A sweet little quartet session from the mid 50s – one of Chet Baker's legendary albums recorded in Paris at the time, with a quality that's nicely different from some of his work in the US! Part of that quality is the group – an unusual lineup that includes Gerard Gustin on piano, Jimmy Bond on bass, and Bert Dahlander on drums – but Baker is also changing things up a bit from the Pacific Jazz years too, and working with a more sophisticated understanding of sound and tone that would develop even more strongly in the later half of the 50s! As usual with Chet, the tunes are standards, but completely transformed by his handling – titles that include "I'll Remember April", "Tenderly", "Lover Man", "Summertime", and "You Go To My Head". CD

Collects two quartet sessions and a septet date. Tracks include "Rondette", "Sad Walk", "Mid-Forte", "Girl From Greenland" and "Dinah". CD

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One of the greatest jazz soundtracks of all time! Elmer Bernstein wrote the score to Otto Preminger's chilling film version of Nelson Algren's book The Man With The Golden Arm – a sad tale of jazz, gambling, and heroin addiction on the streets of Chicago (not far from Dusty Groove, in fact!) – and in doing so, he came up with one of the first jazz soundtracks to really work strongly with a dramatic narrative. The film's striking theme is played in a number of variations, either with orchestral backing, or in small combo format by Shorty Rogers & His Giants, a crack west coast group that features work by Bud Shank, Shelly Manne, Bob Cooper, and Pete Candoli. The tracks work perfectly together as a suite of tracks, even without the images of the film – telling a tale of temptation, sadness, tragedy, and rebirth. Titles include "Clark Street", "Breakup", "The Fix", "Zosh", "Frankie Machine", and "Audition". Worth the price for the Saul Bass cover alone! LP, Vinyl record album

TK Blue on alto and soprano saxophone, flute and kalimba, Steve Turre on trombone, James Weidman and Onaje Allan Gumbs on piano, Essiet Okon Ossiet on bass, Willie Martinez on bass, and Kevin Jones on percussion. CD

Tracks include "De Cigarro Em Cigarro", "O Barbinah Branca", "Engano", "Perdido De Amor", "Manha De Carnaval", and "Eu Voce E O Mar". 14 tracks total. CD

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Binker Golding on saxphone, Henry Kaiser & N.O. Moore on guitar, Olie Brice on double bass, and Eddie Prevost on percussion. CD

A sweet live set from Dave Brubeck's early years on Columbia Records – recorded in New York, but with all the calculated cool and modern tones Brubeck first forged in the San Francisco scene of the 50s! Paul Desmond's on board on alto sax – really getting a lot of space to stretch out on the album's extended performances, with a haunting, floating tone that really sends us. Remaining members include Bob Bates on bass, and Joe Dodge on drums – and tracks include "Lover", "Love Walked In", "The Duke", "Little Girl Blue", and "Fare Thee Well Annabelle". CD features 2 bonus tracks, previously unissued – "Taking A Chance On Love" and "Closing Time Blues". CD

One of the earliest albums ever from Harold Budd – an artist who'd later rise to great ambient fame in the following decade, but who's maybe at his most sophisticated here! The set has all the hallmark of the new musical experiments that Brian Eno was showcasing on his Obscure Music label – where the set first appeared – and Budd plays electric piano with a very cool set of contemporary musicians – a lineup that includes alto sax from Marion Brown, harp from Maggie Thomas, marimba from Michael Nyman and John White, and glockenspiel from Gavin Bryars. Brian Eno produced the record, and vocalizes slightly – and tracks have a long-spun, almost spiritual vibe – on titles that include "Bismallahi Rrahmani Rrahmani", "Two Songs (Let Us Go Into The House Of The Lord/Butterfly Sunday)", "Madrigals Of The Rose Angel", and "Juno". LP, Vinyl record album

One of our favorite Kenny Burrell albums – and a record with a much deeper feel than lots of his other work! Kenny cut this album with John Coltrane in 1958 – and the session's a real standout in both of their careers at the time – Kenny's, for being a well-crafted, highly-focused effort – and Coltrane's, for being a unique outing with a guitar, but one that's done with the same deep-spirited sound of his best work for Prestige. The group's a quintet, with Tommy Flanagan, Paul Chambers and Jimmy Cobb in the rhythm section – and titles include "Big Paul", "Lyresto", "Why Was I Born?", "I Never Knew", and "Freight Trane". LP, Vinyl record album

A brilliant tribute to one of the greatest jazz trumpeters of the 50s – featuring 3 full albums of material, plus some bonus tracks as well! Conte Candoli is a name that's appeared on countless sessions as a sideman or studio player, but here, Conte really sparkles as a leader – setting fire amidst some great small group lineups that include the players Bill Holman, Lou Levy, Lawrence Marable, Leroy Vinnegar, Max Bennett, Stan Levey, and Ira Sullivan. The set features material from 2 Bethlehem albums by Conte – Sincerely Conte and Powerhouse Trumpet – plus an Atlantic album, West Coast Wailers – and a rare 78rpm session for the Chicago-based Chance label, and a few additional tunes from a New York session in 1956 with Hank Jones! Conte's never sounded better – and with all this material in one place, the 2CD set is a great bargain overall. 30 tracks in all – with titles that include "Mambo Junior", "Flamingo", "TNT", "Thank You Judge", "Comes Love", "Tune For Tex", "Fine & Dandy", "Night Flight", "Toot Sweet", "Jazz City Blues", "Four", "Groovin Higher", "Lover Man", "Pete's Alibi", "Cheremoya", and "Jordu". CD

Rootsy soundtrack that features lots of rock bluesy tracks – like "Hard Workin Man" by Captain Beefheart, "Wang Dang Doodle" by Howlin Wolf, "Goodbye, So Long" by Ike & Tina Turner, "Saturday Night Special" by Lynyrd Skynyrd, and "Satin Sheets" by Jeanne Pruett. The other half of the score features some nice work by Jack Nitzsche, fairly straight stuff – but still from his best 70s soundtrack period. Titles from him include "Coke Machine", "FBI", "Party", and "Easy Listening". CD

One of those records that just makes us say "wow" right from the very first note – a perfect showcase for all musicians involved, and a really mighty meeting of the creative minds! We've really loved the strong return to form that Matthew Shipp has given us on piano in recent years – and of course, the basswork of William Parker is always tremendous – but they both somehow rise even more to the top alongside the drums of Gerald Cleaver and reeds of Daniel Carter – in a session that's wonderfully spiritual, very rhythmic, and often quite straight at times! There's a balance between the avant impulses of the players and the collective action of the group – almost recalling the loft jazz years, but more contemporarily righteous too – and this second volume features titles that include "Wordwide", "Mask Production", "Da Rest Is Story", and "Blinking Down". CD

There's a wonderful layering of sounds going on here – tremendous work from a team of improvisers who really know how to fill in the spaces alongside each other, and build up a performance that only increases in intensity as things move on! William Parker's bass, as always, is a key factor in the sound here – and on the album, he also plays gralla and shakuhachi as well – next to the drums of Francisco Mela and piano of Leo Genovese, topped and driven forward by incredible work from Daniel Carter on saxes! The music here is based on a poem by carter about non-stop motion in New York – and there's definitely that sense of action here – on titles that include "Intertext Salute", "Shine Hear", and "Glisten Up". CD

A haunting and unusual batch of tracks from bassist Ron Carter – working here with a group that includes spiritual modernists Eric Dolphy on reeds and Mal Waldron on piano – both players who really add a lot to the set! In a way, the album's more like Dolphy's own work as a leader from the time than the sort of music usually associated with Carter – and Ron really seems to let the reedman shape the overall sound of the set with his tremendous work on alto, flute, and bass clarinet. Carter plays a bit of cello in addition to his bass – giving the record a nicely eerie sound at points – and Waldron's piano, as always, is excellent during this point in his career. Titles include Randy Weston's "Where" and "Saucer Eyes", plus "Bass Duet", which features Carter dueting with George Duvivier, and a very nice version of "Softly As In A Morning Sunrise". LP, Vinyl record album

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An unforgettable album from Natalie Cole – a record that came at a time when her R&B career was faltering slightly, and a set that not only helped Natalie reach a new level of sophistication in her music – but also find a huge new audience too! If the title sounds familiar, it's because it's the name of a huge hit for Natalie's dad, the great Nat King Cole – who makes a surprising appearance here via the magic of technology, as he duets with his daughter on the album's hit title track. There's a jazzy vibe to the whole set – thanks in part to some piano work by Ike Cole too – and titles include "The Very Thought Of You", "Paper Moon", "Mona Lisa", 'This Can't Be Love", "Lush Life", "That Sunday That Summer", "Avalon", "Don't Get Around Much Anymore", "Nature Boy", "Darling Je Vous Aime Beaucoup", "Thou Swell", and "Unforgettable". CD

Important second chapter work from Ornette Coleman – a record that marked a real shift in his sound from the Atlantic Records years – issued by Blue Note at a level that gave the rest of the world a chance to see what Ornette had been cooking up on the underground scene! The album was recorded in Stockholm – in the tradition of European live performances that saw Coleman grow so strongly in the mid 60s – and the tracks are long, free, and full of improvised moments – with Ornette adding in trumpet and violin next to his familiar alto – in a trio with David Izenzon on bass and Charles Moffett on drums – both fantastic players who can be loose at the right moments, and bring things back at others. Tracks are long and unbridled – with less of the rhythmic changes that you'd hear in work by the classic quartet, and more of a full-on fierce soloing mode. Titles include "Faces & Places", "Dee Dee", and "Dawn" – and the CD features the previously unissued "Doughnuts", plus alternate takes of "Faces & Places" and "European Echoes". CD

Important second chapter work from Ornette Coleman – a record that marked a real shift in his sound from the Atlantic Records years – issued by Blue Note at a level that gave the rest of the world a chance to see what Ornette had been cooking up on the underground scene! The album was recorded in Stockholm – in the tradition of European live performances that saw Coleman grow so strongly in the mid 60s – and the tracks are long, free, and full of improvised moments – with Ornette adding in trumpet and violin next to his familiar alto – in a trio with David Izenzon on bass and Charles Moffett on drums – both fantastic players who can be loose at the right moments, and bring things back at others. Tracks are long and unbridled – with less of the rhythmic changes that you'd hear in work by the classic quartet, and more of a full-on fierce soloing mode. Titles include "Snowflakes & Sunshine", "Morning Song", "The Riddle", and "Antiques" – and the CD features 3 bonus alternate takes! CD

Tomorrow may be the question, but the record screams "today!" – and even this many years after its recording, this early set by Ornette Coleman has an energy and presence that cannot be denied! The sound here is kind of a rougher take on the mode that would gel more strongly on Ornette's Atlantic albums – but even so, it's still incredibly fresh, and well worth seeking out – especially as an example of the sharper edges that were bursting forth from the once-cool west coast scene! Coleman's on alto sax and Don Cherry is on trumpet – but they're not joined by their more familiar associates, and are instead working with a more conventional rhythm team that includes either Percy Heath or Red Mitchell on bass, and Shelly Manne on drums – all clearly trying to make a bit of sense of Ornette's approach here, but in a way that also creates a great sense of tension on the record! Tracks are shortish, with great solos by Ornette and Cherry – and titles include "Tomorrow Is The Question", "Endless", "Rejoicing", "Lorraine", "Turnaround", "Tears Inside", and "Giggin". LP, Vinyl record album

Steve Coleman on alto sax – with Jonathan Finlayson on trumpet, Malik Mezzadri on flute and vocals, Anthony Tidd on electric bass, Reggie Washington on acoustic bass, and Sean Rickman on drums. CD

Trumpeter Raynald Colom blows in great territory here – stretching out on long tracks that have some of the spacey vibe you might guess from the cover image, graced with superb piano, Fender Rhodes, and Yamaha keys from Tony Tixier! The tracks never get too mellow, but really take their time building things up – and bassist Joe Sanders and drummer Francesco Ciniglio do a great job of providing the sort of spacious accompaniment that lets the keys and the trumpet do their thing – even stepping out on the album's long reading of "The Peacocks", which just features piano and trumpet. Other titles include "Wholeness", "Powder Keg", "Stablemates", "When Logan Meets Miro", and "Sketches Set Seven". CD

A lost slice of work from the mighty John Coltrane – and a set that features the equally great Eric Dolphy up on stage with Trane at the Village Gate! These never-issued recordings are every bit as wonderful as the Village Vanguard material recorded during the same year – with the group moving with boundless energy, maybe even at a level that they wouldn't show on studio recordings for a few years later – bold piano from McCoy Tyner, superb bass from Reggie Workman, and unbridled drums from Elvin Jones – all given further inspiration by the presence of Dolphy, who blows bass clarinet and flute on the record! Trane is already really taking off with the soprano sax, which gets plenty of beautiful solo space here – on tunes that include a rare live take on "Africa", plus an early reading of "Impressions", and "My Favorite Things", "When Lights Are Low", and "Greensleeves" – the latter of which is done in a sublime modal style. LP, Vinyl record album

A great collection – one that's heavy on work from the Atlantic Records years, but that also features earlier material recorded with Miles Davis, Dizzy Gillespie, and Johnny Hodges. CD

Maybe one of the greatest jazz albums of all time – a real breakthrough moment for the legendary John Coltrane, and the blueprint for generations of jazz records to come! Trane was already breaking down plenty of boundaries before Love Supreme – but he knocked it out of the park for the album – which is a full-length suite of spiritual expression, one that gives even greater focus and message to Coltrane's long-spiralling style of soloing on the tenor sax! The group here is the classic quartet – McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums – taking Trane up to the heavens on waves of modal energy, but also holding his spirit closer to the planet than on some of later, more outside performances. There's a slight bit of vocalization on the record – that chanted energy that imbues the set with so much love – and movements include "Acknowledgement", "Resolution", "Pursuance", and "Psalm". LP, Vinyl record album

Brilliant early work by Miles Davis – some of his first truly important sessions to appear under his own name – originally issued as singles or 10" LP recordings by Blue Note, and brought together here in a full length set that would help to define the early years of his career! This is work before Miles was able to stretch out on longer sessions for Prestige, but the material already showcases his unique contribution to jazz – shorter tracks that are perhaps more boppish, than you might expect from some of Miles' other 50s work – but in a way that still allows for many moments of lyrical beauty, and that brilliantly cool sound of his which forever changed the sound of jazz trumpet. The set features work from an assortment of players who vary from track to track – including Jimmy Heath on tenor, Jackie McLean on alto, JJ Johnson on trombone, Gil Coggins on piano, and either Kenny Clarke or Art Blakey on drums – on titles that include "Tempus Fugit", "Kelo", "Enigma", "Ray's Ida", and "CTA". LP, Vinyl record album

Live European work by Eric Dolphy – caught in a setting that was often freer and more creative than his American recordings! The work on the set is pulled from 2 different sessions – one with a group that includes with Idrees Sulieman on trumpet, Jimmy Woode on bass, and Rune Ofwerman on piano; the other with no trumpet, just piano, bass, and drums session, with Woode on bass again. All titles are relatively long – with Dolphy playing a spiritual mix of flute, alto, and bass clarinet – and the tunes are a strong mix of originals and standards, with titles that include "Sorino", "Loss", "Ann", "Alone", and "Geewee". CD adds and alternate take of "Sorino". CD

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A great look at a format that was very near and dear to our hearts back in the day – especially in the pre-digital world, when the cassette tape was the easiest way to circulate music! As you can guess from the title, the author takes this topic and really runs with it – showing how the birth of the tape, home recording, and easy audio transfer allowed for the growth and circulation of lots of different music. The book is well-written, and has a vibe that really makes these years come alive – and the story doesn't stop with tapes and their use in the 21st Century, as the book traces the format well into the 21st Century – where cassettes have had a surprisingly durable resurgence. Softcover, 216 pages. Book

With Sullivan Fortner on piano. CD

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Great early work from trumpeter Jon Eardley – captured here at a point when he was a budding young modernist in the 50s! The album features 2 early 10" LPs – Jon Eardley in Hollywood and Hey There Jon Eardley – both recorded for Prestige within a few months in the mid 50s. The first date features Eardley's trumpet right out front in the mix – hard, spare, and a bit angular – with backing from the piano of Pete Jolly, as well as Red Mitchell on bass and Larry Bunker on drums. Titles include "Late Leader", "Indian Spring", "Black", and "Gloss". The second session is even more interesting, as it features Eardley's horn in tandem with tenor saxophonist JR Monterose, brimming with new ideas at this point in his career, and adding a real edge to the tracks. The remaining players include George Syran on piano, Teddy Kotick on bass, and Nick Stabulas on drums – and titles include "Hey There", "Sid's Delight", "Demanton", and "If You Could See Me Now". CD

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Funky new jack galore – a set that has Colin England stepping out as both a hell of a singer, and a surprisingly strong producer as well – really reveling in that early 90s moment when old school funk elements came back to soul music via sampling – while also kicked up a few notches by beats and breaks borrowed from the hip hop scene! There's a wonderfully warm flow to the whole record – almost uplifting, but in a way that's different than we might use that term with other soul albums – bubbling, bouyant, and completely captivating – on titles that include "Out Of Control", "No 1/2 Steppin", "Sorry Seems To Be The Hardest Word", "You Took My Love Away", "What's On Your Mind", and "I'll Do Anything". CD

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Faada Freddy already has a very striking style – a blend of gospel and soul with some elements of his Senegalese roots – yet here, he pushes the boundaries even more by just working with voice and human percussion elements, but in a mode that makes for a mighty full groove! Freddy's voice mixes with others in the group, rising up with a very righteous vibe that's wonderful – served up with English lyrics that, if there were any justice in the world, would get Faada some exposure on our side of the Atlantic too! The approach is great – hardly gimmicky at all, and really lean and stripped down to just the groove and voice – on titles that include "The One For Me", "Tables Will Turn", "Happy Together", "Day To Day Struggle", "Aladdin", and "Truth & Lies". LP, Vinyl record album

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One of the most magical records ever from this legendary group – a set that swings as hard and soulfully as some of their previous sessions, yet also has a sharper, more modern vibe as well! Of course, this latter aspect is no surprise – once you realize that a young Grachan Moncur is on trombone – adding his hip horn to the wonderful frontline of Benny Golson on tenor and Art Farmer on trumpet and flugelhorn. And given that the rhythm group also features Harold Mabern on piano, you can bet there's a freshness here that can't be beat – a sound and energy that's kept this one at the top of our stack for many many years. Mabern and Moncur contribute two of the best tracks – "Richie's Dilemma" and "Sonny's Back" – and other titles include "Whisper Not", "Tonk", "Rue Prevail", and "Ruby My Dear". CD

Deluxe edition includes the album on CD, four short stories by Nick Hornby, and 15 images by acclaimed photographer Joel Meyerowitz, all in a hardbound, 152-page book. CD

Completely unreleased music from this legendary Boston group – one that features Mission Of Burma working with leader Dredd Foole, in a set of cuts that are completely incendiary all the way through! The material is mostly live, and even edgier than their studio work – and shows the sonic intensity and complexity that the Burma musicians bring to the performance – especially the organ and guitar work of Roger Miller, which really shows how much understanding of sound and power he's picked up in a few short years! The set features 10 live tracks – 9 of which were recorded at the legendary Rat Club – plus 2 more home recordings that are solo numbers – titles that include "So Tough", "Play With Fire", "Not A Beast", "Touch", "Greatest Band In Hell", "TV Eye", "Not The Same", "Behind You", and "Paint It Black". CD

An album with some surprisingly soulful moments, thanks in part to some well-chosen samples from classic years of soul – including snippets of work from The Impressions, James Brown, Minnie Riperton, and The Spinners – all of whom really provide some nice balance with the more hardcore lyrics upfront! That balance is maybe Freeway showing his Philly pedigree – next to plentiful guests who include Jay Z, Beanie Sigel, Snoop, Nelly, Nate Dogg, Faith Evans, Sparks, and others. Tracks include "Free", "What We Do", "Don't Cross The Line", "Turn Out The Lights", "Victim Of The Ghetto", "Flipside", "You Got Me", "Alright", "You Don't Know", and "Life". LP, Vinyl record album

An incredible album from guitarist Fred Frith – his solo debut, and a record that really set the tone for so many other musicians for years to come! Frith wasn't the first person to improvise on the guitar – but he might have been the first to use an electric in ways that tied together new ideas in jazz, prog, and other experimental musics – all at a level that made his playing a hero to many different scenes at once, and really helped open ears to all the different changes that were taking places in the 70s! The whole thing is a monstrous musical message from the pre-punk years – one that has really strong resonance all these many years later – thanks to titles that include "Hollow Music", "No Birds", "Out Of Their Heads", "Glass c/w Steel", "Hello Music", and "Not Forgotton". This great "Fifty" version features a full bonus album of new recordings in the spirit of the original – titles that include "Quicksilver", "Phalaropes", "Jack's Neap Tide", "Move Indigo", "To Do", and "The Map Of Dreams". LP, Vinyl record album

One of the most hard-hitting early albums from the legendary Fruko – a set that really lives up to the powerful image on the cover and the title of the record – almost as if Fruko's trying to answer the badass energy of Willie Colon on the New York scene! The record definitely burns as hard as any of Willie's best from the time, but with that earthier groove that Fruko did so well – that quality that made his music from the time such a fresh, powerful new voice that showed the world that Colombia had plenty of great sounds of its own to offer – served up with styles that owned nothing to NYC or PR at all! Vocals are by Joe Arroyo and Wilson Saoko – and titles include "Salsa Na Ma", "Alma Navidena", "Mosaico Matancero", "La Nueva Bamba", "Vamos Pa'L Campo", "Rumba En Navidad", "Tronco Seco", "El Violento", "Nadando", and "Tu Solo Tu". LP, Vinyl record album

A fantastic rare album cut by Stan Getz in Europe! The session features Getz as the main soloist with the Clarke-Boland Big Band, and the overall sound is an incredible chapter in both the career of Getz and the CBBB. Given that most of the CBBB's soloists had a sharp angular sound, Getz's softer tenor approach is a real change for the group, and it's wonderful to hear the way that he floats around their driving arrangements – never getting lost in the mix, and instead adding whole new ranges of tones and color to their trademark sound. The set features 6 original compositions – including "Extravagances", "Escarmouches", "Provocations", and "Touchstone" – and it's packaged in a very nice fold-out cover! CD

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A seminal 50s session from the mighty Dexter Gordon – one of his few full albums from the decade, and one of the only ones to really capture him at the heart of his original LA scene! The set's got a nice bite, and a strong sense of focus – shorter tracks that step off strongly from the bop years that saw Gordon rise to fame, but without as much of the longer blowing from some of his "chase" recordings with other tenorists. Instead, the focus here is on great tight group sounds – just the right solo space to let each player open up and groove a bit, then come back together in sharp formation. The group features Dex on tenor, Jimmy Robinson on trumpet, Carl Perkins on piano, Leroy Vinnegar on bass, and Chuck Thompson on drums – and titles include "Silver Plated", "Rhythm Mad", "Bonna Rue", "Blowin' For Dootsie", and "Cry Me A River". CD

A fascinating look at the world of Mexican music in the 20th Century – put together in collaboration with Arhoolie Records, the label that's done plenty to reissue the music over the years! The book begins with the huge archive of recordings by the label's founder, Chris Strachwitz – then takes off in a number of different streams – providing historical context, critical evaluation, and even some discographical details – in the form of various lists and sections of music. The book looks at some key styles too – including corridos and mariachi, traced both through Mexican recordings, and US singles by Mexican-Americans – and the whole thing is only the tip of the iceberg, in relation to the 40,000 recordings that have been digitized by the University Of California Library as part of the project. Still, there's plenty here to get you started – a huge amount of information that's even more inspirational than some of Arhoolie's great reissues over the years – in an oversized book that's 226 pages, softcover, with many black and white images too. Book

A rare set of work by Chico Hamilton's original quintet – the groundbreaking lineup that features Buddy Collette on flute and saxes, Fred Katz on cello, Jim Hall on guitar, and Carson Smith on drums – all working together in a really unique blend of rhythm and melody! The sound here is a bit looser than the group's studio albums for Pacific Jazz – given the live setting of the album, at the Strollers club in Long Beach. Yet despite that locale, the sound is quite clear and clean – just right for bringing out the subtle nuances in the string work by Katz and Hall, and some of the lighter notes laid out by Collette's reeds. But there's also a firmer, bolder sound here too – a bit more of a groove than you might expect at times. Titles include "Fast Flute", "Cute Little Deal", "Crazy Rhythm", "Caravan", "Change It", "Free Form", and "A Mood". CD

A 60s repackaging of classic early stuff by Chico Hamilton, featuring a set of the kind of west coast chamber jazz arrangements that made him a huge hit with the crowds in LA. The group features Buddy Collette, Jim Hall, and Fred Katz – and titles include "The Sage", "A Nice Day", "Buddy Boo", and "Spectacular". Also includes "Free Form", which is totally improvised – although in a way that's very different from any 60's track that would have the same sort of name! LP, Vinyl record album

Paris was always a great city for Lionel Hampton – but it seemed like in the mid 50s, it was also a place where he cut some of his best work, too! The French New Sound pair of albums are both classics in Hamp's book – records that take off from the looser, longer-form style that he'd been hitting with his Verve recordings of the early 50s – yet which also retain some of the tighter, fuller elements of his famous large ensembles. Players on the records are great – a lineup that includes travelling American jazz greats like Benny Bailey and Nat Adderley on trumpets, and a young David Amram on French Horn – plus crack Parisian players who include Sacha Distel on guitar, Rene Urtreger on piano, and Guy Pederson on bass. The tracks are simple jamming numbers – long and open-ended, in the mode of some of Hamp's very popular live work at the time, and the vibes are right out front – hard-edged, with that soulful sound that Hamp pioneered on the instrument – and the other players are given very ample room to solo. Tracks on this second volume include "All The Things You Are", "Night & Day", and "Red Ribbon". CD

Fantastic work from Hawkins – recorded for a small label at a time when his star had fallen a bit, but with some AMAZING tone that really makes the album cook! The group's a combo that features piano and organ by Earl Knight, trumpet by Ernie Royal, trombone by Eddie Bert, and guitar by Sidney Gross – and the whole thing has a laidback blowing feel that really lets Hawkins hit some of those fantastic notes he keeps pulling out at the end of his career. If you've ever doubted why folks think Hawk's a genius, check this one out, and prepare to have your ears cook! Titles include "My Own Blues", "What's New", "Running Wild", "Blue Room", and "I'll Never Be The Same". CD

Titles include "La Rosita", "Picasso", "Bean At The Met", "Cattlin' At Keynote", "Night And Day", "Hallelujah" – 16 tracks total, all selected by Sonny Rollins. CD

A classic set in the best Verve Records mode – as these two mature giants of the tenor sax get lots of room to open up and solo with a great rhythm section at the core! Both Hawkins and Webster have a fantastic sense of tone and timing – and the space of the record really lets you hear the charms of both in equal measure – with backing from Oscar Peterson on piano, Herb Ellis on guitar, Ray Brown on bass, and Alvin Stoller on drums. The best tracks have lots of room – plenty of space so that the tenors aren't "encountering" each other in too close of quarters, with space to express themselves freely – and titles include "Blues For Yolande", "Rosita", "Shine On Harvest Moon", and "You'd Be So Nice To Come Home To". LP, Vinyl record album

A stone classic from Ron Henderson and his excellent Choice Of Colors group – maybe one of the hippest soul acts in North Carolina during the 70s – and one who are certainly different than the groups of that scene who were trying more for a groove that would please vacationers on the coast! Instead, Henderson's a mellow soul genius – with elements in his music that maybe rivals some of the better-known work of artists like Bobby Wilson or Leroy Hutson – but which also has some Jersey/Philly elements at times, too – especially when the rest of the group harmonizes along with Ron's lead! The set features two Allen Toussaint remakes, and the rest is original material by Henderson – titles that include "I'll Be Around", "The Real Thing", "Love Is Gone", "Real Men Can't Be Wrong", "What About Love", "Mary Green", and "Problem Child". LP, Vinyl record album

Jimi Hendrix, live in Los Angeles – just days before the release of his classic Are You Experienced album – a record that changed a generation! Jimi was actually working that night as the opening act for The Mamas & The Papas – and we're guessing that his searing solos and raw musical vision really blew the whole crowd away – so much so, we wish the set had a visual component, so we could see reaction shots of the crowd! The Experience group has the classic lineup of Noel Redding on bass and Mitch Mitchell on drums – and titles include "Purple Haze", "Wild Thing", "Fire", "Catfish Blues", "Foxy Lady", and a reading of "Sgt Pepper's Lonely Hearts Club Band". LP, Vinyl record album

A fantastic bit of funky jazz from German maestro Peter Herbholzheimer – an artist with a name that may not roll off the tongue, but whose groove is right up there with the best American artists of the CTI generation! Peter first got his start on the MPS label earlier in the 70s, and this sweet little set really follows in that best tradition – with larger arrangements that evoke some of the best 70s funky soundtrack modes, but with lots more room for jazzy solo work – including solos from Kenny Wheeler on flugelhorn, tenor and soprano sax from Ferdinand Povel, guitar from Eef Albers, organ from Dieter Reith, and even an electric trombone from Jiggs Whigham! Soul singer Inga Rumpf joins the group on versions of "Spirit" and "Superstition" – and other tunes include "Hipwalk", "Butterfly", "Stoned Cockatoo", "Jive Samba", and "Neosho" – all great! LP, Vinyl record album

A solo piano album – tracks include "Moon Song", "Emily", "Close Enough For Love", "Melt Away", "A Time For Love", and "Seascape". CD

Fred Hersch on piano with Ralph Alessi on trumpet and flugelhorn, Reid Anderson and Drew Gress on bass, Jamey Haddad on percussion, Rich Perry on tenor saxophone, and Tom Rainey and Nasheet Waits on drums. CD

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Late work from the great Billie Holiday – the kind of mature set that made Verve Records such a perfect home for the singer in the 50s! Where other labels might have pushed too much to try to get Billie into more commercial, or more straightforward modes – Verve just relaxes into the kind of small combo sound that usually had the singer at her best – pairing Holiday with a great lineup that includes Harry Edison on trumpet, Ben Webster on tenor, Jimmy Rowles on piano, and Barney Kessel on guitar. The songs are short and focused – with Billie at the top of her form on familiar standards like "Comes Love", "Darn That Dream", "Body & Soul", "They Can't Take That Away From Me", and "Embraceable You". LP, Vinyl record album

About as classic as you can get for Billie Holiday on Verve – a wonderfully intimate small group session, recorded with top-shelf players and a smokey torchy mood! Billie's in her later years by the time of the set, but somehow singing with even more emotion and life – working with a group that includes Benny Carter, Jimmy Rowles, Harry Edison, Larry Bunker, and John Simmons – on tracks that include "It Had To Be You", "A Fine Romance", "Gone With The Wind", "Isn't It A Lovely Day", "Ghost Of A Chance", and "Come Rain Or Come Shine". LP, Vinyl record album

A velvet mood, but one with a bit of an edge – as you might expect from Billie Holiday in the 50s, hardly the stuff of a too-soft vocal date! The album's got Holiday working in wonderful small combo mode – getting some key Verve backup from players who include Sweets Edison on trumept, Benny Carter on alto sax, Barney Kessel on guitar, and Jimmy Rowles on piano – a warmly intimate group who really fit the sad-tinged vocals from Billie. Tracks are longish – maybe a bit more so than usual for a Holiday Verve session – and the set list includes beautiful renditions of "What's New", "I Gotta Right To Sing The Blues", "Prelude To A Kiss", and "When Your Lover Has Gone". CD

Some of the most tripped-out music ever from The Holy Modal Rounders – and that's saying a lot, given the nature of the group! This unique early album on ESP features two side-long tracks – both of which are mini-suites of sort, and filled with odd sounds, weird themes, and a strange mixture of hippie instrumentation and sci-fi experimentation! The group for the record is a quartet – with the core combo of Peter Stampfel on violin and vocals and Steve Weber on guitar, augmented by playwright Sam Shephard on drums and Lee Crabtree on piano and organ – plus extra vocals from the trio of Antonia, Barbara, & Wendy. The music is in the best free-thinking style of other rock on the ESP label in the 60s – and titles include "Jimmy & Crash Survey The Universe" and "The Second-Hand Watch". LP2 features Live In 1965 – Some of the earliest music ever from The Holy Modal Rounders – a rare live performance from 1965, recorded at the Chess Mate nightclub in Detroit, and featuring only the duo of Peter Stampfel and Steve Weber! The music here is a bit more folksy and a bit less trippy than some of the Rounders' later recordings, but it still shows a decidedly left-field approach – not just in the subjects of the tunes, but also in the way the guitar, banjo, and fiddle are used – almost as additional voices at times, instead of conventional folk instrumentation. Titles include "Crowley Waltz", "Black Eyed Suzy", "My Mind Capsized", "Fishin Blues", "Rum Mountain", "Random Canyon", "Skin Game", "Indian War Whoop", and "Flop Eared Mule". LP, Vinyl record album

A trio of later gems from this legendary South African pianist! Mindif is a great set that features Abdullah Ibrahim's soundtrack music for the 1988 Clair Denis film Chocolat – some of his best group recordings of the 80s! The feel here is a bit more African-styled than usual – even for Ibrahim – with strong use of reeds to inflect the tunes with the right degree of color and tone for their use in the film. The ensemble on the record features Ricky Ford on tenor and soprano, Craig Handy on flute and tenor, Benny Powell on trombone, David Williams on bass, and Billy Higgins on drums – and the tracks have a languid groove that recalls some of Dollar Brand's best South African recordings with Kippie Moketsie. Titles include "Earth Bird", "African Market", "Pule", "Star Dance", and "Serenity". African River is one of the great larger group recordings that pianist Abdullah Ibrahim gave us in the 80s – from a moment when he was able to use added horns to really expand that amazing sense of color and rhythm he'd brought to his music on earlier trio recordings! There's a sense of musical vision here that really lives up to Abdullah's majestic look on the cover – a fantastic merging of flute and tenor from John Stubblefield, soprano and alto from Horace Alexander Young, tuba and baritone from Howard Johnson, and trombone from Robin Eubanks – all vibrant horn players who seem to have just about every tone and mood covered with their horns – given this wonderfully warm support from Buster Williams on bass, and Brian Adams on drums. All titles are originals by the leader – and tunes include "Chisa", "Sweet Samba", "Duke 88", "The Wedding", and "Joan Capetown Flower". Yarona is a beautifully sensitive set from Abdullah Ibrahim – recorded live at the Village Vanguard, and with an open, lyrical sound that almost seems to recall some of Bill Evans' magical moments in the venue! Ibrahim's quite a different player, of course – but there's an open, exploratory quality to his music that's a bit unusual here – maybe not as rhythmically based as it is balanced between sound and silence – given very respectful company in the bass of Marcus McLaurine and drums of George Johnson. Titles include "Cherry/Mannenberg", "Duke 88", "African River", "Stardance", "Tuang Guru", "Tintinyana", and "African Marketplace". CD

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Tracks include "Hard Knock Life (Ghetto Anthem)", "Ride Or Die", "Can I Get A..." with Amil & Ja Rule, "Money, Cash, Hoes" with DMX, "It's Alright" and "Coming Of Age (The Sequel)" with Memphis Bleek, 'Money Ain't A Thing", "It's Like That", and more. 14 tracks in all. LP, Vinyl record album

Dusty Groove owes plenty to the world of college radio – and in fact, our store grew out of long years of experience on a college station on the south side of Chicago – so we're extra-pleased not just to see a really comprehensive book on the glory days of college radio, but also one that really gets the history right! Author Katherine Rye Jewell really digs deep here, and gets past the easy tales of freeform rock and alternative radio – to instead look at the larger forces that helped build, shift, and challenge the informal network of small college radio stations that had a huge impact on American music for a few key decades, starting in the 70s. The author brings together case histories of individual stations, key scenes in music, legislative shifts, regulatory changes, and music business practice – all to really illuminate just why college radio was so important in the 70s, 80s, and 90s – and why its legacy still continues so strongly today. The roots of Dusty Groove are hidden in these pages in a few key spots – and we can say that the author definitely writes from the right perspective, and takes time to focus in on all the important things that really matter. Softcover edition is 457 pages, with a small amount of charts and illustrations. Book

A record that really helped push guitarist Ronny Jordan over the top – a set that took that sharp, clean sound that made him the 90s heir to the funky Grant Green sound – and updated it nicely with some help from DJ Krush! The record is one of the most successful blends of jazz and hip hop from the time – one of the few that really gets things right, and which knows when to lean into soul as well – and is maybe a key part of an early legacy that would later flourish in Blue Note projects from artists like Madlib and Robert Glasper! Titles include the killer "The Jackal (the illest mix)", which has Dana Bryant delivering a very hip spoken part – plus "S**t Goes Down (but I phunked up mix)", "Love I Never Had It So Good", "Season For Change (dawn of the season mix)", "Bad Brother (how ya like my wheel mix)", and a great remake of "So What (tuff n smooth mix)". LP, Vinyl record album

Theo Jorgensmann on clarinet, and Eckard Koltermann on bass clarinet. CD

KC & The Sunshine Band may have been a chart-topping act during the disco generation, but the Florida funky group have a heck of a lot more to offer than just their hits – as you'll hear in this massive and well-done collection that features 55 tracks in all! The group were formed in the heady early 70s years of Miami funk – and brought together some of the best tropical and soul elements that were brewing in that city at the time – all with a lean vibe that mixed live percussion with riffing guitars, sharp horns, and a completely infectious groove – often topped with catchy lyrics that really went right to the point. This big 3CD set features the group's best work for TK Records, plus other material done for Epic and Jay Boy too – with titles that include "Sound Your Funky Horn", "Why Don't We Get Together", "I Get Lifted", "So Glad", "Come To My Island", "I Betcha Didn't Know That", "Stand Up", "Love Me", "Summer Nights", "I'm A Pushover", "That's The Way I Like It", "Do You Wanna Party", "I Will Love You Tomorrow", "Sho Nuff", "I'm Your Boogie Man", and lots lots more – including some rare mixes too! CD

A wonderfully laidback album from Barney Kessel – gentle guitar stepping around familiar standards, but all with a hip sort of west coast 50s flavor! The main group on the album features Bob Cooper on oboe and tenor, Claude Williamson on piano, Monty Budwig on bass, and Shelly Manne on drums – but a few extra tunes, added to expand the full LP from the original 10" session, feature Hampton Hawes on piano and Red Mitchell on bass – plus the rest of the other group. Titles include "Speak Low", "Love Is Here To Stay", "How Long Has This Been Going On", "On A Slow Boat To China", "Barney's Blues", "A Foggy Day", "Prelude To A Kiss" and "64 Bars On Wilshire" – obviously not a standard! LP, Vinyl record album

A massive posthumous compilation – one that features album tracks, singles, and some other non-LP material from the fantastic Aaliyah – a double-length set that certainly deserves the "ultimate" used in the title! Tracks here feature a few guest appearances by Timbaland, and one by Missy Elliot too – on titles that include "4 Page Letter", "If Your Girl Only Knew", "Hot Like Fire", "Rock The Boat", "Are You Feelin Me", "Come Back In One Piece", "Messed Up", "Hold On", "More Than A Woman (bump n flex club mix)", "I Am Music", "John Blaze", "Man Undercover", "I Don't Wanna", "Miss You", "Don't Know What To Tell Ya", "At Your Best", "Are You That Somebody", "Back & Forth", "Try Again", "More Than A Woman", and "Hot Like Fire". LP, Vinyl record album

The music of Roscoe Mitchell, served up here in a really amazing setting – all solo vibes, handled by Jason Adasiewicz, in a style that's very different than Roscoe's original versions of these tunes! If you've ever heard Adasiewicz solo, you'll already dig what's going on here – work on vibes that's deeply resonant, warmly chromatic, and full of some of the most human, honest, open expressions we've ever heard on the instrument! Jason's always been part of the avant underground in Chicago, but he's also a very spiritual player too – a quality that really comes out in a setting like this – as he unlocks very different currents in tunes that Mitchell originally presented on his own albums, or with the Art Ensemble Of Chicago. The whole thing is wonderfully hypnotic throughout – and titles include "Congliptious", "Old", "Carefree", "The Waltz", "Toro/Jo Jar", "The Key", "A Jackson In Your House", and "Daddy Rollin Stone". CD

Beautiful music from Chicago, set to another Chicago-themed project – a film based around the Roy stories of writer Barry Gifford! Yet that literary reference aside, the music here has fantastic merits of its own, even if you've never read Gifford at all – a very different, more compositional side of the spectrum from vibist Jason Adasiewicz, yet still music that has a loose small combo vibe as well – serve dup by a cool quintet that features Jonathan Doyle on saxes, Josh Berman on cornet, Joshua Abrams on bass, and Hamid Drake on drums! There's a mix of new tones and modern ideas that take us back to that late 50s time on the Chicago scene when Sun Ra's Arkestra was still in town – and the tunes penned by Adasiewicz are not only superb, but a perfect showcase for his incredible tones on vibes. Doyle is a real revelation too – a player we don't know well at all at this point, but whose sense of timing and presence really makes the whole record sparkle – as does the work of the rest of the better-known players in the group. Titles include "Ballad For Kitty", "River Blindness", "Walkin To Clinton", "Rudy's Basement", "Sand", and "Blue People". LP, Vinyl record album

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The hippest side of Cannonball Adderley at the end of the 60s – that loose, soulful vibe he was serving up on some of his coolest records for Capitol at the time – stretched out here over some very long tracks recorded live in France! The year alone marks the record as a great one – as Cannon in 1969 could do no wrong – and he's working here with his crack quintet that includes Nat Adderley on cornet, Victor Gaskin on bass, and Roy McCurdy on drums – plus the mighty Joe Zawinul on both acoustic and electric piano – really finding his groove here, with that incredible sense of chunky rhythm that really seemed to set Cannonball and Nat on fire! There's a much darker edge to the music than on some of Adderley's more popular Capitol albums of the late 60s – a great reminder that in a live setting, this group can bring together all sorts of surprises. Titles include "Why Am I Treated So Bad", "The Scavenger", "Experience In E", "Blue No Boogie", "Walk Tall", "Come Sunday", "Work Song", and "Manha De Carnaval". CD

A great session from 1959 – one that features John Coltrane playing tenor in a combo that's billed as being led by altoist Cannonball Adderley – but which is really more of a Miles Davis combo, without Miles! The set was recorded in Chicago when both were stopping through the city with Miles Davis' combo at the time – and since the rhythm section includes Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – the album's essentially a Kind Of Blue-era Miles album, recorded without Miles on trumpet, and grooving in a slightly more soul-based Adderley mode! Given the presence of Coltrane, there's a bit less of the gutbuckety soul jazz that Cannon was cutting in his own Quintet – but that's more than ok with us, as the Coltrane solos more than make up for that difference! The set's got 2 great originals by Coltrane – "The Sleeper" and "Grand Central" – plus the cuts "Wabash" and "Limehouse Blues". CD