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The historic album by Can – capping off their classic early 70s trilogy that includes Tago Mago and Ege Bamyasi – and the last one with Damo Suzuki in the line up! While very similar to Ege Bamyasi, Future Days takes a step away from their more experimental sounds and has more of the long rhythmic grooves. It's a little slicker than their earlier material but it's just as intense in it's own way! The songs are "Future Days", "Spray", "Moonshake", and the 20 minute long "Bel Air". CD

Early and amazing sounds from electronic genius Chris Carter – material recorded in his home studio during the mid 70s – with a style that clearly lays the blueprint for his collaborations to Throbbing Gristle! Yet without any vocals or other noise, you can really hear the Carter component of the music in a wonderful way – different even than his later collaborations with Cosi Fanni Tutti, even when spare – as the whole vibe here is maybe a more condensed version of Krautrock electronics, taken into the space of songs that are just a few minutes long – but which also have a lot more darkness than other electronic work of the time. That sense of darkness is key – as these tracks are subtle, but very different than spacier or more calming music of the type – proof that Carter was really an emotional pioneer when it came to this side of the spectrum. Titles include "Warm Hair", "Nodes", "Head Less", "Jet Age", "Hexfoil", "Black Powder", "Ghost Trains", and "See Sick". LP, Vinyl record album

Seminal solo sounds from Chris Carter – best known for his work with Cosey Fanni Tutti, and as a core member of Throbbing Gristle – out here in slightly different territory on his own! Chris follows the spare electronics of his work with Cosey – and some of the tracks definitely have the "beat" promised in the title – but at a level that's nicely subtle, and never sacrifices the overall sonic complexity for the sake of a groove! The record's a very early variant of modes that would later be handled less-skillfully by the end of the decade by so many others – and sounds much better here in the hands of one of the originators – on titles that include "Mondo B", "Moonlight", "Real Life", "Noevil", "Nobadhairdo", and "Beyond Temptation". And be warned – the cover says "this record contains subliminals"! LP, Vinyl record album

Early Depeche Mode! A Broken Frame is the group's second album, and its finds the group getting their footing exceptionally well after losing Vince Clarke. To our ears, Depeche Mode (or perhaps you can give pretty big share of the acclaim to Martin Gore, as he's credited with all the songwriting) were taking some creative chances on this one, as it was before they had a fairly defined, ultra-dramatic tone to follow. A bit underappreciated in their canon, and well worth reevaluating. Titles include "Leave In Silence", "My Secret Garden", "Monument", "See You", "The Meaning Of Love", "The Sun & The Rainfall" and more. LP, Vinyl record album

Arguably one of their most perfect moments ever – a sublime blend of noise and funk! Titles include "Kinderfunk", "Osten Wahrt Am Langsten", "De Panne", "Nacht Arbeit", "Gewalt", and "Gib's Mir". LP, Vinyl record album

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Wonderfully noisy, messy grooves from the mighty Mark Stewart – working here in the best spirit of the On-U sound years – when just about anything was allowable in the studio! Stewart's equally influenced by punk and dub, but also has a sound that's completely his own – very dark and moody, and filled with political energy from the Reagan/Thatcher era – with instrumentation from a host of other On-U label mates – including musicians from New Age Steppers, African Head Charge, and The Dub Syndicate – brooding under the kind of trippy percussion that only Adrian Sherwood could deliver at the time. A huge bridge between London of the punk years, and England of the Massive Attack/Tricky generation – with titles that include "Liberty City", "The Paranoia Of Power", "High Ideals & Crazy Dreams", "None Dare Call It Conspiracy", "Learning To Cope With Cowardice", "Blessed Are Those Who Struggle", and "Don't Ever Lay Down Your Arms". Features a full bonus album of unreleased material – titles that include "Conspiracy", "May I", "High Ideals", "The Weight", "Liberty Dub", "Vision", and "Cowardice". CD

The title might seem like a joke – given Throbbing Gristle's reputation for intense noise and dark sounds – but at another level, it's actually a great fit for the spirit of the record too! The sound here is a lot leaner than before – almost as if TG is focusing in on the best elements that made their earlier performances so great – exposing a hidden talent for a song, a groove, and even an occasional melody – in ways that almost refine and filter down the whole of German 70s electronics into a spirit of post-punk expression! Subject matter is still pretty darn dark, and vocals are as creepy as ever – thanks Genesis P – but there's also more of the electronics that Chris & Cosey would soon explore on their own. Titles include "20 Jazz Funk Greats", "Beachy Head", "Still Walking", "Tanith", "Convincing People", "Exotica", "Hot On The Hells Of Love", "Persuasion", "Walkabout", "What A Day", and "Six Six Sixties". CD

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A seminal bit of pre-electro crossover – featuring the cold hard vocals of Alison Moyet, and some very tasty keyboard work! Includes the post-disco club smashes "Don't Go" and "Situation", plus "Goodbye Seventies", "Winter Kills", "Midnight", "In My Room", and "Bad Connection". LP, Vinyl record album

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A seminal punk-funk classic from the end of the 70s – one that's as brilliantly abrasive and brashly fresh today as it was when it was released! The group are working here in equal parts dub, funk, and lots of scratchy guitars and heady bass – with a style that would later be picked up more strongly by On-U in the 80s, but which is executed here with a much clearer vision that's free of any of the cliches that would later overcome the genre. Even the politics are surprisingly pointed – and Paul Stewart's vocalizations of most of the tunes is really dead on the money! Titles include "Thief Of Fire", "Snowgirl", "Blood Money", "We Are Time", "Don't Sell Your Dreams", "Words Disobey Me", and "Don't Call Me Pain". This great version features the original 12" single "She Is Beyond Good & Evil", included with the original album – plus a bonus large format poster too! LP, Vinyl record album

A great electro classic from the earliest years of synth pop – served up here by a British group who set the scene for a whole generation! Silicon Teens never had the success of Human League or some of their contemporaries, but they definitely set the scene for that generation – by serving up these spare tunes with drum machine, synth, and stark vocals – usually offering up these synth-heavy remakes of rock tunes from the 50s and 60s! Most tracks are very short, and completely charming – mixed with a few original numbers too – titles that include "Chip N Roll", "Do You Love Me", "Yesterday Man", "Let's Dance", "Sweet Little Sixteen", "Just Like Eddie", "Red River Rock", and "Judy In Disguise". LP, Vinyl record album

A really great collection of work from one of the coolest, most compelling groups to record for the legendary Factory Records label – a combo who were contemporaries of Joy Division and New Order, but who had a very different sound! A Certain Ration – or ACR for short – had a wicked approach that was part funk, part punk – but often more soulful than contemporaries like Pigbag or Bush Tetras – a quality that only advanced as the group aged a bit, and learned to play their instruments even better than before! Factory was very committed to ACR right from the start – and in addition to key albums, they also recorded the group in many ways, which also yielded plenty of unusual tracks for singles, and plenty of unreleased material too. This package brings together all the best of those moments – and features 53 tracks that are a huge addition to their smaller catalog of LP releases – titles that include the previously unissued "Houses In Motion (demo)", "And Then Again (another version)", "Piu Lento (Peel Session)", "Nostromo A Go Go (demo)", "Backs To The Wall (demo)", "It's Trippin When I'm Fine", "Mello (JD 800 perc mix)", "Teko 4 An Answer (120 bpm)", "Samba 123 (demo)", "Some Day (ACR rework)", "Say What You Mean (unfinished demo)", "WSLU", and "Happy Meal" – plus "The Planet", "Turn Me On (7" edit)", "Fever 103 (Greetings 4 version)", "Loosen Up Your Mind", "All Night Party", "Thin Boys", "Blown Away", "Funaezekea", "Abracadubra", "Sommadub", "Guess Who (12" mix)", "Tumba Rumba", "Knife Slits Water (12" version)", "There's Only This", "Si Fermir O Grido (Touch cassette version)", "Brazilia (long)", "The Runner (Greetings 4 version)", and "Sounds Like Something Dirty". CD

One of the most essential Can albums, and perhaps their best – have drums ever sounded better on a record? Ege Bamyasi features some of Jaki Liebezeit's greatest beats, from the shorter songs like the amazing "Vitamin C", "I'm So Green", and "Spoon", to the longer, stretched out tunes in the tradition of the group's previous masterpiece, Tago Mago – "Pinch", "Soup", and "One More Night". With the classic second lineup, featuring Damo Suzuki on vocals, spouting off in several languages during the course of single song, but with a few instrumental numbers too. Elastic grooves with a driving pulse! LP, Vinyl record album

Trumpeter Jonah Jones swings nicely with a Broadway theme – yet still manages to keep things in his charming blend of trad, swing, and some groovier elements too! The set's mostly instrumental, although Jonah sings on a few numbers with that warmly raspy voice of his – and as with most of the Capitol dates, a mute is used often – compressing the sound down into the grooves, which are almost upbeat and lively. Other players include George Rhodes on piano, John Brown on bass, and Harold Austin on drums – and titles include "Baubles Bangles & Beads", "Hey There", "Just In Time", "You're Just In Love", "Just My Luck", and "You're So Right For Me". LP, Vinyl record album

A set that's hardly background at all – as the tracks here have a lively, forward sort of energy that reminds us of our favorite post-punk experiments from the British and German scenes at the start of the 70s – done with a darkness that really resonates with the album's cover image too! There's hardly any vocals at all on the songs – other than muted, abstracted lyrics that are buried under brooding basslines, echoey drums, and fuzzy work on guitar and keyboards – all with a moody Factory Records sort of vibe – and by that, we mean Factory circa 1980, not the later sunnier years. Titles include "Neo Dancer", "And", "Repeat", "Membership Card", "Romantic Romance", and "Recovery Room". LP, Vinyl record album

An obscure bit of boogie from Brief Encounter – a southern soul group known best for their mid 70s sides for the Sound Stage Seven label, stepping out here in a completely different 80s groove! Most tracks are upbeat and dancefloor funky – plenty of bass on the bottom and some sweet electric keys – but often used in a way that's more in a 70s ensemble funk mode than the keyboards you'd hear on other early 80s indie soul. There's a warmth here that's quite nice, and most tracks feature the larger group harmonizing on vocals – in a way that sounds especially sweet on the mellower tracks. And while the recording quality of the original record is sometimes a bit muted, the group themselves sound plenty great – really bouncing along wonderfully with a soaring groove and a sense of tightness that goes beyond their indie roots! Titles include "Sweet Tender Loving", "We Want To Play For You", "Now I Know I Love You", "Rocking", "Since I Met You Girl", "Just For Love", "Open Up Your Heart", and "If You Want My Love". Features the bonus track "Always". LP, Vinyl record album

One of our favorite-ever Miles Davis albums – and a groundbreaking soundtrack that forever changed the way that jazz music was used in film! According to legend, the sounds here were recorded by Miles on a hot Paris night – late in the studio, after a live performance – in a very intimate setting that had he and the combo creating these little poetic passages along with the action in the film! In addition to sublime and moody muted trumpet from Miles – the small group also features tremendous tenor work from the great Barney Wilen – a French modernist who's at the height of his powers – and beautiful bass from Pierre Michelot, whose rich tones really frame the whole proceedings. The rest of the group features bop pianist Rene Urtreger and American drummer Kenny Clarke – but the real charm comes from the interplay between Wilen, Davis, and Michelo. Titles include "Florence Sur Les Champs-Elysees", "L'Assassinat De Carla", "Diner Au Motel", "Evasion De Julien", "Nuit Sur Les Champs-Elysees", "Le Petit Bal", "Au Bar Du Petit Bac" and "Sur L'Autoroute". This CD version restores the original 10 track lineup of the soundtrack, without any additional material. CD

Moody magic from Miles Davis and Gil Evans – one of the pair's most perfectly poised albums together, and a set with a slight bossa nova undercurrent! Evans' shimmering horn patterns are in fine form here – complicated, but never in cold and too-modern ways – just the right sort of backdrop for Miles' muted solo work – blow with a great sense of space and care throughout! There's almost a soundtrack sort of depth to the record, but the solos still keep the jazz element nicely in focus – and titles include "Summer Night", "Wait Till You See Her", "Aos Pes Da Cruz", "Song #1", "Song #2", "Corcovado", and "Once Upon A Summertime". LP, Vinyl record album

Sweeter studio Miles Davis from the 80s – a record that takes the 70s electric experiments and fuses them into a sound that's got a lot more R&B influence than before! The style is a bit poppy at times, but never in a way that's too slick – and often, Davis is using his muted trumpet to state lines boldly in ways that still have a greater sense of depth and craft than most of his contemporaries. A few tracks show some of the gritty New York rock/funk trend of the time, while others are lighter and more lyrical – and titles include covers of "Time After Time" and "Human Nature" – Miles' attempt to find standards in contemporary pop – plus the tracks "Katia", "You're Under Arrest", "Ms Morrisine", and "One Phone Call/Street Scenes". CD

A well-titled album from Harry "Sweets" Edison – not just because of its play on his nickname, but because of its overall sound! The set's an obscure "with strings" date for Harry – one that has his trumpet nicely wrapped up in larger backings that have a gentle, laidback feel. The moody, mellow sound is a great complement to Harry's horn – really showcasing his talents on muted ballads – and the album also features contributions from Gerald Wiggins on piano and Leroy Vinnegar on bass. Titles include "But Beautiful", "What Is There To Say", "Green Dolphin Street", "Everything Happens To Me", "Days Of Wine & Roses", and "Blues For Christine". LP, Vinyl record album

A real standout in the Bill Evans catalog for Riverside – and that's saying a lot, given how important all of his Riverside albums are! The session's a rare quintet outing for Evans – one that breaks the mode of the usual trio format by adding in Freddie Hubbard on trumpet and Jim Hall on guitar – alongside rhythm players Percy Heath on bass and Philly Joe Jones on drums – already a unique enough match for Evans' talents. In a way, the record's one of those sessions that Riverside would sometimes do – pairing a key new voice as a leader with others in an all-star group – but in another way, it's also a return to the sound that first brought Evans' to a wider audience in the 1957 and 1958 years – when he was working in non-trio groups with more famous players – adding his unique piano stylings to their (then) better-known solo modes. The pairing of Evans and Hall has been beautifully documented on other records – and sounds equally great here – but the real treat is Freddie Hubbard's horn, which often lays back on most of the tracks, then bursts in with a brashness that really ignites some of the tunes! He's playing a bit muted here, trying to go for that Miles/Evans combination from the late 50s – but that's plenty ok with us, as we love those records a lot. Titles include "When You Wish Upon A Star", "You & The Night & The Music", "I'll Never Smile again", "You Go To My Head" and the Evans original, "Interplay". CD also features a bonus alternate of "I'll Never Smile Again". CD

A real standout in the Bill Evans catalog for Riverside – and that's saying a lot, given how important all of his Riverside albums are! The session's a rare quintet outing for Evans – one that breaks the mode of the usual trio format by adding in Freddie Hubbard on trumpet and Jim Hall on guitar – alongside rhythm players Percy Heath on bass and Philly Joe Jones on drums – already a unique enough match for Evans' talents. In a way, the record's one of those sessions that Riverside would sometimes do – pairing a key new voice as a leader with others in an all-star group – but in another way, it's also a return to the sound that first brought Evans' to a wider audience in the 1957 and 1958 years – when he was working in non-trio groups with more famous players – adding his unique piano stylings to their (then) better-known solo modes. The pairing of Evans and Hall has been beautifully documented on other records – and sounds equally great here – but the real treat is Freddie Hubbard's horn, which often lays back on most of the tracks, then bursts in with a brashness that really ignites some of the tunes! He's playing a bit muted here, trying to go for that Miles/Evans combination from the late 50s – but that's plenty ok with us, as we love those records a lot. Titles include "When You Wish Upon A Star", "You & The Night & The Music", "I'll Never Smile again", "You Go To My Head" and the Evans original, "Interplay". CD also features a bonus alternate of "I'll Never Smile Again". CD

A real standout in the Bill Evans catalog for Riverside – and that's saying a lot, given how important all of his Riverside albums are! The session's a rare quintet outing for Evans – one that breaks the mode of the usual trio format by adding in Freddie Hubbard on trumpet and Jim Hall on guitar – alongside rhythm players Percy Heath on bass and Philly Joe Jones on drums – already a unique enough match for Evans' talents. In a way, the record's one of those sessions that Riverside would sometimes do – pairing a key new voice as a leader with others in an all-star group – but in another way, it's also a return to the sound that first brought Evans' to a wider audience in the 1957 and 1958 years – when he was working in non-trio groups with more famous players – adding his unique piano stylings to their (then) better-known solo modes. The pairing of Evans and Hall has been beautifully documented on other records – and sounds equally great here – but the real treat is Freddie Hubbard's horn, which often lays back on most of the tracks, then bursts in with a brashness that really ignites some of the tunes! He's playing a bit muted here, trying to go for that Miles/Evans combination from the late 50s – but that's plenty ok with us, as we love those records a lot. Titles include "When You Wish Upon A Star", "You & The Night & The Music", "I'll Never Smile again", "You Go To My Head" and the Evans original, "Interplay". LP, Vinyl record album

Essential work from Eddie Henderson – one of the trumpeter's hippest albums of the 70s, and a key link between his early righteous days and his later smoother sound! The set's a near-perfect blend of all elements involved – tight funky rhythms, spacey soulful instrumentation, and wicked production work from the mighty Skip Drinkwater in the studio – a record that's as essential to his legacy as Gears is to that of Larry Mizell! Henderson's trumpet work is totally great – often muted, and always snakey inside the rhythms – and other players here include Julian Priester on trombone, Hadley Caliman on flute and soprano sax, Patrice Rushen on keyboards, Paul Jackson on bass, and Headhunter Mike Clark on drums. Titles include the excellent groover "Inside You", plus "Kudu", "Acuphuncture", "Time & Space", "Dr Mganga", and "Dark Shadow". CD

Mikolaj Hertel may not be a household name, but he certainly knows how to create some great electronic sounds when he wants to – and even on an album as late as this, he comes across with a sound to rival the spacey electronic masters of the European scene of the 70s! The music is spare and open – tuneful, but in a quietly progressing sort of way – and always has the warmth of more analogue electronics, used at a level that rivals some of the bigger name French electronicists of the 70s, or maybe some of the German Sky Records scene, but less ambient overall. Titles include "Atlantydo", "Twarze Melancholii", "Jak To Wyrazic", "Smutek Pamieci", and "Spleen", in three parts. CD

A great little package that brings together the first two rare albums by Index – a group that started as a cover band in the suburbs of Detroit in the late 60s, but quickly found their way to some tremendous music of their own! The trio's got a style that's jamming and trippy at the same time – romping drums, surprisingly deft guitar work, and some muted lyrics that echo some of the darkness in the instrumentation – even though the group seem to often be comfortable without any vocals at all! The songs here are all their own, and come from their Red Album and Black Album – newly remastered from the original tales, with titles that include "Turquoise Feline", "Feedback", "Rainy Starless Nights", "Break Out", "Paradise Beach", "Shock Waves", "Israeli Blues", and "Fire Eyes". LP, Vinyl record album

Don't think "disco" as in the New York scene at Studio 54 – as these cuts are much deeper and dubbier – served up under the supervision of Bunny Lee by studio maestros Barnabas and Pat Kelly! Instrumentation is by the Aggrovators, but the magic comes equally from the production effects as it does from the massive rhythms by the group – as all the elements are filtered out in space, and criss-cross back and forth in this wonderful way – never too sloppy or experimental, but definitely tripping out with the groove! Vocals are muted when they do make an appearance – and titles include "The Aggrovators Special Dub", "Money In My Pocket Dub", "Portobello Special Dub", "Super Rockers Dub", "The Bomb Dub", "The Killer Dub", and "The Dub Specialist". LP, Vinyl record album

A beautiful early session on Charles Mingus' Debut Records label – one that features singer Ada Moore – a thin-voiced, yet soulful songstress with an edgey sort of tone! The album's got lots of nice rough edges that take it away from the cliched vocal album of the time – including searingly modern solos from LaPorta, slightly muted guitar work from Farlow, and an overall recording style that's very "roomy" – with almost a loft-like feel to the set. Titles include "Something To Live For", "Strange Fascination", "Devil Is A Woman", and "Lass From The Low Country". CD features 4 bonus alternate tracks! CD

The title's no lie, as the set's one of the most intimate albums we've ever heard from trumpeter Jeremy Pelt – a set that features his well-shaped lines in a trio with George Cables on piano and Peter Washington on bass! The drum-less format is really wonderful, and Pelt really takes advantage of the open space to open up his gentler, more introspective side – blowing notes both muted and full, with a sense of balance and grace that takes us back to old school trumpet ballad albums – although none of them ever had the more open, relaxed approach that makes this one so nice! Titles include "Then I'll Be Tired Of You", "Always On My Mind", "Ebony Moonbeams", and "Love Is Simple". CD

Brazilian singer Eliana Pittman's been giving great records for decades – and somehow, she still sounds completely fantastic – maybe even more expressive given the passage of time on her voice, which hasn't lost any of its power or sense of soul! As proof of that, the package balances a full new album with a full album's worth of bonus material recorded live in 1970 – sounds that span decades, but which still have the vocal charms of Pittman sounding completely amazing all the way through! Instrumentation on the new studio tracks is mostly lean, with a fair bit of acoustic guitar – on titles that include "Ex Amor", "Gamei", "O Morro Nao Tem Vez", "Tributo A Vaidade", and "Ate A Lua". The live set has relatively spare instrumentation too – but maybe a bit more muted, given the live recording – and titles include "O Pato", "Desafinado", "Big Spender", "Felicidade/Deixa Issao Pra La", and a nice take on "Ponteio". CD

Fantastic work from Rodan – a group who were almost as important to the Louisville scene as Slint – and whose members went on to other projects like June Of 44, Rachels, and Shipping news – to name just a few! The album is a beautiful performance – long-drawn and meditative – with muted vocals that fall nicely in the fuzzier wash of guitars, driven by slow-building drums – growing with intensity as the set moves on, in a shift between silence and power that maybe even tops som of their hippest contemporaries. Definitely one of those "shoulda been huge" performances – with titles that include "Jungle Jim", "Gauge", "Exoskeleton", "Bible Silver Corner", and the eleven minute "The Everyday World Of Bodies". LP, Vinyl record album

An incredibly beautiful set of work from Arthur Russell – one of the few records to be issued under his own name during his tragically short life – and a hauntingly spare blend of vocals, hand percussion, and solo cello – recorded with more than enough echo to live up to the title! The style is incredibly hard to peg – at times delivered with an almost Nick Drake-like approach that's extremely personal, but also sharing some styles with the mellower work of Suicide and other New York art rock groups from Russell's generation. Russell's voice billows out in a field of echo, directed almost imperceptibly by resonant notes on an electrified cello, and bumped along by muted rhythms that have almost no "attack" but lots of delay. One thing is extremely clear: that the album, which virtually died upon release back in the 80s, was years ahead of its time – and has a quality that easily ranks it as one of the most inventive recordings of its decade. The whole thing's as surprisingly appealing as it is experimental, and this extra-deluxe package features a number of additional tracks. Titles include "Wax The Van", "Tone Bone Kone", "Answers Me", "Being It", "She's The Star/I Take This Time", "Tree House", "See Through", "Lucky Cloud", "Happy Ending", "Tower Of Meaning/Rabbit's Ear/Home Away From Home", and "Our Last Night Together". LP, Vinyl record album

Really great early work from Severed Heads – done at a time when they still had an edge, and were a lot more hip and electro than some of their later more goth-based impulses! The album's a perfect fit for all the best UK underground electrics of the period – Cabaret Voltaire, 400 Blows, and even the earliest Human League – back when they were nice and noisy. The duo have a great way of blending noisy bits with warmer elements – and even do these great sequences with turntables – kind of a more playful Christian Marclay mode! Titles include "Dead Eyes Opened" – which was a bit of a favorite – plus "Golden Boy", "Gashing The Old Mae West", "A Relic Of The Empire", "Epilepsy 82", "Treating Deaf Mutes", and "Brassiere In Rome". LP, Vinyl record album

A real standout in the Bill Evans catalog for Riverside – and that's saying a lot, given how important all of his Riverside albums are! The core session's a rare quintet outing for Evans – one that breaks the mode of the usual trio format by adding in Freddie Hubbard on trumpet and Jim Hall on guitar – alongside rhythm players Percy Heath on bass and Philly Joe Jones on drums – already a unique enough match for Evans' talents. In a way, the record's one of those sessions that Riverside would sometimes do – pairing a key new voice as a leader with others in an all-star group – but in another way, it's also a return to the sound that first brought Evans' to a wider audience in the 1957 and 1958 years – when he was working in non-trio groups with more famous players – adding his unique piano stylings to their (then) better-known solo modes. The pairing of Evans and Hall has been beautifully documented on other records – and sounds equally great here – but the real treat is Freddie Hubbard's horn, which often lays back on most of the tracks, then bursts in with a brashness that really ignites some of the tunes! He's playing a bit muted here, trying to go for that Miles/Evans combination from the late 50s – but that's plenty ok with us, as we love those records a lot. Titles include "When You Wish Upon A Star", "You & The Night & The Music", "I'll Never Smile again", "You Go To My Head" and the Evans original, "Interplay". This double-length set also expands the original Interplay album with even more material from another group session in 1962 – a set recorded also with Philly Joe Jones on drums and Jim Hall on guitar – plus Ron Carter on bass and Zoot Sims on tenor. Titles include "Time Remembered", "Loose Bloose", "Fun Ride", "There Came You", "Fudgesickle Built For Four", and "My Bells". LP, Vinyl record album