Stunning early work from Egberto Gismonti – a really complex little record, and quite different than some of his better-known work as a spare acoustic soloist! Gismonti here is at the helm of a rich array of sounds – at one level, a soulful approach to MPB that rivals the best of Milton Nascimento in the 70s – but at another, filled with sharp changes and complicated arrangements that really move past any easy labels! There's a sense of surprise that really keeps things striking throughout – an avant piano line here, full soaring vocal there, funky electro riff the next moment, and a sensitive jazz solo at another point – always interwoven in ways that make complete sense – even amidst the rich array of sounds and colors. Titles include "Raga", "Baiao Malandro", "Cafe", "Educao Sentimental", "Bodas De Prata", "Critiana", and "As Primaveras". LP, Vinyl record album

A double-length collection of work from the Chico Hamilton and his famous cellist Fred Katz – two albums from the 50s, back to back on a single CD! First up is Zen, issued under Katz's name for Pacific Jazz – recorded at the time when he was the cello player in Chico Hamilton's groundbreaking late 50s group! The tunes are distinctly more modern than even his work with Chico – and are played by Hamilton-esque players that include Paul Horn or Harry Klee on flute and saxes, Carson Smith on bass, John Pisano on guitar, and Chico himself on drums and tympani. There's some added strings and woodwinds on a number of tracks, and the tunes move between 50s chamber jazz and 50s chamber modern – with titles that include "Montuna", "Katz Up", "Loma", "Pluck It", "Lord Randall", and "Suite For Horn". Next up is the Chico Hamilton Quintet album for Pacific Jazz, a classic from the west coast scene of the 50s – recorded in 1956 at the Forum Theater in Los Angeles – with a lineup that features Hamilton on drums, Paul Horn on alto and tenor sax and clarinet, John Pisano on guitar, Fred Katz on cello and Carson Smith on bass. The work's very much in Hamilton's best sprightly chamber jazz mode – with some great originals that include "Chanel #5", "Mr. Jo Jones", and "Reflections" – plus Hamilton-ized versions of "Satin Doll", "Caravan", "Siete-Cuatro", "I Know", and "Lillian". CD

A record that really marks the sophisticated transformation of the Meshell Ndegeocello sound – a move from the more straightforward soul of her earlier releases, to the complicated mix of sounds that's almost made her a genre unto herself! Throughout the years, Meshell has been as much an instrumentalist as a singer – and that quality really comes through here in charts that use gentle strings and darker currents next to the midtempo rhythms of the tracks – really enriching the sound while the singer opens up with more honesty and personal energy than ever before! The whole thing works wonderfully together as a really unified suite of tracks – on titles that include "Bitter", "Satisfy", "Fool Of Me", "May This Be Love", "Sincerity", "Wasted Time", "Eve", "Grace", "Loyalty", and "Adam". Features bonus instrumental and alternate tracks! CD

2LP set that brings together 2 (then) unreleased sessions recorded by Sam Rivers for Blue Note during the mid 60s! The first album was later issued as Dimensions & Extensions – and features Sam Rivers starting to stretch out and get kind of free in a bit of a Blue Note late 60s New Thing mode, but still hanging back from the freer side he'd explore on later recordings for Impulse. James Spaulding, Donald Byrd, Julian Priester, and Cecil McBee are in the larger piano-less band which Rivers would later move away from as he started playing in more trio and small group settings. 6 tracks in all: "Precis", "Paean", "Effusive Melange", "Involution", "Afflatus" and "Helix". Next up is extremely dark material recorded by Andrew Hill as a leader, but featuring Rivers on tenor – a quartet date that's filled with jagged edges and bold fragments of sound! There's a really strong new thing vibe going on here – at a level that matches the brilliance of Hill's Smokestack album, but which is perhaps even better, given Rivers' sharp lines on tenor! As with many of the best Blue Note sets in this mode, the bass and drums almost get equal space with the main solo instruments – so that the percussion of JC Moses and bass of Walter Booker often hang out in space, shaping the sound of the record on their own, as all players contribute equally to the structure of the songs. Hill wrote all the numbers on the set, and titles include "Violence", "Pain", "Illusion", "Hope", "Lust", and "Desire". LP, Vinyl record album

A set that's filled with some of the most evocative work ever recorded by the KPM sound library in the 70s – music that goes beyond just familiar funk to move into territory that resonates with some of the most sonically seductive styles of the Italian soundtrack scene of the period! The arrangements are superb, and although there's definitely plenty of funk gems on the record, the real appeal comes more from the way that other, larger elements are used next to the grooves – all with a style that just keeps on getting better and better as the album moves on! Tracks include "Phenomena" by David Gold, "Infinite Expanse" by Johnny Scott, "Gliding Through Clouds" by Steve Gray, "Cubist Pictures" by Neil Richardson, "Metamorphosis" by John Fiddy, "Paradise Island" by David Gold and Gordon Reese, and "Image" by Brian Bennett. LP, Vinyl record album

Perhaps one of the straightest albums that Lorez ever cut – but still pretty darn great! She's got a unique voice that's capable of being fairly smooth and mainstream, yet still manages to hit these wonderful soulful passages that transform any kind of material and makes it her own. That's definitely the case in this set, which features mostly standards (done with a "touch of jazz"), but which also move past the regular vocal jazz album of the time. There's a lot of deep soul in the best cuts – and titles include "Better Luck Next Time", "Long Ago & Far Away", "Then I'll Be Tired Of You", and "Lush Life". CD

The solo debut of Eric Boss – a singer you might know as part of the duo of Myron & E – who gave us some great harmony soul records on Stones Throw and Timmion! Here, Eric is a much straighter soul singer overall – working with a sharp funky punch in the backings, with plenty of Mighty Mocambo help that you'd guess from the record's placement on their label! Tunes move nicely between 60s and 70s funky soul modes, but often with a more complex, contemporary vibe on the rhythms – and although the set features guest work from Gizelle Smith and Gift Of Gab, Eric hardly needs any help to make a strong statement on his own. Titles include "Bad Luck", "Closer To The Spirit", "I Wanna Ride", "Spiders", "Get Next To You", "Forward", "Merry Jane", and "Your Life Is Up To You". CD features the bonus track "The Turning Point" – with Ishtar. CD

A massive package of work from the mighty Kool & The Gang – 6 full albums from the 80s, served up here in a 3CD set! First up is Ladies Night – a shameless dancefloor cash-in move – but a record that's still pretty darn great as well! You all know the big title cut "Ladies Night", so we won't bother to describe it – but we can say that the group wisely hooked up with Deodato, who produced, mixed, and even played keyboards on the album. Deodato keeps a nice jazzy punch in the tracks, while still moving towards the slickly produced funk sound that was the group's main approach at the time of the record. JT Taylor's on vocals, and the album's even got a few mellow cuts – like the crossover easy number "Too Hot" – amidst the midtempo 80s grooves that really step out and make the whole thing move. Other tracks include "Ladies Night", "Hangin Out", "Tonight's The Night", "If You Feel Like Dancin", and "Got You Into My Life". The next album is Something Special indeed – as the album was one of the biggest hits for Kool & The Gang, and showed that the group still had plenty of energy left to groove into the 80s! The record features production work by Brazilian music maestro Eumir Deodato – who by this point had become a sweet and smooth talent with a real flair for putting over a modern soul groove! Deodato's approach is really great – smooth, yet soulful, without any tricks or gimmicks – and a real appreciation for lead vocals and a catchy little hook! The album features the group's party classic "Get Down On It", plus "Steppin Out", "No Show", "Pass It On", "Be My Lady", "Take My Heart", and "Good Time Tonight". As One is solid 80s grooving from Kool & The Gang – a group who inspired so many others in the early 80s soul generation, but who could still do it better than most of the rest! The style here is tight and smooth, but never too slick – and Deodato's giving the group some really great production for the album – helping them to focus their energy and soar soulfully, but without resorting to any stiff gimmicks or cliches! There's a great groove running through most of the numbers here – a confident quality that's never too commercial, and which bubbles along nicely throughout. Titles include "Street Kids", "Big Fun", "As One", "Hi De Hi Hi De Ho", "Let's Go Dancin", and "Pretty Baby". In The Heart is a sweet set that's part of a big early 80s run from Kool & The Gang – a time that saw the funk legends really hitting the mainstream, and winning over a huge new audience in the process! Given that the Gang virtually invented ensemble funk at the start of the 70s, they're perfectly poised here to move into modes that so many of their younger competition were trying – but never did so well – that blend of 80s elements and more sharply-fused funk instrumentation, all honed down into a tightly snapping groove. The real surprise, though, is the group's growing ability for ballads – which put records like this into hands of folks who never would have dug their funk a few years before. And while we might have had a few problems with that shift at the time, the passage of years has got the whole thing sounding pretty darn great to our ears – especially in comparison to so much weaker work from the time. Titles include "In The Heart", "Joanna", "Tonight", "Straight Ahead", "September Love", "You Can Do It", and "Home Is Where The Heart Is". Last up is Emergency – one of the key classics from the second chapter of the group – when their lineup and sound were a lot leaner than before, and they managed to cross over big to a much wider audience than before! The upbeat cuts show that the group were still kings of the funky dancefloor – and the mellower ones are equally great too – showing a rising ballad style that proved to be the group's big crossover card at the time – a way of putting over a laidback track, but with plenty of soul. This approach is heard to great effect on the album's great single "Cherish" – and other tracks include "Bad Woman", "Surrender", "Emergency", "Misled", "Fresh", and "You Are The One". CD

A European disco world that's ripe for rediscovery – one that's much more obscure than better-known club work from Germany, France, and Italy – but which may well be even groovier than the work from those three scenes! The package is a great complement to some of the funk and jazz sets on the Sdban label – and like those, it really digs deep – to uncover a vast array of music from the small nation – which was clearly a hotbed of groovy activity in the 70s, at a level that none of us realized at the time! The tunes here mix together funk and pop, soul and disco – all in ways that criss-cross strongly with more familiar modes of the period – but often have an offbeat quality, and sometimes a surprising sense of humor that comes through in the mostly English lyrics in the lead. 2CD set features 30 tracks – and titles include "Ethereo Disco" by R Roland, "King Kong" by Carl Watson, "Baby Won't You Turn Me On" by Charles Watson, "Sexy" by Lovedream, "La Gomme" by L2, "Cool & Get Up" by Quartz, "I'm Free" by Steve, "Groovin To The Music" by Flame, "Queen To The Pharoah" by Marianne, "Feel So Glad" by Dan Davis, "Ivro De Vie" by Kevin Moraine, "Be My Love Tonight" by CC Band, "Strange How You Move" by Venus, and "Bubblegum" by Bubble. CD

A European disco world that's ripe for rediscovery – one that's much more obscure than better-known club work from Germany, France, and Italy – but which may well be even groovier than the work from those three scenes! The package is a great complement to some of the funk and jazz sets on the Sdban label – and like those, it really digs deep – to uncover a vast array of music from the small nation – which was clearly a hotbed of groovy activity in the 70s, at a level that none of us realized at the time! The tunes here mix together funk and pop, soul and disco – all in ways that criss-cross strongly with more familiar modes of the period – but often have an offbeat quality, and sometimes a surprising sense of humor that comes through in the mostly English lyrics in the lead. Part 1 of the vinyl series features 16 tracks – and titles include "Ethereo Disco" by R Roland, "King Kong" by Carl Watson, "Baby Won't You Turn Me On" by Charles Watson, "Sexy" by Lovedream, "La Gomme" by L2, "Cool & Get Up" by Quartz, "I'm Free" by Steve, "Groovin To The Music" by Flame, "Queen To The Pharoah" by Marianne, "Feel So Glad" by Dan Davis, "Ivro De Vie" by Kevin Moraine, "Be My Love Tonight" by CC Band, "Strange How You Move" by Venus, and "Bubblegum" by Bubble. LP, Vinyl record album

A set of unreleased improvisations between these two fantastic free jazz musicians – intended as a session in which, according to Paal Nilssen-Love, "we agreed to bring all the metal we could bring"! That means that Peter Brotzmann is blowing a wide variety of reed instruments, and Paal is handling lots of percussion and gongs next to his drums – yet all elements are used in these very spare styles, almost more loft jazz than you'd guess from the legacy of intensity from both of the musicians – which makes for yet another great late life surprise in the final years of Brotzmann – proof that he never stopped reinventing and opening doors to new avenues of creation! Titles include "Dancing Octopus", "Move On Over", "South Of No Return", "Butterfly Mushroom", "Found The Cabin But No People", and "Five Of Them Survived The Dream". LP, Vinyl record album

Sublime early work from the legendary Tal Farlow – the kind of sides that show by he was one of the most important jazz guitarists of the 50s! The bulk of the 2CD set features LA sessions recorded for Norman Granz during Farlow's early years at Verve – dates from 1954 and 1955 that often feature Tal's hollow body guitar right out front in the mix, over backing from Gerald Wiggins, Claude Williamson, Red Mitchell, Chico Hamilton, and others. One session features some added horn work by Bob Enelvoldsen, Bill Perkins, and Bob Gordon – and the package features 29 mid 50s titles that include "Tal's Blues", "Little Girl Blue", "Autumn In New York", "I Like To Recognize The Tune", "I Remember You", "It's You Or No One", "Tenderly", "Lullaby Of The Leaves", "Tea For Two", "This Is Always", "Walkin", "Will You Still Be Mine", and "Lorinesque". Added to these are a handful of earlier tunes recorded when Tal was in the Red Norvo trio – really beautiful work that features Farlow's guitar next to bass from Charles Mingus and vibes from Red! Titles include "Godchild", "This Can't Be Love", "Move", "Swedish Pastry", and "Cheek To Cheek". CD

There's no suffering here – as the record's a real delight, and one of the more unique sessions in the career of the great John Lee Hooker! The record was done for Impulse Records, mostly known for its jazz recordings at the time – and the session has the vocals and guitar of John Lee next to a trio of more jazz-based players, one that features Barry Galbraith on guitar, Milt Hinton on bass, and Panama Francis on drums – who somehow do a fantastic job of backing Hooker up! The set has a beautiful recording quality – very crisp and clear, yet never polished – and the work of the other players is incredible, as they really move into John Lee's mode, and somehow have him shining even more strongly than on some of his other albums from the time. This isn't a folk blues set done by a jazz label – and instead, the best of Impulse is used to give Hooker a fantastic showcase – on titles that include "Bottle Up & Go", "Sugar Mama", "Decoration Day", "You're Wrong", and a good cover of "Money". LP, Vinyl record album

The crowning achievement of the legendary Keith Hudson – a landmark album of instrumental dub that started out in very small circulation, but soon grew to become one of the most important albums of the genre! The sound here is spare, stark, and simple – but in the best way possible – as Hudson takes the music right down to its core, yet seems to create even more powerful flow in the process – revising the 60s Jamaican love of American soul into a more cosmic mode for the next decade – but all with a raw approach that makes each element come across with a great deal of focus. Titles include "Black Heart", "Pick A Dub", "Don't Move", "Blood Brother", "Michael Talbot Affair", "In The Rain", and "Satia". LP, Vinyl record album

One of the most wonderfully lyrical records ever cut for Blue Note – and a shimmering early showcase for the genius of trumpeter Thad Jones! Jones is maybe best remembered for his work in bigger groups, but at the start of his career he's a lyrical genius – as you'll hear on this sublime session that also features tremendous tenor from Billy Mitchell – a player who was also often lost in larger groups, but who really shines wonderfully here next to Thad! The pair are perfect together, and move seamlessly through the session, trading solos with incomparable ease – yet never getting too perfect, and never lacking the humanity that makes a record like this so great. Barry Harris plays some wonderful piano – and the tracks include "If I Love Again", "Thedia", "If Someone Had Told Me", and "April In Paris". CD features 2 bonus tracks – "I've Got A Crush On You" and "Something To Remember You By". CD

One of the most wonderfully lyrical records ever cut for Blue Note – and a shimmering early showcase for the genius of trumpeter Thad Jones! Jones is maybe best remembered for his work in bigger groups, but at the start of his career he's a lyrical genius – as you'll hear on this sublime session that also features tremendous tenor from Billy Mitchell – a player who was also often lost in larger groups, but who really shines wonderfully here next to Thad! The pair are perfect together, and move seamlessly through the session, trading solos with incomparable ease – yet never getting too perfect, and never lacking the humanity that makes a record like this so great. Barry Harris plays some wonderful piano – and the tracks include "If I Love Again", "Thedia", "If Someone Had Told Me", and "April In Paris". CD

A killer set from Master's Apprentices – one of those obscure groups from the start of the 70s who managed to get top-shelf treatment in the studio, and used it to create a mini-masterpiece like this! The group were no strangers to recording by the time of the set – they'd had a hit back home in Australia in the late 60s, and a few other albums under their belt – so it's clear that they knew what they really wanted to get out of their chance to record at Abbey Road, by making a record that's got all these great sonic elements that don't just come from the instrumentation and vocals – but from the way the whole thing is put together! Vocals are flanged out nicely next to the guitars – almost with a quality like The Move, but maybe a bit more hard-rocking at times – and often very tuneful too, such that there's enough gems on the record that the whole thing really should have been a hit and continuing classic from the period. Titles include "The Lesson So Listen", "Answer Lies Beyond", "Beneath The Sun", "Games We Play", "Melodies Of St Kilda", and "Southern Cross". 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

A definite conversation starter from tenorist Willie Morris – a rich-voiced player who steps out here in a set of mostly original material that really knocks things out of the park! Willie's got this way of wrapping his horn next to the alto of Patrick Cornelius – as the pair move things past conventional hardbop, maybe in the way that Hank Mobley or Lee Morgan were doing at Blue Note near the end of the 60s, but with a more conventional vibe as well – one that picks up plenty of energy from the rest of the group – Jon Davis on piano, Adi Meyerson on bass, and Ej Strickland on drums! There's a soaring, soulful quality to the whole thing that's wonderful – a shining moment from a leader we'll be watching in years to come – served up on titles that include "Keep Talking", "Azar", "Tina's Dream", "St Upton Hin", and "Cries", and "The Strength Of Those Who Bear The Burden". CD

A nice little set for Sister Sledge – their first post Nile Rodgers album of the 80s – with production this time out by Narada Michael Walden – with a crisp, uptempo vibe the does a great job of balancing the righteous post disco club groove with the sing-a-long chorus vocals and catchier compositions that made the Sisters famous! Narada doesn't stray too far from the Chic-styled sound of the previous couple of records – with some really catchy songs that hint at the cleaner pop sound of later records with retaining the dancefloor groove. Sweet stuff from Sister Sledge! The sequencing of the record is top notch, each track floating into the next, with the tunes "All American Girls", "He's Just A Runaway", "If You Really Want Me", "Next Time You'll Know", "Happy Feeling", "Ooh, You Caught My Heart", "Make A Move", "Don't You Let Me Lose It", "Mais Makes Me Feel Good" and "I Don't Want To Say Goodbye". LP, Vinyl record album

A set of unreleased improvisations between these two fantastic free jazz musicians – intended as a session in which, according to Paal Nilssen-Love, "we agreed to bring all the metal we could bring"! That means that Peter Brotzmann is blowing a wide variety of reed instruments, and Paal is handling lots of percussion and gongs next to his drums – yet all elements are used in these very spare styles, almost more loft jazz than you'd guess from the legacy of intensity from both of the musicians – which makes for yet another great late life surprise in the final years of Brotzmann – proof that he never stopped reinventing and opening doors to new avenues of creation! Titles include "Dancing Octopus", "Move On Over", "South Of No Return", "Butterfly Mushroom", "Found The Cabin But No People", and "Five Of Them Survived The Dream". CD

Great work by The Heath Brothers – a lot slicker and smoother than their earlier album for Strata East, but still filled with a soulful jazzy approach that befits their rich talents! By the point of this set, Jimmy Heath, once a rougher talent on the tenor, had emerged as one of the smooth soul maestros on the instrument – ranking next to Grover Washington Jr and Stanley Turrentine for a mellifluous sound and well-timed approach to the solo. Heath's written some great tracks here that are underpinned nicely by brother Percy's strong work on bass – still acoustic amidst some added electric instrumentation on some of the tracks. Titles include "Passion Flower", "Move to The Groove", "Feelin Dealin", "Project S", "The Voice Of The American Saxophone (from Afro American Suite of Evolution)", and "A Time & A Place (There's)". LP, Vinyl record album

The crowning achievement of the legendary Keith Hudson – a landmark album of instrumental dub that started out in very small circulation, but soon grew to become one of the most important albums of the genre! The sound here is spare, stark, and simple – but in the best way possible – as Hudson takes the music right down to its core, yet seems to create even more powerful flow in the process – revising the 60s Jamaican love of American soul into a more cosmic mode for the next decade – but all with a raw approach that makes each element come across with a great deal of focus. Titles include "Black Heart", "Pick A Dub", "Don't Move", "Blood Brother", "Michael Talbot Affair", "In The Rain", and "Satia". Also comes with the bonus related Pick A Vocal album – with vocals by Agustus Pablo, Horace Andy, and Delroy Wilson – alongside some more instrumental tunes. Tracks include "Still Water", "Addis Ababa", "Fight On Fight On", "I'm All Right", "Depth Charge", and "Don't Think About Me". 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

A definite conversation starter from tenorist Willie Morris – a rich-voiced player who steps out here in a set of mostly original material that really knocks things out of the park! Willie's got this way of wrapping his horn next to the alto of Patrick Cornelius – as the pair move things past conventional hardbop, maybe in the way that Hank Mobley or Lee Morgan were doing at Blue Note near the end of the 60s, but with a more conventional vibe as well – one that picks up plenty of energy from the rest of the group – Jon Davis on piano, Adi Meyerson on bass, and Ej Strickland on drums! There's a soaring, soulful quality to the whole thing that's wonderful – a shining moment from a leader we'll be watching in years to come – served up on titles that include "Keep Talking", "Azar", "Tina's Dream", "St Upton Hin", and "Cries", and "The Strength Of Those Who Bear The Burden". CD

Nina's not just singing the blues here – she's completely reinventing the sound of the format – by drawing on a long tradition of vocal expression, and infusing it with the hipper, more personally exploratory mode she forged in the 60s! The album's got a subtle brilliance that means that it's sometimes overlooked next to her more forceful work of the time – but it's every bit essential Simone as some of her other key sides of the decade. The group is a small combo featuring Eric Gale, Bernard Purdie, Buddy Lucas, and Ernest Hayes – and titles include "I Want A Little Sugar In My Bowl", "Do I Move You?", "In The Dark", "Real Real", and "Backlash Blues". LP, Vinyl record album

A rare meeting of two musical modernists – legendary improvising guitarist Derek Bailey and percussionist Paul Motian – the latter of whom is in some of his freest territory ever next to Bailey! The set features one long improvisation, plus a shorter encore – both really tremendous and in this space that's a definite meeting of the minds – with Derek maybe working at a level that's slightly more earthy next to some of Motian's percussion, while Paul finds this way to spontaneously move between more subtle sonic expressions and bolder moments of rhythm! The balance is great – an especially unique chapter in Bailey's long legacy of albums of this nature, and a key addition to Motian's catalog as well. LP, Vinyl record album

There's no suffering here – as the record's a real delight, and one of the more unique sessions in the career of the great John Lee Hooker! The record was done for Impulse Records, mostly known for its jazz recordings at the time – and the session has the vocals and guitar of John Lee next to a trio of more jazz-based players, one that features Barry Galbraith on guitar, Milt Hinton on bass, and Panama Francis on drums – who somehow do a fantastic job of backing Hooker up! The set has a beautiful recording quality – very crisp and clear, yet never polished – and the work of the other players is incredible, as they really move into John Lee's mode, and somehow have him shining even more strongly than on some of his other albums from the time. This isn't a folk blues set done by a jazz label – and instead, the best of Impulse is used to give Hooker a fantastic showcase – on titles that include "Bottle Up & Go", "Sugar Mama", "Decoration Day", "You're Wrong", and a good cover of "Money". LP, Vinyl record album

There's no suffering here – as the record's a real delight, and one of the more unique sessions in the career of the great John Lee Hooker! The record was done for Impulse Records, mostly known for its jazz recordings at the time – and the session has the vocals and guitar of John Lee next to a trio of more jazz-based players, one that features Barry Galbraith on guitar, Milt Hinton on bass, and Panama Francis on drums – who somehow do a fantastic job of backing Hooker up! The set has a beautiful recording quality – very crisp and clear, yet never polished – and the work of the other players is incredible, as they really move into John Lee's mode, and somehow have him shining even more strongly than on some of his other albums from the time. This isn't a folk blues set done by a jazz label – and instead, the best of Impulse is used to give Hooker a fantastic showcase – on titles that include "Bottle Up & Go", "Sugar Mama", "Decoration Day", "You're Wrong", and a good cover of "Money". CD

One of the most wonderfully lyrical records ever cut for Blue Note – and a shimmering early showcase for the genius of trumpeter Thad Jones! Jones is maybe best remembered for his work in bigger groups, but at the start of his career he's a lyrical genius – as you'll hear on this sublime session that also features tremendous tenor from Billy Mitchell – a player who was also often lost in larger groups, but who really shines wonderfully here next to Thad! The pair are perfect together, and move seamlessly through the session, trading solos with incomparable ease – yet never getting too perfect, and never lacking the humanity that makes a record like this so great. Barry Harris plays some wonderful piano – and the tracks include "If I Love Again", "Thedia", "If Someone Had Told Me", and "April In Paris". CD

The complete recordings of July – a set that features their rare original album, unreleased tracks, and lots of surprisingly great later material too! First up is the self-titled July album from 1968, presented in both mono and stereo mixes – the debut album from July – a group who only gave the world this gem of a record back at the end of the 60s – but who've gone on to become legendary, based on the strength of the set! The whole thing is a real standout in the psych scene of the UK – well-crafted songs that are tight, but groovy and loose at the same time – tuneful, but filled with experiments – and produced with just the right sort of inventive qualities to make the special flourishes and individual moments of genius really come to light! There's so many great things going on here – an all-rich, no-filler record that's filled with gems that include "My Clown", "Dandelion Seeds", "Jolly Mary", "Hallo To Me", "You Missed It All", "The Way", "To Be Free", "Crying Is For Writers", "I See", and "A Bird Lived". Next is Second Of July – a great counterpart to the legendary self-titled album from July – material recorded in a private setting, to predate that psych masterpiece – but every bit as stunning overall! The quality of this work goes way beyond its origins as demo material – as the sound is wonderful, the musical ideas very rich, and overall psychedelic conception is amazing! There's no overindulgence, but also no easy pop psych modes either – and it's really incredible how much these guys can pack into a short song – from unusual guitar lines, to freewheeling rhythms, and trippy ideas in the lyrics. Many numbers have a sweet groove underneath, and are slightly freakbeatish – but there's also a much more unique feel to the record as well. Tracks include "Dandelion Seeds", "You Missed It All", "My Clown", "Friendly Man", "I See", "The Girl In The Cafe", and "Move On Sweet Flower". The box set then moves into two later albums from a re-formed group – Temporal Anomaly and Resurrection – both of which feature material conceived over a number of years, issued on Resurrection in 2013, and on Temporal Anomaly here for the first time ever. Tracks are great – still very much in the spirit of the classic material, and produced with a nicely understated vibe. Last up is The Wight Album – a recent project from July – still sounding surprisingly great after all these years! At this point, the group is a duo – original members Peter Cook and Tom Newman – but they really manage to craft some great sounds here, with a style that ties back to their initial recording in 1968, and which features some of the successful flourishes of their revived activity from about a decade ago! The tunes are way better than any sort of younger attempt at material like this – mostly because there's a nicely understated, although still quite psychedelic, approach to the whole thing – maybe a reminder that with the best psych records, charm is every bit as important as fuzz. Titles on the double-length set include "The Traveler", "Sophie", "Special Guy", "Henry's Squirrel", "Seeking The Hacksaw Blades", "The Game", "What's Gonna Be", "Disco Klingon", "Mods Of Ryde", "It's Up To Me", and "Once When We Was Free". CD

Contemporary work from one of the greatest reed talents of all time – the legendary Akira Sakata, famous for his work on the Japanese scene of the 70s and 80s, still sounding incredible here with a quartet of younger European musicians! The set features live material recorded in three different locations – Padova, Brussels, and Thessaloniki – all divided into two different improvisations that allow for plenty of room for Sakata to stretch out on alto and clarinet – next to work from Giovanni Di Domenico on piano, Giotis Damiandis on guitar, and Balazs Pandi on drums. Tracks are all very long, and often have Sakata leading the proceedings with an extended solo at the start, while the other musicians find their way into the tapestry of sound as things build and move on! CD

12 sublime spells from Esperanza Spaulding – with 4 more spells added to the mix for the physical release of the album! The record's got Esperanza really blowing us away – not content to just stay in the safer territory that she virtually invented a few years back, and which could sustain her entire career – and instead coming across with a mode that's more complicated, more edgey, and more message-oriented than ever before – all awash with a pastiche of sonic colors that's echoed by the image on the cover! Spaulding's vocals just seem to get better and better as the years go on – but she also leads strongly with her basslines on most numbers too – while the production really lets some of the more cosmic-styled elements flow around the edges. Titles include "12 Little Spells", "To Tide Us Over", "Til The Next Full", "Thang", "You Have To Dance", "Now Know", "All Limbs Are", "Readying To Rise", and "Dancing The Animal". Bonus "spells" include "Lest We Forget", "How To", "Move Many", and "Ways Together". LP, Vinyl record album

Don't like getting your fingers dusty? No problem, the folks at Strictly Breaks work hard so you don't have to! The next installment in their now famous "as sampled by . . ." series, this compilation of 31 tracks and 3 drum breaks covers a gang of material used by Nas (well, his producers actually). Loads of classic soul, jazz and funk, and each track is notated as to which song it was used in. Includes Gong "Babooji", Chris Barber "Petit Fleur", Vicki Anderson "Land Of Milk & Honey", Ahmad Jamal "I Love Music", Joe Chambers "Mind Rain", Heath Brothers "Smilin Billy Suite Pt 2", Eddie Floyd "Check Me Out", 24 Carat Black "Mommas Coming", Japanese Hair "Dead End", Love Unlimited "I'll Move You No Mountain", Blue Jays "What Do You Want", Bob James "The Sponge" and The Soul Children "Move Over". LP, Vinyl record album

Excellent vocal jazz from postwar Paris! The Blue Stars were a legendary combo that were led by Blossom Dearie, and which featured a host of great vocal talents that would later go onto form groups like Les Double Six or The Swingle Singers, including Mimi Perrin and Christine Legrand, as well as instrumental jazz artists like Fats Sadi and Roger Guerin, who are doing some rare vocalization here. The first 4 tracks on the set are pulled from a 1956 ep – and it features the group on the tracks "Jumpin At The Woodside", "C'est La Vie", "Broadway At Basin Street", and "Grapevine". The next 12 tracks are from the Pardon My English LP – which has the group down to a sextet, working without Dearie, in a groovy accented English vocal style that's a direct precursor of the vocalese grooving of Les Double Six. Titles on that set include "Small Talk", "Move", "Did You Close Your Eyes?", and "Promises & Lies". The last 3 tracks on the set are a bit different – featuring vocals and guitar by Henri Salvador, with backing on bass and drums. The style of Salvador's work is still similar, though – way more vocalese than the "blues" in the title would make you expect – and the tracks are lifted from a rare Fontana ep-only release that was recorded in the same year. Titles include "Don't Blame Me", "Salvador Plays The Blues", and "Stompin At The Savoy". CD

Jazztronik are sounding really wonderful here – maybe even with more jazz than in the early days, thanks to the increasing piano and keyboard skills of leader Ryota Nozaki! In fact, even the structure of the record is more jazz-based than before – really just a trio lineup, with bass and drums next to Nozaki's keys – at a level that's like some of the more dynamic Japanese trios of the younger generation, but with all the depth that Ryota's been bringing to his music since the 90s – a quality that really sets this one apart from more facile records of the same nature. And if you still dig the groove side of Jazztronik, you'll find plenty to love here – just delivered with more live instrumentation and less samples and programs – on cuts that include "1976", "Don't Miss That Rain", "The Hare & The Tortoise", "Move", "In The Forest", and "Evening Shower". LP, Vinyl record album

One of the most wonderfully lyrical records ever cut for Blue Note – and a shimmering early showcase for the genius of trumpeter Thad Jones! Jones is maybe best remembered for his work in bigger groups, but at the start of his career he's a lyrical genius – as you'll hear on this sublime session that also features tremendous tenor from Billy Mitchell – a player who was also often lost in larger groups, but who really shines wonderfully here next to Thad! The pair are perfect together, and move seamlessly through the session, trading solos with incomparable ease – yet never getting too perfect, and never lacking the humanity that makes a record like this so great. Barry Harris plays some wonderful piano – and the tracks include "If I Love Again", "Thedia", "If Someone Had Told Me", and "April In Paris". CD features 2 bonus tracks – "I've Got A Crush On You" and "Something To Remember You By". CD

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

An incredible document of late 60s America – composed and conducted by Gary McFarland, in a style that's much more ambitious than any of his other work! The album's fully titled "America The Beautiful: An Account Of Its Disappearance" – and features "movements" with very telling subtitles that include "On This Site Shall Be Erected", "80 Miles An Hour Through Beer Can Country", "Suburbia: Two Poodles And A Plastic Jesus", and our personal favorite, "Due To A Lack Of Interest, Tomorrow Has Been Cancelled". Gary's really wearing his politics on his sleeve here – picturing a late 60s America that's without hope, without revolution, and clearly in danger of falling prey to its own plasticization. The whole thing's a wonderful antidote to the "revolution is coming" side of the 60s that is more popularly pushed – and Gary was one of the few musicians at the time with an eye that was clear enough to see that in the 60s, you could sing "The Times Are A-Changing" – but in reality, the corporations were a-growing! Musically, the album features a larger group of jazz players working in a full, rich style that has lots of soundtrack touches. There's a real Axelrod-like feel to the set – with string passages one minute, funky rhythms the next – and some breakout jazz soloing that really colors the tunes nicely! Players include Jerome Richardson, Eric Gale, Bernard Purdie, and Chuck Rainey – and Gary's mostly doing the conducting on the set. LP, Vinyl record album

A never-issued live performance from a really incredible trio – and a set that has reedman Perry Robinson coming across with some of the bold energy he brought to his important avant recordings on the New York scene of the 60s! The pairing of Barry Altschul's drums and David Izenson's bass is wonderful – as they work with that freewheeling sense of rhythm learned from their earliest experiences with important avant players a decade before, and Izenson's especially great here, as he moves between plucked and bowed passages that remind us just how great he can be in the right setting! Robinson is a delight throughout, and his use of clarinet continues to be a next step past the work of Jimmy Giuffre in terms of free, avant expression on the instrument – much sharper here than on some of his more common European recordings from the period. The set features four long improvisations – and is a revelation throughout! CD

One of the last records made by avant sax legend Albert Ayler – a really mind-expanding album that's unlike anything else he ever did! By the time of the record, Ayler had made a full round trip between the New York and European jazz scenes – leaving important influences wherever he went, and trying desperately to pick up new ones the further he moved on. Here, he's working in a style that's a bit like that of Archie Shepp at the time – still steeped in free jazz and new thing ideals, but infused with a free-thinking approach to the music that allows for bold new styles and sounds. In addition to his own stunning work on tenor, Ayler's also blowing bagpipes and vocalizing a bit next to singer Mary Maria, who does a great recitation on one track of the record. Rhythm is by the two-bass team of Stafford James and Bill Folwell, next to drums by Muhammad Ali – and the whole thing's capped off by guitarist Henry Vestine, who plays in modes that range from bluesy to free. At the time, this one was kind of dismissed as a messed-up mistake that occurred at the end of Ayler's too-short life – but honestly, over the years, this record really really opens itself to us more and more, and we have to say that we think it's one of his most groundbreaking albums! Titles include "Island Harvest", "Drudgery", "Oh Love Of Life", "Masonic Inborn (part 1)", and "A Man Is Like A Tree". CD

One of the last records made by avant sax legend Albert Ayler – a really mind-expanding album that's unlike anything else he ever did! By the time of the record, Ayler had made a full round trip between the New York and European jazz scenes – leaving important influences wherever he went, and trying desperately to pick up new ones the further he moved on. Here, he's working in a style that's a bit like that of Archie Shepp at the time – still steeped in free jazz and new thing ideals, but infused with a free-thinking approach to the music that allows for bold new styles and sounds. In addition to his own stunning work on tenor, Ayler's also blowing bagpipes and vocalizing a bit next to singer Mary Maria, who does a great recitation on one track of the record. Rhythm is by the two-bass team of Stafford James and Bill Folwell, next to drums by Muhammad Ali – and the whole thing's capped off by guitarist Henry Vestine, who plays in modes that range from bluesy to free. At the time, this one was kind of dismissed as a messed-up mistake that occurred at the end of Ayler's too-short life – but honestly, over the years, this record really really opens itself to us more and more, and we have to say that we think it's one of his most groundbreaking albums! Titles include "Island Harvest", "Drudgery", "Oh Love Of Life", "Masonic Inborn (part 1)", and "A Man Is Like A Tree". CD

One of the last records made by avant sax legend Albert Ayler – a really mind-expanding album that's unlike anything else he ever did! By the time of the record, Ayler had made a full round trip between the New York and European jazz scenes – leaving important influences wherever he went, and trying desperately to pick up new ones the further he moved on. Here, he's working in a style that's a bit like that of Archie Shepp at the time – still steeped in free jazz and new thing ideals, but infused with a free-thinking approach to the music that allows for bold new styles and sounds. In addition to his own stunning work on tenor, Ayler's also blowing bagpipes and vocalizing a bit next to singer Mary Maria, who does a great recitation on one track of the record. Rhythm is by the two-bass team of Stafford James and Bill Folwell, next to drums by Muhammad Ali – and the whole thing's capped off by guitarist Henry Vestine, who plays in modes that range from bluesy to free. At the time, this one was kind of dismissed as a messed-up mistake that occurred at the end of Ayler's too-short life – but honestly, over the years, this record really really opens itself to us more and more, and we have to say that we think it's one of his most groundbreaking albums! Titles include "Island Harvest", "Drudgery", "Oh Love Of Life", "Masonic Inborn (part 1)", and "A Man Is Like A Tree". LP, Vinyl record album

A record that's way more than just "again" – that is, a recap of the first Buffalo Springfield classic – as the set not only has the group really exploding forward, but also the individual members taking these strong steps on their own that really point towards their big legacies to follow! Neil Young grabs us with darkness on the first tune, Richie Furay warms us with some country strains on the next, and Stephen Stills moves into a space that's very much his own on the next – yet throughout it all, the record has this sense of unity that really holds up over the years – giving us depth that makes the whole thing an amazing listen time and time again. There's some key help along the way – a bit of piano from Don Randi, electric piano from Jack Nitzsche, and even some recording help from Jim Messina – all furthering the warmth of the group's approach. Titles include "Mr Soul", "Sad Memory", "Hung Upside Down", "Good Time Boy", "Rock & Roll Woman", "Broken Arrow", "A Child's Claim To Fame", and "Expecting To Fly". CD

Massive, massive music from the great Johnnie Taylor – a set that's way beyond his early work on Stax, and even his disco hits of the 70s – but in a way that's even better than before! The album makes use of two great producers – Brad Shapiro for side one, and Don Davis for side two – both talents who have this way of mixing Taylor's deep soul vocals with some warmer modern soul modes – but at a level that moves way beyond cliche or commercial modes – with Johnnie as equally captivating on the mellow cuts as he is on the ballads. In a world where so many collectors are always digging for these completely obscure indie sides from the time, folks would do well to take note that the real gems are often on major labels like this – just lost in the shuffle next to the artists bigger hits. Titles include "Syliva", "Sneakin Sneakin", "I Wanna Get Into You", "I'd Rather Hurt Myself", and "The Heart Break Kid". LP, Vinyl record album

An unmitigated blast of punk, worthy of setting the stage for the American hard core movement! While punk rock had been firmly established by the time this album came out, no one was prepared for the next level that Black Flag would take things to with this brutal, nihilistic, stripped down assault on the status quo! A classic that will stand up for ages, wit fist in the air anthems like "Rise Above", "Six Pack", "What I See", "TV Party", "Police Story", "Gimmie Gimmie Gimmie", "Thirsty & Miserable", "Depression", "Padded Cell", "Damaged I", "Damaged II", "Life Of Pain", "Room 103" and "No More". LP, Vinyl record album

The spirits here are way more than Slavic – as Eabs continues its strong run of genre-breaking work in jazz – music that's often a bit hard to pin down as it moves through a range of sounds, styles, and sonic approaches! There's certainly some jazz at the core, but there's also a richer sense of the overall presence of the music – maybe that earlier experimental quality of ECM, but brought back into a fuller group, and nicely shaken of any sort of ECM pretense – with a vibe that's younger and more earnest to get their message across. A key part of their approach features some key sound effects from Spisek Jednego, who layers in all these organic elements – next to some fantastic keyboard contributions from Marek Pedziwiatar, reeds from Tenderlonious and Olaf Wegier, trumpet from Jakub Kurek, guitar from Vojto Monteur, drums from Marcin Rak, and bass from Pawel Stachowiak. Titles include "Sun Worship", "Sleza", "The Noon Witch", "Woodland Spirit", and "The Darkness". LP, Vinyl record album

Altoist Nick Green is in a mighty sharp group here – one that's tight enough to match the Charlie Parker energy of the leadoff track, but which then moves into more soulful territory that really gives the whole record a wonderful vibe! The great Joe Magnarelli is on trumpet in the frontline, sounding great next to Green as both players really seem to have a way of elevating each other – and Jeb Patton's piano provides these rich currents that take the the whole thing back to the feel of an old Riverside Records or Blue Note date – thanks to crackling energy from Mike Karn on bass and the great Kenny Washington on drums. Green's definitely going to be a player to keep our ears out for in years to come – and titles include "All The Things You Are", "Horizons", "Cheatin", "Tear & A Smile", "Barry", "You Krane", and "A Handful Of Stars". CD

Kanye's tightest, most heavily synth soaked set yet – and possibly the best – a leap ahead for his evolving sound! Graduation gleams and shines more than it bounces on the bottom end, and if his LP titles to date overtly suggest that this caps off a trilogy – it really goes beyond the title – it's POST Graduation! By the end of Late Registration Kanye was dabbling in hip hop symphonies (for the better) with a few too many skits, but this one's all laser beam efficiency with a human heartbeat. Kanye's moved on, well past our expectations anyway, and he better not call the next one Class Reunion. A bunch of these cuts could rule several radio formats, and they sound great in the headphones, too. To tell the truth, any modern hip hop record with a big fat (and surely expensive) Steely Dan sample is going get an automatic recommendation from us, but Graduation works for us for many more reasons than that alone. Well done, Kanye! "Good Morning", "Champion", the Daft Punk-ed hit "Stronger", "I Wonder", "Good Life", "Can't Tell Me Me Nothing", "Barry Bonds" with Lil Wayne, "Drunk And Hot Girls" with Mos Def, "Flashing Lights" with Dwele, "Everything I Am" with DJ Premier, "Homecoming" and "Big Brother". CD

Kanye's tightest, most heavily synth soaked set yet – and possibly the best – a leap ahead for his evolving sound! Graduation gleams and shines more than it bounces on the bottom end, and if his LP titles to date overtly suggest that this caps off a trilogy – it really goes beyond the title – it's POST Graduation! By the end of Late Registration Kanye was dabbling in hip hop symphonies (for the better) with a few too many skits, but this one's all laser beam efficiency with a human heartbeat. Kanye's moved on, well past our expectations anyway, and he better not call the next one Class Reunion. A bunch of these cuts could rule several radio formats, and they sound great in the headphones, too. To tell the truth, any modern hip hop record with a big fat (and surely expensive) Steely Dan sample is going get an automatic recommendation from us, but Graduation works for us for many more reasons than that alone. Well done, Kanye! "Good Morning", "Champion", the Daft Punk-ed hit "Stronger", "I Wonder", "Good Life", "Can't Tell Me Me Nothing", "Barry Bonds" with Lil Wayne, "Drunk And Hot Girls" with Mos Def, "Flashing Lights" with Dwele, "Everything I Am" with DJ Premier, "Homecoming" and "Big Brother". LP, Vinyl record album

A trio of classics from this groundbreaking group! First up is Living With The Animals – fantastic early work from Mother Earth – one of those special late 60s groups who emerged out of the rock, folk, and blues scenes – but who somehow managed to make a very special sound of their own! Part of the group's strength is the lovely Tracey Nelson – a singer who could have been a soul artist if she wanted – but who works here with a looser approach to generic conventions as she moves through a number of different modes – sometimes stepping aside for the group's lead singer, R Powell St John Jr, who also plays a bit of harmonica. Instrumentation is given some stronger currents from a combo that features Mike Bloomfield on guitar, Barry Goldberg on organ, and Luis Gasca on trumpet – and titles include "Marvel Group", "Mother Earth", "It Won't Be Long", "Down So Low", "The Kingdom Of Heaven", and "My Love Will Never Die". Make A Joyful Noise is an album that has slightly fuller backings than their debut, but in a way that only seems to bring out more of the soulful currents of their sound! The mix of rural inspiration and tighter presentation is a great illustration of the changing North Cali style of the period – and no surprise, a young Boz Scaggs is in the group, providing rhythm guitar next to the vocals of Tracy Nelson and R Powell St John. A few country legends provide extra support on fiddle, dobro, and steel – balanced nicely by a strong horn section too – on titles that include "Stop The Train", "Soul Of The Man", "Blues For The Road", "Come On & See", "I The Fly", "Wait Wait Wait", "I Wanna Be Your Mama Again", and "Then I'll Be Moving On". Last up is Satisfied – countrified rock from Tracy Nelson and Mother Earth – done in a warm and sincere style that goes way beyond any of the cliches of the genre! There's something about the way the group put together the tunes that really makes us like this one – an honesty that's not bogged down in any hippy dippy expectations, and which never tries to be anything other that what it is. And yes, that's not much of a good description of the set – but it's also our way of identifying the uniqueness that set Mother Earth apart from a lot of their contemporaries. Titles include "Satisfied", "Groovy Way", "Andy's Song", "Ruler Of My Heart", "This Feeling", and "You Won't Be Passing Here No More". CD

2 genius 60s moments from Gerry Mulligan – back to back on one CD! The first half of the record is from the album Butterfly With Hiccups, a nice little record from Gerry – and one that has him working with a small group that often features a piano, with a light airy feel that's a bit bossa in the nicest parts! The record is one of a few gems that Mulligan cut in the 60s – with a playful feel that moves past the academicism of some of the 50s work, and which manages to pick up a bit of soul on the way. The group includes Art Farmer, Bob Brookmeyer, Jim Hall, and Dave Bailey – and tracks include "The Ant Hill", "Crazy Day", "Butterfly With Hiccups", and the haunting "Theme For Jobim". Next up is Night Lights – a record that has Gerry working with a sextet that includes Jim Hall, Art Farmer, and Bob Brookmeyer, in addition to usual Mulligan rhythm-mates Bill Crow and Dave Bailey. There's a nice soulful bottom to the set, and stronger interplay from the horns than you might get in a Mulligan album of a few years before – nothing fancy, but a strong set of original tunes that break from the mode of the 50s. Titles include "Tell Me When", "Festive Minor", "Wee Small Hours", "Prelude In E Minor", and "Night Lights". CD also features the bonus 45 "The Lonely Nights"! CD

A very nice little album – and one that moves way past the gimmicky nature that you might guess from the title! The Sun Ra influence is obvious – as it seems natural for the Chicago-based players to show a bit of respect to what's gone before them in the city. The Funkadelic twist might seem a bit more odd, though – but not if you consider the fact that Vandermark's played a heck of a lot with funky jazz combos over the past 10 years, and that Drake can really kick it on the set when he wants to! In fact, the two of them go so full-out on the Funkadelic tunes that you'll be hard-pressed to believe that there's actually only a trio of sax, drums, and bass playing the music! The Ra tunes seem a bit restrained next to the Funkadelic ones – but that also makes for a nice mix of styles on the CD. Titles include "Tapestry From An Asteroid", "Cosmic Slop", "Future", "Super Stupid", "You & Your Folks, Me & My Folks", "El Is A Sound Of Joy", and "Street Named Hell". CD

A never-heard live session from the great Eje Thelin – a mid 70s set that has the trombonist working with a cool quartet that includes some Fender Rhodes from Harald Svensson – who makes a wonderful partner for Thelin's long-blown lines! Eje had already grown tremendously as a musician in the 60s – from bop to modern to avant in the space of a few short years – and here, he moves back into more soulful territory which opens up perfectly next to the Rhodes – with these very fluid, open solos that almost feel as if they would be right at home on CTI, but which also have some darker, edgier touches too. The rest of the group features Bruno Raberg on bass and Leroy Lowe on drums and the set features 10 tracks, the full performance, presented here in unedited form. CD

Brij Bhushan Kabra is handling his guitar on the cover in a very unusual way – and he gets some very unusual sounds out of the instrument too – on an incredible record that's almost a bridge between 60s Indian sitar recordings and some of the acoustic American experiments on Takoma Records! Kabra's handling of the instrument allows for all sorts of unusual inflections – sound shaping as he plucks these notes with a speed that increases greatly as the set moves on – often with the same sort of long-spun format as ragas on sitar, including some work at points on tablas next to the guitar. Titles include "Raaga Bihag", "Raaga Joygiya", and "Raaga Bhaiarvi". LP, Vinyl record album

Soaring sounds from Nucleus – one of the few UK jazz/rock combos from the start of the 70s who really found a way to keep growing and changing as the years moved on! Here, the lineup is nice and large – the mighty trumpet of Ian Carr in the lead, next to keyboards from both Gordon Beck and Geoff Castle, both of whom bring plenty of Fender Rhodes into play – with more work from Jocelyn Pitchen and Ken Shaw on guitars, and Bob Bertles on alto, baritone, bass clarinet, and flute – really great reedwork that's always a great match for Carr's energy. There's some really great drums on the set from Bryan Spring, which make the best tracks quite funky – and titles include "In Procession", "The Addison Trip", "Pastoral Graffiti", "New Life", and "A Taste Of Sasparilla". LP, Vinyl record album

A treasure trove of greatness from British folk rock legend John Renbourn – all of his late 60s solo work, done before moving on to greater fame in Pentangle! First up is There You Go – a rare one from singer Dorris Henderson and future Pentangle founder John Rensbourn! Florida born, LA raised singer Dorris Henderson moved to London in 1965 and was soon singing London's folk clubs, where she met Rensbourn. A solid mix of traditionals and then contemporary folk songs – stripped down and honest takes on "Saly Free And Easy", "Cotton Eyed Joe", "Mr Tamborine Man", "Going To Memphis", Something Lonesome", "Mist On The Mountain" and more. This edition includes bonus tracks from a rare 45 – "Hangman" and "Leaves That Are Green". Next is the self-titled John Renbourn from 1965 – a set that would not only establish John's legacy for years to come, but also have a very strong impact upon the role of the guitar on the British scene too! The album's definitely in a mode that owes something to an American folk legacy – but it also really breaks from the past with unusual phrasings and colorings in Renbourn's guitar – certainly with an ear towards ancient English modes, but also at once very fresh and contemporary – a strong precursor to the waves of new acoustic talents that would flow from the UK a few years later, but maybe even more revolutionary – given that John's mostly just working here with his guitar and voice. Bert Jansch adds guitar to a few tracks – and titles include "Song", "Down On The Barge", "Plainsong", "Judy", "Beth's Blues", "Blue Bones", "Train Tune", "Winter Is Gone", and "Noah & Rabbit". Bert & John is a hell of a collaboration between British legends Bert Jansch and John Renbourn – both working here together to completely redefine the sound of their music for the generation to come! This one album may well hold all the sense of subtle power and possibility that was about to flower in the Brit movement often known as "acid folk" – that reworking of older aesthetics with modern conceptions, and doing so mostly with their work on acoustic guitar – quite a feat, given the stripped-down instrumentation of the set! Bert sings a bit – in that incredible style of his – but the real attraction here is the guitar interplay, which is always fresh, never hokey, neither familiar American folk nor forced singer-songwriter backup material. Titles include a wonderful reworking of Charles Mingus' "Goodbye Pork Pie Hat" – plus "Red's Favourite", "Orlando", "Soho", "Piano Tune", "East Wind", "After The Dance", and "The Time Has Come". Another Monday is maybe the most obscure album in the collection – a set that is mostly instrumental, with some completely fantastic work by Renbourn on guitar – but which also features a bit of guest vocals from singer Jacqui McShee – whose warmer presence next to John really makes for a nice pairing. The album's as powerful as it is subtle, really beautiful in its sense of variety – with titles that include "Buffalo", "One For William", "Lost Lover Blues", "Another Monday", "Day At The Seaside", "Nobody's Fault But Mine", and "Waltz". Watch The Stars is another great collaboration with Dorris Henderson – an American singer, but one who moved to London in the 60s – where she cut this rare gem with guitarist John Renbourn! The album's got a righteous vibe that's hipper than the usual folk set – with some traditional tunes and some contemporary material – recorded with that amazing phrasing that made Renbourn's guitar so distinct right from the start, with lots of those jazzy currents we love so much – and which really fit the creative vocal approach of Henderson! Dorris also plays some autoharp, and there's a bit of bass in the backings – although overall the main focus here is on Renbourn's guitar and Henderson's vocals. Titles include "Come Up Horsey", "God Bless The Child", "Watch The Stars", "30 Days In Jail", "Mosaic Patterns", "Tomorrow Is A Long Time", and "There's Anger In This Land". Sir John A Lot Of is perhaps one of the best-known albums from British guitar legend John Renbourn – as it was issued widely in the US, and kept in print for a surprisingly long time over the years! The approach here is slightly different than Renbourn's previous records – a bit in the image presented by the cover, although with maybe not as slavish a sound – as John just uses the whole thing to go a bit more ancient than before, in ways that echo the time travel that the whole British folk scene was taking as the 70s approached. The tunes are done in ways that are really beautiful – still lots of the incredible guitar work that made Renbourn such a standout on the scene – plus flute from jazzman Ray Warleigh, who's very different here than usual – and spare use of finger cymbals, African drums, and glockenspiel by Terry Cox. Titles include "Morgana", "Transfusion", "The Trees They Do Grow High", "Sweet Potato", "Seven Up", and "White Fishes". 6CD box features all records in original artwork sleeves, with a booklet of notes – and bonus tracks that include "Message To Pretty", "The Waggoner's Lad", "Lucky Thirteen", "Blues Run The Game", "The Wildest Pig In Captivity (alt)", "Can't Keep From Crying", "Transfusion (alt)", and "The Leaves Are Green". CD

A beautiful little record from the Brazilian scene – served up by a trombonist who's got a great ability to mix Brazilian rhythms, jazzy grooves, and American soul! The approach is one that you might recognize from contemporary trombonist Raul DeSouza, who moved to the US in the 70s, and cut some great records for Capitol – but Zeca's working here back in Brazil, with a vibe that's much closer to the core – and adding in all these raspy soul vocals that sound completely sublime next to the upbeat instrumentation on the record! The set's heavy on keyboards, and has a nicely jazzy vibe – one that you may recognize from the title track's showing up in some great Ed Motta collections over the years. In fact, there's a quality here that's not far from Ed's more recent AOR tribute recordings – as you'll hear on titles that include "Boa Nova", "Papo Coracao", "Rota-Mar", "Exilio De Coracao", "Em Busca De Mim", and "Gavea Um Beijo De Cinema". Features two bonus tracks – "Ave Anne" and "Tema Do Brisa". CD

A really great document of a unique musical moment – one that happened overseas, but which started a wave of protest that's continued to this day! In the late 50s, London was a hotbed of nuclear protest – one of the first cities to express a strong resistance to the arms race that was building up at a global level – in a movement that not only drew political forces, but artists and musicians as well! This well-done set looks at some of the latter – a mix of folk and jazz singers and musicians who joined together to protest atomic weapons – some with songs that outwardly anti-nuclear, some a bit more subtle – brought together here in a massive 54 track collection! The range of material varies, and maybe the most surprising are some of the trad jazz artists who we might not have expected to be working next to more political folkies – in a lineup that features material from Ewan MacColl, Peggy Seeger, Fred & Betty Dallas, Margaret McKeown, Kenny Ball, Humphrey Lyttleton, Sheila Hancock, Sydney Carter, Chris Barber, George Melly, Kenny Ball, and The Alberts. CD

Tommaso Cappellato is a hell of a drummer – one whose work we've loved on other projects, but who sounds even better here in a lean funky combo of his own! Tommaso uses drum programs next to live drums, and his own work on the kit is the real driving force here – complex enough to match the cosmic rhythms on the set, and given great support from group members on bass and electric guitar! Cappellato plays keyboards as well – and the record features a bit of flute, vocals on three tracks, and titles that include "Heart To Mend", "Battle Moves", "Dancing Around Fire", "Made Of Golden Light", "Warming Up", and "The Flow Must Go On". LP, Vinyl record album