 60s! The record's something of a later predecessor of the classics Blues & Roots for Atlantic and Mingus (x5) for Impulse – and the style is slightly less dramatic, but still quite steeped in soulful explorations that feature plenty of notes from the bluer side of the spectrum! Players include George Coleman and Ricky Ford on tenor, Jack Walrath on trumpet, and Larry Coryell on guitar – and titles include new takes on "Better Git Hit In Your Soul" and "Goodbye Porkpie Hat" – plus"Nobody Knows", "Noddin Ya Head Blues", and "Three Or Four Shades Of Blues". Next is Cumbia & Jazz Fusion – one of the most enigmatic albums that Charles Mingus ever recorded – especially in his later years! The set features two very long tracks done by Mingus for use in a film about cocaine traffic between New York and Columbia – but considering the nature of the music, and the freely exploratory style, both numbers here stand very well on their own! Although touched with some of the Latin influences you might expect from the title, the sounds are often darker and more brooding than, say, the Mingus style on the classic Tijuana Moods set. And instead, there's a very serious soundtrack-like vibe going on through most of the set – larger jazz orchestrations used to beautifully underscore subtle themes, and breakout solo moments from players who include Mauricio Smith on flute, Paul Jeffrey on tenor sax, Jack Walrath on trumpet, and Jimmy Knepper on trombone. The album also features a fair bit of added percussion – and features two long tracks, "Cumbia & Jazz Fusion" and "Music For Todo Modo". Me Myself An Eye is complicated later work from Charles Mingus – a great illustration of the way his power to command a large ensemble never wavered as the years went on! The album features two different large groups of players – filled with modernists young and old – including Ricky Ford, George Coleman, and Michael Brecker on tenors; Ronni Cuber and Pepper Adams on baritone; Randy Brecker and Jack Walrath on trumpets; Lee Konitz on alto, Larry Coryell on guitar, Slide Hampton on trombone, and Eddie Gomez on bass. Side one features the 30 minute track "Three Worlds Of Drums", and side two contains a remake of "Wednesday Night Prayer Meeting", plus "Devil Woman" and "Carolyn Keki Mingus". Something Like A Bird is one of the last albums Charles Mingus ever gave us – before departing this planet way way too soon! The set shows the increasing sophistication of Mingus' music in these later years – a mode that almost echoes the path that Duke Ellington would take in his final decade – a move towards some larger-form material that still holds onto all the raw energy of the early days, but finds a way to not only bridge larger musical ideas – but musical generations as well! As part of this, the set's got a wonderful lineup – with Lee Konitz on alto, Pepper Adams on baritone sax, George Coleman on tenor, Eddie Gomez on bass, and Joe Chambers on drums – and titles include the long title track, "Something Like A Bird", split up over 2 sides of the LP, plus "Farewell Farwell". CD

The three or four shades of the blues here are all pretty darn deep – as Charles Mingus is returning to the soulful gospel-influenced mode he swung big in the early 60s! The record's something of a later predecessor of the classics Blues & Roots for Atlantic and Mingus (x5) for Impulse – and the style is slightly less dramatic, but still quite steeped in soulful explorations that feature plenty of notes from the bluer side of the spectrum! Players include George Coleman and Ricky Ford on tenor, Jack Walrath on trumpet, and Larry Coryell on guitar – and titles include new takes on "Better Git Hit In Your Soul" and "Goodbye Porkpie Hat" – plus"Nobody Knows", "Noddin Ya Head Blues", and "Three Or Four Shades Of Blues". CD

A great date from the later revival years of altoist Frank Morgan – thanks to a warm performance from the Cedar Walton trio! One of the great things about late Morgan is the way in which he's able to really fit himself into different settings – still holding onto his soulful roots, but also fluidly picking up the best elements of the groups he works with – such as the rich tones and soaring styles that Walton brings to this session! Cedar's piano always sounds great with a horn, and the warmth in Morgan's alto is quite a different match than some of Walton's tenor-driven sessions – and bassist Tony Dumas and drummer Billy Higgins keep things in just the right subtle side of the spectrum to fit the mood. Titles include "The Rubber Man", "Yes & No", "Manha De Carnaval", "Now's The Time", "Three Flowers", and "Third Street Blues". CD

A great date from the later revival years of altoist Frank Morgan – thanks to a warm performance from the Cedar Walton trio! One of the great things about late Morgan is the way in which he's able to really fit himself into different settings – still holding onto his soulful roots, but also fluidly picking up the best elements of the groups he works with – such as the rich tones and soaring styles that Walton brings to this session! Cedar's piano always sounds great with a horn, and the warmth in Morgan's alto is quite a different match than some of Walton's tenor-driven sessions – and bassist Tony Dumas and drummer Billy Higgins keep things in just the right subtle side of the spectrum to fit the mood. Titles include "The Rubber Man", "Yes & No", "Manha De Carnaval", "Now's The Time", "Three Flowers", and "Third Street Blues". CD

An obscure Morricone soundtrack, but a great one too – done with a slinky, seductive feel that's totally great – and often a bit different than his early 70s classics! Many of the numbers here have a warm glow – a sound that's never too polished, but more in the erotic side of the Morricone spectrum than the spooky one. And a few cuts feature some nice instrumental touches that really stand out – like jazzy flute, blue-tinged trumpet, and even some of those great "boing" noises that used to show up in Ennio's western scores from time to time! Titles include "Una Bossa A Cena", "Per L'Amore Si Fara", "Mezza Luce", "E Mejo De Mori Che Resta Qui", "Per Annabella", and "Una Famiglia Povera". CD

A great new collective from Chicago – a group who blend together house, soul, and just a bit of jazz – all in a wonderfully warm blend of styles! The vibe here is somewhere near the Peven Everett side of the spectrum – as the tracks clearly merge an older sense of keyboard-heavy soul with some of the clubbier styles of the current underground – but all in a mode that doesn't fall for easy broken beat tricks or fake soul gimmicks. We were honestly surprised at the depth of the set, and together the tracks come off with a nice degree of righteousness that you'd hardly expect from the name or cover of the album. Titles include "Transit", "Tribe Of Naima", "Save Me", "Thinkin Back", "Imagine Freedom", "About Us", and a number of "In Transit" interludes. CD

A pair of soundtracks for two of the creepiest horror movies of the 70s – back to back on a single CD, and given the top-shelf Film Score Monthly treatment! First up is the score for Soylent Green – a mix of very moody, unusually-toned passages that are mixed with some mellower, jazzier numbers that offset things nicely – composed by Fred Myrow, but also given a bit of help from horror maestro Gerald Fried! The music is definitely above the norm – not just in the higher budget, but also in the way that things come together sonically – at a level that makes for a lot of surprises throughout – on titles that include "Tab's Pad/Furniture Party", "Shirl & Thorn", "Home Lobby Source", "Can I Do Something For You", and "Sol's Music". Demon Seed is a great one from Jerry Fielding – definitely at the darker side of his sonic spectrum, which is pretty darn fitting, given that the film involves a computer having sex with Julie Christie! There's a sense of evil that resonates in the music right from the start – a mode that's partially borrowed from the Italian giallo generation, but which is given a more varied approach here, often at a level that's very low in the sonic spectrum. Tracks include "Birth Scene", "Probed Or Put To Bed", "Last Voyage", and "Closing Crawl". CD features almost 80 minutes of music – and detailed notes on both scores! CD

One of the greatest records of the 60s – and a sublime debut from Nico, sounding fresher and less dreary here than on many of her later sides – although still pretty chilling overall! The record features larger orchestral backings on most tracks – never too heavy, but with light strings that really help Nico depart from the sound of her work with The Velvet Underground. This style adds a new level of sophistication to her vocals, and really helps in her interpretation of the unusual material culled for the set – tunes that include a few key numbers by old partners in The Velvets, as well as some especially great tracks by a young Jackson Browne – a romantic interest of Nico at the time! The whole thing's incredible – on a par with the best from Scott Walker during the same stretch, although very different overall – and a key entry in the darker side of the non-hippie end of the 60s spectrum. Titles include "These Days", "It Was A Pleasure Then", "Eulogy To Lenny Bruce", and the incredible title cut, "Chelsea Girls". Fantastic! CD

This is Asphodel's wonderful reissue of "word jazz" maestro Ken Nordine's classic mid 60s ode to the sultry side of the common, the uncommon, and some seemingly made up colors. ("Muddy" anyone?) Billed as "A Sensuous Listening Experience" – and truly living up to it somehow – it's a crazy suite of smoky, jazzbo spoken word monologues, each describing a different color, with groovy, loungey jazz backing. If you're unfamiliar with the weird, wordy world of Ken Nordine, this is the perfect place to start. 34 colors get the nod, including "Azure", "Russet", "Flesh", "Nutria", "Mauve", "Cerise", "Sepia" and others on the obscure spectrum, plus "Olive", "Lavender", "White", "Orange", "Purple" and lots of others on the common tip. If Monty Burn's got high on ether and cut a jazz album, this is probably what it would sound like. CD

Oscar's great connection here is with the rhythm team of Louis Hayes on drums and Niels Henning Orsted Pedersen on bass – both of whom bring in a nice degree of subtlety to the set, and make it one of Peterson's most gently-grooving albums for MPS! There's a warm, round quality to most of the tunes on the album – a mode that partakes strongly of the lyrical side of the Peterson spectrum, yet which still makes things roll along with a submerged sense of his gutbuckety soul. Titles include "Smile", "On The Trail", "Wheatland", "Younger That Springtime", "Where Do We Go From Here", and "Just Squeeze Me". CD

A relatively laidback set from Oscar Peterson – just the kind of record we need to remind us of his strengths on the mellower side of the spectrum! The recording's a live one – done in LA in 1986 – and Peterson still brings a gentle vamp to most numbers, but also has an open, lyrical quality too – stretching out in a quartet with Joe Pass on guitar, Dave Young on bass, and Martin Drew on drums. The recording quality has Oscar most up front in the mix – which is great at the gentler moments – and titles include "Soft Winds", "Love Ballade", "Cool Walk", and "On The Trail". CD

A taut score from Piero Piccioni – penned for an early 60s black and white thriller, with a sound that's often a lot more serious than some of his other work of the time! There's a few whimsical themes at the start, but these drop off quickly – leaving some very spare, atmospheric numbers with a really tense, spooky sound – one that often comes from solo piano or organ work from Piccioni, the latter of which has a really deep-down, rumbling quality. Horns appear on some of the lighter moments – which have almost Nino Rota-like melodies that are a bit playful – but the score definitely leans towards the darker side of the spectrum at most moments. Titles include "Fox Foxy", "Waltz For You", "Il Terrorista", and "Eco Di Un Tempo". CD features the original soundtrack, plus 9 bonus tracks with a stereo mix! CD

A fantastic collection of unreleased material from Prince – not spare demos or home recordings, or studio snippets either – but instead some fully-formed songs that come right from the glory days of the singer's career! Almost all the material here is from the early 80s – and most tracks were later recorded by other artists in the Prince spectrum – including The Time, Apollonia 6, Mazarti, The Family, Jill Jones, and Sheila E – but are done here by the man himself, with all of the slinky, funky qualities that he brought to his own music at the time – qualities that are especially well-noted on some of the other cuts that were recorded by The Bangles and Kenny Rogers – which really feel different in the hands of Prince. Titles include "Love Thy Will Be Done", "Nothing Compares 2 U", "Baby You're A Trip", "Manic Monday", "Jungle Love", "Sex Shooter", "Noon Rendezvous", "Make Up", "The Glamorous Life", "Holly Rock", "You're My Love", "100 MPH", "Dear Michaelangelo", "Wouldn't You Love To Love Me", and "Gigolos Get Lonely Too". CD

Really unique material from Sun Ra – a pair of recordings that were initially circulated much more strongly than some of his Saturn Records material, thanks to the power of the BYG/Actuel label in the early 70s – but tracks that actually come from a variety of different sessions that Ra himself did with the Arkestra in the late 60s! Tracks are shortish, but very inventive – a well-chosen snapshot of all the new ideas that the group were cooking up during the end of the 60s in New York, with an increased mission to explore the outer reaches of space, and use more electronics than ever before! Ra plays some killer keyboards – moog, spacemaster, and acoustic piano – often with these really eerie tones – and other players include Kwame Hadi on trumpet, Akh Tal Ebah on space dimension mellophone, Ali Hassan on trombone, Marshal Allen and Danny Davis on alto and flute, John Gilmore on tenor, and Pat Patrick on baritone – and the whole group vocalizes at points, joined by other singers who include June Tyson and Art Jenkins. There's also some great use of "strange strings" on the sessions, not to mention a bit of reverb – and tracks titles include "Spectrum", "The Satellites Are Spinning", "Seen III Took 4", "Adventures Of Bugs Hunter", "Legend", "The Realm Of Lightning", "The Utter Nots", "Outer Spaceways Inc", "Scene 1 Take 1", "Strange Worlds", "Ancient Ethiopia", "Pyramids", and "Interpretation". CD

Really unique material from Sun Ra – a pair of recordings that were initially circulated much more strongly than some of his Saturn Records material, thanks to the power of the BYG/Actuel label in the early 70s – but tracks that actually come from a variety of different sessions that Ra himself did with the Arkestra in the late 60s! Tracks are shortish, but very inventive – a well-chosen snapshot of all the new ideas that the group were cooking up during the end of the 60s in New York, with an increased mission to explore the outer reaches of space, and use more electronics than ever before! Ra plays some killer keyboards – moog, spacemaster, and acoustic piano – often with these really eerie tones – and other players include Kwame Hadi on trumpet, Akh Tal Ebah on space dimension mellophone, Ali Hassan on trombone, Marshal Allen and Danny Davis on alto and flute, John Gilmore on tenor, and Pat Patrick on baritone – and the whole group vocalizes at points, joined by other singers who include June Tyson and Art Jenkins. There's also some great use of "strange strings" on the sessions, not to mention a bit of reverb – and tracks titles include "Spectrum", "The Satellites Are Spinning", "Seen III Took 4", "Adventures Of Bugs Hunter", "Legend", "The Realm Of Lightning", "The Utter Nots", "Outer Spaceways Inc", "Scene 1 Take 1", "Strange Worlds", "Ancient Ethiopia", "Pyramids", and "Interpretation". CD

Get Ready, the first really major album from Rare Earth, is a perfect blend of the rich undercurrents of the heady Detroit scene of the late 60s – at one level a tripped-out rock record with styles that almost hint at MC5, at another level a batch of blue-eyed funky soul, with keen appreciation for the grooves coming out of the headier end of the Motor City indie spectrum! There's lots of tripped-out guitar work on the set – reminiscent of contemporary work by Dennis Coffey and George Clinton – mixed with a Mitch Ryder, R&B-inspired vocal style that actually comes across pretty darn well. Added to this is the group's flat-out ability to jam – showcased best in the side-long title cut "Get Ready" – a massive jammer which runs for nearly 22 minutes, and takes up all of side two! Other tracks include "Train To Nowhere", "Magic Key", "Tobacco Road", and "In Bed". Ecology is some blue-eyed soul from Detroit's Rare Earth. The most popular track from this record was "Born To Wander" but there are some other good ones like "(I Know) I'm Losing You" by the Temptations – Norman Whitfield produced the track for this album and it clocks in at over ten minutes long. Other titles include "Long Time Leavin", "Satisfaction Guaranteed", "Nice Place To Visit", "No 1. Man", and a version of "Eleanor Rigby". CD

A bold move forward for Re:Jazz – a record that's even more cohesive than their first few, and which shows them emerging much more strongly as a group! As before, the approach here has the combo offering soulful jazz versions of tunes from the more popular side of the spectrum – but unlike before, there's a warmly flowing sense of energy that unites the whole record – an approach that's often topped by the vocals of Inga Luhning, an expressive singer who really gives the record a good focus – even though the record also features a bit of guest singing by Alice Russell and Ernesto. There's a sense of power and entitlement to the music here that goes way beyond the earlier releases – almost as if the band have stopped being tentative about their efforts, and move confidently forward with a sense that their music is really making a difference. Titles include "People Hold On", "Gabrielle", "Finally", "Rock It", "Too Many Holes", "Promised Land", "Back Home", "Not About Me", "Plastic Dreams", "Return To Damara", and "Stewed". CD

A brilliant set with a real 60s modern feel overall – in case you couldn't guess from the hip cover image! The group's got a sound that's definitely in the sharper side of the Italian jazz spectrum – kind of a Basso-Valdambrini groove, but with some bolder tones at times – all handled wonderfully by a quintet that features Oscar Rocchi on piano, Sergio Fanni on trumpet, Hugo Heredia on flute and sax, Giovanni Tommasso on bass, and Gianno Cazzola on drums! The horn parts are especially great – coming together with some nice tension on the heads, the burning out into solos that are filled with soul and feeling – the kind of sparkling energy that makes digging up older Italian sessions like this so great. Titles include "Thema", "Elixir", "Preposition", "Action Up", "Kind Words", "Wafers", "Relax Love", and "Example". CD also features 6 bonus tracks too – "Nigredo", "Gold Fast", "Rubedo", "Solution", "Silver Bop", and "Sulphur". CD

Pharoah Sanders is working here with some excellent horn players in the frontline – Woody Shaw on trumpet and Gary Bartz on alto sax – both of whom really bring a lot of power to the record! As with some of Sanders' other Impulse albums of the period, the record only features two long songs – both of them great, and both of them balanced between more modal moments, and freer flights of jazz expression. Bartz and Shaw are obviously well suited for both of these sides of the spectrum – as are the other players, who include Lonnie Liston Smith on piano, Cecil McBee on bass, and Clifford Jarvis on drums. Nathaniel Bettis and Anthony Wiles play additional percussion – as do some of the other members of the group from time to time. Both tracks build with a stretched-out, organic quality – and titles include "Summun Bukmun Umyun" and "Let Us Go Into the House of the Lord". CD

One of the richest and most complex recordings we've ever heard from Silent Poets – a brilliant blend of strings, soul, and sounds! The style here is a bit more cinematic than before – taking cues from recent Silent Poets work, but unlocking a new sense of majesty in the music – one that unfolds gently as the tunes go on, and really finds a unique place for itself in the modern sound spectrum. There's a sense of confidence and power here that goes way beyond the last few Silent Poets records – and the initial forays into this type of music have finally found their place, and come together much more strongly here. Shawn Lee delivers a bit of guest work on the record, and titles include "Rock Star", "From Earthling", "Future", "Dumb Girl", "Next Episode", "Man On The Street", "Fate", and "Wonder". CD

They certainly got the title right on this one – as Jo's singing a great batch of jazz-based tracks – and getting help from an array of small group players that include Ben Webster, Johnny Hodges, Conte Candoli, and Ray Nance! Arrangements are by Johnny Mandel, in a warmly chromatic mode that really helps take Jo's vocals away from the pop end of the spectrum – and into a lush and almost torchy mode that's a real surprise. Mandel does an especially nice job of working the horns into the mix – allowing for some slight but well-placed solo and introduction bits that really help shape the overall sound of the album. Titles include "For You", "You'd Be So Nice To Come Home To", "Midnight Sun", "The Folks Who Live On The Hill", "I Didn't Know About You", "Imagination", "Dream Of You", "Day Dream", and "I've Got The World On A String". CD

One of the most striking albums we've ever heard from pianist Aki Takase – in large part because of some great work from David Murray on tenor sax – and some especially nice bass clarinet! The album's from a moment when it seemed as if duo modes were some of the best for Murray – a way of maybe reaching back into deeper jazz roots, while also bringing forth some of the fresher ideas he'd unlocked exploring the farther side of the jazz spectrum – but also demonstrating his amazing ability to be sensitive to a wide variety of musical partners, in ways that are even more compelling than his work in a larger group! As you'd guess from the title, the set's got a fair bit of numbers from the songbook of Thelonious Monk – and Takase's take on them is great, maybe blocky and spacious than Monk's own – which is offset by the warmly soulful blowing of Murray. Titles include "Ba Lu Bolivar Ba Lues", "Ellingtonia", "Blue Monk", "Ask Me Now", "Presto VH", "Mr Jelly Lord", and "Ballad For The Blackman". CD

Freewheeling Cecil Taylor – heard here solo, in his best 70s mode – recorded live in Austria in 1976, playing beautifully on a Bosendorfer Grand piano! Taylor works wonders with the instrument – giving it a pyrotechnic workout during the extended performance on the set – at a level that, whatever you might feel about his approach to jazz, really stands as a demonstration that, above anything else, Taylor has always been one hell of a pianist – able to handle the instrument in a way that's unlike anyone else! The album features one long track – "Air Above Mountains (Buildings Within)" – awash with light, colors, and life – all from the Taylor side of the spectrum! CD

Maybe the most lasting classic during the short but important run of Tupac Shakur – the overstuffed album that catapulted him to huge mainstream fame, and which was also the last to be released before his early death. The producers and guests read like a who's who of the harder side of the mainstream spectrum – and include Dr Dre, Snoop Dogg, Redman, Method Man, Kurupt, E-40, The Outlawz, and others – but it's also clear who's going for the crown here, as you'll hear on tracks that include "All Eyez On Me", "California Love (rmx)", "I Ain't Mad At Cha", "2 Of Amerikaz Most Wanted", "Can't C Me", "Heartz Of Men", "Got My Mind Made Up", "Shorty Wanna Be A Thug", "Ain't Hard 2 Find", "Run Tha Streetz", "Picture Me Rollin", "When We Ride", "Thug Passion", "Heaven Ain't Hard 2 Find", and "How Do U Want It". CD

Maybe the most lasting classic during the short but important run of Tupac Shakur – the overstuffed album that catapulted him to huge mainstream fame, and which was also the last to be released before his early death. The producers and guests read like a who's who of the harder side of the mainstream spectrum – and include Dr Dre, Snoop Dogg, Redman, Method Man, Kurupt, E-40, The Outlawz, and others – but it's also clear who's going for the crown here, as you'll hear on tracks that include "All Eyez On Me", "California Love (rmx)", "I Ain't Mad At Cha", "2 Of Amerikaz Most Wanted", "Can't C Me", "Heartz Of Men", "Got My Mind Made Up", "Shorty Wanna Be A Thug", "Ain't Hard 2 Find", "Run Tha Streetz", "Picture Me Rollin", "When We Ride", "Thug Passion", "Heaven Ain't Hard 2 Find", and "How Do U Want It". CD

Maybe the most lasting classic during the short but important run of Tupac Shakur – the overstuffed album that catapulted him to huge mainstream fame, and which was also the last to be released before his early death. The producers and guests read like a who's who of the harder side of the mainstream spectrum – and include Dr Dre, Snoop Dogg, Redman, Method Man, Kurupt, E-40, The Outlawz, and others – but it's also clear who's going for the crown here, as you'll hear on tracks that include "All Eyez On Me", "California Love (rmx)", "I Ain't Mad At Cha", "2 Of Amerikaz Most Wanted", "Can't C Me", "Heartz Of Men", "Got My Mind Made Up", "Shorty Wanna Be A Thug", "Ain't Hard 2 Find", "Run Tha Streetz", "Picture Me Rollin", "When We Ride", "Thug Passion", "Heaven Ain't Hard 2 Find", and "How Do U Want It". CD

The music of Weather Report, served up by that group's legendary bassist Miroslav Vitous – but at a level that's quite different than the original! There's definitely lots of Weather Report-like elements at play here – not just Miroslav's bass and keyboards, but also the kind of wide-edged approach to fusion that the group had – that way of making your stereo feel as if it was somehow encompassing an extra 90 degrees of the spatial spectrum in the way the instruments come together! Yet the music here is also a lot more freewheeling, too – almost improvisations based on Weather Report themes – stepping "out" much more than that group ever did – save maybe on some of their more brooding live moments – which makes the whole thing way more than just a rehash of older songs. The group's a sextet – with Gary Campbell and Roberto Bonisolo on soprano and tenor saxes, Aydin Esen on keyboards, and both Gerald Cleaver and Nasheet Waits on drums – on titles that include "Birdland Variations", "Pinocchio", "Acrobat Issues", "Morning Lake", "Scarlet Woman Variations", and "Seventh Arrow". CD

Cedar's working here on a great set of his own compositions – pulled from Prestige albums of the late 60s, and presented here as an "All Walton" outing! Even from the start, Walton showed a tremendous ability to compose – and in his early days with the Jazz Messengers, his tunes were some of the most deeply soulful in Blakey's book. By the time of this set, Cedar had emerged as one of the freshest new voices writing in 60s jazz – capable of holding onto the soul jazz sound of the early 60s, but also stretching it out into a hipper, more exploratory vein that set a tone for the post-Coltrane years. Players on the record include Kenny Dorham, Junior Cook, Leroy Vinnegar, Blue Mitchell, Clifford Jordan, and Billy Higgins – and titles include "Spectrum", "Jake's Milkshakes", "Higgins Holler", Twilight Waltz", "Head & Shoulders", and "Short Stuff". CD

A seminal jazz rock statement from drummer Tony Williams – one that has him stepping out quite far from his original "new thing" recordings of the mid 60s! The album's got a genre-forming sound that's incredibly fierce – a power trio churning of Williams drums, John McLaughlin's guitar, and Larry Young's free-thinking work on organ. The tunes are long and jamming, but also have a tight rhythmic focus that never gets too sloppy – and which virtually set the stage for a whole generation of 70s fusion players in years to come! Young and McLaughlin are especially great – working here with Williams to pound out sheets of sound in a cosmic trippy maze of riffs and grooves, certainly enough to inspire the most addled rocker to head over to the jazz section! Though this set was released as two separate volumes, this double LP version has both albums, and features 8 tracks in all "Emergency", "Beyond Games", "Where", "Vashkar", "Sangria For Three", "Something Spiritual", "Spectrum", and "Via The Spectrum Road". CD

A seminal jazz rock statement from drummer Tony Williams – one that has him stepping out quite far from his original "new thing" recordings of the mid 60s! The album's got a genre-forming sound that's incredibly fierce – a power trio churning of Williams drums, John McLaughlin's guitar, and Larry Young's free-thinking work on organ. The tunes are long and jamming, but also have a tight rhythmic focus that never gets too sloppy – and which virtually set the stage for a whole generation of 70s fusion players in years to come! Young and McLaughlin are especially great – working here with Williams to pound out sheets of sound in a cosmic trippy maze of riffs and grooves, certainly enough to inspire the most addled rocker to head over to the jazz section! Though this set was released as two separate volumes, this double LP version has both albums, and features 8 tracks in all "Emergency", "Beyond Games", "Where", "Vashkar", "Sangria For Three", "Something Spiritual", "Spectrum", and "Via The Spectrum Road". CD

A fantastic debut from Chicago soul singer Jamila Woods – the kind of artist that makes us very proud to be located in the Windy City! Woods is an extremely inventive lyricist – strongly inspired by poetry, but also immediately trying to communicate in a wider spectrum with her sound – at a level that's maybe even smarter and more sophisticated than you'd guess from her look on the cover, which might make you think that she's just another pretty face in mainstream music! Instead, Woods seems ready to reinvent the role of the female singer in soul music – getting help from hip collaborators who include our hometown hero Chance The Rapper, as well as Nico Segal, Saba, Lorine Chia, and Noname. Titles include "Bubbles", "In My Name", "Popsicle", "Assata's Daughters", "Blk Girl Soldier", "Emerald Street", "Breadcrumbs", "Stellar", "Holy", and Good Morning" – plus "LSD", a tribute to our city's great lakefront! CD

The deepest jazz funk material Madlib has ever laid down – possibly the best album yet from Yesterday's New Quintet – featuring turns at freewheeling avant funk, electro jazz groove, furious sound library styles, a few chill moments, and a boundless sound overall! Yesterday's Universe features 15 unique tracks – purportedly played by 10 acts (The Last Electro, The Jahari Massamba Unit, The Eddie Prince Fusion Band, Young Jazz Rebels, etc), but in truth it's all from the feverishly talented mind of Madlib – with special guests including drummer Karriem Riggins and Azymuth precussionist Mamao! It's heavily steeped in fusion funk, but we're equally impressed by the cooler, slightly straighter moments – which display just how wide of a grasp Madlib has on the deepest, darkest corners of the spectrum. The wide range of influences flows naturally – amazing work from one of the most talented wizards in the game! Titles include a heady adaptation of "Bitches Brew", "Umoja (Unity)", "Slave Riot", "One For The Monica Lingas Band", "Street Talkin'", "Marcus, Martin & Malcolm", "Two For Strata East", "Cold Nights And Rainy Days", "Mtume's Song", "Vibes From The Tribes Suite (For Phil)", "Upa Neguinho" and more. CD

A silly title, but a pretty nice album overall! This 2CD set features a cool selection of downtempo and retro-styled grooves from some of the hipper overseas labels of the past few years. There's a number of cuts on here by artists that we stock and love, but there's even more by artists we haven't – including some pretty cool groups that we were happy to discover. The package was selected by 45 Dip, and not only includes a number of their own tracks, but also has a feel that's pretty much in keeping with their own end of the musical spectrum – laidback, funky, with elements of classic instrumentation. Titles include "Gorgeous George", "Docking", "Something In Space", and "Va Va Voom (Space Lounge mix)" by 45 Dip, plus "Buddha Cowboy" by John Howard, "Mooger Fooger" by Bermuda Triangle, "She's Groovy" by Akasha, "In Spring" by Les Hommes, "Bubble Love" by Chunking, "Sea Of Change" by Broadway Project, "Angel" by Zohar, "One Day Trip In An Elevator" by Hand Polished, "Love Is Incredible" by Bastian, and "Party" by Sporto Kantes. 29 tracks in all! CD