A batch of eclectic postmodern soul that's as original and instantly gratifying as anything we've heard on Stones Throw! Aloe Blacc more than lives up to the expectations we had for him after hearing his first couple of Stones Throw singles. His previous work in the adventurous hip hop outfit Emanon really only hints at his solo work – and it's even more bold in its idiosyncratic approach to an appealing groove! The almost entirely self-produced Shine Through (Oh No and Madlib produce one track each) is rife with an electronic sheen, touching on a bubbling psychedelic soul vibe we've never really heard before. A couple of tracks have guitar, bass, and keys that bring a more organic, but still kind of otherworldly groove – even touching on a cosmic Latin vibe on a couple of tunes! Tracks include "Whole World", a totally re-imagined take on Sam Cooke's "Long Time Coming" (produced by Oh No), "Are You Ready", "Busking", "Bailar", "Nascimento", "Dance For Life", "Patria Mia", "Shine Through", "Caged Birdsong", "Arrive", "Want Me", "One Inna" (produced by Madlib) and "I'm Beautiful". CD

Wonderfully fuzzy work from Amanaz – one of the trippiest, headiest groups of the Zamrock scene of the 70s! The guitars here are very full and present – not at a hit you over the head jamming label, but with this rich sonic element that has lots of bassy undercurrents – at a level that makes the album a head-nodding gem all the way through – poised perfectly between some of the more psyche styles of the African scene of the time, and some of the more thoughtful singer-songwriter material. The group have a quality that's surprisingly deep – very soulful, and with a subtle power that comes through strongly – thanks to a mostly-English batch of lyrics (although a few tunes here are in their native Bemba.) No cuts are all-out funky, but all have this great slow-funk sort of charm – and titles include "I Am Very Far", "Sunday Morning", "Khala My Friend", "Green Apple", "Africa", "Making The Scene", "Easy Street", "Big Enough" and "Kale". 2CD package features a full bonus "reverb mix" of the album – even trippier! CD

Amazing stuff – and proof that there's way more to America than just their classic singles! The sound of the trio is the sweet sound of 70s pop at its best – wonderful harmonies, with a heartfelt quality that's never cloying at all – produced to perfection, yet never too slick, either! The balance is completely perfect on this early album by the trio – a set that gave the world such gems as "Sandman", "Children", "I Need You", "Rainy Day", "Never Found The Time", and "Three Roses". CD

Don't let the "alternate" in the title fool you, because it's not like the Art Ensemble Of Chicago are getting all alt-rock or anything – nor is the album a set of alternate takes! Instead, the album's one of their best from the time – a well-crafted set of tunes, recorded in very familiar company in Chicago – issued only for the Japanese market by DIW. There's a richly organic quality to some of the tunes – as many of the numbers are sparer, more thoughtful tracks that focus on spare percussion and instrumental interplay between members of the group. The album also features the longer tune "Kush", which gets fairly outside at times – plus shorter numbers that include "Imaginary Situations", "And There Was Peace", "Whatever Happens", and "Alternate Express". CD

Tracks include "Spacewalk", "Folding Time", "Bender", "Singularity", "Nightflight", and "Dimension Four". CD

A great trio setting for the tenor of Rodrigo Amado – always a treat, but especially nice here in the company of bassist Goncalo Almeida and drummer Onno Govaert – both players who have this open, elliptical way of building things up alongside Amado's lead! The tenorist has a richly soulful sound throughout, and the way the bass and drums are used is a nice evolution past both early American avant modes and later European free jazz styles – rich in sound, but never too bombastic – while freed from rhythm, but also very respectful of the tenor too. Titles include "Outer Fields", "Love Ghosts", "Encounter", and "New Tone". CD

A sweet 80s groover from the mighty Azymuth – a set that's early in their run of albums during the decade for Fantasy Records, and one that offers up a nice adaptation of the groove from their early Brazilian classics! Tracks are nice and lean, and acoustic percussion is blended with keyboard work at a level that really opens up the sound – and which makes Azymuth so different from so many other fusion outfits recording in the US during the time – as does the occasional use of wordless vocals, and that really special sense of rhythm that the group deliver so well! The set includes the classic ten minute "Last Summer In Rio" – a great Fender Rhodes number that was once a huge steppers cut in Chicago – plus the great tracks "The House I Lived In", "What Price Samba", and "May I Have This Dance". CD

Four of the more obscure RCA albums from the great Bobby Bare – all brought together here in a single set! First up is the very unusual English Countryside album – a special set that has the vocals of Bobby Bare paired with a group from the UK – Liverpool's Hillsiders, who sing with a style that's a bit folk, and a bit rock – but which takes on a very distinct country vibe amidst the RCA production of Chet Atkins! Both Bare and The Hillsiders sing solo on the record – but most of the set has them paired together, and the presence of all those voices on the tracks create a nice sense of spontaneity – maybe a hint at the more relaxed recording approach that Bobby would use on his big albums of the mid 70s! Titles include "Sweet Dreams", "Six Days On The Road", "Find Out What's Happening", "Love's Gonna Live Here", "Goin Home", "Blue Is My Lonely Room", and "I Washed My Face In The Mountain Dew". Margie's At The Lincoln Park Inn is a seminal album in the career of Bobby Bare – and the record that really has him turning from a young smiling country singer to the kind of more adult, mature talent that would really send him over the top! The album's promise of "controversial country songs" is certainly apt – as in addition to the great Tom T Hall title cut, the album also features Bare taking on great material from Kris Kristoffersen, Mel Tillis, and even the team of Spooner Oldham and Dan Penn – all set to arrangements that are nicely more sophisticated than those used on the more pop productions of some of Bobby's earlier albums. Titles include "Margie's At The Lincoln Park Inn,", "The Law Is For The Protection Of The People", "Watching The Trains Go By", "Skip A Rope", "Rainy Day In Richmond", "Cincinnati Jail", "Wild As The Wind", and "Drink Up & Go Home". I Hate Goodbyes is the record that marked the return of Bobby Bare to RCA Records in the early 70s – and one that also marks the start of a very different phase in Bare's career! This time around, Bobby's handling the production himself – working with the kind of thoughtful, mature material that would really let him open up – songs from Billy Joe Shaver, Mickey Newbury, the team of Bill Rice and Jerry Foster, and even an early tune from Shel Silverstein – who would soon become one of the biggest contributors to Bobby's records. The vibe is very different than his RCA material of the mid 60s, and in a great way – on titles that include "I Hate Goodbyes", "Restless Wind", "Ride Me Down Easy", "Send Tomorrow To The Moon", "You Know Who", "An Offer She Couldn't Refuse", "What's Your Mama's Name Child", and "Poison Red Berries". Last up is Cowboys & Daddys – an overlooked gem in the mid 70s RCA years of the great Bobby Bare – and a set that really shows the dedication that Bare had during these years to finding the most sophisticated material of the new country generation! The list of songwriters alone is great – as the set features tracks from Terry Allen, Shel Silverstein, David Hickey, and Tom T Hall – plus an early contribution from Bob McDill, with whom Bare would soon record a lot more material on albums to come. There's a mature, laidback vibe to the whole set – different than some of the more playful Bobby Bare albums of the time – and titles include "Chester", "The Cowboy & The Poet", "Amarillo Highway", "Speckled Pony", "Calgary Snow", "Last Dance At The Old Texas Moon", "Pretty Painted Ladies", and "The Stranger". CD

The only album ever by The Barrino Brothers – a stellar early 70s harmony group, and one who could sing with the best of the east coast scene of the time! The whole set's got a feel that's very much in the best mode of groups like The Modulations, Soul Generation, and even The O'Jays – as the group's got a deeper, more solid sound than some of the more fragile outfits of their era. Production is very strong – thanks to the Holland-Dozier-Holland powerhouse sound of the time – and the group's vocals are supported on a full groove that really helps send the whole thing over the top! The title cut "Livin High Off The Goodness Of Your Love" is a stone classic – and other nice tracks include "Rain", "I Had it All", and "It Doesn't Have to Be That Way". Loads of bonus tracks too – including "Trapped In A Love", "I Had It All (single)", "I Shall Not Be Moved", "Livin High Off The Goodness Of Your Love (inst)", "Livin High Off The Goodness Of Your Love (single)", "Born On The Wild (voc)", and "Born On The Wild (inst)". CD

The Maybeck solo series produced plenty of greatness when it was going on – and one of the greatest moments was this sweet solo set from Kenny Barron! Barron's one of those players we never get tired of – and while we love him in group and trio settings, he's equally magical here working by himself – opening up on these long, lyrical numbers that have a really evocative feel – beautiful runs up and down the keyboard, but in ways that are extremely thoughtful and well-paced – and not just an unbridled display of his talents. There's a sense of soul to the set that never lets up – and titles include "Bud Like", "Witchcraft", "Sunshower", "And Then Again", "Skylark", and "Spring Is Here". CD

A soaring set from the great Robbie Basho – one of the most unique artists of his generation! Basho's often mentioned in the same breath as John Fahey, but a record like this really shows his difference – as the record not only features wonderful work on both 6 and 12 string guitar from Basho, but also has lots of these oddly-sung, surprisingly heartfelt lyrics – in a mode that's quite far from folk roots, and which instead has this really soulful warbling that really adds a lot to the spirit of the tunes. The only other instrumentation is some very cool work on the South Indian log drum – and titles include "Omaha Tribal Prayer", "Sweet Medicine", "Roses & Gold", "Joseph", "Blue Corn Serenade", and "Wounded Knee Soliloquy". CD

Low-burning tenor from Jerry Bergonzi – a player we grow to appreciate more and more as the years go by! Jerry starts this set off with a great reading of Joe Henderson's "Inner Urge" – which is a very apt choice, as Bergonzi's tenor has all the deep soul and modern edges we loved in Henderson's early Blue Note work – a real breath of fresh air when Jerry first came on the scene, and still holding up beautifully over the years! Mulgrew Miller's piano provides some great support here, too – supporting Bergonzi's vibe beautifully with lots of dark, thoughtful lines – even on the ballad numbers – and the rest of the group features Adam Nussbaum on drums and Dave Santoro on bass. In addition to "Inner Urge", other titles include "Jones", "Red's Blues", "On The Brink", and "Everything Happens To Me". CD

This ultra-hip ensemble is celebrating its 10th Anniversary – and in doing so, has maybe given us their best album yet! The group's overflowing with work from an all-star lineup – Wayne Escoffery on tenor, Jeremy Pelt on trumpet, James Burton III on trombone, Victor Gould and Xavier Davis on pianos, Vicente Archer and Rashaan Carter on basses, and Johnathan Blake and Mark Whitfield Jr on drums – the last two pairs of whom shift in and out of the ensemble as the set moves on – but with such rock-solid energy, there's a unified vibe to the whole set. Some of the best tracks have this soaring, searching energy – and the whole album's got a very visionary approach, served up by musicians who are looking to do way more than just run through a few standards. Titles include "Black Heart", "Cold Switching", "Soliloquy", "Lookin For Leroy", "Coming Of Age", and "Truth To Power". CD

A sweet set of 70s spiritual jazz from Argentine tenor player Chivo Borraro – one of his best albums of the time, and a really wonderful session with lots of nice touches! The record features Borraro playing keyboard effects, in addition to his usual tenor – and it also features some additional keyboards by Fernando Gelbard, who plays both Fender Rhodes and ring modulator on the album, working things wonderfully as he did on his own albums of the time. This wealth of keyboards gives the album a spacious feel – keys soaring out into space, creating platforms for solo work on sax, and a space to showcase the talents of Stenio Mendes, who plays the 12-stringed craviola on the album. There's lots of post-Coltrane exploration to the record – and titles include "Mi Amgio Tarzan", "Cancion De Cuna Para Un Bebe Del Ano 2000", "Lineas Torcidas", and "La Invasion De Los Monjes". CD also features two bonus tracks – "Intro/Mi Amigo Tarzan" and "Mi Amigo Tarzan (alt take)". CD

A classic double live set from David Bowie – recorded during his years as The Thin White Duke (as you might guess from the cover!), but featuring a fair bit of material from the Ziggy Stardust years! The music is pretty straightforward, and pretty rocking – lots of fuzzy guitar in the Diamond Dogs/Aladdin Sane mode – played by a group with Earl Slick on guitar and Michael Kamen on electric piano and moog. Titles include "Rebel Rebel", "1984", "Knock On Wood", "Here Today Gone Tomorrow", "Watch That Man", "Cracked Actor", "All The Young Dudes", "Width Of A Circle", "Jean Genie", "Rock N Roll Suicide", "Big Brother", and "Panic In Detroit". CD

The original version of Brel's music, presented to American audiences – with translations by Mort Shuman and Eric Blau – and performances by Shuman, Elly Stone, Shawn Elliott, and Alice Whitfield. CD

Georgeous and richly emotion instrumental textures from Richard Skelton's working again as A Broken Consort – crafting layers of atmospheric, evocative mood on Crow Autumn! Skelton's earlier limited edition 2 part alternate version was released on his own Sustain-Release label, and giving it a broader platform and reworked presentation is the Tompkins Square label, home to long lost relics and modern treasures like this one alike. Skelton makes a unique layer of sounds from acoustic, organic instrumention, and it's wonderful, compelling stuff. Titles include "Day Reveals", "A Mercy Kill", "Like Rain", "Mountains Ash", "The River", "Beneath" and "Leaves". CD

A 10th Anniversary performance by the Chicago Tentet – a wonderful group that's become the fruitful union of saxophonist Peter Brotzmann with a younger generation of players who were working heavily on the Chicago scene at the time! Back when the group first started, it was something of an experiment – but over the following decade, the ensemble won great attention for their playing, and for good reason too – considering the solo contributions of players like Ken Vandermark and Mats Gustafsson on reeds, Joe McPhee on trumpet and tenor, Johannes Bauer on trombone, Kent Kessler on bass, and Paal Nilssen Love on drums – all working under the visionary leadership of Peter Brotzmann! The tracks are all somewhat long and open-ended – almost more spacious than on other Chicago Tentet records, with a freely improvised feel. Titles include "Ten By Ten", "Little By Little", and "Step By Step". CD

A pair of King Jammy sets, both making their CD debut – and presented here with bonus tracks too! First up is The Exit – a stunning set from Dennis Brown, and the kind of record that shows why he was one of the most soulful singers of the early digital scene! King Jammy put the set together, and uses all these bits borrowed from dub, but in a sparing way – so that Dennis is allowed to step out strong, in a very straightforward way – crafting these wonderful vocals next to sweet electro bits and warmer rhythms – on titles that include "The Exit", "Too Late", "Dance All Night", "Tracks Of Life", "We Should Make Love", and "Material Girl". Added to the set is another great Jammy's production, but one that was never released at the time – the album Hold Your Corner, with vocals from Al Campbell – a mighty great singer, and one with a sweetly crackling style! Titles on that record include "Hot Love", "Big Wheel", "Equalise It", "Stop You Fussing & Fighting", and "Buss Them Shut". The CD also features four more Jammy's productions – on cuts that include "She's Done With It" and "I Love You" by The Mighty Rudo, and "She Only Want Something" and "Crucial Lover" by Leroy Smart. CD

A stunning double-length collection of work from dub producer Errol Brown – a massive 42 tracks in all, each of which definitely live up to the "tip top" promised in the title! The work here is from the years 1977 and 1978 – all originally issued on the High Note or Sky Note labels, at a time when Brown's talents in the studio were able to completely transform elements from contemporary tunes, and take them into all sorts of wonderful new directions with instrumentation help from The Revolutionaries! There's plenty of echo throughout, but most tunes also have a very straightforward vibe too – lean and forward-moving, without getting too bogged down in the production – just using the right elements to make everything sound super-cool throughout. The set features 25 tracks that have never been on CD amidst the total of 42 – and tracks include "Phase One Special", "Roots Man Dub", "Dancing Dub", "Wooga Man", "King Ruler", "Ital Dub", "Dub Walla", "Chapter 15", "Know Your Friend Version", "Strictly Roots"- "Lizard Version", and "Dub In Dreamland". CD

A pare of rare European sessions from saxophonist Marion Brown – back to back on a single set! First up is Gesprachsfetzen – a really wonderful collaboration between alto saxophonist Marion Brown and vibist/reedman Gunter Hampel – a set that's maybe one of the sharpest to come out of their work together! The music has maybe even sharper edges than some of Brown's previous records – a dose of some of the European modernism in which Hampel was steeping himself, but also with some more organic, spiritual qualities on the solos – not just Brown's, but the work of trumpeter Ambrose Jackson – who's pretty great here too. AACM legend Steve McCall is also in the group on drums and percussion, along with bassist Buschi Niebergall – and the set was recorded live, with titles that include "Gesprachsfetzen", "Exhibit A", "Babudah", "Tomorrow Is The Beginning Of The End Of Yesterday", and "Aba". In Sommerhausen is one of the key records that alto saxophonist Marion Brown made while working on the German scene at the end of the 60s – an incredibly fruitful period that seemed to unlock all this new energy in Brown's music in a mode that was similar to what happened when Don Cherry started making time on the European scene! Brown's key partner here is Gunter Hampel – who plays vibes, bass clarinet, and percussion – the latter of which is handled by the other members of the group too – a lineup that includes Ambrose Jackson on trumpet, Daniel Laloux on bass, and Steve McCall on drums – playing here before his better-known work with the AACM. Jeanne Lee brings some lovely vocalizations to the set – and titles include "Dance No 1", "Exhibit B", "Il Ne Chant Pas", "The Sound Of A Song", and "Malipieros Midnight Theater". CD

Alto saxophonist Rob Brown really shines in a setting like this – a record with a very open-ended vibe, as Brown improvises freely in tandem with Juan Pablo Carletti on the drums – spinning things out over two very long tracks that are full of delightful surprises at every twist and turn! Brown has a really great way of handling his horn – blowing freely, but almost with an inherent sense of structure – not playing changes, or hitting a rhythm, but creating these patterns that really hold the whole thing together – still the farther side of tuneful, but almost there at times. Titles include "6BC" and "Children's Magical Garden" – both nice and long! CD

A nice set from the recent comeback years of Solomon Burke – a record that has him taking on tunes from Dylan, The Rolling Stones, and Van Morrison – plus other bits from more soul-based sources! The material's recorded with a heavy emphasis on roots, but produced with a partly mainstream finish by Don Was – a sound that's very respectful of Solomon's vocals, which are great, but which has a bit of a crossover approach at times too. Titles include "What Good Am I", "At The Crossroads", "I Got The Blues", "Wealth Won't Save Your Soul", "Make Do With What You Got", "After All These Years", and "Fading Footsteps". CD

An obscure little set, but a great one too – a joint effort from Charles and Barbara Burton – served up with a really wonderful blend of upbeat club and modern soul modes! The album's got all the indie soul charm you'd expect from its title and cover – a simple, straightforward approach to the music that's often got lots of personal touches and genre-crossing moments – a great antidote to more mainstream soul of the time, but done with a fair bit of skill throughout! Instrumentation includes some great keyboards next to Barbara's vocals – and a few numbers feature chorus vocals that come across with an especially shimmering kind of sound. Titles include "LA Will Make You Pay", "Sincerely Yours", "Who You Gonna Get", "You Know I Love You", "Groovin At The Night Club", and "Nation Song". CD

Butcher Brown move past their roots as a core funk combo here – opening the door to contributions from a whole host of guests, and moving even more strongly into the world of soul music than on their album with Triple Trey! There's an expansive sound here that seems to have the hardworking outfit finally getting their chance at more mainstream fame – not in a commercial way, but at a level that just opens up with the energies they've always had, given focus through contributions from Braxton Cook, Keyon Harrold, Jay Prince, Vanisha Gold, Julia Shuren, Nappy Nina, Pink Siifu, and others – on titles that include "This Side Of Sunshine", "Happy Hourrr", "Around For Awhile", "Pink Fur", "Run It Up", "Espionage", "I can Say To You", "Move (Ride)", "Turismo"- "Eye Never Knew", "Half Of It", "No Way Around It", and "DYKWYD". CD

The genius of Don Byas finally gets its due – served up here in a massive 10CD package that's overflowing with work from some of Byas' most fruitful years as a saxophonist! Byas is one of the sometimes-overlooked giants of his generation – a player with a tone and style that's every bit as distinct as that of Ben Webster and Lester Young. Yet for some reason, Byas has a much more checkered recording history – and one that sometimes doesn't really capture his strengths when he's completely on fire. That's definitely corrected here – as the package features some key recordings by Byas as a leader – then rolls into a stunning array of tenor performances in the groups of others – some originally issued on rare 78s, others never issued until this box – making the whole thing a mindblowing look at these seminal years in Don's career! The labels for some of the tracks include King, Manor, Jam, Savoy National, and HNS – and Byas blows as a leader in a few groups, and with other leaders who Hot Lips Page, Hank D'Amico, Cozy Cole, Earl Bostic, Joe Turner, Timmie Rogers, Oscar Pettiford, and Dizzy Gillespie – a really varied lot, which demonstrates the versatility that Byas could have as a performer. The box has 193 tracks in all, and a hugely detailed set of notes – a really ear-opening listen to this great tenorist! CD

A really magical combination of sounds – the tenor of Tony Kofi and the harp of Alina Bzhezhinska – coming together here with a really strong sense of spiritual majesty! There's a sense of grace and pacing to the record that's wonderful – and Alina's approach to her instrument is nicely different from soulful predecessors, like Dorothy Ashby or Alice Coltrane – yet equally captivating as well, especially when grounded by the deep, rich tones that Kofi brings from his horn – blown in modes that take us back to some of the spiritual saxophone giants on Impulse records! And yet the pair aren't out here to just ape older modes – as there's a very thoughtful, very personal approach to the music – meditative, but never too much so to lose its groove – on titles that include "Tu Vides", "Tange", "Alteria Vita", "Anima", and "Tabula Rasa". CD

A beautiful illustration of the strength of Ron Carter as a leader – that way he has of firmly directing a combo from the place of the bass, yet always in a subtle way that never overpowers the rest of the group! The balance here is wonderful – as Ron's tones really come through clearly in the mix, and soulfully set the tune from the start – yet the lead lines are often taken by the piano of Stephen Scott, who dances delightfully alongside the creative drum work of Lewis Nash – already a heck of a great player at this point in his career. Steve Kroon comes in with a bit of added percussion – but never too much – and titles include "Double Bass", "Mr Bow Tie", "Someday My Prince Will Come", "I Remember Clifford", and "Blues For DP". CD

A real classic in the canon of American postwar jazz – one of the few albums ever cut as a leader by Boston baritone player Serge Chaloff – one of a handful of musicians who really helped move the instrument forward in jazz, and help it take a rightful place next to the expressiveness of the tenor and alto sax! Even though he hardly got a chance to record, Serge was a hell of a player, and one who has both the rich tone of the instrument completely in hand, while also able to move with the fluidity of a much leaner horn – a quality that's augmented here by the fantastic rhythm work from Sonny Clark on piano, Leroy Vinnegar on bass, and Philly Joe Jones on drums. The set's a treasure through and through – from the cool cover image, to the great music within – served up on tunes that include "How About You", "Handful Of Stars", "The Goof & I", "Susie's Blues", and "All The Things You Are". CD

One of the best albums that Al Cohn and Zoot Sims ever cut together – and that's saying a lot, given the strength of their collaborations during the 50s and 60s! The set's got a nice small group feeling, and is a bit more open and relaxed than some of their RCA material – still in the sharp, thoughtful mode that marked both Cohn and Sims' sessions – but also a bit more earthy, too – possibly because they've got Mose Allison in the combo on piano. The album includes the incredible spare sax-only track "Improvisation For Unaccompanied Saxophones", which is an extremely haunting track that sounds unlike anything the pair had ever done together – and other titles have the full quintet playing, tunes that include "The Opener", "The Note" and "You N Me". CD

In the electric universe of the GRP label, Chick Corea makes a bold move with his Akoustic Band here – even if the overall conception of the cover and the group's fashions have kind of an "electric" 80s look to it! The group here is a trio – with John Patitucci on bass and Dave Weckl on drums – and Corea's flowing piano lines are at the forefront of the group's work, initiating the tunes with a surprisingly heartfelt feel, and showing some of the sense of space and sound he developed on his electric recordings. Titles include "Spain", "Circles", "TBC", "Morning Sprite", "Bessie's Blues", and "My One & Only Love". CD

Warmly wonderful work from guitarist Larry Coryell – an album that's got a simple, straightforward feel – and a rock-solid rhythm section in the form of Stanley Cowell on piano, Buster Williams on bass, and Beaver Harris on drums! Despite the far-reaching resumes of all the players, things are pretty straight here – but always handled with a style that's informed by the deeper prospects of the musicians – especially Cowell, who throws in a few offbeat moments to keep the album on edge at some of its best points. Titles include "Toku Do", "Just Friends", "Sophisticated Lady", "Round Midnight", and "Moment's Notice". CD

An excellent recent album from modernist trumpet giant Ted Curson! The set was recorded in Japan – in a very respectful format that has Curson exploring a number of different idioms from previous years. The best tracks are long drawn out numbers with a modal/modern groove – Curson's solo work augmented by some great soprano, alto, and flute solos by Mark Gross. A few of the tracks have Curson playing in a style that's oddly more in a funky soul jazz mode – featuring Ted doing versions of "Watermelon Man" and "Flip Flop & Fly", both with vocals! Other tracks include "Reava's Waltz", "Song Of The Lonely One", "Flatted Fifth", "Tears For Dolpy", "Lin's Garden", and his classic "Quicksand". CD

A beautiful little record by Miles Davis – oft overlooked next to some of the better-titled Prestige sessions of the 50s, but a great one nonetheless! The session features Miles working with trio backing from Red Garland on piano, Oscar Pettford on bass, and Philly Joe Jones on drums – often in a mellow mode that fits the "musings" in the title, but which also provides a wonderful showcase for Davis to further intensify his vision on a set of longer tracks. Most tunes are familiar, but they're really transformed here – and titles include "I Didn't", 'Will You Still Be Mine?", "Green Haze", "I See You Face Before Me", "A Night In Tunisia" and "A Gal In Calico". CD

One of the best-ever albums from Italian drummer Tullio De Piscopo – a very spiritual set that draws a heck of a lot from work on the session by tenorist Larry Nocella – who's tremendous throughout, and may well deliver one of his best performances on record! Tullio is nice and loose, and very open – different than on some other records, and really moving in sympathy with the bass of Lucio Terzano and piano of Luigi Benefede, in lines that are warm, lyrical, and often modal – a quality that's augmented by the guitar work of Giorgio Cocilovo, and which really seems to have Nocella finding a whole new range in his music! Luis Agudo is a special guest on the set, adding lots of additional percussion to the proceedings – and titles include "Barbara", "La Mia Natura", "Scetete/Garrison My Dear", "Say It", and "For Larry". CD

Really rich sounds from reedman Michael Dease – a baritone player, and one who handles the large horn with effortless ease – taking us back to some of our favorite bari players of the 50s who could carve out a line as if they were swinging an alto or a tenor! The rest of the group have an equally compact sort of vibe – tight, yet always thoughtful, as they pack plenty into each of their solo spaces, while also coming across with that sharp sound as a whole that can make the best Posi-Tone sessions so great! Ingrid Jensen plays trumpet, Art Hirihara plays piano, Boris Kozlov handles bass, and Rudy Royston is on drums – and on three tracks, Altin Senclar also joins the group on trumpet. Titles include "New Blues", "Galapagos", "Appreciation", "Don't Look Back", "Melancholia", and "Just Waiting". CD

A pivotal album in the career of saxophonist Lou Donaldson – a set that really has him finding his own groove – a slow-stepping, soul-drenched mode that's a nice change from the bop of his roots! A key part of the record's charm is conga work by Ray Barretto – a player used often on early soul jazz dates like this – not in the Latin style of Ray's bigger work to come, but more in this extra-percussion mode that's a great blend with the drum work in the group by Dave Bailey – creating this mellow groove that's a great platform for Lou's smoking solos on alto! The rest of the group is great too – the wonderful Herman Foster on piano, plus Peck Morrison on bass – a great match for Bailey – on titles that include "Play Ray", "Callin' All Cats", and "Blues Walk". CD

A late triumph for Dylan, and solidly delivering on the promise of his return to excellence on Time Out Of Mind a few years earlier – setting foot into the new millennium by hitting even higher point in a pretty incredible comeback period! Dylan produces himself here, credited as Jack Frost, and he and his road tested band bring the varied rootsy vibe of his latter day sound to the forefront after the moodier, murkier vibe of the previous record. A genuine classic, with songs Dylan kept in his live setlist for many years to come – clearly the man himself is proud of this one, and rightfully so. Titles include "Tweedle Dee & Teedle Dum", "Mississippi", "Summer Days", "High Water (For Charley Patton)", "Honest With Me", "Po'Boy", "Cry A While", "Sugar Baby" and more. CD

The Ebonys sing about life, and a host of other groovy topics too – in this lost soul treasure from the 70s! The set is one of only two albums ever cut by The Ebonys – a consistently great group from the 70s, as is testified by their constant popularity in our racks! The quartet has a 3 man/1 woman harmony sound that's very hip – often applied to righteous themes worked out in a heavy soul mode, and which sounds just as great on the ballads as it does dancefloor numbers. This second album's got an even sharper edge than their debut – thanks to production and arrangements from Tony Camillo – who gives the album some great undercurrents of funk, and a slightly righteous style that reminds us of some of Norman Whitfield's best studio work of the time. Vocals are wonderful – with really great harmonies that balance out beautifully – in ways that are much more unified than other girl/guy soul groups. Titles include "Neighborhood Gossip", "Mr Me, Mrs You", "One Thing On My Mind", "Sing About Life", and "A Love of Your Own". CD

Franz Von Klenck on alto sax, Helmut Rheinhardt on alto and baritone sax, Johnny Feigl on baritone sax, Werner Schulze on bass, Bobby Schmidt on drums, Mary Lou Williams and Werner Drexler on piano, Kurt "Bubi" Aderhold and Paul Martin on tenor sax, Helmut Hauck, Otto Bredl and Werner Betz on trombone, Heinz Herrmannsdorfer on lead trombone, Klaus Mitschele, Rolf Schneebiegl and Siegfried Achhammer on trumpet, Gottfried "Hanne" Wilfert on lead trumpet, and Caterina Valente on vocals. CD

Excellent Duke Ellington work from the late 50s – written and recorded during a period in which he was reemerging with a stronger jazz vision than ever before! The set was written by Ellington and Strayhorn – and dedicated to the Shakespeare Festival in Stratford, Ontario – but forget the Bard-inspired roots of the tracks, because the shimmering moods of the pieces is pure Ellington – with a richness of feeling that's totally great, and a sound that's wonderfully fresh, given that most of these numbers aren't overplayed Ellington compositions! Players include Cat Anderson and Clark Terry on trumpets, Paul Gonsalves on tenor, and Johnny Hodges on alto – and titles include "The Telecasters", "Circle Of Fourths", "Sonnet For Caesar", "Sonnet To Hank Cinq", and "Such Sweet Thunder". CD also features 3 previously unissued tracks, and a bunch of alternate takes and outtakes – for a total of 22 cuts in all! CD

Excellent Duke Ellington work from the late 50s – written and recorded during a period in which he was reemerging with a stronger jazz vision than ever before! The set was written by Ellington and Strayhorn – and dedicated to the Shakespeare Festival in Stratford, Ontario – but forget the Bard-inspired roots of the tracks, because the shimmering moods of the pieces is pure Ellington – with a richness of feeling that's totally great, and a sound that's wonderfully fresh, given that most of these numbers aren't overplayed Ellington compositions! Players include Cat Anderson and Clark Terry on trumpets, Paul Gonsalves on tenor, and Johnny Hodges on alto – and titles include "The Telecasters", "Circle Of Fourths", "Sonnet For Caesar", "Sonnet To Hank Cinq", and "Such Sweet Thunder". CD also features 3 previously unissued tracks, and a bunch of alternate takes and outtakes – for a total of 22 cuts in all! CD

A fantastic set by Booker Ervin, and one of his most overlooked sessions! Ervin's hard biting tenor is met by a warm thoughtful group that includes the great Horace Parlan on piano, plus Frank Strozier on alto, and Walter Perkins on drums. Perkins is wonderful, and he lyrically dances about the kit and brings a whole new shade of color to this session. The writing is fantastic, and the tracks include "Mooche Mooche", "No Land's Man", and "Mour". Great great great stuff – and this CD includes the original cover art, plus 2 bonus tracks that were 45 takes of the best tracks. Simply brilliant! CD

Wayne Escoffery has some great guests on this record – but honestly, the work at the core is more than great enough on its own – as Escoffery has a way of blowing beautifully alongside the piano and Rhodes of David Kikoski, bass of Ugonna Okegwo, and drums of Mark Whitfield Jr – a wonderfully soulful group who seem to push his tenor into these bold, snakey lines that are completely seductive! Then, on key tracks the group's joined by guests – the vocals of Gregory Porter on a great version of "Rivers Of Babylon" and the track "My Truth", and appearances at other points from Tom Harrell on trumpet and Mike Moreno on guitar. Other titles include "Nostalgia In Times Square", "Sincerely Yours", "Dear John", and "Song Of Serenity". CD

Gil plays Jimi? Sounds like a gimmick, but it comes off pretty darn great – and it helps you forgive him for trying to convince the kids that he's not as old as his grey hair might make you think! As always with Evans, the key to the album is a beautiful balance between the strength of the players and vision of the arrangements – a hip mix of musicians who include Billy Harper on tenor and flute, Marvin Hannibal Peterson on trumpet, and both Ryo Kawasaki and John Abercrombie on guitars! Arrangements are great too – handled by Tom Malone, Warren Smith, and Howard Johnson – all of whom make the album way more than just an instrumental reading of Jimi Hendrix tunes – and instead a great platform for improvisation that uses tunes that include "Up From The Skies", "Foxy Lady", "Gypsy Eyes", "Voodoo Chile", "Angel", "Crosstown Traffic", and "Castles Made of Sand". Plus, the CD features 4 bonus alternate tracks – not on the original album! CD

Landmark work by one of the greatest jazz outfits of the early 60s! Art Farmer and Benny Golson were both known as well-composed players during the 50s – strongly soulful, but often with a fine sense of arrangement that usually tended towards the lyrical side of things. With this group, though, they turned that approach towards a heavier sounding style of jazz – tightly stepping soul jazz, in the manner that was being explored at the time by Cannonball Adderley, Art Blakey, and others – presented by Farmer and Golson with a bit more groove and a wonderful kick at the bottom! This album's the first the group cut together – and apart from trumpet by Farmer and tenor by Golson, it also features Curtis Fuller on trombone, McCoy Tyner on piano, Addison Farmer (brother of Art) on bass, and Lex Humphries on drums. Includes the massive original recording of "Killer Joe", which went onto become one of the most recorded jazz standards ever, plus the tracks "Blues March", "Mox Nix", "Park Avenue Petite", and "I Remember Clifford". Perfect tone, perfect groove, and a perfect sound all the way through! CD

A later entry in Ella's Songbook series for Verve – but a great one too, thanks to some strong arrangements from Nelson Riddle! Riddle's working here at a level that he brought to his earlier sessions with Frank Sinatra – one that colors in the tunes with just the right amount of shadings needed for each different composition, but which also still leaves plenty of space for the vocalist to dominate the recordings. Ella's in fine form throughout – swinging easily on the more upbeat numbers, but also balancing things out with some thoughtful ballad work that stands as some of her best of the 60s. Titles include "Let's Begin", "Remind Me", "Yesterdays", "Why Was I Born", "She Didn't Say Yes", and "You Couldn't Be Cuter". CD

A classic Dutch jazz/rock outfit – with sweet guitars from Jan Akkerman, and a mix of funky flute and keyboards from Thijs Van Leer! CD

With Mark Whitfield Jr on drums. CD

The first Grateful Dead album on Arista, and a set that definitely marks a new chapter for the group – one that has them using a surprising amount of soul references in their music, in part through some heavy vocal contributions from Donna Jean Godchaux! The arrangements are fuller than before at times – with some elements added later to expand the sound of the group at the core – in ways that are sometimes respectful, sometimes a bit more forceful in the way they approach the sound. Highlights include the laidback "Estimated Prophet", and the long "Terrapin Station" suite – plus "Sunrise", "Passenger", "Samson & Delilah", and a surprising cover of "Dancin In The Streets". CD

A wonderful Herbie Hancock session from the 60s – a Blue Note album that's sometimes overlooked, but which really shows Herbie taking off – as he adds a nice dose of lyricism into his usual soul jazz approach from the 60s! The sound's a bit farther-reaching than on some of Hancock's smaller group sessions – and the record features a sextet that includes Jerry Dodgion on flute, Thad Jones on flugelhorn, and Peter Phillips on bass trombone – an instrument that combines wonderfully with Thad's horn, to create all these cool, compressed elements. Herbie plays piano alongside Ron Carter on bass and the great Mickey Roker on drums. The harder-hitting soul jazz riffs and hooks of Herbie's first few records are nicely replaced by more thoughtful lines that get a bit deeper, soulfully – and nearly all tracks on the set are originals by Hancock! The album's filled with great moments – and tracks include "The Sorcerer", "Riot", and "Goodbye To Childhood". CD

A wonderful Herbie Hancock session from the 60s – a Blue Note album that's sometimes overlooked, but which really shows Herbie taking off – as he adds a nice dose of lyricism into his usual soul jazz approach from the 60s! The sound's a bit farther-reaching than on some of Hancock's smaller group sessions – and the record features a sextet that includes Jerry Dodgion on flute, Thad Jones on flugelhorn, and Peter Phillips on bass trombone – an instrument that combines wonderfully with Thad's horn, to create all these cool, compressed elements. Herbie plays piano alongside Ron Carter on bass and the great Mickey Roker on drums. The harder-hitting soul jazz riffs and hooks of Herbie's first few records are nicely replaced by more thoughtful lines that get a bit deeper, soulfully – and nearly all tracks on the set are originals by Hancock! The album's filled with great moments – and tracks include "The Sorcerer", "Riot", and "Goodbye To Childhood". CD features 3 bonus alternate takes! CD

A wonderful Herbie Hancock session from the 60s – a Blue Note album that's sometimes overlooked, but which really shows Herbie taking off – as he adds a nice dose of lyricism into his usual soul jazz approach from the 60s! The sound's a bit farther-reaching than on some of Hancock's smaller group sessions – and the record features a sextet that includes Jerry Dodgion on flute, Thad Jones on flugelhorn, and Peter Phillips on bass trombone – an instrument that combines wonderfully with Thad's horn, to create all these cool, compressed elements. Herbie plays piano alongside Ron Carter on bass and the great Mickey Roker on drums. The harder-hitting soul jazz riffs and hooks of Herbie's first few records are nicely replaced by more thoughtful lines that get a bit deeper, soulfully – and nearly all tracks on the set are originals by Hancock! The album's filled with great moments – and tracks include "The Sorcerer", "Riot", and "Goodbye To Childhood". Features bonus tracks – two takes of "Riot", and an alternate of "Goodbye To Childhood". CD

A definite active volcano of sound from Nobuo Hara and his excellent Sharps & Flats ensemble – a group who were to the Japanese scene of the 70s what the Clark Boland Big Band was to the European one! By that, we mean that the style here is way groovier than you might expect – definite third (if not fourth) generation big band work – full of color and life, but also with a great ear for contemporary rhythms too – thanks to some sweet guitar and keyboards in the mix. The horns are tremendous, but never overwhelming – and Takashi Shitaka provides some very thoughtful arrangements for the record – on tracks that include "White Heron", "Ondo", Sharp Curve", and "South Wind". CD

A massive package – the full rare Undertaker album from Derrick Harriott & The Crystalites, plus an insane amount of bonus tracks too! The core album is instrumental – a wicked set of rhythms from The Crystalites, a group who have a vibe that's right up there with the best of the late 60s Kingston scene, but a groove that's definitely their own – almost a razor's edge to some of the rhythms, as they snap through some excellent late rocksteady/early reggae modes! Harriott produced, and adds in all these cool touches and sounds that almost predate some of the later experimental modes of Lee Scratch Perry. Titles include "The Undertaker", "Bombshell", "Biafra", "The Bad", "Lady Madonna", "Fistful Of Dollars", "The Barefoot Brigade", and "Dr Who". 2CD set features 14 more instrumental tracks from The Crystalites – plus 27 more Harriott-produced numbers, including work by Rudy Mills, Junior Murvin, Keith & Tex, The Chuckles, Eric Donaldson, Pat Satchmo, Tinga & Ernie, and The Ethiopians. CD

One of Emmylou Harris's best loved albums, and for good reason – it's a major departure from the some of the more straightforward, if neo classic country of her late 80s and earlier 90s work, taking on a more atmospheric sound with producer Daniel Lanois. Lanois deserves credit for inspiring a new direction for Emmylou, but Wrecking Ball is her show – and of all the folk, country and roots-oriented artists Lanois worked with over the years, Harris is the one with a voice big enough fill the atmosphere, and intimate enough to pull it back down to earth. Includes "Where Will I Be", "Goodbye", "All My Tears", "Wrecking Ball", "Goin' Back To Harlan", "Blackhawk", "Orphan Girl", "May This Be Love" and "Waltz Across Texas". CD

Joe Acheson works here with a group he originally described as an "imagined orchestra" – but which here is actually a relatively large group of musicians coming together to follow Joe's lead! The players shift from track to track, and Joe himself handles a lot of the instrumentation – on piano, basses, keyboards, percussion, and even some field recordings and zither as well – all layered in a sonically complex way that echoes some of the London experiments in recent years, augmented by other work on cello, trumpet, drums, bass clarinet, and trombone. The sound is often dark, but with these warm currents of hope – and titles include "Skylarks", "Nightfall", "Ripple", "Broken", "Cage Then Brick", "Reverse Learning", "Little Buddy Move", and "Hammered". CD

One of our favorite records by Earl Hines – a hip little comeback set, recorded in the mid 60s with an Ellingtonish lineup that includes Clark Terry, Cat Anderson, Ray Nance, Lawrence Brown, Jimmy Hamilton, and Johnny Hodges. Hines' piano is certainly a strong force in the record, but even more delightful is the solid feel of the players overall – working with that complete coherence found in the best 60s sides by Duke, but touched here with some of Hines' sprightly approach to the melody. Titles include "Once Upon A Time", "Black & Tan Fantasy", "You Can Depend On Me", "Hash Brown", and "Fantastic That's You". CD

Art Hirahara is a player who keeps winning us over with each new release – a wonderfully sensitive musician and thoughtful composer, but also one who's got a great way with a soaring, swinging sound as well! Part of that latter quality comes here from the superb accompaniment of Boris Kozlov on bass and Rudy Royston on drums – players who've worked with Hirahara before, and who seem born into his energy with their efforts – rising up as a cohesive whole to bring vision to the album's all original tracks – material penned by Hirahara, with a few by Kozlov as well. Titles include "Ali Blu", "Spider's Dance", "Mia Bella", "Major Waltz", "To The Sky", and "Echo Canyon". CD

Late work from the great Billie Holiday – the kind of mature set that made Verve Records such a perfect home for the singer in the 50s! Where other labels might have pushed too much to try to get Billie into more commercial, or more straightforward modes – Verve just relaxes into the kind of small combo sound that usually had the singer at her best – pairing Holiday with a great lineup that includes Harry Edison on trumpet, Ben Webster on tenor, Jimmy Rowles on piano, and Barney Kessel on guitar. The songs are short and focused – with Billie at the top of her form on familiar standards like "Comes Love", "Darn That Dream", "Body & Soul", "They Can't Take That Away From Me", and "Embraceable You". This deluxe reissue features 3 takes of "Comes Love", new notes, great sound, and a cool looking package! CD

A trio of later gems from this legendary South African pianist! Mindif is a great set that features Abdullah Ibrahim's soundtrack music for the 1988 Clair Denis film Chocolat – some of his best group recordings of the 80s! The feel here is a bit more African-styled than usual – even for Ibrahim – with strong use of reeds to inflect the tunes with the right degree of color and tone for their use in the film. The ensemble on the record features Ricky Ford on tenor and soprano, Craig Handy on flute and tenor, Benny Powell on trombone, David Williams on bass, and Billy Higgins on drums – and the tracks have a languid groove that recalls some of Dollar Brand's best South African recordings with Kippie Moketsie. Titles include "Earth Bird", "African Market", "Pule", "Star Dance", and "Serenity". African River is one of the great larger group recordings that pianist Abdullah Ibrahim gave us in the 80s – from a moment when he was able to use added horns to really expand that amazing sense of color and rhythm he'd brought to his music on earlier trio recordings! There's a sense of musical vision here that really lives up to Abdullah's majestic look on the cover – a fantastic merging of flute and tenor from John Stubblefield, soprano and alto from Horace Alexander Young, tuba and baritone from Howard Johnson, and trombone from Robin Eubanks – all vibrant horn players who seem to have just about every tone and mood covered with their horns – given this wonderfully warm support from Buster Williams on bass, and Brian Adams on drums. All titles are originals by the leader – and tunes include "Chisa", "Sweet Samba", "Duke 88", "The Wedding", and "Joan Capetown Flower". Yarona is a beautifully sensitive set from Abdullah Ibrahim – recorded live at the Village Vanguard, and with an open, lyrical sound that almost seems to recall some of Bill Evans' magical moments in the venue! Ibrahim's quite a different player, of course – but there's an open, exploratory quality to his music that's a bit unusual here – maybe not as rhythmically based as it is balanced between sound and silence – given very respectful company in the bass of Marcus McLaurine and drums of George Johnson. Titles include "Cherry/Mannenberg", "Duke 88", "African River", "Stardance", "Tuang Guru", "Tintinyana", and "African Marketplace". CD

A tremendous full length debut from ISoul8 – a record that's billed by Phil Asher in the notes as representing everything that was once soulful in house music – but which we think offers even more than that! The album's certainly got a housey feel overall – but the styles here aren't just straightforward club, and often show some of the more farther-reaching modes of the group's Sonar Kollektiv contemporaries. There's great keyboards, slightly complex rhythm patterns, and a way of coming at the groove that shows plenty of influence from the recent London scene – but also that deeper soulfulness that Asher refers to – a sense of depth that comes through especially on the vocals! Guests include Valerie Etienne, Osunlade, Just One, Diamondancer, Marcus Begg, Paul Randolph, and Kaidi Tatham – and titles include "Clover", "Give It Up", "So Simple", "Free", "How I Feel", "Just The Way I Like It", "No Longer Fear", "The Vow", "On My Heart", and "A Silent Force". CD

Great spare work from Skip James – who plays both guitar and piano on the set! The album's one of Skip's best from the 60s – raw, rootsy, and undeniably powerful – with titles that include "Illinois Blues", "Catfish blues", "Mistreating Child Blues", "22 20 Blues", "Good Road Camp Blues", and "Devil Got My Woman". CD

Some of the fiercest work we've ever heard from this legendary Czech fusion outfit – a previously-unreleased live performance from 1980, and one that may well blow away some of their classic studio records from the 70s! The tunes are long, and have a sense of darkness that we're not sure we've heard this strongly before – as keyboardist Martin Kratochvil plays Fender Rhodes and moog to really set the stage for most tunes at the start – then opening the door to bolder work on guitar from Frantisek Francl. There's as much prog going on here as jazz – and the lean quartet setting allows for plenty of longspun work from keys and guitar – on titles that include "Pecet", "Pralesni Pisen", "Trhanec", "Az Se Ucho Utrhne", and "Madona". CD

Quite an unusual project from Jazzanova – a mixture of older tracks and newer ones, all brought together for an erotic German stage production! The theme of the show really unifies the tracks in a great way – bringing out qualities in Jazzanova's music that we've never noticed before, especially as their own tracks come into play with other numbers from different Sonar Kollektiv artists. There's a groove here that's straightforwardly slinky, and often a bit funky too – one that shakes off some of the too-abstract moments that sometimes get in the way with recent Jazznova projects, and focuses on the most cohesive part of their groove! Titles include the Jazzanova tracks "Behold These Days (Berlin 74)", "This Is The Place", "Glow & Glare", "Theme From Belle Et Fou", "That Night (Live At The SK Office with Clara Hill)", "Keep On Making Me High", and "Am I Losing You" – plus "Maybe Now" by Clara Hill, "Just A Lil Lovin (DJ edit)" by Outlines, "Flickermood" by Forss, "Sun In My Candlelight" by Wahoo, and "Caprice" by Extended Spirit. CD

A stunner of a record – the first-ever album by The JBs, never issued back in the day – and lost for years until it recently resurfaced on a test pressing! The set features a leaner, more stripped-down version of the group – one that features Bootsy Collins on bass, and which doesn't rely as much on the horns as it does some very upfront playing by the rhythm section – who really set fire to the extended instrumental solos on the album's very long tracks! Group members include Robert McCullough on tenor, St Clair Pickney on flute and baritone, Bobby Byrd on piano, Catfish Collins on guitar, and James Brown himself on organ – and the mighty Clyde Stubblefield handles drums, as well as Frank Kash Waddy. All tracks are very long – quite different than the shorter single-type cuts on Pass The Peas – and the record features the first recording of "The Grunt", plus the long jams "I'll Ze", "These Are The JBs (parts 1 & 2)", and "When You Feel It Grunt If You Can". CD

If you've only heard George Jones in later years, when he was the king of the heartbreaking ballad, you'll find plenty here to discover – as his early recordings for Starday Records are something else entirely – and almost have George hitting a rockabilly mode at times! This set's got some of Jones' best early singles for the Texas label, plus some overlooked gems – wrapped together to offer a wonderfully vibrant picture of a superstar in the making – already a singer with a voice that few folks could match, equally well-suited to catchy upbeat numbers and some of the more heartfelt tracks that offset things nicely. Titles include "Accidentally On Purpose", "Tall Tall Trees", "No Money In This Deal", "Too Much Water", "If I Don't Love You", "Why Baby Why", "Eskimo Pie", "How Come It", "Accidentally On Purpose", "Hold Everything", "Maybe Little Baby", "Rock It", "Mexican Boogie", "Gonna Come Get You", "Taggin Along", "That's The Way I Feel", and "You Gotta Be My Baby". CD

A beautiful bit of understated 70s brilliance from Hank Jones – working here in a no-nonsense format that rivals the greatness of his earlier years! At one level, the album's recorded with some of the touches of some of the Japanese trio sides of the 70s – yet the tunes here are tighter, and shorter, with more of a focus on Hank's straightforward approach to the keys. Rhythm is by Ron Carter on bass and Grady Tate on drums – and titles include "Wind Flower", "Minor Contention", "Favors", "Nothin Beats An Evil Woman", and Gary McFarland's "Hanky Panky". CD

Early genius from Sam Jones – the kind of record that showed the world that he was way more than just a bass player – even though he was pretty darn great at that! At the time of the set, Sam was already raising plenty of ears with his work in the Cannonball Adderley group, an outfit that helped Jones find a whole new role for the bass in jazz. But here, he's working with a much larger group – a tentet that's filled with all star players that include Melba Liston, Cannonball Adderley, Blue Mitchell, Jimmy Heath, Victor Feldman, Tate Houston, and Les Spann – soaring through lively arrangements by Heath and Feldman that sit in a space between small combo soul jazz and larger group swing – a bit in the mode of some of Quincy Jones' best early 60s work on Mercury! Despite the large group, Sam's bass gets plenty of room to roam in the album – and titles include "The Chant", "Blues On Down", "In Walked Ray", "Blue Bird", "Four", and "Off Color". CD

One of the first albums in a long line of successes from the Thad Jones/Mel Lewis Orchestra – recorded live in their home turf at the Village Vanguard! The group at this point was a freshly-created outfit filled with some of the best large group jazz soloists of the time – players that included Jerome Richardson, Joe Farrell, Eddie Daniels, Pepper Adams, Richard Williams, and Bob Brookmeyer – not to mention Jones and Lewis themselves! The style here is very much in the mode that the Clarke Boland Band was crafting in Europe during the same period – a redefinition of the larger jazz group, in a way that allowed it to swing with the dynamic energy and soul of some of the smaller combos of the 60s. And while the Jones/Lewis group had many years over which to hone their craft, they've never sounded better than on these initial recordings – as you'll hear on tracks that include "Samba Con Getchu", "A That's Freedom", "Bachafillen", and "Little Pixie". CD features 3 bonus tracks too – "Lover Man", "The Second Race", and "Quietude". CD

One of the only two vocal jazz albums that the Blue Note label recorded back in the day – and a haunting batch of tracks from a young Sheila Jordan! The style here is quite different than that of Jordan's later, more experimental records – and this early session shows her as an extremely talented young vocalist, with a unique approach that adds a sparkling modernist touch to familiar tunes – yet which still keeps things in a relatively more straightforward fashion. There's a great mixing of older and newer visions in the set – not just in Jordan's vocals, but also in the small combo backing by the trio of Barry Galbraith on guitar, Steve Swallow on bass, and Denzil Best on drums. Titles include great versions of "Baltimore Oriole", "Dat Dere", and "Hum Drum Blues" – plus the tunes "I'm A Fool To Want You", "Am I Blue", "Laugh Clown Laugh", and "Who Can I Turn To?". CD

The only album we've ever seen from Khemistry – but a heck of a sweet little set, and one that's always been dear to our hearts! The trio features two gals and one guy, all working with a great sing-song approach on the vocals – and a snapping 80s groove on the rhythms! There's a warmth here that you don't always find in sets of this type – a simple, straightforward feel that keeps the whole album humming along nicely – even through some of the mellower numbers. Production is never too commercial, and the instrumentation's never too electric – and the album's got a simple charm that's kept it a favorite on rare soul lists for decades. Titles include "Can You Feel My Love", "There's No Me Without You", "I Can't Lose With The Stuff I Use", "Sucker For The Boogie", "I Got A Feeling", and "Walking Papers". CD

An excellent collection of rare work from the legendary BB King – a selection of 25 tracks from the vaults of RPM and Kent Records, 23 of which appear here for the first time ever! Some cuts are alternates, some are different versions of other recordings – and all are pretty darn wonderful – that sharp-edged BB King sound right at the start, before the famous Memphis powerhouse was recording for bigger labels in a more commercial setting! Lots of these cuts have a jazzy backing alongside BB's sweet guitar and raspy vocals – a mode that's similar to the mix of bigger band and bluesy elements you'd get on early work from Bobby Blue Bland – that great Memphis mix of modes that always makes us love this stretch in King's career so much. Titles include unusual versions of "Sweet Little Angel", "Catfish Blues", "Early In The Morning", "I Wonder Why", "Goin Down Slow", "Whole Lotta Meat", "Loving You In Vain", "Long Nights", "The Woman I Love", "Soul Beat", "Don't You Want A Man Like Me", "Be Careful With A Fool", and "Whole Lot Of Lovin". CD

Great double album live set with Roland leading a tight group through a long and varied set of material, all of which showcases the odd goofy sound of his music, and his offbeat approach to more familiar tracks. He talks a bit, makes the odd joke about being blind, and never ceases to amaze with his playing. A bit of vocals too, but sung in such a heartfelt way that you've gotta love 'em! Tracks include "Pedal Up", "Clickey Clack", "Prelude To A Kiss", "Bright Moments Song", "If I Loved You", and "Jitterbug waltz". CD

The first-ever album as a leader from Finnish saxophonist Eero Koivistoinen – an amazing debut that's filled with sharp notes and soaring rhythms! The style here is slightly modern, but also filled with a tremendous sense of soul – a deeply creative vibe that takes off from the hippest side of Blue Note in the mid 60s, and really moves into it's own kind of space. Most numbers have a strong sort of pulse – sometimes modal, sometimes more tightly snapping, and almost in a hardbop vein – providing a perfect platform for the bold solo work from Eero on tenor, soprano, and alto sax – and Bertil Lovgren on trumpet, whose instrument dances with Eero's on the leads, then blasts off with some beautifully crafted lines of its own! Titles include "For Fun", "Traneology", "Sleeping", "So Nice", "Country Jive", and "Odysseus". CD

A spot-on set from pianist Andy Laverne – all original material, penned by Andy himself, and underscored here by some excellent work on tenor sax from Ben Solomon! Solomon's got a richness to his tone that's great – a slightly dark edge that seems to bring out the same in Laverne's piano – as the pair work with tight rhythm accompaniment from Jason Tiemann on drums and Mike Richmond on bass – a pair who use a light touch, but in a very effective way – often gently swinging, but letting the piano and tenor really set the tone! Titles include "Corean", "Solace", "Bassline", "Tune For Tyner", "Flipside", and "Wistful Thinking". CD

A surprisingly wonderful set from deep soul diva Bettye Lavette – a record that's actually as good as most of her older work, and that's something we didn't expect! We'll be honest in saying that we're always pretty darn suspicious of comeback albums by older soul singers – and usually, we find them lacking in spirit compared to the older work, thanks to bad production and song selection choices. Here, though, Lavette actually seems to sound even stronger than before – stepping out on some numbers with especially raw backings that have guitar ripping alongside her heartfelt vocals – in a groove that almost recalls 70s work by Betty Davis. Other tunes are sparer, or mellower – but Bettye's vocals burn strongly throughout – and the album's easily set a new standard for this sort of session! Titles include "Down To Zero", "The High Road", "On The Surface", "Little Sparrow", "Just Say So", "How Am I Different", and "Only Time Will Tell Me". CD

The long-overdue return of Bettye Lavette to Muscle Shoals – the scene of her ill-fated album for Atlantic Records from the early 70s – hence the title of this album! The style here is certainly classic, and very old school – with backings provided by The Drive-By Truckers, whose member Patterson Hood has family ties back to the older Muscle Shoals scene of the 60s and 70s – and classic southern soul keyboardist Spooner Oldham joins the group wonderfully on electric piano for most of the record, bringing a sweetly warm style to the backings that sounds great next to the time-sharpened edges of Bettye's vocals. As with other Anti label efforts of this type, the sound is respectfully classic – no attempt made to update Lavette's style at all, and none of the cheesier bluesy material that Bettye might have been forced to sing, were she working with a lesser label. Titles include "Choices", "Jealousy", "You Don't Know Me At All", "I Still Want To Be your Baby", "Somebody Pick Up My Pieces", "Talking Old Soldiers", "Before The Money Came", and "I Guess We Shouldn't Talk About That Now". CD

The storm here is a gentle one – as it reverberates from the double acoustic basswork of Joelle Leandre and Vinicius Cajadao – sounding really wonderful here without any other instrumentation at all! Each track is a titled "dance" – but there's less of a sense of rhythm, than a way of the players moving together – each a very well-trained master of the more complicated sonic textures of their instruments, at a level that really elevates Cajado to a territory that we normally just expect from such a unique musician as Leandre! The sounds are free, but never without thoughtfulness and some sort of narrative capability – and the set features six improvisations overall, each a numbered "dance". CD

Amazing solo work on cello from Okkyung Lee – material recorded after a particularly difficult stretch in 2020, as Lee was initially trapped in Korea, away from her instrument – then returned to the darkness of New York during its worst months of struggle! Yet despite that time leading up to the recording, the session actually feels like one with a new sense of optimism and exploration – all these fresh ideas for expression on the cello, at a level that make this record unlike any other we can think of – especially as there are many moments when the source of the music feels very unfamiliar, which are then balanced by more straightforward notes. Titles include "Burning", "Lorelei", "Drifting", "Mountains", "Grey", and "Pisces". CD