... 7-inch, Vinyl record

As stated on the back cover – a selection of music as played in the lounges and Palm Courts of hotels during the 20s and 30s. LP, Vinyl record album

Tracks include "Take Me There", "Any Love", "Lydian", "El Dulce Sol", and "Let's Come Together". CD

Some great tracks from the jazzy soulful genius of Norman Connors! Connors is one of the best crossover soul jazz artists of the 70s – with a masterful blend of styles that's matched by only a few other artists, like Roy Ayers or Leroy Hutson. This set includes tracks from his Buddah and Arista recordings – and the sound is classic all the way through! Titles include "You Are My Starship", "This Is Your Life", "Betcha By Golly Wow", "Valentine Love", "Dindi", "Romantic Journey, "We Both Need Each Other", "Love From The Sun", and "Once I've Been There". The "friends" are all vocalists – including Michael Henderson, Phyllis Hyman, Jean Carn, Phillip Mitchell, and Dee Dee Bridgewater. CD

Early genius from drummer Norman Connors – a sensational bit of righteous soul jazz – right up there with the best work on Strata East and Black Jazz from the time! The sound here is full, soulful, and spiritual – as Connors heads up a large ensemble that includes luminaries like Herbie Hancock, Eddie Henderson, Gary Bartz, Carlos Garnett, Buster Williams, and Dee Dee Bridgewater – all working together in a formation that's free spirited, yet tightly unified – often at a level that's even stronger than their own recordings! The album mixes a few longer tracks with shorter numbers – in a mode that reminds us a lot of Garnett's classic Black Love album – and titles include "Song For Rosa", "Black Lightnin", "Dark Of Light", "Butterfly Dreams", and "Laughter". LP, Vinyl record album

Killer work from the mighty Norman Connors – a set that's heavy on grooves, but which has all the jazzy depth of his early work too! The set features arrangements by some killer modern soul talents – Al Johnson, McKinley Jackson, and Paul Riser – who beautifully blend their own sweet touches with Connors' rich ideas – carried out here with some sublime vocals by Al Johnson himself, plus work from Jean Carn, Glenn Johnson, Adaritha, and The Jones Girls too! The instrumental vibe is as strong as well – with great solos from Freddie Hubbard on trumpet and Gary Bartz on alto – and the combination of all these talents alone is testament to the continuing great vision of Norman Connors – one of the few cats who could make an album like this work so well! Titles include a great version of Steely Dan's "Black Cow", plus "Melancholy Fire", "Take It To The Limit", "Justify", "You've Been On My Mind", and an excellent remake of "I Don't Need Nobody Else". LP, Vinyl record album

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... LP, Vinyl record album

... LP, Vinyl record album

A solid bit of heavy funk – and one of the last strong-selling soundtracks of the blacksploitation era! Sure, you know the hit "Car Wash", but there's plenty of other great numbers that rank the 2LP set right up there with the best of its genre. There's a lot of nice instrumentals on the album that feature a tight smooth funky sound – with good work on clavinet, wah wah guitar, and horns – all quite different than the usual work of Whitfield and Rose Royce at the time. The group do a good job on the vocal cuts, working in that soulful early 70s Motown mode that Whitfield was working on with other acts – and the whole album's as great a debut for Rose Royce as anyone could have hoped for. Features the hit title cut, plus "I Wanna Get Next To You", "Put Your Money Where Your Mouth Is", "Zig Zag", "Mid Day DJ Theme", "I'm Going Down", "Crying", "Doing What Comes Naturally", and "Righteous Rhythm". The Pointer Sisters sing on one track, "You Gotta Believe". LP, Vinyl record album

A landmark first album from drummer Norman Connors – a spiritual jazz masterpiece that builds wonderfully on the post-Coltrane tradition! Norman is years away from his smoother soul recordings at this point, and coming out of a righteous jazz background that included work with Marion Brown and Archie Shepp. For this initial set, Norman's in incredible company – working with players that include Herbie Hancock on both electric and acoustic keys, plus Eddie Henderson on trumpet, Gary Bartz and Carlos Garnett on saxes, Stanley Clarke on bass, and Billy Hart and Airto on percussion – plus a chorus of vocalists on the album's mighty title cut! Tracks are all long, spiritual, and freely exploratory – but never in a style that goes too far outside, or that forgets the joy and love that can spring forth in a forward-thinking session like this one! Titles include "Dance Of Magic", "Give The Drummer Some", "Morning Change", and "Blue". LP, Vinyl record album

A spiritual jazz masterpiece from drummer Norman Connors – one of those unique albums he cut before moving into soul music – done at a level that rivals the early 70s genius on labels like Strata East or Impulse Records! Connors worked with many contemporaries on those labels, and gets a good degree of help from them here, too – in a massive lineup that includes Eddie Henderson on trumpet, Herbie Hancock on keyboards, Gary Bartz on alto, Carlos Garnett on tenor, Buster Williams on bass, Bill Summers on drums, and even Dee Dee Bridgewater on a bit of vocals too! With a lineup like that, it would be easy to lay back and just do nothing – but you can really hear Connors' musical vision taking the lead – that warmly soulful approach that was there right from the start, given some great focus here by producer Skip Drinkwater. Tracks are all long, and free-flowing – a bit out at times, but always returning to the modal pulse of Connors' soulful rhythms. Titles include "Carlos II", "Kumakucha", "Holy Waters", "Revelation", and "Love From The Sun". LP, Vinyl record album

Obscure work from Norman Greenbaum – the man who gave the world "Spirit In The Sky", but who sings here on "Canned Ham", Titfield Thunder", "Back Home Again", "Rhode Island Red", "Damper", "IJ Foxx", and "Lucille Got Stealed". LP, Vinyl record album

A really wonderful collaboration – one that features famous South African singer Vusi Mahlasela working with the Jive Connection combo – a funky Swedish group who backed Mahlasela on many live dates over the years, and who really help his music come across with a lean, classic sort of vibe! This isn't the mainstream music from the SA scene at the start of the 70s – as the instrumentation is live and spontaneous, and never overproduced – a great accompaniment to the raspy charms of Vusi's vocals, which are also delivered in a way that's nicely unfettered too! Norman Zulu also sings a bit on the record – and although the tracks were recorded in 2002, this is the first release of the music – titles that include "Face To Face", "Inkomo", "Umzala", "Prodigal Son", "Push", "Intombi Y Mbali", and "Thulualele". LP, Vinyl record album

... 78 RPM, Vinyl record

Heavy swinging material from Krupa – working here in a loud and frenetic trio format, with Teddy Napoleon on piano and Charlie Ventura on tenor. Gene's working all the bass himself on the drums, and the album's got that pyrotechnic feel of the best JATP sets. Titles include "Dark Eyes", "Idaho", "Body & Soul", and "The Man I Love". LP, Vinyl record album

A well-done set, and one that stretches from the pre-Verve years of these groupings, to the big run when they were starting to really shine on record! The first half features mid 40s material – with performances from Illinois Jacquet, Coleman Hawkins, Lester Young, Flip Phillips, and Jack McVea on tenors – plus Willie Smith on alto, Buck Clayton and Shorty Sherock on trumpets, JJ Johnson on trombone, Nat King Cole on piano, and Les Paul on guitar. The second half features early 50s material, including three long ballad medley tracks – with performances from Benny Carter and Willie Smith on altos, Oscar Peterson on piano, Dizzy Gillespie and Roy Eldridge on trumpets, and Ben Webster, Lester Young, and Flip Phillips on tenors! LP, Vinyl record album

... 7-inch, Vinyl record

An expanded version of the first album to carry the Jazz At The Philharmonic formula into the studio – and a record that virtually coined the term "jam session" for 50s jazz! Norman Granz repeats the style he'd done so well in a live setting – and brings together a host of all-star players in a very relaxed, open environment – one that gives them all plenty of space to open up and hit some nice long solos. Players include Charlie Parker, Johnny Hodges, and Benny Carter in a three-alto frontline, plus Flip Phillips and Ben Webster on tenor, Barney Kessel on guitar, Oscar Peterson on piano, Ray Brown on bass, and JC Heard on drums. Side one features the original "Jam Blues", and side two features a "Ballad Medley", with each solo star taking one of the tunes in the set. Also features the material from vol 2 – "Funky Blues" and "What Is This Thing Called Love". LP, Vinyl record album

An expanded version of the first album to carry the Jazz At The Philharmonic formula into the studio – and a record that virtually coined the term "jam session" for 50s jazz! Norman Granz repeats the style he'd done so well in a live setting – and brings together a host of all-star players in a very relaxed, open environment – one that gives them all plenty of space to open up and hit some nice long solos. Players include Charlie Parker, Johnny Hodges, and Benny Carter in a three-alto frontline, plus Flip Phillips and Ben Webster on tenor, Barney Kessel on guitar, Oscar Peterson on piano, Ray Brown on bass, and JC Heard on drums. Side one features the original "Jam Blues", and side two features a "Ballad Medley", with each solo star taking one of the tunes in the set. Also features the material from vol 2 – "Funky Blues" and "What Is This Thing Called Love". CD

An amazing early package from Norman Granz – proof that even in the early days, the man really knew how to put together a record! The set features different batches of music from key Verve artists – including a Charlie Parker with strings batch, an Oscar Peterson section, Buddy Rich trio material, and some great Coleman Hawkins small group tracks – plus some nice jam session tracks with Harry Edison and Lester young! LP, Vinyl record album

From bop to swing – and everything in between! The album's a classic performance by Charlie Ventura – recorded in Pasadena in 1949, with his septet that included Benny Green on trombone, Boots Mussuli on alto, and vocalese bits by Jackie & Roy! Ventura was a key link in two jazz traditions of the late 40s, and with help from Green and Mussuli, he really cuts things up on the set. Jackie & Roy sing on "East Of Suez", "Euphoria", and "I'm Forever Blowing Bubbles" – and other tunes include "If I Had You", "Fine & Dandy", and "How High The Moon". LP, Vinyl record album

An incredible document of a key genre in 50s jazz on record – the jam session tradition, recorded beautifully for Verve records by the legendary Norman Granz! The idea of a jam session was nothing new at the time, of course, but it was mostly a live phenomenon – known to players from concerts and club dates, or presented on vinyl by Granz, in his celebrated Jazz At The Philharmonic sessions. These dates mark a move into the studio by Granz – one that captures the same sort of energy and unique pairings of musicians that went down in the live sessions, with the added benefit of studio technology to make the work sound even clearer, and more intimate. The 5CD set brings together all 9 Jam Session albums – packaged beautifully in a slipcase with original album cover art, and a full 72 page booklet on the musicians, sessions, and titles included. Players include nearly everyone who might have worked for Verve in the 50s – Benny Carter, Charlie Parker, Johnny Hodges, Dizzy Gillespie, Stan Getz, Buddy DeFranco, and countless others – and titles include "Jam Blues", "Funky Blues", "Apple Jam", "Blues For The Count", "Jamming For Clef", "Rose Room", "Blue Lou", and "Lullaby In Rhythm" – all in very long versions! CD

A key step in the path from The Housemartins to Fatboy Slim – Norman Cook's first big dancefloor excursion, and a super-big hit that sounds surprisingly nice these days! 12-inch, Vinyl record

A key step in the path from The Housemartins to Fatboy Slim – Norman Cook's first big dancefloor excursion, and a super-big hit that sounds surprisingly nice these days! 12-inch, Vinyl record

Fantastic sounds from one of our all-time favorite producers in soul music – the legendary Norman Whitfield, the man who helped some of Motown's artists pick up a new sort of righteous sound at the end of the 60s, before moving on to start his own Whitfield label in the 70s! If you don't know Norman, you definitely know his work – as he's the cat responsible for adding heavy basslines and fuzzy guitars to Detroit soul – picking up on some of the wider musical changes in the Motor City, and using them to push more message-oriented tracks into the scene! Yet Norman wasn't just a 60s powerhouse – as when the 70s approached, he found a way to expand and refine that sound, keeping it fresh in so many different ways – as you'll hear here in this really well-done collection of his best recordings, supported by very detailed notes as well. Tracks include "I Saw You When You Met Her" by The Undisputed Truth, "Ooh Boy" by Rose Royce, "And All Hell Broke Loose" by Willie Hutch, "I've Been Waitin (single version)" by Spyder Turner, "I Heard It Through The Grapevine" by Marvin Gaye, "Come With Me (single version)" by Rare Earth, "Just One Love" by Stargard, "Wishing On A Star" by Jr Walker, "Love Don't Live Here Anymore" by Rose Roce, "Love Is What You Make It" by Masterpiece, "Good Lovin" by Mammatapee, "Papa Was A Rolling Stone (single version)" by The Temptations, "War" by Edwin Starr, "It Should Have Been Me" by Yvonne Fair, "Me & Rock & Roll Are Here To Stay" by David Ruffin, and "Psychedelic Shack (single version with intro)" by The Temptations. CD

Very cool combo work from Gerry Mulligan – and very much in the Pacific Jazz style of the time, given that Chet Baker is in the group on trumpet! There's no piano at all – just Carson Smith on bass and Larry Bunker on drums – and Mulligan is already at his modern best! LP, Vinyl record album

... CD

... LP, Vinyl record album

A wonderful debut from Aquarian Dream – a group who first appeared under the direction of Norman Connors – and who also have lots of the same blend of jazz, soul, and funk you'd find in Connors' own music of the time! Yet Aquarian Dream are very much their own bag, too – a distinctly different group who are to Connors what Ramp was to Roy Ayers – a separate entity that shares the key production talents of their sponsor – but who break out in a wonderful vibe that's all their own! The album's best remembered for its key clubby groovers, but we also love the mellower moments too – which have a sublime stepping quality that really comes through via instrumentation from Claude Bartee on tenor and soprano sax, and Jacques Burvick on a whole host of cool keyboards. Gloria Jones (not the famous one) is a great lead singer – and titles include the classic Chicago club track "Phoenix" – plus "Look Ahead", "Once Again", "Let Me Be The One", "I'll Always Love You T",, and "Treat Me Like The One You Love". LP, Vinyl record album

Recorded in the 40s, and issued only much later by Pablo Records – but a set that's very much in the best spirit of the classic Jazz At The Philharmonic performances that were issued famously by Verve! The set features two key groups – one with Charlie Parker and Sonny Criss on alto sax, Flip Phillips on tenor, Fats Navarro on trumpet, Tommy Turk on trombone, and Hank Jones on piano – playing long jam session takes of "Leap Here", "Indiana", and "Lover Come Back To Me". Then, things move to a smaller group mode on some shorter tracks – with Coleman Hawkins on tenor, Navarro on trumpet, and Jones on piano – on titles that include "Rifftide", "Stuffy", and "The Things We Did Last Summer". CD

... CD

An expanded version of the first album to carry the Jazz At The Philharmonic formula into the studio – and a record that virtually coined the term "jam session" for 50s jazz! Norman Granz repeats the style he'd done so well in a live setting – and brings together a host of all-star players in a very relaxed, open environment – one that gives them all plenty of space to open up and hit some nice long solos. Players include Charlie Parker, Johnny Hodges, and Benny Carter in a three-alto frontline, plus Flip Phillips and Ben Webster on tenor, Barney Kessel on guitar, Oscar Peterson on piano, Ray Brown on bass, and JC Heard on drums. Side one features the original "Jam Blues", and side two features a "Ballad Medley", with each solo star taking one of the tunes in the set. Also features the material from vol 2 – "Funky Blues" and "What Is This Thing Called Love". CD

The first album to carry the Jazz At The Philharmonic formula into the studio – and a record that virtually coined the term "jam session" for 50s jazz! Norman Granz repeats the style he'd done so well in a live setting – and brings together a host of all-star players in a very relaxed, open environment – one that gives them all plenty of space to open up and hit some nice long solos. Players include Charlie Parker, Johnny Hodges, and Benny Carter in a three-alto frontline, plus Flip Phillips and Ben Webster on tenor, Barney Kessel on guitar, Oscar Peterson on piano, Ray Brown on bass, and JC Heard on drums. Side one features the original "Jam Blues", and side two features a "Ballad Medley", with each solo star taking one of the tunes in the set. Also features the material from vol 2 – "Funky Blues" and "What Is This Thing Called Love". CD

One of the highest-concept of all 70s Kinks album – a dark exploration of fame and the price of success, done as a mini-rock opera starring Norman & The Starmaker! As with some of these sets, the best tunes here are those that are the most subtle and less dramatic – and which revisit the more everyday themes of the group's Village Green years. Other tracks are a bit more showy and gimmicky, in a way that almost makes you feel silly for caring about the subject matter – even though Ray Davies's vision of the issues at hand is still as biting as ever. A few standout tracks move into straighter rocking territory, but without the kitsch of some of the other "oldies" styled numbers – and titles include "Holiday Romance", "Everybody's A Star", "Rush Hour Blues", "Nine To Five", "When Work Is Over", "Ducks On The Wall", "You Can't Stop The Music", and "Face In The Crowd". LP, Vinyl record album

One of the highest-concept of all 70s Kinks album – a dark exploration of fame and the price of success, done as a mini-rock opera starring Norman & The Starmaker! As with some of these sets, the best tunes here are those that are the most subtle and less dramatic – and which revisit the more everyday themes of the group's Village Green years. Other tracks are a bit more showy and gimmicky, in a way that almost makes you feel silly for caring about the subject matter – even though Ray Davies's vision of the issues at hand is still as biting as ever. A few standout tracks move into straighter rocking territory, but without the kitsch of some of the other "oldies" styled numbers – and titles include "Holiday Romance", "Everybody's A Star", "Rush Hour Blues", "Nine To Five", "When Work Is Over", "Ducks On The Wall", "You Can't Stop The Music", and "Face In The Crowd". LP, Vinyl record album

A great document of an early all-star jazz concert – recorded at Town Hall by a young Bob Shad – who's clearly working here in the same live territory as producer Norman Granz! There's a great sense of variety going on here – and the record's maybe worth it alone for an excellent performance by a trio with Gene Krupa on drums and Charlie Ventura on tenor – with only piano, and no other instrumentation – a great mode for both players! The album also features work from a quintet led by pianist Teddy Wilson with Flip Phillips on tenor – on the tune "Sweet & Lovely"; a trio with Billy Taylor on piano and Stuff Smith on violin, on "Perdido"; a fantastic duet between Don Byas' tenor and Slam Stewart's bass on "I Got Rhythm"; and a Red Norvo group with Shorty Rogers on trumpet and Flip Phillips on tenor, on the tunes "The Man I Love" and "One Note Jive". LP, Vinyl record album

Groundbreaking Latin Jazz – and an essential 2LP set! The album brings together classic work for Norman Granz' Verve and Clef labels in the cubop mode – including Dizzy Gillespie's Manteca Suite, Machito's Afro-Cuban Suite, titles by Chico O'Farrill, and others recorded in 1949 and arranged by Rene Hernandez. Players include Machito, Charlie Parker, Diz, Mario Bauza, Eddie Bert, Flip Phillips, Chano Pozo, and Jos Mangual – and the quality of the work unifies the sessions wonderfully, even though they were recorded separately over a 5 year period. LP, Vinyl record album

A wonderful set by Carmen McRae – captured at San Francisco's Sugar Hill in 1962 – backed by a tight trio! Carmen is in sweet form here, very loose and and wise, and the group knows just how to fill out the sound. She scats loosely on the opening "Sunday", nearly hits a weep on "What Kind Of Fool I Am", and actually manages to breathe some life into "I Left My Heart In San Francisco" – no mean feat! The players include Norman Simmons on piano, Victor Sproles on bass, and Stu Martin on the kit. Other tracks include a playful "A Foggy Day", "Let There Be Love", "This Is All I Ask", "Thou Swell", "It Never Entered My My Mind" and "Make Someone Happy". LP, Vinyl record album

A wonderful set by Carmen McCrae – captured at San Francisco's Sugar Hill in 1962 – backed by a tight trio! Carmen is in sweet form here, very loose and and wise, and the group knows just how to fill out the sound. She scats loosely on the opening "Sunday", nearly hits a weep on "What Kind Of Fool I Am", and actually manages to breathe some life into "I Left My Heart In San Francisco" – no mean feat! The players include Norman Simmons on piano, Victor Sproles on bass, and Stu Martin on the kit. Other tracks include a playful "A Foggy Day", "Let There Be Love", "This Is All I Ask", "Thou Swell", "It Never Entered My My Mind" and "Make Someone Happy". LP, Vinyl record album

Classic Philly soul from Harold Melvin & The Blue Notes – a killer batch of studio tracks, despite the live image of the group on the cover! The album's got a slightly more expansive feel than some of the other Teddy Pendergrass-era albums by The Blue Notes – almost a mini-symphony of soul, and one that takes arrangements from Bobby Martin, Norman Harris, and Vince Montana – and wraps the vocals up in a soaring, righteous sort of feel! The rougher, more personal Teddy Pendergrass style of I Miss You is folded a bit more into the harmonies of the rest of the group here – and the result is a powerful wave of soul that pushes The Blue Notes right to the top of the pack. The album features classics like "The Love I Lost" and "Is There A Place For Me" – plus other nice material like "Concentrate On Me", "It All Depends On You", and "I'm Weak For You". LP, Vinyl record album

A pair of 70s gems from Harold Melvin & The Blue Notes! Black & Blue is classic Philly soul from Harold Melvin & The Blue Notes – a killer batch of studio tracks, despite the live image of the group on the cover! The album's got a slightly more expansive feel than some of the other Teddy Pendergrass-era albums by The Blue Notes – almost a mini-symphony of soul, and one that takes arrangements from Bobby Martin, Norman Harris, and Vince Montana – and wraps the vocals up in a soaring, righteous sort of feel! The rougher, more personal Teddy Pendergrass style of I Miss You is folded a bit more into the harmonies of the rest of the group here – and the result is a powerful wave of soul that pushes The Blue Notes right to the top of the pack. The album features classics like "The Love I Lost" and "Is There A Place For Me" – plus other nice material like "Concentrate On Me", "It All Depends On You", and "I'm Weak For You". On Wake Up Everybody, Teddy Pendergrass and crew get a bit more political than on earlier releases, and adopt the righteous bubbling soul groove that had put the O'Jays over the top a few years earlier – with incredible results! The title cut – "Wake Up Everybody" – would prove to be a great example of the political Philly International hit formula applied to socially conscious themes, but the record probably scored even bigger with the club crossover hit "Don't Leave Me This Way". Other tracks include "Keep On Lovin You", "Tell The World How I Feel About Cha Baby", "I'm Searching For A Love", and "You Know How To Make Me Feel So Good" – the latter two of which also feature female vocals by Sharon Paige. Bobby Martin, Norman Harris, and Ronnie Baker did the arrangements – and this was Teddy's last LP with the group. CD

Mindblowing funk from The Ohio Players – the group's debut album for Westbound Records, and a landmark batch of tracks that never gets old! The sound here really has the group stretching out a lot – working on tunes that are extended, but never as overindulgent as their labelmates Funkadelic – always keeping to a groove that's focused, yet also free to explore its bad self in the new freedoms of the 70s. There's a strong undercurrent of funky jazz running through the set – mixing great riffing alongside the tight rhythms and tripped-out vocals – all brought together with that deep deep deep production sound that Westbound gave the world as its own legacy in the wake of Norman Whitfield's experiments at Motown. Titles include the wonderfully jamming "Players Balling", and the funky numbers "Reds" and "Singing In The Morning" – plus more soulful tracks "I Wanna Hear From You" and "Never Had A Dream". LP, Vinyl record album

A landmark album for the O'Jays – a set that moved them from the indie ranks to 70s megasoulstatus! After years of bumping around on a variety of labels, and in a variety of styles, the group really exploded with this wonderful set – an album that has them soaring along in the righteous Philly groove of the early 70s – a sound that turned out to be a perfect foil for the trio's sublime, yet earthy harmonies. Arrangements are by some fo the best of the core Philly scene – Thom Bell, Norman Harris, Ronnie Baker, and Bobby Martin – and the album's overflowing with great tunes that completely redefine the sound of group soul in the 70s! Includes megahits "Back Stabbers" and "Love Train" – plus "Shiftless, Shady, Jealous Kind of People", "When The World's At Peace", "Time To Get Down", "Who Am I" and more! CD

Unheard sounds from the legendary Charlie Parker – a set that features 58 previously-unknown alternate takes of classic recordings from Parker's years with Verve producer Norman Granz – all presented here with a huge amount of detail in the notes! The set is incredible – and has appeal that goes far beyond just pleasing the legion of Parker devotees out there – as the way that Charlie approaches a solo is incredible, and it's equally incredible to hear him trying out different approaches on these different tracks – even on some of the numbers that stop short or are incomplete takes – because there's a sense of fire and excitement that still grabs you, and maybe a lot more than many other artists on a full-length solo. There's a reason why early fans of Bird were so fanatic about hearing everything they could by the man – and this set continues that legacy, and really lives up to the faith – with never-heard takes on "Bloomdido", "Visa", "Okiedoke", "Tune X", "Tune Z", "Star Eyes", "Fiesta", "Tico Tico", "An Oscar For Treadwell", "Mohawk", "My Little Suede Shoes", "Night & Day", "Almost Like Being In Love", "If I Should Lose You", "Tune Y", and "What Is This Thing Called Love". Great notes by Phil Schaap, too – a huge booklet! CD

A classic meeting of two giants from the early years of bop – altoist Charlie Parker and trumpeter Dizzy Gillespie – brought together here in a session that Norman Granz would later list as one of the truest realizations of his vision for recording jazz music! Parker's sharp lines are a great contrast to the robust horn work of Diz – and the players work here with a rhythm section that features Thelonious Monk on piano, Curley Russell on bass, and Buddy Rich on drums. Titles include "Relaxin With Lee", "Leap Frog", "Oscar For Treadwell", and "Mohawk". The LP also includes a number of alternate takes, and has a nice photo of the 2 jazz giants on the cover. This CD version includes all the takes from the sessions, including chatter between takes, 20 b9it restoration, new liner notes, photographs and cover art. CD

A beautiful live performance from the Oscar Peterson trio, and one that's right up there with the best Verve material of the early 60s – in part because Norman Granz presented the whole concert on the stage in The Netherlands! The group here is Peterson's second famous combo – with Ray Brown on bass and Ed Thigpen on drums – and Oscar is at that majestically fluid spot that made his 60s material even more incredible than his 50s work – served up with a fantastic command of the keyboard, and maybe even more of a soulful swing, thanks to Thigpen and Brown! Some tracks here are nice and long – and titles include "I Remember Clifford", "Where Do I Go From Here", "Band Call", "Politics & Poker", "Con Alma", "It Ain't Necessarily So", and "Softly As In A Morning Sunrise". CD

An unusual live date for Oscar Peterson – in that it wasn't actually officially recorded by Verve, but done by a fan and handed over to Norman Granz at a later date! Given that origin, though, the material is quite strong – recorded with an edge that's slightly earthier than usual for Verve at the time, but with a clarity that still beautifully displays Peterson's dynamic work on the keys – as well as the gentle guitar backing of Herb Ellis and the always-great bass tones of Ray Brown. Titles include "Daahoud", "Bluesology", "Budo", "Evrev", and "We'll Be Together Again". LP, Vinyl record album

Rare pre-Verve material from the great Oscar Peterson – a host of early tracks recorded for RCA in the 50s! If you think that Peterson only emerged fully-formed in the hands of Norman Granz during the 50s, then think again – because this work really shows a young player already hitting tremendous heights – full, fluid, and very commanding – at a level that's kind of a rougher around the edges version of his Verve years – but in a great way! Peterson echoes some of his predecessors a bit – and you can hear a bit more proximity to Erroll Garner or Eddie Heywood in the way he embraces the rhythms with his solos – but the overall presentation is still pure Oscar. Titles include "China Boy", "I Got Rhythm", "My Blue Heaven", "Honeydripper", "Humoresque", and "The Sheik Of Araby". LP, Vinyl record album

2 funky classics from the legendary Pretty Purdie! Purdie Good is Bernard Purdie's first album as a leader for Prestige – cut right after he'd hipped up plenty of other sessions for the label with his famous funky drums! The groove here is very much in the best Prestige jazz funk mode of the early 70s – tightly vamping rhythms that draw heavily from Purdie's monstrous drums – and which also offer solo showcase space for Harold Wheeler on electric piano, Ted Dunbar on guitar, Tippy Larkin on trumpet, and Charlie Brown and Warren Daniels on tenor. Rhythm is augmented by Gordon Edwards on Fender bass and Norman Pride on congas – and the grooves hit a variety of modes that show that Purdie could sometimes be a more open-thinking rhythmatist than his funky contemporary Idris Muhammad. Titles include great instrumental versions of "Cold Sweat" and "Montego Bay", plus the originals "Wasteland", "You Turn Me On", and "Purdie Good". Shaft is a full funky session from master drummer Bernard Purdie – a set that expands out his previous Prestige vibe, and almost goes for a soundtrack scope to match the record's Shaft title! The set leads off with a great take on the Isaac Hayes hit – one that follows in the same fully-flowing, slow-building mode as Ike's – but which comes across here as an instrumental with some great solo work from Houston Person – playing here almost in a Stanley Turrentine sort of mode! Other tracks continue the hip mix of jazz and larger backings – and feature a lineup of players that includes Neal Creque on electric piano, Gerry Thomas and Danny Moore on trumpets, Willie Bridges and Houston Person on tenors, Billy Nichols and Lloyd Davis on guitars, Gordon Edwards on Fender bass, and Norman Pride on congas. The sound is warm without ever sounding too smooth – and Purdie's funky drums at the bottom ensure that most tunes are nicely lively. Titles include "Shaft", "Butterfingers", "Summer Melody", "Changes", "Way Back Home", and "Attica". CD

Bernard Purdie's first album as a leader for Prestige – cut right after he'd hipped up plenty of other sessions for the label with his famous funky drums! The groove here is very much in the best Prestige jazz funk mode of the early 70s – tightly vamping rhythms that draw heavily from Purdie's monstrous drums – and which also offer solo showcase space for Harold Wheeler on electric piano, Ted Dunbar on guitar, Tippy Larkin on trumpet, and Charlie Brown and Warren Daniels on tenor. Rhythm is augmented by Gordon Edwards on Fender bass and Norman Pride on congas – and the grooves hit a variety of modes that show that Purdie could sometimes be a more open-thinking rhythmatist than his funky contemporary Idris Muhammad. Titles include great instrumental versions of "Cold Sweat" and "Montego Bay", plus the originals "Wasteland", "You Turn Me On", and "Purdie Good". LP, Vinyl record album

Bernard Purdie's first album as a leader for Prestige – cut right after he'd hipped up plenty of other sessions for the label with his famous funky drums! The groove here is very much in the best Prestige jazz funk mode of the early 70s – tightly vamping rhythms that draw heavily from Purdie's monstrous drums – and which also offer solo showcase space for Harold Wheeler on electric piano, Ted Dunbar on guitar, Tippy Larkin on trumpet, and Charlie Brown and Warren Daniels on tenor. Rhythm is augmented by Gordon Edwards on Fender bass and Norman Pride on congas – and the grooves hit a variety of modes that show that Purdie could sometimes be a more open-thinking rhythmatist than his funky contemporary Idris Muhammad. Titles include great instrumental versions of "Cold Sweat" and "Montego Bay", plus the originals "Wasteland", "You Turn Me On", and "Purdie Good". LP, Vinyl record album

2 funky classics from the legendary Pretty Purdie! Purdie Good is Bernard Purdie's first album as a leader for Prestige – cut right after he'd hipped up plenty of other sessions for the label with his famous funky drums! The groove here is very much in the best Prestige jazz funk mode of the early 70s – tightly vamping rhythms that draw heavily from Purdie's monstrous drums – and which also offer solo showcase space for Harold Wheeler on electric piano, Ted Dunbar on guitar, Tippy Larkin on trumpet, and Charlie Brown and Warren Daniels on tenor. Rhythm is augmented by Gordon Edwards on Fender bass and Norman Pride on congas – and the grooves hit a variety of modes that show that Purdie could sometimes be a more open-thinking rhythmatist than his funky contemporary Idris Muhammad. Titles include great instrumental versions of "Cold Sweat" and "Montego Bay", plus the originals "Wasteland", "You Turn Me On", and "Purdie Good". Shaft is a full funky session from master drummer Bernard Purdie – a set that expands out his previous Prestige vibe, and almost goes for a soundtrack scope to match the record's Shaft title! The set leads off with a great take on the Isaac Hayes hit – one that follows in the same fully-flowing, slow-building mode as Ike's – but which comes across here as an instrumental with some great solo work from Houston Person – playing here almost in a Stanley Turrentine sort of mode! Other tracks continue the hip mix of jazz and larger backings – and feature a lineup of players that includes Neal Creque on electric piano, Gerry Thomas and Danny Moore on trumpets, Willie Bridges and Houston Person on tenors, Billy Nichols and Lloyd Davis on guitars, Gordon Edwards on Fender bass, and Norman Pride on congas. The sound is warm without ever sounding too smooth – and Purdie's funky drums at the bottom ensure that most tunes are nicely lively. Titles include "Shaft", "Butterfingers", "Summer Melody", "Changes", "Way Back Home", and "Attica". CD

A nice change from some of Sam Rivers' more extended modes of the time – with tracks that are a bit shorter, with a bit more focus – yet still a relatively loose approach overall! The album features a few differeing trios – with Rivers on flute, tenor, soprano sax, and piano – plus Richard Davis, Cecil McBee, or Avild Andersen on bass – and either Norman Connors, Warren Smith, or Barry Altschul on drums. Titles include "Amber", "Rose", "Mauve", and "Violet". LP, Vinyl record album

It's hard to overstate the influence of Max Roach and Clifford Brown on the west coast scene of the 50s – as the two players helped draw out the bop sound of LA that was quickly getting lost in the cool jazz shuffle of the time, and gave it a strength and focus that not only made the group one of the strongest of the time, but which also sparked new life and a hardbop generation on the LA scene! This classic set of live recordings was one of the first great Brown/Roach moments – recorded during 2 different concerts by Gene Norman Presents, and featuring some great tenor work by LA giants Teddy Edwards and Harold Land, plus some piano by the amazing "sideways" player Carl Perkins, as well as Bud Powell's brother Richie – a key factor of the group's studio recordings on Mercury, and a player who would perish in the same accident that took the life of Clifford Brown. This CD features the full versions of most of the tracks that have been highly edited on the GNP albums over the years – including "Clifford's Axe", "Sunset Eyes", "Jordu", "I Can't Get Started", "Parisian Thoroughfare", and "Tenderly". A few edits persist in a few parts, as the unedited tapes appear to be lost – but many of the tracks are in nice longish versions! CD

One of the best records ever by this unique bop trumpeter – and one that catches him with a strong comeback group that includes Chicagoans Ira Sullivan on trumpet and tenor, Vic Sproles on bass, and Norman Simmons on piano. Roy Haynes rounds out the group on drums – giving the proceedings a warm soulful feel. Titles include "Swingin With Daddy-O", "Hale To Dale", "Laura", and "Trumpet Juice". LP, Vinyl record album

The third album from the mighty Rose Royce – working here in perfect hit formation – with older styles of harmony soul wrapped around some of the best late 70s mainstream funk modes – all produced to perfection by the mighty Norman Whitfield! Whitfield's guidance of the group is maybe even stronger here than in the group's Motown years – as he balances funky and righteous elements with some sublime mellow soul moments – most especially here on the classic "Love Don't Live Here Anymore" – one of the group's standout cuts, and a masterpiece of spacey soul that still shocks us today with its greatness. Other tracks include "I'm In Love", "That's What's Wrong With Me", "Let Me Be The First To Know", and "First Come, First Serve". LP, Vinyl record album

A tremendous little album from Jimmy Ruffin – as "ruff" as the title implies, with a much deeper groove than you might find from other Motown releases at the time! The style here is really wonderful – rich, heartfelt vocals from Jimmy that easily match the best of the Detroit underground of the time – a style that's a bit like Darrell Banks or JJ Barnes, with echoes of the southern sound of the 60s – but produced to perfection with all the best that Motown could muster! Jimmy gets lots of heavy help from Norman Whitfield – who produced about half the tracks on the set, and gives Ruffin a sound that's somewhere between his righteous soul with the Temptations, and the best Motown grooves of his earlier work for the label. Other production is by Brian Holland & Lamont Dozier, William Weatherspoon & James Dean, and Richard Morris – all of whom follow Whitfield's lead nicely – and although the album's got few runaway hits, it's a rock-solid effort throughout – just the kind of album that makes us love the Motown full-length scene even more than the label's singles! Titles include "Lonely Lonely Man Am I", "It's Wonderful (To Be Loved By You)", "Don't Let Him Take Your Love From Me", "Everybody Needs Love", "Sad & Lonesome Feeling", "Love Gives Love Takes Away", and "Farewell Is A Lonely Sound". LP, Vinyl record album

A righteous cover, a righteous title, and a righteous little session that features one long song that spans the entire length of the album! "Black Unity" may well be Pharoah Sanders' freest expression on record to date – but it's also still got all the hallmarks of his best moments on Impulse – especially the tighter rhythmic focus that always makes his work so compelling – and which has kept his legacy fresh for generations and generations of new jazz listeners! The group here is wonderfully put together – with Joe Bonner on piano, Carlos Garnett on tenor, Marvin Hannibal Peterson on trumpet, Cecil McBee and Stanley Clarke on basses, and Norman Connors and Billy Hart on drums – all with plenty of space to stretch out, open up, and really do their thing! In contrast to some of the totally free work coming out of the European scene during the same stretch – especially that by American players overseas – the album's a great reminder that rhythm in jazz is always a key component – as Pharoah finds a way to make things swing, even at unexpected moments! CD

A righteous cover, a righteous title, and a righteous little session that features one long song that spans the entire length of the album! "Black Unity" may well be Pharoah Sanders' freest expression on record to date – but it's also still got all the hallmarks of his best moments on Impulse – especially the tighter rhythmic focus that always makes his work so compelling – and which has kept his legacy fresh for generations and generations of new jazz listeners! The group here is wonderfully put together – with Joe Bonner on piano, Carlos Garnett on tenor, Marvin Hannibal Peterson on trumpet, Cecil McBee and Stanley Clarke on basses, and Norman Connors and Billy Hart on drums – all with plenty of space to stretch out, open up, and really do their thing! In contrast to some of the totally free work coming out of the European scene during the same stretch – especially that by American players overseas – the album's a great reminder that rhythm in jazz is always a key component – as Pharoah finds a way to make things swing, even at unexpected moments! LP, Vinyl record album