... CD

... LP, Vinyl record album

With Monty Alexander on piano, Ben Wolfe on bass, and Clyde Lucas on drums – plus special guests Hendrik Meurkens on harmonica and vibes, and Dick Oatts on flute and soprano sax. CD

"Moods" is right – as the album's got a wonderfully dark undercurrent, one that makes it one of the most captivating early Three Sounds albums for Blue Note! Pianist Gene Harris leads a trio that includes Andrew Simpkins on bass and Bill Dowdy on drums – and even though the set list includes a few familiar tunes, the overall pitch of the album makes the music really unique. The group play some sweet renditions of "Love For Sale" and "Green Dolphin Street", plus a great reading of Clifford Brown's "Sandu", which works very well as a piano tune. Also includes the tracks "Loose Walk" and "Tammy's Breeze". CD

A great little 2 CD set – one that features 40 tracks from the heyday of the exotica era – from one of its best proponents! Les Baxter was a supremely talented writer and arranger – one who worked at Capitol for a number of years in the 50s, until he hit upon the style of exotic instrumentation and orchestration that soon became an instant hit. Baxter's work from the time set the tone for countless followers – and this well-done package brings together most of the best tunes from that period. Titles include "Quiet Village", "Simba", "Pool Of Love", "Busy Port", "Spice Islands", "Love Dance", "Safari", "Harem Silks From Bombay", "Lost City", "The Left Arm Of Buddha", and "Mombassa After Midnight". CD

A laidback set of funky instrumentals served up by a combo who mix up organ, guitar, bass, and drums – plus nice use of percussion in all the right moments, which underscores the slight exotica bent they hint at in the title! There's also some slight but great use of electronics – little synth bits that come in as a nice surprise – and give some of these tunes a sinister undercurrent – especially as some of the instrumentation seems informed by soundtrack moments too. Titles include "Skyclad & Summer Moon", "Watching Mr Chubbs", "For K & R", "Flowers For An Elephant's Graveyard", and "Soul Pagan". CD

Oh how we love this one! This killer 2LP set takes one of Mingus' best-ever records, and makes it even better! The original Tijuana Moods album was recorded in 1957 but not released until 1962 – and the record features one of Mingus' strongest groups ever, with Shafi Hadi on alto and Clarence (aka Gene) Shaw on trumpet. If you've ever had any doubts about Mingus, this album will blow your mind! This great double set features original takes and alternate ones for every track on the album, including "Dizzy Moods", "Ysabel's Tabel Dance", and "Tijuana Gift Shop". 10 tracks in all – and one of the best bunches of Mingus you can buy! LP, Vinyl record album

An early session as a leader from trumpeter Blue Mitchell – recorded during his glory years with Horace Silver! Unlike his other records, which usually have him in the company of another horn player, this set's got him carrying the full horn solo load by himself – working in a quartet, and playing in a vein that reminds us of similar Art Farmer quartet sessions from the time. Wynton Kelly's backing him up on piano – in a group that also includes Sam Jones on bass and Roy Brooks on drums. Some of the titles are quite unique too – and include "Avars", "Kinda Vague", "Sir John", and "Sweet Pumpkin". CD

Two Miles albums back to back on one CD! CD

A great Dizzy Gillespie Latin session recorded during the mid 70s – proof that he could still hold onto the cubop spirit of the old days! The session features a larger group arranged and conducted by Chico O'Farril – who manages to keep a solidly Cuban groove at the base, but really let Dizzy open up with some broader horn flourishes at the top. Given the quality of actual Cuban jazz at the time, this set may well beat most of what was going on in Havana – thanks to solid solos from Dizzy, and backings from a group led by Machito, and featuring players who include Mario Bauza, Jorge Dalto, Manny Duran, Mauricio Smith, and Victor Paz. Side one features the extended "Oro, Incienso y Mirra", and side two is a 3-part suite, "Three Afro-Cuban Jazz Moods". CD

... CD

2 Argo Records gems from Ahmad Jamal – back to back on a single CD! Happy Moods is a sprightly set from the Ahmad Jamal Trio – but also a record that's not as brightly colored as you might guess from the title, thanks to a nice undercurrent of darkness in the mix! Jamal's piano work is often nicely punctuated – perhaps living up to the "happy moods" promised on the cover – but the bass work of Israel Crosby and drums by Vernell Fournier are a lot more subtle – magical element that really makes the record sparkle with that unique Jamal-like approach to rhythm. Titles include "For All We Know", "Excerpt From The Blues", "Little Old Lady", "Pavanne", "Time On My Hands", "Raincheck", and "Rhumba No 2". Listen To The Ahmad Jamal Quintet is a nicely expanded take on the Ahmad Jamal sound of the early 60s – one that adds in guitar from Ray Crawford and violin from Joe Kennedy to Jamal's usual trio grooving! The main focus here is often still on the core group – which features Israel Crosby on bass and Vernell Fournier on drums – but the added elements are used sparely to bring in new colors to the tunes, with Kennedy bowing violin lines on most of side one, and Crawford hitting some of his great single-note lines on most of side two. Titles include "Ahmad's Waltz", "Valentina", "Tempo For Two", "Yesterdays", and "Baia". CD

A pretty sweet little solo album by Lonnie Jordan – a key War member during the group's biggest fame. The album lives up to its title, and serves up a number of different musical styles, all with Lonnie on keyboards and vocals – but the best work is the stuff that's still in the War-type groove, those cuts that have a Latiny funk groove, like "Junkie To My Music" and "Nasty", both of which are pretty tasty numbers with a heavy Chicano groove. "Junkie" is especially great – as it's got some very cool keybord soloing over a heavy conga groove, in kind of a nice stoner funk way. Other tracks include "Jungle Dancin", "Grey Rainy Days", and "He Used To Be A Friend Of Mine". LP, Vinyl record album

Sublime harmony soul – and one of THE east coast classics of the early 70s! Skip and group were one of the best vocal groups working on their scene at the time – with a style that's incredibly well crafted, yet also fragile enough to really capture the emotions of the tunes. This first album's a lot less polished than the group's second, and has a rough production style that really makes the whole thing come together nicely – very earnest and honest, as if you were catching these guys serving up the tunes in some out of the way spot. The title cut's a great one, but the whole album's great – filled with obscure tracks that include "I Need Your Love", "Looking Away From My Past", and "We Share Love". Righteous mellow soul – like the best work of the time by the Whatnauts! LP, Vinyl record album

Oh how we love this album – and we think it may well be the best album ever from Charles Mingus! The set was recorded in that magical Mingus year of 1957, but oddly not released until 1962 – missing some of the initial frenzy of his discovery during the Atlantic and Columbia years. But the album's actually a treasure that predates the better-known latter sides – with a sharpness and intensity that Mingus hardly ever matched again! The group is one of his strongest ever – with Shafi Hadi on alto, Clarence Shaw on trumpet, Jimmy Knepper on trombone, and Bill Triglia on piano. There's a slight Latin vibe, as you might expect from the title – but it's very slight overall, and most of the tunes are in that sharply angular, fully expressive style that flowered most strongly for Mingus in the late 50s. There's not a wasted moment of music on the whole album – with tight solos and incredible rhythms that dominate every second of the extended tracks – and titles include "Dizzy Moods", "Flamingo", "Los Mariachis", "Ysabel's Tabel Dance", and "Tijuana Gift Shop". CD also features the amazing bonus track "A Colloquial Dream (aka Scenes In The City)" – an incredible piece of jazz-meets-poetry – with a narrative spoken by Lonnie Eldger, penned by Langston Hughes! CD

An early session as a leader from trumpeter Blue Mitchell – recorded during his glory years with Horace Silver! Unlike his other records, which usually have him in the company of another horn player, this set's got him carrying the full horn solo load by himself – working in a quartet, and playing in a vein that reminds us of similar Art Farmer quartet sessions from the time. Wynton Kelly's backing him up on piano – in a group that also includes Sam Jones on bass and Roy Brooks on drums. Some of the titles are quite unique too – and include "Avars", "Kinda Vague", "Sir John", and "Sweet Pumpkin". LP, Vinyl record album

A mindblowing album from James Moody – of the sort that opens up a whole new facet of his career! The record takes off from Moody's early 60s work for Chess – his post-bop recordings that started displaying a deeper side of his musical consciousness – and which occasionally featured work by composer/arranger Tom McIntosh. McIntosh's presence is felt very strongly here – as he produced the whole session, and contributed a few tracks – working in the Nola Penthouse studios at a level of hipness we never would have expected! Moody plays tenor, alto, and flute – working with a really great group that includes Patti brown on piano, Albert Heath on drums, Reggie Workman on bass, and Thad Jones on trumpet – and the scope of the work is far beyond anything you'd expect! The record's got a stunning early funk track by Edward Bland – "If You Grin You're In", which features a tripped-out organ line mostly just holding one note – while drums pound hard, and Moody blows it over the top – all set to this flattened production that makes the whole thing sound really eerie! Other great tracks include the loping groover "Capers", the wonderfully moody flute number "Wayward Plaint" (written by Dennis Sandole, of the oft-overlooked Sandole Brothers), and the tracks "Em Prean Shore" and "Buster's Last Stand". Tremendous throughout – and completely essential, whether you already like Moody or not! LP, Vinyl record album

The moods of Bud Powell are some plenty darn ones – corners of sound that few other players had explored at this point in time – served up here especially well in the album's gentler numbers, which almost seem like evil doppelgangers to some of the more rote cocktail piano of the 50s! Powell's in tremendous form here – opening up with imagination on each new number, but never losing his sense of soul in styles that are too modern or too stiff. Rhythm is from Art Taylor on drums, and either George Duvivier or Percy Heath on bass – and titles include a great version of the Powell standard "Time Was" – plus the tracks "Buttercup", "Fantasy In Blue", "The Best", and "It Never Entered My Mind". Nice David Stone Martin cover too! CD

An overlooked later Blue Note gem – sweet duets between the vibes of Bobby Hutcherson and piano of McCoy Tyner! CD

A bold musical statement from Mal Waldron – one of his strongest efforts from his European time of the 70s, thanks to some great help from strong hornmen on the set! Half the session features Waldron in introspective solo mode, as recorded often at the time – but the rest of the album features work by a bold sextet that includes Steve Lacy on soprano sax, Terumasa Hino on cornet, and Hermann Breuer on trombone. These group tracks are all quite long, and although free at times, have a focus and energy that's not only uncommon for Waldron in the period – but also for Lacy, who wasn't often working in such a style. Terumasa Hino's horn, as usual, is a strongly punctuating force on the set – and group titles include "Minoat", "Sieg Haile", and "A Case Of Plus 4s". Solo numbers include "Anxiety", "Lonely", and "Happiness" – all quite nice numbers, just a bit gentler and more introspective. LP, Vinyl record album

Includes tracks by Tito Puente, Joe Cuba, Cachao, Bobby Tauneto, and more. CD

Beautiful beautiful work from tenorist Gene Ammons – and an album that really demonstrates that during the 60s, one of Ammons' strongest suits was his work with a mellow tune or ballad! The tracks here are wonderfully laidback, but never sleepy – very soulful, and solidly put together in that Ammons-made gentle-blown way – using just a few notes to send the message out with a powerful punch, without ever overdoing things the way that a few of his tenor contemporaries might be tempted to do! The group's a great fit too – with the lovely Patti Brown on piano, plus bass from George Duvivier and bass from Ed Shaughnessy – and titles include "Two Different Worlds", "Skylark", "Three Little Words", "Street Of Dreams", and "You'd Be So Nice To Come Home To". LP, Vinyl record album

There's definitely many moods here, but the record also features some nice jazzy ones, too – thanks to work by the Ralph Sharon trio, plus guest appearances by Chico Hamilton on drums, Bobby Hackett on cornet, and even Dick Hyman on organ! LP, Vinyl record album

Philip Catherine on guitar, Tom Harrell on flugelhorn and trumpet, Hein Van De Geyn on bass, and special guest Michel Herr on keys. CD

Collection of earlier Miles recordings for Prestige, put together under as a 2LP 70s set, with good notes, and a lot of great material from the days when he was getting longer time for tracks in the studio, and developing a lot more as a player from his earlier sides with Bird and for Blue Note. Players include Sonny Rollins, Charlie Parker, Tommy Flanagan, Walter Bishop, and Paul Chambers – and titles include "Vierd Blues", "Easy Living", "My Old Flame", "Conception", "No Line", "Serpent's Tooth", and "Compulsion". LP, Vinyl record album

The first-ever album from pianist Robert Glasper – the start of a huge legacy in jazz, and an album that has him already finding his own voice as a musician! The sound is fantastic throughout – with a core trio that has Glasper able to carve out all those blocky moments that he does so well – almost like you can really hear him breaking down and rebuilding his own soulful conception of jazz – with help from Bob Hurst on bass and Damion Reid on drums – both well-matched players who really help the album sparkle! There's lots of surprises along the way, too – vocals from Bilal on two cuts, and occasional tenor, either from Marcus Strickland or John Ellis – although the sound of the trio is more than enough. Titles include a stunning reworking of "Maiden Voyage" – and the originals "In Passing", "LNK Blues", "Don't Close Your Eyes", "Lil Tipsy", and "Mood". CD

One of the best small-group sessions recorded by Paul Gonsalves – a session with a clear Ellington orientation, as you'd expect from a lineup that includes Johnny Hodges, Jimmy Jones, Ray Nance, and Oliver Jackson. Tracks have a much more relaxed and open-ended feeling than some of Duke's work – giving Hodges, Nance, and Gonsalves plenty of room to open up on their solos. Titles include "The Lineup", "Chocataw", "DA Blues", and "Way Way Back". CD

Oh how we love this one! This killer 2LP set takes one of Mingus' best-ever records, and makes it even better! The original Tijuana Moods album was recorded in 1957 but not released until 1962 – and the record features one of Mingus' strongest groups ever, with Shafi Hadi on alto and Clarence (aka Gene) Shaw on trumpet. If you've ever had any doubts about Mingus, this album will blow your mind! This great double set features original takes and alternate ones for every track on the album, including "Dizzy Moods", "Ysabel's Tabel Dance", and "Tijuana Gift Shop". 10 tracks in all – and one of the best bunches of Mingus you can buy! CD

Oh how we love this album – and we think it may well be the best album ever from Charles Mingus! The set was recorded in that magical Mingus year of 1957, but oddly not released until 1962 – missing some of the initial frenzy of his discovery during the Atlantic and Columbia years. But the album's actually a treasure that predates the better-known latter sides – with a sharpness and intensity that Mingus hardly ever matched again! The group is one of his strongest ever – with Shafi Hadi on alto, Clarence Shaw on trumpet, Jimmy Knepper on trombone, and Bill Triglia on piano. There's a slight Latin vibe, as you might expect from the title – but it's very slight overall, and most of the tunes are in that sharply angular, fully expressive style that flowered most strongly for Mingus in the late 50s. There's not a wasted moment of music on the whole album – with tight solos and incredible rhythms that dominate every second of the extended tracks – and titles include "Dizzy Moods", "Flamingo", "Los Mariachis", "Ysabel's Tabel Dance", and "Tijuana Gift Shop". CD

An early session as a leader from trumpeter Blue Mitchell – recorded during his glory years with Horace Silver! Unlike his other records, which usually have him in the company of another horn player, this set's got him carrying the full horn solo load by himself – working in a quartet, and playing in a vein that reminds us of similar Art Farmer quartet sessions from the time. Wynton Kelly's backing him up on piano – in a group that also includes Sam Jones on bass and Roy Brooks on drums. Some of the titles are quite unique too – and include "Avars", "Kinda Vague", "Sir John", and "Sweet Pumpkin". CD

Easily the hippest album ever made by pianist Hazel Scott – a rare Debut session cut with Charles Mingus on bass and Max Roach on drums! The notes go out of their way to declare that the Hazel heard here is slightly different than the one better known to crowds from her more popular work on the coast – and the quality of the work more than backs up that fact, presenting Scott in a tinkling ivory mode that's still got some cocktail qualities, but which also has Roach and Mingus pushing her towards more adventurous tones. Titles include "Jeep Is Jumping", "Foggy Day", "Git Up From There", and "Lament". CD

Say what you want, we love this album! When it came out, we were such big Jam fans that we could never forgive Paul Weller – but now, nearly 20 years later, we're stunned at how great some of the soul songs on the album are. Sure, you've got to throw away about half the tracks – because they're silly early 80s bad funk numbers – but the remaining half is way more soulful than you'd remember, with a sweet, sincere, compressed sound that's made all the better by jazzy touches from Mick Talbot and Steve White. Includes the classics "My Ever Changing Moods", "You're The Best Thing", "Blue Cafe", "Paris Match", and "A Solid Bond In Your Heart". LP, Vinyl record album

Two early 60s albums from trumpeter Clark Terry – with Budd Johnson on tenor, Eddie Costa on piano and vibes, and George Barrow on baritone! CD

"Moods" is right – as the album's got a wonderfully dark undercurrent, one that makes it one of the most captivating early Three Sounds albums for Blue Note! Pianist Gene Harris leads a trio that includes Andrew Simpkins on bass and Bill Dowdy on drums – and even though the set list includes a few familiar tunes, the overall pitch of the album makes the music really unique. The group play some sweet renditions of "Love For Sale" and "Green Dolphin Street", plus a great reading of Clifford Brown's "Sandu", which works very well as a piano tune. Also includes the tracks "Loose Walk" and "Tammy's Breeze". CD

Tracks from A Guy Called Gerald, Rhythim Is Rhythim, Phuture, Tyree, Last Rhythm, Jam & Spoon, The Sabres Of Paradise, Sueno Latino, Divine Works, D*Note, Orbital, Electra, and more. CD

Titles include "Someday My Prince Will Come", "Pennies From Heaven", "Gone With The Wind", "Stange Meadow Lark", "I Feel Pretty", "Audrey", and "Take Five". CD

An odd little session for Miles Davis – playing here with a great group, but one that's made up of musicians who are all uncommon sidemen for him, even at this early point in his career! Britt Woodman (a nom-du-date?) is on trombone, and Charles Mingus and Elvin Jones are in the rhythm section – plus Teddy Charles' vibes where you might expect a piano. As you might guess from the title and instrumentation, the set has more to do with Miles' more contemplative explorations of the time – his "blue moods" – than his more upbeat boppish styles, but that's where Charles' vibes come in and really make the set a great one. The group runs through a nice set of laidback, cool renditions of the tunes "Nature Boy", "Alone Together", "There's No You" and "Easy Living" – all done in nice longer takes! LP, Vinyl record album

Oh how we love this album – and we think it may well be the best album ever from Charles Mingus! The set was recorded in that magical Mingus year of 1957, but oddly not released until 1962 – missing some of the initial frenzy of his discovery during the Atlantic and Columbia years. But the album's actually a treasure that predates the better-known latter sides – with a sharpness and intensity that Mingus hardly ever matched again! The group is one of his strongest ever – with Shafi Hadi on alto, Clarence Shaw on trumpet, Jimmy Knepper on trombone, and Bill Triglia on piano. There's a slight Latin vibe, as you might expect from the title – but it's very slight overall, and most of the tunes are in that sharply angular, fully expressive style that flowered most strongly for Mingus in the late 50s. There's not a wasted moment of music on the whole album – with tight solos and incredible rhythms that dominate every second of the extended tracks – and titles include "Dizzy Moods", "Flamingo", "Los Mariachis", "Ysabel's Tabel Dance", and "Tijuana Gift Shop". CD

... CD

One of the all-time great ones by Ben Webster! The album was recorded near the end of Webster's all-too-short time on this planet – at a point when he had really perfected a sorrowful tone on tenor, and a strangely sinister approach to ballads – one that gave even familiar tunes an unusual edge. The great Johnny Richards handled backings for the set – in a mode that uses light strings in the background, and which lets the solos step right out front – in a style that rivals the great work of Ralph Burns for Verve's classic "with strings" albums. But the real strength here is Webster's tone, which is fantastic – as you'll hear on titles like "Stella By Starlight", "Nancy", "It's Easy To Remember", and "Accent On Youth". LP, Vinyl record album

18 tracks from Xavier Osmir, Simao Morto, Grupo Cabana, Paula Santoro, Gustavo Marques, Paula Santoro & Hugh Burns, and Simao Morto. CD

A great reissue that pairs together 2 obscure west coast sides from the 50s – both of them featuring some of the scene's best players, caught in a very different setting! The first 6 tracks on the set are from a 10" LP that originally appeared on the Skylark label under the leadership of drummer George Redman. Redman's playing and leadership are fine, but the real strength of the set is its work by Bob Gordon on tenor sax and Herbie Harper on trombone – coming together here beautifully in the deft style used often on the Nocturne recordings by both players. Titles include "Babette", "Sonny Boy", "Moer Blues", "Slow Mood", and "Just George". The remaining 5 tracks on the set are from Reflections In Jazz – an even hipper set led by Bob Enevoldsen on both valve trombone and tenor – and featuring Marty Paich on piano and accordion, Larry Bunker on vibes, and Red Mitchell on bass. Enevoldsen's work on the valve trombone is really great here – as well-spaced and timed as that of Bob Brookmeyer in the period – but also given some interesting inflections, due to the use of vibes and accordion, which seem to bring out even more harmonics in the session. Titles include "Topsy", "Loaded With Bass", "Iron Works", "Blues & Rhythm", and "Don't Be That Way". CD

One of the most beautiful records to come out of the early 70s – a tremendous indie effort from a young Weldon Irvine! Irvine put this album together as sort of a musical "time capsule" of his generation – an effort to capture the era's thoughts, feelings, and emotions through a mix of music, vocals, and a few spoken bits – all woven together in a way that changes moods nicely, but always keeps the same righteously spiritual vibe! Weldon plays keys that are both electric and acoustic throughout – and he's joined by a very hip batch of players who include Jimmy Owens, Lenny White, Alex Blake, George Cables, and others – all working here in a very rough-edged and soulful mode. Titles include the classic break track "Bananas", the sweet vocal number "Deja Vu",and the soul classic "Feelin' Mellow" – also covered by Fatback Band, but even better here in the original! Other tracks include "Soul Sisters", "Watergate Don't Bug Me", "Spontaneous Interaction", and "I Am". CD

One of the most beautiful records to come out of the early 70s – a tremendous indie effort from a young Weldon Irvine! Irvine put this album together as sort of a musical "time capsule" of his generation – an effort to capture the era's thoughts, feelings, and emotions through a mix of music, vocals, and a few spoken bits – all woven together in a way that changes moods nicely, but always keeps the same righteously spiritual vibe! Weldon plays keys that are both electric and acoustic throughout – and he's joined by a very hip batch of players who include Jimmy Owens, Lenny White, Alex Blake, George Cables, and others – all working here in a very rough-edged and soulful mode. Titles include the classic break track "Bananas", the sweet vocal number "Deja Vu",and the soul classic "Feelin' Mellow" – also covered by Fatback Band, but even better here in the original! Other tracks include "Soul Sisters", "Watergate Don't Bug Me", "Spontaneous Interaction", and "I Am". LP, Vinyl record album

Really fantastic music from pianist Ahmad Jamal – a set of tracks that's a really nice change from some of the recordings he was doing for Chess Records in the early 60s, and which definitely point the way towards the more stretched-out performances to come on Impulse Records! As the title implies, the setting is live – and Jamal really stretches out here on a number of tunes – working with a free-flowing sense of lyrical beauty that's even more stunning than in the shorter space of a studio cut – really skilled with that ear for tone and timing that made his work such a fresh voice on the piano scene at the time, and a subtle hint at righteous modes to come in the following generation. Chuck Lampkin is on drums throughout, and one set features Richard Evans on bass, the other Jamil Nasser – on long takes of "Bogota", "Minor Adjustments", "All Of You", "Squatty Roo", "Keep On Keeping On", "Minor Moods", "Lollipops & Roses", "Tangerine", and "But Not For Me". CD

A really wonderful Quincy Jones soundtrack from the end of the 60s – and one that's a bit different than some of his other work of the decade! The film's a very cool British heist story, with Michael Caine in the lead – and while Quincy brings in plenty of the jazz of his background, there's also some warm elements that feel like some of the best British sound library material of the period – particularly in the use of electric bass on some of the more open, airy numbers – creating this great stepping vibe and subtle groove amidst the changing moods of the music! The title song is the great "On Days Like These" – sung at first by Matt Monro, then done in an instrumental version – and other titles include "It's Caper Time", "Greensleeves & All That Jazz", "Getta Bloomin' Move On", and "Somethings Cookin". CD

One of the hippest 70s albums you could hope to find by Sheila Jordan – originally recorded for the East West label in Japan! The set features Sheila singing with a small group that includes Norman Marnell on tenor, Alan Pasqua on piano, Cameron Brown on bass, and Beaver Harris on drums – and their mix of styles and directions gives the album a wide range of moods that aptly fits Sheila's enigmatic selection of tunes. The album features a slightly funky reading of the cut "Pearlie's Swine", which begins with a beautiful bassline from Brown – plus the tracks "Because We're Kids", "My Favorite Things", "Confirmation", "Why Was I Born", and "Inch Worm". CD

A pretty nice little soundtrack from a period when Columbia was sneaking out some great material in the genre! The album features tracks by Kaplan that run through a variety of moods – some are orchestral and dramatic, but there's also some good groovy numbers too – a few nice, almost bossa-inflected tunes of the type that we love to dig through 60s soundtracks for. Titles include "Cold Love", "The Beatch", "The Amphitheater", "Young Lovers", and "Bull Fight". LP, Vinyl record album

Heavenly piano from Anita Kerr – recorded in a warm, wonderful studio setting! Titles include "Night Beach", "Happy Cat", "Popcatepetl", "The Ever Constant Sea", and "Two Moods". LP, Vinyl record album

Damn wonderful solo work from Chaka Khan – a record that holds onto all the best funky elements of her 70s music with Rufus – but also finds a way to put the lady even more strongly out front! There's maybe a bit more of a clubby vibe here than before, but never in a cheesy or commercial way – as the mighty Arif Mardin is at the production helm, and arguably does an even better job with Chaka than on his classic productions for Aretha Franklin! The vocals soar out beautifully, but the grooves are every bit as great – with these warm jazzy touches that make the album instantly seductive – and a level of sophistication that's kept this one strong for many many years. Titles include the wonderful stepper "Any Old Sunday", plus "We Got Each Other", "We Can Work It Out", "Night Moods", "What Cha Gonna Do For Me", and "Father He Said" – plus "I Know You, I Live You", a big Chicago house cut from the old days. CD

A never-issued live set from spiritual reed genius Yusef Lateef – one that was recorded during the years he was recording for Atlantic Records, but with a nicely different vibe! The tracks are all long, loose, and very open – Yusef blowing tenor, soprano sax, and flute – shifting the moods and tones has he can do so well, with some gentle modal and spiritual currents – qualities that are really emphasized by the piano of Kenny Barron, who's a key member of the group here – and also gets plenty of space to stretch out on solos on the very long tracks. Albert Tootie Heath is in the group on drums – although on one track, he blows Indian flute, in just a duet with bassist Bob Cunningham, who's the fourth member of the group. Barron duets with Yusef on flute on the title "A Flower", and the Cunningham/Heath duet is titled "Lowland Lullaby" – while all others are quartet numbers, and include "The Untitled", "Eboness", "Yusef's Mood", "Inside Atlantis", and "I'm Getting Sentimental Over You". CD

Supremely soulful modern jazz from the great Booker Little – one of his best albums ever as a leader, and a real standout moment amidst so many of the re-titled sessions that came out after his early death! The album's got a tremendous feel from the very first note – a furthering of the modernism that Little forged with Max Roach and Eric Dolphy – but stated more strongly in his own voice as a leader and composer – a bold jazz vision that makes us miss his talents even more strongly than before! The group here is the stuff of legends – with Dolphy on alto, bass clarinet, and flute – plus Don Friedman on piano, Julian Priester on trombone, Ron Carter or Art Davis on bass, and Max Roach on drums, tympani, and vibes! Titles are all original compositions by Little – and include "We Speak", "Strength & Sanity", "Quiet, Please", "Hazy Hues", and "Moods In Free Time". CD

Supremely soulful modern jazz from the great Booker Little – one of his best albums ever as a leader, and a real standout moment amidst so many of the re-titled sessions that came out after his early death! The album's got a tremendous feel from the very first note – a furthering of the modernism that Little forged with Max Roach and Eric Dolphy – but stated more strongly in his own voice as a leader and composer – a bold jazz vision that makes us miss his talents even more strongly than before! The group here is the stuff of legends – with Dolphy on alto, bass clarinet, and flute – plus Don Friedman on piano, Julian Priester on trombone, Ron Carter or Art Davis on bass, and Max Roach on drums, tympani, and vibes! Titles are all original compositions by Little – and include "We Speak", "Strength & Sanity", "Quiet, Please", "Hazy Hues", and "Moods In Free Time". LP, Vinyl record album

Supremely soulful modern jazz from the great Booker Little – one of his best albums ever as a leader, and a real standout moment amidst so many of the re-titled sessions that came out after his early death! The album's got a tremendous feel from the very first note – a furthering of the modernism that Little forged with Max Roach and Eric Dolphy – but stated more strongly in his own voice as a leader and composer – a bold jazz vision that makes us miss his talents even more strongly than before! The group here is the stuff of legends – with Dolphy on alto, bass clarinet, and flute – plus Don Friedman on piano, Julian Priester on trombone, Ron Carter or Art Davis on bass, and Max Roach on drums, tympani, and vibes! Titles are all original compositions by Little – and include "We Speak", "Strength & Sanity", "Quiet, Please", "Hazy Hues", and "Moods In Free Time". LP, Vinyl record album

One of the most brilliant moments of genius from Paul McCartney & Wings – and a set that has Paul working with the group in perfect album formation – able to craft enough songs that became hit singles, yet also fit the whole thing together in a superb sonic reality that made the whole thing even more wonderful as a full length record! The shift of moods, tones, and sounds are as varied as the choice of celebrities appearing with the group on the cover – and the interplay between Paul, Linda, and Denny Laine has really hit its stride – on titles that include one of our all-time Wings favorites, "Nineteen Hundred Eighty Five" – plus "Band On The Run", "Bluebird", "Jet", "Mrs Vanderbilt", "Let Me Roll It", "Mamunia", "No Words", and "Picasso's Last Words (Drink To Me)". LP, Vinyl record album

One of the most brilliant moments of genius from Paul McCartney & Wings – and a set that has Paul working with the group in perfect album formation – able to craft enough songs that became hit singles, yet also fit the whole thing together in a superb sonic reality that made the whole thing even more wonderful as a full length record! The shift of moods, tones, and sounds are as varied as the choice of celebrities appearing with the group on the cover – and the interplay between Paul, Linda, and Denny Laine has really hit its stride – on titles that include one of our all-time Wings favorites, "Nineteen Hundred Eighty Five" – plus "Band On The Run", "Bluebird", "Jet", "Mrs Vanderbilt", "Let Me Roll It", "Mamunia", "No Words", and "Picasso's Last Words (Drink To Me)". 2CD version features the original 10 track US version of the album on CD1 – then CD2 features unreleased rough mix versions of 9 tracks from the record! 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

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". CD

A fantastic album – one of our favorite-ever records from Charles Mingus! The album was recorded in the same breath as his legendary works Tijuana Moods, The Clown, and Pithecanthropus Erectus – and it features the same sort of fire and emotion that made those classics so great. The group alone is amazing – with Horace Parlan on piano, Shafi Hadi on alto and tenor, Jimmy Knepper on trombone, and the amazing Clarence (aka Gene) Shaw on trumpet – all getting plenty of room to open up on the album's longer tracks! The work bristles with a sense of imagination and dark energy that Mingus hardly had in his music in later years – and each new tune brings a fresh sense of vision that never fails to astound us! In keeping with the "poetry" title, the album begins with an incredible 12 minute track "Scenes in the City" – which features a long spoken bit written by Langston Hughes about one man's love of jazz and the way that it affects his life in the city – all supported with excellent instrumentation from the group. Other titles are instrumental, and include "Nouroog", "New York Sketchbook", "Slippers", and "Duke's Choice". CD also features 3 bonus tracks – "Woody N You", "Billie's Bounce", and an alternate take of "Slippers". CD

A fantastic album – one of our favorite-ever records from Charles Mingus! The album was recorded in the same breath as his legendary works Tijuana Moods, The Clown, and Pithecanthropus Erectus – and it features the same sort of fire and emotion that made those classics so great. The group alone is amazing – with Horace Parlan on piano, Shafi Hadi on alto and tenor, Jimmy Knepper on trombone, and the amazing Clarence (aka Gene) Shaw on trumpet – all getting plenty of room to open up on the album's longer tracks! The work bristles with a sense of imagination and dark energy that Mingus hardly had in his music in later years – and each new tune brings a fresh sense of vision that never fails to astound us! In keeping with the "poetry" title, the album begins with an incredible 12 minute track "Scenes in the City" – which features a long spoken bit written by Langston Hughes about one man's love of jazz and the way that it affects his life in the city – all supported with excellent instrumentation from the group. Other titles are instrumental, and include "Nouroog", "New York Sketchbook", "Slippers", and "Duke's Choice". LP, Vinyl record album