One of his best for Muse, with a beautiful set of jazzy vocal grooves that includes his reading of "Stolen Moments" (later made famous by United Future Organization), plus "D.C. Farewell" and an excellent version of "Waters of March". Warm and breezy, with that perfect style that Murphy had for a brief while in the 70s – and which has continued to be such a huge influence on groovers today! LP, Vinyl record album

Baritonist Cecil Payne cut very few albums as a leader – but nearly all of them are great! A great example is this obscure mid 70s set – a back-to-basics quintet side that features Tom Harrell on trumpet, Duke Jordan on piano, Buster Williams on bass, and Al Foster on drums – all backing up Payne as he cuts deft lines on baritone and flute, handling both horns with a grace and dexterity that's quite surprising, given the range of sounds he's got to muster. Includes versions of the Charlie Parker tunes "Constellation", "Ko Ko", and "Bird Get The Worm", plus Neal Hefti's "Repetition". LP, Vinyl record album

With Person on tenor, Joey DeFranceso on Hammond, and Philip Harper on trumpet! CD

Houston Person on tenor saxophone and Ron Carter on bass. CD

A lovely record from Woody Shaw – one of his excellent and understated sides from the early 80s, recorded with a quartet that includes Cedar Walton on piano, Buster Williams on bass, and Victor Jones on drums. The tunes are mostly standards, but they're handled with a soulful depth that really takes them to the next level – and the album's got a great original called "Spiderman Blues", plus versions of "There Is No Greater Love", "All The Way", and "What's New". CD

A really great album from guitarist Melvin Sparks – and a definite comeback from the sound of some of his later work of the 70s! The group's a tight quartet – Buster Williams plays bass, Neal Creque plays piano, and Idris Muhammad's on drums – and the track list features a nice long cut called "Hassan", plus a good short fast one called "Bolt of Lightnin". LP, Vinyl record album

A really compelling album from trumpeter Jack Walrath – just the sort of effort that gets us to take a lot closer work at his other work as a leader! The album's got a very ambitious sort of feel – a core combo backed by larger strings – all in a range of unusual rhythms and exotic styles, way more than we might usually expect for a Muse Records session of this vintage! The core group features Walrath on trumpet, Carter Jefferson on tenor and soprano sax, Michael Cochrane on piano, Anthony Cox on bass, and Ronnie Burrage on drums – augmented by a fuller batch of strings conducted by Don Sickler, with a very dark feel that's almost a more sinister approach to Claus Ogerman's territory with other jazz players. Tracks are all long and complicated – and titles include "Faith", "Jump Monk", "The Serpents Kiss", "Gagaku", "Adagio For Strings & Organ", and "Blues In The Guts". CD

With Jaki Byard on piano, Richard Davis on bass, and Alan Dawson on drums. Includes "Samba Du Bois", "Nefertiti", "Airegin", "The Last Page", and "The Summer Knows". CD

An excellent session from modernist tenor giant Bill Barron – maybe not as all-out avant as some of his earlier work, but still pretty darn wonderful overall! Kenny Barron plays piano, and the group also features the great Jimmy Owens on trumpet, Ray Drummond on bass, and Ben Riley on drums. Bill's writing is excellent here, and his playing is up to the usual very high standards – and titles include "September 1979", "Swingin' In Bushnell Park", "Minority", and "Be Who You Are". LP, Vinyl record album

Walter Bishop takes a trip back to his bop roots with this one – working in trio and quintet formation, and running through a host of mostly older bop standards! The quintet tracks are our favorites – as it's not often we hear Bishop in this stretch with a group larger than a trio – and the presence of Bill Harman and Junior Cook on trumpet and tenor, respectively, fleshes out the record with a nicely soulful sound. The rest of the group features Sam Jones on bass and Al Foster on drums – who also play on the trio tracks – and titles include "Dahoud", "Move", "My Little Suede Shoes", "All God's Children", and "Hot House". LP, Vinyl record album

A great example of the Muse Records charm of altoist Richie Cole – bop-fired creativity at its peak, mixed with some added contemporary elements to keep things fresh! In this case, Richie's horn takes on some key bop classics, but also opens up a bit with vocalsits too – Eddie Jefferson on versions of "Hi Fly", "Relaxin At Camarillo", and "Waiting For Waits" – the latter of which also features Tom Waits as well! The Manhattan Transfer make some subtle guest appearances too – but in ways that are much more restrained than their own albums, really leaving most room for Richie's horn. Bruce Forman plays guitar and Dick Hindman piano – and titles include "Hi Fly", "Relaxin At Camarillo", "Hooray For Hollywood", "I Love Lucy", "Malibu Breeze", "Waiting For Waits", and "Tokyo Rose Sings The Hollywood Blues". CD

The title's a bit hokey – an obvious play on the Star Wars film that was running in theaters at the time of the record – but the sound is classic Willis Jackson at his finest, recorded in a style that's right up there with his best 60s work for Prestige! The group here is a quintet – with Willis on tenor, Charles Earland on organ, Pat Martino on guitar, Idris Muhammad on drums, and Buddy Caldwell on congas – and as on Earland's best soul jazz sides for Muse from the time, there's a real back-to-basics approach here, one that really gets away from Modes that Willis used on other labels in the 70s. Titles include "The Goose Is Loose", "Bar Wars", "Blue & Sentimental", "Later", and "It's All Right With Me". LP, Vinyl record album

Accompanied by Ben Aronov on piano, Ted Nash on reeds, Steve LaSpina on bass, Warren Odze on drums, and John Kaye on percussion. LP, Vinyl record album

Sublime work from Morgana King – a set that continues the unique mellow vocal tradition begun on her Reprise sides of the 60s, and continued strongly well into the 70s on Paramount and other labels. The setting's somewhat spare here – a small group with guitar, electric piano, bass, drums, and percussion – all used nicely alongside King's vocals in a warm, pillowy quality that glides with a gentle groove and a great sense of grace and presence. The tracks are mosly mellow, and Morgana delivers those great King-styled vocals we love so much – an approach that's unlike any other singer we can think of, and which is right at home here. Titles include "Everything Must Change", "Give Me The Simple Life", "Love Song", "Out Of Nowhere", and "This Masquerade". LP, Vinyl record album

A great late set from Harold Land – a reunion with his old partner Bobby Hutcherson, in a hip soul jazz session with work from other great west coast talents like Oscar Brashear, George Cables, and Billy Higgins. The tracks aren't as leapingly modal as the pair's earlier work for Blue Note or Cadet, but still have that deeply soulful quality – especially as most numbers are over 8 minutes long, spiralling out into some well-placed, well-evolved solos that make the record one of the strongest sides on Muse from the time. Titles include "Ah I See", "Dark Mood", "Daisy Forever", and "Xocia's Dance". CD

A great date from the revival years of Johnny Lytle – his stretch for Muse Records at the end of the 70s, and a bit of a return to his soul jazz roots of the 60s! The tracks here are a bit longer than before, but they've got a similar sort of energy – a nice rhythmic undercurrent that comes from the drums of Idris Muhammad and percussion of Larry Killian – and which is topped by Johnny's vibes and the tenor of Houston Person, plus some nice keyboards from Mickey Tucker. Titles include a reworking of Lytle's classic stepper "The Man", plus "Blues To Be There", "Sister Silver", "Bein Green", and "Tomorrow". LP, Vinyl record album

Martino plays in a 2-guitar quartet – with Bobby Rose backing him up on guitar, plus rhythm accompaniment by Richard Davis and Billy Higgins. The sound's definitely in the trippier, post-hippie style of Martino's work, with a sort of looseness and fluidity that you either love or hate, but a nicely swinging rhythm underneath. Titles include "Footprints", "Road Song", "The Visit", and "Alone Together". LP, Vinyl record album

James Moody's definitely feelin it here – stepping back into a straighter hardbop mode after some funkier sets of the early 70s – really sounding great on tenor, alto, and flute – and working with a very hip quartet for the date! Kenny Barron's in the group on both electric and acoustic piano (plus a bit of harpsichord) – and given his previous work with Moody in Dizzy Gillespie's group, the players already have a well-established repoire that shows clearly on the record – at at times, Barron nicely sets the scene with some of his moodier 70s playing, which really suits James' flute work well. Bass is by Larry Ridley and drums are by Freddie Waits – two more key players in this very hip quartet – and titles include "Anthropolgy", "Dreams", "Autumn Leaves", 'Wave", "Morning Glory", and "Kriss Kross". LP, Vinyl record album

Later work by Don Patterson – one of the best, and most free-swinging of the 60s soul jazz organists – recorded here in the early 70's, with the same tight organ jazz feel as his records for Prestige! Eddie Daniels plays tenor, alto, and soprano on the album – and the rest of the group includes Ted Dunbar on guitar, and the great Freddie Waits on drums. The quartet plays nice long takes of some groovy contemporary tunes, like "Theme from The Odd Couple" and "Theme from Love Story", both of which come across amazingly well – plus the original tune "Jesse Jackson", and a version of Jimmy Garrison's "Lori". LP, Vinyl record album

Jimmy Witherspoon sings with some great help here – including David Fathead Newman on tenor, Hank Crawford on alto, Dr John on piano, Calvin Newborn on guitar, Wilbur Bascomb on bass, and Bernard Purdie on drums. Dr John did the arrangements too! CD

One of the great later sides that Bill Barron cut for Muse. The amazing tenor player's a big more restrained than in his 60's work with Ted Curson, but his sound is excellent, and he leads the group with all the finesse of a master. Kenny Barron, Jimmy Owens, Buster Williams, and Ed Blackwell join him on this set, and the track list includes "Spring Thing", "Hoppin and Skippin", "Flip Flop", and more good originals. LP, Vinyl record album

A beautiful later session from Bill Barron – one that has him playing both tenor and soprano sax, in a group with brother Kenny on piano, Ray Drummond on bass, and Ben Riley on drums. The feel here is quite different than Barron's earlier groundbreaking work – but equally wonderful in its own sort of way. Bill keeps things sweet and soulful – bringing in some slight modern touches, but also opening up in a style that's got more of the soul jazz inflections that were showing up on the best Muse sides of the time. Titles include "Yes No Maybe So", "This One's for Monk", "Easy Does It", and "Travelin' On the Freeway". LP, Vinyl record album

One of a rare few electric albums from the great Walter Bishop Jr – a pianist who started during the bop years, but really grew into new modes in the 70s! The set's an album on Muse, but one with the same hip grooves as Walter Bishop's pair of excellent albums for the Black Jazz label – and like those gems, this set features Bishop working on Fender Rhodes – hitting a groove we never would have expected in the old days, and really going for a style that's at the hippest end of the soul jazz spectrum of the 70s! Tunes are a mix of funky fusion and modal, spiritual styles – and other players include Randy Brecker on trumpet, Gerry Niewood on tenor and flute, and George Young on soprano and alto sax – and the horns are all arranged tightly by Mitch Farber, in a way that adds an extra edge to the record, but still leaves plenty of space for Bishop's solo flights on the keys. Titles include great versions of "Soul Village", "Coral Keys", and "Soul Turnaround" – plus the cuts "Philadelphia Bright", "Sweet Rosa", and "Valerie". LP, Vinyl record album

Wonderful work from an unsung hero of the soulful jazz underground of the 70s! Although Joe Chambers came to great fame as the writer and drummer behind some of Bobby Hutcherson's best records late 60s, he didn't really ever make that many records under his own name as a leader – and this date is not only one of the few that he cut that way, but also one of the best! Joe's powerful presence on the record is tremendous throughout – and he works with an ultra-hip lineup that shifts throughout the album, and really gives the whole thing an almost Strata East vibe – with work from Cedar Walton on Fender Rhodes, Woody Shaw on trumpet, Harold Vick on flute and tenor, Cecil McBee on bass, and Ray Mantilla on percussion. The whole thing is as uplifting as you might expect – and tracks include "Medina", "The Almoravid", "Early Minor", "Jihad", and "Gazelle Suite". CD

With Al Cohn on tenor sax, Zoot Sims on tenor and soprano sax, Jaki Byard on piano, George Duvivier on bass, and Mel Lewis on drums. CD

With Al Cohn on tenor sax, Zoot Sims on tenor and soprano sax, Jaki Byard on piano, George Duvivier on bass, and Mel Lewis on drums. LP, Vinyl record album

With Cole and Woods on alto, Walter Booker on bass, Jimmy Cobb on drums, John Hicks on piano, and Eddie Lockjaw Davis on tenor. LP, Vinyl record album

A really wonderful group – and one who might also be called the Chicago Creative Construction Company – as the combo has a fair bit of contributions from members of the AACM! There's an openly inventive spirit here that's quite similar to early Art Ensemble Of Chicago records, with similar instrumental variety between the members of the group – a fantastic lineup that includes Anthony Braxton on saxes, flute, and clarinets; Leroy Jenkins on violin, viola, recorder, harmonica, and xylophone; Wadada Leo Smith on trumpet, seal horn, flugelhorn, and French Horn; Muhal Richard Abrams on piano, cello, and clarinet; Richard Davis on bass; and Steve McCall on drums and percussion. Ornette Coleman produced the performance, which was recorded live at the Peace Church in New York – and this second volume features one long track, titled "No More White Gloves". LP, Vinyl record album

We never tire of the saxophone work of Sonny Criss – and this mid 70s gem is a perfect example of his brilliance! Sonny's sound on alto here is completely his own – raspily, soulful style that's really unique – and which draws strongly from Criss' rich life experience, including his years away from music (he'd been retired for most of the 70s before the time of this album.) The group's laidback and open – with Dolo Coker on piano, Ray Crawford on guitar, Larry Gales on bass, and Jimmy Smith on drums – a group that's all well with Criss on his journey – but also lets him sparkle brightly in the lead. Titles include the extended track "Isle Of Celia", plus "This Is For Benny", "Blues In My Heart", and "Crisscraft". CD

Great later work from Sonny Criss – very much in the format of his late 60s work for Prestige, but with an approach that's perhaps a bit more open-ended overall! The vibe here is laidback and soulful – Sonny blowing alto sax in that wonderful, all-his-own sort of tone – a sound that's almost tenor-like in phrasing, but with a crisp alto quality that's completely sublime! The group's a batch of familiar associates, all of whom lay back wonderfully in the rhythms – Dolo Coker on piano, Larry Gales on bass, and Jimmie Smith on drums. There's a solidness here that few other players can match – and titles include the original numbers "The Dreamer" and "The First One" – plus "El Tiante", "All The Things You Are", and "Out Of Nowhere". CD

A very nice record that bassist Davis did for Muse in the late 70s. As with previous recordings he works closely with fellow bass player Bill Lee. Lee plays on the record, co-produced and arranged the album and shares songwriting credit with Davis on a couple of the tracks. Davis is joined by Ted Dunbar on guitar, Consuela Moore on piano, Freddie Waits on drums, James Spaulding on flute and alto sax and Marvin 'Hannibal' Peterson on trumpet, among others. Tracks include the two Davis/Lee originals "Half Pass" and "A Third Away" plus in conjunction with the title, there are several songs with flowers in the titles such as"Windflower", "Forest Flower", and "Passion Flower". He also throws in some familiar tunes like "Take The A Train". LP, Vinyl record album

Joey DeFrancesco on organ, Houston Person on tenor saxophone, Paul Bollenback on electric guitar, and Byron Landham on drums. CD

The legendary meeting of the two biggest Brazilian keyboard talents of the 70s – Joao Donato and Eumir Deodato – coming together in beautifully funky formation! The sound is a great blend of the moody electric work of Donato's classic Quem E Quem album, and some of the fuller, funkier grooves on Deodato's work for CTI – served up here in a double-keyboard blend with help from a host of great guest musicians! Other players include Randy Brecker on trumpet, Romeo Penque on flute, Mauricio Einhorn on harmonica, and Michael Gibson on guitar – plus plenty of percussion from Airto and Ray Barretto, who both join in to round out this all star session. Tracks are nicely long, and very jamming at times – and titles include the funky "Whistle Stop", plus "Where's JD", "Capricorn", "Nightripper", and "Batuque". LP, Vinyl record album

Charles Earland on Hammond B3 organ – with Eric Alexander on tenor saxophone, Lou Soloff on trumpet, David Samson on guitar, Gary Frite on percussion, and Vincent Ector on drums. CD

With Larry Coryell on electric and 12 string guitar, Albert Dailey on piano, Ray Drummond on bass, and Jimmy Cobb on drums. Titles include "A-Flat Now", "You Don't Know What Love Is", "Samba De Caribe", "Goodbye, Pork Pie Hat", "Future's Gold", "Knowledge", "Centenarian Waltz", and "Hindsight And Necessity". LP, Vinyl record album

One of Ford's extremely strong albums from the early 80s – a soulful expression of hardbop, recorded at a time when albums like this were an extremely rare breed! The set features Ford blowing with a well-matched set of players – including Bobby Watson on alto, Wallace Roney on trumpet, and John Hicks on piano. Nearly all tunes are originals, and titles include "Bostonova", "Dexter", "Lady A", "Fix Or Repair Daily", and "Se Aabba". LP, Vinyl record album

Ricky Ford's always a favorite of ours – and on this cooking little set, he matches horns wonderfully with tenorist Antoine Roney! Put aside any worries you might have about the Sonny Rollins-like title – or of the album being one of those twin-tenor albums that always ends up half the sum of its parts – because Ford's leadership and Roney's sensitivity really set the album on the right track, and both horn players have a magical interplay that shifts beautifully to new sounds with each fresh track. The album's edgey one minute, soulful the next – and it sports a rock-solid rhythm section in the piano of Donald Brown, bass of Peter Washington, and drums of Louis Hayes. Titles include "Up A Step", "Summer Summit", "Ballad De Jour", "Blues Abstractions", "Nigeria Blues", and "Rollin & Strollin". CD

A 70s soul jazz classic – one of those albums we go back to again and again over the years for inspiration! The album was one of the first from young reed player Carlos Garnett – and it's virtually a super-session for the time – with a sublime lineup that perfectly blends spiritual jazz with funk and soul touches! The vibe here is incredible – far deeper than even on any of Garnett's other albums of the time – at a level that sounds as beautiful on the mellow cuts as it does on the soaring, spiritual soul jazz anthems that have made the record a classic for years. The record features vocals by Dee Dee Bridgewater and Ayodelle Jenkins – and instrumentation from Charles Sullivan on trumpet, Mauricio Smith on flute, Reggie Lucas on guitar, Norman Connors on drums, Mtume on congas, and Onaje Allen Gumbs on piano – plus Carlos himself on tenor, alto, and soprano sax. Titles include the perennial favorites "Mother of the Future" and "Taurus Woman", two cuts which transformed the global jazz dance scene years back – plus the tracks "Ebonesque", "Black Love", and "Banks of the Nile". LP, Vinyl record album

A 70s soul jazz classic – one of those albums we go back to again and again over the years for inspiration! The album was one of the first from young reed player Carlos Garnett – and it's virtually a super-session for the time – with a sublime lineup that perfectly blends spiritual jazz with funk and soul touches! The vibe here is incredible – far deeper than even on any of Garnett's other albums of the time – at a level that sounds as beautiful on the mellow cuts as it does on the soaring, spiritual soul jazz anthems that have made the record a classic for years. The record features vocals by Dee Dee Bridgewater and Ayodelle Jenkins – and instrumentation from Charles Sullivan on trumpet, Mauricio Smith on flute, Reggie Lucas on guitar, Norman Connors on drums, Mtume on congas, and Onaje Allen Gumbs on piano – plus Carlos himself on tenor, alto, and soprano sax. Titles include the perennial favorites "Mother of the Future" and "Taurus Woman", two cuts which transformed the global jazz dance scene years back – plus the tracks "Ebonesque", "Black Love", and "Banks of the Nile". CD features 2 bonus alternate takes! CD

With Hardman on trumpet, Junior Cook on tenor, Walter Bishop on piano, Paul Brown on bass, and Leroy Williams on drums. LP, Vinyl record album

One of the coolest, hippest albums you'll ever hear from drummer Albert Tootie Heath – a set that's so different than his earlier work of the 60s, and which has the same sort of righteous, spiritual energy as the Heath Brothers album on Strata East! Albert's got a wonderfully loose vibe on the drums – and the added percussoin he brings into the mix – and the group here features slight electric currents from Kenny Barron on Fender Rhodes and Ted Dunbar on guitar – plus sublime reed lines from brother Jimmy Heath – who really blows it away on tenor, soprano sax, and flute – again like his best Strata East performance! Brother Percy Heath is on bass – which seems to be electric at points – and Curtis Fuller rounds out the group with some of that hipper, more searching trombone style he was using at the time – and the whole thing's wonderful, much more progressive than some of the other Xanadu Records sessions of the period. Titles include "Dunia", "Sub-Set", "Tafadhali", "Oops", and "A Notion". Features the bonus track "Wazuri Blues" – a piano solo by Kenny Barron. CD

With Houston Person on tenor and Ralph Dorsey on percussion and congas! LP, Vinyl record album

A nice return to the soul jazz style of Willis' years at Prestige – after cutting a few too-smooth albums for bigger labels during the 70s! The style here is nice and easy-going – longish tracks, with a quintet that features Willis' old bandmate Pat Martino on guitar, plus Charles Earland on organ, Grady Tate on drums, and Buddy Caldwell on congas. There's no all-out funky tracks on the set, but the groove is nice and swinging on the best numbers – in a mode that's similar to Earland's own great sides for Muse at the time. Titles include "Hittin & Missin", "Move", "Nuages", and "Nothing Butt". LP, Vinyl record album

One of the weirdest, wildest albums ever from Eddie Jefferson – a real standout classic that shows him retooling his sound for the 70s! After years of writing lyrics to James Moody and Charlie Parker tunes, Eddie lays out some crazy lyrics for modern jazz standards like "Freedom Jazz Dance" and "Bitches Brew", as well as "Night In Tunisia", which he'd never done before – and also offers up a great take on Cannonball's "Things Are Getting Better", not to mention Sly Stone's "Thank You Fallentinme Be Mice Elf Again"! There's a few more standard bop number in the mix too – like "Billie's Bounce" and "I Just Got Back In Town – and support is from a great group that includes Billy Mitchell on tenor, Joe Newman on trumpet, Sam Jones on bass, and Mickey Tucker on keyboards. LP, Vinyl record album

Nice set that brings together the best moments from Eddie Jefferson's Muse years! Eddie's one of our favorite jazz vocalists of all time – and even though he got his start in the bebop years, these 70's recordings are still fantastic stuff. In fact, they may even show him in his best light ever, as the decade was a time when he was being rediscovered by younger fans and players, which added a heck of a lot of energy to his work. The CD includes a range of material – from straight jazz numbers like "Night In Tunisia", "Keep Walkin", and "Ornithology", to stranger 70's funky ones, like "Thank You Falletinme Be Mice Elf Again", "Freedom Jazz Dance", and "Zap! Carnivorous". CD

It's not often that Sam Jones gets the chance to record as a leader with a group larger than a trio – but when he does, the results are always great – and this album's no exception! Jones is working here on a date that's easily one of his best ever – a sextet outing that features Blue Mitchell on trumpet, Slide Hampton on trombone, Bob Berg on tenor, Cedar Walton on piano, and Billy Higgins on drums. The trio of Jones, Walton, and Higgins is well documented on other albums – but expanded to a sextet here, the group really opens up their sound – letting the horns search out majestically over the top of the tunes, while Walton provides those round, warm tones that make numbers like these dance in a lyrical beauty that he first displayed when working with the Jazz Messengers in the early 60s. Titles include a great 12 minute take on Jones' "Seven Minds", the always-great Walton classic "Bolivia", and the titles "Every Man Is A King", "For All We Know", and "Blue Silver". LP, Vinyl record album

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More Johnny Lytle stuff recorded for Muse during his comeback period. This LP features a host of instruments not usually associated with Lytle's standard jazzy vibes style – including electric guitar (played by Melvin Sparks), piano (played by Neal Creque), and an arp synthesizer (which lays down some weak strings on one unfortunate track). The highlights are "After Supper" and a nice reworking of "So What". LP, Vinyl record album

A strong set with some unusual material, recorded with the accompaniment of David Braham on keyboards, Ted Curson on trumpet, and Gerry Niewood on tenor and flute. The highlights are the title track, Donald Fagan's "Maxine", and a good medley called "LA Song Cycle", which has Mark doing a version of the great track "LA Breakdown", always a favorite with us! LP, Vinyl record album

An unbelievably fantastic album, and perhaps the greatest one that Dom Um Romao ever did! Dom recorded this one in America with a blend of Brazilian and New York musicians – creating an incredible sound that's unlike anything else we can think of! We'd place this record next to the best electric work by David Axelrod, the dopest funk on CTI, and a rare few other jazz funk albums from the 70s – and the whole thing's completely sublime all the way through! Includes the spare spacey groover "Dom's Tune", the lively dancer "Cinnamon Flower", the jazzy "Family Talk", a great version of "Ponteio", and a take on Sivuca's "Adeus Maria Fulo" with Joao Donato on electric harpsichord! Loads of samples, and players include Joe Beck, Dom Salvador, Sivuca, Mauricio Smith, Portinho, Richard Kimball, and Lloyd McNeill. LP, Vinyl record album

An incredible set of Brazilian jazz – one of the few albums that percussionist Dom Um Romao recorded as a leader, and sublime all the way through! The record's got a wonderful blend of funky fusion and Brazilian percussion – and features a group from two continents that includes Sivuca on organ, Dom Salvador on electric piano, Joe Beck on guitar, Jerry Dodgion on alto sax, Lloyd McNeill on flute, and Mauricio Smith on tenor, soprano, and flute. Includes the percussion jammer "Shake (Ginga Gingou)", the modal groover "Wait on the Corner", and the lively scatting tune "The Angels" – but the whole album's great, and other tracks include "The Salvation Army", "Kitchen", and "Lamento Negro". LP, Vinyl record album

A lovely record from Woody Shaw – one of his excellent and understated sides from the early 80s, recorded with a quartet that includes Cedar Walton on piano, Buster Williams on bass, and Victor Jones on drums. The tunes are mostly standards, but they're handled with a soulful depth that really takes them to the next level – and the album's got a great original called "Spiderman Blues", plus versions of "There Is No Greater Love", "All The Way", and "What's New". LP, Vinyl record album

One of Woody's last albums – a back to basics set, recorded with a group that include Kenny Garrett on alto sax, Kenny Barron on piano, and guest guitar work on one track by Peter Leitch. The approach is straight modal hardbop – in the spirit of Woody's first recordings for Muse – and although his genius seems to have faltered a bit, his work here is still incredibly solid, much more so than most other trumpeters of his generation, and still expressed in a preference for easily grooving longer tracks. Titles include "Speak Low", "Solid", "There Will Never Be Another You", "It Might As Well Be Spring", and "The Woody Woodpecker Song". CD

With Jaki Byard on piano, Richard Davis on bass, and Alan Dawson on drums. Includes "Samba Du Bois", "Nefertiti", "Airegin", "The Last Page", and "The Summer Knows". LP, Vinyl record album

Produced by Houston Person – with Frank Wess on reeds and Richard Wyands on piano. CD

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A beautiful later session from Bill Barron – one that has him playing both tenor and soprano sax, in a group with brother Kenny on piano, Ray Drummond on bass, and Ben Riley on drums. The feel here is quite different than Barron's earlier groundbreaking work – but equally wonderful in its own sort of way. Bill keeps things sweet and soulful – bringing in some slight modern touches, but also opening up in a style that's got more of the soul jazz inflections that were showing up on the best Muse sides of the time. Titles include "Yes No Maybe So", "This One's for Monk", "Easy Does It", and "Travelin' On the Freeway". CD

You gotta love the confidence in Blakey's title for this one – because even in the late 70s, over 20 years since starting the Jazz Messengers, he was still very much in his prime! The album has him working with a wonderful group that includes Bobby Watson, Curtis Fuller, David Schnitter, and James Williams – plus percussionist Ray Mantilla, added in on a few tracks to give the set a slightly fuller sound. Tracks are long, dynamic, and gorgeous – really stepping out with the warmth and imagination that Blakey never let die during his career – but which seemed to be burning as brightly during this stretch as it was during the few really noteworthy points of earlier years. The set features a wonderful early reading of Watson's "To See Her Face", plus "Kamal", "Not So Far At All", "Jody", and "1978". LP, Vinyl record album

A righteous bit of soul – one of the only non-jazz albums we've seen on the Muse label, and a really great session that reminds us of work by Alice Clark and Esther Marrow – two other overlooked 70s soul singers who also recorded for jazz labels! Rickie's got a deep soul approach to the vocals that's nicely inflected with jazzy work by players that include Tom Malone, Kalaparusha, Buddy Terry, Warren Smith, and Howard Johnson – the last of whom arranged and conducted the backings, and gives the album a full-on and progressive feel. Rickie's vocals have lots of nice gentle tones, making for some sweet little numbers that sparkle nicely – titles that include "Baby Won't You Stay", "To Be Needed", "In A Little While", "At The Clinic", "What Could It Be", and "I Won't See Yesterday". LP, Vinyl record album

An obscure little session from Kenny Burrell – recorded at the end of the 70s, and with a very laidback feel! The set was produced by Helen Keane, who'd done some of Bill Evans' greatest sets – and who had a real ear for the mellower side of the jazz spectrum. And for the record, she's got Kenny playing in a trio format that's very spacious – with only gentle accompaniment from Reggie Johnson on bass and Sherman Ferguson on drums, and most of the sound on the set coming from the strings of Kenny's guitar. Following in the gentle spirit of the set, Kenny even plays an acoustic guitar on 2 numbers – making for a very different sound than usual. Some tracks are quite long, really letting Kenny open up on his solos – and titles include "So Little Time", "All Blues", "I'm Glad There Is You", and "You & The Night & The Music". LP, Vinyl record album

Includes the songs "There'll Be Some Changes Made", "Lonely Town", "Blues Au Gratin", "Excerpts From Song Of Proverbs/Toni", "Besame Mucho", "Spanish Tinge", "Journey/Night Od Departure", "To Bob Vatel Of Paris / Blues For Jennie", and "Some Other Spring / Every Year". CD

With Peter Washington on bass, Victor Lewis on drums, and Gary Bartz on alto and soprano sax! CD

Wonderful work from an unsung hero of the soulful jazz underground of the 70s! Although Joe Chambers came to great fame as the writer and drummer behind some of Bobby Hutcherson's best records late 60s, he didn't really ever make that many records under his own name as a leader – and this date is not only one of the few that he cut that way, but also one of the best! Joe's powerful presence on the record is tremendous throughout – and he works with an ultra-hip lineup that shifts throughout the album, and really gives the whole thing an almost Strata East vibe – with work from Cedar Walton on Fender Rhodes, Woody Shaw on trumpet, Harold Vick on flute and tenor, Cecil McBee on bass, and Ray Mantilla on percussion. The whole thing is as uplifting as you might expect – and tracks include "Medina", "The Almoravid", "Early Minor", "Jihad", and "Gazelle Suite". LP, Vinyl record album

One of the classic Richie Cole LPs for Muse from the 70's, with a light airy groove, and free breezy solos that are augmented on some tracks with vocals by Eddie Jefferson. Includes the classics "New York Afternoon", a breezy jazz dancer, and "Alto Madness" – plus "It's The Same Thing Everywhere", "Dorothy's Den", and "Waltz for a Rainy Be-Bop Evening". LP, Vinyl record album

Way more than just a traditional "battle of the saxes" sort of set – hardly the bop frenzy you might expect, and instead a great little record that's right up there with the hippest 70s work of Eric Kloss! Both Cole and Kloss dominate the record – one in the right channel, one in the left – supported by some really great rhythm from Mickey Tucker on electric piano, Rick Laird on bass, and Eddie Gladden on drums – a cool combo who play with an open, spiritual sort of groove on most numbers. The tracks are quite long, and filled with feeling – an almost Strata East-like energy at times, with key evidence of Tucker's force in the record. Titles include "Harold's House Of Jazz", "Ebony Godfather", "Robin", and "DC Farewell". LP, Vinyl record album

A great example of the Muse Records charm of altoist Richie Cole – bop-fired creativity at its peak, mixed with some added contemporary elements to keep things fresh! In this case, Richie's horn takes on some key bop classics, but also opens up a bit with vocalsits too – Eddie Jefferson on versions of "Hi Fly", "Relaxin At Camarillo", and "Waiting For Waits" – the latter of which also features Tom Waits as well! The Manhattan Transfer make some subtle guest appearances too – but in ways that are much more restrained than their own albums, really leaving most room for Richie's horn. Bruce Forman plays guitar and Dick Hindman piano – and titles include "Hi Fly", "Relaxin At Camarillo", "Hooray For Hollywood", "I Love Lucy", "Malibu Breeze", "Waiting For Waits", and "Tokyo Rose Sings The Hollywood Blues". CD

A great example of the Muse Records charm of altoist Richie Cole – bop-fired creativity at its peak, mixed with some added contemporary elements to keep things fresh! In this case, Richie's horn takes on some key bop classics, but also opens up a bit with vocalsits too – Eddie Jefferson on versions of "Hi Fly", "Relaxin At Camarillo", and "Waiting For Waits" – the latter of which also features Tom Waits as well! The Manhattan Transfer make some subtle guest appearances too – but in ways that are much more restrained than their own albums, really leaving most room for Richie's horn. Bruce Forman plays guitar and Dick Hindman piano – and titles include "Hi Fly", "Relaxin At Camarillo", "Hooray For Hollywood", "I Love Lucy", "Malibu Breeze", "Waiting For Waits", and "Tokyo Rose Sings The Hollywood Blues". LP, Vinyl record album

We never tire of the saxophone work of Sonny Criss – and this mid 70s gem is a perfect example of his brilliance! Sonny's sound on alto here is completely his own – raspily, soulful style that's really unique – and which draws strongly from Criss' rich life experience, including his years away from music (he'd been retired for most of the 70s before the time of this album.) The group's laidback and open – with Dolo Coker on piano, Ray Crawford on guitar, Larry Gales on bass, and Jimmy Smith on drums – a group that's all well with Criss on his journey – but also lets him sparkle brightly in the lead. Titles include the extended track "Isle Of Celia", plus "This Is For Benny", "Blues In My Heart", and "Crisscraft". LP, Vinyl record album