A really amazing set of work from tenorist Clifford Jordan – a player who first rose to fame in the hardbop scene of the late 50s, but who moved into tremendous new territory with these Strata East recordings of the late 60s and early 70s! Jordan was a Chicago contemporary of players like Johnny Griffin and Von Freeman, but he was never content to rest on his laurels – and stretched out on these records with a spiritual vibe that he'd never expressed before – and which would go onto inspire countless other musicians in years to come! This set brings together all the Dolphy Series recordings that Jordan recorded – either as an artist or producer – two of which were never issued on record at the time. Jordan's own albums for the label are wonderful enough – the double-length Glass Bead Games, one of our favorite records ever – and the killer In The World, which is great too. But this set also adds in other Strata East albums that really help illustrate the scene in which Jordan was working – including the excellent Pharoah Sanders non-Impulse session, Izipho Zam; the modern music of Charles Brackeen on Rhythm X, with Don Cherry on trumpet and Brackeen on tenor; and the great Cecil Payne album Zodiac, which has some of the last trumpet work ever from Kenny Dorham. Plus, the set also features two extremely rare albums – the never-issued Shades Of Edward Blackwell – led by the drummer, with Don Cherry on trumpet and Luqman Lateef on tenor, plus a bit of log drum from Jordan – and the obscure Super Bass album from Wilbur Ware, which features Jordan on tenor, in a quartet with Ware on bass, Don Cherry on trumpet, and Ed Blackwell on drums! These two albums are worth the price of the package alone – even if you have other Strata East albums in your collection – and the whole thing features the usual sublime Mosaic package and booklet. CD

A very trippy album from the enigmatic Brother Ah – aka Robert Northern, former member of Sun Ra's Arkestra, and also a lecturer on the east coast. This album's his first, originally issued on the Strata East label – and a space mixture of other-worldly sounds. The first long track on the album is entitled "Beyond Yourself (The Midnight Confession)", and features a group with Ah on flutes and "natural" sounds, plus cello by Pat Dixon, percussion by Barbara Burton, and soprano voice by Barbara Grant. The track's a "sound journey in 7 parts" – floating across space with a mystical feel that slowly unfurls. The other long track on the set is "Love Piece", a tune in which Ah plays flute along with percussion by Max Roach and the M'Boom percussion ensemble – plus a 90-voice chorus, and a short rap by Roach. Very spiritual stuff! CD

One of the most unique albums on the Strata East label – and that's saying a heck of a lot, given the creative energies flowing through that legendary jazz outlet! Descendants Of Mike & Phoebe is a righteous little project put together by Spike Lee's father, Bill Lee, and his brothers and sisters (Cliff Lee, Grace Lee Mims, and Consuela Lee Moorhead) – working here in a group named after their slave ancestors, who are paid tribute in a beautifully flowing batch of tunes! Lee's round, warm bass tones are firmly at the head of the group on most numbers – recorded at a similar level to his excellent work with Clifford Jordan on Strata East during the same time – and other instrumentation includes piano from Consuela, flugelhorn from Cliff, and percussion from Sonny Brown and Billy Higgins – all used in a wonderfully evocative style that's even better than some of Lee's later soundtrack work. A few numbers feature vocals from Grace – singing wordlessly and with a really heavenly sort of quality – and together, the whole group have a undeniable sense of power and majesty, yet also one that's touched by a really personal sense of poetry too. Titles include a great version of Lee's "Coltrane", which was more famously recorded with Clifford Jordan – plus "Chick Chick", "Attica", "Too Little, Too Late", "Boll Weevil", "Don't Be A Stranger", and "Well Done, Weldon". CD

Sublime spiritual jazz from Strata East – one of the label's rarest recordings, and one of its hippest too! The set has an incredibly righteous feel – a blend of keyboards, saxes, guitar, percussion, and vocals that steps off with a very deep feel – one that's heavy on the best post-Coltrane modes of expression in jazz, and which really takes advantage of the freedoms of the Strata setting to open up the sound in really beautiful ways! Beatrice Parker handles the vocals, with a very warm and spiritual style that's not unlike some of the early, righteous recordings by Dee Dee Bridgewater – and other group members include Khaliq Abdul Al Rouf on saxes, Bevin Turnbull on keyboards, Mashujaa Aliye Salamu on guitar, Leroy Seals on bass, and Fred Kwaku Crawley on a host of hip percussion instruments. There's a slight undercurrent of funk on a few tunes, but most tracks are focused more in a soaring, spiritual groove – with titles that include "Circles", "The Sojourner", "Peace (Salaam)", "Traces Of Trane", "Ecstasy", "Music Is Nothing But A Prayer", and "Malika". CD

Weldon Irvine meets Strata East – and the result is one of the keyboardist's funkiest albums ever! The set's more jazz-based than the soul/funk outings Weldon cut for RCA and his own label – with great focus on Weldon's lines on clavinet and Fender Rhodes – supported by sweet guitar lines and lots of heavy percussion – often a mix of drums and congas, which really sounds great. Pianist Virginia Joe Jones joins the group on a few cuts – but the main star here is definitely Weldon, who sparkles wonderfully on some spiritual keyboard solos. Titles include "Pleasure Pain & Me", "Marjorie Moon", "Down Home", "Fat Mouth", "Turkish Bath", and "Gemini Mood". CD

A totally fantastic record from tenorist Clifford Jordan – maybe his most sophisticated session ever, and an album that was originally intended for release on Strata East in the mid 70s, but which has never seen the light of day before! Here, Jordan expands on the spiritual modes of classics like In The World and Glass Bead Games – working with a larger lineup that also brings in some vocals at points – all set to incredible arrangements from bassist Bill Lee! Given the vocals, there's an approach here that's a bit like Lee's Descendants Of Mike & Phoebe album, but there's also a great lineup of hip Strata musicians too – including Stanley Cowell on piano, Dick Griffin on trombone, Bill Hardman on trumpet, and Charlie Rouse on bass clarinet – a group that's every bit as great as you might expect. Main vocals are handled by Donna Jordan Harris and David Smyrl – and titles include "Witch Doctor's Chant", "Drink Plenty Water & Walk Slow", "The Highest Mountain", "I've Got A Feeling For You", "My Papa's Coming Home", and "Talking Blues". CD

An essential bit of 70s soul jazz – a real standout in both the catalogs of tenorist Clifford Jordan, and the Stata East label! This is one of those few records where every element is perfect, and all players rise together to a new level of expression – and we'd easily rank this one right up there with John Coltrane's Love Supreme or Pharoah Sanders' Kharma for sheer magnitude of sound and message! Clifford Jordan is at the height of his tenor powers – cutting sharp lines, stretching out his notes, and hitting all these dark edges that had never appeared in his work – and the rest of the group is great too – with Stanley Cowell on piano, Bill Lee on bass, and Billy Higgins on drums. Higgins is amazing, and gives the set a sort of lyrical freeplay that makes Jordan's hard solos come alive in a magical way – and Cedar Walton also plays piano on a few numbers, pushing things forward with the sense of warmth and imagination that always made him a treat in the 70s! Every cut's a winner, and the set list includes "John Coltrane", "Alias Buster Henry", "Glass Bead Games", "Biskit", and "Bridgework". Great stuff, and a huge amount of music! CD

An essential bit of 70s soul jazz – a real standout in both the catalogs of tenorist Clifford Jordan, and the Stata East label! This is one of those few records where every element is perfect, and all players rise together to a new level of expression – and we'd easily rank this one right up there with John Coltrane's Love Supreme or Pharoah Sanders' Kharma for sheer magnitude of sound and message! Clifford Jordan is at the height of his tenor powers – cutting sharp lines, stretching out his notes, and hitting all these dark edges that had never appeared in his work – and the rest of the group is great too – with Stanley Cowell on piano, Bill Lee on bass, and Billy Higgins on drums. Higgins is amazing, and gives the set a sort of lyrical freeplay that makes Jordan's hard solos come alive in a magical way – and Cedar Walton also plays piano on a few numbers, pushing things forward with the sense of warmth and imagination that always made him a treat in the 70s! Every cut's a winner, and the set list includes "John Coltrane", "Alias Buster Henry", "Glass Bead Games", "Biskit", and "Bridgework". Great stuff, and a huge amount of music! CD

An essential bit of 70s soul jazz – a real standout in both the catalogs of tenorist Clifford Jordan, and the Stata East label! This is one of those few records where every element is perfect, and all players rise together to a new level of expression – and we'd easily rank this one right up there with John Coltrane's Love Supreme or Pharoah Sanders' Kharma for sheer magnitude of sound and message! Clifford Jordan is at the height of his tenor powers – cutting sharp lines, stretching out his notes, and hitting all these dark edges that had never appeared in his work – and the rest of the group is great too – with Stanley Cowell on piano, Bill Lee on bass, and Billy Higgins on drums. Higgins is amazing, and gives the set a sort of lyrical freeplay that makes Jordan's hard solos come alive in a magical way – and Cedar Walton also plays piano on a few numbers, pushing things forward with the sense of warmth and imagination that always made him a treat in the 70s! Every cut's a winner, and the set list includes "John Coltrane", "Alias Buster Henry", "Glass Bead Games", "Biskit", and "Bridgework". Great stuff, and a huge amount of music! CD

One of the most ambitious albums ever recorded from Clifford Jordan – a totally righteous little effort that was the first installment in the legendary Dolphy Series on the Strata East label! The set has Jordan working with a larger group than usual – an all-star array of players that includes Kenny Dorham and Don Cherry on trumpets, Julian Priester on trombone, Wynton Kelly on piano, Wilbur Ware and Richard Davis on bass, and drums from Roy Haynes, Ed Blackwell, and Albert Heath. The titles are originals by Jordan – long numbers that flow out slowly as they build up new musical ideas – all in a style that's somewhat laidback and spacious, very organic, and a bit like some of the best early 70s Impulse material by Archie Shepp. Album features 4 long tracks – "872", "Vienna", "Doug's Prelude", and "Ouagoudougou". CD

One of the coolest albums ever recorded by female organist Shirley Scott – a very hip set that's got a very different flavor than her earlier work for Prestige and Impulse Records! As you might guess for a date issued on the Strata East label, the approach here is very soulful, and very far-reaching – much longer, looser tracks than Shirley Scott ever served up before – done with superb accompaniment from Harold Vick on tenor – a player who's also at his hippest here, and really showing off all the many changes in his style that he'd picked up since the 60s! All tracks are originals, and the group features Billy Higgins on drums and Jimmy Hopps on some additional cowbell – leaving Shirley to handle the bass parts with her Hammond, in a way that is groovier and more rhythmic than some of her work in the past. A gem through and through – with titles that include "What Makes Harold Sing", "Do You Know A Good Thing When You See One", "Big George", "Keep On Movin On", and "Don't Look Back". CD

A tremendous record from one of the hippest soul singers ever – and an album that has Gil Scott-Heron really pushing forward after his initial classics for the Flying Dutchman label! There's less spoken material here and more sung passages – as Gil's really discovering his confidence as a singer, moving effortlessly between jazz and soul – and getting superb accompaniment from Brian Jackson, who plays both acoustic and electric piano next to Gil's electric. Backings are spare – just bass and drums – and it's no surprise that the album was released on the legendary Strata East label, as it rivals the rest on that imprint for righteous spiritual power! Titles include Gil's classic "The Bottle" – which went on to become a huge hit in many versions – plus the beautiful "Your Daddy Loves You", heard here in the original version – and the tunes "Peace Go With You Brother", "Back Home", "Rivers Of My Fathers", and "A Very Precious Time". CD

A tremendous record from one of the hippest soul singers ever – and an album that has Gil Scott-Heron really pushing forward after his initial classics for the Flying Dutchman label! There's less spoken material here and more sung passages – as Gil's really discovering his confidence as a singer, moving effortlessly between jazz and soul – and getting superb accompaniment from Brian Jackson, who plays both acoustic and electric piano next to Gil's electric. Backings are spare – just bass and drums – and it's no surprise that the album was released on the legendary Strata East label, as it rivals the rest on that imprint for righteous spiritual power! Titles include Gil's classic "The Bottle" – which went on to become a huge hit in many versions – plus the beautiful "Your Daddy Loves You", heard here in the original version – and the tunes "Peace Go With You Brother", "Back Home", "Rivers Of My Fathers", and "A Very Precious Time". Plus, this US reissue has 4 bonus cuts, including live versions of "Winter In America", "Your Daddy Loves You", and "The Bottle/Guan Guanco" – and an alternate take of "Song For Bobby Smith". CD

A massive set of work from trumpeter Charles Tolliver – a 3CD package that contains seminal live work from Tolliver's Strata East years, plus bonus previously unreleased titles from the concerts! The first half of the collection features work from Tolliver's seminal Live At Slug's albums – both recorded on the same night in 1970, and done with a free-thinking, spiritually soaring energy that set a whole new tone for live jazz in the 70s! For the records, Tolliver fronts the classic Music Inc lineup – a group that includes Stanley Cowell on piano, Cecil McBee on bass, and Jimmy Hopps on drums. Tolliver is stunning on trumpet – and he and Cowell handle the majority of the solos with the kind of imagination that characterized this strong point in both of their careers. Slugs titles include the previously unissued "On The Nile", "Ruthie's Heart", and "Repetition" – plus "Drought", "Felicite", "Orientale", and "Spanning". Next up is the equally great Live In Tokyo album – recorded 3 years later with a similar group that includes Cowell on piano, Clint Houston on bass, and Clifford Barbaro on drums – and although Tolliver's trumpet solos are always a treat, the interplay between Houston's bass and Cowell's piano is enough reason to buy the record! The highlight of the album is a great take of Cowell's modal groover "Effi", but the set also contains some masterful compositions by Tolliver – long versions of "Truth", "Stretch", and "Drought". Previously unissued titles include "Our Second Father", "Impact", and "Earl's World". Complicated, spiritual work – even more so than some of Tolliver's studio sessions! CD

The first moment of genius from trumpeter Charles Tolliver – a set that wasn't originally issued on the Strata East label, but which really set the tone for all the genius to follow on Tolliver's label! At the time of the record, Charles was part of a whole new generation of hardboppers who were coming up in a world of new ideas – a time when Coltrane, Shepp, and Ayler were transforming the left side of jazz – while other musicians were pushing the boundaries of more familiar modes too. Tolliver worked with Horace Silver, Max Roach, and others at the time – and here, he's a brilliant leader right out of the box – set up with an all-star combo that features Herbie Hancock on piano, Ron Carter on bass, and Joe Chambers on drums – perfect partners for exploring the new music that Charles brings to the record. Gary Bartz joins the group on the second half – another young player about to transform a generation – and the whole album's a dream all the way through, with the mix of soul and spirit of some of Woody Shaw's first records, or maybe Bartz's first few albums for Milestone. Titles are all Tolliver originals – and include "Household Of Saud", "Earl's World", "Paper Man", "Lil's Paradise", and "Right Now". Also features a bonus track – "Repetition (take 2)". CD

A lost fusion classic from the early 70s – one of the only records cut under the leadership of drummer Horacee Arnold, but a heck of a great little set with a soaringly righteous sound! The style here is plenty full-on, but a bit less rock-leaning than some of the other Columbia fusion of the period – thanks to a spacious vision on Arnold's part, and the inclusion of a fair bit of sounds from world music. Players on the set include Art Webb on flute, Sonny Fortune on soprano sax, John Abercrombie on guitar, David Friedman on vibes and marimba, Dom Um Romao on percussion, and Jan Hammer on moog and electric piano – and although there's a fair bit of guitar in the mix, the other acoustic elements are kept nice and high too – for a blend that's almost like some of the best Brazilian fusion from later years, touched by a slightly funkier sound! Tracks really stretch out nicely, allowing for plenty of solo space as they roll on, in a way that's almost a cross between Strata East and some of the more familiar mainstream fusion modes of the time. Very hip stuff, with titles that include "Benzele Windows", "Tales Of The Exonerated Flea", "Euroaquilo Silence", "Puppet Of The Seasons", "Sing Night Jar", and "Delicate Evasions". CD

Early soul jazz brilliance from a young Gary Bartz – music that pre-dates his Ntu Troup, and his work with Larry Mizell! Libra is fantastic early work from Gary – and probably his rarest record ever! The album was cut at a time when the young Bartz was first coming to prominence in the hip late 60s soul jazz group of Max Roach – and Bartz's playing at the time is a perfect model of mid-Coltrane searching with some of the tighter sides of soul jazz that were being forged at labels like Blue Note by players like Hank Mobley or Lee Morgan. The record's a masterpiece of youthful soulful energy – and the group includes Jimmy Owens on trumpet, Richard Davis on bass, Albert Dailey on piano, and Billy Higgins on drums, all players who are perfectly matched to fit Bartz's stridently creative vision. His solos on alto are impeccable – some of the most meaningful we've ever heard on the instrument from the time – and the album's a great one all the way through! Titles include "Air & Fire", "Eastern Blues", "Libra", "Freedom Of The Day", and "Cabin In The Sky". Another Earth is amazing too – one of the first that Gary Bartz ever cut – done during a time when he'd been working with Max Roach and a super-hip group of younger soul jazz players who would go onto shape the sound of the 70s. Bartz leads a group that includes Stanley Cowell, Freddy Waits, Charles Tolliver, Pharoah Sanders, and Reggie Workman – and the music sounds like it was lifted from one of the best albums on Strata East from the 70s. There's no funk, no vocals, no weird rhythms – just pure spiritual jazz, played to perfection, and filled with a creative vitality that most of the players had lost a few years later. Tracks include the album-side "Another Earth", plus "Dark Nebula", "UFO", and "Perihelion & Aphelion". Note: CD omits the track "Disjunction" from Libra – due to space restrictions. CD

Early soul jazz brilliance from a young Gary Bartz – music that pre-dates his Ntu Troup, and his work with Larry Mizell! Libra is fantastic early work from Gary – and probably his rarest record ever! The album was cut at a time when the young Bartz was first coming to prominence in the hip late 60s soul jazz group of Max Roach – and Bartz's playing at the time is a perfect model of mid-Coltrane searching with some of the tighter sides of soul jazz that were being forged at labels like Blue Note by players like Hank Mobley or Lee Morgan. The record's a masterpiece of youthful soulful energy – and the group includes Jimmy Owens on trumpet, Richard Davis on bass, Albert Dailey on piano, and Billy Higgins on drums, all players who are perfectly matched to fit Bartz's stridently creative vision. His solos on alto are impeccable – some of the most meaningful we've ever heard on the instrument from the time – and the album's a great one all the way through! Titles include "Air & Fire", "Eastern Blues", "Libra", "Freedom Of The Day", and "Cabin In The Sky". Another Earth is amazing too – one of the first that Gary Bartz ever cut – done during a time when he'd been working with Max Roach and a super-hip group of younger soul jazz players who would go onto shape the sound of the 70s. Bartz leads a group that includes Stanley Cowell, Freddy Waits, Charles Tolliver, Pharoah Sanders, and Reggie Workman – and the music sounds like it was lifted from one of the best albums on Strata East from the 70s. There's no funk, no vocals, no weird rhythms – just pure spiritual jazz, played to perfection, and filled with a creative vitality that most of the players had lost a few years later. Tracks include the album-side "Another Earth", plus "Dark Nebula", "UFO", and "Perihelion & Aphelion". Note: CD omits the track "Disjunction" from Libra – due to space restrictions. CD

A spiritual jazz classic – one of the rarest albums of its type from the 70s! This legendary session was recorded by Roy Ayers' keyboardist Harry Whitaker – working here as the leader of the Black Renaissance group, a one-shot ensemble that featured Woody Shaw on trumpet, Azar Lawrence on saxes, Buster Williams on bass, and Mtume on percussion. The session was cut in New York in 1976, but only issued on a rare album that came out briefly in Japan. Yet somehow, the quality of the work and the depth of soulfulness have created a strong aura about the session – making it an oft-cited influence by a generation of DJs and soul jazz listeners. The album only features 2 long tracks – both of them strong ensemble numbers that build modally searching grooves in a Strata East-like style, peppered with voices, both sung and spoken, in a hip, socially conscious mode. Both tracks – "Black Renaissance" and "Magic Ritual" are excellent, on a par with the best 70s spiritual soul jazz! CD

An amazing album that has Art Blakey completely reinventing himself for the 70s! Blakey shifts from straight hardbop to kind of a modal soul jazz groove, touched with some of the electric playing of the younger jazz generation, but not enough to qualify as fusion or funk. Instead, he's working with some great younger players – like Carter Jefferson, Woody Shaw, and Michael Howell – hitting a groove that reminds us of some of the best underground soul jazz on labels like Muse or Strata East. Includes the amazing long groovers "Mission Eternal" and "Chant For Bu", a famous Tribe Called Quest sample – plus new electric piano versions of "Moanin" and "Along Came Betty", both of which feature vocals by Jon Hendricks. CD

Seminal Art Blakey material from the early 70s – a real change from his 60s vibe on Blue Note, in a style that really opens up to a host of more spiritual touches! The album's a counterpart to the classic Buhania set, also issued on Prestige at the time – and like that record, this one features a very spiritual group of younger players, and some slight electric touches too – all with a sound that's almost at the level of work on the Strata East or Black Jazz labels! Players include Woody Shaw on trumpet, Ramon Morris on tenor and flute, George Cables on piano and Fender Rhodes, and Buddy Terry on soprano sax – and tracks are nice and long, often with a hip modal groove. Titles include "Child's Dance", "CC", and "Song For A Lonely Woman". CD also includes some nice bonus cuts: the amazing "Kaku Aka", which is 15 minutes long, and has never been reissued, plus "Anthenagain" and "I'm Not So Sure", which are both from another Blakey Prestige session. CD

A record that continues that journey past jazz that reedman David Boykin has given us on a few recent releases – an EP that features two surprisingly soulful cuts, yet which still have some great tenor solos as well! Manu Wise delivers some lyrics on "Calculations" – a cut that has this really wonderful slow-stepping, soulful glow –summed up wonderfully by David's tenor solo at the end! "Love In The Afternoon" is even cooler – a stepping funky number with vocals from a trio of singers and a bit of turntable work – really wonderful, and with a quality that's as if Strata East released a soul single back in the day! CD

Amazing sounds from the righteous Roy Brooks – a drummer who worked strongly in the soul jazz mainstream of the 60s, then stepped out into even headier territory here in the 70s! The album's a spiritual masterpiece all the way through – an album on par with early 70s Impulse sides from Pharoah Sanders or Archie Shepp, or the best from Strata East – cut with a similar blend of righteous rhythmic undercurrents, freewheeling solos, and vocalizations that really help underscore the message in the music! The lineup is filled with players as powerful as Brooks – Joe Bonner on piano, Reggie Workman on bass, Cecil Bridgewater on trumpet, Sonny Fortune on tenor and soprano saxes, and John Stubblefield on oboe – plus vocals by Dee Dee Bridgewater, who's easily at her most righteous here. The album features the long "Black Survival" suite – with passages that include "Here & Now", "Prologue", "Sahel", and "Relief". CD

Two rare albums from one of the greatest modern pianists ever! Jaki Byard With Strings is a wonderful album – and nothing like any other "with strings" album you've ever heard! Sure, the set does have some stringed instruments in the group – but it's a small combo session with bass, violin, guitar, and cello, not a large overly-orchestral affair. Byard's mad vision uses these strings wonderfully to carve out some oddly arranged tunes that mix together soul jazz grooving and a haunting spiritual approach to jazz that points at later work on labels like Strata East. Includes a sublime remake of "Music To Watch Girls By", "Falling Rains Of Life", "Cat's Cradle Conference Rag", and a long version of "How High The Moon". Solo Piano is an obscure set from 1969, featuring Byard's lonely musings on the keyboard on shorter tracks that reference a huge history of traditions. Titles include "Seasons", "Spanish Tinge 2", "Hollis Stomp", "Top Of The Gate Rag", and "Ray's Blues". CD

A really landmark album in soulful jazz for the 60s – a set that takes the already-great energy of the young trumpeter Donald Byrd, and mixes it with some voices borrowed from gospel music bur turned towards modern jazz – all in a style that's very similar to some of the Max Roach experiments from the time! The core group is really great – with tenor from Hank Mobley, guitar from Kenny Burrell, and piano from Herbie Hancock – plus vibes from the obscure Donald Best, an instrument that you don't always hear on Donald Byrd's albums! Added to this group are voices directed by Coleridge Perkinson, a very hip cat who takes the voices far away from cliched modes of earlier years – and into some very righteous territory that makes the record one of Donald Byrd's first really powerful statements as a leader. Duke Pearson handled the arrangements, and the sound is beautiful and spiritual, with a sound that mixes Blue Note hardbop with a style that would later show up on labels like Strata East, or in the experiments of Max Roach and Billy Harper. The tracks are long and moody, and the vocal group never gets in the way, but instead backs Byrd in a way that lets him hit new heights, and which gives him a stronger sense of voice. Titles include the classic "Christo Redentor", plus "Chant", "The Black Disciple", and "Elijah". CD

A legendary early set from percussionist Francisco Mora Catlett – and a really sublime blend of spiritual jazz and Latin rhythms! Mora's percussion is definitely at the core – but the set also features wonderful contributions from Vincent Bowens on tenor and soprano sax, Jerome LeDuff on berimbau, Alberto Nacif on quinto, and Detroit jazz legend Kenny Cox on piano! There's a balance here that really matches the best Strata East energy of the 70s – an open, flowing approach that's completely sublime, and very righteous too – even more so than anything Mora's done since the 70s – making this record one of his greatest achievements ever. Tersa Mora sings a bit of vocals at times – and titles include "Afra Jum", "Five AM", "Rumba Morena", "Samba De Amor", and "Cultural Warrior". CD has an insane amount of bonus tracks – 8 more than the original album – with titles that include "Old Man Joe", "Afra Jum", "Amazona", "Por Que Paro", and "El Morro". CD

A pair of great albums back to back – both rare albums from a percussionist who worked with Sun Ra! First up is Mora volume 1 – a legendary early set from percussionist Francisco Mora Catlett – and a really sublime blend of spiritual jazz and Latin rhythms! Mora's percussion is definitely at the core – but the set also features wonderful contributions from Vincent Bowens on tenor and soprano sax, Jerome LeDuff on berimbau, Alberto Nacif on quinto, and Detroit jazz legend Kenny Cox on piano! There's a balance here that really matches the best Strata East energy of the 70s – an open, flowing approach that's completely sublime, and very righteous too – even more so than anything Mora's done since the 70s – making this record one of his greatest achievements ever. Tersa Mora sings a bit of vocals at times – and titles include "Afra Jum", "Five AM", "Rumba Morena", "Samba De Amor", and "Cultural Warrior". Mora 2 is a set recorded in Detroit, but one that's got a globe's worth of elements in the mix – originally recorded in the mid 80s, but not released until a brief CD issue in the early part of the 21st Century! Despite that history, the album's a really timeless record that encompasses a world's worth of elements in jazz! Francisco Mora Catlett's at the height of his powers here – leading the group with a sense of righteous majesty that takes us back to some of the most ambitious heirs of the post-Coltrane generation, but with perhaps an oddly rhythmic twist as well – such as you might find in some of the 70s classics of Bobby Vince Paunetto. Echoes of Latin, Afro, and spiritual jazz come together as one – soaring to the skies on soulful waves of sound – brought together with a sense of focus and spirit that really moves us a lot. Players include Marcus Belgrave and John Douglass on trumpets, Sherman Mitchell on trombone, Vincent Bowens on tenor and flute, Alex Harding on baritone and bass clarinet, Kenny Cox on piano, and Rodney Whitaker on bass – and titles include "Samba/Conga De Amor", "Amazona Prelude/Dawn", "Old Man Joe", "Por Que Paro", and "Afra-Jum (parts 2 & 3)". CD

Excellent work from Steve Coleman and his Five Elements group – just the sort of record that reminds us why Coleman's records for the past few decades have always been ones to catch! Steve works in this beautifully angular mode that seems to take some of the jazz changes from the downtown early 80s scene, and re-fuse them with new energy that's helped them make the journey to the 21st Century – kind of a newly-fresh approach to rhythmic expression, given a deeper soul. Jen Shyu adds some great vocals to the group – sometimes singing a mode you might her on 70s Strata East – sometimes hitting more adventurous notes, ala Jeanne Lee – and other instrumentation includes Coleman's alto, trumpet from Jonathan Finlayson, trombone from Tim Albright, bass from Thomas Morgan, and drums from Tyshawn Sorey. Titles include "Clouds", "Flos Ut Rosa Floruit", "Vernal Equinox 040320-0419", and "Beba". CD

An album that really lives up to its title – as the record sets out to prove to the world that Isaiah Collier is one of the most almighty talents on the saxophone in recent years! The album has a spiritual majesty that tops even the previous album with the Chosen Few group – as in addition to work from the quartet that includes Julian Davis Reid on piano, Jeremiah Hunt on bass, and Michael Shekwoaga Ode on drums – the group adds in extra instrumentation, light strings, and added horns at times too – all of which push the music into territory that's right up there with Nimbus or Strata East back in the glory days! Collier is a true jazz visionary, and his message here is bold and brilliant – given some key support from older Chicago legends who include saxophonist Ari Brown on one track, and vocalist Dee Alexander on another – getting maybe one of her most beautiful showcases ever on record. Titles include "Love", "Compassion", "Duality Suite", "The Almighty", and "Perspective (Peace & Love)". CD

A classic set of spiritual fusion from this short-lived allstar group Compost – featuring Harold Vick, Bob Moses, Jumma Santos, and Jack DeJohnette! Vick's at his moody soulful best here, in a mode that's similar to his Strata East work – and the record also features occasional vocals by Lou Courtney and Jeanne Lee. They hit a fairy feverish, funky jazz mode throughout, and every player is in incredible form here. Titles include "The Ripper", "Moonsong", "Changing Streams", "Mon Cherry Popsicool", "Compost Festival", "Life Is Round", and "Buzzard Feathers". CD

A really unusual album from the mighty Chick Corea – a set recorded at the end of the 60s, at a time when Chick's star was just beginning to rise – but in a style that's both very different than his famous material of the 70s, and his avant fame as part of the group Circle! Chick's definitely got some of the harder, freer tones that he brought to Circle – but overall, there's more of a sense of spiritual jazz to the record – as Chick plays acoustic throughout, in a wonderful lineup that features Woody Shaw on trumpet, Hubert Laws on flute, Dave Holland on bass, and both Jack DeJohnette and Horacee Arnold on drums! The whole thing's got a vibe that's a lot more like Strata East than most other records that Sonny Lester ever produced – and titles include "The Brain", "Song Of Wind", "Converge", and "Sundance". CD

A magical session of equally-matched players – one that's less of a straight trio set than a joint collaboration between piano, bass, and drums! Stanley Cowell's work on the keys is certainly a strong force in the set – but the loose and lively drum work of Waits is every bit as much a key factor in the set, as is the bass work of Williams – which is recorded here with just the right sense of depth and tone to bring out the nuances in his playing. The whole thing dances amazingly with a sense of joy and life that surpasses most of Cowell's other small group work from the period – done with an energy that's quite different than the Strata East years, but no less compelling. Titles include "Winter Reflections", "Deceptacon", "Air Dancing", "Sendai Sendoff", "Christina", and "Sienna Welcome My Darling". CD

A great bit of work from the hip LA scene that centered around the Nimbus label at the end of the 70s – a collective who work together here with the same spiritual jazz modes you'd find on labels like Tribe or Strata East! The group features some bigger names from the scene, including some solo Nimbus acts – plus some other overlooked players – a lineup that includes Henry Franklin on bass, George Bohannon on trombone, Wilbert Hemsley on tenor, Dadesi Komolafe on flute, Jeff Clayton on baritone, and Gary Bias on alto and soprano sax. The album's also got some beautiful vocals from BJ Crowley – who co-leads the group, and sings out with a proud righteousness that recalls some of Dee Dee Bridgewater or Jean Carn's early early soul jazz recordings. The tracks are all long and spiraling numbers – never really "out", but in a free searching mode that's a perfect platform for the piano work of the other co-leader, Kaeef Ruzadun. Titles include "One Step Out", "Flashback Of Time", "All Praises Due", and "Stars In Lightyear Time". CD

A great bit of work from the hip LA scene that centered around the Nimbus label at the end of the 70s – a collective who work together here with the same spiritual jazz modes you'd find on labels like Tribe or Strata East! The group features some bigger names from the scene, including some solo Nimbus acts – plus some other overlooked players – a lineup that includes Henry Franklin on bass, George Bohannon on trombone, Wilbert Hemsley on tenor, Dadesi Komolafe on flute, Jeff Clayton on baritone, and Gary Bias on alto and soprano sax. The album's also got some beautiful vocals from BJ Crowley – who co-leads the group, and sings out with a proud righteousness that recalls some of Dee Dee Bridgewater or Jean Carn's early early soul jazz recordings. The tracks are all long and spiraling numbers – never really "out", but in a free searching mode that's a perfect platform for the piano work of the other co-leader, Kaeef Ruzadun. Titles include "One Step Out", "Flashback Of Time", "All Praises Due", and "Stars In Lightyear Time". CD

One of the true soul jazz classics of the 90s! Although Andrew Cyrille is better known for some of his more "out" material, we totally dig this 1992 album – because it's got a sweeping spiritual feel, and a very soulful groove that recalls 70s work by players like Billy Harper or Marvin Hannibal Peterson! Tracks are long and very open-ended, but never go too far out – just progress along with a great sense of vision, courtesy of a group of players that includes Hannibal on trumpet, Oliver Lake on soprano and alto sax, Adegoke Steve Colson on piano, Reggie Workman on bass, and Cyrille on drums. The group is impeccably tight, and the whole thing sounds like a lost session from Strata East – with just the right mix of outside soloing and inside grooving – and titles include "Soul Brother", "The Prophet", "Shell", "Tap Dancer", "South Of The Border Serenade", and "Where's Nine". CD