The first-ever full length album from vibist Max Beesley – and a much-needed expression of some of the deeper ideas that he's always had in his music! Max was an artist who first started making waves during the earliest years of acid jazz on the UK scene – but like the best of his contemporaries, he's really grown a heck of a lot since then – to a point where he's able to deliver a cinematic funky jazz masterpiece like this – a record that's got plenty of his own great work on vibes, amidst heavy drums, funky basslines, and sweet keyboards – all set up in larger arrangements that have a sense of majesty we never would have expected in Beesley's music! Titles include "Saturn's Dust", "We'll Always Have Yesterday", "Fire", "Sergio's Bag", "Ice", "Snake Oil", and "Zeus". LP, Vinyl record album

Ever-adventurous composer, arranger and coronet player Rob Mazurek teams up with similarly creative wanderer Emmett Kelly (Cairo Gang, Josh Abrams Natural Information Society and more)! Alien Flower Sutra finds the duo and their guest players crafting a pretty awesome mix of interstellar psych-jazz-folk with vocals and guitar – with lots of fuzzier, jazzier instrumental passages. Very cool stuff on International Anthem, which has quickly become one of Chicago's best indie labels for free thinking creative output! Mazurek handles the electronic treatments, synths and coronet, with Kelly's lyrics, voice and guitars, and accompanied by Guilherme Granado, Carlos Issam Thomas Rohrer and Brittany Mazurek. Includes "Back To The Ocean, Back To The Sea", "Android Love Cry", "Blackout", "Bright Nights Havoc", "I Untied My Wrists", "Of Time Wasted", "Remember Nothing", "Embryo Genesis", "We Are One" and "Overture Towards The Beginning Of The End Of Time". CD

An ambitious little set from Christian McBride – one that brings together 3CDs of music recorded over 2 nights of performance – all in a mode that shows McBride picking up plenty of funky touches! The group here features Geoffrey Keezer on keyboards, Ron Blake on saxes, and Terreon Gully on drums – really hitting the kit with a pounding intensity to match McBride's pulsating work on both acoustic and electric basses – jamming here a lot strongly than we remember from other studio sides. The expanded package is presented (amazingly) at the same price as a regular CD – and offers plenty of long tracks to really hear this great band stretch out in a space that's nicely between conventional jazz and some of the looser modes of the jamband underground. Guest appearances include Charlie Hunter, DJ Logic, Scratch, Eric Krasno, and Jason Moran – and titles include "Say Something", "Clerow's Flipped", "Lejos De Usted", "Sonic Tonic", "Hibiscus", "Sitting On A Cloud", "Mwandishi Outcome Jam", "Lower East Side", "See Jam Hear Jam Feel Jam", "E Jam", and "D Shuffle Jam". Lots of jams! CD

A pretty great set from Les McCann – and quite a bit different than some of his other work of the time! This one's sub-billed as "the ballad style of Les McCann" – but it features Les playing these laidback, mellow numbers that are way different than most jazz ballads of the time – almost darkly modern moments that draw a lot from rich tones and gentle chromes – of the sort we've hardly ever heard McCann play this way, and which almost hint at some of the gentler touch he'd use on the keys during the Fender Rhodes generation – even though this one's recorded a decade before. Backing is equally thoughtful and sensitive – with Herbie Lewis on bass and Ron Jefferson on drums – and titles include two originals – "Pretty Lady" and "Dorene Don't Cry I" – plus "Django", "Stella By Starlight", "On Green Dolphin Street", "Ill Take Romance", and "Little Girl Blue". CD

Maybe the crowning achievement of drummer Makaya McCraven so far – a double-length set that stands as a huge testimony to all the many waves he's been making in jazz for the past few years! The album features four slices of live performance – recorded in New York, Chicago, LA, and London – and as with every one of his different projects, Makaya seems to bring a different voice to each live track here – recording with Brandee Younger on harp and Joel Ross on vibes in New York, Shabaka Hutchings on tenor in Chicago; Nubya Garcia on tenor and Ashley Henry on Rhodes in London; and Josh Johnson on alto, Jeff Parker on guitar, Carlos Nino on percussion, and Miguel Atwood-Ferguson on violin in LA! The rhythms are as amazing as the contributions from the different soloists – and the sound of the record is maybe something we'd call post-spiritual – moving past that Coltrane-inspired mode that's been revived so well in the 21st Century, while still holding onto its best sense of energy. The whole thing is fantastic – and titles include "The Count Off", "Brighter Days Beginning", "Universal Beings", "Mantra", "Young Genius", "Holy Lands", "Wise Man Wiser Woman", "Prosperity's Fear", "Atlantic Black", "Flipped Out", "Voila", and "Suite Hans". LP, Vinyl record album

Makaya McCraven pushes his unique jazz genius even further – by serving up a completely groundbreaking remix of live jazz performance on the London scene! McCraven's already stood out from the pack in the way that he breaks down jazz norms by playing with a recorded performance later in the studio – but this time around, he really pushes that approach to the forefront – working in a mode that really lives up to the "mixtape" of the title – but which also still has everything that we love from his other records too! Makaya's on drums – and plays with a massively heavy groove – and he plays here with some of the leading lights of the contemporary London scene – Soweto Kinch and Nubya Garcia on saxes, Joe Armon Jones on Fender Rhodes, Kamaal Williams on keyboards, and Theon Cross on tuba – in amazing performance activity which is then brought home to Chicago, where the music gets additional remix and overdub help from LeFto, Don Leisure, Earl Jeffers, Ben LaMar Gay, Emma Jean Thackray, Quiet Dawn, and Lexus Blondin. Clearly, Makaya's one hell of a collaborative spirit – yet he also manages to make this record his boldest personal statement to date – as you'll hear on titles that include "Halls", "Suite For Artis Gilmore", "Ox Tales", "The Bounce", "Oracle", "Run Dem", "Too Shy", and "Drums & Bruk & Feel The Vibe". LP, Vinyl record album

An amazing slice of rare work from pianist Misha Mengelberg – caught her early in his career, but already an important modern jazz force on the European scene! The set's a live one – featuring a very sharp-edged combo with Misha on piano, Piet Noordjik on alto, Rob Lengereis on bass, and Han Bennink on drums – plus guest trumpet from Ted Curson on two long tracks! As you can imagine, we love the Curson material – and Ted always seems to sparkle in a fresh setting like this, drawing new energy from less familiar players – and stretching things out to the height of his free-thinking talents of the time. But Noordjik is wonderful, too – really hanging nicely in a balance between soulful and modern with his horn, and easily matched by Mengelberg's piano – really great to hear in a more structured setting than his later, freer records. Titles include "Driekusman Total Loss", "The Leopard", "Sugar N Spice", "Journey", and "Peer's Counting Song". CD

A great little session of chamber-type jazz – and the only record we've ever seen by drummer Freddy Merkle. The set is very much in the manner of some of the other tightly-arranged RCA sessions from the mid 50s – with a style that's kind of "New York modern", in a similar mode to the work of Hal McKusick. Pianist Bill Potts wrote and arranged the sessions, and most tracks are relatively short, but still have strong breakaway solos. Half the material's played by a 10-tet, and the rest are played by Merkle's core quintet, with Potts on piano and Earl Swope on trombone. Titles include "Proto Cool", "Shhhh!", "DC Current", "Lunch Box", "Pernod 806", and "Pottsville, USA". CD

A set with maybe the most striking cover image that Monday Michiru's given us in years – and a record that really delivers on that promise, too – filled with really captivating tunes that represent a new high level in Monday's already-high career! There's a depth and maturity to the record that we never would have guessed when we first fell in love with her music – and we thought she was already pretty darn deep way back then – as Monday delivers hers vocals alongside musical complexity that takes strong advantage of the many great guest jazz musicians in the lineup – players who include Misha Tsiganov and David Kikoski on Fender Rhodes, Gil Goldstein on piano, Lew Tabackin on flute, and Steve Wilson on soprano sax. But at the center of it all is Monday – far more a jazz singer in recent years than the soul artist of her start – but balancing the spirit of both worlds beautifully, and with command of her vocal instrument that's completely stunning! Where most singers seem to get a bit more casual about their craft over the years, Michiru's just continued to master her natural instrument with a fantastic range and wonderfully expressive quality. Titles include "Ombre Of Time", "Pivot", "Cycles", "The Sound", "Ringo Oiwake", "Hope Pretend To Sleep", "Rise Above", "Life", and "Gossamer's Touch" – plus "Untethered", which features some great guest work from Ursula Rucker! LP, Vinyl record album

A gorgeous album of Brazilian vocal jazz – a set that blends bossa roots, Brazilian jazz, and some of the sunnier touches you might find coming from Bay Area interpretations of the music in the late 70s/early 80s – such as work by Joyce Cooling or Viva Brasil! Patricia King handles the lead vocals and piano – and she's got this wonderfully soaring style that's also a bit like some of the hipper European vocalists who emerged in the wake of Tania Maria's important 70s recordings in Paris. Orlando handles guitars and a bit of vocals too – and the group has great basslines, flute, and plenty of percussion to really keep things lively – all of which makes for one of the best examples we've ever heard of this sort of style. Titles include "Sambawalk", "Choro Sambaiao", "Cancao Da Chuva", "Calma Mulher", "Num Dia Azul", and "Sinal Verde". CD

A gorgeous album of Brazilian vocal jazz – a set that blends bossa roots, Brazilian jazz, and some of the sunnier touches you might find coming from Bay Area interpretations of the music in the late 70s/early 80s – such as work by Joyce Cooling or Viva Brasil! Patricia King handles the lead vocals and piano – and she's got this wonderfully soaring style that's also a bit like some of the hipper European vocalists who emerged in the wake of Tania Maria's important 70s recordings in Paris. Orlando handles guitars and a bit of vocals too – and the group has great basslines, flute, and plenty of percussion to really keep things lively – all of which makes for one of the best examples we've ever heard of this sort of style. Titles include "Sambawalk", "Choro Sambaiao", "Cancao Da Chuva", "Calma Mulher", "Num Dia Azul", and "Sinal Verde". LP, Vinyl record album

Brilliant early sounds from Jimmy Jam – rare late 70s material that has a very different sound than his slicker 80s work with Terry Lewis! The style here is a wonderful blend of sweet soul and righteous jazzy funk – a lot warmer than Jimmy's later beat-heavy style – and served up with loads of sweet keyboards alongside the soaring harmony vocals! Jimmy himself plays Fender Rhodes, clavinet, and other keys – but what we really love about the record is the vocals – these harmonies that are as fragile as New Jersey soul from the early part of the decade, but often turned towards more complicated cuts that have lots of jazzy riffing in the rhythms! The work's never been issued before, and is one of the greatest discoveries we've heard so far from the Numero Group – that's really saying a lot, given all their other releases. The vibe is almost like the Moments or Whatnauts recording for Black Jazz records – and titles include "I Don't Know Why", "My Love Is Like A Fire", "The Wonder Of It All", "No One Else Can Do It To Me Baby", "Virgin Lady", and "When You're Touching Me". CD

Brilliant early sounds from Jimmy Jam – rare late 70s material that has a very different sound than his slicker 80s work with Terry Lewis! The style here is a wonderful blend of sweet soul and righteous jazzy funk – a lot warmer than Jimmy's later beat-heavy style – and served up with loads of sweet keyboards alongside the soaring harmony vocals! Jimmy himself plays Fender Rhodes, clavinet, and other keys – but what we really love about the record is the vocals – these harmonies that are as fragile as New Jersey soul from the early part of the decade, but often turned towards more complicated cuts that have lots of jazzy riffing in the rhythms! The work's never been issued before, and is one of the greatest discoveries we've heard so far from the Numero Group – that's really saying a lot, given all their other releases. The vibe is almost like the Moments or Whatnauts recording for Black Jazz records – and titles include "I Don't Know Why", "My Love Is Like A Fire", "The Wonder Of It All", "No One Else Can Do It To Me Baby", "Virgin Lady", and "When You're Touching Me". LP, Vinyl record album

Beautifully burning work from Japanese saxophonist Kohsuke Mine – a player who cut some fantastic albums in the 70s, even though he never fully got his due on this side of the Pacific! The vibe here is very much in a post-Coltrane spiritual mode – with the leader blowing both tenor and soprano sax, and really working some amazing long, visionary lines on his instruments – sometimes really soaring off with Impulse Records-like energy, other times hitting more modal modes that remind us that Mine was one of the most powerful, soulful forces in the Japanese jazz scene at the time. The rest of the lineup is excellent too – and the album features additional tenor from Hideo Miyata, plus piano from Fumio Itabashi, bass from Hideaki Mochizuki, and drums from Hiroshi Murakami. Titles include "Thirsty", "Self Contradiction", "Spin Drift", "Daguri", and "Expectation". LP, Vinyl record album

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

One of the last great records by Charles Mingus – a set of extremely compelling original compositions, played by a fresh group of younger players, plus a few older masters! The record's got a fire and sense of emotion that's missing from a number of other 70s Mingus sessions – and it's one of the few later albums we'd easily rank right up there with his late 50s and early 60s classics! Orchestrations were partially arranged and conducted with help from Sy Johnson – and soloists include James Moody and Bobby Jones on tenor, Charles McPherson on alto, Snookie Young and Lonnie Hillyer on trumpet, and Roland Hanna on piano. Titles include "The Shoes Of The Fisherman's Wife Are Some Jive Ass Slippers", "Adagio Ma Non Troppo", "The Chill of Death", and "The I Of Hurricane Sue". CD features the bonus track "Taurus In The Arena Of Life". CD

A rare gem from Hank Mobley's initial late 50s run at Blue Note – a session recorded by the label in 1957, but unissued at the time! The quality of the set is right up there with Hank's best from the period – presented here in full album format, and the mix of searing hardbop and gentle soul that we've always loved in Mobley's work – all so great that the album's easily a cut above most other jazz sides of the time, and at a level that has us (as always) scratching our heads as to why Blue Note never put this one out. Players include Art Farmer on trumpet, Pepper Adams on baritone sax, Sonny Clark on piano, Paul Chambers on bass, and Philly Joe Jones on drums – and titles include "East Of Brooklyn", "Tune Up", "Poppin", "Darn That Dream", and "Getting Into Something". CD

A rare gem from Hank Mobley's initial late 50s run at Blue Note – a session recorded by the label in 1957, but unissued at the time! The quality of the set is right up there with Hank's best from the period – presented here in full album format, and the mix of searing hardbop and gentle soul that we've always loved in Mobley's work – all so great that the album's easily a cut above most other jazz sides of the time, and at a level that has us (as always) scratching our heads as to why Blue Note never put this one out. Players include Art Farmer on trumpet, Pepper Adams on baritone sax, Sonny Clark on piano, Paul Chambers on bass, and Philly Joe Jones on drums – and titles include "East Of Brooklyn", "Tune Up", "Poppin", and "Getting Into Something". LP, Vinyl record album

No filters here, as Hank Mobley's sound is clean, lean, and right on the money – hitting that newly-sophisticated groove of the Caddy For Daddy years in this sweet unissued set! The date was recorded in the 60s, but unissued by Blue Note for many years – another one of those head-scratching mysteries from the label, yet also a real treat to 80s jazz fans who finally got their hands on the sides – a whole new discovery of Hank Mobley's genius, further appreciated at a time when we weren't hearing more from him. The players are top-shelf all the way through – and include Freddie Hubbard or Donald Byrd on trumpet, Herbie Hancock or Barry Harris on piano, Paul Chambers or Butch Warren on bass, and Philly Joe Jones or Billy Higgins on drums. Titles include "Chain Reaction", "Soft Impressions", "Up A Step", "Old World, New Imports", "East Of The Village", "Yes Indeed", and "The Good Life" CD

Truly one of the Modern Jazz Quartet's greatest albums – and a set that has an edge and a darkness that's missing from some of their other Atlantic records! Part of the reason for this may be the group's fantastic reading of Ornette Coleman's "Lonely Woman" – a killer moody track that sounds great in the group's vibes/piano style – and which leads off the album with a chilling tone that's really unbelievable! The rest of the album's pretty great too – and there's a brooding intensity we don't normally hear in the piano of John Lewis and vibes of Milt Jackson. Other tracks include Gary McFarland's "Why Are You Blue" – plus John Lewi's "Belkis", "Animal Dance", "New York 19", and "Trieste". CD

A 2LP set that brings together most of the material from the first three full-length albums by the Modern Jazz Quartet – all recorded at a time when the combo were first forging their famous sound! Most of the sides here are in contrast to the group's better-known Atlantic work, because the group at this point still featured Kenny Clarke on drums – and although a few tracks here include Connie Kay, the bulk of the recordings are touched by Clarke's tighter, sometimes more aggressive work on percussion – making for a less-than-trademark sound that we really like. As usual, the rest of the group features Milt Jackson on vibes, John Lewis on piano, and Percy Heath on bass – and the 2LP set features 18 tracks that include "Concorde", "Vendome", "Milano", "La Ronde", "Django", "All The Things You Are", "Softly As In A Morning Sunrise", "Delauney's Dilemma", "La Ronde Suite", "All Of You", and "Ralph's New Blues". LP, Vinyl record album

Landmark material from the farther reaches of jazz in the mid 60s – one of two albums that trombonist Grachan Moncur recorded for Blue Note – and a session that ranks as one of the best examples of the "new thing" moment in 60s jazz! Grachan's leading a sextet here that includes a number of players that he cut his teeth with in Jackie McLean's great mid 60's group, including McLean himself on alto, Bobby Hutcherson on vibes, and Tony Williams on drums – all players who were opening up their own doors in the avant jazz world of the time – joined by trumpeter Lee Morgan, who really rises to the occasion, and opens up with a modern tone that's different than some of his own albums! The set features four stunning Moncur compositions – "Air Raid", "Evolution", "The Coaster", and "Monk In Wonderland". It's hard to describe the power of these recordings – but thankfully, we don't have to, as one listen to the album will blow you away! CD

Landmark material from the farther reaches of jazz in the mid 60s – one of two albums that trombonist Grachan Moncur recorded for Blue Note – and a session that ranks as one of the best examples of the "new thing" moment in 60s jazz! Grachan's leading a sextet here that includes a number of players that he cut his teeth with in Jackie McLean's great mid 60's group, including McLean himself on alto, Bobby Hutcherson on vibes, and Tony Williams on drums – all players who were opening up their own doors in the avant jazz world of the time – joined by trumpeter Lee Morgan, who really rises to the occasion, and opens up with a modern tone that's different than some of his own albums! The set features four stunning Moncur compositions – "Air Raid", "Evolution", "The Coaster", and "Monk In Wonderland". It's hard to describe the power of these recordings – but thankfully, we don't have to, as one listen to the album will blow you away! CD

Really lovely work from Pat Moran – leader of one of the grooviest groups of the 50s! The Pat Moran Quartet were unique in that they were both a jazz combo and a harmony vocal group – one that mixed two male voices and two female voices in a nicely swinging way that has plenty of echoes of the Hi Los or Four Freshmen from the time! Pat plays piano and Bev Kelly's the other female voice in the group – blended nicely with the voice and bass of John Doling and vocals and drums of Johnny Whited. Tracks are often familiar Bethlehem jazz numbers, but they're given a really groovy twist in this setting – and although the group only recorded 2 albums, we love them both to death! Titles include "Somebody Loves Me", "Sunday Kind Of Love", "Gone With The Wind", and "Have You Met Miss Jones". CD

A really moody session of vocal jazz from the 50s – a near-lost date from singer Terry Morel, who we only know from this one album on Bethlehem! The album's got a feel that's a bit like some of Chris Connor's work for the label at the time – backing by a trio led by pianist Ralph Sharon, augmented by flute from Herbie Mann, who shades in the tones with some darker hues that really give the record a unique feel. And Terry herself has a slightly different voice too – one that's a bit dusky and breathy, without the sweetness of other female 50s singers – almost bedroom-like in its sensuality. Titles include "How About You", "You're Not The Kind", "Too Late Now", "More Than You Know", "Who Cares", "A Hundred Years From Today", and "The Night We Called It A Day". CD

One of our favorite Lee Morgan albums, and one of his least known – a set recorded in the crucial last five years of his life, and a sparkling mix of hard bop, soul jazz, and slight bits of modernism – that magical mix that Lee was hitting as he reached farther and farther with his music – an amazing legacy in jazz that has us loving every Morgan session from 1965 onward! Lee's playing in very comfortable territory, with a group that includes Bennie Maupin on tenor, Cedar Walton on piano, Reggie Workman on bass, and Billy Higgins on drums – but that doesn't mean that the proceedings are relaxed at all, because the interplay between the players is flawless, and they use their familiarity as a great springboard to soar off into rich new territory. Lee wrote all the tunes on the record – like "Caramba", "Suicide City", and "Soulita". An excellent record throughout, and one that we'd never part with! LP, Vinyl record album

One of our favorite Lee Morgan albums, and one of his least known – a set recorded in the crucial last five years of his life, and a sparkling mix of hard bop, soul jazz, and slight bits of modernism – that magical mix that Lee was hitting as he reached farther and farther with his music – an amazing legacy in jazz that has us loving every Morgan session from 1965 onward! Lee's playing in very comfortable territory, with a group that includes Bennie Maupin on tenor, Cedar Walton on piano, Reggie Workman on bass, and Billy Higgins on drums – but that doesn't mean that the proceedings are relaxed at all, because the interplay between the players is flawless, and they use their familiarity as a great springboard to soar off into rich new territory. Lee wrote all the tunes on the record – like "Caramba", "Suicide City", and "Soulita". An excellent record throughout, and one that we'd never part with! CD

A later date from Audrey Morris – the Chicago singer who's probably best remembered for some classic RCA sessions in the 50s, but who also kept on doing her own thing for decades later in the Windy City! The set's got a very old school feel – quite different than the usual 80s jazz set – very much in classic small combo vocal mode, with Audrey's lead accompanied by piano from Bruce Robins, and some occasional tenor from Stu Genovese. And although the set was issued on a small label, it's got a very professional approach – almost an attempt to go for the classic sound that bigger labels were doing with small singer sessions a few decades before. The song choices are great, and titles include "Nobody", "I'm A Dreamer Aren't We All", "My Silent Love", "Mira", "Rain Sometimes", "But I Loved You", and "Afterthoughts". LP, Vinyl record album

A stellar live jazz trio effort led by drummer Paul Motian – and what a trio he leads, with Chris Potter on tenor sax and the always wonderful Jason Moran on piano – one of the better new ECM albums in years! The material was captured in February of '09 at the Village Vanguard, NYC – with frequent collaborators Motian & Potter working exceptionally well with Moran, which we'd have had to expect given Moran's versatility and respect for his peers and inspirations. Most of the material here keeps you rapt in loose, delicate and quiet inteplay with some more feverish solos and mostly Motian compositions. Titles include "Mode VI", "Casino", "Lost In A Dream", "Blue Midnight", "Be Careful It's My Heart", "Birdsong", "Ten", "Abacus" and "Cathedral Song". CD

Tremendous work from the great Mark Murphy – a great reminder that he's still one of the greatest jazz vocalists to come our way in the past 50 years! The short set's a loving tribute to the late Shirley Horn – delivered by Mark in some of his most personal, poetic modes in years – with backing from a trio that features Alex Minasian on piano and Curtis Lundy on bass – plus guest trumpet from Til Bronner on two of the album's tracks! Bronner's trumpet rings out warmly alongside Murphy's vocals – which have the same edge we've loved for so many years. The pairing is one that would definitely make Shirley Horn smile – and titles include "A Beautiful Friendship", "Get Out Of Town", "Here's To Life", and "But Beautiful". CD

Easily the greatest album that vocalist Mark Murphy has recorded in years – and a surprising departure from a lot of his recent work! Murphy did the album in collaboration with German trumpeter Til Bronner – a player we mostly know for his own smoothly soulful, and often-grooving albums. Yet here, Bronner's got both himself and Murphy working in a lush mode that recalls the spirit of 60s sessions arranged by Claus Ogerman or Don Sebesky – Bronner on trumpet with a core jazz group, augmented by larger orchestrations on most tracks – and recorded in a spaciously sublime way that often has Murphy's vocals hanging beautifully in mid-air! There's a breathtaking depth to the album that gets past some of the simple tracks and over-tread territory of other recent Murphy albums – almost as if the album's the "classic" that Mark never got to record back in the day, but which is finally coming out now, 50 years into his career in music! A real contrast to the recent Mark Murphy dancefloor work – such as his vocals with Five Corners Quintet – and featuring the originals "I Know You From Somewhere" and "Our Game" – plus standards "It Never Entered My Mind", "I'm Through With Love", "When I Fall In Love/My One & Only Love", and "Love Is Here To Stay". Japanese pressing features the bonus track "Detour Ahead". CD

A trio of albums from the great David Murray! Ming is beautifully arranged work from David Murray – an important early large group recording, one that really helped point the way to some of his later genius! The session features Murray leading an all-star octet that includes Henry Threadgill on alto, Olu Dara on trumpet, Butch Morris on cornet, George Lewis on trombone, Anthony Davis on piano, Wilbur Morris on bass, and Steve McCall on percussion. Tracks are a very hip set of original compositions that display an incredible range of soulful feeling and expression – and which open a door to a whole new chapter of Murray's career. Titles include "Ming", "Dewey's Circle", "Jasvan", "The Fast Life", and "The Hill". Sacred Ground is a beautifully spiritual set that really reminds us of the promise we first heard in his music decades ago! Murray's working here with a lean, soulful ensemble that includes Lafayette Gilchrist on piano, Ray Drummond on bass, and Andrew Cyrille on drums – all in a groove that has plenty of sharp edges, but which is also nicely inside – very focused, and with a sense of depth that's really wonderful! All tracks are originals by Murray – penned with the sensitivity of an older soul jazz recording – and two numbers feature lyrics by Ishmael Reed, sung by Cassandra Wilson on guest vocals. Titles include "Sacred Ground", "Transitions", "Family Reunion", "The Prophet Of Doom", "Believe In Love", and "Banished". Lucky Four is a gentler set than some of David Murray's other US dates from the time – but in a really great way that nicely gets at the more sensitive side of his work on tenor and bass clarinet! There's a bit of a hardbop groove to the album, but also a bit more freedom too – a style that never goes that far out, but which reminds us through subtle cues that most of these players have a longer legacy in more avant-oriented work. The group features Dave Burrell on piano, Wilbur Morris on bass, and Victor Lewis on drums – and Burrell especially echoes a range of influences here – almost pulling from older eras of jazz in the way that Jaki Byard used to – an approach that's often echoed by Murray in his horn. Titles include "Valley Talk", "Chazz", "As I Woke", "Abel's Blissed Out Blues", "Sharing", and "As I Woke". CD

A rich tapestry of Afro-Caribbean rhythms – and one of the most compelling albums we've heard in years from David Murray! The set features an expanded group of percussionists, vocalists, and other instrumentalists – fronted by lead solo stars David Murray and Pharoah Sanders – all jamming freely in styles that bring together bits of African, Haitian, and Cuban rhythms – forging them into a bold new sound for the project! Tracks are all quite longish, and given the previous skills that both Murray and Sanders have exhibited in such settings, they're more than up for the challenge of working with such a heady group of players! Titles include "Go To Jazz", "Gwotet", "Djolla Feeling", "La Jwa", "O Leonso", and "Ovwa". CD

Dang! Does David Murray ever stop re-inventing himself? We think not – and this album is great proof of that fact! The set's a really tasty batch of Latin Jazz numbers – played to perfection by Murray and a host of excellent New York musicians, working together in large group format with a sound and style that's at the peak of perfection for this sort of recording. Murray wrote all the tunes, so the album goes way past the cliches of Latin-ized standards that you're probably sick of hearing anyway – and it's steeped in a soulful approach to the genre that really grabbed our ears from the first note! Titles include "Giovanni's Mission", "Sad Kind Of Love", "Mambo Dominica", "Break Out", and "Aerol's Change". CD

A really great set of Ethio jazz from this contemporary combo – one who draw inspiration from the golden years of the 70s, but who bring plenty of individual twists to the music of their own! There's a lean, focused style here that's totally great – and an emphasis on jazz instrumentation over romping rhythms – sometimes topped with vocals, other times done in a way that really lets the solo instruments take center stage! Some tracks are nice and long, and we might like those the best – and titles include "Lalibela", "Ethiopia Danosae", "Kaffa Chafo", "Guwayla", "Esay Naiye", "Saint Yared", "Filae Goferae", and "Arba Minch". CD

Pretty obscure stuff from Don Nelson – a hip swinging jazz vocalist who we only know from this one album on Mode! Like some of the best obscure titles on Mode, this one takes a under-documented player from the LA scene of the 50s pairs him with a nice backing combo, and cuts a few respectable sides that will stand as the artist's only real legacy. Nelson mostly sings – in kind of a Bobby Troup-ish way – but he also plays a bit of recorder, which sounds nice and spooky! He's backed by a trio that includes Jimmy Rowles on piano, Leroy Vinnegar on bass, and Stan Levey on drums – and titles include "The Wind", "Taking A Chance On Love", "It Happened Once Before", "Nobody's Heart", and "Spring Can Really Hang You Up The Most". CD

A nice little set by Joe – recorded live, and much more freewheeling than some of his other albums from the time! The set's unusual for Joe, in that it's got more of a down and dirty approach – not exactly soul jazz, but with a much more gutbuckety groove than we might have thought! Newman's playing here with a great group that includes sax work by Oliver Nelson – working on tenor, and always a treat in a set like this – plus piano by Lloyd Mayers, drums by Ed Shaughnessy, and bass by Art Davis. Includes the long original tune "Wednesday's Blues", plus "Caravan", "Love Is Here To Stay", "Someone To Love", and "The Midgets". CD

A nice little set by Joe – recorded live, and much more freewheeling than some of his other albums from the time! The set's unusual for Joe, in that it's got more of a down and dirty approach – not exactly soul jazz, but with a much more gutbuckety groove than we might have thought! Newman's playing here with a great group that includes sax work by Oliver Nelson – working on tenor, and always a treat in a set like this – plus piano by Lloyd Mayers, drums by Ed Shaughnessy, and bass by Art Davis. Includes the long original tune "Wednesday's Blues", plus "Caravan", "Love Is Here To Stay", "Someone To Love", and "The Midgets". CD

One of the few albums ever recorded by pianist Herbie Nichols – an incredible player with a sound and sense of modern expression that rivaled the best 50s work of Thelonious Monk and Elmo Hope! This session is Herbie's only one for the Bethlehem label – but it stands nicely next to his better-known sides for Blue Note – with a stark, sharp modernist approach that grabs you from the very first note! Nichols has a sharp and edgey sound throughout – and an incredible sense of invention that never fails to delight us, no matter how many times we return to the record! Titles include "Every Cloud", "S'Crazy Pad", "45 Degree Angle", "Beyond Recall", "Portrait of Ucha", and the beautiful title track "Love Gloom Cash Love". CD

A brilliant setting for the spiritual reed talents of the legendary Idris Ackamoor – set here amidst more meditative sounds from Carlos Nino, who uses percussion and other instrumentation to create a magical landscape of sounds – while guitarist Nate Mercereau also joins in the mix, and also directs the overall sound of the set from the recording studio too! The sharper reed lines of Idris are a wonderful contrast to the more organic elements in the music at times – and really gives the feel of a jazz performance to the record, which might be more of a soundscape effort without his mighty presence. Titles include "Lightning Progression"," Time On Earth", "Group Effervescence", "We Love You So Much", and "Heaven Cruise Heaven Humming 2". LP, Vinyl record album

A second great set from Nomade Orchestra – a Brazilian group who bring a trans-global approach to jazz-based instrumentation – with a resulting sound that's unlike anyone else we can think of! These guys aren't in the usual Brazilian groove, and they're also not like some of the Afro Funk combos that have sprung up on that scene – and instead they seem to take the nomad in their name seriously, and wander the globe searching for sounds and styles to fit into their music! Instrumentation is especially strong on saxes – alto, tenor, and soprano – which really emphasize some of the more dramatic currents in the music – and the group's also heavy on percussion, with some slight electric touches on keyboards and guitar. Titles include "Jardins De Zaira", "Felag Mengu", "Estrada Para Camomla", "Olho Do Tempo", "Terra Fertil", "Rinoceronte Blues", and "Vale Da Boca Seca". CD

Heavy hitting jazz rock from the UK underground of the early 70s! We'll Talk About It Later is a great early album from Ian Carr's legendary Nucleus group – playing here in a version that includes Karl Jenkins and Brian Smith on reeds, and Chris Spedding on guitar. The band had a landmark sound that mixed progressive jazz and tight full-on rock fusion into a style that was sometimes funky, sometimes avant, and often pretty darn exciting! This album has lots of nice electric piano lines, and plenty of choppy sax parts that hit a nice groove in the manner that would later be taken up by a lot of European reed players, with nice long songs with plenty of room for improvisation – and grooves that are still nice and jazzy. Titles include "Song for The Bearded Lady", "Oasis", "Ballad of Joe Pimp", "Easter 1916", and "Lullaby For A Lonely Child". LP, Vinyl record album

A beautiful lost relic, and a monster batch of long jazzy grooves! The album was recorded in the great tradition of "musicans in prison" albums, like those by The Escorts in the early 70s, and it features an incredibly soulful band made up of jazz musicians in lockdown at the Ohio State Penitentiary during the mid 70s! We don't recognize any of the names on the album, but the players work with a hell of a lot of soul and spirit – on longer tracks that almost have the feel of 70s work by The Pharoahs or Phil Cohran's Artistic Heritage Ensemble. Way better than anything you'd usually get of this nature – and definitely light years beyond any school or army band recording – and much more like a 70s underground spiritual jazz set. All of the material was written and arranged by Logan Rollins, and the tracks have a large group feel, with long drawn out grooves, and plenty of room for nice nice solos – and titles include "Psych City", "Mantra Dance", "Counterry Bosa Davan", and "Java Man". CD

Japanese pianist Yuji Ohno started out in jazz, but soon had a role in so many different styles on his scene during the 70s – arranging for singers, doing soundtrack material, and serving up work in a whole host of different contexts – many of which are included in this mighty nice set! The vibe is funky and electric on most numbers, but Ohno plays acoustic here and there – and the set mixes vocal numbers and instrumentals in a really great way, both English and Japanese, with more than enough diversity to show you Yuji's skills in a range of different modes. Ohno is involved with every cut in the set – and titles include "Silhouette" by You & The Explosion Band, "Subterranean Futari Botchi" by Nanako Sato, "I Wish You Love" by Hatsumi Shibata, "Lilac Gai No Aki" by Ken Tanaka, "I Want To Be Happy" by Mieko Hirota, "Soaring Seagull" by Electric Keyboard Orchestra, "Mouichido Kikasete" by Hatsumi Shibata, and "Kiarameku Inner Space" by Yuji Ohno & Galaxy. CD

Japanese pianist Yuji Ohno started out in jazz, but soon had a role in so many different styles on his scene during the 70s – arranging for singers, doing soundtrack material, and serving up work in a whole host of different contexts – many of which are included in this mighty nice set! The vibe is funky and electric on most numbers, but Ohno plays acoustic here and there – and the set mixes vocal numbers and instrumentals in a really great way, both English and Japanese, with more than enough diversity to show you Yuji's skills in a range of different modes. Ohno is involved with every cut in the set – and titles include "Silhouette" by You & The Explosion Band, "Subterranean Futari Botchi" by Nanako Sato, "I Wish You Love" by Hatsumi Shibata, "Lilac Gai No Aki" by Ken Tanaka, "I Want To Be Happy" by Mieko Hirota, "Soaring Seagull" by Electric Keyboard Orchestra, "Mouichido Kikasete" by Hatsumi Shibata, and "Kiarameku Inner Space" by Yuji Ohno & Galaxy. LP, Vinyl record album

Easily one of the most successful albums of the British jazz rock years – but still a longtime favorite of ours as well! Mike Oldfield sets a whole new standard here for concept rock – not only by working on a single album-length composition that spans all of sides one and two, but also by playing all instruments himself – in a one man symphony of sound that's pretty darn great! The main theme of the piece will be recognizable from it's stripped-down use in The Exorcist – but we really love Oldfield's expansion on it here in a range of different overdubbed instruments, which are also sometimes processed – and then introduced by Mike in a spoken part that's one of the highlights of the album. LP, Vinyl record album

The title structure hear hearkens back to some of the anagram puns that Fela Kuti used to twist the political knife back in the day – and Olumo Soundz have definitely inherited some of the spirit of that scene! Yet the group also have a different sort of vibe, in part because a number of players come from the Swedish jazz scene – most famously keyboardist Roman Andren, an artist we always love on his own record, and one whose warmth really sets the tone here! There's plenty of horns, lots of percussion, and mighty long tracks – all topped by vocals from Positive Olumo, on titles that include "UN (United Nonsense)", "Sunday Jump", "Wahala Dey Come", and "Chasin". LP, Vinyl record album

We've gotta hand it to pianist Roberto Olzer – a player who can combine references from classical music and more straightforward jazz trio modes – all at a level that's very different than earlier work from players like Jacques Loussier and Eugen Cicero, who worked in similar territory! Olzer is clearly a jazz musician first, and the tunes here are often his own, and have a great sense of open, fluid energy – but he's also clearly a master of the keyboard, and can manage to swing the odd tune from Chopin, Purcell, and Mendelssohn – which are included here nexst to the original material! The trio features stunning work on bass from Yuri Goloubev and drums from Mauro Beggio – and titles include "Milano Rain", "Notturno", "Andante Con Moto", "Images", "Touchdown", "Dido's Lament", and "Eveline". LP, Vinyl record album

Really haunting solo work from pianist Roberto Olzer – a player who's already got this incredibly sensitive command of the keyboard on his trio records, which only comes through even more strongly here! Olzer seems trained in the best modes of the romantic composers, especially Chopin – yet he's also a jazz musician too – and blends a sense of improvisation with an impeccable understanding of the piano, with a balance of notes, sounds, and silence that's completely sublime! The set does reference another world in its use of a few compositions by Puccini, mixed with others by Pat Metheny, Antonio Carlos Jobim, and Bill Evans – in a set list that includes "We Will Meet Again", "Pezzo In La", "Luiza", "In Her Family", "Straight To Dream", "Torre Del Lago", "Remembering Pramila", and "Coro A Bocca Chiusa". LP, Vinyl record album

Samba is their gift – and we're all that much richer for it! Os Ipanemas return here in one of their best albums so far – a beautiful blend of earthy percussion, samba rhythms, and just a bit of bossa jazz – put together with a style that's personal and spontaneous, recorded without any extra fanfare – and in a mode that's almost more authentic than similar recordings from the 60s! Leave it to the Far Out label to get a session like this done the right way – because there's none of the too-slick sounds of some revival sessions, nor any of the fake roots that just come off as tired over-hashed ideas. Instead, what we've got here is a lively, organic batch of music that shows that percussionist Wilson Das Neves and guitarist Neco are still growing strongly in their talents – aided here by an array of guest players on trumpet, trombone, flute, and a fair bit of extra percussion – and sounding especially nice on those tracks where Wilson's warmly crackling vocals simmer nicely with the grooves! Titles include "Imperial", "Malandro Qando Vaza", "San Roque", "Valsamba", "Treze Trinta E Nove", "Folia No Samba", "Taioba", and "Samba Pra Mim Mesmo". CD

A wicked soul set from Output/Input – a project spearheaded by Melvin Lee Davis, who worked behind Chaka Khan for years – experience that definitely shows in the warmth and richness of this set! The record's got a great classic/contemporary vibe, one that almost takes us back to the sound of Incognito in their glory days – but with a spin that's nicely different too – maybe more soul at the core than jazz funk, as Davis opens the door to vocals from a range of different singers – Antonio McLendon on most of the core cuts, but also work from O'Bryan, Audrey Wheeler, and Brent Carter too. Titles include "Don't Be Scared", "Doin Alright", "Time Of Our Lives", "I'm In Love", "Really No Chance", "Love Of Another Guy", "Here We Go Again", and "True Love" – plus the CD bonus track "Every Time You Touch Me". CD

A wicked soul set from Output/Input – a project spearheaded by Melvin Lee Davis, who worked behind Chaka Khan for years – experience that definitely shows in the warmth and richness of this set! The record's got a great classic/contemporary vibe, one that almost takes us back to the sound of Incognito in their glory days – but with a spin that's nicely different too – maybe more soul at the core than jazz funk, as Davis opens the door to vocals from a range of different singers – Antonio McLendon on most of the core cuts, but also work from O'Bryan, Audrey Wheeler, and Brent Carter too. Titles include "Don't Be Scared", "Doin Alright", "Time Of Our Lives", "I'm In Love", "Really No Chance", "Love Of Another Guy", "Here We Go Again", and "True Love" – plus the CD bonus track "Every Time You Touch Me". LP, Vinyl record album

One of the only albums of jazz we've seen from the Korean scene of the 70s – and a really special little record that aims to echo some of the most spiritual modes from the US scene of the time! The record's the brainchild of arranger Lee Pan Guen – who doesn't play on the record, but leaves the music to a hip lineup that features trumpet, tenor or soprano sax, piano, bass, and drums plus percussion – often used in a way that's either modal or slightly lyrical, depending on the tunes. A few tracks are remakes of American numbers, but done at a level that's very personal and fluid – echoing the spiritual currents of the original tunes on the set – and titles include "Han O Baek Nyun", "My Favorite Things", "Gasiri", "Bin Ba Da", "Arirang", and "Softly As In A Morning Sunrise". CD

The music of Misha Panfilov just gets deeper and deeper with each new release – and here, he's light years away from the funk of his earlier sets, and much more in the realm of spiritual jazz! The set's got a vibe that's almost in the Carlos Nino side of the spectrum, but which also resonates strongly with Misha's amazing sense of sound – served up by a group that features Misha on guitars, keyboards, organs, harpsichord, ngoni, and a whole host of other elements – joined by the trumpet of Rafael Andrade, tenor of Francisco Aguilar, bass of Ricardo Dias, and drums of Francisco Coelho. Tunes are long and carry elements of Brazilian and other global styles – but often in a way that evokes cinematic modes too, although things are much deeper than any sort of easy soundtrack reference to such styles. The whole album's a masterpiece of beauty that we never would have expected from Panfilov a few years back – and titles include "Vertical", "Alegria Em Movimento", "Caleidoscpopio", "Domingo Magico" and "Para O Sol". LP, Vinyl record album

One of the greatest albums ever on the legendary Strata East label – and that's saying a hell of a lot! Drummer Billy Parker is a player that we don't know much, but he'll always be well-remembered for this album's sublime blend of spiritual jazz styles! The lineup is wonderful – a hip quintet with Ron Bridgewater on tenor and Cecil Bridgewater on trumpet – plus sister Dee Dee on additional vocals at a few points too! Donald Smith also plays piano, and sings a bit – with his warmly soulful style that makes the album's leadoff track a killer classic – and the rest of the group is rounded out by Cecil McBee on bass and Parker on drums. Tracks have those perfect blends of searching, soaring elements that virtually define the Strata East vision in the 70s – and titles include the sublime "Dance of The Little Children", plus "Gemini's Lullaby", "Home", "Get With It", and "Freedom Of Speech". LP, Vinyl record album

Given the coolness of the Swedish jazz scene in the postwar years, we can imagine that the arrival of Charlie Parker on the scene must have set things on fire quite a bit! The album's a great example of the Bird magic even in the most unusual of circumstances – as the settings are less than key, the recording quality a bit muted, and the players all fine, but sometimes not as well matched as they might be – yet none of that matters to Charlie, because he soars out here with the kind of hard-burning solo work that's all-Parker, all the way – pure jazz magic that's still strongly inspiring, even after all these years. The set features live recordings done at Folkets Park and an unknown restaurant, with players that include Rolf Ericson on trumpet, Gosta Theselius on piano, and Rowland Greenberg on trumpet – and titles include "Body & Soul", "Strike Up The Band", "Star Eyes", "Cool Blues", "Fine & Dandy", and "How High The Moon". LP, Vinyl record album

A record with a very careful approach to sound – very slow-building work on soprano sax from Evan Parker, matched with equally thoughtful electronics from Matthew Wright – both players coming together in one of the most subtle executions of this mode we've ever heard! And that quality is only heightened by the fact that the group's a quartet – Peter Evans on trumpet and piccolo trumpet, and Mark Naussef on percussion – players who share the sensitivity of the dual leaders, as they build things up over long improvisations that really showcase that thoughtful sonic sensitivity that's always made Parker such a distinct reedman on the European scene. The whole thing is definitely a free jazz expression of electro/acoustic ideals first forged in the middle of the 20th Century – and titles include "At Altitude", "Drawing Breath", and "Engaged In Seeking". CD

An odd little session for Blue Note, but a great one too! The record is odd in that it features a host of players who weren't normally part of the label's off-used roster of big-name sidemen, and odd in that it features a swinging style that's a bit of a nod to earlier jazz days than the early 60s – but it's also a great revival of a player from an earlier generation of jazz! Baritonist Leo Parker cut some heavy sides for labels like King and Savoy – but on this Blue Note session he really opens up in a hard-swinging way that you don't always hear on his earlier recordings. The group's a firey sextet, with John Burks on trumpet, Bill Swindell on tenor, and Yusef Salim on piano – but the real star is Parker, who swings the baritone harder and faster than just about anyone else we've heard. Titles include "Blue Leo", "Glad Lad", "Parker's Pals", "Low Brown", and "Vi". CD also features 2 bonus tracks – a longer take on "Low Brown" and "The Lion's Roar". CD

Pretty wild stuff from Annette Peacock – almost a "no wave" record at times, with lots of quirky art rock overtones next to the jazz vocal stylings that are more of her typical bag. The album's got lots of heavy guitars from rockers that include Mick Ronson, Chris Spedding, Bill Bruford, and Brian Godding – but it's also got a kind of cool approach to the music that goes for some nice faux-soulful takes on a few tracks, creating funk where we wouldn't expect it – and going for some warmer moments that soften Annette in ways that sound very nice. Our favorites are the cuts "This Feel Within", "Real & Defined Androgens", and "Questions" – and other titles include "Don't Be Cruel", "Dear Bela", and "My Mama Never Taught Me How To Cook". LP, Vinyl record album

The incredible debut from Pearls Before Swine – a group who were a bit late to the New York folk party of the 60s – but at a level that really helped them evolve past the rest of their scene! The album's sometimes a bit overlooked – as it came out on the mostly-jazz ESP label – but it's a mindblowing treasure from the year of 1967, and one of the most forward-thinking albums of the time! The group begin with folk constructions, but really take off quickly with some trippier elements too – especially when they mix organ, vibes, or electronics with more familiar guitar and mandolin. Singer Tom Rapp maybe has a slight touch of Dylan in his approach, but he's already up there as his own man – and we love Rapp so much, we'd place him in the same heady territory as Tim Buckley, Tim Hardin, or Leonard Cohen – all of whose work is a good match for the energy here. There's a wonderfully dark quality to this album that gives it a timeless feel – strains of avant instrumentation underneath the gentler sound of Rapp's voice, and an undying sadness that's matched by the feel of songs like "Another Time", "Playmate", "Drop Out", "Ballad To An Amber Lady", "Miss Morse", "I Shall Not Care", and "Morning Song". LP, Vinyl record album

A very cool combo from the LA scene of the 70s – a tight funky group, topped with two female soul singers – all working together in a style that's got a wonderful mixture of warmer edges and grittier sounds at the core! The two female singers really give the set a unique vibe – as they help bring focus to the instrumentation of the group, with a lot more presence than the usual throw-in female vocals of the time – hardly the backing chorus mode of a disco record, and instead a great balance to the sharp guitar lines and keyboards from the musicians! We've not heard of any of the players in any other setting, but they're very good – clearly able to handle jazz if they want, but aimed here towards a sophisticated funk style that's equally great on the mellow steppers as it is on the more upbeat tracks. Titles include "Heavenly Feeling", "World Full Of People", "Do You Hear Me Talking To You", "Dreaming Our Lives Away", "A Thank You Song", "Fantasies & Dreams", and "I'd Like To Stay". CD features a bonus 7" mix of "I'd Like To Stay". CD

A very cool combo from the LA scene of the 70s – a tight funky group, topped with two female soul singers – all working together in a style that's got a wonderful mixture of warmer edges and grittier sounds at the core! The two female singers really give the set a unique vibe – as they help bring focus to the instrumentation of the group, with a lot more presence than the usual throw-in female vocals of the time – hardly the backing chorus mode of a disco record, and instead a great balance to the sharp guitar lines and keyboards from the musicians! We've not heard of any of the players in any other setting, but they're very good – clearly able to handle jazz if they want, but aimed here towards a sophisticated funk style that's equally great on the mellow steppers as it is on the more upbeat tracks. Titles include "Heavenly Feeling", "World Full Of People", "Do You Hear Me Talking To You", "Dreaming Our Lives Away", "A Thank You Song", "Fantasies & Dreams", and "I'd Like To Stay". LP, Vinyl record album

A nicely focused set from the great Art Pepper – a record that features a number of familiar bop and jazz themes, but set to a more open, relaxed, and very soulful style that wonderfully reflects all the greatness of Pepper in his final years! The group on the record is nicely understated, but still very hip – George Cables on piano, Charlie Haden on bass, and Billy Higgins on drums – and Art gets plenty of space to step out front and really blow these amazing solos, including one number that features just bass and drums, while Pepper blows a bit of clarinet – which we always love. All other titles feature alto sax – and titles include "Donna Lee", "Anthropology", "You Go To My Head", "Body & Soul", and "Desafinado". LP, Vinyl record album

One of Oscar Peterson's biggest records ever – one of those albums we turn up time and time again when digging through classic jazz collections – and for good reason too, given the lasting power of the set! The album's got a rock-solid sound that's filled with soul – almost a bit more down and dirty than some of Peterson's earlier work, very much in the spirit of the group's hit performance of the title track. In a way, the album's almost Oscar's answer to some of the rising younger stars in the soul jazz scene – and is proof that the master still can do things as great as the artists he inspired. Ray Brown is on bass and Ed Thigpen is on drums – and tracks include "Bag's Groove", "Georgia On My Mind", "Easy Does It", "Band Call", and "Night Train". LP, Vinyl record album

One of Oscar Peterson's biggest records ever – one of those albums we turn up time and time again when digging through classic jazz collections – and for good reason too, given the lasting power of the set! The album's got a rock-solid sound that's filled with soul – almost a bit more down and dirty than some of Peterson's earlier work, very much in the spirit of the group's hit performance of the title track. In a way, the album's almost Oscar's answer to some of the rising younger stars in the soul jazz scene – and is proof that the master still can do things as great as the artists he inspired. Ray Brown is on bass and Ed Thigpen is on drums – and tracks include "Bag's Groove", "Georgia On My Mind", "Easy Does It", "Band Call", and "Night Train". LP, Vinyl record album

One of Oscar Peterson's biggest records ever – one of those albums we turn up time and time again when digging through classic jazz collections – and for good reason too, given the lasting power of the set! The album's got a rock-solid sound that's filled with soul – almost a bit more down and dirty than some of Peterson's earlier work, very much in the spirit of the group's hit performance of the title track. In a way, the album's almost Oscar's answer to some of the rising younger stars in the soul jazz scene – and is proof that the master still can do things as great as the artists he inspired. Ray Brown is on bass and Ed Thigpen is on drums – and tracks include "Bag's Groove", "Georgia On My Mind", "Easy Does It", "Band Call", and "Night Train". CD

An album of rich textures and subtle sonic moments – the bass of Barre Phillips in duet with the clarinets of Giancarlo Locatelli – a player who uses his reed instruments with this very spare, careful sort of approach – really taking his time to find out the properties of the horns that go far beyond music! Locatelli plays both b flat and bass clarinet – in a mode that's on the farther side of the free jazz use of those instruments from years back – on a set of very long improvisations dedicated to Coleman Hawkins – maybe initially an odd choice, until you realize that Hawk might well have approved of the inventive phrasing on the spot. Titles include "Dance Of The Scorpions No 1", "Dark Moon Dance One", and "Dark Moon Dance Two". CD

A 70s album, issued at a time when Esther Phillips was really riding high with her records on the Kudo label – but a set that brings together unissued sides recorded for Atlantic in the 60s! The style is a great mix of rootsy soul and hipper jazz – arranged by Onzy Matthews on side one, with a care and quality that almost rivals Capitol jazz vocal sessions of the time – and performed live at Freddie Jett's Piper Club on side two – in the same mode as her classic Burnin album from the time locale! Philips is wonderful in both settings – with that distinct approach that's unlike any other singer we know – quite versatile, and at a critical point between her R&B work of the 50s, and her smoother Kudu jazz of the 70s. Titles include include "Cherry Red", "In The Evenin", "I Wonder", "Romance In The Dark", "I Love Paris", and "I'm Gettin' Long Alright". LP, Vinyl record album

One of the first great soundtracks we ever heard from Piero Piccioni – and still one of the best! Colpo Rovente has this really special sort of sound – jazzy, but not really jazz – bassy, but not really funky – and often done with spare, stark sounds – but never in a way that's too atonal or horror-based either! Piccioni brought a really special sort of genius to the record – a way of using each instrument with a very unusual sound or tuning – and isolating each element in just the right way, but with a different style than that used by Morricone at the time. Some tracks get nice and groovy, but lots more hang back in a style that's almost pensive – and titles include "Kintabu", "Colpo Rovente", "Easy Dreamer", "Chinatown Drugs", and "LSD". LP, Vinyl record album

A stunning jazz soundtrack from Piero Piccioni – much more like some of the classic French new wave jazz scores of the late 50s than some of his groovy, mod sounds to come later in the 60s! The instrumentation here is a beautiful mix of piano, bass, vibes, and some occasional stronger horns – used mostly on tracks that are short, but extremely haunting – very evocative, with lots of echoes of American crime jazz, but served up with the more subtle, more tonally rich qualities we love in the early years of Piccioni – stepping here directly from his roots in the Italian jazz scene, and delivering superb sounds throughout! This CD marks the first time the music has ever been issued – as there was an original 45rpm EP scheduled in the 60s, but never issued – and that is presented here with a huge amount of bonus tracks – 31 numbers in all that make for a fantastic soundscape in jazz. CD

The fantastic debut of The Pointer Sisters – an album that's a lot deeper than most of their crossover pop from years to come! At the time of the album's release, the trio were a badass group of female singers on the Bay Area scene – out to redefine the role of the girl group in soul – working not only with righteous power that was a real change from modes of the 60s – but also this trans-temporal quality that had them reaching back with ease for references from decades past, which also includes a surprising amount of jazz! The highlight here is the group's classic funky break version of Allen Toussaint's "Yes We Can Can" – and other titles include "Naked Food", "Wang Dang Doodle", "Sugar", "Pains & Tears", "Jada", "River Boulevard", and "Cloudburst". CD

The fantastic debut of The Pointer Sisters – an album that's a lot deeper than most of their crossover pop from years to come! At the time of the album's release, the trio were a badass group of female singers on the Bay Area scene – out to redefine the role of the girl group in soul – working not only with righteous power that was a real change from modes of the 60s – but also this trans-temporal quality that had them reaching back with ease for references from decades past, which also includes a surprising amount of jazz! The highlight here is the group's classic funky break version of Allen Toussaint's "Yes We Can Can" – and other titles include "Naked Food", "Wang Dang Doodle", "Sugar", "Pains & Tears", "Jada", "River Boulevard", and "Cloudburst". LP, Vinyl record album

One of the most intimate albums we've ever heard from Jimmy Ponder – and one of the most compelling as well! The set's an unusual live date from the early 80s – one that has Jimmy playing entirely solo – just electric guitar hanging out in space on beautifully fluid lines – perfectly crafted, and filled with a sense of rhythm and imagination that doesn't always come through on some of Ponder's fuller combo sessions. And although live, the recording quality is great – well-suited to capture the subtle changes in tone and color that make Jimmy's playing here a surprising joy throughout. Titles include "Work Song", "Freedom Jazz Dance", "Con Alma", "Milestones", and "All The Things You Are". CD

Gregory Porter arrives on Blue Note Records – and the result is Porter's most fully-formed set so far – just the kind of album that will push him firmly into the limelight – a place that we've felt he's deserved for quite a few years! Porter's a hell of a singer, and a hell of a songwriter too – and although his roots are in jazz, he's got a rare ability to step between genres with plenty of soul – a special space that belongs to a very rare few – like Nina Simone, Bill Withers, Roberta Flack, or Gil Scott-Heron! Gregory's voice is amazing, his lyrics are both personal and pointed – and he does so much here with so little, the album should be handed out to the hundreds of mis-directed vocalists who think that a few extra tweaks in the studio is all they really need. Most numbers just feature small combo backing, with wonderfully warm piano from Chip Crawford – and the whole thing's got a timeless feel that makes us think this is the beginning of a rich new season for Porter. Titles include "Free", "Water Under Bridges", "Lonesome Lover", "Liquid Spirit", "No Love Dying", "Brown Grass", "When Love Was King", and "Wind Song". CD

Gregory Porter arrives on Blue Note Records – and the result is Porter's most fully-formed set so far – just the kind of album that will push him firmly into the limelight – a place that we've felt he's deserved for quite a few years! Porter's a hell of a singer, and a hell of a songwriter too – and although his roots are in jazz, he's got a rare ability to step between genres with plenty of soul – a special space that belongs to a very rare few – like Nina Simone, Bill Withers, Roberta Flack, or Gil Scott-Heron! Gregory's voice is amazing, his lyrics are both personal and pointed – and he does so much here with so little, the album should be handed out to the hundreds of mis-directed vocalists who think that a few extra tweaks in the studio is all they really need. Most numbers just feature small combo backing, with wonderfully warm piano from Chip Crawford – and the whole thing's got a timeless feel that makes us think this is the beginning of a rich new season for Porter. Titles include "Free", "Water Under Bridges", "Lonesome Lover", "Liquid Spirit", "No Love Dying", "Brown Grass", "When Love Was King", and "Wind Song". This great 3LP deluxe version features special guest bonus tracks on the fifth side – Water Under The Bridge" with Laura Mvula, "Don't Let Me Be Misunderstood" with Jamie Cullum and "Grandma's Hands" with Ben L'Oncle Soul – plus Rainer & Grimm, Claptone, 20syl, St Germain and Knuckle G remixes on the sixth side! LP, Vinyl record album

The greatness of Gregory Porter continues to grow and grow – as the vocalist keeps moving past the straighter jazz of his roots, into a role as one of the greatest soul singers of the 21st Century! Porter's got a depth and maturity that few folks have had in recent years – especially in the realm of male vocals – very much that manner of important 70s singers like Bill Withers, Billy Paul, or Al Jarreau – who were schooled in jazz, but worked more in soulful styles that gave them a wider reach, and helped them to find a very personal voice in the process! We'd easily place Gregory in that legacy – one that he's definitely earned by this point – and he sounds arguably even better here than on his debut for Blue Note – working with arrangements from co-producer Kamau Kenyatta, who mixes in just the right current of jazz to keep things on track with the energy we first loved in Porter's first records – while still really letting his new energy open up and soar. Titles include "Holding On", "Insanity", "Don't Lose Your Steam", "Daydream", "Don't Be A Fool", "More Than A Woman", and "French African Queen". Also features different versions of two songs, with guest appearances – "Holding On" with Kem, and "Insanity" with Lalah Hathaway. CD

The first ever career-spanning look at the music of legendary vocalist Asha Puthli – a singer who's maybe best known for her 70s club work on the European scene, but who also has a much wider range of expression – which you'll discover here! There's definitely some of the soul-based work that's made Asha a favorite with the rare groove scene over the years – but the set also includes early work with rock bands, and even a few experimental jazz numbers that predate her recordings for the discos! The double-length set is a delight throughout – a package that's really opened our eyes to sides of Asha's music we never knew – and titles include performances with Ornette Coleman on "What Reason Could I Give" and "All My Life", work with Charlie Mariano on "Mirror", vocals with The Surfers on "Sound Of Silence" and "Sunny", and with The Savages on "Pain" – plus solo tracks that include "Lies", "Right Down Here", "We're Gonna Bury The Rock", "Mister Moonlight", "1001 Nights Of Love (reprise)", "Music Machine", "Peek A Boo Boogie", "Devil Is Loose", "Space Talk", "I'm Gonna Dance", and "One Night Affair". CD

The first ever career-spanning look at the music of legendary vocalist Asha Puthli – a singer who's maybe best known for her 70s club work on the European scene, but who also has a much wider range of expression – which you'll discover here! There's definitely some of the soul-based work that's made Asha a favorite with the rare groove scene over the years – but the set also includes early work with rock bands, and even a few experimental jazz numbers that predate her recordings for the discos! The double-length set is a delight throughout – a package that's really opened our eyes to sides of Asha's music we never knew – and titles include performances with Ornette Coleman on "What Reason Could I Give" and "All My Life", work with Charlie Mariano on "Mirror", vocals with The Surfers on "Sound Of Silence" and "Sunny", and with The Savages on "Pain" – plus solo tracks that include "Lies", "Right Down Here", "We're Gonna Bury The Rock", "Mister Moonlight", "1001 Nights Of Love (reprise)", "Music Machine", "Peek A Boo Boogie", "Devil Is Loose", "Space Talk", "I'm Gonna Dance", and "One Night Affair". LP, Vinyl record album

If this is disco, point us in the direction of Studio 54! The album's one of Ra's greatest from the 70s – recorded in Italy in 1978, and featuring some incredibly otherworldly keyboards that are some of his most enigmatic on record! This hugely expanded version features a whopping 12 tracks in all – the complete performance that originally spawned the album, all of which is as delightful as the 3 tracks that were originally issued on vinyl. Finding all this extra Ra material from the 70s – over 2 hours of music – is like finding a time machine – and the well-done package comes with great notes and excellent sound. Original tracks from the album include "Disco 3000", an incredible workout on synthesizer, with a tiny bit of drum machine, a little "Space Is The Place" breakdown, and all of the wild sound you'd expect from a Sun Ra album – plus more long tracks – the sweetly soulful "Friendly Galaxy", a great soul jazz number, and "Dance Of The Cosmo Aliens", which has spooky organ, frenetic bass, and somber percussion! Additional material includes "Echoes Of The World", "Sun Of The Cosmos", "Geminology", "Sky Blues", "We Travel The Spaceways", and "Spontaneous Simplicity" – all played by a group that includes John Gilmore on tenor, Luqman Ali on drums, Michael Ray on trumpet, June Tyson on vocals, and Sun Ra on piano, organ, moog, and rhythm machine. CD

Solo Sun Ra, and a set that's heavy on Fender Rhodes as well – a record that's maybe a bit more inside than some of Ra's more avant live sessions, yet one that still features a fair bit of improvisation as well! From an electric piano perspective, the set's a gem – and it's great to hear Ra open up on the keys, working in modes that are a bit like some of his Improvising Artists recordings from a few years before – showing the world that although he's sometimes working in a larger ensemble, he's also a hell of a pianist with sold grounding in older jazz modes – displayed strongly here on titles that include "Haverford Impromptu #2", "Love In Outer Space", "Space Is The Place/Over The Rainbow", "St Louis Blues", and "Haverford Impromptu #1". The set also features two never-issued shorter acoustic piano tracks – "We Love To Be" and "Take The A Train". LP, Vinyl record album