The title's a bit misleading – because it makes you think that Art Pepper's playing TV Themes – but the music's great, and the session features some excellent work from Pepper during the razor-sharp year of 1957! The tracks on the set are recordings made for the LA-based Stars Of Jazz and Steve Allen Show – all of which feature Pepper in quartet formation with players that include Larry Bunker, Victor Feldman, Carl Perkins, Ben Tucker, and Chuck Flores – and one of which features vocalist Pam Russell singing with the group. The sound quality is wonderful – especially given the TV recording nature of the tunes – and Pepper's tone is incredible throughout, a real delight, with that sharp edge and soulful undercurrent that made his late 50s recordings so great. Titles include "All The Things You Are", "Over The Rainbow", "What Is This Thing Called Love", "Stormy Weather", "Everything Happens To Me", and "Cherokee". CD

A hard-to-find gem from funky pianist Bobby Timmons – a non-trio session recorded in the mid 60s for Prestige, and featuring some especially great work from Wayne Shorter on tenor! Shorter's appearance here is a real anomaly – especially since we can't recall another Prestige appearance from the time – but his presence really adds a lot to the record, bringing in some dark tones and sharp edges that are a perfect match for the growing complexity of Timmons' work on the keys of the piano! The sound's a bit soul jazz, but also has more of the modern edges you'd hear in Shorter's Blue Note sides – and the rest of the quartet features Ron Carter on bass and Jimmy Cobb on drums. Titles include a great version of Shorter's "Tom Thumb", plus "Cut Me Loose Charlie", "Ein Bahn Strasse", "Tenaj", and "Damned If I Know". CD

Four great albums from reedman Arthur Blythe – all together in one collection! First up is Lenox Avenue Breakdown – a stunning Columbia Records debut from Blythe! At the time of the date, Blythe had already spent years working in the jazz undergrounds on both coasts – developing a searing sound on alto sax that's perfect for the focused structure of this album – almost a tone poem of sorts, offering up a portrait of the Harlem scene that was a key part of Arthur's life at the time. The sounds are sharp, but also have a sense of energy that really holds them together – guiding the players through long readings of well-penned tunes by Blythe that are filled with loads of energy and life! Players include James Newton on flute, James Blood Ulmer on guitar, Bob Stewart on tuba, Cecil McBee on bass, Jack DeJohnette on drums, and Guillermo Franco on percussion – and titles include "Odessa", "Slidin Through", "Down San Diego Way", and "Lenox Avenue Breakdown". In The Tradition is a gem – as the set represents the modern musician taking on a host of older jazz currents, while carving things out with his own special sort of soul! Half the tunes are familiar favorites, the other half originals – and Blythe moves far past his avant roots, to showcase his deep understanding of so many different shades of jazz – blowing alto beautifully throughout, in a very hip quartet that features Stanley Cowell on piano, Fred Hopkins on bass, and Steve McCall on drums! Titles include great takes on "Naima", "Jitterbug Waltz", "Caravan", and "In A Sentimental Mood" – plus the originals "Break Tune" and "Hip Dipper". Illusions is maybe the boldest of Arthur Blythe's albums for Columbia Records – as the set bristles with newly creative energy right from the start, and provides a great showcase for some of the criss-crossings of styles and rhythms that were taking place on the New York scene at the time! The lineup alone announces something special – a cool combination of James Blood Ulmer on guitar, John Hicks on piano, Fred Hopkins on bass, Abdul Wadud on cello, Bob Stewart on tuba, and Steve McCall on drums – working together in some slight variations at times, often with these angular edges that are perfectly sharpened by Arthur's amazing work on alto sax. The music's never too free, but quite outside for a major label at the time – balanced out so that it's never overindulgent at all. Titles include "Bush Baby", "Miss Nancy", "My Son Ra", and "Carespin With Mamie". Blythe Spirit is a set that showcases the never-ending growth and imagination of reedman Arthur Blythe during this fruitful period of his career – and his ability to effortlessly blend together different elements in his music – especially sides of the New York loft jazz scene, and the Chicago-based AACM! The tunes are beautiful – mostly originals, and showing a richer spirituality than even a year before – while still working in that compellingly rhythmic mode that Arthur was hitting during these years – in a lineup that features Blythe on alto, Abdul Wadud on cello, Kelvyn Bell on guitar, Steve McCall and Bobby Battle on drums, John Hicks on piano, Amina Claudine Myers on organ, and Fred Hopkins on bass. The mix of electric and acoustic elements is fantastic – very fresh, even all these many years later – and titles include "Misty", "Spirits In The Field", "Just A Closer Walk With Thee", "Reverence", and "Contemplation". CD

Dakota Staton's looking a bit fuzzy in the photo on the cover, but her sound on the set is as sharp as ever – that soulful approach to jazz vocals she first crafted so well back in the 50s and 60s! The album's a surprisingly nice later date from Dakota – one done with a really classic feel, thanks to small combo backings from a quartet that features Bill Easley on tenor and flute, Bross Townsend on piano, Leon Dorsey on bass, and Michael Carvin on drums. Production is by Houston Person, who handles the record with an even more laidback feel than some of his other vocal sides of the time – and a few of the titles bring out a bluesier side of Staton's talents, but never in a way that's hokey at all. Titles include "Gone With The Wind", "I Thought About You", "I'm Just A Lucky So & So", "Your Husband's Cheating On Us", "Skylark", and "You Better Go Now". CD

Four great albums from reedman Arthur Blythe – all together in one collection! First up is Lenox Avenue Breakdown – a stunning Columbia Records debut from Blythe! At the time of the date, Blythe had already spent years working in the jazz undergrounds on both coasts – developing a searing sound on alto sax that's perfect for the focused structure of this album – almost a tone poem of sorts, offering up a portrait of the Harlem scene that was a key part of Arthur's life at the time. The sounds are sharp, but also have a sense of energy that really holds them together – guiding the players through long readings of well-penned tunes by Blythe that are filled with loads of energy and life! Players include James Newton on flute, James Blood Ulmer on guitar, Bob Stewart on tuba, Cecil McBee on bass, Jack DeJohnette on drums, and Guillermo Franco on percussion – and titles include "Odessa", "Slidin Through", "Down San Diego Way", and "Lenox Avenue Breakdown". In The Tradition is a gem – as the set represents the modern musician taking on a host of older jazz currents, while carving things out with his own special sort of soul! Half the tunes are familiar favorites, the other half originals – and Blythe moves far past his avant roots, to showcase his deep understanding of so many different shades of jazz – blowing alto beautifully throughout, in a very hip quartet that features Stanley Cowell on piano, Fred Hopkins on bass, and Steve McCall on drums! Titles include great takes on "Naima", "Jitterbug Waltz", "Caravan", and "In A Sentimental Mood" – plus the originals "Break Tune" and "Hip Dipper". Illusions is maybe the boldest of Arthur Blythe's albums for Columbia Records – as the set bristles with newly creative energy right from the start, and provides a great showcase for some of the criss-crossings of styles and rhythms that were taking place on the New York scene at the time! The lineup alone announces something special – a cool combination of James Blood Ulmer on guitar, John Hicks on piano, Fred Hopkins on bass, Abdul Wadud on cello, Bob Stewart on tuba, and Steve McCall on drums – working together in some slight variations at times, often with these angular edges that are perfectly sharpened by Arthur's amazing work on alto sax. The music's never too free, but quite outside for a major label at the time – balanced out so that it's never overindulgent at all. Titles include "Bush Baby", "Miss Nancy", "My Son Ra", and "Carespin With Mamie". Blythe Spirit is a set that showcases the never-ending growth and imagination of reedman Arthur Blythe during this fruitful period of his career – and his ability to effortlessly blend together different elements in his music – especially sides of the New York loft jazz scene, and the Chicago-based AACM! The tunes are beautiful – mostly originals, and showing a richer spirituality than even a year before – while still working in that compellingly rhythmic mode that Arthur was hitting during these years – in a lineup that features Blythe on alto, Abdul Wadud on cello, Kelvyn Bell on guitar, Steve McCall and Bobby Battle on drums, John Hicks on piano, Amina Claudine Myers on organ, and Fred Hopkins on bass. The mix of electric and acoustic elements is fantastic – very fresh, even all these many years later – and titles include "Misty", "Spirits In The Field", "Just A Closer Walk With Thee", "Reverence", and "Contemplation". CD

Hard-blown brilliance from Jonas Kullhammar – quite possibly our favorite tenor talent of the 21st Century, and a heck of a great leader on this session! Kullhammar's quartet have a raw power that grabs from the very first note – yet they're never abusive of their strength, never over-indulge, and instead have a sharp focus that stands out to us as one of the clearest, freshest new visions in jazz we've heard in a long time. The group features angular piano lines from Torbjorn Gulz, rhythmic bass work from Torbjorn Zetterberg, and tightly snapping drums from Jonas Holgersson – and titles include "Pumpernickel", "Salut", "Super G", "I Sheriffens Klor", and "Frippes Blues". CD

Two different sides of Verve Records in the 50s – one modern, one a bit more traditional – and both represented in live material from the Newport Jazz Festival in 1957! Side one features a stunning live performance from pianist Teddy Wilson – working in a tight trio with Milt Hinton on bass and Spec Powell on drums – and really blowing away any conceptions we might have had about Wilson being aging or flowery at the time. Instead, he's got a sharp edge and command of the keys that's amazing – and which almost seems to have a bit more bite than usual in this concert setting. Titles include "Stompin At The Savoy", "Basin Street Blues", and "Airmail Special" – and Gerry Mulligan joins the group on baritone for a reading of "Sweet Georgia Brown". Mulligan then takes off with his own group, in a completely different format – no piano at all, just beautiful work from Joe Benjamin on bass and Dave Bailey on drums – and sublime sounds from Bob Brookmeyer's valve trombone, which is a perfect match for Gerry's deep tones. The group plays long takes on "My Funny Valentine" and "Utter Chaos". LP, Vinyl record album

A great addition to the Modern Jazz Quartet – as the clarinet of Jimmy Giuffre brings a sharp modern edge to the record! The album's similar to the other MJQ Music Inn date with Sonny Rollins – and shows how the addition of a reed player can really unlock new colors, tones, and possibilities in the sounds of the group. And in this case, given the Giuffre's at the height of his early powers – coming off some sublime trio dates for Atlantic – the pairing of players is completely sublime! Titles include "A Fugue At Music Inn", "Serenade", and "Fun". LP, Vinyl record album

Sweet slices of work from a hell of a jazz festival – the 1963 Antibes performances, served up here in some incredibly hip material! The set begins with early work from pianist Dollar Brand – whose trio sounds moody and amazing on "Antibes Jam", then gets joined the great vocalist Sathima Bea Benjamin on a version of "Prelude To A Kiss". Next up is the soulful sound of tenorist Klaus Doldinger, whose group includes Ingfried Hoffmann on piano – on a sensitive reading of "Like Someone In Love", which really shows off Klaus' under-recorded ballad style. The great trombonist Eje Thelin follows – leading a quintet with Ulf Andersson on tenor and Lars Joesten on piano – on the very long "Antibes Jam". A Polish group follows with another long track – a sharp-edged take on "Well You Needn't", led by tenorist Jan Wroblewski in a quartet with Wojciech Karolak on piano. Last up is singer Sarah Vaughan – working with the Kirk Stewart Trio – on the titles "I Can't Give You Anything But Love", "Tenderly", "A Taste Of Honey", and "Bill Bailey". CD

A much-needed look at the Dutch jazz scene in the 50s and 60s – a spot in Europe that was turning out some really fantastic modern material – at a level that's every bit as great as better-known work coming from France, Germany, and Scandinavia at the time! Many of the players here quickly became giants who would dominate on the Dutch scene for years to come – and even at this early point, their work is wonderful – occasionally graced with guest work from American players, but already more than great enough on its own – and filled with a mix of sharp rhythms, new ideas, and impeccable instrumentation throughout. As with other Sdban titles, the presentation is wonderful – not just a great set list, but an overall feel that makes the package as hefty as the music inside. Titles include "Four On Six" by Kwartet Martin Verlinden, "So Why" by Kwartet Leo Meyer, "Amsterdam Blues" by Diamond Five, "Lady Elisabeth" by Tony Vos Quartet, "Blues For Eddy" by Red & Brown Brothers, "Sem" by Frans Elsen, "Relaxin With Rhythme" by The Rhythme All Stars, "Mensen Van Morgen" by Herman Schoonderwalt, "Wives & Lovers" by Rita Reys & Oliver Nelson, "Comin Home Baby" by Trio Tony Vos, "Sing Sing Sing" by Leddy Wessel with Jack Van Poll, "Blues Minor" by Boys Big Band, and "Afro Blues" by Herbie Mann with Wessel Ilcken Combo. CD

A very rare gem from the late 50s – a smoking set that was cut for a very small label, but which is every bit as great from a musical perspective as it is from a collector's one as well! The whole thing cooks with the insensity of a Prestige date from the early 50s – very sharp hardbop energy throughout, spurred on by the work of leader Reese Markewich on piano – in a group that also features tremendous tenor from Jesse Avery, a player who don't really know at all, but who brings an especially sharp edge to the set! Reese also plays a bit of flute – and the quintet also includes Nick Brignola on baritone and alto sax, Steve Fillo on bass and Ronnie Zito on drums – all players with a very cohesive, hard-swinging sound. The set's got a number of great original tunes – and titles include "Hurricane Connie", "Pony", "Mildew", "Flute Street", "Crazy In The Heart", "Moonlight In Vermont", and "Last Lap". CD

Some of Lucky Thompson's rarest work from the 50s – and some of his best! The American tenorist is working here in two different French groups – one a quintet with Henri Renaud on piano, the other a tentet with the core quartet of Renaud, plus some additional local horn players. Unlike some of Thompson's other albums from the time, which can frequently be dominated by standards, this set's got some great original material – mostly written by Renaud, and infused with a sharp modernist swing. Tiltes include "Souscription", "Marcel Le Fourreur", "G&B", "Tight Squeeze", "Meet Quincy Jones", and "Influence". Lucky's tone is rich and soulful – and the session's gone to the top of our list of his work! CD

A much-needed look at the Dutch jazz scene in the 50s and 60s – a spot in Europe that was turning out some really fantastic modern material – at a level that's every bit as great as better-known work coming from France, Germany, and Scandinavia at the time! Many of the players here quickly became giants who would dominate on the Dutch scene for years to come – and even at this early point, their work is wonderful – occasionally graced with guest work from American players, but already more than great enough on its own – and filled with a mix of sharp rhythms, new ideas, and impeccable instrumentation throughout. As with other Sdban titles, the presentation is wonderful – not just a great set list, but an overall feel that makes the package as hefty as the music inside. Titles include "Four On Six" by Kwartet Martin Verlinden, "So Why" by Kwartet Leo Meyer, "Amsterdam Blues" by Diamond Five, "Lady Elisabeth" by Tony Vos Quartet, "Blues For Eddy" by Red & Brown Brothers, "Sem" by Frans Elsen, "Relaxin With Rhythme" by The Rhythme All Stars, "Mensen Van Morgen" by Herman Schoonderwalt, "Wives & Lovers" by Rita Reys & Oliver Nelson, "Comin Home Baby" by Trio Tony Vos, "Sing Sing Sing" by Leddy Wessel with Jack Van Poll, "Blues Minor" by Boys Big Band, and "Afro Blues" by Herbie Mann with Wessel Ilcken Combo. LP, Vinyl record album

A lyrical masterpiece from the young Herbie Hancock – and a record that's really special for so many different reasons! First, the songs are really long and open – even more so than some of Hancock's other work – with a quality that's balanced between his soul jazz roots, and some of the freer ideas he was exploring with key counterparts of the time! Next, the group features a quartet with Freddie Hubbard on cornet – an instrument he didn't play that often, but which creates a really special sound here – one that's cool and compressed, but still has a sharp bite, too – especially over the inventive rhythms laid down by Ron Carter on bass and Anthony Williams on drums. All players are capable of going out – and have strong "new thing" cred by this point – but they keep it inside all the way through, but with a balanced sense of darkness that's really beautiful. The album features Hancock's classic (and oft-sampled) version of "Cantaloupe Island" – plus "One Finger Snap", "Olioqui Valley", and "The Egg". CD features a bonus alternate of "Oliloqui Valley". CD

A great and groovy early album from Volker Kriegel – the German guitarist who'd cut some very trippy work for the MPS label in the 70s – but a player who steps out here in a sweet soul jazz mode at the end of the 60s! Volker's still got the same wickedly sharp style on guitar you'd know from his later fame – but here, it's turned towards the kind of soulful guitar work you'd hear on Verve Records at the time – somewhere in the territory of George Benson, or maybe a bit in that of Wes Montgomery – but also with some occasional freewheeling moments that hint at the changes to come! The group's a trio on side one – with Peter Trunk on bass and Cees See on drums – but side two moves into wilder material with a quartet that features vibes by Claudio Szenkar, who adds in just the kind of psychedelic touches to really make the music open up! These cuts are much more modal, and show Kriegel's growing love of Eastern sounds – and titles include "Na Na Imboro", "Morandi", "Interpunctuation", "Traffic Jam", and "With A Little Help From My Friends". LP, Vinyl record album

Wicked funky fusion from Opa – a Brazilian-inspired set, and one with loads of great electric moments! Although originally from Uruguay, Opa are best known for their Brazilian-tinged albums on the soul/jazz Fantasy records label in Cali during the mid 70s – great placement, given that their sound is a bit like Azymuth – with a similar mix of South American roots and contemporary electric grooves! This album is actually their first – captured in America before their two classics on Fantasy – and featuring a sharp quartet that includes legendary pianist Hugo Fattoruso on keyboards – a great talent who'd already made jazz and bossa records in the 60s – working here with George Osvaldo Fattoruso on drums, percussion, and flute – plus Ringo Thielmann on bass. The core trio is also joined for this record by percussionist Pappo Atiles – and although there's some light vocal touches, they've got that breezy style that was often used in Brazilian jazz at the time – almost more instrumental than vocal. Titles include a great take on Edu Lobo's "Casa Forte" – plus "Back Home (The Inner City)", "Brother Rada", "African Bird", "Goldenwings", "Brooklynville", and "One & One & One Is Two". CD

Wicked funky fusion from Opa – a Brazilian-inspired set, and one with loads of great electric moments! Although originally from Uruguay, Opa are best known for their Brazilian-tinged albums on the soul/jazz Fantasy records label in Cali during the mid 70s – great placement, given that their sound is a bit like Azymuth – with a similar mix of South American roots and contemporary electric grooves! This album is actually their first – captured in America before their two classics on Fantasy – and featuring a sharp quartet that includes legendary pianist Hugo Fattoruso on keyboards – a great talent who'd already made jazz and bossa records in the 60s – working here with George Osvaldo Fattoruso on drums, percussion, and flute – plus Ringo Thielmann on bass. The core trio is also joined for this record by percussionist Pappo Atiles – and although there's some light vocal touches, they've got that breezy style that was often used in Brazilian jazz at the time – almost more instrumental than vocal. Titles include a great take on Edu Lobo's "Casa Forte" – plus "Back Home (The Inner City)", "Brother Rada", "African Bird", "Goldenwings", "Brooklynville", and "One & One & One Is Two". LP, Vinyl record album

One of the greatest modern moments on Blue Note – ever! From the cover, to the compositions, to the playing on the set – the whole album crackles with an unbelievable fire that was hardly ever matched again. A young Sam Rivers leads a quartet that includes Jaki Byard on piano, Ron Carter on bass, and Anthony Williams on drums – coming together in a sound that's got lots of sharp edges, yet which also beats with an undeniably swinging heart. Rivers blows incredibly on the session – held in check by the rhythm section, and never getting too free (or sloppy, as on some later sides) – and instead hitting these hard tones that really push the envelope of 60s jazz without rewriting the rules entirely. Brilliant all the way through, with tracks that include "Beatrice", "Ellipsis", "Cyclic Episode", and "Downstairs Blues Upstairs". LP, Vinyl record album

One of the greatest modern moments on Blue Note – ever! From the cover, to the compositions, to the playing on the set – the whole album crackles with an unbelievable fire that was hardly ever matched again. A young Sam Rivers leads a quartet that includes Jaki Byard on piano, Ron Carter on bass, and Anthony Williams on drums – coming together in a sound that's got lots of sharp edges, yet which also beats with an undeniably swinging heart. Rivers blows incredibly on the session – held in check by the rhythm section, and never getting too free (or sloppy, as on some later sides) – and instead hitting these hard tones that really push the envelope of 60s jazz without rewriting the rules entirely. Brilliant all the way through, with tracks that include "Beatrice", "Ellipsis", "Cyclic Episode", and "Downstairs Blues Upstairs". CD

Quite possibly THE greatest Sonny Rollins album of the early years – or at least the one that has received the most accolades over the years! The record is a brilliant batch of quartet tracks that reinvents bop through Sonny's complicated, yet seemingly automatic solos – an excellent showcase for his razor-sharp talents for improvisation and invention, played with effortless ease, yet still one of the great bar-setting performances of 50s jazz. The group features Tommy Flanagan, Max Roach, and Doug Watkins – and tunes include an original reading of the perennial Rollins' standard "St. Thomas", plus a great version of "Moritat (Mack The Knife)", and the cuts "Strode Rode" and "Blue 7". CD

An incredible collaboration from John Coltrane and Milt Jackson – and one that gives Milt one of his sharpest records ever! The setting is relatively straight – tenor from Coltrane, vibes from Jackson – plus rhythm from Hank Jones on piano, Paul Chambers on bass, and Connie Kay on drums. Yet there's also a sense of openness here that you'd hardly ever expect on other records by Jackson – especially his contemporaneous sides with the Modern Jazz Quartet – and Coltrane's tenor gets as much room to roam here as it did on Prestige – really cutting some beautifully soulful, open, and flowing lines throughout! Titles include "Bags & Trane", "Three Little Words", "Be-Bop", "Late Late Blues", and "The Night We Called It a Day". LP, Vinyl record album

Excellent work from one of the most important production teams of recent times! Jazzanova have sharply defined the modern European taste for Brazilian and Latin-inflected grooves on the dancefloor – beginning in the mid 90s with work for the (then) new Compost Records imprint, and working up to present days with countless remix efforts for other artists. Sadly, Jazzanova have yet to cut an album of their own work – and this double-length set is probably the best full way to experience their rich talents. It features 20 tracks in all, many with a strong Brazilian or bossa flavor, and most with a tight dancefloor approach to jazz. Titles include "We Who Are Not As Others" by 4 Hero, "Soul Power" by Marcshmellows, "Carajillo" by Truby Trio, "Get Into My Groove" by Incognito, "Amazon Adventure" by Azymuth, "Words Of Love" by Soul Bossa Trio, "Welcome To The Party" by Har-You Percussion Group, "Planet Of Breaks" by Visit Venus, "Burnin" by Tate's Place, "Toda Tersafeira" by Soul Quality Quartet, "Circe" by Ursula Rucker, "Fifths" by Ski, and "Complete Life" by Liquid Lounge – all remixed by Jazzanova! CD

An incredible collaboration from John Coltrane and Milt Jackson – and one that gives Milt one of his sharpest records ever! The setting is relatively straight – tenor from Coltrane, vibes from Jackson – plus rhythm from Hank Jones on piano, Paul Chambers on bass, and Connie Kay on drums. Yet there's also a sense of openness here that you'd hardly ever expect on other records by Jackson – especially his contemporaneous sides with the Modern Jazz Quartet – and Coltrane's tenor gets as much room to roam here as it did on Prestige – really cutting some beautifully soulful, open, and flowing lines throughout! Titles include "Bags & Trane", "Three Little Words", "Be-Bop", "Late Late Blues", and "The Night We Called It a Day" – plus 2 bonus tracks! CD

Thelonious Monk's legendary tenorist steps out on his own in this fantastic (and rare) hardbop session from the early 60s! The album's quite different than some of the work Charlie Rouse cut with Monk's classic quartet at the time – more in a hardbop mode that takes us back to his late 50s sides for Prestige – but done with a new sense sharpness, and a bit more of a soul jazz influence overall! The group is great too – a quartet that includes Dave Bailey on drums, Billy Gardner on piano, and Peck Morrison on bass. The latter two were playing a lot with Lou Donaldson in the early 60s, and they bring a similar rhythmic flavor to this set as well – and although we've always loved Rouse's modernist tones with Monk, this session shows him as a true emotional genius, capable of laying down a tight solo that's right in the pocket! Titles include "Billy's Blues", "Lil Rousin", "Stella By Starlight", and "Rouse's Point". LP, Vinyl record album

Great work from a contemporary hardbop genius – Finnish drummer Aleksi Heinola, a musician who's got the same sense of leadership as the great Art Blakey! Not that Heinola's any sort of Blakey imitation – just that he's got a way of picking all the best elements for a group, putting them together the right way – and really letting them take off and do their own thing! We loved the efforts of his quintet release from a few years back, and the music here follows in a similar spirit, with a mostly different lineup – superb work from deep-voiced tenorist Gabor Bolla, rock-solid bass from Daniel Franck, and soulful piano lines from Jukkis Uotila, a player who can hang on just the right modern modes at the right time, in order to bring a real sharpness to the set. Titles include "Big Push", "Peace", "Bolivia", "New Vibes", "Vananta Land", "10 Points", "Pronto", "Think Of One", "Tetragon", and "Rio". CD

Great work from a contemporary hardbop genius – Finnish drummer Aleksi Heinola, a musician who's got the same sense of leadership as the great Art Blakey! Not that Heinola's any sort of Blakey imitation – just that he's got a way of picking all the best elements for a group, putting them together the right way – and really letting them take off and do their own thing! We loved the efforts of his quintet release from a few years back, and the music here follows in a similar spirit, with a mostly different lineup – superb work from deep-voiced tenorist Gabor Bolla, rock-solid bass from Daniel Franck, and soulful piano lines from Jukkis Uotila, a player who can hang on just the right modern modes at the right time, in order to bring a real sharpness to the set. Titles include "Big Push", "Peace", "Bolivia", "New Vibes", "Vananta Land", "10 Points", "Pronto", "Think Of One", "Tetragon", and "Rio". LP, Vinyl record album

A great little set, and one that features some of the best Japanese jazz acts of the late 60s – the quartet of alto player Sadao Watanabe, the combo of tenorist Akira Miyazawa, the Big 4 group of drummer George Kawaguchi, and the larger Sharps & Flats ensemble of Nobuo Hara! LP, Vinyl record album

An incredible trip through the 70s Japanese jazz scene – a second volume of J Jazz that's even bigger and better than the first – with unknown gems from private presses, indie labels, and rarities from the Japanese branches of the major labels, too! Compilers Tony Higgins & Mike Peden (who are both also responsible for the nicely done notes) follow through on all of the things we loved about the first J Jazz compilation, but improve on it by going bigger and digging deeper. The majority of the tracks were recorded from 1969 through the late 70s – with a few recorded in later years – and all have a wonderful way of being open to the stylistic inventions of the time without getting hung up on trends. So while there's some fusiony funk and electric piano, there's plenty of acoustic instrumentation and timelessly inventive material. BBE has outdone themselves on this excellent collection – and the titles include "Dragon Dance" by Makoto Terashita & Harold Land, "Daguri" by Kohsuke Mine Quintet, "Distant Thunder" by Mabumi Yamguchi Quartet, "Animal Garden" by Miyasaka + 5, "Mother Of The Future" by Electro Keyboard Orchestra, "Serenade To A Dimly Lit Street" by Hiroshi Matsumoto/Hideo Ichikawa Quartet, "Teru-Teru Bozu" (Black Keys) by Teru Sakamoto Trio, "Little Giant" by Nobuo & Sharps & Flats, "Brown Trout" by Akira Miyazawa and more. 14 tracks on 3LPs. LP, Vinyl record album

An incredible trip through the 70s Japanese jazz scene – a second volume of J Jazz that's even bigger and better than the first – with unknown gems from private presses, indie labels, and rarities from the Japanese branches of the major labels, too! Compilers Tony Higgins & Mike Peden (who are both also responsible for the nicely done notes) follow through on all of the things we loved about the first J Jazz compilation, but improve on it by going bigger and digging deeper. The majority of the tracks were recorded from 1969 through the late 70s – with a few recorded in later years – and all have a wonderful way of being open to the stylistic inventions of the time without getting hung up on trends. So while there's some fusiony funk and electric piano, there's plenty of acoustic instrumentation and timelessly inventive material. BBE has outdone themselves on this excellent collection – and titles include "Dragon Dance" by Makoto Terashita & Harold Land, "Daguri" by Kohsuke Mine Quintet, "Distant Thunder" by Mabumi Yamguchi Quartet, "Animal Garden" by Miyasaka + 5, "Mother Of The Future" by Electro Keyboard Orchestra, "Serenade To A Dimly Lit Street" by Hiroshi Matsumoto/Hideo Ichikawa Quartet, "Teru-Teru Bozu" (Black Keys) by Teru Sakamoto Trio, "Little Giant" by Nobuo & Sharps & Flats, "Brown Trout" by Akira Miyazawa and more – plus the CD bonus track "Original Bill" by Koichi Matsukaze Trio. 15 tracks on 2CDs. CD

An incredible trip through the 70s Japanese jazz scene – a second volume of J Jazz that's even bigger and better than the first – with unknown gems from private presses, indie labels, and rarities from the Japanese branches of the major labels, too! Compilers Tony Higgins & Mike Peden (who are both also responsible for the nicely done notes) follow through on all of the things we loved about the first J Jazz compilation, but improve on it by going bigger and digging deeper. The majority of the tracks were recorded from 1969 through the late 70s – with a few recorded in later years – and all have a wonderful way of being open to the stylistic inventions of the time without getting hung up on trends. So while there's some fusiony funk and electric piano, there's plenty of acoustic instrumentation and timelessly inventive material. BBE has outdone themselves on this excellent collection – and titles include "Dragon Dance" by Makoto Terashita & Harold Land, "Daguri" by Kohsuke Mine Quintet, "Distant Thunder" by Mabumi Yamguchi Quartet, "Animal Garden" by Miyasaka + 5, "Mother Of The Future" by Electro Keyboard Orchestra, "Serenade To A Dimly Lit Street" by Hiroshi Matsumoto/Hideo Ichikawa Quartet, "Teru-Teru Bozu" (Black Keys) by Teru Sakamoto Trio, "Little Giant" by Nobuo & Sharps & Flats, "Brown Trout" by Akira Miyazawa and more – plus the CD bonus track "Original Bill" by Koichi Matsukaze Trio. 15 tracks on 2CDs. CD

A stunning piece of jazz history from the young Miles Davis – and a record that's got maybe one of his coolest covers ever! The 10" release was Miles third for Blue Note – and fetaures a smoking quartet with Horace Silver on piano and Art Blakey on drums – giving Miles almost a Jazz Messengers sort of punch, which creates this beautiful groove underneath his well-phrased solos! And while some of this work was later issued in other Blue Note album formats, there's a punch and sharpness to this 10" format that can't be denied – on titles that include "Lazy Susan", "Take-Off", "The Leap", and "Weirdo". LP, Vinyl record album

One of a trio of fantastic performances recorded by tenor giant Dexter Gordon at the Zurich Jazz Festival in 1975 – a set that has him blowing with all that late-life brilliance he brought to his best European recordings of the time! Yet also, possibly because of the festival setting, there's a sharpness here that's a bit different than some of Gordon's small club live dates of the period – this great sense of energy that comes through right away, and which also seems to come from the rest of the group too – a quartet lineup that includes Kenny Drew on piano, Niels Henning Orsted Pedersen on bass, and Alex Riel on drums. Titles on this first volume include "Tenor Madness", "Wave", "You've Changed", and "Days Of Wine & Roses". LP, Vinyl record album

One of a trio of fantastic performances recorded by tenor giant Dexter Gordon at the Zurich Jazz Festival in 1975 – a set that has him blowing with all that late-life brilliance he brought to his best European recordings of the time! Yet also, possibly because of the festival setting, there's a sharpness here that's a bit different than some of Gordon's small club live dates of the period – this great sense of energy that comes through right away, and which also seems to come from the rest of the group too – a quartet lineup that includes Kenny Drew on piano, Niels Henning Orsted Pedersen on bass, and Alex Riel on drums. Titles on this third volume include "Jelly Jelly", "Didn't We", "Sophisticated Lady", and "Rhythm A Ning". LP, Vinyl record album

One of a trio of fantastic performances recorded by tenor giant Dexter Gordon at the Zurich Jazz Festival in 1975 – a set that has him blowing with all that late-life brilliance he brought to his best European recordings of the time! Yet also, possibly because of the festival setting, there's a sharpness here that's a bit different than some of Gordon's small club live dates of the period – this great sense of energy that comes through right away, and which also seems to come from the rest of the group too – a quartet lineup that includes Kenny Drew on piano, Niels Henning Orsted Pedersen on bass, and Alex Riel on drums. Titles on this second volume include "Wave", "Darn That Dream", "Rhythm A Ning", "There Is No Greater Love", and "Sticky Wicket". CD

One of a trio of fantastic performances recorded by tenor giant Dexter Gordon at the Zurich Jazz Festival in 1975 – a set that has him blowing with all that late-life brilliance he brought to his best European recordings of the time! Yet also, possibly because of the festival setting, there's a sharpness here that's a bit different than some of Gordon's small club live dates of the period – this great sense of energy that comes through right away, and which also seems to come from the rest of the group too – a quartet lineup that includes Kenny Drew on piano, Niels Henning Orsted Pedersen on bass, and Alex Riel on drums. Titles on this second volume include "Wave", "Darn That Dream", "Rhythm A Ning", "There Is No Greater Love", and "Sticky Wicket". LP, Vinyl record album