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Classic country soul from Millie Jackson – plus a brand new song as well – all served up in a set that shows yet another side of this legendary singer! Millie's known both for her weepy sad songs of the early years, and her bitchy blues of later ones – but during the 70s, she also cut a fair bit of country-tinged tunes as well – done in a similar space as other southern soul singers like Joe Tex, Solomon Burke, or Joe Simon! The styles vary nicely, though – not just the straight blend of country roots and soulful inflections you'd hear in the 60s – as some of the tracks are from later years, and bring in some modern soul to the mix – nicely expanding the sound. A few titles are duets with Isaac Hayes – and titles include "Angel In Your Arms", "Rose Colored Glasses", "Sweet Music Man", "Cheatin Is", "You Needed Me", "Pick Me Up On Your Way Down", and "Standing In Your Line" – plus the brand new track "Black Bitch Crazy". CD

A great follow up to Mille Jackson's classic Caught Up album – but one that's also a key turning point too! The theme here is the same as the album before – with tunes that have a woman "caught up" in love and all of its tangles – but the sound is also bolder, more positive, and somehow more righteous than before – with Millie stepping from the weepy shadows very firmly into the mainstream – making a bold move forward for women in general in the process! Production is still by southern soul whiz Brad Shapiro – but he's also brightened things a bit too, in keeping with Millie's bolder spirit – shaking off some of the earthier tones of the music, and hipping things up slightly with some more modern instrumentation. Millie's vocals are completely wonderful throughout – rasping with that badass style that would later explode even more strongly – and there's lots of spoken bits that make the tunes sound even more personal – as if you're listening at the door, or tapping the phone while Millie's talking to her man! Titles include "Loving Arms", "Do What Makes You Satisfied", "Making The Best Of A Bad Situation", "The Memory Of A Wife", "Leftovers", and "Tell Her It's Over". Expanded CD features 2 bonus tracks – "The Memory Of A Wife (rehearsal version)" and "How Can I Make Sweet Love To You If You Won't Stand Still", which is an earlier version of "One Night Stand". CD

A great live date – recorded in Tokyo with Jackson on vibes, Teddy Edwards on tenor, Cedar Walton on piano, Ray Brown on bass, and Billy Higgins on drums. Tracks include "Killer Joe", "All Blues", "St. Thomas", "The Prophet Speaks", and "Stolen Moments". CD

Milt plays mostly Monk – recorded live at Ronnie Scotts, with Ray Brown on bass, Monty Alexander on piano, and Mickey Roker on drums. CD

Whatever you may think of Milt Jackson's later work, this stuff from the early 50s, recorded in his pre-MJQ years, shows the vibist as a lively talent, playing head to head with boppers that he'd never dare face in later years. Players include Lou Donaldson, John Lewis, Thelonious Monk, and Shadow Wilson – and Kenny "Pancho" Hagood sings vocals on 2 tracks. Tracks include "On The Scene", "Tahiti", "Lillie", "Epistrophy", and "Misterioso". 17 tracks in all – with some alternate takes, and great remastering! CD

A great little set from that time when Milt Jackson was fronting a group that also included Jimmy Heath on tenor – a wonderful pairing of talents that made for some of Milt's most soulful sides of the 60s! Heath's sharp-edged tone is a great contrast to Jackson's smoother touch on the vibes – and the pair are supported here by rhythm from Hank Jones on piano, Bob Cranshaw on bass, and Albert Heath on drums – all great players who bring plenty of personal inflection to their work on this live date. Titles include a great version of Heath's "Gemini" – plus Jackson's "Bags Of Blue", "Gerri's Blues", and "Ignunut Oil" – plus takes on "Little Girl Blue" and "Time After Time". CD

Proof that Milt Jackson was easily the hippest member of the Modern Jazz Quartet – and one of the few who could really open up into different sounds away from that combo! This sweet 70s set for CTI is totally great – a whole new chapter for Jackson's vibes, and a real re-setting of the soulful modes he'd explored as a leader in the 60s. There's a wonderfully warm and chromatic feel to the set from the start – as Milt's vibes are set in fuller arrangements from Don Sebesky – with added instrumentation from Herbie Hancock on electric piano, Freddie Hubbard on trumpet, and Phil Bodner on reeds. The highlight of the album is a nice long take on "People Make The World Go Round", but it's all pretty sweet, and other titles include nice versions of "Sunflower" and "What Are You Doing For The Rest Of Your Life" – and Jackson's own "SKJ" and "For Someone I Love". CD

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A great album from Willis Jackson – a real sleeper, and with a very groovy feel! Willis smokes with an organ combo that has Butch Cornell at the keys, and which also features Vince Corrao on guitar and Franklyn Robinson on trumpet. The tracks are a mix of originals and Beatles covers (believe it or not!), and Willis is in that playful mid-60s mode, where he's working with so much profiency on the tenor that he can take some groovy chances on the solos. The rhythm's got a great Cadet soul jazz vibe to it – and the album fits nicely with some of Jack McDuff's work on the same label. Titles include "Yesterday", "Hard Day's Night", "Goose Pimples", and "Doin' The Mudcat". CD

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Milt Jackson joins the Oscar Peterson Trio – helping the group to hit some great new space with his magical work on vibes! Jackson's got an open, airy feel – an approach that almost lets Peterson punctuate the tunes a bit more with his piano – while the pair get strong rhythmic support from the bass of Ray Brown and lyrical drums of Ed Thigpen. Tunes are open and relaxed, letting Milt hit some great mellow tones – and titles include "On Green Dolphin Street", "Heartstrings", "The Work Song", "John Brown's Body", "A Wonderful Guy" and "Reunion Blues". CD

The soundtrack to This Is It – the celebratory release of the King Of Pop's rehearsal footage from the days before his untimely death – which also serves as sort of a best of Michael's years at Epic/Sony! It does a fine job of touching on the each of the diverse styles Michael handled in his Epic years, the pioneering guitar accented pop soul magic to the more tender numbers, but, the boon for This Is It is the title track. It's a previously unreleased number with backing harmonies by the Jackson's, a fairly gentle and memorable tune, plus some disc 2 demos. Titles include "Wanna Be Startin' Somethin'", "Jam", "They Don't Care About Us", "Human Nature", "Smooth Criminal", "The Way You Make Me Feel", "Beat It", "Black Or White", "Earth Song", "Billie Jean", "Man In The Mirror" and "This Is It" (main and orchestra version). Disc 2 includes demos for "She's Out Of My Life", "Wanna Be Startin Somethin" and a "poem" version of "Planet Earth". CD

A flawless batch of classics from Millie Jackson in the heart of her early years on Spring Records – maybe sounding better than ever here! Millie's raunchier style would come later on, but here she's working in styles that are a perfect mix of gritty and sweet – arrangements tailored perfectly to those characteristics in her sultry, smoky voice – and equally at home in sessions in Muscle Shoals, Philly or NYC. Covers the bases from moody southern soul, to tender ballads, to lightly soaring strings – and the mixes by Steve Levine really bring out the vibe of the original sessions, as closely as possible to the spirit and vision of the original recordings – a restoration as opposed to a revision. Includes "Sweet Music, Soft Lights & You" featuring Isaac Hayes, "House For Sale", "I'll Continue To Love You", "My Man, A Sweet Man", "I Cry", "If Loving You Is Wrong (I Don't Wanna Be Right)" and "It Hurts So Good" – plus "Kiss You All Over", "Bad Risk", "Never Change Lovers In The Middle Of The Night" and more. 12 tracks on the CD. CD

Upbeat soul from Millie Jackson – a massive batch of tunes that work perfectly for the dancefloor, but which still retain all the grittier edges of her best early years! Although Millie's probably best known for her weepy ballads of the 70s, she also pioneered a more upbeat style of southern soul too – a nicely grooving approach to the music that was almost the southern equivalent of grooves from Philly and New York at the time. The style's a great one for Jackson's bold, proud lyrical style – and this wonderful set really shows the best bad-stepping side of Millie's talents in the 70s. Most cuts are pulled from her years on the Spring label during the decade, and the set features a few rare versions and edits that make the package essential, even if you've got all the individual LPs! 22 tracks in all – including "If That Don't Turn You On", "All I Want Is A Fighting Chance", "House For Sale", "Somethin Bout Cha", "You Can't Stand The Thought Of Another Man Loving Me", "Love Doctor", "Put Something Down On It", "A Little Taste Of Outside Love", "Ask Me What You Want", "I Miss You Baby", "Letter Full Of Tears", "Fancy This", "Rising Cost Of Love", and "You Can't Turn Me Off In The Middle Of Turning Me On". CD

Milt Jackson on vibraphone – working with a strong group of younger players that includes Joshua Redman on tenor, Jesse Davis on alto, Benny Green on piano, Christian McBride on bass, and Kenny Washington on drums. CD

Includes The Jazz Skyline, Milt Jackson Quartet, Telefunken Blues, and Plenty, Plenty Soul. CD

A slightly different take on the Modern Jazz Quartet sound of the early years – as the album features Milt Jackson's vibes in the company of MJQ bandmates Percy Heath and Connie Kay, but also includes Horace Silver on piano – in the spot normally reserved for John Lewis! The presence of Silver on piano gives a bit of a harder edge to the set, one that almost recalls some of Jackson's work on Blue Note in the early 50s, yet which is rounded out here by a few lighter and more lyrical touches on rhythm. The set includes a great reading of "Moonray", the Jackson original "Stonewall", and the tracks "Wonder Why", "I Should Care", and "My Funny Valentine". CD

A great statement from vibist Milt Jackson – one of his key solo sessions in a great 60s run of recordings away from the Modern Jazz Quartet! Like the classics that followed this one, the vibe is much more soulful than any of Milt's records with the MJQ – kind of an extension of the groove he hit on 50s dates for Savoy and Prestige, swung with an even tighter feel here in the Impulse Records setting! The backing's from a trio that includes Hank Jones on piano, Paul Chambers on bass, and Connie Kay on drums – and the tracks are short, but have some nice haunting themes that work well with the sensitive vibes of Jackson and piano of Jones. Titles include "Put Off", "Statement", "Slowly", "Sonnymoon For Two", and "Thrill From The Blues". CD

A beautiful combination we'd like to hear more of – one that comes from the meeting of Milt Jackson's vibes and the guitar of Wes Montgomery – both recorded here in easygoing brilliance! The session's a nice break from the usual sound of both players at the time – and although Wes played a bit with vibes when working in The Montgomery Brothers, the Jackson approach here is a bit different – more soulful, and a bit more driven on by the rhythm section of Wynton Kelly, Sam Jones, and Philly Joe Jones. Titles include the originals "SKJ", "Blue Roz", "Jingles", and "Sam Sack" – plus bonus tracks "Stairway To The Stars (take 2)" & "Delilah (take 3)". CD

Ronald Shannon Jackson on drums – with Zane Massey on saxophones, David Gordon and Henry Scott on trumpet, Vernon Reid on guitar, banjo, and synth, and Melvin Gibbs on electric bass. CD

Incredibly messed-up funk – a 70s instrumental classic that's delighted our ears for years! The set's got a cosmic sound that mixes together conventional guitar-based funky with some weird electronic touches at times – going for a fuzzed-out moogy quality that really deepens the groove – and which goes even further on those tunes that push the basslines all the way into the red! The group's headed by McKinley Jackson, and features some ex-members of Parliament – all coming together in a full, rich sound that almost has traces of soundtrack sophistication at times – yet which manages to come across with the burning energy of a funky 45! The album includes the classics "Funky Toes" and "Psycha-Soula-Funkadelic" – plus the group's legendary take on "Free Your Mind", a sample classic from years back! Great stuff if you dig a fuzzy Westbound sort of funk groove – and other tracks include "Church", "The World We Live In", "Everything Good Is Bad", "Speak On It", and "Politician's Theme". Features bonus tracks "Love Machine (parts 1 & 2)". CD

Here's what Jackson Pollock would have been playing on the boombox in his studio – if he had a boombox in his studio! Includes work by Fats Waller, Louis Armstrong, Jelly Roll Morton, T-Bone Walker, Lionel Hampton, Coleman Hawkins, Count Basie, and others – all selected around the tastes of Action Jackson. CD

Hamiet Bluiett on baritone sax, wooden flute, and contra-alto clarinet; DD Jackson on piano, organ, bass synth, and keys; Kahil El'Zabar on drums, percussion, bells, kalimba, and vocals. CD

A pair of New York soul gems back to back – the third and fourth albums from the legendary Chuck Jackson! First up is Encore – fantastic work from the great Chuck Jackson – a singer who was really at the height of his powers during these early years of his career! Chuck's maybe best known for heartbreaking material – and the notes on the album actually refer, oddly, to these songs as "the crying towel variety" – but what Jackson brings to his music is this strong sense of pride and power – this depth of reserve that makes you feel like he'll never give up, no matter how hard the going might be – a quality that southern soul singers would soon poach from Jackson and other singers up north, and make their own style of music. Yet back at the start, few folks did it better than Jackson – as you'll Hear on cuts that include the wonderful hit "Tell Him I'm Not Home", plus "Lonely Am I", "Blue Holiday", "Getting Ready for the Heartbreak", "Don't Believe Him Donna", "Tomorrow", "Two Stupid Feet", "Another Day", and "Invisible". Next up is Mr Everything – rock-solid set of heartbreaking soul – the sort that few others could touch at the time! Jackson often doesn't get his due in the history books these days – but records like these were landmark moments of pride, power, and open male emotion – of the sort that went onto inform generations of soul music to come – and help future artists find their way, guided by the emotional frankness of Jackson's approach! Backings are carefully balanced – tight, but never too polished to overwhelm Chuck's vocals – which soar out with a raw power that blows away Sam Cooke or some of Jackson's other contemporaries. Titles include "D-5", "I Need You", "Human", "I'm Your Man", "Tears Of Joy", and "Somebody New". CD

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Solo piano album. CD

A tremendous step forward for the young Muhal Richard Abrams – a set that still shows his early roots in the AACM, but which also blossoms with some of his more serious compositional efforts to come! There's a sensitivity here that really stands out – even among Abrams' contemporaries – a striving for a wider range of expression – some as bold as before, some much more deeply personal and intimate. The tracks feature a shifting array of players – working alongside Abrams piano, and building up the sound in a number of different ways. Players include Wallace McMillan on flute and sax, Edwin Daugherty on sax, Richard Brown on sax, Emanuel Cranshaw on vibes, Rufus Reid on bass, and Steve McCall and Wilbur Campbell on drums. Ella Jackson provides vocals on "How Are You?" – and other titles include "Ballad For New Souls", "Things To Come From Those Now Gone", "In Retrospect", "Ballad For Old Souls", "1 & 4 Plus 2 & 7", and "March Of The Transients". CD

The music of Roscoe Mitchell, served up here in a really amazing setting – all solo vibes, handled by Jason Adasiewicz, in a style that's very different than Roscoe's original versions of these tunes! If you've ever heard Adasiewicz solo, you'll already dig what's going on here – work on vibes that's deeply resonant, warmly chromatic, and full of some of the most human, honest, open expressions we've ever heard on the instrument! Jason's always been part of the avant underground in Chicago, but he's also a very spiritual player too – a quality that really comes out in a setting like this – as he unlocks very different currents in tunes that Mitchell originally presented on his own albums, or with the Art Ensemble Of Chicago. The whole thing is wonderfully hypnotic throughout – and titles include "Congliptious", "Old", "Carefree", "The Waltz", "Toro/Jo Jar", "The Key", "A Jackson In Your House", and "Daddy Rollin Stone". CD

Bad Bossa Nova is right – as Gene Ammons really hits a great groove here – one that's not exactly bossa, but which has lots of Latin and tropical touches! The session makes great use of 2 guitars at the same time – using that of Kenny Burrell for soulful rhythm, but also adding in Bucky Pizzarelli for some nice acoustic embellishments – in a mode that's similar to the soul jazz-com-bossa style used on records like Ike Quebec's Soul Samba or Charlie Rouse's Bossa Nova Bacchanal. The overall rhythms are a bit more complicated, and a bit more soul jazz based than those sets – with Hank Jones on piano, Oliver Jackson on percussion, and Al Hayes adding in some sweet extra bongo! Titles include the classic "Ca'Purange" – plus "Anna", "Yellow Bird", "Cae Cae", and "Moito Mato Grosso". Also issued under the title Jungle Soul! (Ca' Purange). CD

Two Latin funk classics – back to back in a single set! First up is the self-titled Azteca album – a crowning moment for the west coast Latin scene in the 70s – a wonderful Bay Area set that brings together some of the best talents working on that scene at the time! The set's got a great blend of modes – Latin soul, touches of funk, and plenty of the jazzy inflections you'd expect from a lineup that includes Coke Escovedo on timbales, Paul Jackson on bass, Lenny White on drums, George Muribus on Fender Rhodes, Tom Harrell on trumpet, and Victor Pantoja on congas! Vocals are by Pete Escovedo – who brings in a heady soulful sound to the set – and the vibe is a bit like work by Malo or El Chicano, but even more jazz-based overall! Titles include "Peace Everybody", "Empty Prophet", "Can't Take The Funk Out Of Me", "Azteca", "Ah! Ah!", and "Mamita Linda". Next is Pyramid Of The Moon – a really special record from a really special group – one of two sublime 70s gems from Azteca – a wicked blend of jazz, funk, Latin, and soul – all put together by a young Coke Escovedo! Coke's ostensibly the leader of the group, but there's also a richly collaborative feel going on – a style that brings together jazz players like Tom Harrell on trumpet, Mel Martin on saxes, George Muribus on Fender Rhodes, and Flip Nunez on organ – and Latin players like Victor Pantoja on congas, Coke Escovedo on timbales, and Pete Escovedo on added percussion. In fact, the set's a key early example of the strength of the Escovedo family – and like their best later efforts, the set really stretches out and pushes the boundaries of conventional genres. There's also some great guest work from Lenny White on drums, Mike Nock on keyboards, and Neal Schon on guitars – and vocals are by a range of singers who really keep things fresh. Titles include "Red Onions", "Mazatlan", "Whatcha Gonna Do", "Mexicana, Mexicana", and "Love Is A Stranger". CD

Killer work by Art Blakey from the last years of his life – and proof that the drummer still had an amazing ear for the best young talent in jazz! The session's got Art working with (then) up-and-comers Steve Davis on trombone, Brian Lynch on trumpet, Geoff Keezer on piano, and Javon Jackson on tenor sax – giving them all the same space to write, arrange, and solo freely with the same sort of limelight placement Blakey gave Lee Morgan, Wayne Shorter, and Bobby Timmons in earlier years! Art's still more than holding his own on drums, but as with much of his excellent later work, the real strength of the set is the way in which the younger players hold the set together with a fluid sense of soul. Titles include "Bunyip", "Logarhythms", "I'll Wait & Pray", "Green Is Mean", "Accidentally Yours", "One For All", and "Theme For Penny". CD

Also features guitars from Bobby Broom, Rodney Jones, and Dave Jackson – plus drums from Kenny Washington! CD

One of the greatest Donald Byrd albums ever – a smoking live performance spread out over two different records – all with some of the tightest, most grooving work that Byrd ever recorded in his early years on Blue Note! Part of the strength of the set is the group – as Don's trumpet is alongside the brilliant baritone of Pepper Adams – who plays with the deftness of a tenor, but with a richer, fuller sound – and the group also includes the great Duke Pearson on piano, who has this way of comping out tunes that are soulful, but richly lyrical too. The group's completed by Lex Humphries on drums and Laymon Jackson on bass. The whole thing's great – and this 2CD set features both volumes of the albums, plus a lot of extra material that wasn't on the vinyl versions! Titles include "My Girl Shirl", "Jeannine", "Pure D Funk", "Kimyas", "When Sunny Gets Blue", "Mr Lucky", "Chant", and "Child's Play". CD

A really early nugget from the Detroit jazz scene of the 50s – and a record that marks a key moment for players who would soon become huge on a variety of different labels! The group here features a very young Donald Byrd on trumpet, with Yusef Lateef on tenor, Barry Harris on piano, Alvin Jackson on bass, and Frank Gant on drums – plus Bernard McKinney blowing euphonium – an instrument he would use on a number of other important recordings over the years to really deepen their sound. The date was originally issued by the Transition label, and very quickly disappeared when they quickly closed up show – brought back over the years in a few variations by Delmark, to keep the memory of this moment alive. Tracks include "Yusef", "Parisian Thoroughfare", "Blues", "Dancing In The Dark", and "Tortion Level". CD

Features Javon Jackson on tenor, Edwin Russel on trumpet, Gonzalo Rubalcaba on piano, Lewis Nash on drums, and Steve Kroon on percussion. Tracks include "Well You Needn't", "Cut & Paste", "MSRP", "St. Thomas", "I Thought About You" and "Stablemates". CD

Johnny first LP collaboration with his soon to be wife June Carter, and it's a nice one! Carryin' On has it's share of sweet, lovely moments shared by the two, but also has a lot more cool 60s oddball touches than one would expect. The couple cover Dylan's "It Ain't Me Babe" and two Ray Charles tunes, "I Got A Woman" and "What I Say". All three sound pretty strange coming out of hard-nosed Johnny, and prove to be quite fun and endearing, and very indicative of the freedom he had at Columbia to do whatever the heck he wanted. Other tracks include "Shantytown", "Pack Up Your Sorrows", "Jackson", "What A Good Thing We Had", and "No, No, No". Includes two bonus tracks from the sessions, and new liner notes by old pal Carl Perkins. CD

One of the greatest American albums to be issued under Kenny Clarke's name – a smoking set of boppish tracks that groove in a very early 50s Blue Note sort of way! And in fact, the tracks are a bit longer than the usual Blue Note bop sides, which makes them open up with some even longer solos – and creates plenty of space for the septet lineups to do their thing. The album features 2 different groups – one with Milt Jackson on vibes, Frank Morgan on alto, Walter Benton on tenor, and Gerald Wiggins on piano; the other with Jackson on piano (!), Henry Coker on trombone, Frank Wess on tenor, and Charlie Fowlkes on baritone. Titles include "Inhibitions", "Klook's Nook", "Telefunken Blues", "Skoot", "Sonor", and "Blue's Mood". CD

A real standout in Chris Connor's legendary run for Atlantic Records – and a unique double-length set that was almost her answer to some of the 2LP Verve songbook sessions from Ella Fitzgerald! Like those, this album's based upon the work of a single composer – and features key Gershwin compositions from the 20s and 30s, redone here with a moody, mellow, jazz-based approach – one that unlocks even more darkness in these tunes than you might expect! Instrumentation is by a number of different small groups – assemblages of players who include Joe Newman on trumpet, Sam Most on clarinet, Herbie Mann on flute, Milt Jackson on vibes, Al Cohn on tenor, and Ralph Sharon on piano – all working with arrangements by Sharon, Ray Ellis, and Stan Free. The album features a whopping 34 titles in all – with tracks that include "A Foggy Day", "Strike Up The Band", "Nice Work If You Can Get It", "Little Jazzbird", "My One & Only", "That Certain Feeling", "Fascinating Rhythm", "Our Love Is Here To Stay", "Liza", "Soon", and "I Can't Be Bothered Now". CD features 2 bonus tracks – "Strike Up The Band" and "Summertime", done in different takes. CD

A strange mix of material – but some great work overall! Most of the record features Miles Davis recording with a quintet that includes Thelonious Monk on piano, Milt Jackson on vibes, Percy Heath on bass, and Kenny Clarke on drums – on longer versions of "The Man I Love" (in 2 takes), "Swing Spring", and "Bemsha Swing". These sides have a great bop/modern approach that's a nice extension of the styles that Jackson and Davis were playing on Blue Note in earlier years. Also added to the set is one number from 1956 – a version of "Round Midnight" recorded in early sessions with John Coltrane on tenor, and the Red Garland Trio on rhythm – different than the rest of the tracks, but still quite nice! CD

Some of the earliest recorded work from trumpeter Kenny Dorham – presented here in an overstuffed set that brings together most of his appearances on the Savoy label! The core standout tunes here are 10 numbers recorded in 1946 by The Bebop Boys – a combo that featured Dorham, Sonny Stitt, and Bud Powell coming together on tight, short, very upbeat bop material that ranked with some of the best early 78s of the genre. Titles by this group include "Seven Up", "Bebop In Pastel", "Serenade To A Square", "Fools Fancy", and "Bombay". Other material on the CD includes a solo by Kenny on "The Jitney Man" by Billy Eckstine, plus 3 tracks with the Milt Jackson Sextet from 1949 – including "Conglomeration", "Bruz", and "Roll Em Bags". Kenny also plays on three 1949 recordings with Charlie Parker – "Barbados", "Scrapple From The Apple", and "Bebop" – as well as four 1956 numbers with Cecil Payne – including "Grooving High", "Man Of Moods", and "Saucer Eyes". CD

Duke Ellington on piano, Johnny Hodges and Rick Henderson on alto saxophone, Russell Procope on alto saxophone and clarinet, Paul Gonsalves on tenor saxophone, Jimmy Hamilton on tenor saxophone and clarinet, Britt Woodman, John Sanders, and Quentin Jackson on trombone, Cat Anderson, Clark Terry, Shorty Baker, and Willie Cook on trumpet, Ray Nance on trumpet, violin, and cello, Harry Carney on clarinet and bass clarinet, Jimmy Woode on bass, and Sam Woodyard on drums, with Jimmy Grissom and Ozzie Bailey on vocals. CD

Duke Ellington on piano, Johnny Hodges and Rick Henderson on alto saxophone, Russell Procope on alto saxophone and clarinet, Paul Gonsalves on tenor saxophone, Jimmy Hamilton on tenor saxophone and clarinet, Britt Woodman, John Sanders, and Quentin Jackson on trombone, Cat Anderson, Clark Terry, Shorty Baker, and Willie Cook on trumpet, Ray Nance on trumpet, violin, and cello, Harry Carney on clarinet and bass clarinet, Jimmy Woode on bass, and Sam Woodyard on drums, with Jimmy Grissom and Ozzie Bailey on vocals. CD

Not the famous album of the same name – which also had studio material – but instead the complete concert from the opening night of the 1958 Newport Jazz Festival mostly unreleased tracks – 21 numbers in all! Includes performances with Gerry Mulligan and Mahalia Jackson. CD

Music from Duke Ellington And His Kentucky Club Orchestra, The Washingtonians, Traymore Orchestra, Duke Ellington And His Cotton Club Orchestra, The Hotsy Totsy Gang, the Jungle Gang, Bill Robinson accompanied by Irving Mills and His Hotsy Totsy Gang, The Six Jolly Jesters, and Earl Jackson And His Musical Champions. CD

Duke Ellington with Count Basie, Louis Armstrong, Tommy Dorsey, Jimmie Blanton, Rosemary Clooney, Dizzy Gillespie, Coleman Hawkins, John Coltrane, Sathima Bea Benjamin, Ray Brown, Mahalia Jackson, and Billy Strayhorn. CD

Titles include "Portrait Of Mahalia Jackson", "Bourbon Street Jingling Jollies", "Second Line", "Portrait Of Wellman Bruad", and "Thanks For The Beautiful Land On The Delta". CD

True masterpieces from Duke Ellington – some of his greatest compositions, presented here in an early Columbia LP that offers up "uncut concert arrangements" – clearly grooming a new side of Duke for the long-playing audience! The recordings were made in 1950, with players who include Johnny Hodges and Paul Gonzalves on saxes, Ray Nance and Cat Anderson on trumpets, and Tyree Glenn and Quentin Jackson on trombones. The tracks include "Mood Indigo", "Sophisticated Lady", "The Tattooed Bride" and "Solitude". CD

True masterpieces from Duke Ellington – some of his greatest compositions, presented here in an early Columbia LP that offers up "uncut concert arrangements" – clearly grooming a new side of Duke for the long-playing audience! The recordings were made in 1950, with players who include Johnny Hodges and Paul Gonzalves on saxes, Ray Nance and Cat Anderson on trumpets, and Tyree Glenn and Quentin Jackson on trombones. The tracks include "Mood Indigo", "Sophisticated Lady", "The Tattooed Bride" and "Solitude". Includes 3 bonus tracks – shorter numbers, but great ones – "Vagabonds", "Smada", and "Rock Skippin At The Blue Note". CD

A lost Duke Ellington gem from the late 50s – a session that has a decidedly different look than some of his other records of the time! We don't know if the Duke was into Sun Ra – but it almost seems like he was copping his thunder with this title and band name – a fair bit more flashy than the usual presentation for the Ellington group! The record's not nearly as trippy as you'd expect – but it's still a prime set of Ellingtonia from those key late 50s years – material played by a smaller group of "Spacemen" than Duke's fuller orchestra – with a bit more room for small group interaction, almost in a Verve mode. Players include Jimmy Hamilton on clarinet, Clark Terry on trumpet, Paul Gonzalves on tenor, Quentin Jackson on trombone, and Jimmy Woode on bass – and titles include "Avalon", "Midnight Sun", "Spacemen", "Bass-ment", "Early Autumn", and "Jones". CD also features a bonus alternate take of "Jones". CD

One of the most jazz-based groups of the German prog scene of the early 70s – heard here on a rare outing that features Mal Waldron playing electric piano with the group! Despite Waldron's presence, though, the real keyboard star of the set is Jimi Jackson – who plays mellotron and organ on the record, and sounds especially wonderful on the side-long track "The Call" – a fantastic 17-minute track that arose out of collective improvisations by the group! Instrumentation on the whole set is great – and includes the keyboards, plus heavy bass, vibes, marimba, guitar, sax, and even a bit of electric violin! Titles include "Radio Marrakesch/Orient Express", "Dreaming Girls", and "The Call". CD

We love the music of pianist Orrin Evans in a trio – but we love it even more when he takes on a bigger, more ambitious project like this – a stunning set of tracks done with an array of older jazz legends, as a showcase both to their individual talents, and Evans' visionary role as a leader! Most of the record has a core group with Robert Hurst on bass and Marvin Smitty Smith on drums – both superb players who make the record bristle with energy – with contributions from Nicholas Patyon's trumpet and tenor and flute of Gary Thomas on four tracks, plus vocals from Sy Smith and Jazzmeia Horn, each of whom sing on one number. Two more tracks feature Gene Jackson on drums and Buster Williams on bass – one with tenor from Larry McKenna, the other with trumpet from Wallace Roney – and titles on the album include "Red Door", "Weezy", "Bit Small", "The Good Life", "Dexter's Tune", "Feed The Fire", and "Smoke Rings". CD

A killer album of southern soul harmony from The Facts Of Life – a trio with one female singer, two guys, and a great sound overall! The album's actually produced by Millie Jackson – and has that great blend of modern and southern modes that she was hitting in her best mid 70s years. The sense of interplay and harmony between the singers is a bit like Soul Children at their height – and the album's also got some warm Muscle Shoals backing that really makes the whole thing come off right! Titles include "Did He Make Love To You", "We Can't Hide It Anymore", "I'm Way Ahead Of You", "This Ain't No Time To Sleep Apart", and "It's Only A Matter Of Time". CD

Killer work by this fab Chicago soul group – a bunch of young kids, ala The Jackson Five, with sweet soul sound that actually predates the work of Jermaine and Michael and Tito, and which paved the way for countless 70s groups to come! The Five Stairsteps were first discovered by Curtis Mayfield – who wrote and produced a number of tracks on the set – but they had a strength of their own (thanks in part to a young Keni Burke, who was in the group), and continued to grow over the years, changing their sound to fit their expanding ages, and the changing material they needed to cope with the growth in soul in the early 70s. The set's filled with classics – including the super-huge hit "Ooh Child", plus "The Girl I Love", "Behind Curtains", "Come Back", "World Of Fantasy", "You Waited Too Long", "We Must Be in Love", "Oooh, Baby Baby", "Don't Waste Your Time", "Something's Missing", and the break-heavy "Don't Change Your Love". CD

A nice little collection of some of Dizzy Gillespie's best bop material for Savoy – tunes that were originally recorded as 78rpm singles – then issued together on this classic album of all-star players! The tunes are short, catchy, and often very grooving – that mix of whimsy and modernism that made Dizzy stand out from the start – handled by a few different groups of players, with musicians who include Milt Jackson on vibes, John Coltrane on tenor, Wynton Kelly on piano, and Percy Heath on bass. Titles include "Tin Tin Deo", "Star Dust", "The Bluest Blues", "The Champ", "Birk's Works", "Caravan", "Time On My Hands", and "Ooh Shoo Be Doo Bee". CD

Notable sidemen include Benny Carter, Coleman Hawkins, Ben Webster, Milt Jackson on vibes, John Lewis, Milt Hinton, Ray Brown, and Kenny Clarke. 43 tracks total. CD

With Milt Jackson on vibes, Eddie Lockjaw Davis and Johnny Griffin on tenors, Tommy Flanagan on piano, and Mickey Roker on drums – on titles that include "Lover Come Back To Me", "What's New", and "Cherokee". CD

Classic Savoy bop work from Diz – featuring some sides cut with the orchestra of Johnny Richards, plus some cut with the "Bepop (sic) Boys", a group that includes Milt Jackson, James Moody, Hank Jones, Dave Burns, and John Brown. The Richards sides are great – a bit more swinging than the ones he and Diz cut on Verve, but no less well-conceived. Titles include "Interlude In C", "Lullaby Of The Leaves", "The Things I Love", "Moody Speaks", "For Hecklers Only", and "Boppin The Blues". CD

A seminal jazz funk session of the 70s – Herbie Hancock's legendary meeting with The Headhunters, and a killer batch of tunes that really gave the combo their name! Herbie's playing a wide range of keys here – including Fender Rhodes, clavinet, and Arp – but almost even better is the work from the rest of the group – including Bennie Maupin on soprano and tenor sax, Paul Jackson on bass, Harvey Mason on drums, and Bill Summers on percussion! The earthier elements of the rhythm players really keep Herbie on track – bringing him back to the planet from previous trips into space, and helping him hit an all-solid, all-righteous funky groove! Titles include a great remake of "Watermelon Man", the classic original recording of "Chameleon", and the cuts "Vein Melter" and "Sly" – all nice and long! CD

Killer electric work from Herbie Hancock – right on par with his groundbreaking Headhunters set, but a bit spacier too! The album features a Headhunters-solid lineup – with Bennie Maupin on saxes, Paul Jackson on bass, Mike Clark on drums, and Bill Summers on percussion – all grooving wonderfully with Herbie on a set of super-long tracks! Hancock himself handles a host of incredible keyboards – Fender Rhodes, clavinet, Arp, and lots more – all in a lean electric style that still sounds as fresh today as it did way back in the mid 70s – perhaps even more so, given the return to this sort of basic groove that has happened in recent years! Tracks are long, tight, and super funky – and titles include "Actual Proof", "Palm Grease", "Spank-A-Lee", and "Butterfly". CD

A legendary album – and for good reason too – a set that's as mysterious as it is funky, and a record that's stayed at the top of our crates for years! The album features a really unusual collective of musicians, pulled together under the guidance of producer Paul Winley – a group that features George Benson on guitar, Dave Baby Cortez on organ, Willis Jackson on tenor sax, and Earl Williams on some massively funky drums! The music's a mix of funky jazz and gritty soul – put together with some really weird studio touches – including an uncredited male voice that comes in and out of the tracks, bad-rapping along with some very hip commentary. Ann Winley sings the female vocals on the set – often egged on by the dude – but the real charm of the record lies at the bottom – the wicked drums, funky basslines, and choppy instrumental bits that have gotten the set sampled plenty over the years. Titles include the classic "Smokin Cheeba Cheeba" alone, the groovy "Finger In It", a great breakbeat version of "Ain't No Sunshine" with a tenor solo by Willis Jackson, and the slow bluesy talking cut "Fed Up", a baaaad rap about a couple splitting up – done here in both vocal and instrumental versions. CD

Wow! We can never get enough of Eddie Harris. Despite all of the silly situations he's ended up in over the years, an album like In Sound still stands as a beautiful testament to all of the raw power in Eddie's playing. His tone is perfect, and totally unique – and he plays here with Cedar Walton on piano, Ron Carter on bass, Billy Higgins on drums, and the great Ray Codrington on trumpet, who also played with the JFK Quintet. No tricks here, just incredibly solid jazz playing, on tracks like Eddie's famous "Freedom Jazz Dance", plus "Born To Be Blue" and "Cryin' Blues". Mean Greens is another example of classic 60s soul jazz material by Eddie – and proof that the move to Atlantic was a good one! As usual with Eddie's 60s sessions, the players are very hip – and feature an amalgamation of younger and lesser-known talents like Melvin Jackson, Ray Codrington, and Sonny Philips. Cedar Walton also plays some lovely piano on the record, giving a few tracks a bit more of a lyrical touch than usual – and Eddie responds to this nicely in his solos. Includes an early take of "Listen Here", with Eddie on electric piano, next to Sonny Philips' organ. Also with "Goin' Home", "Blues In the Basement", and "Mean Greens". CD

Chris Hazelton cooks it up on the Hammond – playing here in a sweet small combo mode that's mighty nice – and with baritone from Brett Jackson in the group instead of the usual tenor! The deep sound of Jackson's horn is a nice balance with Chris' tight work on the keys, and the chromatic sounds of Jamie Anderson's guitar – as the group swings nicely on tracks that also feature drums from John Kizilarmut and occasional conga from Pat Conway! The whole thing's got a nicely different vibe from standard jazz organ sets – and titles include "The Groove Merchant", "Night Lights", "So Tired", "Amsterdam After Dark", "Easy Talk", and "Watch What Happens". CD

Features Hubbard on trumpet, Benny Green on piano, Javon Jackson on tenor, Christian McBride on bass, and Tony Reedus on drums! CD

One of the most sophisticated albums that Bobby Hutcherson recorded with reedman Harold Land – a very hip session that features the arrangements of piano player Todd Cochran – also known as Bayete for a pair of early 70s albums on Prestige! The sound here is more farther-reaching than before for the team of Hutcherson and Land – a deepening of the soulful spirits first cooked up on their earlier collaborations, stretched out to farther-reaching territory in the hands of Cochran's arrangements and compositions. The group's got a full sound too – with trumpet and flugelhorn from Oscar Brashear, trombone from George Bohannon, and added reeds from players who include Ernie Watts, Fred Jackson, and Charles Owens. Harold Land plays tenor and flute, Hutcherson vibes and marimba, and Cochran is on acoustic piano throughout – but the record also features some electric keys from William Henderson. Titles include the 3 part suite "At The Source", plus "Many Thousands Gone", "Clockwork Of The Spirits", and "Mtume". CD also features 3 great bonus tracks – the funky 17 minute "Hey Harold", plus "Jonathan" and "Togo Land". CD

Really fantastic material from legendary pianist Abdullah Ibrahim – a set cut with a larger group of musicians, which we like even more than Ibrahim's work in a solo or trio format! The group here is his Ekaya ensemble – who flesh out Abdullah's larger musical ideas in a really great way – providing this sensitive soul and spirit for his work on piano – which, after all these years, still echoes the rhythmic impulses that made him such a standout in the 60s – but which also has this matured approach to color and tone that's really wonderful – and beautifully illuminated by the group! Players include Cleave Guyton Jr on alto and flute, Lance Bryant on tenor, Andrea Murchison on trombone, and Marshall McDonald on baritone – and the rhythm section features great work from Will Terrill on drums, and Noah Jackson on bass and cello. Titles include "Jabula", "Tuangu Guru", "ZB2", "Dreamtime", "Nisa", "Tonegawa", and "Devotion". CD

One gal, three guys, and a sublime album of harmony soul – one of those fantastic early 70s sets from the Independents – a Chicago group we'd stack right up there next to the best from the east coast! Maurice in the title is Maurice Jackson – who'd earlier recorded the track "Lucky Fellow" – later done by Leroy Hutson, and recorded here by the group in a fantastic version too! Chuck in the title is Chuck Jackson, who co-produced the set with Marvin Yancey – an early effort from the soul production duo who'd later help Natalie Cole and others hit great fame – working here at the start of his career, to guide singers Helen Curry and Eric Thomas to great heights. The whole record is wonderful – a definite "cut above" harmony soul set with all the sophisticated styles that the Chicago scene had to offer at the start of the 70s – thanks also to arranging genius on the set from Richard Evans, Tom Tom Washington, and Floyd Morris. In addition to "Lucky Fellow", other titles include "It's All Over", "No Wind No Rain", "I Found Love On A Rainy Day", "The Same Old Way", "It's All Over", and "In The Valley Of My World". CD features three bonus tracks – "Let This Be A Lesson To You", and two versions of "Arise & Shine". CD

Beautiful late work from Lonnie Johnson – recorded decades after his bigger years on record, but handled with great care by Prestige Records, during the brief run of its Bluesville imprint! Like most of the rest of the sides at the time, the approach here is to make an older mode live again – and rather than slavishly aim for the old days, Johnson sings and plays in a way that shows that he's still a very vibrant talent – offering up new music at most points, and making the best of the newer recording techniques to show off the strength of his talents on acoustic guitar! Victoria Spivey joins in on two duets, and gets to sing one other song herself – and apart from some piano from Cliff Jackson, there's no other instrumentation at all on the record. Titles include "Long Time Blues", "You Are My Life", "Idle Hours", "Leave Me Or Love Me", "No More Cryin", "I Got The Blues So Bad", and "End It All". CD

An incomparable soul vocalist finally gets his due – in a beautiful collection of work by the overlooked Lou Johnson! Johnson recorded in the same New York scene as Chuck Jackson and other smooth make singers in the mid 60s – but working on the relatively small Big Top label, his contributions to music haven't gotten nearly the exposure of others over the years – which is a damn shame, because Lou's got one hell of a fantastic vocal approach! His style's definitely a bit like that of Jackson – and not too far from Jerry Butler, Walter Jackson, Garland Green, and a few other sophisticated male singers of the 60s we can think of – soul music that's definitely a cut above, sung with careful class that you'd be hard-pressed to find in many other vocalists of the period. Lou's still got a nice sort of bite in his approach – which means that he's never too smooth, and certainly never poppy – and this full-length collection is really the first time that his incredible singles have ever been collected together in one place. Titles include "This Night", "Just Be A Woman", "Park Avenue", "Magic Potion", "The Panic Is On", "Reach Out For Me", "Time To Love A Time To Cry", "If I Never Get To Love You", "Unsatisfied", "No Other Guy", "Love Build A Fence", and "Little Girl". CD

An excellent mid 70s Japanese fusion set, led by the Gil Evans protege Masabumi Kikuchi – with a very similar group to the one on his awesome Susto LP! The vibe isn't quite as funky on this outing – in fact it's a bit more reminiscent of Miles' spacey electric explorations – though there are some pretty hard groovin' moments should definitely appeal to fans of funky fusion. Steve Grossman and Dave Liebman play some nice coloristic lines on reeds, and Terumasa Hino is in fine form on trumpet. The rest of the group is rounded out by Reggie Lucas on guitar playing some hard choppy accompaniment to Kikuchi's synths and electric piano, Mtume on percussion, Al Foster on drums and Anthony Jackson on bass. We're especially keen on the dark and heavy "Auroral Flare", the spacious "Pacific Hushes" which opens with a beautiful line played by Hino and the set's closer "Alone". CD

A standout classic from Fern Kinney – and a set that not only marked a big moment of evolution for southern soul, but also for the Mississippi scene as well! The set was recorded at the Malaco studios in Jackson, but has a vibe that's much closer to some of the TK Records material from Miami – that maturation of southern soul during the disco era – as warmer, more modern touches came into play with rootsier styles of vocals! Mike Lewis handled the string arrangements – giving the record the same disco vibe as some of his other work of the time, including Anita Ward's big debut – and Fern's vocals have this higher range than usual for a southern singer – almost more innately tuned towards clubby rhythms. Titles include a big hit remake of King Floyd's "Groove Me" – really marking the change from the original version – plus "Baby Let Me Kiss You", "Pillow Talk", "Sun Moon Rain", "Angel On The Ground", and "Under Fire". CD

Beautiful early work from John Klemmer – one of the most under-rated talents of his generation, and a great player who frequently gets overlooked because of his later, smoother work. This album is Klemmer's first – recorded with a soulful Chicago tenor sound, touched with some of the freedoms of the late 60s Cadet Records scene. The approach is a bit like Eddie Harris at his best – with Klemmer rolling out soulful, stretched out notes over backing by a Harris-inspired rhythm section that includes Melvin Jackson on bass, Wilbur Cambell on drums, and Jodie Christian on piano. The groove is very solid, very in the pocket – and Klemmer blows in a tradition that includes Frank Strozier and Eric Alexander – 2 other players who've made a strong contribution to the Chicago scene. Titles include "My Blues", "Will N Jug", "Passion Food", "Stand In the Sun", and "Later With Them Woes". CD