A really landmark album in soulful jazz for the 60s – a set that takes the already-great energy of the young trumpeter Donald Byrd, and mixes it with some voices borrowed from gospel music bur turned towards modern jazz – all in a style that's very similar to some of the Max Roach experiments from the time! The core group is really great – with tenor from Hank Mobley, guitar from Kenny Burrell, and piano from Herbie Hancock – plus vibes from the obscure Donald Best, an instrument that you don't always hear on Donald Byrd's albums! Added to this group are voices directed by Coleridge Perkinson, a very hip cat who takes the voices far away from cliched modes of earlier years – and into some very righteous territory that makes the record one of Donald Byrd's first really powerful statements as a leader. Duke Pearson handled the arrangements, and the sound is beautiful and spiritual, with a sound that mixes Blue Note hardbop with a style that would later show up on labels like Strata East, or in the experiments of Max Roach and Billy Harper. The tracks are long and moody, and the vocal group never gets in the way, but instead backs Byrd in a way that lets him hit new heights, and which gives him a stronger sense of voice. Titles include the classic "Christo Redentor", plus "Chant", "The Black Disciple", and "Elijah". LP, Vinyl record album

A really landmark album in soulful jazz for the 60s – a set that takes the already-great energy of the young trumpeter Donald Byrd, and mixes it with some voices borrowed from gospel music bur turned towards modern jazz – all in a style that's very similar to some of the Max Roach experiments from the time! The core group is really great – with tenor from Hank Mobley, guitar from Kenny Burrell, and piano from Herbie Hancock – plus vibes from the obscure Donald Best, an instrument that you don't always hear on Donald Byrd's albums! Added to this group are voices directed by Coleridge Perkinson, a very hip cat who takes the voices far away from cliched modes of earlier years – and into some very righteous territory that makes the record one of Donald Byrd's first really powerful statements as a leader. Duke Pearson handled the arrangements, and the sound is beautiful and spiritual, with a sound that mixes Blue Note hardbop with a style that would later show up on labels like Strata East, or in the experiments of Max Roach and Billy Harper. The tracks are long and moody, and the vocal group never gets in the way, but instead backs Byrd in a way that lets him hit new heights, and which gives him a stronger sense of voice. Titles include the classic "Christo Redentor", plus "Chant", "The Black Disciple", and "Elijah". LP, Vinyl record album

The vaults of Fania Records, plumbed by the Jazzman crew – all in a double-strength approach to Latin grooves! The wealth of great music on Fania, Tico, and related labels is well-known to Latin groovers worldwide – but the Jazzman crew have managed to bring a nicely fresh perspective to the labels here – going for cuts that show the labels' appeal to the funky 45 underground, thanks to a healthy dose of soul, jazz, and funk in the mix! Most of these numbers represent the cream of the crop of the New York scene of the late 60s and early 70s – not the mainstream one, but the side that was bubbling under uptown – as influences from Spanish Harlem mixed in nicely with older influences from Cuba and Puerto Rico. CD features 18 tracks in all – most of the numbers that were previously on the expensive 7" box sets that were part of the Fania/Jazzman project – and the set also features all the original notes on each tune too. Titles include "Doug's Room" by Mauricio Smith, "Come An Get It" by Eddie Palmieri & Cal Tjader, "Soana" by Noro Morales, "Hit The Bongo" by Tito Puente, "Geronimo" by Bobby Valentin, "Fever" by La Lupe, "Soul Drummers" by Ray Barretto, "Black Brothers" by Tito Puente, "Mambomongo" by Mongo Santamaria, "Camel Walk" by The Latinaires, "Tighten Up" by Al Escobar, "I Got The Feeling" by Chollo, "Use It Before You Lose It" by Bobby Valentin, and "Never Learned To Dance" by Harvey Averne. CD

On the heels of their Sessomato Experience, Easy Tempo release this compilation of older Italian soundtrack grooves – by Luis Bacalov, Armando Trovajoli, Piero Umiliani, and Piero Piccioni – remixed by modern European mixologists – like Kid Loco, Jazz Brothers, Rainer Truby Trio, Maffia Sound System, and Gak Sato. As with the other projects, the effort is an attempt update some of these funky grooves, and turn them towards the modern dancefloor. This CD version has an extra mix of Umiliani by the High Llamas, a mix of Umiliani's "Mah Na Mah Na" by the Karminsky Experience and a remix of "Sessomatto" by Raphael Sebbag. CD

A really landmark album in soulful jazz for the 60s – a set that takes the already-great energy of the young trumpeter Donald Byrd, and mixes it with some voices borrowed from gospel music bur turned towards modern jazz – all in a style that's very similar to some of the Max Roach experiments from the time! The core group is really great – with tenor from Hank Mobley, guitar from Kenny Burrell, and piano from Herbie Hancock – plus vibes from the obscure Donald Best, an instrument that you don't always hear on Donald Byrd's albums! Added to this group are voices directed by Coleridge Perkinson, a very hip cat who takes the voices far away from cliched modes of earlier years – and into some very righteous territory that makes the record one of Donald Byrd's first really powerful statements as a leader. Duke Pearson handled the arrangements, and the sound is beautiful and spiritual, with a sound that mixes Blue Note hardbop with a style that would later show up on labels like Strata East, or in the experiments of Max Roach and Billy Harper. The tracks are long and moody, and the vocal group never gets in the way, but instead backs Byrd in a way that lets him hit new heights, and which gives him a stronger sense of voice. Titles include the classic "Christo Redentor", plus "Chant", "The Black Disciple", and "Elijah". CD

Although most Nonesuch Explorer sessions were ethnographic ones, recorded in the field by the label's engineers – this one's a studio session, recorded in New York by a group that's reputedly from Ghana, but which seems to be kind of a "fake" one from our perspective. Why? Well, because Charles Earland's playing tenor, for one – and although his native Philly was kind of far away from New York, we never heard it referred to as "Ghana"! Other players here are US-based jazz ones, too – like drummers Sonny Morgan and Robert Crowder, vibist Garvine Masseaux, and bassist George Brooks. The set's still got a strong High Life sound to it – but it also has jazz flourishes, too, in the way that was used some of the Art Blakey Afro-Drum experiments from the same time. Titles include "Ebony", "Bus Conductor", "Saturday Night", and "Sugar Soup". LP, Vinyl record album

This issue's got a special feature on unusual and noteworthy jazz record covers – served up by a host of different critics, who each pick three different records that are represented by small black and white images, along with label, artist, and title in English – and a longer essay in Japanese! As with other issues, there's a mix of visual information that will help you out if you're not a reader of Japanese – and these days, you can often use a translation program through your phone's camera to read bits that catch your eye. There's a small beautiful section of color images at the start – including covers for the Days of Delight label series – and the magazine also features listings for new albums too, all from a Japanese perspective. 184 pages, and bound like a paperback book. Book

A beautiful mixing of modes – a set that blends the compositions of Woody Shaw with driving rhythms from a Latin jazz group – and a very strong frontline that's overflowing with top trumpet talents! In addition to leader Brian Lynch, the set also features performances by Dave Douglas, Josh Evans, Sean Jones, Etienne Charles, and others – working with core sounds from a combo that's heavy on percussion, with piano and bass to round things out. Trumpets criss-cross in a beautiful way – making new rhythmic magic from Woody's classic tunes, and also really stating a strong difference in the solo performances too. Most tracks are nice and long – and titles include "Zoltan", "In A Capricornian Way", "Tomorrow's Destiny", "Sweet Love Of Mine", "Just A Ballad For Woody", "On The New Ark", and "Song Of Songs" – plus Lynch originals "Blues For Woody & Khalid" and "Madera Latino Suite". CD

A very rare gem from the late 50s – a smoking set that was cut for a very small label, but which is every bit as great from a musical perspective as it is from a collector's one as well! The whole thing cooks with the insensity of a Prestige date from the early 50s – very sharp hardbop energy throughout, spurred on by the work of leader Reese Markewich on piano – in a group that also features tremendous tenor from Jesse Avery, a player who don't really know at all, but who brings an especially sharp edge to the set! Reese also plays a bit of flute – and the quintet also includes Nick Brignola on baritone and alto sax, Steve Fillo on bass and Ronnie Zito on drums – all players with a very cohesive, hard-swinging sound. The set's got a number of great original tunes – and titles include "Hurricane Connie", "Pony", "Mildew", "Flute Street", "Crazy In The Heart", "Moonlight In Vermont", and "Last Lap". CD

One of the more beat-heavy records we've ever heard from keyboardist Joe Armon-Jones – thanks to a range of live drums and programs from Maxwell Owin – a really great partner who helps Joe's music take off in all these new directions! The record's still coming from a jazz perspective, but also has a heavy influence from hip hop and more contemporary genres – especially on the vocal cuts, which feature contributions from Fatima, Rocks Foe, and Lex Amor. Yet there's also some great instrumentalists who join the proceedings too – and the set features guest bass clarinet from Shabaka Hutchings on one cut, and guest harp and flute from Marysia Osu and Yuis. Titles include "Pedal Bike", "Grief", "Ode To Reverbe", "4Seasons", "Don't Tip Me Over", "Do I Keep Going", "Rago's Garage", and "Ikigai". LP, Vinyl record album

A trio of albums from one of our favorite trumpeters on the European scene! First up is Portrait – a set that stands as a tribute to trumpeter Dusko Goykovich's 70 years on this planet – and a record that features him in a variety of settings too! Other players include Ferdinand Povel on flute and tenor, Tony Lakatos on tenor, Steve Gut on trumpet, Isla Eckinger and Ray Drummond on basses, Abraham Burton on alto, and Kenny Barron and Tommy Flanagan on pianos – on titles that include "Recado Bossa Nova", "Balkan Blue", "Adriatica", "One For Klook", and "Inga". Next is Swinging Macedonia – a legendary German session from the 60s – and a record that really showcases the unusual criss-crossing of modes that was going on in the European scene at the time! There's a very strong MPS vibe here – as trumpeter Dusko Goykovich leads a swinging sextet that includes Nathan Davis on flute, soprano, and tenor – blowing some tremendously soulful reed lines – plus incredible rhythms from Mal Waldron on piano, Peter Trunk on bass, and Cees See on drums. The record's an attempt to bring traditional Macedonian rhythms into a jazz perspective – but with players like these, it swings in a way any Macedonian album never could – damn soulful, and with a great exotic vibe. Davis is especially great, and plays in a soaring modal vein that's similar to his work on his classic MPS sides, and on the records he cut in America in the early 70s. The album's a beautiful session that often get's overlooked because it blends it with the Enja catalog – but it's really more of a record that belongs in an MPS reissue series, and is a great lost groover that's waiting to be rediscovered by the Dusty Groove crowd. Titles include "Macedonia", "Old Fisherman's Daughter", "Jumbo Uganda", "Bem Basha", "Saga Se karame", and "The Nights Of Skopje". Brandenberg Concert features one of the greatest trumpeters on the European scene of the past few decades – heard here in a completely sublime setting! Dusko Goykovich has played in many styles and many ways, but hasn't ever done a date with full strings before – a long-overdue placement for his wonderful tone on trumpet – shimmering out front of a larger ensemble, in the manner of classic "with strings" dates by Dizzy Gillespie or Art Farmer! Altoist Peter King arranged the album – and titles are all originals by Dusko, some of which you might know from earlier records – reworked here beautifully for the new setting. King also solos on a handful of tracks too – a rich voice that provides a nice balance with Dusko's trumpet. Strings are never overdone, and the album's always got a nice swing from a core rhythm trio that features Renato Chicco on piano. Titles include "Good Old Days", "Handful O Soul", "Danca Comigo", "St Germain Des Pres", "Adriatica", "In My Dreams", and "I Miss You So". CD

A set that's brimming over with improvising jazz talent – but one that's an especially great reminder of the guitar genius of the great Arto Lindsay! Lindsay is amazing here – playing with energy to match the brilliance of Ken Vandermark and Joe McPhee – which is really saying a lot, and which has us almost feeling like a younger version of Arto's self stepped forward straight from the New York no wave scene, in order to create a pan-historical bridge with the improvising strengths of the Corbett Vs Dempsey universe! Drummer Phil Sudderberg is wonderful too – a master of sounds and moments – and the short tracks allow for plenty of sharp changes, and shifts in energy between each selection. McPhee blows alto, tenor, and pocket trumpet – and Vandermark is on tenor, baritone, and clarinet – on titles that include "The Push & Pull Beneath The Surface", "She Must Have Known", "Whether You Were There Or Not", "When I Lose Any Sense Of Perspective", and "The World's Longest Afternoon". CD

One of the most unique books to ever look at the music of Sun Ra – and one that's very near and dear to our hearts, given that the role of Chicago is seen as vital to the development of the music! The book digs very deep into Ra's early years – time that isn't covered in as much details as in other projects – and the book paints a picture of the city that's as vivid as the jazz legend himself – showing how postwar Chicago did a lot to shape the early sounds and ideas of Ra – which were then shaped the man himself. William Sites comes at the project from a different perspective than most music writers – which makes for a very fresh volume that may well open up whole new territory in the exploration of jazz and community. 313 pages, softcover, with black and white images. Book

A set that's brimming over with improvising jazz talent – but one that's an especially great reminder of the guitar genius of the great Arto Lindsay! Lindsay is amazing here – playing with energy to match the brilliance of Ken Vandermark and Joe McPhee – which is really saying a lot, and which has us almost feeling like a younger version of Arto's self stepped forward straight from the New York no wave scene, in order to create a pan-historical bridge with the improvising strengths of the Corbett Vs Dempsey universe! Drummer Phil Sudderberg is wonderful too – a master of sounds and moments – and the short tracks allow for plenty of sharp changes, and shifts in energy between each selection. McPhee blows alto, tenor, and pocket trumpet – and Vandermark is on tenor, baritone, and clarinet – on titles that include "The Push & Pull Beneath The Surface", "She Must Have Known", "Whether You Were There Or Not", "When I Lose Any Sense Of Perspective", and "The World's Longest Afternoon". CD

Fantastic Fender Rhodes from Yusuke Hirado – plus a fair bit of other keyboards too – all delivered in a set that mixes 70s space jazz funk with some great contemporary elements, and in a way that's nicely different than Hirado's work in the group Quasimode! The set's got some old school rhythms, but plenty more moments that soar and take off with very contemporary cosmic energy – very strongly in a jazz perspective overall, but with a strong knowledge of all the other musical changes that have taken place on the hipper scenes around the globe over the past 20 years – woven into classic keyboard sounds that take on a whole new shape in the setting! Titles include "The Kicker", "Early Bird", "Sonar", "Blue Sky", "Circle", "Galaxy Highway", and "Heady Dayz". CD

The Bill Evans trio with Scott LaFaro on bass and Paul Motian on drums – a near-perfect lineup that forever raised the bar for jazz piano expression! The title here is certainly apt – because even though many of the tunes are shortish, Evans has a sense of exploration in the way he's approaching the keys – one that still retains some of the lyrically rhythmic traces of his first few records – but which also glides forth into territory that was virtually untapped on record for the time. The revolution here is so subtle, it's easy to miss from the perspective of our generation – but give it a few listens, and the record will open up beautifully! Titles include "Israel", "Haunted Heart", "Elsa", "Nardis", and "I Wish I Knew" – CD adds two bonus tracks. CD

The Bill Evans trio with Scott LaFaro on bass and Paul Motian on drums – a near-perfect lineup that forever raised the bar for jazz piano expression! The title here is certainly apt – because even though many of the tunes are shortish, Evans has a sense of exploration in the way he's approaching the keys – one that still retains some of the lyrically rhythmic traces of his first few records – but which also glides forth into territory that was virtually untapped on record for the time. The revolution here is so subtle, it's easy to miss from the perspective of our generation – but give it a few listens, and the record will open up beautifully! Titles include "Israel", "Haunted Heart", "Elsa", "Nardis", and "I Wish I Knew". CD

The Bill Evans trio with Scott LaFaro on bass and Paul Motian on drums – a near-perfect lineup that forever raised the bar for jazz piano expression! The title here is certainly apt – because even though many of the tunes are shortish, Evans has a sense of exploration in the way he's approaching the keys – one that still retains some of the lyrically rhythmic traces of his first few records – but which also glides forth into territory that was virtually untapped on record for the time. The revolution here is so subtle, it's easy to miss from the perspective of our generation – but give it a few listens, and the record will open up beautifully! Titles include "Israel", "Haunted Heart", "Elsa", "Nardis", and "I Wish I Knew". CD

The Bill Evans trio with Scott LaFaro on bass and Paul Motian on drums – a near-perfect lineup that forever raised the bar for jazz piano expression! The title here is certainly apt – because even though many of the tunes are shortish, Evans has a sense of exploration in the way he's approaching the keys – one that still retains some of the lyrically rhythmic traces of his first few records – but which also glides forth into territory that was virtually untapped on record for the time. The revolution here is so subtle, it's easy to miss from the perspective of our generation – but give it a few listens, and the record will open up beautifully! Titles include "Israel", "Haunted Heart", "Elsa", "Nardis", and "I Wish I Knew". LP, Vinyl record album

Mindblowing work from IG Culture – the summation of all our previous expectations in his music, cast forward into bold new territory! The set's got the depth and majesty of a 70s spiritual jazz session, but still also bristles with the crackling cosmic touches we first loved in IG's work – a blend of righteous jazz and vocal themes, all infused with a new sort of energy for the 21st Century! Rhythms are sometimes soaring, sometimes skittish, and bits of hip hop and soul nestle in alongside spiritual jazz modes – with a collective feel that's as powerful as it is positive. IG's got some great help for the record too – including Chicago talents Dee Alexander on vocals, Ernest Dawkins on reeds, and Corey Wilkes on trumpet – plus Sacha Williamson on vocals, Josh Deep on vibes, and Tom Ashe on trumpet. Titles include covers of 70s classics "Girl U Need A Change Of Mind" and "Revelation" – plus "Black", "Consumed", "Any Questions", "Adjusted Perspectives", "B Free", "This Love", and "Ra Bops In Blacknuss". CD