An unreleased 70s session from keyboardist Andy LaVerne – and a set that features a mighty hip assemblage of musicians! Stan Getz is on two of the album's tracks – soaring out in a way that's maybe more in his Captain Marvel mode, than some of his straighter work that was emerging at the time – a quality that possibly comes from the group's great work from guitarist John Abercrombie, who's got a really explosive variation of his usual chromatic style – served up here on both acoustic and electric guitars, and electric mandolin too. Bass is from Eddie Gomez and drums are from Billy Hart – save for two tracks that also include additional bass from Jon Burr and additional drums from Victor Jones – and LaVerne himself plays acoustic piano, Fender Rhodes, and minimoog – on titles that include "Come To Me", "Cappaqua", "Hymn For Her", "Get Back To Me", "Metropolis", "Dreamboat", and "Empty Shells". 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

All original compositions by the late pianist – with a group on side one that features Gary Peacock on bass and Roy Haynes on drums, plus guest guitar from John Abercrombie on one track – and a group on side two that features Eddie Gomez on bass and Al Foster on drums, with Abercrombie guitar on one track, and percussion from Steve Thornton on another. CD

All original compositions by the late pianist – with a group on side one that features Gary Peacock on bass and Roy Haynes on drums, plus guest guitar from John Abercrombie on one track – and a group on side two that features Eddie Gomez on bass and Al Foster on drums, with Abercrombie guitar on one track, and percussion from Steve Thornton on another. LP, Vinyl record album

Excellent funky jazz from Jeremy Steig – the funkiest flute player we can think of! The record takes up where Jeremy's LPs on Solid State left off – adding Steig's hard-blowing flute to some groundbreaking beat-heavy backings by Gene Perla and Eddie Gomez on bass, Don Alias on drums, and Jan Hammer on electric piano. The sound is super-dope – and the cuts feel like they fell off some lost blacksploitation soundtrack from the early 70s. All titles are great, and the record's a completely unified, fiercely funky set that should be in the collection of any fan of funky electric jazz. Titles include "Down Stretch", "Swamp Carol", "Home", "Cakes", and "Come With Me". LP, Vinyl record album

One of the beautiful ECM efforts from guitarist Ralph Towner – who plays 12 string and classical guitars, plus piano, and French horn – with help from Kenny Wheeler on trumpet, Eddie Gomez on bass, David Darling on cello, and Michael Di Pasqua on drums and percussion! CD

Tyner in two great trios – with Ron Carter on bass and Tony Williams on drums on one record – and with Eddie Gomez on bass and Jack DeJohnette on drums on the other! CD

Kenny Werner on piano and synthesizer, Joe Lovano on tenor and soprano saxophone, Randy Brecker on trumpet and flugelhorn, Eddie Gomez on acoustic bass, John Riley on drums, and Cafe Edson Adasilva on percussion. CD

Features great work on tenor by Joe Henderson – alongside Eddie Gomez on bass and Jack DeJohnette on drums. LP, Vinyl record album

Joanne Brackeen on piano, Eddie Gomez on bass, Duduka Da Fonseca on drums, and Waltinho Anastacio on percussion. CD

A great straight set from Chick Corea – one that has him playing acoustic piano throughout, and reclaiming some of the bolder jazz territory he first forged in the 60s! The tracks are long and soaring – very soulful in their construction, and played in a dynamic way that's surprisingly without cliche – no easy "hit" jazz moves, and instead a real return to basics for a quartet that includes Chick on piano, Michael Brecker on tenor, Steve Gadd on drums, and Eddie Gomez on bass. Gomez, as usual, really makes the record sound great – giving it a round, warm heart that glows throughout – and titles include "Quartet No 1", "Quartet No 2", and "Quartet No 3". LP, Vinyl record album

Amazing work from one of the most inventive trios ever led by pianist Bill Evans – a fantastic group that features the young Eddie Gomez on bass and the mighty Jack DeJohnette on drums! Both players would develop into strong leaders of their own in later years – but here, on this unreleased material from 1968, it's amazing to hear them already shaping sounds with a new sense of freedom – that mixture of complexity and lyricism that Bill brought to his groups from the end of the 50s onwards – delivered here in the hands of musicians who'd both take that spirit, and run with it even more strongly in years to come. Gomez is no stranger to Evans, and had already recorded often with his piano – one of the most sublime pairings of the 60s – but DeJohnette really brings something special to the group – maybe more of a special sonic range at times that allows him to stand out, yet never distract. As with other Resonance releases of this nature, the material is issued for the first time ever – beautifully produced by Dutch radio in June of 1968, and presented here as an extended set with tracks that include "Very Early", "You're Gonna Hear From Me", "Five", "Turn Out The Stars", "Nardis", "Emily", "Who Can I Turn To", and "Alfie". CD

A pretty sublime album from Bill Evans – one that has him playing both Fender Rhodes and Steinway, overdubbed together, for an effect that's laidback and completely wonderful! The Fender Rhodes was a natural choice for Evans – given his fluid lyrical style, and on this set (and on his equally great record for MGM) Bill opens up with an approach that really suits him well. Each track features him shifting back and forth between electric and acoustic modes, dancing from one to the other in a way that makes the instruments come together beautifully – supported by some incredibly soulful bass work by Eddie Gomez, and drums by Marty Morrell. Titles include "Sugar Plum", "Funkallero", "Waltz for Debby", "TTT", "Re: Person I Knew", and "Comrade Conrad". CD

Beautiful sounds from Bill Evans – unreleased material from the mid 70s – one side that has Bill on electric and acoustic piano, with Eddie Gomez on bass – another side of solo acoustic work! LP, Vinyl record album

Beautiful live work from Bill Evans – issued here for the first time, and the kind of special concert that really makes a great addition to his classic catalog! Bill Evans live can really be something wonderful – and that's definitely the case here, as he makes this personal magic with the keys of the piano – Evans-esque balancing of silence and sound, with painterly colors that always feel natural and organic, never forced – like Bill's fingertips are just spreading out, and channeling sound through the instrument! Rhythm is from Eddie Gomez on bass and Elliot Zigmund on drums – both players whose work here goes far past the conventional – and titles include "Sareen Jurer", "Sugar Plum", "Two Lonely People", "TTT", "Up With The Lark", "Blue Serge", and "Nardis". LP, Vinyl record album

Ostensibly simple stuff from Bill Evans, but pretty darn great – and a nice move into a more sophisticated vein than his earlier recordings! The album has him working with bassist Eddie Gomez, a hugely talented bassist that would be one of Bill's best partners during this period, and a player who added a nice dose of soul to the proceedings. The drummer is Shelly Manne, who's pretty nice, too – and really shows off some of his more sophisticated shadings here in the presence of Evans and Gomez – similar to his work on the great Empathy album. Tracks are shortish, but filled with imagination – and titles include "Unless It's You", "These Things Called Changes", "Stella By Starlight", and "A Simple Matter Of Conviction". LP, Vinyl record album

One of Bill Evans' most beautiful albums from the time – and one that features the fantastic team of Jeremy Steig and Eddie Gomez, who were cutting some beautiful records for other labels at the time. Steig's flute later got very silly, but at this point, he's got a raw stripped-down sound that works perfectly with Gomez's warm, slightly funky basslines – making for a slightly soulful approach that really transforms the session. Evans is no slouch either – and the youthful company makes him play some of his best bits in years – on titles that include "Time Out For Chris", "So What", "Spartacus Love Theme", and "Autumn Leaves". CD

The second part of a great Japanese-only session recorded in 1980 – one that features a later edition of the Great Jazz Trio – with Eddie Gomez on bass and Al Foster on drums, next to piano by usual group member Hank Jones! The set's got a hipper feel than usual for the group – partly because Jones plays Fender Rhodes on part of the record, and partly because Gomez's work on bass gives the proceedings a warm and soulful sound – that deep-flowing groove we first came to love in Eddie's work with Bill Evans and Jeremy Steig. Foster's drums are great too – and have a sense of sharpness that changes the Great Jazz Trio sound nicely. Titles include "Peedlun", "Light Listened", "Duplex", "Just Before Dawn", and "Sublime". LP, Vinyl record album

Great stuff – with Ricky Ford on tenor, Bruce Forman on guitar, Albert Dailey on piano, Eddie Gomez on bass, and Billy Hart on drums. LP, Vinyl record album

A definite sweet return from Freddie Hubbard – a record with a cover and title that might appear to be smooth jazz, but one with a sound that's solidly acoustic and soulful all the way through! The album's a great example of Hubbard's amazing work in the early 80s – a time when he was shaking off the larger and electric trappings of the 70s, to return to smaller combo work – but often with a really fluid and warm feel that showed the best lessons learned from the previous decade! Freddie's tone and timing here are impeccable – and the long tracks are especially great, with continually-inventive solo work that holds us rapt with attention. Other players include Lew Tabackin on tenor and flute, Joanne Brackeen on piano, Eddie Gomez on bass, and Roy Haynes on drums – and titles include "The Night Has A Thousand Eyes", "Heidi B", "Sweet Return", "Whistling Away The Dark", and "Calypso Fred". LP, Vinyl record album

The title gets it partly right, as the Manhattan Jazz Quintet have some added help on guitar from John Scofield on a few tracks – whose lines definitely underscore some of the more blues-based colors in the music! Scofield's an open, chromatic master on his instrument – and that approach turns out to be a great match for the group's lead horns of Lew Soloff on trumpet and George Young on tenor – both players with very different inflections than John, but who complement his sound in all the right ways. The rhythm's also a bit sharper than usual for the group – with snapping drums from Steve Gadd, and always-great work from Eddie Gomez on bass. Titles include "Basin Street Blues", "Blues March", "Bag's Groove", and "Sweet Basil Blues". CD

Later work from 50s modernist Warne Marsh – but pretty darn great stuff, and proof that Marsh remained creative and inventive as the years went on! The core of the CD features a 1980 live date recorded in Berlin with pianist Sal Mosca – like Marsh, another disciple of the Tristano school, and a great accompanist for the set! The rest of the group includes Eddie Gomez on bass and Kenny Clarke on drums – but although both players are strongly voiced, the real focus here is on Warne's beautifully-spun solos on the longer tracks, and on Sal's angular approach to the keys. Tracks are nearly all Tristano, Marsh, or Mosca numbers – and titles include "Leave Me", "The Family Song", "Like The Angels", "And Then There's Music", and "Background Music". CD also features 2 more tracks from a 1977 live date in Bronxville – with Mosca, plus Sam Jones and Roy Haynes – on readings of "She's Funny That Way" and "Background Music". And quite possibly best of all, the set's completed by 2 more tracks that are only spare duos between Sal and Warne – recorded at Mosca's apartment in 1979, and featuring versions of "Noteworthy" and "The Hard Way". CD

Excellent funky jazz from Jeremy Steig – the funkiest flute player we can think of! The album's a 2LP set that brings together Steig's Energy album for Capitol, plus more material that was also recorded by producer Sonny Lester. Energy takes up where Jeremy's LPs on Solid State left off – adding Steig's hard-blowing flute to some groundbreaking beat-heavy backings by Gene Perla and Eddie Gomez on bass, Don Alias on drums, and Jan Hammer on electric piano. The sound is super-dope – and the cuts feel like they fell off some lost blacksploitation soundtrack from the early 70s. All titles are great, and the record's a completely unified, fiercely funky set that should be in the collection of any fan of funky electric jazz. Titles include "Down Stretch", "Swamp Carol", "Home", "Cakes", and "Come With Me". The rest of the tracks on the set are equally great – played by the same group, and probably recorded at the same time – with a free-flowing energy that's easily some of the hippest flute work of the early 70s! Titles include "Rock #6", "Elelphant Hump", "Something Else", and "Up Tempo Thing". CD

Tracks include "Oceanus", "Blue Sun", "New Moon", "Beneath An Evening Sky", "Prince & The Sage", and "Nimbus". Features work by Jan Garbarek, Eberhard Weber, Kenny Wheeler, and Eddie Gomez. CD

A seminal statement from drummer Jack DeJohnette – a musician who'd already made a pretty big impact in the years before this set – but who really seemed to take off with his New Directions group on ECM! Every player in the lineup is a key sonic pioneer on their instrument – John Abercrombie on guitar, with his great sense of color and tone – Eddie Gomez on bass, with that soundshaping ability he developed with Bill Evans – trumpeter Lester Bowie, really finding a voice here away from the Art Ensemble Of Chicago – and drummer DeJohnette, beautifully set free in territory far beyond standard rhythm! The mix of all four musicians is wonderful – and still quite fresh after all these years, despite how many folks might have tried to copy the approach – on titles that include "Dream Stalker", "Where Or Wayne", "Silver Hollow", "One Handed Woman", and "Bayou Fever". LP, Vinyl record album

Lovely work from Eliane Elias – and exactly the set you should turn to if you ever doubted her chops on the piano! Elias starts with a quick rendition of Bud Powell's "Hallucinations", played with a deftness that Toshiko Akiyoshi would appreciate – and the set then runs into a batch of tunes that includes some charming originals from Eliane – those fully-formed numbers that always made her a well-rounded talent right from the start! The blend of sensitivity and swing on the record is really impressive – and made even better by a set of players that includes Eddie Gomez on bass, Barry Finnerty on guitar, and Jack DeJohnette and Peter Erskine on drums. Titles include "One Side Of You", "Impulsive", "Cross Current", "Campari & Soda", and "Peggy's Blue Skylight". CD

Bill Evans' first famous appearance at the Montreux Jazz Festival – a great 60s trio session, with Eddie Gomez on bass and Jack DeJohnette on drums! The tunes are mostly relatively familiar ones, but the ensemble on the set gives them a freer and more lyrical feel than you might expect – especially with DeJohnette on drums, who is a somewhat more powerful choice than some of Bill's other drummers of the 60s. Eddie Gomez is great, as always – with that round bass sound that we totally love – and titles include "Nardis", "Sleepin Bee", "Embraceable You", "Someday My Prince Will Come", "Mother Of Earl", "One For Helen", and "Walkin Up". Includes the bonus track "Quiet Now". CD

One of our favorite albums ever from Bill Evans – an amazing session of Fender Rhodes material that's quite different than most of his other work! The sound here is incredibly gentle – Bill barely hitting the keys of the Rhodes to send out spare, shimmering notes amidst larger arrangements from Michael Leonard – a talent we hardly know at all, but who fits Evans' piano with a great deal of sensitivity for the set. There's some wonderful tones and colors on each number here – and Eddie Gomez also helps to flesh out the sound a little bit with his basswork, providing those slow pulses of low tones that have a very subtle approach to rhythm. Titles include an amazing version of Luiz Eca's classic "The Dolphin" – plus "Soiree", "What Are You Doing The Rest Of Your Life?", "Children's Play Song", "I'm All Smiles", and "Lullaby For Helene". LP, Vinyl record album

One of our favorite albums ever from Bill Evans – an amazing session of Fender Rhodes material that's quite different than most of his other work! The sound here is incredibly gentle – Bill barely hitting the keys of the Rhodes to send out spare, shimmering notes amidst larger arrangements from Michael Leonard – a talent we hardly know at all, but who fits Evans' piano with a great deal of sensitivity for the set. There's some wonderful tones and colors on each number here – and Eddie Gomez also helps to flesh out the sound a little bit with his basswork, providing those slow pulses of low tones that have a very subtle approach to rhythm. Titles include an amazing version of Luiz Eca's classic "The Dolphin" – plus "Soiree", "What Are You Doing The Rest Of Your Life?", "Children's Play Song", "I'm All Smiles", and "Lullaby For Helene". CD features 4 bonus tracks too – alternate takes on titles in the album. CD

A great pairing – one who barely recorded together, but always made magic when they did! The vibe here is different than the Evans/Getz date on Verve in the mid 60s – partly because of the live setting, but maybe also because the group is Bill's – with Eddie Gomez on bass and Marty Morrell on drums! CD

Features Billy Hart on drums – with Eddie Henderson on trumpet, Ralph Moore on tenor, Dave Liebman on soprano, Bill Frisell on guitar, Kenny Kirkland on piano, and Eddie Gomez or Buster Williams on bass! CD

Not a funky strut in the manner of David Matthews' 70s work for CTI/Kudu Records – but a set that has the pianist bringing a really old school, soul jazz approach to the session – almost trying to go for the 60s modes of players like Horace Silver or Bobby Timmons! As with other Manhattan Jazz Quintet albums, the set really sparkles from the talents of Lew Soloff on trumpet and George Young on tenor – a duo who know how to come together, then break apart with the kind of dynamic, soulful styles of an older Blue Note record – and the rest of the group features Eddie Gomez on bass and Peter Erskine on drums. Titles include "Hot Grits", "Sister Sadie", "Song For My Father", "Foxy Little Thing", and "Funky Strut". 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

Two late albums from Charles Mingus – back to back on a single CD! Me Myself An Eye is complicated later work from 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 ont enors; 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 2 contains a remake of "Wednesday Night Prayer Meeting", plus "Devil Woman" and "Carolyn Keki Mingus". Something Like A Bird is one of the last Mingus albums ever recorded – large group material that's a lot more complex than his work from the 60s, performed by a variety of players from old and recent years, including Lee Konitz, Pepper Adams, George Coleman, Joe Chambers, Eddie Gomez, Ronnie Cuber, and others. The long title track is split up over 2 sides of the LP, and the remaining piece of the second side is given over to "Farewell Farwell". CD

A great early set from singer Judy Niemack – one done with great accompaniment from trumpeter Simon Wettenhall – whose instrument is almost an equal voice in the recording! The great Eddie Gomez also plays bass in the album's combo – and his round, soulful tones really help shape most of the tunes – bringing in a gentle groove, even to the ballads – and offsetting the higher tones in Judy's vocals. Titles include the haunting "Love Call", the originals "Top Secret" and "Judy's Blues" – and the cuts "Way Low", "I'll Remember April", and "Trajectory". And as an added bonus, Warne Marsh plays tenor on two cuts too! LP, Vinyl record album

Featuring Joe Lovano on tenor sax, Larry Coryell on guitar, Eddie Gomez on bass, Tom Harrell on trumpet, Lee Konitz on alto sax, Hubert Laws on flute, Bob Brookmeyer on valve trombone, Eddie Daniels on clarinet, Joe LaBarbera on drums, and others. CD

A really hip record from fluteman Jeremey Steig – and a set that's nice and lean, with a very cool groove! The lineup just features Eddie Gomez on bass, Ray Mantilla on congas, and Marty Morrell on drums – and Gomez is fantastic, with a rich sound that's very different than his work with Bill Evans – funky at times, and sounding great next to the percussion! Titles include "Djinn Djinn", "Space Maiden", "Monium", and "Dream Passage". LP, Vinyl record album

A great little set from the precursor to Steps Ahead – heard here on a Japanese-only album that's got a really wonderful sound! The group's a quintet that includes Michael Brecker on tenor, Mike Maineri on vibes, Don Grolnick on keyboards, Eddie Gomez on bass, and Peter Erskine on drums – working together in a style that's mostly acoustic, but which has some slight electric touches on the bottom – expanding the sound ever so slightly, but still letting the jazz colors and tones of the players dominate the set. Tracks are all originals, and all quite long – and the bass of Gomez and vibes of Maineri really give the whole thing a sense of soul that pushes it ahead of the pack. Titles include "The Aleph", "NL4", "Patch Of Blue", "Four Chords", and "Nichka". CD

Tyner in two great trios – with Ron Carter on bass and Tony Williams on drums on one record – and with Eddie Gomez on bass and Jack DeJohnette on drums on the other! LP, Vinyl record album

With Eddie Gomez on bass and Peter Erskine on drums. CD

With Eddie Gomez, Will Calhoun, Phil Hamilton, Toots Thielemans, Paul Griffin, Joe Bonadio, Allen Toussaint, Michael Brecker, Ray Anderson, and Chuck St. Troy. CD

Brackeen, on piano, is backed by the rhythm section of Eddie Gomez and Jack DeJohnette. CD

With Eddie Gomez on bass, Duduka Da Fonseca on drums and Waltinho Anastacio on percussion. CD

With Eddie Gomez on bass and Jack DeJohnette on drums. CD

Features Nick Brignola on baritone saxophone, Chuck D'Alioa on guitar, Eddie Gomez on bass, Bill Stewart on drums, and guest percussion by Cafe. CD

Joe Chambers on drums and vibes, Ronnie Mathews on piano, and Eddie Gomez on bass. CD

Jack DeJohnette on drums and piano, Lester Bowie on trumpet, John Abercrombie on guitar and mandolin, and Eddie Gomez on bass. LP, Vinyl record album

Jack DeJohnette's best known as a drummer, but he's also played a bit of piano too – and this album focuses nicely on that side of his talents, in case you couldn't guess from the title! The trio lineup is a great one – with Eddie Gomez on bass and Freddie Waits on drums – both players who'd make any keyboardist sound good, even if they didn't have the chops. Jack, though, definitely brings some skills to the session – playing both a bit inside at times, and also freewheeling and open, as you might expect from his work on drums. There's a bit of synth at points, but most of the record is acoustic and warmly soulful – with titles that include "Minority", "Lydia", "Countdown", "Spiral", "Milton", and "Ahmad The Terrible". CD

A pretty sublime album from Bill Evans – one that has him playing both Fender Rhodes and Steinway, overdubbed together, for an effect that's laidback and completely wonderful! The Fender Rhodes was a natural choice for Evans – given his fluid lyrical style, and on this set (and on his equally great record for MGM) Bill opens up with an approach that really suits him well. Each track features him shifting back and forth between electric and acoustic modes, dancing from one to the other in a way that makes the instruments come together beautifully – supported by some incredibly soulful bass work by Eddie Gomez, and drums by Marty Morrell. Titles include "Sugar Plum", "Funkallero", "Waltz for Debby", "TTT", "Re: Person I Knew", and "Comrade Conrad". LP, Vinyl record album

Bill Evans' first famous appearance at the Montreux Jazz Festival – a great 60s trio session, with Eddie Gomez on bass and Jack DeJohnette on drums! The tunes are mostly relatively familiar ones, but the ensemble on the set gives them a freer and more lyrical feel than you might expect – especially with DeJohnette on drums, who is a somewhat more powerful choice than some of Bill's other drummers of the 60s. Eddie Gomez is great, as always – with that round bass sound that we totally love – and titles include "Nardis", "Sleepin Bee", "Embraceable You", "Someday My Prince Will Come", "Mother Of Earl", "One For Helen", and "Walkin Up". LP, Vinyl record album

Bill Evans joined by Art Farmer, Miles Davis, Paul Chambers, Dave Pike, Eddie Gomez, Herbie Lewis & more. CD

Bill Evans on pinao, Eddie Gomez on bass, and Marty Morell on drums. Titles include "Very Early", "Waltz For Debby", "Quiet Now", "Elsa", "Someday My Prince Will Come", "Sareen Jurer", and "What Are You Doing The Rest Of Your Life". CD

A gem of a late life session from Bill Evans – part of that great run when Helen Keane was getting him in the studio in ways that really let Bill relax and open into some very personal modes on the piano! The group here is excellent – the mighty Eddie Gomez on bass and Eliot Zigmund on drums – a perfect match for Evans at this point in his career – and the set includes some tunes that Bill didn't record that often, even in a live setting. Titles include "Peau Douce", "Dolphin Dance", "Seascape", "The Opener", "House Is Not A Home", "Quiet Light", and two takes on the title track – "I Will Say Goodbye". CD

A great live date from Bill Evans – one of his essential sides of the 70s, even if you've already got a bunch of other Evans live material! We know what you're thinking: "Do I have this one? Seems to be a lot of tunes here that I've got on other Evans recordings." But take it from us, this set's a real winner – beautifully recorded despite a larger venue performance in Tokyo – and captured with all the grace, poise, and gentle-flowing genius of Evans in his best better-known live dates – a real antidote to some of the other 70s live albums that might have been better left unissued. Everyone's at the top of their game here – Eddie Gomez on bass with those round warm tones, Marty Morrell on drums with his simple spare rhythms, and Evans himself with a sound that's bold then quiet then bold then soft – beautiful throughout, and really setting fire. Titles include "My Romance", "Yesterday I Heard The Rain", "Mornin Glory", "Up With The Lark", "When Autumn Comes", "TTTT", "Gloria's Step", and "Hullo Bolinas". CD

Never-heard studio work from the great Bill Evans – not another one of those many (and great) live performances from overseas – but a well-conceived, beautifully recorded set of tracks that were done for MPS Records in their famous studios in the Black Forest! The group here is Evans sublime trio with the great Eddie Gomez on bass and a young Jack DeJohnette on drums – perfect players for completely reworking the sound of the jazz piano trio, with all the new ideas that Bill had bursting forth at the time – and this material is the only studio session by the group, recorded right after their famous live appearance at Montreux in 1968 (documented on a well-known album on Verve.) The set's a double-length outing – recorded with the kind of crisp, clear sound that MPS brought to its other classic piano albums of the time by artists like Hampton Hawes or Tete Montoliu. The whole thing's wonderful – and Gomez has a wonderful presence in the mix – as the trio really shines on titles that include "Wonder Why", "Green Dolphin Street", "These Foolish Things", "Walkin Up", "Turn Out The Stars", "Very Early", "You Go To My Head", "Lover Man", and "Baubles Bangles & Beads". CD

Wonderful late work from piano legend Bill Evans – a set that was recorded in 1977, but not issued until after his death in 1980 – at which point it became an instant essential in his catalog! As with so many of Bill's 70s recordings, the session benefits from the bass work of Eddie Gomez – rich, round, and warm – a perfect accompaniment for Evans' sometimes faltering piano work at the time – and a player that Evans was incredibly lucky to be working with during much of his later years. Elliot Zigmund is on drums, a beautifully sensitive player – and the set includes a sublime version of Michel Legrand's "You Must Believe In Spring", plus the tracks "Theme From Mash", "The Peacocks", "Sometime Ago", and "Gary's Theme". CD also features 3 previously unissued bonus tracks – "Without A Song", "All Of You", and "Freddie Freeloader". CD

An excellent Japanese-only release – Art Farmer blows flugelhorn with backing by the Great Jazz Trio of Hank Jones on piano, Eddie Gomez on bass, and Jimmy Cobb on drums – with a bit of additional strings arranged by Masahiko Satoh! LP, Vinyl record album

An extremely soulful session from European trumpeter Dusko Goykovich – recorded in the US with a lineup that can't miss! The core rhythm trio features Tommy Flanagan on piano, Eddie Gomez on bass, and Mickey Roker on drums – and the great Jimmy Heath joins Dusko on the frontline for about half the album, blowing soulfully on tenor with the same kind of creative introspectivity we've come to expect from his own albums! A few tunes feature Goykovich in that bright muted style that he's used a fair bit in recent years, while others have him opening up with a deeper tone. Titles include "Blues Valse", "Teamwork Song", "Inga", "Soul Connection", "Adriatica", and "NYC". CD

The second part of a great Japanese-only session recorded in 1980 – one that features a later edition of the Great Jazz Trio – with Eddie Gomez on bass and Al Foster on drums, next to piano by usual group member Hank Jones! The set's got a hipper feel than usual for the group – partly because Jones plays Fender Rhodes on part of the record, and partly because Gomez's work on bass gives the proceedings a warm and soulful sound – that deep-flowing groove we first came to love in Eddie's work with Bill Evans and Jeremy Steig. Foster's drums are great too – and have a sense of sharpness that changes the Great Jazz Trio sound nicely. Titles include "Peedlun", "Light Listened", "Duplex", "Just Before Dawn", and "Sublime". CD

A live set by Bob – packaged in a cover that has a picture of him in a Taxi, certainly designed to cash in on his fame doing the theme for that TV show! The record's actually quite nice, and is a good blend of the mellow Bob from later years and the darker Bob from earlier ones – performed with a set of players that include Steve Gadd, Idris Muhammad, Tom Scott, Richard Tee, Earl Klugh, Tom Browne, Joanne Brackeen, and Eddie Gomez. Includes nice versions of "Westchester Lady" and "The Golden Apple", plus "Kari", "Touchdown", "Farandole", and "Stompin At The Savoy". LP, Vinyl record album

Piano duo of Mark Knobel and Mike Gerber, with Dan Gottlieb on drums, Mark Egan on bass, Manolo Badrena on percussion, and Pedro Aznar on guitar; plus special guests Andy Snitzer on alto, Robert Thomas Jr on hand drums, Yogi Horton on drums, and Eddie Gomez on acoustic bass. LP, Vinyl record album

Features Joe Locke on vibes, Billy Childs on piano, Eddie Gomez on bass, and Gene Jackson on drums. Tracks include "Charade", "Days Of Wine And Rose", "Two For The Road", "Slow Hot Wind", and "Moon River". CD

A lost treasure from the great Gary McFarland – a never-heard live recording that appears here on vinyl for the first time ever! The live performance is wonderful – a small combo date in a Seattle nightclub in the mid 60s – with a very groovy group that features Sadao Watanabe on tenor and flute, Gabor Szabo on guitar, Eddie Gomez on bass, and Joe Cocuzzo on drums – all working at a level that's like some of Gary's best music of the time for Impulse and Verve! McFarland's vibes are wonderful throughout, and ring out beautifully next to the guitar – and the inclusion of Watanabe is a great surprise, and adds in some slight bossa elements to the music too. Titles include McFarland's classic "Pecos Pete", plus "Hard Day's Night", "Train Samba", "Morning Of The Carnival", "She Loves You", and "La Vie En Rose". Note that the performance was previously on a CD/DVD set – but the track "She Loves You" appears here for the first time! LP, Vinyl record album

Mike Nock has always been a pianist with so many varied shades and styles to his talents – and here, he makes a rare ECM appearance in a set that's nicely different from most of his other albums of the 70s – maybe a bit more sensitive at times, but also maybe more freewheeling too – with these beautiful long tracks that have Nock really reveling in the tone of his instrument, but also working things with an inherent sense of rhythm too! The approach makes for these compelling spun-out tunes that pulsate beautifully – given subtle but strong support from Eddie Gomez on bass and Jon Christensen on drums. Titles include "Forgotten Love", "Ondas", "Visionary", "Doors", and "Land Of The Long White Cloud". LP, Vinyl record album

Alex Riel on drums, Jerry Bergonzi and Michael Brecker on saxophone, Mike Stern on guitar, Niels Lan Doky on piano, and Eddie Gomez on bass. CD

Features Michael Brecker on tenor, Mike Mainieri on vibes, Don Grolnick on piano, Eddie Gomez on bass, and Steve Gadd on drums. A double-length set – with cuts that include "Young & Fine", "Soul Eyes", "Lover Man", "Tee Bag", and "Fawlty Tenors". CD

Tenorist Bennie Wallace takes on the music of Thelonious Monk, and adds in a few of his own tunes too – in a great quartet with Jimmy Knepper on trombone, Eddie Gomez on bass, and Dannie Richmond on drums. LP, Vinyl record album

Jack Wilkins on guitar, Randy Brecker on flugelhorn, Michael Brecker on tenor saxophone, Phil Markowitz on piano, Eddie Gomez and Jon Burr on bass, and Al Foster and Jack DeJohnette on drums. CD

One of the few funky albums ever cut as a leader by Larry Willis – a super-hip keyboard player who's best known for his work with Jackie McLean and Hugh Masekela, but who sounds even better as a leader! This album's a gem all the way through – with a free-thinking soulful sound that's head and shoulders above the rest of the work on Groove Merchant at the time. Players include Harold Vick, Roland Prince, and Eddie Gomez – and the overall groove is an incredible array of soulful rhythms, played by Larry on electric piano, in a mode that makes the record feel like a lost gem from Strata East or Black Jazz. Includes the cuts "Out On The Coast", "153rd Street Theme", "Inner Crisis", and "Bahamian Street Dance". CD

Helio Alves on piano and Duduka Fonseca on drums – with Phil Woods on alto sax, Eddie Gomez on bass, vocals from Maucha Adnet, and string arrangements from Oscar Castro-Neves. CD

Superb work from pianist Richie Beirach – a set that's dedicated to Bill Evans, and which certainly embraces some of the key numbers in his songbook – but which also has that even more spacious sound that Beirach was bringing to his trio dates in the 70s! Richie's sense of timing and tone are fantastic – doing so much with so little, that Evans would have been pleased – although again, Beirach is hardly borrowing straight from Bill's style. Also fantastic is bassist George Mraz, whose way of inflecting notes and measuring color and mood almost rival the role of Eddie Gomez when playing with Evans – all balanced nicely by the work of Al Foster on drums, who's at his most subtle here. Titles include "Blue In Green", "Nardis", "Peace Pipe", "Spring Is Here", "Solar", and "In Your Own Sweet Way". LP, Vinyl record album

Jack DeJohnette's best known as a drummer, but he's also played a bit of piano too – and this album focuses nicely on that side of his talents, in case you couldn't guess from the title! The trio lineup is a great one – with Eddie Gomez on bass and Freddie Waits on drums – both players who'd make any keyboardist sound good, even if they didn't have the chops. Jack, though, definitely brings some skills to the session – playing both a bit inside at times, and also freewheeling and open, as you might expect from his work on drums. There's a bit of synth at points, but most of the record is acoustic and warmly soulful – with titles that include "Minority", "Lydia", "Countdown", "Spiral", "Milton", and "Ahmad The Terrible". CD

Lovely work from Eliane Elias – and exactly the set you should turn to if you ever doubted her chops on the piano! Elias starts with a quick rendition of Bud Powell's "Hallucinations", played with a deftness that Toshiko Akiyoshi would appreciate – and the set then runs into a batch of tunes that includes some charming originals from Eliane – those fully-formed numbers that always made her a well-rounded talent right from the start! The blend of sensitivity and swing on the record is really impressive – and made even better by a set of players that includes Eddie Gomez on bass, Barry Finnerty on guitar, and Jack DeJohnette and Peter Erskine on drums. Titles include "One Side Of You", "Impulsive", "Cross Current", "Campari & Soda", and "Peggy's Blue Skylight". CD

Live session with Eddie Gomez on bass and Marty Morell on drums. Titles include "Emily", 'Sleeping Bee", "Alfie", "Who Can I Turn To", "Very Early", "Round About Midnight", and "Autumn Leaves". LP, Vinyl record album

Bill Evans' first famous appearance at the Montreux Jazz Festival – a great 60s trio session, with Eddie Gomez on bass and Jack DeJohnette on drums! The tunes are mostly relatively familiar ones, but the ensemble on the set gives them a freer and more lyrical feel than you might expect – especially with DeJohnette on drums, who is a somewhat more powerful choice than some of Bill's other drummers of the 60s. Eddie Gomez is great, as always – with that round bass sound that we totally love – and titles include "Nardis", "Sleepin Bee", "Embraceable You", "Someday My Prince Will Come", "Mother Of Earl", "One For Helen", and "Walkin Up". CD

A brilliant return to Montreux from Bill Evans – working here with a trio that includes some killer bass work by Eddie Gomez! The set's an acoustic one – despite its appearance on electric powerhouse CTI – but Evans' work on the piano has an electricity that's all its own, magically crafting waves and shapes of sound and tone. And despite the CTI setting, there's a nicely spacious sound to the way the album was recorded – one that's got a bit less of the "perfection" than on some of Bill's other 70s live dates – a sense of humanity that comes through wonderfully, and which makes this one a very special record! Titles include "Very Early", "34 Skidoo", "Israel", and "Peri's Scope". CD

A brilliant return to Montreux from Bill Evans – working here with a trio that includes some killer bass work by Eddie Gomez! The set's an acoustic one – despite its appearance on electric powerhouse CTI – but Evans' work on the piano has an electricity that's all its own, magically crafting waves and shapes of sound and tone. And despite the CTI setting, there's a nicely spacious sound to the way the album was recorded – one that's got a bit less of the "perfection" than on some of Bill's other 70s live dates – a sense of humanity that comes through wonderfully, and which makes this one a very special record! Titles include "Very Early", "34 Skidoo", "Israel", and "Peri's Scope". CD