One of those 90s albums that really made people sit up and take notice of saxophonist Joe Lovano – a musician who'd been appearing on records since the 70s, but who finally got the due he deserved when Blue Note let him open up like this! The album's got a relatively loose, open vibe – almost free, but still swinging at most points – as Joe blows tenor, soprano, and straight alto sax in a trio with the great bassist Dave Holland, the the legendary Elvin Jones on drums! In some way, the record's an extension of that vibe that Jones had in the early 70s – when he's really let a strong reed player take the lead, while also egging him on with his boundless energy – interplay that definitely happens here, on titles that include "New York Fascination", "Eternal Joy", "Villa Paradiso", "Days Of Yore", "4 On The Floor", and "Studio Rivbea". CD

One of those 90s albums that really made people sit up and take notice of saxophonist Joe Lovano – a musician who'd been appearing on records since the 70s, but who finally got the due he deserved when Blue Note let him open up like this! The album's got a relatively loose, open vibe – almost free, but still swinging at most points – as Joe blows tenor, soprano, and straight alto sax in a trio with the great bassist Dave Holland, the the legendary Elvin Jones on drums! In some way, the record's an extension of that vibe that Jones had in the early 70s – when he's really let a strong reed player take the lead, while also egging him on with his boundless energy – interplay that definitely happens here, on titles that include "New York Fascination", "Eternal Joy", "Villa Paradiso", "Days Of Yore", "4 On The Floor", and "Studio Rivbea". LP, Vinyl record album

Very hip, never-issued work from this legendary jazz guitarist – tracks recorded at the same time as his classic Better Days album, but appearing on this set for the first time ever! The "behind" in the title is very apt – as the group here is the lean trio at the core of that bigger album – with fantastic electric bass from the legendary Carol Kaye, who's definitely at her most soulful here – and really brings something out of Joe than the sound of some of his other 70s albums. The great Paul Humphrey is on drums, too – another funky legend in the group – and titles include "Slick Cat", "In The City", "Love Is", "Bass Blues", "Flying Down To Baja", "The Preacher", and "Better Days (alternate)". LP, Vinyl record album

Classic work from this massively overlooked 70s soul singer! The set's one of a rare few albums cut by Sidney Joe Qualls – a fantastic talent who's probably better known for his work behind the scenes, and as a songwriter, than he is as a voice on his own. The session is produced with a style that kind of mixes Brunswick Chicago soul with rootsier southern elements – stepping proud in the 70s territory of Johnnie Taylor or Tyrone Davis, but sounding way way better here, and with a much more independent vibe. Plus, the album boasts some incredible material – original tunes written by the likes of Sam Dees, Clifford Davis, George Davis, and others. Titles include "Shut Your Mouth", "Run To Me", "I Enjoy Loving You", "Please Help Me", "Can't Get Enough of Your Love", and "The Next Time I Fall in Love". CD

An incredible blend of southern and modern soul – the second album by soul songwriter Sydney Joe Qualls, recorded in both Chicago and Muscle Shoals, with a stone mellow sound that's outta site! The groove here is extremely well-done – tight, but never too slick – and with a soaring quality that marks the best late 70s soul coming out of Chicago at the time, but which also has some rootsier vocals from Sydney. The album's a classic for the standout groover "I Don't Do This" – but the whole thing's pretty darn great, and tracks include "Bad Risk", "I'll Run To Your Side", "Let the Woman Know", "I Could Be So Good For You", and "Where Have You Been". LP, Vinyl record album

A sublime solo set from the great Joe Sample – a set recorded right at a time when his work with The Crusaders was breaking very big, and Joe was becoming one of the hottest fusion keyboardists of the 70s! This set gives Sample a nicely different focus than The Crusaders – more keyboards in the lead, with a great mix of acoustic piano and electric modes – over these really well-crafted arrangements that feature key Crusaders members, but also allow for great work from David D Walker on guitar, Fred Jackson on tenor, and some other great west coast studio talents too. The vibe is great – almost a Steely Dan jazz album, and we mean that in the best way possible – on titles that include "Rainbow Seeker", "Fly With The Wings Of Love", "In All My Wildest Dreams", and the classic "There Are Many Stops Along The Way". LP, Vinyl record album

A fantastic combination of players – both musicians who have an incredible ability to be all over their instruments at once, yet always somehow sound completely in control! Drummer Joey Baron's demonstrated this ability for years, but maybe not as strongly as on this recent album with pianist Irene Schweizer – a set that has him matching all the wonderfully dynamic energy we've always loved on her albums for Intakt – sounds that are almost a small separate branch of the European improvising world, because they've got a quality that's so individual and distinct! Irene can keep things surprisingly tuneful, even when free – and Baron opens up the most tuneful side of his percussion talents, really at home in the territory. Titles include "String Fever", "Up The Ladder", "The Open Window", "Saturdays", and "Jungle Beat II". CD

Very early work from Joe Tex – recorded way before his boogie records of the 70s, and even his country soul classics of the 60s! Yet despite the age of these sides, the Joe Tex vocal approach is very firmly in place – that raspy mode that's undeniably human, and which might be rooted in blues and gospel, but which already takes a place here with a standout mode that's completely Joe's own! Musical modes move between R&B ballads and some bolder early soul styles – and titles include "She's Mine", "My Biggest Mistake", "Get Way Back", "Right Back To My Arms", "Come In This House", "I Had To Come Back To You", "Pneumonia", "Davy You Upset My Home", and "Another Woman's Man". LP, Vinyl record album

A killer album that's one of Joe's best! Unlike some of his other albums as a vocalist, in which the arrangements are a bit too cluttered to swing, this nice relaxed live set has Joe hitting a very soulful groove, and stepping out nicely on cuts like "Gravy Waltz", "Come Back Baby", "April In Paris", "Some Of This N Some Of That", and "She's Warm, She's Willing, She's Wonderful". Backing is by an all-star group that includes Coleman Hawkins, Junior Mance, and Zoot Sims. LP, Vinyl record album

A gem of a record from this pair of Basie-ites – one that allows Joe Williams to hit some different modes than on his fuller records with the Count – set up here in a nicely relaxed groove with trumpeter Harry Sweets Edison! Arrangements are by Ernie Wilkins, but are more laidback than some of his fuller charts – and we love hearing Joe at a level when he doesn't have to punch it out of the park, and can just fall back in a sweet groove alongside Harry's trumpet, which then often gets a spot to solo on the tune. Charles Thompson plays piano – again with a style that's more easygoing than Basie – and titles include "Out Of Nowhere", "Together", "Winter Weather", "By The River Saint Marie", "Alone Together", "Deep Purple", and "Lover Come Back To Me". LP, Vinyl record album

One of the more obscure albums by Lambert, Hendricks, and Ross – a session of Basie tunes, performed with backing by the Count, plus additional lead vocals by Joe Williams, the voice most closely associated with the Basie group at the time! The style is similar to the trio's Sing A Song Of Basie album for ABC, but handled here with a bit more of an edge, and a rougher, more freewheeling groove that's a better fit for the great Basie sound of the late 50s – a great adaptation of the groove by Jon Hendricks, Dave Lambert, and Annie Ross! The record's a nice sometimes-overlooked chapter in the excellent Count Basie run on Roulette – and titles include "Every Tub", "Rusty Dusty Blues", "The King", "Shorty George", and "Let Me See". CD

One of the more obscure albums by Lambert, Hendricks, and Ross – a session of Basie tunes, performed with backing by the Count, plus additional lead vocals by Joe Williams, the voice most closely associated with the Basie group at the time! The style is similar to the trio's Sing A Song Of Basie album for ABC, but handled here with a bit more of an edge, and a rougher, more freewheeling groove that's a better fit for the great Basie sound of the late 50s – a great adaptation of the groove by Jon Hendricks, Dave Lambert, and Annie Ross! The record's a nice sometimes-overlooked chapter in the excellent Count Basie run on Roulette – and titles include "Every Tub", "Rusty Dusty Blues", "The King", "Shorty George", and "Let Me See".oss! Titles include "Every Tub", "Rusty Dusty Blues", "The King", "Shorty George", and "Let Me See". CD

One of the more obscure albums by Lambert, Hendricks, and Ross – a session of Basie tunes, performed with backing by the Count, plus additional lead vocals by Joe Williams, the voice most closely associated with the Basie group at the time! The style is similar to the trio's Sing A Song Of Basie album for ABC, but handled here with a bit more of an edge, and a rougher, more freewheeling groove that's a better fit for the great Basie sound of the late 50s – a great adaptation of the groove by Jon Hendricks, Dave Lambert, and Annie Ross! The record's a nice sometimes-overlooked chapter in the excellent Count Basie run on Roulette – and titles include "Every Tub", "Rusty Dusty Blues", "The King", "Shorty George", and "Let Me See".oss! Titles include "Every Tub", "Rusty Dusty Blues", "The King", "Shorty George", and "Let Me See". CD

One of the hippest albums ever from singer Joe Lee Wilson – a righteous vocalist with a style we'd rank right up there with Leon Thomas or Andy Bey in the 70s! The album's got an easygoing vibe that's a nice change from some of Joe's other records – a quality that's never too forced, and which has Wilson sliding into the tunes wonderfully without any sort of gimmicks or tricks. His voice often has a nice crackle, which further underscores his instrument-inspired approach – and also makes the lyrics sound that much more wonderful too. The set was produced by Noah Howard, possibly in Paris – and it features a quartet with Bobby Few on piano, Steve Sax on saxes and flute, Jack Gregg on bass, and Al Levitt on drums. Includes the lovely originals "Dedicated To My Father", "Come & See", and "Secrets From The Sun" – plus a great take on Billy Gault's "Mode For Trane". LP, Vinyl record album

An extremely rare Latin Soul treasure – the legendary Power Of Love set by Joe Acosta – served up with some killer soul vocals by a young Joe Cruz! As you might guess from the "love" in the title, the set's got a focus on the sweeter sounds of Latin Soul – particularly on the English language numbers, which come across with a soulfulness that recalls Joe Bataan during the same period – but even when the record is mellow, it's still got a nice sense of "bottom" – and there's a number of tracks on here that really groove along nicely – rolling with heavy piano or basslines! Instrumentation includes a Bataan-esque trombone section that provides plenty of dark notes alongside the rhythms – and titles include "I Need Her", "Bendita Illusion", "Una Tracion", "Phoenix", "La Bendicion", "La Realidad", and "Amor Perdido". LP, Vinyl record album

Joe Armon Jones sings and plays lots of cool Wurlitzer electric piano on this gem of an album – but the whole thing is maybe even more of a tribute to the warmly collaborative spirit of the contemporary London scene, as it is to the talents of the man himself! There's a nicely fluid sense of stardom here – as differing artists get their time to shine in the spotlight while others recede a bit from track to track – but not in the kind of "leader with guests" version of older soundsystem albums – and instead maybe more as a cosmic vision for the future. Other singers include Asheber, Big Sharer, Ego Ella May, and Oscar Jerome – and musicians include Dylan Jones on trumpet, Moses Boyd on drums, and Nubya Garcia and James Mollison on tenor. Titles include "Starting Today", "Almost Went Too Far", "London's Face", "Ragify", "Outro", and "Mollison Dub". LP, Vinyl record album

One of Joe Farrell's first LPs as a leader – and a stellar session that's easily one of the early high points for the legendary CTI label! Farrell had been making some great noise in the underground during the late 60s – but here, he bursts forth as one heck of a soulful cat – working on these great modal grooves that slide out wonderfully and really have a sense of flow – a style that's different than Joe's later material, but equally powerful! Part of the strength of the record comes from the lineup – a key quintet of like-mined up-and-comers that includes Chick Corea on keyboards, John McLaughlin on guitar, Dave Holland on bass, and Jack DeJohnette on drums – players who definitely know the farther reaches of jazz, yet hang just on the inside here with Joe – providing some amazing accompaniment for his lines on soprano, tenor, and flute. Titles include "Molten Glass", "Song Of The Wind", "Motion", "Follow Your Heart", and "Circle In The Square". LP, Vinyl record album

One of the great Pablo Records efforts to revisit the jazz sound of the 50s – but in fresh new ways allowed by the freer recording modes of the 70s! The album features Ella Fitgerald and Joe Pass, plus nobody else – just voice and guitar coming together in quiet, introspective ways that are completely sublime, and a very nice change from some of Ella's fuller band recordings of the few years before this album. And far from being sleepy, the intimacy of the record almost seems to set a new kind of fire – one that comes from the gentle persona of Ella, which is a far cry from the glass-breaking singer that she'd come to be known as in the mainstream! Titles include "Take Love Easy", "Once I Loved", "Lush Life", "You're Blase", "A Foggy Day", "I Want To Talk About You", and "You Go To My Head". LP, Vinyl record album

Insanely beautiful work from the great Joe McPhee – an album that was recorded and intended to be issued during his groundbreaking stretch with Hat Art Records – but which never saw the light of day at the time! Why that happened, we're not entirely sure – because the album is tremendous right from the very first note – as McPhee blows alto, tenor, and pocket cornet alongside the work of Andre Jaume on alto, tenor, and bass clarinet – in a set of horn-only performances that are breathtaking from start to finish! Jaume's a great player too – and his work of the time, especially on Hat Art, is a masterpiece of subtlety and soul – and he balances McPhee perfectly here, often with some deeper currents that create a beautifully organic energy between the two. Jaume's got this way of handling his reed that's amazing – and, of course, Joe's phrasing is as incredible as always. Titles include great reworks of modern jazz classics – including "Pithecanthropus Erectus", "Self Portrait In Three Colors", "Evidence", "Chelsea Bridge", and "Lonely Woman" – plus the originals "Nuclear" and "Rue St Jaume". CD

Insanely beautiful work from the great Joe McPhee – an album that was recorded and intended to be issued during his groundbreaking stretch with Hat Art Records – but which never saw the light of day at the time! Why that happened, we're not entirely sure – because the album is tremendous right from the very first note – as McPhee blows alto, tenor, and pocket cornet alongside the work of Andre Jaume on alto, tenor, and bass clarinet – in a set of horn-only performances that are breathtaking from start to finish! Jaume's a great player too – and his work of the time, especially on Hat Art, is a masterpiece of subtlety and soul – and he balances McPhee perfectly here, often with some deeper currents that create a beautifully organic energy between the two. Jaume's got this way of handling his reed that's amazing – and, of course, Joe's phrasing is as incredible as always. Titles include great reworks of modern jazz classics – including "Pithecanthropus Erectus", "Self Portrait In Three Colors", "Evidence", "Chelsea Bridge", and "Lonely Woman" – plus the originals "Nuclear" and "Rue St Jaume". CD

Of course it's about time for Joe Morello – because as Dave Brubeck's drummer, he was constantly caught in recording sessions that were all about unusual rhythms and timings in jazz! Yet this set really helps Joe break free from the Brubeck mode – and also shine strongly as a leader, too – something he only did on a rare few records over the years! The approach is a bit more straight ahead – almost an extension of the RCA large ensemble sides of the 50s, with arrangements by Phil Woods and Manny Albam – yet there's also some great 60s touches too, thanks to work from a young Gary Burton on vibes, and some nicely mature solos by Woods on alto. Titles include "Time After Time", "Summertime", "Every Time", "It's About Time", and "Fatha Time". LP, Vinyl record album

A great collaboration between bassist Joe Morris, drummer Luther Gray, and reedman Peter Cancura – all coming together here in searing trio formation that reminds us a lot of the energy of the ESP avant generation! Gray's drums have a nice degree of focus and force – never as loose as might be by another player in such a setting – and Cancura blows both tenor and alto, the former with a hauntingly soulful sound that echoes out nicely in the spare format of the record. Morris' brooding bass is a constant presence throughout – and the album features four long tracks, "Geomantic", "Thicket", "Crow", and "Nettle". CD

Quite possibly the funkiest record ever made by guitarist Joe Pass – a real surprise from an artist we mostly know for his mellower and straight ahead work! The style here is tight electric funk, almost in a Groove Merchant sort of way – and given Joe's heavy use of hollow-body guitar on the record, and the warm chromatic hues in his tone, the style's a fair bit like O'Donel Levy on his 70s classics from the same era. Bassist Carol Kaye had a hand in putting together the record, and there's a similar feel here to her own best grooves – tight, studio-oriented work – but never slick or too commercial! Other players include Joe Sample on keyboards, Paul Humphrey on drums, Tom Scott on sax and flute, and JJ Johnson on trombone – and despite the presence of these heavyweights, the record has a nicely soulful sound that's more indie grit than major label funk! CD adds some bonus tracks to the original record – and features 18 titles that include "Free Sample", "Better Days", "Head Start", "It's Too Late", "Gotcha", "Alison", "The Preacher", "Bass Blues", "Burning Spear", "Slick Cat", "Flying Down To Baja", and "Love Is". LP, Vinyl record album

A tight trio recording – with Niels Orsted Henning Pedersen on bass and Joe Pass on guitar – recreating the drum-less trio style that Oscar Peterson used in the 50s – but on longer tracks that spin out nicely! Titles include "Chicago Blues", "Blues Etude", "Easy Listening Blues", "Come Sunday", and "Secret Love". CD

The excellent solo debut from lumbering rock guitar virtuoso Joe Walsh – buzzing, melodic and extremely tuneful early 70s rock that's refreshingly free of the processed cheese that characterized much of his later material, both solo and as an Eagle – and possibly the best work he's ever done! Barnstorm has some of the whispery rural rock sounds, fat and nearly funk keyboard grooves, and crunching chords that make Joe (in)famous – but what really stretches this record out and pushes it to a lofty pillar are the post psychedelic touches. Bits of flute, echoey guitar and keys, and trippy lyricism elevate the tracks on the first half of the album into terrain we forgot Joe ever treaded. It really makes the heavier, funky rock & roll bits that much more rewarding. It's almost like a blue collar Astral Weeks in spots! Tracks include "Here We Go", "Midnight Mover", "One And One", "Giant Bohemoth", "Mother Says", "Home", "I'll Tell The World", "Turn To Stone" and more. LP, Vinyl record album

A great little Kudu set from guitarist Joe Beck – a player who's sounding a lot tighter here than some of his odd psychedelic experiments of the 60s – but still pretty darn great overall! The style is smooth, as you'd expect from Kudu, but Joe's still got plenty of edges in his guitar to stand out nicely – little riffs and rasps that crackle with a good sense of electricity amidst larger arrangements from Don Sebesky. The album also features some great alto from David Sanborn, and keyboards from Don Grolnick – on titles that include "Star Fire", "Cactus", "Texas Ann", "Brothers & Others", and "Red Eye". LP, Vinyl record album

A drum-heavy spectacular – featuring four of the top hardbop drummers of the late 50s, all recorded live at Birdland, soloing back and forth in larger groups that really make the whole thing cook! Although the cover and title might make you think the record's a novelty, it's way more than that – and really fits nicely alongside some of Art Blakey's more experimental, percussion-heavy dates for Blue Note – although with a bit more of a bop feel overall! CD

Drummer Joe Chambers never records much as a leader – but every time he does, the album really turns out to be something special! That's definitely the case with this early 90s session for Candid Records – a date that recalls the brooding intensity that Joe brought to some of his late 60s dates for Blue Note as a sideman, carried out here on a set of tunes and concepts that are all Chambers' own – and given great life by a lineup that features Bob Berg on tenor, Philip Harper on trumpet, George Cables on piano, and Santi Debriano on bass! Berg is at his moodiest here – a great reminder of that side of his talents – and titles include "For Miles", "El Gaucho", "Phantom Of The City", "In & Out", and "Fun". CD

The group were certainly doing something right – as this album has Joe Cuba's sextet at the top of their game, easily showing why they were one of the best groups on the New York scene of the 60s! The album's a pivotal one in the development of Latin Soul – as it sports the incredible track "El Pito" – one of those Latin jammers that grabbed everyone right away, and which has barely ever been matched since! The album's also got some great use of English language lyrics – crucial to the unique crossover sound that Joe was forging, and a real bridge between Spanish and African American Harlem in the 60s. Titles include "My Wonderful You", "El Pito (I'll Never Go Back To Georgia)", "Pruebalo, OK?", "Bochinchosa", "Incomparable", and "Clave Mambo". LP, Vinyl record album

Fuzzy and genuinely well-crafted private press grooves from the Emerson brothers – with crazy good hooks, some surprisingly solid musicianship – and songs that range from straight-up catchy, though fuzz-drenched rock, to funk and soul! Donnie Emerson is the lead singer, guitarist and bass player, along with some synth – and on the best tunes, he's got a confident, laidback and warm style on vocals that truly doesn't feel the voice of a kid still in his teens – with brother Joe on drums and other friends on backing vocals here and there. Here's a record that profoundly transcends the private press novelty and the goofy jumpsuits they're rocking on the front cover! Includes "Good Time", "Give Me The Chance", "Baby", the instrumental groover "Feels Like The Sun", "Love Is", "Don't Go Lovin' Nobody Else", "Dream Full Of Dreams" and "My Heart". LP, Vinyl record album

Some of the best work that Louis Hayes and Joe Farrell cut during the 80s – a freewheeling and open session that's steep on soul, and filled with the best energy both players could muster! The group's a quartet, with Farrell on tenor, soprano, and flute, Hayes on drums, Rob Van Den Broeck on piano, and Harry Emmery on bass. Farrell's inventiveness, as always, is incredible – restrained from some of his over-the-top work in the 70s – but in a good way, one that has him really focusing on the construction of his solos, and coming up with some wonderfully soulful notes that hold the lively rhythms of the tunes together. All tracks are long, and titles include "Miles Mode", "Vim N Vigor", "Arab Arab", and "Besame Mucho". CD

Ella Fitzgerald and Joe Pass return to the studio just a few years after their initial meeting – once again to work in a stripped-down duet format that's completely sublime! The spare setting is one that Ella never got in the older days – and there's an intimacy here that almost makes it like we're hearing a new singer entirely – one who's not surging over bigger band arrangements, but laying back and singing in a mode that's almost more torchy than we could have ever expected. Pass' guitar is acoustic, and gentle – and titles include "All Too Soon", "One Note Samba", "Rain", "You Took Advantage Of Me", "That Old Feeling", "I've Got The World On A String", and "Nature Boy". LP, Vinyl record album

One of the great Pablo Records efforts to revisit the jazz sound of the 50s – but in fresh new ways allowed by the freer recording modes of the 70s! The album features Ella Fitgerald and Joe Pass, plus nobody else – just voice and guitar coming together in quiet, introspective ways that are completely sublime, and a very nice change from some of Ella's fuller band recordings of the few years before this album. And far from being sleepy, the intimacy of the record almost seems to set a new kind of fire – one that comes from the gentle persona of Ella, which is a far cry from the glass-breaking singer that she'd come to be known as in the mainstream! Titles include "Take Love Easy", "Once I Loved", "Lush Life", "You're Blase", "A Foggy Day", "I Want To Talk About You", and "You Go To My Head". CD

Amazing work from bop trumpeter Joe Gordon! Gordon was a lost talent who only cut a handful of records before his untimely death in 1963 – but he was a heck of a trumpeter, with a rich talent that we'd rank up there with Lee Morgan and Kenny Dorham. He plays in a group that includes Art Blakey on drums and Charlie Rouse on tenor – and the overall sound is right up there with the best raw bop on Blue Note or Prestige during the same time. Titles include "Toll Bridge", "Lady Bob", "Grasshopper", "Flash Gordon", "Xochimilco", and "Bous Bier". LP, Vinyl record album

An excellent document of two key players on the west coast scene of the late 50s – both of whom passed away at too far young an age! Trumpeter Joe Gordon was one of the most soulful players on the LA scene of the period – almost a Lee Morgan in his sense of timing and space – and Scott LaFaro was hailed by many as one of the most revolutionary talents on the bass at the time, and had a huge influence on the scenes on both coasts, despite his few short years in the jazz business. The set features LaFaro working with Shelly Manne's group that included Joe Gordon, Richie Kamuca, and Russ Freeman – in a long, open, and exploratory approach to jazz – one that's very similar to the excellent live recordings made by the Manne group at The Blackhawk. Kamuca's tenor work is extremely imaginative on the album's longer tracks – at a level that's far far different than most of his LA work of the 50s – and Gordon's solos are a delight throughout, with a voice that is heard here as strongly as on any of his few recordings. The set features 3 long tracks – "Summertime", "Poinciana", and "Our Delight", which is offered in an incomplete take. Plus, the session also features a quartet recording of "It Could Happen To You" by a group with Kamuca, LaFaro, Victor Feldman, and Stan Levey – from 1958. CD

A pair of legendary albums from the mighty Joe Harriott – a player who emigrated to England in the 50s, then set the scene on fire in the following decade! First up is Free Form – the landmark album that forever put saxophonist Joe Harriott on the map, and it's a brilliant batch of tracks that prove that Harriott was advancing the jazz avant garde in England as much as players like Ornette Coleman and Cecil Taylor were advancing it in America. Despite the "free form" of the title, the tracks are more "new thing" – somewhat structured, with a rhythmic approach that's still a little straight, but solos that go nice and outside. Joe's overall conception is a beautiful mix of angular thinking with freely expressed soulful emotion – and the record's one that ranks up there with the 10 most groundbreaking of the 60s! The group's about as fantastic as you could ever expect from England at the time – with Shake Keane on trumpet, Pat Smythe on piano, Coleridge Goode on bass, and Phil Seamen on drums – and titles include "Formation", "Coda", "Abstract", "Straight Lines", and "Impression". Next is Abstract – one of the legendary sets of avant garde jazz by the British alto genius Joe Harriott – an artist who was sometimes billed as the British Ornette Coleman – a reputation he definitely earns with the groundbreaking quality of this album! The conception is bold right from the start – strongly rhythmic, but at a level that's different from Coleman's music – with some deeply emotional undertones to the solos (which also include work from Shake Keane on trumpet!) – and occasional modal elements that also bring in some spiritual elements to work perfect with the breakout solos. The group also features crack rhythm work from Pat Smythe on piano, Coleridge Goode on bass, and Phil Seaman on drums – and the track list includes "Subject", "Shadows", "Tonal", "Oleo", "Pictures", "Idiom", "Compound" and "Modal". CD

A fantastic session of 60s "new thing" jazz – and one of our favorite early records by Joe Henderson – exactly the kind of album to show why his emergence in the decade was such an important new voice in jazz! The album features some incredibly hard playing from Joe – with a very dark edge to his solos that's nicely offset by McCoy Tyner's lyrical piano, and the supple rhythms of Bob Cranshaw on bass and Elvin Jones drums – a really magical quartet who come across very different here than you might expect from the Coltrane legacies of Tyner and Jones! Instead, Henderson makes his presence known right from the very first note – as his voice on the tenor is completely singular – and titles include the Henderson originals "Inner Urge", "Isotope" and "El Barrio" – plus the great Duke Pearson song "You Know I Care", and the standard "Night & Day". CD

A wonderful set, and one that's definitely filled with spirits – most particularly from the tenor of Kidd Jordan, which has all this subtle power behind it, at a level that really gives proof to Jordan's many years on the freer side of the jazz spectrum! The trio here also features Alvin Fielder on drums and percussion, and Joel Futterman on piano, Indian flute, and curved soprano sax – but throughout the proceedings, which are freely improvised, the tenor of Jordan seems to be the real anchor in sound – an element that can match the modes of the other players, but also provide some direction too. Titles include "Start Stop", "Run Drop", "Start Continue", "Ripples, and "Double Strike". CD

An excellent early album from the amazing Little Beaver – a set that's also probably one of his best ever – served up with some extra-dope guitar, and nice deep Miami soul production by Steve Alaimo! Beaver handled all the arrangements – which means that there's plenty of room for his great guitar to come to the forefront – and this album also features some of his great vocal work, set in a style that's a lot rawer than later releases – rooted a bit more in deep soul and blues, which fits nicely with the guitar. Titles include the single "Joey", plus the long "Katie Pearl", and a nice cover of "Two Steps from the Blues", which features his funky soul guitar on a nice solo – plus the tracks "What The Blues Is", "That's How It Is", "I'm Losin the Feelin", and "Give A Helping Hand". CD

One of Joe McPhee's strongest early albums – and a real breakthrough from his sound on Nation Time (also issued as part of the Unheard Music Series.) The group here is a trio – with Mike Kull on electric and acoustic piano, and Harold E Smith on percussion – and the lack of a bass player gives the group an incredible sense of freedom, letting them wail away on long tracks with a strong bent for musical and spatial exploration. The two most marked examples of this are "Astral Spirits" and "Delta" – both searching numbers that start with an electric piano/tenor sound that you might have heard on a Joe Henderson album on Milestone from the same time, but which take that sound to unheard of limits, pushing the keys and the sax to full capacity. The album also includes the longer track "Ionization", which is a fiercely jamming number with a slightly straighter bent. CD

Some of the hippest jazz ever played at Vassar College – and previously-unreleased work from avant legend Joe McPhee, recorded right around the same time as his classic Nation Time record! One CD features a smoking performance by McPhee on tenor – working with a group that also includes Byron Morris on alto sax – really stretching out on a mixture of original tunes and some surprisingly free takes on standards – familiar songs blown openly, almost with a Coltrane Quartet sort of approach! But the other CD is even more amazing – and even more obscure – as it features a group with vibist Ernie Bostic, alto saxophonist Otis Greene, and Hammond player Herbie Leaman – all musicians we really don't know at all – but who sound wonderful together! The mix of organ and vibes is completely sublime – and tracks are very long and airy, with a haunting feel that's unlike anything we've ever heard before. The Bostic group plays "Flowers For Mattie B", "Bag's Groove", and "Resolution" – and McPhee's combo takes on "Green Dolphin Street", "Spring Street", "Muntu", "Maybell's Blues", "Softly As In A Morning Sunrise", and "Stella By Starlight". CD

Joe Morello is best known the to the world as the drummer for the Dave Brubeck Quartet, but he also cut some very nice LPs on his own, and this is one of them. The record is a nice set of jazzy tracks, with kind of a groovy 60s feel, and loud swinging arrangements that are nicely punctuated by Morello's tight drumming. Buddy Terry plays tenor, and his solos are in the lead on a lot of tracks. Titles include "Give Me A Simple Tune", "Church Key", "Not So Fast", and "The Sound Of Silence". LP, Vinyl record album

One of the best Joe Pass albums from the 70s – largely because he's working with such a great group of Brazilian players! Besides percussionist Paulinho Da Costa, the musicians also include drummer Claudio Slon, as well as Oscar Castro Neves, Don Grusin, and Octavio Bailly. Tracks are light and breezy, with a good west coast Brazilian feel – and titles include "Tears", "Wave", "If You Went Away", "Luciana", and "I Live To Love". CD

An important early record from the Thing trio of reedman Mats Gustafsson – and one that already has the group taking off from their initial mandate of working with Don Cherry material, as Joe McPhee joins the group and really opens up their sound! McPhee echoes a bit of Cherry on pocket trumpet, but the performance is definitely in his own mode, and that special sonic space of Gustafsson at the turn of the century – as Mats plays tenor and baritone saxes, alongside Ingebrigt Haker Flaten on bass and Paal Nilssen Love on drums! The core trio would go onto greatness in years to come, and this is one of their key early statements – with titles that include versions of Don Cherry's "The Thing", Ornette Coleman's "Kathelin Gray", and Frank Lowe's "For Real" – plus the tracks "To Bring You My Love", "Going Home", and "Old Eyes". CD

Reedman Joe Thomas is wrapped up here in some very warm grooves – a mix of electric jazz and clubby modes – all of which takes Thomas' usual sound right to the discos! Most cuts have a backup vocal group – with contributions from Gwen Guthrie and Jocelyn Brown – but these vocals soon step aside to make room for Joe's solos on both tenor and flute – every bit as soulful as before, maybe a bit like Stanley Turrentine or John Handy in such a setting! The album's also got some great keyboards from Pat Rebillot – and titles include "Plato's Retreat", "Mr Mumbles", "Get In The Wind", "Two Doors Down", and "Low Down". CD

Zoot Sims really makes the album cook – adding in a lot more bop sensibility than you might expect on an album with violinist Joe Venuti – and really bringing in a heck of a lot of soul, thanks to his raspy tone on the tenor! The set's got a nicely jumping sort of feel – with John Bunch or Dick Hyman on piano, Bucky Pizzarelli on guitar, and Milt Hinton on bass – and titles include "Avalon", "Russian Lullaby", "Where Or When", "Lover Come Back To Me", and "Shine". CD seems to have a lot more tracks than the album – 14 numbers in all! CD

The cover's a bit cartoony, but the group's got a nicely down to earth sound – a UK blend of roots rock and deeper blues currents – but served up in that 70s style that takes all the best elements way past their familiar incarnations! The group sports two singers – a young Robert Palmer and female vocalist Elkie Brooks – and although Palmer would soon emerge as a more pop-oriented artist, he's got plenty of soulful chops here – but maybe still only second to Elkie, who soars out with the sort of inspiration that must have touched Janis Joplin as well. Titles include "Circles", "Leg Up", "See The World", "Never Met A Dog", "Live A Little Get Somewhere", and "Avinu Malkenu". LP, Vinyl record album

A late 60s session, but one that has a nicely raw vibe – just vocals and guitar from Big Joe Williams, plus guest harmonica from Charlie Musselwhite on a few cuts! LP, Vinyl record album

One of Joe's excellent albums from the 60s for RCA – set to backings from Jimmy Jones and Oliver Nelson, both of whom nicely update Joe's sound for the 60s! The tunes are mostly older numbers that recall Joe's earlier years, particularly those with Basie – but the arrangements are a bit fresher, and more 60s-swinging, which makes for a nice change of pace. Titles include "Me & The Blues", "Every Night", "Rocks In My Bed", "Workin", "Soothe Me", "Early In The Morning", and "A Woman". LP, Vinyl record album

A killer collection of cuts from a time when the new wave of Jamaican dancehall was really taking off – and a time when the music was shifting from a reworking of older styles and rhythms to a completely new style of expression overall! The package is overflowing with key creations from the Mighty Two team of Joe Gibbs and Errol Thompson – 22 of which appear here on CD for the first time ever, and much of which were issued as rare singles that hardly saw much global circulation back in the day – which makes the whole thing a really crucial grass roots look at the way dancehall was changing on the Kingston scene at the end of the 70s! Many of the singers are working in that mode that would really begin to explode in the 80s, as dancehall reached a larger audience in the US and UK – but the approach here is much more down to earth, and has nice ties to the grittier productions of the dub generation too. The set features 46 tracks in all – with work from Ranking Joe, Errol Scorcher, Cornel Campbell, Kojak & Liza, Welton Irie, Lui Lepke, Barrington Levy, Prince Mohammed, Junior Murvin, Danny Mangaroo, Sammy Dread, Echo Minott, Joe Tex & U Black , Eek A Mouse, and many others! CD

A fantastic explosion of funk, soul, and club – put together at a level that may well even top the first Supafunkanova collection! As before, the cuts here are all super-rare and obscure – but all kick heavy ass when it comes to tight rhythms and catchy clubby grooves – never straight disco or mainstream boogie – but borrowing plenty from the mainstream to turn out cuts with a really raw, underground vibe! There's a slight touch of hip hop in the mix – more that old school skating mode – and the whole thing definitely shows Joey's decades in cutting great cuts for the dancefloor – and his big love of the best groups from the hinterlands. 2LP set features the titles "Drive Me Insane" by Airplay, "Betcha Got A Dude On The Side" by Star Quality & Class, "Cool Out" by Magnum Force, "Spunk In The Funk" by Blue Denim Band, "Walk" by Sam Culley Band, "Sound Reason (Joey Negro edit)" by Splash, "Making Love Will Keep You Fit" by Brenda Harris, "Let's Get High" by Nice & Tight Band, "Easton Assassin" by Sunburst Band, and "Super Stimulus" by Stimulus. LP, Vinyl record album

A soul jazz masterpiece – and one of the rarest albums on the Jazzland label! Tenorist Joe Alexander has a mean, raw tone on the set – clearly influenced by the early 60s soul jazz generation, but also with some nicely off-beat tones that give him a really unique feel. He's backed here by the kind of a group that couldn't go wrong – Bobby Timmons on piano, Sam Jones on bass, and Albert Heath on drums – as well as the equally-obscure John Hunt on flugelhorn. Tracks are all long and jamming – much more soulful than some of the other Jazzland sides from the time – with titles that include "I'll Close My Eyes", "Brown's Town", "Terri's Blues", and "Weird Beard". LP, Vinyl record album

A really beautiful combination of reeds and synthesizer – one done in a spare, moody style that's extremely evocative! Austin's saxophone work here would be great enough on its own – soulful, fluid, and freely searching, but never too outside. Yet the added synth and percussion from Gallivan really makes the record something special – because Joe never overdoes his contributions, and instead keeps things really even handed – often going for a style that matches the lyrical beauty of Austin's work perfectly. And unlike other projects of this type, this one is never sleepy, or too "atmospheric" – as each tune here has a good structure and sense of economy – letting us know that Gallivan and Austin aren't just putting down sloppy soundscapes. Titles include "Quassia", "Perfect Reality", "Essence Of Purity", "As Above So Below", "Intimate Oasis", and "Subtle Actuation". CD

A landmark album from Joe Bataan – so great, that it made the entire record company change its name from their original Mericana to the better-known Salsoul – which would later rule the world with a host of disco classics! The record has Joe really bursting out after his seminal Latin Soul work of the late 60s – blending Latin rhythms and American soul into a whole new style of music – one that Joe called "Salsoul", because of it's mixture of salsa and soul – upbeat, funky, and definitely a precursor to the later sound that Salsoul would release with soul and funk groups. The blend is fantastic, a real milestone in the NuYorican scene – and handled perfectly by Joe on every cut! There's some massive Latin funk on here, including the tracks "Latin Strut" and "Aftershower Funk", plus some straighter Latin jazz, like "Sunny Gets Blue Mambo", and a great Latin Soul cut with English vocals called "Johnny". LP, Vinyl record album

A landmark album from Joe Bataan – so great, that it made the entire record company change its name from their original Mericana to the better-known Salsoul – which would later rule the world with a host of disco classics! The record has Joe really bursting out after his seminal Latin Soul work of the late 60s – blending Latin rhythms and American soul into a whole new style of music – one that Joe called "Salsoul", because of it's mixture of salsa and soul – upbeat, funky, and definitely a precursor to the later sound that Salsoul would release with soul and funk groups. The blend is fantastic, a real milestone in the NuYorican scene – and handled perfectly by Joe on every cut! There's some massive Latin funk on here, including the tracks "Latin Strut" and "Aftershower Funk", plus some straighter Latin jazz, like "Sunny Gets Blue Mambo", and a great Latin Soul cut with English vocals called "Johnny". CD features bonus tracks – "Continental Square Dance", "Latin Strut (mono single)", "Peace Friendship Solidarity (mono single)", "Aftershower Funk (mono single)", and "Fin (mono single)". CD

Two closely related sessions with Joe Newman and Al Cohn in the front line – plus guitarist Freddie Green, pianist Nat Pierce, Milt Hinton on bass, and Osie Johnson on drums. Tracks include "Up In The Blues", "Free & Easy", "Something's Gotta Give", "Doggin' Around" and "9:20 Special". CD

Familiar numbers – but done quite nicely, thanks to the warm early talents of Kenny Drew! The style here is a bit more lyrically evocative than some of the other Riverside piano work of the time – less modern-tinged, but still in a really expressive way that unlocks new corners of these great numbers from the original Rogers & Hart score to the musical Pal Joey! Drew's compadres for the session are Wilbur Ware on bass and Philly Joe Jones on drums – both of whom help illuminate the tunes with sly, but subtle touches. Titles include "Bewitched, Bothered & Bewildered", "Happy Hunting Horn", "What Is A Man?", "Do It The Hard Way", "I Could Write A Book", and "My Funny Valentine". CD

One of the first full albums recorded by the legendary John Fahey – originally issued on the tiny Riverboat label, then circulated more widely on his own Takoma imprint! The set offers a second chapter of the sort of work on Fahey's Blind Joe Death debut – but the sound is already light years ahead of the first record – with a more developed sense of tone, timing, and phrasing – at a level that shows a tremendous amount of growth by the musician in just a few years! Even in the mid 60s, Fahey's already showing a lot of the unique power that would continue to awe generations for decades to come – and the tracks here unfurl an incredible approach to acoustic guitar that's neither folk, nor blues, nor just about anything else – just purely Fahey-esque. Titles include "Orinda Moraga", "Beautiful Linda Getchell", "On The Sunny Side Of The Ocean", "101 Is A Hard Road To Travel", "How Green Was My Valley", and "Poor Boy". CD

A really different record from drummer Joe Farnsworth – a player we always love for a rock-solid approach to his music, but who here is clearly opening up a new chapter in his life – one that really offers a great variation on the sorts of expectations you might have when you see his name on a record! The record's got a gentle flow that's different than the usual Farnsworth drive – with the drummer laying back, and letting some electric elements in the group flow nicely – including the piano and Fender Rhodes of Julius Rodriguez, guitar of Kurt Rosenwinkel, and alto of Immanuel Wilkins – all players we've never heard with Joe before. Bassist Robert Hurst is as rock-solid as always – and titles include a wonderful remake of the spiritual classic "In What Direction Are You Heading", plus "Safe Corners", "Bobby No Bags", "Someday We'll All Be Free", "Filters", "Terra Nova", and "Anyone But You". CD

3 killer CTI classics from Joe Farrell in a 2CD set! Penny Arcade has grooves so sharp you could cut your trousers on them! Farrell's angular reed style is in perfect form here – grooving with a small group that includes Herbie Hancock on piano, Joe Beck on guitar, Steve Gadd on drums, and Don Alias on percussion – a combo that's got a harder, tighter feel than most CTI groups – a key reason why Joe's records of this time are so legendary! Includes a version of Stevie Wonder's "Too High" – one that breaks all over the beginning with these riffs by Farrell, then grooves into a CTI electric funk mode for about 13 minutes. All tracks are long – and other tracks include "Hurricane Jane", "Geo Blue", "Penny Arcade", and "Cloud Cream". Upon This Rock is another massive set from the funky reedman – with a lean, edgy groove to the set that's totally great. One cut features a guest group – with Herbie Hancock on piano, Steve Gadd on drums, and Don Alias on percussion – and the album includes the massively break-heavy title cut "Upon This Rock", plus "Seven Seas", "I Won't Be Back", and "Weathervane". There's nothing canned on Canned Funk – as the sound, style, and groove of the record is as fresh and freaky as the classic image on the cover! The sax lines are as angular as the rhythms – tight, choppy, and completely funky – no wonder the record's a CTI classic that folks have dug for years! Tracks are all nice and long – and titles include "Canned Funk", "Animal", and "Spoken Silence". CD

One of Joe Farrell's first LPs as a leader – and a stellar session that's easily one of the early high points for the legendary CTI label! Farrell had been making some great noise in the underground during the late 60s – but here, he bursts forth as one heck of a soulful cat – working on these great modal grooves that slide out wonderfully and really have a sense of flow – a style that's different than Joe's later material, but equally powerful! Part of the strength of the record comes from the lineup – a key quintet of like-mined up-and-comers that includes Chick Corea on keyboards, John McLaughlin on guitar, Dave Holland on bass, and Jack DeJohnette on drums – players who definitely know the farther reaches of jazz, yet hang just on the inside here with Joe – providing some amazing accompaniment for his lines on soprano, tenor, and flute. Titles include "Molten Glass", "Song Of The Wind", "Motion", "Follow Your Heart", and "Circle In The Square". LP, Vinyl record album

Some of the best work that Louis Hayes and Joe Farrell cut during the 80s – a freewheeling and open session that's steep on soul, and filled with the best energy both players could muster! The group's a quartet, with Farrell on tenor, soprano, and flute, Hayes on drums, Rob Van Den Broeck on piano, and Harry Emmery on bass. Farrell's inventiveness, as always, is incredible – restrained from some of his over-the-top work in the 70s – but in a good way, one that has him really focusing on the construction of his solos, and coming up with some wonderfully soulful notes that hold the lively rhythms of the tunes together. All tracks are long, and titles include "Miles Mode", "Vim N Vigor", "Arab Arab", and "Besame Mucho". LP, Vinyl record album