Two fantastic side-long improvisations – but we hardly would have expected anything less, given that the proceedings feature Nate Wooley on trumpet, and Ken Vandermark on tenor and soprano clarinet! The latter sounds really wonderful in Ken's hands – full of these unusual sharp sounds that are matched beautifully by Nate's always-creative work on trumpet – as the pair move together effortlessly through sonic space, and create with a spontaneous intensity that must have been something to watch in person! Oddly, the music was captured in the studio, though – not on stage – but has the energy of some of the best live improvised performances that either musician has given us – on long tracks "Deeply Discounted II" and "Sequences Of Snow (For Michael Snow)". LP, Vinyl record album

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

Really cool music for a bunch of short, animated cartoons – all of them from a single studio in Poland, and done with these sublime sounds that really move past the familiar! These aren't always the whimsical melodies you'd hear in a Warner Brothers cartoon – and there's elements of modern composition mixed with really creative instrumentation – all served up on a set of over 40 short tracks that move between two and a half minutes to almost just thirty seconds – a wonderful portrait in sound as the music moves between the decades! The feel of the set is almost similar to some of the offbeat soundtrack material reissued by the Trunk label over the years – and the set features work from composers who include Krzystof Komeda, Tadeusz Kocyba, Waldemar Kazanecki, Jerzy Abratowski, Bogumit Pasterkak, Zenon Kowalowski, Janusz Mentel, Antoni Mleczko, and others. 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

Strings of many shapes and sizes – not just violins, but guitars as well – all coming together in a host of instrumental pop classics! The package is a lot cooler than you might expect – and features about a decade of chart-topping instrumentals – the kind of clever little tunes that made radio so great back in the day, and which often took familiar instrumentation and played around with it a bit in the studio – so that the end result was a heck of a lot more than just the sum of its parts! Styles are great – and run from folksy to rocking to exotic, and more – really creative stuff spun out over a set list of 28 tracks that include "The Dis-Advantages Of You" by The Brass Ring, "Love Is Blue" by Paul Mauriat, "Fly Me To The Moon" by Joe Harnell, "Flying Circle" by Frankie Slay, "Image" by Hank Levine, "Mexico" by Bob Moore, "Beautiful Obsession" by Sir Chauncey & His Exciting Strings, "Summer Set" by Monty Kelly, "Baby Elephant Walk" by The Minature Men, "Java" by Al Hirt, "The Enchanted Sea" by The Islanders, "More" by Kai Winding, "Cast Your Fate To The Wind" by Sounds Orchestral, "Swingin Safari" by Billy Vaughan, "Calcutta" by Lawrence Welk, and "Lost Love" by HB Barnum. CD

A really great little collection – one titled from a legendary studio jam that originally appeared on film, not record – a cut that begins this great array of cuts from the famous Black Ark studio of Lee Scratch Perry! Perry's on the cover, and has a strong hand on most of these tracks – but there's also a very nice mix of material going on here – some righteous roots vocals, other dubby cuts that are leaner overall – with a mix of groups and solo singers, all showing the keenly creative 70s Perry style at its best. Titles include "Play On Mr Music" by Upsetter Revue, "One More River To Cross" by Mystic I, "One More Dub To Cross" by the Upsetters, "People Get Ready" by Junior Mervin, "Give Me A Love" by Jimmy Riley, "Feel All Right" by The Silvertones, "Milte Hi Ahkhen" by Sam Carty, "History (dub plate mix)" by Carlton Jackson, "Rejoice Jah Children (dub plate mix)" by The Silvertones, and "Sugar & Spice" by Keith Rowe. CD

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

Seminal work from the Art Ensemble of Chicago – recorded during their most creative period ever! The album was recorded live in October of 1969 – at a time when the group had pulled up roots and moved to France for a few years, bursting on the European scene with unique creativity that was not getting the recognition it deserved in their hometown of Chicago. The studio sets from this time are already the stuff of legend, and have thankfully made it back on reissue heavily the past few years – and this brilliant live set stands perfectly next to them – matching any of the LPs in the Great Black Music series on BYG/Actuel for sheer creative brilliance and soulful energy! Fontella Bass joins the group for a bit of vocals, and the 2CD set features 2 long tracks – "Bon Voyage" and "Oh Strange". CD

A never-heard live set from the mighty Donald Byrd – recording here with live accompaniment from the Mizell Brothers – at a level that's every bit as wonderful as their work with the trumpeter in the studio! The material was originally recorded during a same series of albums that Blue Note issued with live material from Marlena Shaw, Bobby Hutcherson, and Bobbi Humphrey – and the approach here is wonderfully similar, with long tracks that really showcase a hip, creative quality that may well beat that of Byrd's studio albums of the time! There's some many wonderful elements going on in the music – Fender Rhodes from Kevin Toney, bass from Henry Franklin, and both tenor and soprano sax from Nathan Davis – a wonderful surprise in the lineup. And while Larry Mizell adds in a bit of electronics, Fonce Mizell is alongside Donald on a second trumpet – on titles that include "Kwame", "Poco Mania", "The East", "Black Byrd", and a sweet remake of the Stevie Wonder tune "You've Got It Bad Girl". CD

A never-heard live set from the mighty Donald Byrd – recording here with live accompaniment from the Mizell Brothers – at a level that's every bit as wonderful as their work with the trumpeter in the studio! The material was originally recorded during a same series of albums that Blue Note issued with live material from Marlena Shaw, Bobby Hutcherson, and Bobbi Humphrey – and the approach here is wonderfully similar, with long tracks that really showcase a hip, creative quality that may well beat that of Byrd's studio albums of the time! There's some many wonderful elements going on in the music – Fender Rhodes from Kevin Toney, bass from Henry Franklin, and both tenor and soprano sax from Nathan Davis – a wonderful surprise in the lineup. And while Larry Mizell adds in a bit of electronics, Fonce Mizell is alongside Donald on a second trumpet – on titles that include "Kwame", "Poco Mania", "The East", "Black Byrd", and a sweet remake of the Stevie Wonder tune "You've Got It Bad Girl". LP, Vinyl record album

Sam Dees was one of the greatest unsung talents in 70s soul music – an important writer, arranger, and general background talent who helped so many other singers hit the heights – but who hardly ever issued much work under his own name! Apart from key singles and an important album on Atlantic, the recorded legacy of Dees isn't what it should be – given his impact on music, especially deep soul – but fortunately, sets like this have come along to correct that lack! As part of Sam's creative process, he would often record songs first on his own – not as rough demo tracks, but as surprisingly well done studio versions to illustrate the material – tracks that were often better than later versions of his tunes, and most of the other commercial soul on the market. This sweet set brings together 12 of those tracks – private recordings from Sam, of songs he'd later give to singers like Loletta Holloway, Ben E King, and others – an essential record from the great Dees, pressed up on super-heavy vinyl! Titles include the previously unissued "Married But Not To Each Other" – plus "Good Guys Don't Always Win", "Who Are You Gonna Love", "Con Me", "Only Lonely People", "False Alarms", "Standing In The Wings Of A Heartache", "The World Don't Owe You Nothing", and "Black Tattler". LP, Vinyl record album

A landmark album from the mighty Bob Dylan – a 2LP set of studio work, which was quite rare at the time – and a set that has Dylan stretching out all his creative powers in newly different directions! The album had a long genesis in the studio – some early work with The Band, then Dylan breaking off with Al Kooper and Robbie Robertson to head down to Nashville – where they interacted with key country session musicians to make this masterful blend of music – work that's not country at all, but which is also moving past Dylan's folk roots too – with a blend of music that still as mindblowing today as it was back in the mid 60s! This is definitely one of those double-length sets that makes fantastic use of all the extra space – overflowing with gems that include "Rainy Day Women # 12 & 35", "Visions Of Johanna", "Pledging My Time", "Stuck Inside Of Mobile With The Memphis Blues Again", "Leopard-Skin Pill Box Hat", and "Just Like A Woman". CD

A landmark album from the mighty Bob Dylan – a 2LP set of studio work, which was quite rare at the time – and a set that has Dylan stretching out all his creative powers in newly different directions! The album had a long genesis in the studio – some early work with The Band, then Dylan breaking off with Al Kooper and Robbie Robertson to head down to Nashville – where they interacted with key country session musicians to make this masterful blend of music – work that's not country at all, but which is also moving past Dylan's folk roots too – with a blend of music that still as mindblowing today as it was back in the mid 60s! This is definitely one of those double-length sets that makes fantastic use of all the extra space – overflowing with gems that include "Rainy Day Women # 12 & 35", "Visions Of Johanna", "Pledging My Time", "Stuck Inside Of Mobile With The Memphis Blues Again", "Leopard-Skin Pill Box Hat", and "Just Like A Woman". LP, Vinyl record album

Life-changing music from Pierre Henry – one of the key French electronic music composers of the 20th Century – and an artist who went on to have a big impact in the 21st Century as well! This set mixes together key Henry compositions with nine never-released works – all remastered by Henry in his own famous studio – where he took up most of his later-life creative activity, after an initial association with the famous RTF Studio in Paris! The sounds here are incredible – truly an illustration of the genius of the man who once said "it is necessary to destroy music" – a thesis that Pierre expounds on more fully in the notes within. The package features a total of 29 works in all, presented on 12 CDs with a big booklet of notes – and works include "Chroniques Terriennes" (2016), "Etudes Transcendantes Pour Un Piano Imaginaire" (2015), "Grande Toccata" (2006), "Gymkhana" (1970), "Pleins Jeux" (2008), "Kyldex" (1973), "Une Tour De Babel" (1988), "La Reine Verte", "Rock Electronique" (1963), "Histoire Naturelle" (1997), "Facies" (1960), "Le Livre Des Morts Egyptien" (1988), "Fragments Pour Artaud" (1970), "La Noire A Soixante" (1961), "Deuxieme Symphonie" (1972), "Spatiodynamisme" (1953), and "Concerto Des Ambiguites" (1950). CD

A mindblowing treat for anyone even remotely interested in the music of Frank Zappa – as this box set brings together 70 unreleased tracks by a group that was one of Zappa's coolest ever – the 1970 version of the Mothers, with George Duke on a variety of cool keyboards, Ian Underwood on organ and more keyboards, Aynsley Dunbar on drums, Jeff Simmons on bass, Mark Volman on percussion, and both Volman and Howard Kaylan on added vocals! The tunes are a mix of studio tracks recorded live at Trident Studios in June of 1970, plus more live material recorded at a variety of summer shows in that year, and a few more tour recordings too – all brought together to showcase a razor-sharp group of artists who were perfectly tuned to the workings of Zappa's ever-expansive creative mind at the time. The box features unusual tunes, unusual versions of familiar tunes, and lots more gems – and comes with a booklet and button too! CD

Very cool sounds from the 60s scene in Italy – music that's clearly inspired by the best British female pop of the period, and also a bit by Detroit soul – with maybe just a touch of French "yeh yeh" modes thrown in for good measure! Yet because the sounds come from a scene that was also reinventing the sound of movies with its studio genius, there's also a really special vibe going on here – in part because the music often features contributions from soundtrack and sound library maestros – including Nora Orlandi, Berto Pisano, Alessandro Alessandroni, Bruno Nicolai, and others – who put these tunes together with a wonderfully spacious, wonderfully creative vibe – which really helps take them past their basic musical influences. The set list is every bit as well-chosen as the Ace Records collections of 60s French female pop – and titles include "Il Beat Cos'E" by La Ragazza, "Cartoline" by Mina, "Le Ragazze Semplici" by Orietta Berti, "E Proprio Inutile" by Meri Marabini, "Coccodrillo" by Ornella Vanoni, "Se Mi Vuoi Mi Vuoi" by Catherine Spaak, "Il Treno" by Rita Pavone, "A Me Piace Lui" by Vibeke, "Come Ti Vorrei" by Iva Zanicchi, "Tamburino Ciao" by Milva, "Zero In Amore" by Gigliola Cinquetti, "Il Paradiso" by Patty Pravo, and "Una Stanza Vuota" by Lisa Gastoni. CD

A beautiful collection of modern mellow music – served up in a set that features very different territory than the usual sorts of compilations given to us by Bob Stanley and Pete Wiggs – not the older music that they put together so well, but work from an early 90s moment when the duo were a rising part of the British scene as Saint Etienne! Yet despite that connection, they nicely provide a generous overview of a slightly different vibe – mellow tracks that followed in the wake of the big Brit dance explosion of the late 80s – not entirely the downtempo modes that you might expect, at least in the way that "downtempo" has come to mean instrumental hip hop over the years – and instead, some nicely kicked back tracks from some of the more creative studio talents of the time! Titles include "Never Get Out The Boat (flying mix)" by The Aloof, "Spiritual High (moodfood megamix)" by Moodswings, "Floatation" by The Grid, "Afrika (love & laughter rmx)" by History, "Cascades (hypnotone mix)" by Sheer Taft, "It Could Not Happen (essential trance hall mix)" by Critical Rhythm, "Higher Than The Sun (higher than the Orb ext mix)" by Primal Scream, "Snappiness (7" edit)" by BBG, "I Don't Even Know If I Should Call You (Marshall Jefferson symphony mix)" by Soul Family Sensation, "Temple Head (Pacific mix airwaves)" by Transglobal Underground, and "Speedwell (radio edit)" by Saint Etienne. LP, Vinyl record album

A beautiful collection of modern mellow music – served up in a set that features very different territory than the usual sorts of compilations given to us by Bob Stanley and Pete Wiggs – not the older music that they put together so well, but work from an early 90s moment when the duo were a rising part of the British scene as Saint Etienne! Yet despite that connection, they nicely provide a generous overview of a slightly different vibe – mellow tracks that followed in the wake of the big Brit dance explosion of the late 80s – not entirely the downtempo modes that you might expect, at least in the way that "downtempo" has come to mean instrumental hip hop over the years – and instead, some nicely kicked back tracks from some of the more creative studio talents of the time! Titles include "Never Get Out The Boat (flying mix)" by The Aloof, "Spiritual High (moodfood megamix)" by Moodswings, "Floatation" by The Grid, "Afrika (love & laughter rmx)" by History, "Cascades (hypnotone mix)" by Sheer Taft, "It Could Not Happen (essential trance hall mix)" by Critical Rhythm, "Higher Than The Sun (higher than the Orb ext mix)" by Primal Scream, "Snappiness (7" edit)" by BBG, "I Don't Even Know If I Should Call You (Marshall Jefferson symphony mix)" by Soul Family Sensation, "Temple Head (Pacific mix airwaves)" by Transglobal Underground, and "Speedwell (radio edit)" by Saint Etienne. CD

A landmark album from the mighty Bob Dylan – a 2LP set of studio work, which was quite rare at the time – and a set that has Dylan stretching out all his creative powers in newly different directions! The album had a long genesis in the studio – some early work with The Band, then Dylan breaking off with Al Kooper and Robbie Robertson to head down to Nashville – where they interacted with key country session musicians to make this masterful blend of music – work that's not country at all, but which is also moving past Dylan's folk roots too – with a blend of music that still as mindblowing today as it was back in the mid 60s! This is definitely one of those double-length sets that makes fantastic use of all the extra space – overflowing with gems that include "Rainy Day Women # 12 & 35", "Visions Of Johanna", "Pledging My Time", "Stuck Inside Of Mobile With The Memphis Blues Again", "Leopard-Skin Pill Box Hat", and "Just Like A Woman". CD

A huge run of music from this legendary psychedelic band – all served up here in a single set! First up is their Part 1 album – the initial uttering from the West Coast Pop Art Experimental Band – a group with a heady sound that definitely lives up to their name! There's less "pop art" going on here than just trippy psych – served up at a level that makes the group one of the best bigger label examples of the style at the time – and definitely a lot more edgey than some of their labelmates on Warner. Jimmy Bowen produced, but really keeps all the edges intact – and titles include the completely insane "Help I'm A Rock" (actually about a rock calling for help!) – plus "Shifting Sands", "1906", "Transparent Day", "Here's Where You Belong", and "If You Want This Love". Next is Volume 2 – the amazing second album from this ultra-cool group – a set that's even weirder and wilder than their debut! The trio are maybe one of the few who really live up to the farthest expectations of the psych generation – as they're really open to let their minds fly in their choice of lyrics, instrumentation, and overall presentation of the record – which hardly seems the sort to yield any sort of singles at all, even though a few of the tunes are downright catchy! Instead, the whole thing's put forth as a dark statement on late 60s society – with a sound that's as heavy as the subject matter, and not afraid to really pus all the freak and fuzz as far as it can go! Quite surprising, even for the Reprise label – and tracks include "Queen Nymphet", "Tracy Had a Hard Day Sunday", "In the Arena", "Smell of Incense", "Suppose They Gave A War & No One Comes", "Overture Wcpaeb (part 2)", and "Carte Blanche" – which supposedly they were given in recording the album! Next is Child's Guide To Good & Evil, the third album in the continuing genius of the West Coast Pop Art Experimental Band – a group who are certainly as experimental as their name would imply, but who can also come across with some warmer Sunshine Pop touches too! And it's that which makes the group so wonderful – the blend of freak and sweet, of fuzz and fun – all given a special shape in the studio through the genius of producer Jimmy Bowen, whose work here with Bob Markley is superb – and very much open to the best freedoms that Warner was offering its creative talents at the time! The song titles are equally superb – and titles include "A Child's Guide To Good & Evil", "Ritual #1", "Anniversary of World War III", "Eighteen Is Over The Hill", "As Kind As Summer", and "Our Drummer Always Plays In the Nude". CD 4 features 18 more bonus tracks – rare takes and alternate mixes of titles that include "Watch Yourself", "Ritual #1", "As Kind As Summer", "Eighteen Is Over The Hill", and "Until The Poorest People Have Money To Spend" – plus other tracks too. And all the other three albums are presented in both mono and stereo mixes – which makes for 84 tracks in the full set! CD

Amazing music from one of our most-treasured stretches of David Bowie's career – that creatively-fertile time when he escaped to West Berlin, hid from the mainstream, and made some groundbreaking records with Brian Eno – then returned to the limelight to remind us all that he was still a hell of a force to be reckoned with! The set includes everything post-Thin White Duke, and pre-Let's Dance – a run of music that's still shaping new sounds on this planet all these many years later. The set begins with Low – the mix of experimental instrumentals and subtle vocal tracks that was a complete change from Ziggy Stardust – and follows with Heroes, Lodger, and Scary Monsters & Super Creeps – all albums that reintroduce some sense of song and lyrical interplay, but at a level that clearly indicates how important Bowie was to the generation of post-punk and new wave as his earlier work was to psych, prog, and glam! But the package isn't just a standard collection of albums – because along with those four studio records, it also features the live album Stage, presented here in two different full mixes – plus a new 2017 mix of Lodger, which really increases the edge. There's also a special Heroes EP, with all the different language versions of the song – and a very cool Re:Call 3 album – which features all the singles that were issued at the time, plus other rare material – and Bowie's very unique take on Bertolt Brecht's Baal. Titles on this album include "Alabama Song", "Crystal Japan", "Under Pressure", "Remembering Marie A", "The Drowned Girl", "The Dirty Song", "Cat People", and even his "Peace On Earth/Little Drummer Boy" duet with Bing Crosby. As with other entries in this complete Bowie series, the presentation is wonderful – album sleeve replicas, great packaging, and lots of notes – kind of a treasure, even if you already own some of the records! CD

Tremendous live work from avant piano legend Cecil Taylor and always-creative drummer Tony Oxley – a duo who recorded most famously for FMP at the end of the 80s, but who also turned in some great live performances over the following decades! This set is definitely one of those – captured at a time when Taylor was not making many forays into the studio, but still very much at the top of his game in the sort of long form improvisational setting that defined his 70s material – especially when in the company of a player as great as Oxley! There's a balance here between percussive attacks and gentler flows on both instruments – spontaneous creativity in action from both musicians, on the very long titles "Power Of Two" and "Being Astral & All Registers". CD

Something wonderful happened to Coleman Hawkins at the end of his career – record companies started letting him record in really long formats, stretching out creatively on extended solos that continued to push the boundaries of his talents! This set is a prime example of that shift – as it features Hawkins alongside Roy Eldridge and Johnny Hodges – all working with trio backing by Tommy Flanagan, Major Holley, and Eddie Locke in a live setting at the Village Gate. Tracks are all well over ten minutes long – 2 at eleven minutes, and 1 at sixteen – and they allow the three lead soloists to really stretch out in a warmly improvisatory manner that surpasses even the easygoing Verve studio sessions of the 50s. Titles include "Satin Doll", "Perdido", and "The Rabbit In Jazz". Plus, added to these 3 are 4 more bonus tracks from the Hawkins Alive album – recorded at the same time, but without the other 2 soloists. These titles include "It's The Talk Of The Town", "Mack The Knife", "Caravan", and "Bean & The Boys". CD