The last album in a legendary run of music from keyboardist Doug Carn – his final album for the Black Jazz label, and a set that pushes even farther than his previous efforts! Jean Carn isn't in the group this time around, but the set does feature a totally great twin-vocal approach – with singing by Joyce Green and John Conner, blending their voices together in a style that's right up there with the most righteous 70s jazz experiments by Horace Silver or Billy Gault! This vocal balance really brings a new sort of power to Carn's music – furthering the righteous spirit of earlier years with a hell of a lot of energy – also aided by great instrumental work from Ronnie Laws on tenor and soprano sax, Thurman Green on trombone, Calvin Keys and Nathan Page on guitars, and Big Black on percussion. Titles include the classic "Higher Ground" – plus "Adam's Apple", "Western Sunrise", "Chant", "Sanctuary", "The Messenger", and "Mighty Mighty". CD

The last album in a legendary run of music from keyboardist Doug Carn – his final album for the Black Jazz label, and a set that pushes even farther than his previous efforts! Jean Carn isn't in the group this time around, but the set does feature a totally great twin-vocal approach – with singing by Joyce Green and John Conner, blending their voices together in a style that's right up there with the most righteous 70s jazz experiments by Horace Silver or Billy Gault! This vocal balance really brings a new sort of power to Carn's music – furthering the righteous spirit of earlier years with a hell of a lot of energy – also aided by great instrumental work from Ronnie Laws on tenor and soprano sax, Thurman Green on trombone, Calvin Keys and Nathan Page on guitars, and Big Black on percussion. Titles include the classic "Higher Ground" – plus "Adam's Apple", "Western Sunrise", "Chant", "Sanctuary", "The Messenger", and "Mighty Mighty". LP, Vinyl record album

Plenty of spirit, and plenty of soul – a 70s classic from organist Doug Carn, and a record that took his instrument, and jazz in general, to a whole new level for the decade! Carn's got this burning, righteous quality on his keys – a vibe that certainly owes something to Larry Young, but also takes off even further – working in a spiritual ensemble that also features his wife Jean Carn on vocals – sounding way more like a righteous jazz singer than on her later soul sides for Philly International! Other players are great, too – and include Charles Tolliver on flugelhorn, Garnett Brown on trombone, George Harper on tenor and soprano sax, Buster Williams on bass, and Alphonse Mouzon on drums. Tracks include "New Moon", "Trance Dance", "My Spirit", "Blue In Green", and "Arise & Shine". CD

A great new showcase for the legendary keyboard work of Doug Carn – and a set that's very different both from his famous albums for the Black Jazz label, and some of his organ jazz records in more recent years too! The set's maybe got a more pronounced influence from Adrian Younge and Ali Shaheed Muhammad than some of the others in this series – as Carn's Hammond B3 and Fender Rhodes still get center stage, but the grooves are very much in the heavy funk style of Younge's legacy of recent recordings – sharp drums, strong basslines, and horns that are sometimes jazzy, sometimes seemingly touched by currents of Ethiopian work from the past. All tracks are originals, and titles include "Processions", "Dimensions", "Windfall", "Down Deep", "Freedom At Sunset", "Nunca Um Malandro", and "Lion's Walk". LP, Vinyl record album

Plenty of spirit, and plenty of soul – a 70s classic from organist Doug Carn, and a record that took his instrument, and jazz in general, to a whole new level for the decade! Carn's got this burning, righteous quality on his keys – a vibe that certainly owes something to Larry Young, but also takes off even further – working in a spiritual ensemble that also features his wife Jean Carn on vocals – sounding way more like a righteous jazz singer than on her later soul sides for Philly International! Other players are great, too – and include Charles Tolliver on flugelhorn, Garnett Brown on trombone, George Harper on tenor and soprano sax, Buster Williams on bass, and Alphonse Mouzon on drums. Tracks include "New Moon", "Trance Dance", "My Spirit", "Blue In Green", and "Arise & Shine". CD

A great new showcase for the legendary keyboard work of Doug Carn – and a set that's very different both from his famous albums for the Black Jazz label, and some of his organ jazz records in more recent years too! The set's maybe got a more pronounced influence from Adrian Younge and Ali Shaheed Muhammad than some of the others in this series – as Carn's Hammond B3 and Fender Rhodes still get center stage, but the grooves are very much in the heavy funk style of Younge's legacy of recent recordings – sharp drums, strong basslines, and horns that are sometimes jazzy, sometimes seemingly touched by currents of Ethiopian work from the past. All tracks are originals, and titles include "Processions", "Dimensions", "Windfall", "Down Deep", "Freedom At Sunset", "Nunca Um Malandro", and "Lion's Walk". CD

The last album in a legendary run of music from keyboardist Doug Carn – his final album for the Black Jazz label, and a set that pushes even farther than his previous efforts! Jean Carn isn't in the group this time around, but the set does feature a totally great twin-vocal approach – with singing by Joyce Green and John Conner, blending their voices together in a style that's right up there with the most righteous 70s jazz experiments by Horace Silver or Billy Gault! This vocal balance really brings a new sort of power to Carn's music – furthering the righteous spirit of earlier years with a hell of a lot of energy – also aided by great instrumental work from Ronnie Laws on tenor and soprano sax, Thurman Green on trombone, Calvin Keys and Nathan Page on guitars, and Big Black on percussion. Titles include the classic "Higher Ground" – plus "Adam's Apple", "Western Sunrise", "Chant", "Sanctuary", "The Messenger", and "Mighty Mighty". CD

An undisputed 70s soul jazz classic – and arguably the best album that Doug Carn ever cut for the Black Jazz label! The set is a masterpiece of spiritual jazz – with Carn on keyboards setting up the groove, and wife Jean singing some incredible vocals – very different than her later soul work as a solo act, and with a vibe that's like Dee Dee Bridgewater at her soulful 70s best. Jean does a killer job with the album's classic vocal version of Bobby Hutcherson's "Little B's Poem" – done here with sweet lyrics that really open the song up a lot, and make it into an anthem of love and joy that we'd be hard pressed to match with any other tune! And all other tracks are great too – with titles that include "Moon Child", "Passion Dance", and a great version of Wayne Shorter's "Infant Eyes". CD

An undisputed 70s soul jazz classic – and arguably the best album that Doug Carn ever cut for the Black Jazz label! The set is a masterpiece of spiritual jazz – with Carn on keyboards setting up the groove, and wife Jean singing some incredible vocals – very different than her later soul work as a solo act, and with a vibe that's like Dee Dee Bridgewater at her soulful 70s best. Jean does a killer job with the album's classic vocal version of Bobby Hutcherson's "Little B's Poem" – done here with sweet lyrics that really open the song up a lot, and make it into an anthem of love and joy that we'd be hard pressed to match with any other tune! And all other tracks are great too – with titles that include "Moon Child", "Passion Dance", and a great version of Wayne Shorter's "Infant Eyes". LP, Vinyl record album

The Black Jazz recordings of Doug Carn are always a revelation – some of the most powerful, progressive work on the American underground of the early 70s – music that got Carn into way more record collections than you might expect! The sound here is a perfect summation of Doug's early genius – his own work on organ and keyboards, never overdone and mixed perfectly with a righteous array of acoustic sounds from Rene McLean on alto and tenor and Olu Dara on trumpet – both players who soar to the skies on waves of energy begun by Carn! Wife Jean Carn sings on a number of tracks – with this heavenly style that's mighty righteous – every bit as soulful as her later work at Philly International, but in a very different way. The set includes Doug's great reading of "Naima" – plus other wonderful cuts that include "Power & Glory", "Feel Free", "Jihad", "Fatherhood", and "God is One". CD

The last album in a legendary run of music from keyboardist Doug Carn – his final album for the Black Jazz label, and a set that pushes even farther than his previous efforts! Jean Carn isn't in the group this time around, but the set does feature a totally great twin-vocal approach – with singing by Joyce Green and John Conner, blending their voices together in a style that's right up there with the most righteous 70s jazz experiments by Horace Silver or Billy Gault! This vocal balance really brings a new sort of power to Carn's music – furthering the righteous spirit of earlier years with a hell of a lot of energy – also aided by great instrumental work from Ronnie Laws on tenor and soprano sax, Thurman Green on trombone, Calvin Keys and Nathan Page on guitars, and Big Black on percussion. Titles include the classic "Higher Ground" – plus "Adam's Apple", "Western Sunrise", "Chant", "Sanctuary", "The Messenger", and "Mighty Mighty". LP, Vinyl record album

Holy Cow – the rare first album by Doug Carn! This is a tight organ trio set, recorded for the Savoy label when they'd almost given up on jazz, and were only diddling around with a few local boys from Newark. They somehow discovered Carn, and recorded this amazing session that has him sound like he never did again. Doug's playing fairly straight organ jazz here, but with a real fluidity that sort of hints at his later work – as he leaps into moments that recall a lot of Larry Young's early playing. Titles include "Butter From The Duck", "Free Blues", and "Yna Yna's Delight". CD

An undisputed 70s soul jazz classic – and arguably the best album that Doug Carn ever cut for the Black Jazz label! The set is a masterpiece of spiritual jazz – with Carn on keyboards setting up the groove, and wife Jean singing some incredible vocals – very different than her later soul work as a solo act, and with a vibe that's like Dee Dee Bridgewater at her soulful 70s best. Jean does a killer job with the album's classic vocal version of Bobby Hutcherson's "Little B's Poem" – done here with sweet lyrics that really open the song up a lot, and make it into an anthem of love and joy that we'd be hard pressed to match with any other tune! And all other tracks are great too – with titles that include "Moon Child", "Passion Dance", and a great version of Wayne Shorter's "Infant Eyes". LP, Vinyl record album

An undisputed 70s soul jazz classic – and arguably the best album that Doug Carn ever cut for the Black Jazz label! The set is a masterpiece of spiritual jazz – with Carn on keyboards setting up the groove, and wife Jean singing some incredible vocals – very different than her later soul work as a solo act, and with a vibe that's like Dee Dee Bridgewater at her soulful 70s best. Jean does a killer job with the album's classic vocal version of Bobby Hutcherson's "Little B's Poem" – done here with sweet lyrics that really open the song up a lot, and make it into an anthem of love and joy that we'd be hard pressed to match with any other tune! And all other tracks are great too – with titles that include "Moon Child", "Passion Dance", and a great version of Wayne Shorter's "Infant Eyes". CD

The Black Jazz recordings of Doug Carn are always a revelation – some of the most powerful, progressive work on the American underground of the early 70s – music that got Carn into way more record collections than you might expect! The sound here is a perfect summation of Doug's early genius – his own work on organ and keyboards, never overdone and mixed perfectly with a righteous array of acoustic sounds from Rene McLean on alto and tenor and Olu Dara on trumpet – both players who soar to the skies on waves of energy begun by Carn! Wife Jean Carn sings on a number of tracks – with this heavenly style that's mighty righteous – every bit as soulful as her later work at Philly International, but in a very different way. The set includes Doug's great reading of "Naima" – plus other wonderful cuts that include "Power & Glory", "Feel Free", "Jihad", "Fatherhood", and "God is One". LP, Vinyl record album

Plenty of spirit, and plenty of soul – a 70s classic from organist Doug Carn, and a record that took his instrument, and jazz in general, to a whole new level for the decade! Carn's got this burning, righteous quality on his keys – a vibe that certainly owes something to Larry Young, but also takes off even further – working in a spiritual ensemble that also features his wife Jean Carn on vocals – sounding way more like a righteous jazz singer than on her later soul sides for Philly International! Other players are great, too – and include Charles Tolliver on flugelhorn, Garnett Brown on trombone, George Harper on tenor and soprano sax, Buster Williams on bass, and Alphonse Mouzon on drums. Tracks include "New Moon", "Trance Dance", "My Spirit", "Blue In Green", and "Arise & Shine". LP, Vinyl record album

The Black Jazz recordings of Doug Carn are always a revelation – some of the most powerful, progressive work on the American underground of the early 70s – music that got Carn into way more record collections than you might expect! The sound here is a perfect summation of Doug's early genius – his own work on organ and keyboards, never overdone and mixed perfectly with a righteous array of acoustic sounds from Rene McLean on alto and tenor and Olu Dara on trumpet – both players who soar to the skies on waves of energy begun by Carn! Wife Jean Carn sings on a number of tracks – with this heavenly style that's mighty righteous – every bit as soulful as her later work at Philly International, but in a very different way. The set includes Doug's great reading of "Naima" – plus other wonderful cuts that include "Power & Glory", "Feel Free", "Jihad", "Fatherhood", and "God is One". CD

Plenty of spirit, and plenty of soul – a 70s classic from organist Doug Carn, and a record that took his instrument, and jazz in general, to a whole new level for the decade! Carn's got this burning, righteous quality on his keys – a vibe that certainly owes something to Larry Young, but also takes off even further – working in a spiritual ensemble that also features his wife Jean Carn on vocals – sounding way more like a righteous jazz singer than on her later soul sides for Philly International! Other players are great, too – and include Charles Tolliver on flugelhorn, Garnett Brown on trombone, George Harper on tenor and soprano sax, Buster Williams on bass, and Alphonse Mouzon on drums. Tracks include "New Moon", "Trance Dance", "My Spirit", "Blue In Green", and "Arise & Shine". CD

One of Jean's classic Philly albums, recorded after she left Doug Carn, and started to make records as a solo artist. The record's got stellar production by Gamble & Huff and Dexter Wansel, and features a nice mix of up-tempo cuts and mellow ones. With the monster "Don't Let it Go to Your Head", and the mix of "Revelation" and "Infant Eyes" that she recorded earlier with Doug Carn. Other cuts include "(No, No) You Can't Come Back Now", "Together Once Again", and "I Bet She Won't Love You Like I Do". LP, Vinyl record album

Jean Carn was one of the best-ever singers to hit the Philly International label – a sophisticated diva with a style that would strongly influence soul music for the next 10 years, and a downright compelling voice that crafted some of the best modern soul of her generation. Although Jean started out as a spiritually-oriented singer working with husband Doug Carn and Earth Wind & Fire, this debut album has her grooving in a style that resembles the classy Columbia sound of Marlena Shaw. Like Shaw, Carn takes the best of her jazz roots, and strips off the nonsense to adapt to a more modern style. Gamble & Huff take a great deal of care with the album – and are careful not to bury Jean's voice in overly club-oriented arrangements, as they occasionally did with other female singers. Includes the hit groover "Free Love", plus "Don't You Know Love When You See It", "You Are All I Need", "You Got A Problem", and "If You Wanna Go Back". LP, Vinyl record album

Brilliant modern soul from Jean Carn – 2 of her greatest albums for Philly International, back to back on one CD! Jean first got her start singing righteous jazz with husband Doug Carn for the Black Jazz label – but by the time of these albums, she was out on her own and working with the Gamble & Huff team in a whole new groove! Jean's jazz experience served her well at Philly – giving her a sense of maturity and vocal depth that made her one of the best female singers on label – as you'll hear from these 2 excellent albums. The CD features 17 tracks in all, including classics like "Don't Let It Go To Your Head", "Free Love", "I'm In Love Once Again", "Happy To Be With You", and her remake of "Revelation/Infant Eyes". CD

A beautiful album that is one of Jean's hardest to find, with a stunning modern soul groove that nicely pushes past her 70s work, and opens rich new territory. The sound is great, and a bit more sophisticated than on earlier albums – thanks to some strong arrangements from McKinley Jackson. Included is the amazing cut "We Got Some Catching Up To Do", plus nice ones like "Sweet & Wonderful", "I Just Thought Of A Way", "Mystic Stranger", and "Love Don't Love Nobody". Just more proof that leaving Doug Carn behind was the greatest thing she ever did! LP, Vinyl record album

Sublimely spiritual work from trombonist Charles Greenlee – a player who's best remembered for work as a sideman with Archie Shepp, but who really sparkles as a leader on this rare Japanese set! The vibe here is totally great – a righteous approach to soul jazz that rivals the best work of the Strata East scene in the US, but which is carried off with the poise and power of some of the best mid 70s Japanese-only dates of this type – clearly a great deal of respect and freedom given to Greenlee in the studio, but also some good help in putting together the record in as solid a way as possible. Jean Carn makes a great appearance singing on 3 tracks here – with a quality that's even more righteous than her work with Doug Carn on Black Jazz – and one more number features the great Joe Lee Wilson on vocals too. Players include Hubert Eaves and Art Matthews on piano, Charles Sullivan on trumpet, Archie Shepp on tenor and soprano, Buster Williams on bass, and either Charlie Persip or Beaver Harris on drums – and titles include "I Know About The Life", "He's Gone", "Steam", "Someday", "Crusificado", and "Miss Barbara". LP, Vinyl record album

A lost legacy of work from Black Jazz Records – the important 70s imprint that's best known for its groundbreaking albums of spiritual and funky jazz – and a company who also issued some rare 45s back in the day! The cuts here represent some of the coolest, funkiest tracks these artists recorded for Black Jazz – all originally issued as 7" singles, some with a two-part approach that has both parts of a longer track spread out over both sides of the wax. The presentation here is as top-shelf as the other Black Jazz reissues handled by Real Gone – complete with notes by Pat Thomas – and titles include "Little B's Poem" and "Peace" by Doug & Jean Carn, "Chi Town Theme" by Cleveland Eaton, "Soul Daddy" and "Be All Your Own" by Kellee Patterson, "You Are The Sunshine Of My Life" and "Me & Mrs Jones" by Gene Russell, "Coral Keys (parts 1 & 2)" by Walter Bishop, "Moon Child (parts 1 & 2)" by Doug Carn, "Mr TJ (single edit)" and "Devon Jean" by Rudolph Johnson, "Gee Gee (parts 1 & 2)" by Calvin Keys, and "Powerhouse (parts 1 & 2)" by Chester Thompson. CD

A lost legacy of work from Black Jazz Records – the important 70s imprint that's best known for its groundbreaking albums of spiritual and funky jazz – and a company who also issued some rare 45s back in the day! The cuts here represent some of the coolest, funkiest tracks these artists recorded for Black Jazz – all originally issued as 7" singles, some with a two-part approach that has both parts of a longer track spread out over both sides of the wax. The presentation here is as top-shelf as the other Black Jazz reissues handled by Real Gone – complete with notes by Pat Thomas – and titles include "Little B's Poem" and "Peace" by Doug & Jean Carn, "Chi Town Theme" by Cleveland Eaton, "Soul Daddy" and "Be All Your Own" by Kellee Patterson, "You Are The Sunshine Of My Life" and "Me & Mrs Jones" by Gene Russell, "Coral Keys (parts 1 & 2)" by Walter Bishop, "Moon Child (parts 1 & 2)" by Doug Carn, "Mr TJ (single edit)" and "Devon Jean" by Rudolph Johnson, "Gee Gee (parts 1 & 2)" by Calvin Keys, and "Powerhouse (parts 1 & 2)" by Chester Thompson. LP, Vinyl record album

Theo Parrish takes on the music of Black Jazz Records – yet somehow manages to make the whole thing come across with a cosmic groove that's all his own! By that, we don't mean that Theo's messing with the cuts – just that his mix here really highlights the more expansively electric and rhythmically angular elements of the label's classic catalog – sounds that are clearly an inspiration for a huge number of 21st Century musicians and producer – not just Parrish himself! There's a richly spiritual vibe to the whole set – and the collection is easily one of the best presentations of the Black Jazz label we've ever heard – stunning from start to finish. Cuts include "My Favorite Things" by Gene Russell, "Those Who Chant" by Walter Bishop, "Jupiter" and "Convulsions" by The Awakening, "Trance Dance" by Doug Carn, "Time & Space" by Rudolph Johnson, "Criss Cross" and "BE" by Calvin Keys, and "Blue Bossa" by Walter Bishop Jr. CD

Maybe the most fantastic record to date from the hands of Adrian Younge – a project done in collaboration with Ali Shaheed Muhammad, and one that features guest appearances from some of the musical giants who first inspired Dusty Groove many years Back! The core energy of the set comes from Younge and Muhammad – who are in a similar funky soul groove as their previous Midnight Hour recording serving up a blend of jazz and soul in a mode that clearly draws a lot of 70s inspiration, but which also has this very fresh, contemporary energy too. Yet there's also a strong difference here once each of the guests step into the mix – a stellar lineup that features alto from Gary Bartz, Fender Rhodes from Marcos Valle and Joao Donato, flute from Brian Jackson, drums from Ivan Mamao Conti, and Hammond B3 from the great Doug Carn – all players who really up the jazz ante for the record, and make the whole thing sound even deeper than most of Younge's other recordings. Titles include "Distant Mode", "Nancy Wilson, "Down Deep", "Apocaliptico", "Jazz Is Dead", "Hey Lover", "Nao Saia Da Praca", and "Conexao". CD

A fantastic extension of the Jazz Is Dead series – a run of records that's already got a wonderfully collaborative vibe, which is taken even further with these tracks! As you might guess from the title, the album features remixes of cuts from the previous nine volumes – and the choice of remixers is really top-shelf – a great run of talents who now add their voices to the stunning sounds created by the host of famous jazz/funk talents who worked alongside Adrian Younge & Ali Shaheed Muhammad in the studio! Every track has a nicely different vibe, but not in a way that's schizophrenic – as the music really opens up from the sounds at the core, while still holding onto them as well. Titles include "Gotta Love Again (Kaidi Tatham rmx)" with Marcos Valle, "Soulful & Unique (Pink Sifu rmx)" with Roy Ayers, "Soulsea (Cut Chemist rmx)" with Gary Bartz, "Redor Do Samba (DJ Spinna rmx)" with Azymuth, "Liasons (Diabiase rmx)" with Joao Donato, "Nancy Wilson (Shigeto rmx)" with Brian Jackson, "Windfall (Natureboy Flako rmx)" with Doug Carn, and "Jazz Is Dead (Georgia Anne Muldrow geemix)" with The Midnight Hour. CD

A fantastic look at the righteous current of energy that swept through American music at the end of the 60s – that huge wave of knowledge and political inspiration that still stands as one of our favorite moments in jazz and soul! The Civil Rights generation had gotten some things accomplished, but not everything – and a new wave of action arose in various scenes of the underground – not just pushing the musical formats past anything that had happened before, but also doing so with a strong message of pride and empowerment! This collection surveys some of the best tracks of that moment – and also provides a great batch of historical notes to put the whole thing in context – done in collaboration with the book of the same name, but equally great as a soundtrack and document on its own. The package is overflowing with Dusty Groove classics – and titles include "Sweet Songs" by Sarah Webster Fabio, "Surtal Ihklas" by Doug Carn, "Vibes From The Tribe" by Phil Ranelin, "Desert Fairy Princess" by Horace Tapscott & The Pan Afrikan Peoples Arkestra, "Sounds From The Bush" by The Mandingo Griot Society with Don Cherry, "Is It Too Late" by Duke Edwards & The Young Ones, "Strong Men" by David McKnight, "Black Narcissus" by Joe Henderson, "Malcolm X" by Phil Cohran & The Artistic Heritage Ensemble, "Mother Of The Future" by Carlos Garnett, "Red Black & Green" by Roy Ayers, "African Rhythms" by Oneness Of Juju, and "The Revolution Will Not Be Televised" by Gil Scott-Heron. CD

A fantastic tribute to the great Jean Carne – a singer who started out in jazz, working with then-husband Doug Carn on spiritual sessions and drummer Norman Connors on his soulful sides of the 70s – then shifted over to the Philadelphia International label, where she really helped Philly soul find new direction moving into the 80s! Jean always brings all the sophistication of her roots into her music – making her way more than just another soul singer, and instead a vocalist with a great range of expression that has her opening up in just the right way, no matter what the setting. This excellent collection is filled with classics from her years on Philadelphia International, and also includes some rare 12" mixes and duets with other artists too. Titles include "Free Love", "No Laughing Matter", "Don't Let It Go To Your Head", "You Can't Come Back Now", "There's A Shortage Of Good Men", "Time Waits For No One", "Lonely Girl In A Cold Cold World", "Bet Your Lucky Star", We Got Some Catchin Up To Do", "When I Find You Love", "Was That All It Was (12" mix)", "What's On Your Mind (12" mix)", "Revelation/Infant Eyes", "Mystic Stranger", "Completeness", and "If You Don't Know Me By Now" – plus "I'm Back For More" with Al Johnson, "Sweet & Wonderful" with Glenn Jones, "You Might Be Surprised" with Roy Ayers, "Love Is Beautiful" and "Dreams Of Tomorrow" with Dexter Wansel, "Keep In Touch" and "The Look Of Love" with Grover Washington, and "Dindi", "Love's In Your Corner", and "Valentine Love" with Norman Connors. CD

Sublimely spiritual work from trombonist Charles Greenlee – a player who's best remembered for work as a sideman with Archie Shepp, but who really sparkles as a leader on this rare Japanese set! The vibe here is totally great – a righteous approach to soul jazz that rivals the best work of the Strata East scene in the US, but which is carried off with the poise and power of some of the best mid 70s Japanese-only dates of this type – clearly a great deal of respect and freedom given to Greenlee in the studio, but also some good help in putting together the record in as solid a way as possible. Jean Carn makes a great appearance singing on 3 tracks here – with a quality that's even more righteous than her work with Doug Carn on Black Jazz – and one more number features the great Joe Lee Wilson on vocals too. Players include Hubert Eaves and Art Matthews on piano, Charles Sullivan on trumpet, Archie Shepp on tenor and soprano, Buster Williams on bass, and either Charlie Persip or Beaver Harris on drums – and titles include "I Know About The Life", "He's Gone", "Steam", "Someday", "Crusificado", and "Miss Barbara". CD

An album that has the legendary Jean Carne in the most righteous setting we've heard in years – a mode that hearkens back to the vocals she provided for organist Doug Carn on their classic 70s albums together for the Black Jazz label! Jean's a singer that we love in just about any format – her huge Philly soul albums of the 70s, her sophisticated soul of the 80s, and even more indie projects of recent years. But here, she unleashes all the pride and power she brought to her music when she started out in jazz – soaring to the skies with a spiritual vibe throughout, next to Fender Rhodes, Hammond, and other keyboards from Adrian Younge – and some great rhythms from bassist Ali Shaheed Muhammad and drummer Mekala Session! Carne wrote all the music herself, and the vocals are wonderful – material we never would have guessed she still had locked within – bursting forth here with a vibe that's completely wonderful. Titles include "People Of The Sun", "Come As You Are", "My Mystical Life", "Visions", "The Summertime", "Black Rainbows", and "Black Love". LP, Vinyl record album

Soaring soul from Carlos Garnett – one of the reedman's key 70s sides for the Muse Records label – work we'd rank right up there with the spiritual best of Gary Bartz or Norman Connors at the time! Like both of those contemporaries, Garnett's really reaching for something new in the post-Coltrane generation – mixing electric and acoustic instrumentation with compelling rhythmic changes – and often letting in a bit of vocals as well. Most of the music here is instrumental – with Garnett on tenor and baritone sax, plus the great Hubert Eaves on keyboards and Reggie Lucas on guitar – but some tracks also feature very nice vocals from Prema, a female singer who takes up the same sort of role you might find Dee Dee Bridgewater doing with Connors, or Jean Carn with husband Doug. The blend is wonderful, and the vocals really help give the musical message some weight when the come into the mix – and titles include "Panama Roots", "Senor Trane", "Samba Serenade", and "Ghetto Jungle". CD

An album that has the legendary Jean Carne in the most righteous setting we've heard in years – a mode that hearkens back to the vocals she provided for organist Doug Carn on their classic 70s albums together for the Black Jazz label! Jean's a singer that we love in just about any format – her huge Philly soul albums of the 70s, her sophisticated soul of the 80s, and even more indie projects of recent years. But here, she unleashes all the pride and power she brought to her music when she started out in jazz – soaring to the skies with a spiritual vibe throughout, next to Fender Rhodes, Hammond, and other keyboards from Adrian Younge – and some great rhythms from bassist Ali Shaheed Muhammad and drummer Mekala Session! Carne wrote all the music herself, and the vocals are wonderful – material we never would have guessed she still had locked within – bursting forth here with a vibe that's completely wonderful. Titles include "People Of The Sun", "Come As You Are", "My Mystical Life", "Visions", "The Summertime", "Black Rainbows", and "Black Love". CD

Dizzy Gillespie caught live at Monterey – recorded with a great group during one of our favorite stretches in his career! The combo's kind of a post-Lalo Schifrin quintet, but still shares plenty of the bossa-inspired elements of his tenure with Diz – long tracks, bits of Latin rhythms, and a hip swing that's just right for the 60s! James Moody's in the group on alto, flute, and tenor, Kenny Barron plays piano, Chris White is on bass, and Rudy Collins is on drums – and Jon Hendricks joins the group on vocals for one cut too! Titles include "Morning Of The Carnival", "Dizzy Atmosphere", "Vote Dizzy", "Desafinado", "No More Blues", and "The Cup Bearers". CD

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

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

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". LP, Vinyl record album

A killer early album by Art Blakey and his first incarnation of The Messengers – recorded before Horace Silver left the group, and a rare non-Blue Note outing done for Columbia Records! The ensemble here features Donald Byrd on trumpet, Hank Mobley on tenor, and Doug Watkins on bass – alongside Silver's piano and Blakey's thundering work on drums – and the album is virtually a blueprint for the sound of hardbop in years to come – focused and intense, but still with plenty of room for individual solo expression! Tracks include a classic reading of "Nica's Dream", plus Horace Silver's great "Ecaroh", and Mobley's own "Infra-Rae" and "Hank's Symphony". LP, Vinyl record album

A killer early album by Art Blakey and his first incarnation of The Messengers – recorded before Horace Silver left the group, and a rare non-Blue Note outing done for Columbia Records! The ensemble here features Donald Byrd on trumpet, Hank Mobley on tenor, and Doug Watkins on bass – alongside Silver's piano and Blakey's thundering work on drums – and the album is virtually a blueprint for the sound of hardbop in years to come – focused and intense, but still with plenty of room for individual solo expression! Tracks include a classic reading of "Nica's Dream", plus Horace Silver's great "Ecaroh", and Mobley's own "Infra-Rae" and "Hank's Symphony". CD also features 5 bonus tracks – 1 unreleased – with titles that include "Weird-O", "Ill Wind", "Late Show", and "Deciphering The Message". CD

A killer early album by Art Blakey and his first incarnation of The Messengers – recorded before Horace Silver left the group, and a rare non-Blue Note outing done for Columbia Records! The ensemble here features Donald Byrd on trumpet, Hank Mobley on tenor, and Doug Watkins on bass – alongside Silver's piano and Blakey's thundering work on drums – and the album is virtually a blueprint for the sound of hardbop in years to come – focused and intense, but still with plenty of room for individual solo expression! Tracks include a classic reading of "Nica's Dream", plus Horace Silver's great "Ecaroh", and Mobley's own "Infra-Rae" and "Hank's Symphony". LP, Vinyl record album

Great rare 50s material by Blakey – an early 80s issue of outtakes from the Hard Bop LP, plus some sides recorded shortly afterwards, with a slight line-up change! The group is one of the earliest incarnations of the Jazz Messengers, featuring Donald Byrd and Hank Mobley in the front line, and Doug Watkins and Horace Silver playing rhythm alongside Blakey, blowing hard on four burning sides worthy of the title of the LP they were left off of – "Late Show","Ill Wind", "Weird-O" and an alternate take of "Carol's Interlude". The remainder of the album trades in Kenny Drew, Ira Sullivan and Wilbur Ware for "Lil' T" and "The New Message", and there's a "Gershwin Medley" featuring an altogether different lineup of the Messengers. LP, Vinyl record album