A fantastic extended performance from the great Cecil Taylor – and a set that's really striking for a number of different reasons! First, the performance begins with some added voice work from Tristan Honsinger, Dominic Duval, and others – doing unusual vocalizations that are a bit like those that Taylor would sometimes use to augment his piano improvisations. Another striking feature is the presence of Sunny Murray on drums – one of Taylor's best musical partner, and a player who here is working at a level that's wonderfully open and spacious – very different than you might expect, and in a way that also seems to bring even more thoughtful, sensitive qualities to Cecil's piano! The set was recorded live in Berlin in 1996, and features two shorter segments, both with voice – and one very bold piece in the middle that runs for almost 50 minutes in length. CD

Genius work from Les Baxter – two of his best albums for Capitol, back to back on one CD! Ritual Of The Savage is one of those must-have albums from the 50s – a super-huge record upon its initial release, and an album that pushed the genre of exotica far further than most others at the time! Before this record, most attempts at exotica were simple instrumental pop, colored with slight worldly instrumentation – or too-dreamy recordings, putting over a sleepy version of life on the islands. Enter Les Baxter, who had an amazing ear for sounds, rhythms, and arrangements – one that was the first to record this sort of music in a way that was sonically evocative, and could stand on its own without other referents. Instrumentation is often conventional, but used oddly here – and Baxter's original compositions are all pretty darn great – playful without being goofy, and nicely mixing Latin and Pacific rhythms at the bottom. Titles include "Busy Port", "The Ritual", "Coronation", "Jungle Jalopy", and Les' original version of "Quiet Village". Heck, even the cover is gorgeous – with a brilliant blue illustration of some guy putting the moves on a woman amidst spooky tribal relics! The Passions is a really obscure box set recording – done as Les Baxter's classic exploitation of "a woman's passions", using vocalist Bas Sheva in the role of the tormented female! Shiva's got a bold, evocative style that's not unlike Yma Sumac – and she sings here wordlessly, as an added instrument on top of Baxter's orchestrations – playing the role of the inner psyche of woman, on titles that include "Lust", "Terror", "Joy", "Hate", "Ecstasy", and "Despair"! The whole thing's a mini docu-drama in sound – beautifully recorded in a flurry of red, blue, and other chromatic hues – not as exotic as Baxter's other work from the 50s, but equally great as a modern sonic psychoanalytic text! CD

A trio of fantastic albums from Christian Scott – all packaged together! First up is Ruler Rebel – a fantastic step forward for trumpeter Christian Scott Atunde Adjuah – an artist who takes on a new name with this recording, and a vibrant new sound as well! Scott still plays trumpet, but he also works with some electronics and effects, too – in a group that mixes acoustic elements from piano, flute, and percussion with electric work on Fender Rhodes and guitar – all in a sound that's swirlingly soulful, and as enigmatic as you might expect! The music reaches back to some deeper roots, but reworks the sound completely with lots of contemporary elements – and Scott's trumpet takes on a new sort of majesty in the setting – maybe hitting the promise we first saw in his music years back, but with even more focus here. Titles include "Encryption", "The Coronation Of X A Tunde Adjuah", "The Reckoning", "Ruler Rebel", and "New Orleanian Love Song". Next is Diaspora – a set that has Christian Scott really opening with a new sense of pride and power after adopting the Atunde Adjuah name – and blowing here not just on trumpet, but also "reverse flugelhorn", sirenette, and siren – and also using some sonic architecture to open up and expand his sound! Rhythms are a compelling mix of drum programs and acoustic percussion – peppered with work on alto, Fender Rhodes, bass, guitar, and drums – in this groove that's much more sharp-edged and sonically compelling than most other projects of this nature. Titles include "Lawless", "Our Lady Of New New Orleans", "IDK", "Desire & The Burning Girl", "Completely", "No Love", and "The Walk". Last is Emancipation Proclamation – part of Scott's brilliant trilogy that has him reworking his sound even more than before – using his horn in both acoustic and electric settings, and mixing with bits of funk and deeper musical currents – all at a level that's vaguely in the territory of Don Cherry in the 70s, but served up with a vibe that's very much Christian's own! Rather than be buried in the mix of percussion, Fender Rhodes, and other horns here – Scott seems to be set free, and really opens up with both the space of his solos, and the style of his phrasing – which is even more personal than before. The other players are great, too – a shifting lineup who retain the same bristling energy throughout – on titles that include "Ashes Of Our Forever", "The Emancipation Procrastination", "AvengHer", "Cages", "New Heroes", "Videotape", "The Cypher", "Michele With One L", and "Unrigging November". CD

Four classic albums from one of the early masters of exotica! First up is Ritual Of The Savage – one of those must-have albums from the 50s – a super-huge record upon its initial release, and an album that pushed the genre of exotica far further than most others at the time! Before this record, most attempts at exotica were simple instrumental pop, colored with slight worldly instrumentation – or too-dreamy recordings, putting over a sleepy version of life on the islands. Enter Les Baxter, who had an amazing ear for sounds, rhythms, and arrangements – one that was the first to record this sort of music in a way that was sonically evocative, and could stand on its own without other referents. Instrumentation is often conventional, but used oddly here – and Baxter's original compositions are all pretty darn great – playful without being goofy, and nicely mixing Latin and Pacific rhythms at the bottom. Titles include "Busy Port", "The Ritual", "Coronation", "Jungle Jalopy", and Les' original version of "Quiet Village". Next up is The Passions – a really obscure box set recording – done as Les Baxter's classic exploitation of "a woman's passions", using vocalist Bas Sheva in the role of the tormented female! Sheva's got a bold, evocative style that's not unlike Yma Sumac – and she sings here wordlessly, as an added instrument on top of Baxter's orchestrations – playing the role of the inner psyche of woman, on titles that include "Lust", "Terror", "Joy", "Hate", "Ecstasy", and "Despair"! The whole thing's a mini docu-drama in sound – beautifully recorded in a flurry of red, blue, and other chromatic hues – not as exotic as Baxter's other work from the 50s, but equally great as a modern sonic psychoanalytic text! Tamboo was cut with Les Baxter's orchestra and chorus – and it's a swirling mass of tribal drums, singing strings, and moody voices that would forever change the face of easy listening. Les' compositions are astounding – filled with all the sophistication of a great soundtrack, but simple enough to evoke the fake primitive charm of the album's cover. Every cut is great – and tracks include "Simba", "Oasis of Dakhla", "Mozambique", and "Zambezi". The cover's got a gorgeous blue painting of natives dancing in the background, while a drummer drums in front. Caribbean Moonlight is not as all-out exotic as some of Les' earlier Capitol albums, but still pretty darn great! The theme here is Caribbean exotic, and the rhythms have a little bit more of Cuba and Haiti than they do of primitive Borneo. Les handles them nicely, as always, and contributes some wonderful arrangements to the album. Titles include "Deep Night", "Green Eyes", "Sway", "Out Of This World", and "Adios". CD

Great rare material from Clifford Brown's legendary days at Emarcy – tracks recorded as part of the Dinah Jams vocal sessions, but done in a much more extended jam session mode! Washington sings a bit on 2 of the tracks, but the main focus here is on Brownie working with a jamming set of instrumentalists that really open up on extended solo work. The album features 2 groups – one with the great Walter Benton on tenor, Herb Geller and Joe Maini on altos, and Kenny Drew on piano – the other with Clark Terry on trumpet, Geller on alto, Harold Land on tenor, and Junior Mance on piano – great lineups on both sessions! Tracks are long, very much in the "jams" feeling of the title – and titles include "Coronado", "I'll Remember April", and "Crazy He Calls Me". CD

Deeply soulful work from Orgone – a group who are working at a level here that we never would have expected a decade back! Orgone have always been great, but sometimes they felt less like an organic funk combo than one who had an ear for the right sorts of sounds – something they still have here, but which they bring out with a masterful approach that really rises above previous efforts – a larger, richer approach to funk that sometimes even hits cinematic territory – but all without ever losing its small combo edge! The keyboards and production are especially nice, and the drums are super funky – on titles that include "Parasols", "Basilisk", "Zum Zum", "Running Low", "The Husk", "Tula Muisi", "Coronado", and "Hallowed Dreams". CD

A really incredible meeting of these two important players – and an album that's done in a different mode than some of their other recordings! The set features one long improvisation – stretching out in ways that still echo some of the spiritual qualities of Isaiah Collier's recordings, but with a vibe that's also more spacious and geared towards the overall sonic vibe of the performance – thanks in part to Jaimie Branch's use of electronics next to her trumpet, which are augmented by the shimmering guitar work of Gilles Coronado as well! Isaiah Collier blows soprano and tenor, but in lines that are also sometimes more open – and augmented by his work on percussion next to the drums of Tim Daisy – as the quartet makes their way through the well-titled, album-length track "Hmmmmm". CD

Not west coast, but "best coast" jazz – a prime example of the way the Clifford Brown/Max Roach team helped to cook up the intensity of the LA scene of the 50s by infusing it with a bit of New York fire! The album takes off in the extended mode of Clifford's All Stars album – and like that one, features Max Roach on drums alongside a lineup of players that includes Herb Geller and Joe Maini on alto saxes, Walter Benton on tenor, Kenny Drew on piano, and Curtis Counce on bass – all jamming together in really extended, side-long tracks that have plenty of space for creative solo work and free-flowing improvisation! The format's a very unusual one for the 50s – and a great side-stream to the better-known Brown/Roach albums – with the 2 long tracks "Coronado" and "You Go To My Head". CD also features a shorter rehearsal take of "Coronado". CD

A really lovely soundtrack – with some great minimalist pieces by Ryuichi Sakamoto, which rival some of his best work on the Merry Christmas Lawrence soundtrack! The David Byrne tracks are surprisingly great, too – especially the main theme – and the whole thing is a great mix of period-styled sounds and moments that echo some of the hippest currents of the 80s! Side one features all material from Sakamoto – including "First Coronation", "Open The Door", "Rain", and "The Last Emperor Theme" in different variations. Side two features more great tracks from David Byrne – including "Main Title Theme", "Bed", "Picking A Bride", and "Wind Rain & Water" – plus "Lunch" by Cong Su, "Red Guard" by The Red Guard Accordion Band, and "The Red Guard Dance" by The Girls Red Guard Dancers. CD

This 1979 solo album by Michael is a killer batch of soul grooves – one of his best moments ever, and a crowning cap to a stellar 70s run – both as a younger solo act, and with the whole Jackson family! Quincy Jones produced, and the album's got a funky undercurrent that's really stunning – clubby, yet plenty darn soulful, with a wickedly sly groove that others would try to copy for years, but never fully match. Titles include seminal groovers like "Rock With You", "Don't Stop Til You Get Enough", "Working Day And Night", "Girlfriend", "Off The Wall", "Burn This Disco Out" and more. Amazing amazing amazing work from the to-be-coronated King Of Pop! LP, Vinyl record album

Deeply soulful work from Orgone – a group who are working at a level here that we never would have expected a decade back! Orgone have always been great, but sometimes they felt less like an organic funk combo than one who had an ear for the right sorts of sounds – something they still have here, but which they bring out with a masterful approach that really rises above previous efforts – a larger, richer approach to funk that sometimes even hits cinematic territory – but all without ever losing its small combo edge! The keyboards and production are especially nice, and the drums are super funky – on titles that include "Parasols", "Basilisk", "Zum Zum", "Running Low", "The Husk", "Tula Muisi", "Coronado", and "Hallowed Dreams". LP, Vinyl record album

Great rare material from Clifford Brown's legendary days at Emarcy – a Japanese album that brings together tracks recorded as part of the Dinah Jams vocal sessions, but done in a much more extended jam session mode! Washington sings a bit on 2 of the tracks, but the main focus here is on Brownie working with a jamming set of instrumentalists that really open up on extended solo work. The album features 2 groups – one with the great Walter Benton on tenor, Herb Geller and Joe Maini on altos, and Kenny Drew on piano – the other with Clark Terry on trumpet, Geller on alto, Harold Land on tenor, and Junior Mance on piano – great lineups on both sessions! Tracks are long, very much in the "jams" feeling of the title – and titles include "Coronado", "I'll Remember April", and "Crazy He Calls Me". LP, Vinyl record album

Not west coast, but "best coast" jazz – a prime example of the way the Clifford Brown/Max Roach team helped to cook up the intensity of the LA scene of the 50s by infusing it with a bit of New York fire! The album takes off in the extended mode of Clifford's All Stars album – and like that one, features Max Roach on drums alongside a lineup of players that includes Herb Geller and Joe Maini on alto saxes, Walter Benton on tenor, Kenny Drew on piano, and Curtis Counce on bass – all jamming together in really extended, side-long tracks that have plenty of space for creative solo work and free-flowing improvisation! The format's a very unusual one for the 50s – and a great side-stream to the better-known Brown/Roach albums – with the 2 long tracks "Coronado" and "You Go To My Head". LP, Vinyl record album

Michael, if only you'd stayed at this level! This 1979 solo album by Michael is a killer batch of soul grooves – one of best moments ever, and a crowning cap to a stellar 70s run – both as a younger solo act, and with the whole Jackson family! Quincy Jones produced, and the album's got a funky undercurrent that's really stunning – clubby, yet plenty darn soulful, with a wickedly sly groove that others would try to copy for years, but never fully match. Titles include seminal groovers like "Rock With You", "Don't Stop Til You Get Enough", "Working Day And Night", "Girlfriend", "Off The Wall", "Burn This Disco Out" and more. Amazing amazing amazing work from the to-be-coronated King Of Pop! CD features some cool bonus tracks – voice-overs from Quincy Jones, plus interview bits, and demos of "Don't Stop Til You Get Enough" and "Workin Day & Night". CD

Great rare material from Clifford Brown's legendary days at Emarcy – tracks recorded as part of the Dinah Jams vocal sessions, but done in a much more extended jam session mode! Washington sings a bit on 2 of the tracks, but the main focus here is on Brownie working with a jamming set of instrumentalists that really open up on extended solo work. The album features 2 groups – one with the great Walter Benton on tenor, Herb Geller and Joe Maini on altos, and Kenny Drew on piano – the other with Clark Terry on trumpet, Geller on alto, Harold Land on tenor, and Junior Mance on piano – great lineups on both sessions! Tracks are long, very much in the "jams" feeling of the title – and titles include "Coronado", "I'll Remember April", and "Crazy He Calls Me". CD