One of the most sensitive 70s albums from guitarist Jan Akkerman – a set recorded with larger backings from Claus Ogerman, who really helps Jan find a newly mellow side of his sound! Gone are some of the too-jamming, rock-inspired modes of Akkerman's other records – and in their place are open, flowing lines on guitar – played with a sensitivity that reminds us a bit of some of Jim Hall's more ambitious albums of the same period – although even a bit more classically-oriented overall. Ogerman's arrangements are wonderful – full and lush, but never too sleepy – and titles include "Nightwings", "Modinha", "Espanoleta", "Pavane Pour Une Infante Defunte", "Love Remembered", and "The Seed Of God". LP, Vinyl record album

Incredible early work from Lorez Alexandria – the kind of albums that instantly set her apart from other singers of the 50s, reissued here properly for the first time in years! On This Is Lorez, the singer is working with sublime small combo backings from the group of pianist King Fleming – an unusual Chicago ensemble that includes Wilber Wynn on guitar, Ronald Wilson on flute and oboe, Vernel Fournier on drums, and Audrey Jones on bongos – a musical lineup that brings in a different sort of sophistication to the record, shading tunes with moody colors on flute and oboe that perfectly support Alexandria's soulful and sensitive interpretations of the tunes. The whole thing is pure genius, and a key look at the new levels of sophistication that were bubbling everywhere on the Chicago scene during the years of Jamal and Sun Ra. Lorez Sings Pres follows in a very similar mode – with backing by a Chicago group that again includes King Fleming piano, plus Charles Stepney on vibes, Paul Serrano on trumpet, and Vernel Fournier on drums – an extremely hip lineup that makes the record far more than just the Lester Young tribute promised in the title! But despite the instrumentalists, the real star on all sides is Alexandria – who sings with dark tones and deep colors that go far beyond conventional jazz vocals – all carried off with that slightly breathy mode that was one more unique aspect of her work! CD features all tracks from both albums – a total of 22 titles that include "Snowstorm", "I'm Glad There Is You", "The Sky Is Crying", "I'm Making Believe", "Necessity", "Penthouse Serenade", "DB Blues", "This Year's Kisses", "Easy Living", "No Eyes Blues", "Jumping With Symphony Sid", and a key early reading of "Baltimore Oriole". CD

Beautifully sensitive work from pianist Geri Allen – a session cut with a core trio of Ron Carter on bass and Jimmy Cobb on drums, but one that sparkles even more from guest contributions by Wallace Roney and Carmen Lundy! Geri's piano is at the forefront of the set – sliding out gracefully with a sound that's not exactly timeless, but which has a soulful energy that reminds us a lot of some of the best styles of her roots – focused a bit more here, and augmented on a few tracks by the Atlanta Jazz Chorus, a vocal group who hardly dominate the record, but float in very gently alongside Geri's piano – almost in a style that's similar to the use of voices on some of Duke Pearson's last recordings for Blue Note. Titles include "Portraits & Dreams", "Oh Freedom", "Melchezedik", "Well Done", "La Strada", "I Have A Dream", "Nearly", "In Real Time", "Our Lady", and "Timeless Portraits & Dreams". CD features a bonus disc with a version of "Lift Every Voice & Sing" by vocalist George Shirley with the Atlanta Jazz Chorus. CD

A beautifully sensitive set from Tex Allen – mostly a trumpeter, but also a singer here on two numbers – working with a laidback approach that's totally great! Tex blows with a bit of Miles Davis space in his trumpet – early Miles, not late – and his singing has a warm, mellow feel that's a bit like Grady Tate, although a bit more understated too, with a slight rasp that gives him a nice sense of personality – and makes him a really great change from the obvious. This approach sounds especially great on the tune "The Process Necessary" – almost a samba-esque jazz dancer, but with a gentle groove – and Allen also sings on the longer tunes "When You Find A Love" and "The Things We'll Never Know". All other titles are instrumental, with players who include Jesse Davis on alto, Jackie Terrasson on piano, Ugonna Okagu on bass, and Eddie Gladden on drums. Lawrence Killian plays percussion on half the album – and other titles include "Estate", "Mutti's Bletten", "Wings Of Ceola", and "You Don't Know What Love Is". CD

Legendary Japanese reedman Akira Sakata joins younger improvisers Johan Berthling on bass and Paal Nilssen-Love on drums and percussion – and really seems to shape their performance, given the results of the record! Sakata blows both alto sax and bass clarinet – always with that rich, raw tone that's made him so great for so many decades – and he also vocalizes occasionally, with an earthy quality that's very powerful, and very different than his saxophone work. Paal is maybe a bit more restrained than usual, really letting Sakata set the scene for most numbers – then finding the right way to embrace and embolden the sound – and Berthling proves again that he's one of the more sensitive improvisers in recent years, while still very much holding his own in the trio. Titles include "Jikan", "Saitaro Bushi Arashi", "Yamanoue No Okura", and "Tsuioku". CD

One of the most creative albums ever from UK composer Neil Ardley – and that's saying a lot, given the complexity of his other work! The set's got a wonderful blend of jazz arrangements and some freer passages – scored by Ardley with some of his most sensitive, most beautiful music ever – almost as if the whole thing's an extended soundtrack for a passage in time – or at least a sonic journey that's filled with some wonderful twists and turns! There's definitely some jazz/rock elements in the music, but the main focus is jazz – and Ardley has that same strong sense of large charts and forward-moving rhythms that you'd find in the best early work of Mike Westbrook, particularly his albums for Deram. Players are a very familiar, and very top-shelf batch of British musicians – including Barbara Thompson, Dick Heckstall-Smith, and Don Rendell on reeds; Harry Beckett and Henry Lowther on trumpets; Derek Wadsworth on trombone, Frank Rocotti on vibes, and Stan Tracey on both piano and celeste. Ardley plays prepared piano, and Ivor Cutler makes a great guest appearance on one track – reciting "The Dong With A Luminous Nose" – and Norma Winstone sings on "Will You Walk A Little Faster". The title track – "A Symphony Of Amaranths" – is dedicated to Duke Ellington and Gil Evans – with a feel that more than lives up to both! CD features the bonus track "National Anthem & Tango". CD

One of Roy Ayers' best-remembered albums of the 70s – a sublime blend of mellow numbers and some of his more club-oriented grooves of the time – all wrapped together with a genius that we can only describe as Ayers-like! The album's a beautiful example of the balance that Roy was striking in his work at the time – because alongside some of the more upbeat, catchy numbers, there's other tracks that are a fair bit more laidback, and almost abstract at times – a wonderful extrapolation of that sensitive Ayers blend of jazz and soul, with key emphasis on the vibes and keyboards. Titles include the massive groover "Running Away" – which you'll recognize from a key sample history over the years – and club cuts "Cincinnati Growl", "Fruit", "Sanctified Feeling", and "Stranded In The Jungle" – plus the more laidback cuts "Gotta Find A Lover", "I Still Love You", "Lifeline", and "This Side Of Sunshine". LP, Vinyl record album

A great later date from CTI – proof that the label still had its magic going on well into the 80s! The session's a larger group effort headed up by Don Sebesky, and featuring key solos by Chet Baker, Jim Hall, and Hubert Laws – all of whom get plenty of room to do their thing on the album's longer tracks! Other players include Kenny Barron, Jack Wilkins, Jorge Dalto, George Mraz, and Steve Gadd – plus bit of added percussion – and although the group is large, the overall sound is relatively lean – spacious and airy, in keeping with Baker's best moments on records like these, and always sensitive enough to let Hall's gentle work on the strings of his guitar shine through nicely! Titles include "Malaguena", "Django", "Swan Lake", and "All Blues". LP, Vinyl record album

A great later date from CTI – proof that the label still had its magic going on well into the 80s! The session's a larger group effort headed up by Don Sebesky, and featuring key solos by Chet Baker, Jim Hall, and Hubert Laws – all of whom get plenty of room to do their thing on the album's longer tracks! Other players include Kenny Barron, Jack Wilkins, Jorge Dalto, George Mraz, and Steve Gadd – plus bit of added percussion – and although the group is large, the overall sound is relatively lean – spacious and airy, in keeping with Baker's best moments on records like these, and always sensitive enough to let Hall's gentle work on the strings of his guitar shine through nicely! Titles include "Malaguena", "Django", "Swan Lake", and "All Blues". CD

William Bell was one of the singers who first helped the Stax label get going at the start of the 60s – but during the second chapter of Stax, when they broke from Atlantic, his contributions were maybe even more amazing – as his voice had matured wonderfully, and he was able to handle a range of sensitive themes that went even farther than before! The music here is southern soul at its most mature and sophisticated – heartbreaking vocals, but moving past some of the more oft-tread territory of the 60s – as Bell rose in pride and power during the new generation of Stax, with results that are completely sublime throughout! This side of his work isn't nearly as well-known as the first, but is even better to our ears – presented in a string of singles, both a and b-sides, with detailed notes on this really special period in his career. Titles include "I Forgot To Be Your Lover", "Happy", "Born Under A Bad Sign", "A Smile Can't Hide A Broken Heart", "Lonely Soldier", "Let Me Ride", "Save Us", "All For The Love Of A Woman", "The Man In The Street", "Penny For Your Thoughts", "Get It While It's Hot", "Nobody Walks Away From Love Unhurt", "Getting What You Want", "You've Got The Kind Of Love I Need", "If You Really Love Him", "Lovin On Borrowed Time", "Bring The Curtain Down", and "My Whole World Is Falling Down". CD

Three full albums from this tremendous singer – all in a single set! Morning In Paris is very early work from South African singer Sathima Bea Benjamin – recorded in Paris in 1963, with backing by longtime partner Abdullah Ibrahim, plus additional piano and production by Duke Ellington! The album was cut around the same time as Ibrahim (Dollar Brand) did his famous Reprise album in Paris with Ellington – and it's got a similar mix of modern and moody styles – with Sathima singing in a mellower tone than we're used to from her later records, over extremely spare backing that often has the piano barely stepping in, and which also features some nice plucked violin work from Svend Asmussen – acting almost as the bass on a few tracks! Billy Strayhorn also sits in on this extremely unusual session – and titles include "The Man I Love", "Soon", "Lover Man", "I Should Care", "I Could Write A Book", and "Darn That Dream". Lovelight is always-great work from Sathima Bea Benjamin – one of the hippest jazz vocalists of the 80s, working here in a highly spiritual mode that sounds a lot more like records from many years past! There's a warmly gentle glow to the whole set – thanks to instrumentation from Larry Willis on piano, Buster Williams on bass, Billy Higgins on percussion, and Ricky Ford on tenor sax – all coming together in ways that are filled with unusual rhythms, odd turns of phrases, and just the right sort of unconventional accompaniment to fit the Africanist themes of Sathima's music at its best. A few numbers are more traditional, but even these have a nicely sensitive feel – and offer plenty of room for Willis to solo. Titles include "Winne Mandela Beloved Heroine", "African Songbird", "Gift Of Love – For Duke", "Music", and "You Are My Heart's Delight". Southern Touch is a set that's maybe a bit more of a straight jazz vocal record than some of Sathima Bea Benjamin's earlier material – but that might also be because the great Kenny Barron is part of the group on piano – supporting Sathima's great voice with the help of Buster Williams on bass and Billy Higgins on drums! Tunes are mostly standards, but it's great to hear them opened up with Benjamin's unique phrasing – that voice that was raised up on more righteous material in earlier years, and which still seems to bring some of that power to tunes that include "Street Of Dreams", "Lush Life", "One Alone", "I'm Glad There Is You", and "I've Heard That Song Before". CD

An explosive session from an expanded edition of the Jazz Messengers – recorded at a key point when Art Blakey moved the group up to six members instead of five! Although bigger than the group on most Jazz Messenger Blue Notes, the sextet have an energy that's almost tighter – a sense of poise, focus, and vision that's not just driven by Blakey's drum kit alone – but by the kind of unique magic that only happens during rare groupings in classic jazz. A key part of the energy here comes from pianist Cedar Walton – who's replacing the Bobby Timmons soul jazz mode with a sound that's a bit more expansive and visionary. But equally important is the three horn lineup of Freddie Hubbard on trumpet, Curtis Fuller on trombone, and Wayne Shorter on tenor – a two-brass frontline that's used far differently than other groups – bold one minute, but personal and sensitive the next. There's a mixture of warmth and driving energy here that's simply incredible – a prime example of Blakey taking things to the next level, when it would have been easy enough for him to sit on his laurels and keep doing the same thing over and over again! Includes classic readings of Cedar Walton's "Mosaic", Freddie Hubbard's "Crisis", and Curtis Fuller's "Arabia" – as well as Shorter's excellent "Children Of The Night". CD

An explosive session from an expanded edition of the Jazz Messengers – recorded at a key point when Art Blakey moved the group up to six members instead of five! Although bigger than the group on most Jazz Messenger Blue Notes, the sextet have an energy that's almost tighter – a sense of poise, focus, and vision that's not just driven by Blakey's drum kit alone – but by the kind of unique magic that only happens during rare groupings in classic jazz. A key part of the energy here comes from pianist Cedar Walton – who's replacing the Bobby Timmons soul jazz mode with a sound that's a bit more expansive and visionary. But equally important is the three horn lineup of Freddie Hubbard on trumpet, Curtis Fuller on trombone, and Wayne Shorter on tenor – a two-brass frontline that's used far differently than other groups – bold one minute, but personal and sensitive the next. There's a mixture of warmth and driving energy here that's simply incredible – a prime example of Blakey taking things to the next level, when it would have been easy enough for him to sit on his laurels and keep doing the same thing over and over again! Includes classic readings of Cedar Walton's "Mosaic", Freddie Hubbard's "Crisis", and Curtis Fuller's "Arabia" – as well as Shorter's excellent "Children Of The Night". LP, Vinyl record album

An explosive session from an expanded edition of the Jazz Messengers – recorded at a key point when Art Blakey moved the group up to six members instead of five! Although bigger than the group on most Jazz Messenger Blue Notes, the sextet have an energy that's almost tighter – a sense of poise, focus, and vision that's not just driven by Blakey's drum kit alone – but by the kind of unique magic that only happens during rare groupings in classic jazz. A key part of the energy here comes from pianist Cedar Walton – who's replacing the Bobby Timmons soul jazz mode with a sound that's a bit more expansive and visionary. But equally important is the three horn lineup of Freddie Hubbard on trumpet, Curtis Fuller on trombone, and Wayne Shorter on tenor – a two-brass frontline that's used far differently than other groups – bold one minute, but personal and sensitive the next. There's a mixture of warmth and driving energy here that's simply incredible – a prime example of Blakey taking things to the next level, when it would have been easy enough for him to sit on his laurels and keep doing the same thing over and over again! Includes classic readings of Cedar Walton's "Mosaic", Freddie Hubbard's "Crisis", and Curtis Fuller's "Arabia" – as well as Shorter's excellent "Children Of The Night". LP, Vinyl record album

An explosive session from an expanded edition of the Jazz Messengers – recorded at a key point when Art Blakey moved the group up to six members instead of five! Although bigger than the group on most Jazz Messenger Blue Notes, the sextet have an energy that's almost tighter – a sense of poise, focus, and vision that's not just driven by Blakey's drum kit alone – but by the kind of unique magic that only happens during rare groupings in classic jazz. A key part of the energy here comes from pianist Cedar Walton – who's replacing the Bobby Timmons soul jazz mode with a sound that's a bit more expansive and visionary. But equally important is the three horn lineup of Freddie Hubbard on trumpet, Curtis Fuller on trombone, and Wayne Shorter on tenor – a two-brass frontline that's used far differently than other groups – bold one minute, but personal and sensitive the next. There's a mixture of warmth and driving energy here that's simply incredible – a prime example of Blakey taking things to the next level, when it would have been easy enough for him to sit on his laurels and keep doing the same thing over and over again! Includes classic readings of Cedar Walton's "Mosaic", Freddie Hubbard's "Crisis", and Curtis Fuller's "Arabia" – as well as Shorter's excellent "Children Of The Night". CD

A killer little soundtrack – and one that's quite different than the usual blacksploitation set, but still pretty funky overall! The film Black Girl was a surprisingly sensitive movie directed by Ossie Davis in the early 70s – not as much about action as it was about the everyday life, and the hopes and dreams of the lead characters – all of which made for some really well-rounded music, of the sort you'd find on some of the other great Fantasy Records soundtracks of the time, especially the classic Cornbread Earl & Me score. Ed Bogas and Ray Shanklin put together the whole thing, and the album's a mix of hip instrumental tracks with some other vocal ones – a really nice range that draws from singers like Betty Everett, Rodger Collins, and JJ Malone – and jazz players like Sonny Stitt and John Hunt (plus organ from Merl Saunders on one cut.) Titles include "BJ's Step", "Black Girl", "Sister", "Earl (Still A Pearl)", "Mothers Day Song", "Power", "Get Me To The Bridge", "Chock-lite Puddin", and "Black Girl Cue". LP, Vinyl record album

Boneshaking music from this mighty bold trio – a lineup that features lots of stunning reedwork from the late Mars Williams, alongside bass from Kent Kessler and drums from Paal Nilssen-Love – both artists who do a great job of coming on strong when needed, then laying back to allow for more sensitive sonic interplay! The vibe's a bit like some of the classic Okka Disk performances from all players, but also shows how much they've evolved as well – especially Williams, whose later work is always so amazing. Mars also plays some toy instruments as well – and titles include "Preantepenultimate", "Oculoplania", "Mallemaroking", and "Brontide". CD

Quite possibly David Bowie's first complete moment of genius – an incredibly-formed album that's filled with tunes beyond definition and description! There's still some traces of the earlier madman in the mix, but the overall sound is much more rock-heavy – although not without the fuzzed-up and full-on guitars of Space Oddity or Man Who Sold the World – and often augmented with a bit of strings and softer touches that really bring out the humanity in the songs. The balance here is amazing – as is the fact that a few short years before, Bowie was singing "The Laughing Gnome", but is here one of the most sensitive songwriters of his generation. Tunes are quirky and personal, and titles include "Changes", "Oh You Pretty Things", "Andy Warhol", "Life On Mars", "Kooks", and "Queen Bitch". LP, Vinyl record album

A surprisingly great meeting between Kenny Burrell and Jimmy Smith – and a set that's one of Jimmy's standout small combo sessions for Verve! The feel here is much more Jimmy Smith at Blue Note than some of the bigger group Verve dates of the 60s – and Kenny Burrell's sensitive guitar lines provide wonderful company for Smith on the date – shading in his Hammond lines with a nice sense of color, in ways that really fit the late nite setting of the record. Other players on the date include either Bill English or Mel Lewis on drums, George Duvivier or Milt Hinton on bass, Vince Gambella on guitar, and Art Marotti on percussion – and titles include "Kenny's Sound", "Blues For Del", "Blue Bash", "Travelin", and "Soft Winds". LP, Vinyl record album

A young player, but one with a really tremendous sound – easily poised to become one of the most impressive European saxophone talents of the next few years! Pescara plays alto, but with a depth that makes him sound like a classic player from many years back – a sense of fullness and focus that's really amazing, and which never slips up for a minute. A few tracks here have him really soaring out with unbridled energy – while others hit a calmer, more sensitive side – and all tracks here are originals by Cafiso, showing a nascent writing skill that definitely bears watching. The group's a quartet, and titles include "Louisiana", "Happy Time", "Sir Charles", "She Loves Me", "Blues For Angel", "Goodbye Elvin", and "The Bear". CD

A bit of a change from the fragile, folksy tones of the first album from Jimmy Campbell – a set that's got some heavier instrumentation, and a feel that's a bit more rocking overall! Jimmy still shows some of his sensitive side on the set, but only on a few tracks – leaving others to go for a cool combination of fuzzy guitar, flanged-out vocals, and some early glam-styled production – an approach that's hardly glam at all, but which definitely hints at the fuller, more echoey modes that would come into prominence in British rock a few years later. Campbell's songs are still quite creatively penned – leaving lots of room for his odd twists and turns, and greatly imagistic way of presenting a lyric – on titles that include "In My Room", "So Lonely Without You", "Green Eyed American Actress", "Half Baked", "Closing Down The Shop", and "Don't Leave Me Now". CD

Haunting work from Jimmy Campbell – an overlooked British songwriter at the end of the 60s, and one with a really unusual approach to his music! At some level, Jimmy's got some of the folksy touches of the Nick Drake generation – a sound that might have been right at home on Island Records – but at another level, his style here is very much his own too – a bit more sensitive, and delivered with this odd vocal quality that's unlike anything we can think of – as unique to Jimmy as Tom Rapp's voice was to Pearls Before Swine, or Biff Rose's was to his own great late 60s sides! Instrumentation is relatively spare on most numbers – just acoustic guitar and a bit of rhythm, yet hardly in typical folksy modes – and titles include "When I Sit Down To Reason", "Adrian Henri's Party Night", "On A Monday", "Lyanna", "Dear Marge", "Penny In My Pocket", "Another Vincent Van Gough", and "Michelangelo". CD

If you ever doubted the blues chops of Canned Heat, take a listen to this album – as the group are joined by the great John Lee Hooker, who they let stand strongly in the spotlight and almost make the album his own! Previous sets by Canned Heat were already pretty darn great – a huge cut above blues-inspired rock groups of the late 60s years – but with Hooker in the lineup here, the sound gets even more raw and sensitive – so much so that a number of these cuts almost feel like some of the early Detroit 78rpm recordings the older blues musician recorded at the start of his career – hardly the watered-down blues rock you might expect. Titles include "Burning Hell", "Send Me Your Pillow", "Messin With The Hook", "Boogie Chillen No 2", "Peavine", "Just You & Me", "Whiskey & Wimmen", and "I Got My Eyes On You". CD

A really well-titled set from the legendary Phil Cohran – as the album's one of his most meditative efforts ever – a beautiful single piece, spun over the course of the entire album, with slow-changing instrumentation that's wonderfully seductive! Phil's in a near solo mode here – playing harp, cornet, zither, and his legendary frankiphone – with just a bit of guitar and keyboards to accompany his lead solos – making for a really warm, open space that shows Cohran at his most sensitive ever! The work runs for over 45 minutes, and is a great illustration of the space that Phil's been exploring strongly in more recent years. CD

Very expressive work from Chick Corea – a solo set from the 90s, and a great reminder of his acoustic talents on the piano! Although Chick's a player you might normally associate with electric riffs and freewheeling fusion, he's also a very sensitive stylist when he wants to be – as you'll hear on the album's beautiful versions of familiar standards – played by Corea in ways that really open the tunes up, and in surprisingly short amount of time. It's almost as if Chick's brought all the open-ended modes he learned from the fusion years back to traditional jazz piano – making them work beautifully, all without any tricks or gimmicks. Titles include "Monk's Mood", "My Ship", "Lush Life", "Armando's Rhumba", "Stella By Starlight", and "This Nearly Was Mine". CD

One of those records that was a classic from the moment it was first released – the legendary second effort from the trio of David Crosby, Stephen Stills, and Graham Nash – with added bonus of Neil Young in the mix, which gives the whole thing a current of darkness that's completely mindblowing – especially in comparison to the harmonies of the quartet! These aren't the vocal patterns of the Sunshine Pop generation of a few years before – and CSNY find a way to capture all the darkness of the fading light of the 60s, while finding a special space for more thoughtful, sensitive sounds that never would have gotten a chance a few years before. Every track's a classic – and titles include "Carry On", "Our House", "Almost Cut My Hair", "Deja Vu", "Country Girl", "Everybody I Love You", "Woodstock", and "Teach Your Children". LP, Vinyl record album

A beautifully sensitive soundtrack for this early film from the team of Bud Spencer and Terence Hill – very different than most of the other western music of the time – which is a fitting accompaniment to the unique actions of the pair onscreen! There's a fair bit of acoustic guitar in the instrumentation, used in ways that are sometimes warmer and more sentimental than you'd expect – played with a subtle sort of character that really comes through in this well-done reissue of the music – and which gets even better when groovier elements on piano or horns come into the mix. Things build nicely as the set moves on, with a very vivid feel throughout – and titles include "Remember", "Il Carro Al Fiume", "Assalto Alla Diligenza", "Ranch Di Parker", "Trinity E Bambino A San Jose", and "Trinity Stand Tall". CD

A record that seems to take Dead Can Dance even farther back into the past than ever before – not to the sound of their earliest years, but to a world of ancient musical elements that come together beautifully in their hands! The set is probably the most carefully-recorded the group ever gave us – and one of the most sensitive too – with spacious qualities that can let individual vocal or instrumental passages really resonate, while wider washes of sound come in to tie the whole thing together, but in a way that's greatly matured since the earlier years of 4AD. Lisa Gerrard's vocals are amazing – and titles include "The Carnival Is Over", "Ariadne", "Towards The Within", "Spirit", "Bird", and "How Fortunate The Man With None". CD

Drummer Hamid Drake has appeared on countless records over the years – even some as spare as duo improvisation sessions – yet this album is a long-overdue first solo effort from Drake, and one that allows us to hear his sensitive touch on the kit even more than before! Drake's always been a very musical percussionist – able to get all sorts of sounds out of a simple drum kit, in ways that almost feel as melodic as they do rhythmic – not in any sort of Krupa-like style, as Hamid's definitely a free improviser – but with a warmth and understanding of these familiar elements, unlocked in a really personal way! That's the approach used here on all the tracks – a loving set of dedications dedicated to contemporaries who include Don Cherry, Milford Graves, Paul Lovens, Fred Anderson, Adam Rudolph, and others. CD

Sublime late live work from Bill Evans – a well-recorded performance for French radio, and one that really stands out from some of the scratchier late 70s concerts on the market! Bill's working here with a sound as sensitive and picturesque as the cover image – never pushing things too hard, but letting each tune unfold organically in waves of sound few other players could conjure up! Trio musicians include Marc Johnson on bass and Joe LaBarbera on drums – and titles on this second volume include "Nardis", "Laurie", "34 Skidoo", "Letter To Evan", and "Gary's Theme". CD

Fantastic Verve Records material from Bill Evans – a set that follows the no-nonsense trio style of his Riverside material, but which definitely shows the evolving Evans style of the 60s! The group here is a nicely mellow one – bassist Chuck Israels, whose sound is tremendous – and drummer Larry Bunker – a player you might know from percussion work on other albums, which seems to give him a very sensitive touch on the drum kit here! Both players have a dancing quality that goes far beyond strict rhythmic timekeeping – and this approach opens up Evans' solos in to a freer mode than on some of his early 60s sets. The result is a wonderful album that really transforms the tunes – as you'll hear on the set of tracks that include "Round Midnight", "Israel", "Elsa", and "How My Heart Sings". LP, Vinyl record album

Wonderful late work from piano legend Bill Evans – a set that was recorded in 1977, but not issued until after his death in 1980 – at which point it became an instant essential in his catalog! As with so many of Bill's 70s recordings, the session benefits from the bass work of Eddie Gomez – rich, round, and warm – a perfect accompaniment for Evans' sometimes faltering piano work at the time – and a player that Evans was incredibly lucky to be working with during much of his later years. Elliot Zigmund is on drums, a beautifully sensitive player – and the set includes a sublime version of Michel Legrand's "You Must Believe In Spring", plus the tracks "Theme From Mash", "The Peacocks", "Sometime Ago", and "Gary's Theme". LP, Vinyl record album

A pair of great Bill Evans albums for Verve – both a very good fit together! The cover of Empathy co-credits Bill Evans and Shelly Manne as the leader of the set – and that distinction's an important one – as the record has a slightly different feel than some of Bill's other 60s work for Verve! The sound is often a bit stronger, somewhat bolder – and although Manne's not a monster on the drums, he does have a way of directing the tunes that's a bit different than some of Evans' other piano-led albums. Bass is by Monty Budwig, who's nicely sensitive to the talents of both players – and there's almost an equally-weighted melodic feel to all three elements of the trio – which really rounds out the record nicely. Titles include "The Washington Twist", "Danny Boy", "Let's Go Back To The Waltz", "With A Song In My Heart", "Goodbye", and "I Believe In You". Simple Matter Of Conviction is a move into a more sophisticated vein than his earlier recordings! The album has him working with bassist Eddie Gomez, a hugely talented bassist that would be one of Bill's best partners during this period, and a player who added a nice dose of soul to the proceedings. The drummer is Shelly Manne, who's pretty nice, too – and really shows off some of his more sophisticated shadings here in the presence of Evans and Gomez – similar to his work on the great Empathy album. Tracks are shortish, but filled with imagination – and titles include "Unless It's You", "These Things Called Changes", "Stella By Starlight", and "A Simple Matter Of Conviction". CD

A pair of wonderful albums from the great John Fahey – back to back on a single CD! First up is Rivers & Religion – a really unique album by John Fahey – issued during a short stretch of initial mainstream approval, and a brief time of recording for Warner Brothers! Some of the album's quite different than the spare, solo Fahey you might know – and mixes his legendary guitar work with more elaborate elements than usual – additional instrumentation that includes bass, banjo, clarinet, piano, trombone, and fiddle – but all used at a level that really supports John's presence, not occludes it. Other tracks return to spare acoustic steel string guitar – creating an evocative balance that's mighty nice. Titles include "Funeral Song For Mississippi John Hurt", "Texas & Pacific Blues", "Dixie Pig Bar B Q Blues", "Lord Have Mercy Song", and "Deep River". After The Ball is a set with a disco ball on the cover, but a record that fits right in with the best early 20th century aesthetic in the work of John Fahey – particularly his way of reiimagining older musical traditions! There's a bit of added instrumentation on the record – two tracks that have some slight trad jazz flourishes – but overall, the album's mostly a solo effort with loads of wonderful guitar work from John – still as creative and as complicated as in his best recordings for Takoma! Other added instrumentation sometimes expands the sound with mandolin or banjo, but again in very sensitive ways – and titles include "Bucktown Stomp", "Om Shanthi Norris", "Beverly", and "Horses". CD

A groovy record from Jose – with his best kind of crossover feel! It's an unusual title – one that refers to the first track on the record, recorded by Jose Feliciano at age 10 – and the rest of the material included, done when Jose was 23 years old. It's a mixture of American soul, Latin roots, and Jose's own unique touches – that Feliciano blend of well-played acoustic guitar and super-sensitive vocals – all produced with a slightly airy feel that only adds to the mood of the tracks. Titles include "First Of May", "Windmills Of Your Mind", "Little Red Rooster", "Miss Otis Regrets", "She's A Woman", and "I've Gotta Get A Message To You". LP, Vinyl record album

A great live set from Ella Fitzgerald – one that's never been issued before, but which stands nicely next to some of her Verve releases of this nature, especially her previous Ella In Berlin record! The group here is a quartet – with great piano from Lou Levy, who's a wonderfully sensitive accompanist in all the right spots – plus guitar from Herb Ellis, bass from Wilfred Middlebrooks, and drums from Gus Johnson – an easily-grooving group who really let Fitzgerald open up with a soulfully swinging sound! Titles include a great take on "Mack The Knife", a seven minute reading of "St Louis Blues", and the titles "I've Got A Crush On You", "Lorelei", "Won't You Please Let Me In", "Too Close For Comfort", "That Old Black Magic", and "Lover Come Back To Me". CD

A great title for this one – given the extremely poetic sound of Tommy Flanagan on the piano! For years, Tommy's had a great talent for being as bopper, yet as sensitive as a mellower, more lyrical player too – a brilliant combination that shows up instantly in the first few notes of this set – a late 80s recording that's filled with warmth and subtle imagination. The trio features George Mraz on bass and Kenny Washington on drums – the latter of whom really gets things swinging in some great gentle ways – and titles include "Raincheck", "Lament", "Caravan", "Voce Abuso", "Mean Streets", and "That Tired Routine Called Love". CD

The moods of Marvin Gaye are many, even at this early point in his career – as the set has the young Marvin really taking off strongly – hitting hard on classic Motown groovers, but also showing a sensitive side at times too! The album kicks off with some killer rhythms on cuts like "I'll Be Doggone", "Little Darling", and "Take This Heart Of Mine" – really setting the stage for a batch of cuts that makes the album one of Gaye's strongest from the early years, thanks to some bold song writing from Smokey Robinson and other mighty Motown talents. Other cuts include the classic "Ain't That Peculiar", and side two slows things down a bit, showing mellow moods on cuts like "Night Life", "You're The One For Me", "I Worry Bout You", and "One For My Baby". LP, Vinyl record album

A really unique album in the career of Johnny Griffin – and one of the few entries in the short-lived "jazz meets folk" genre of the 60s! The record features Griffin blowing through versions of older folk numbers – mostly traditional tunes, re-arranged by Johnny here with a swinging vibe that's a bit soul jazz, but also slightly more exotic and lyrical – in keeping with the timeless themes of the compositions. The rest of the group includes Barry Harris on piano, Ron Carter on bass, and Ben Riley on drums – a trio who seem well-suited to match the sensitive spirit of some of the tunes! And while you might have reservations about a record like this, don't – because Griffin's tone and phrasing are great, and really keep things away from the gimmicky side of the spectrum! Titles include "The Kerry Dancers", "Green Grow The Rushes", "Black is The Color of My True Love's Hair", "25 1/2 Daze", and "The Londonderry Air" – plus the Griffin original "Oh Now I See". CD

A beautiful early soundtrack from Dave Grusin – surprisingly sensitive, and quite different than his later funky work in the 70s! The score is a cool mix of strings and keyboard parts – sometimes played on harpsichord by Grusin, an instrument that we don't always hear him use, and which rings out here with a hip 60s cinematic style – often a bit spacey at points, with a slow-stepping pace that really fits the feel of the orchestrations. The strings are never too full, and they're often cut by some woodwind parts too – and a few tracks feature some more familiar 60s modes, including a few standout vocal tracks – like "The Color Of The Wind", "Elizabeth", "I Can't Afford To Let You Go", and "Beyond The Reach Of Love". Includes the main title theme, plus "Drop Out", "The Last Walk", "Aftermath", "Growing Pains", and "Symphodelic", which is a nice twist on a bit of Mozart! LP, Vinyl record album

Bop legend Al Haig gets a wonderful setting here – a beautifully-recorded trio date done for the Japanese market – with sensitive backing that really shows the development in Haig's sound and style over the years! Bassist Jamil Nasser is a wonderful choice for the group – playing with these round, well-shaped lines that seem to unlock a whole new lyrical side in Al's music – and drummer Billy Higgins fits in perfectly, able to work this subtle magic behind Haig, similar to his stellar sessions with Cedar Walton. The set list is great – material that also shows a side of Al that you might not expect – and titles include Antonio Carlos Jobim's "How Insensitive", Herbie Hancock's "Dolphin Dance", and Wayne Shorter's "Maoco" – plus "Sweet and Lovely", "Chelsea Bridge", "Love Will Find A Way", "Lush Life", and "We'll Be Together". CD

Great drums from the legendary Roy Haynes – a player who was really coming into his own again at the time of this mid 90s set! The recording's a live one, done for Danish Broadcasting with a good sense of clarity – and the group is mostly European, with Tomas Franck on tenor, Thomas Clausen on piano, and Niels Henning Orsted Pedersen on bass. Haynes' touch on the kit is quite heavy at some points, but light and sensitive at others– and the set's got a well-rounded groove that's great proof of Roy's vision as a leader during this time, especially in the way he uses Franck's strong tenor lines. Titles include "All Blues", "My Shining Hour", "Bessie's Blues", "A La Blues", "Bright", and "I Fall In Love Too Easily". CD

The last album that Jimmy Heath ever gave the world – and a record that makes us miss him even more – as the whole thing takes Heath back to that spectacular mix of solo expressionist, thoughtful composer, and sensitive arranger territory of his best early years! And if you want proof of Jimmy's warm, open spirit – the set begins with a one minute bowed bass solo before Heath's horn even comes into play – then works sublime magic on a number of original numbers, and a few well-chosen classics – all put together by Jimmy as a "ballads" album, but in a way that's hugely different from some of the more facile songbook sessions of over-recorded standards. Instead, the Heath arrangements throughout are wonderfully fresh, and have a soulful quality that really blows us away – more than even on some of his other late records, which is what makes this final session so bittersweet. The core group features Kenny Barron on piano, Monte Croft on vibes, Russell Malone on guitar, and Lewis Nash on drums – and the set features vocals from Gregory Porter on one track, and Cecile McLorin Salvant on another – and Wynton Marsalis blows a trumpet solo on a third track. Titles include "Ballad From Upper Neighbors Suiter", "Left Alone", "Inside Your Heart", "La Mesha", "Con Alma", "Fasion Or Passion", and "Don't Explain". LP, Vinyl record album

Warm, late nite work from the Eddie Higgins trio – that great 90s lineup that features Eddie on piano, Jay Leonhart on bass, and Joe Ascione on drums! It's hard to adequately get at the genius of these guys together in words – as their power is somewhat subtle, but damn effective – a way better sound than we might have ever expected from Eddie many years back, and the kind of a record that's really got us renewing our look at his talents! Higgins is both bold and sensitive on the set – masterful on the keys, yet quite unassuming as well – hard to peg adequately, but just the sort of strength that more than justifies all the tape the Venus Records label have spun on him in recent years. Titles include "If Dreams Come True", "Summertime", "Shinjuku Twilight", "Caravan", "Nightingale", "Frenesi", "Into The Memory", and "Minor Swing". CD

A classic set from Japanese trumpeter Terumasa Hino – and a record that's filled with long, open-ended tracks that rank with his best work of the time! Hino's got all the boldness of his best early years here – none of the smoother sounds that marked some of his albums in the US, and a very spacious approach to trumpet that's clearly inspired by Miles and Freddie Hubbard, but which has all the sharp tones that we love in Hino's work too. The instrumentation is mostly non-electric, but there's an undercurrent of fusion-based ideas – with a lot of free-wheeling solos, and lots of space to open up – and the titles are wonderfully sensitive numbers that include "Speak To Loneliness", "Little Lovers", and "Hi Nology". CD

Art Hirahara is a player who keeps winning us over with each new release – a wonderfully sensitive musician and thoughtful composer, but also one who's got a great way with a soaring, swinging sound as well! Part of that latter quality comes here from the superb accompaniment of Boris Kozlov on bass and Rudy Royston on drums – players who've worked with Hirahara before, and who seem born into his energy with their efforts – rising up as a cohesive whole to bring vision to the album's all original tracks – material penned by Hirahara, with a few by Kozlov as well. Titles include "Ali Blu", "Spider's Dance", "Mia Bella", "Major Waltz", "To The Sky", and "Echo Canyon". CD

An overlooked gem from The Holy Modal Rounders – the group's fifth album, and a set that shows them moving into a slightly more subtle style than before – but still with plenty of their trademark touches intact! The work often has a sweetly folksy feel – one that conjures up the city-to-country modes of some of the Marin County bands of the time – with some sensitive lyrics and instrumentation, all produced beautifully down in Nashville by the legendary Bob Dorough – who was doing some surprising rock projects around this time. Despite the joke of the title, there actually is a timeless quality to this set – one that might almost make the record a good place to start if you've always been curious about the Rounders, but a bit intimidated by the fame of their earlier classics. Titles include "Black Bottom", "Spring OF 65", "Boobs A Lot", "Alligator Man", "City Blues", "The Whole World Oughta Go On Vacation", and "Melinda". LP, Vinyl record album

Spacey sounds from the enigmatic Iasos – a legendary figure in the 70s underground – and an artist with a heck of a great ear for organic electronics and unusual recording techniques! This cool collection of Iasos' music was put together by Carlos Nino with the guys at Numero – and as such, it's got a really sensitive feel – a way of bringing together the sounds and stories that really get at the subtle genius of Iasos – packaged in a lavish set that also features lots of vintage photos too. The style is often quite personal, and almost naive – as Iasos works on guitar, keyboards, amplified flute, and other odd tape and studio effects – all flowing out with a style that's often a bit cosmic, and pretty darn compelling. Titles include "Crystal Petals", "Procession On The Horizon", "Cloud Prayer", "Rainbow Canyon", "I Passion You A Leap Of Love Flame", and "Spring Temple Forest". CD

Really fantastic material from legendary pianist Abdullah Ibrahim – a set cut with a larger group of musicians, which we like even more than Ibrahim's work in a solo or trio format! The group here is his Ekaya ensemble – who flesh out Abdullah's larger musical ideas in a really great way – providing this sensitive soul and spirit for his work on piano – which, after all these years, still echoes the rhythmic impulses that made him such a standout in the 60s – but which also has this matured approach to color and tone that's really wonderful – and beautifully illuminated by the group! Players include Cleave Guyton Jr on alto and flute, Lance Bryant on tenor, Andrea Murchison on trombone, and Marshall McDonald on baritone – and the rhythm section features great work from Will Terrill on drums, and Noah Jackson on bass and cello. Titles include "Jabula", "Tuangu Guru", "ZB2", "Dreamtime", "Nisa", "Tonegawa", and "Devotion". LP, Vinyl record album

Really fantastic material from legendary pianist Abdullah Ibrahim – a set cut with a larger group of musicians, which we like even more than Ibrahim's work in a solo or trio format! The group here is his Ekaya ensemble – who flesh out Abdullah's larger musical ideas in a really great way – providing this sensitive soul and spirit for his work on piano – which, after all these years, still echoes the rhythmic impulses that made him such a standout in the 60s – but which also has this matured approach to color and tone that's really wonderful – and beautifully illuminated by the group! Players include Cleave Guyton Jr on alto and flute, Lance Bryant on tenor, Andrea Murchison on trombone, and Marshall McDonald on baritone – and the rhythm section features great work from Will Terrill on drums, and Noah Jackson on bass and cello. Titles include "Jabula", "Tuangu Guru", "ZB2", "Dreamtime", "Nisa", "Tonegawa", and "Devotion". CD

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

Milt Jackson's working here with his "Big 4" group – a quartet (natch) that includes Oscar Peterson on piano, Niels Henning Orsted Pedersen on bass, and Mickey Roker on drums – all opening up nicely in this laidback live environment! Despite the Montreux hype of the 70s, the record's got a surprisingly intimate feel – and offers a nicely restrained Peterson doing some very sensitive solo work – augmented by some of Jackson's most chromatic sounds on vibes. Titles include "Mack The Knife", "Night Mist Blues", "Stella By Starlight", "Speed Ball", "Nature Boy", and "Funji Mama". LP, Vinyl record album

A great statement from vibist Milt Jackson – one of his key solo sessions in a great 60s run of recordings away from the Modern Jazz Quartet! Like the classics that followed this one, the vibe is much more soulful than any of Milt's records with the MJQ – kind of an extension of the groove he hit on 50s dates for Savoy and Prestige, swung with an even tighter feel here in the Impulse Records setting! The backing's from a trio that includes Hank Jones on piano, Paul Chambers on bass, and Connie Kay on drums – and the tracks are short, but have some nice haunting themes that work well with the sensitive vibes of Jackson and piano of Jones. Titles include "Put Off", "Statement", "Slowly", "Sonnymoon For Two", and "Thrill From The Blues". CD

Incredibly lovely work from Joyce – quite possibly her best album in years, and a set that's filled with the same scatting brilliance we loved in her classics from the 70s and 80s! The set's done in collaboration with husband/drummer Tutty Moreno – and the pair lead a small combo with a nicely jazzy feel that further enforces the freely soaring lines in Joyce's vocals! Instrumentation includes a shifting array of saxes, flute, clarinet, and piano – plus plenty of warm guitar from Joyce, played with a crystal clear and sensitive sound. Titles include "Garoto", "Sabe Quem", "Tema Pro Baden", "Bodas De Vinil", "Magica", "Penalty", "April Child", "Shangri-La", and a great cover of Tenorio Jr's classic "Embalo". CD

Jeremiah Chiu and Marta Sofia Honer gave us an excellent previous record on the International Anthem label – one that mixed field recordings with sounds of their own – an approach that's continued here as the pair are joined by Ariel Kalma, whose instrumentation really adds a wonderful new layer to the process! There's a mix of live instrumentation, sounds from sources, and processing going on here that takes us back to some of the best fourth world experiments from the EG/Eno years – almost like Jon Hassell, but with a lighter, airier vibe – and maybe more understated brilliance – an ego-less recording that has the musicians swirling together in beautifully sensitive territory. The set's never too quiet to be ambient, but has some of the appeal of that mode too – and titles include "Ten Hour Wave", "Dizzy Ditty", "Une Ombre Legere", "New Air", "Ecoute Au Loin", and "Stack Attack". CD

Jeremiah Chiu and Marta Sofia Honer gave us an excellent previous record on the International Anthem label – one that mixed field recordings with sounds of their own – an approach that's continued here as the pair are joined by Ariel Kalma, whose instrumentation really adds a wonderful new layer to the process! There's a mix of live instrumentation, sounds from sources, and processing going on here that takes us back to some of the best fourth world experiments from the EG/Eno years – almost like Jon Hassell, but with a lighter, airier vibe – and maybe more understated brilliance – an ego-less recording that has the musicians swirling together in beautifully sensitive territory. The set's never too quiet to be ambient, but has some of the appeal of that mode too – and titles include "Ten Hour Wave", "Dizzy Ditty", "Une Ombre Legere", "New Air", "Ecoute Au Loin", and "Stack Attack". LP, Vinyl record album

Jeremiah Chiu and Marta Sofia Honer gave us an excellent previous record on the International Anthem label – one that mixed field recordings with sounds of their own – an approach that's continued here as the pair are joined by Ariel Kalma, whose instrumentation really adds a wonderful new layer to the process! There's a mix of live instrumentation, sounds from sources, and processing going on here that takes us back to some of the best fourth world experiments from the EG/Eno years – almost like Jon Hassell, but with a lighter, airier vibe – and maybe more understated brilliance – an ego-less recording that has the musicians swirling together in beautifully sensitive territory. The set's never too quiet to be ambient, but has some of the appeal of that mode too – and titles include "Ten Hour Wave", "Dizzy Ditty", "Une Ombre Legere", "New Air", "Ecoute Au Loin", and "Stack Attack". LP, Vinyl record album

Boldly visionary work from bassist Hideto Kanai – a session of unusual numbers that often have a deeply poetic feel! Kanai's bass is clearly at the helm of the record – stepping out sparely at the start of some numbers – then punctuating the proceedings with a strong voice that urges on some of the more sensitive players. Instrumentation varies from track to track – but includes alto sax, trumpet, xylophone, guitar, flute, and baritone sax – all offered up without any piano, which creates even more of a sense of space for solo expression. Titles include "Kaleidoscope", "Meditation", "A", and "April Song For Kanai". CD

A set of tracks recorded in the early 90s, unreleased until many years later – and an album that shows a beautifully sensitive side of the music of guitarist Calvin Keys! The title is sometimes very apt – as Calvin is often out front in the lead, crafting these warm lines built from well-chosen chords – but the album's also not just a solo set, as it features work from Jeff Chimenti on piano, Tim Haul on bass, Mark Lignell on drums, and Kenneth Nash on percussion. There's even some light strings at times – but very light, as they just shade in the edges – on titles that include "Dolphin Dance", "Quiet Now", "Isotope", "Marela", "Windows", and "What's Goin On". CD

A set of tracks recorded in the early 90s, unreleased until many years later – and an album that shows a beautifully sensitive side of the music of guitarist Calvin Keys! The title is sometimes very apt – as Calvin is often out front in the lead, crafting these warm lines built from well-chosen chords – but the album's also not just a solo set, as it features work from Jeff Chimenti on piano, Tim Haul on bass, Mark Lignell on drums, and Kenneth Nash on percussion. There's even some light strings at times – but very light, as they just shade in the edges – on titles that include "Dolphin Dance", "Isotope", "Marela", "Windows" and "What's Goin On". LP, Vinyl record album

Two very groovy soundtracks from UK great Basil Kirchin – an artist who's sometimes known for darker, moodier music – but who serves up some great 60s work here! The first half of hte set features tunes from the spy film Assignment K – which Kirchin scores with styles that borrow a bit from Italian modes of the period, mixed with some of the more sensitive sounds of British scoring from a few years before – all wrapped up with a wonderful sense of sound that brings out the best of instruments that include piano, vibes, and saxes. Work for the film Strange Affair follows – which is maybe even more in that sense of texture and tone that marks some of the more complex sides of the Basil Kirchin spectrum – especially his way of taking familiar instruments and making them sound very strange and offbeat – often light woodwind elements mixed with a bit of guitar, the produced with these very hip effects! LP, Vinyl record album

Wonderful work from this really unique west coast combo of the 70s – a quartet that draws plenty from key contributions of each of its members – but which also has a very special sound in the acoustic guitar of Laurindo Almeida! Almeida's a player who'd already been working in LA for two decades or more, but finds a whole new way to express himself here – in the company of past partner Bud Shank on reeds – who really opens up with some soulful solos on the record, which step boldly past some of the guitar passages that sometimes lead off the tracks. Ray Brown's bass is wonderful too – well-shaped, and given some great space to help work alongside Laurindo's guitar – and the album's completed by some very sensitive work on drums by Shelly Manne. Titles include "Softly As In A Morning Sunrise", "Django", "Romance De Amor", and "Recipe Of Love". CD

Tremendous work from the legendary Prince Lasha – a rare UK-only date from 1966 – and one that has the reedman working away from more familiar contemporaries like Sonny Simmons and Eric Dolphy! The approach on this session is very unique – as Lasha includes harp with the instrumentation, played by David Snell in a style that's right up there with Dorothy Ashby's best jazz work. Pianist Stan Tracey is also on board – playing beautiful notes that have a sharp modern edge, while still falling on the inside of the spectrum – and Lasha himself is especially great – blowing plastic alto sax and wooden flute, both of which have a slightly offbeat sound – but one that's surprisingly warm, which makes the album one of his most sensitive and soulful sessions ever! The tunes are a mix of standards and originals – and there's a wonderful sense of balance here – sounds that are sometimes more inside than other records from Lasha, but which have a really Dolphy-like sense of expression – right at home amidst a wider history of jazz, yet also reaching for new ideas at the same time. Pure genius throughout, and a record that was never made available to audiences in the US. Titles include "Nuttin Out Jones", "Impressions Of Eric Dolphy", "Out Of Nowhere", "Just Friends", "Body & Soul", and "Everything Happens To Me". CD

Percussionist Babatunde's been on the scene for years – laying down some great work on albums by other folks, including many jazz funk classics. This album's a mix of percussion heavy jazz tracks, many of which have a Latin flavor – and Babutunde's joined by some top players sensitive to both Latin jazz and percussion grooves, including Hilton Ruiz, Bill Summers, and Alex Blake. The album's got a nice remake of "The Creator Has A Master Plan", plus "Abuse Of Reality Mambo", "Back On Track", "Descarga Para Ginny", and "Baldwin's Fire". A hip record, with many different strands of jazz running through it. CD

Sweet exotic sounds from the Arthur Lyman group – heavy on vibes and lots of hip percussion – recorded with a gently swaying feel that recalls the best energy of the Hawaiian scene in the postwar years! The set's one of Lyman's early solo dates – recorded Henry Kaiser Aluminum Dome in Hawaii – which you can almost hear in the way the sounds here resonate, and hang sweetly in air. The tunes are pretty mellow, but in a good way – more sonically sensitive than some more gimmicky, sound effect-heavy exotica – and titles include "Adventures in Paradise", "Andalusia", "Yellow Bird", "Arrivederci Roma", "Sweet & Lovely", "Bamboo Taboo", "Granada", and "Ravel's Bolero". Fire up that console stereo and break out the Tiki glasses! LP, Vinyl record album

A set of free improvised duets that are so fierce, they've been kept from the public for decades – finally seeing the light of day in this long-overdue package! Percussionist/electronicist Paul Lytton is a player known to many, and known for his always-incredible ear for sonic intensity – yet we've maybe never heard him this intense before, working alongside guitarist Erhard Hirt, a player with an approach to his instrument that's unlike anyone else in the free jazz universe at the time! Hirt often plays with a great sense of noise – not as bombastically as Sonny Sharrock, or as rock-influenced as some of the others – but almost as if he's using his electric guitar as the gateway to some darker universe, opening a passage that Lytton dives in to follow very quickly with some especially great electronics. Even the percussion has this electrified spark – and titles include "Orbod", "The Sensitive Stickler", "Don't Wait Too Long", "Deder", "Clip", and "175". CD

A brilliant moment as a leader from saxophonist Maurice Malik King – a member of the St Louis underground in the 70s, but one who never saw the same sort of fame as contemporaries who left the city for New York and beyond – yet who continued to create some incredible music far away from the limelight! The early 80s set is a great example of the way the more sophisticated, sensitive moments of the loft jazz world of the 70s were taken to farther local scenes in the US, and allowed players to continue the journey with their own very personal levels of expression – something that's definitely the case here as King crafts these beautiful long lines on alto alongside the bass of Zimbabwe Nkenya and percussion of Qaiyim Shabazz. There's a very special sound to the whole thing – a mode that's every bit as unique as the Ritual Trio up in Chicago, yet every different too – as you'll hear on cuts that include "In Between Space", "Music To Me", "In Search Of Spirits Passed & Present", and "When Force Meet". CD

A nicely intimate session from saxophonist Pat Mallinger – a set of spare duets with pianist Dan Trudell, and a perfect setting for Pat to really stretch out on his solos! Over the years, Mallinger's developed a wonderfully sensitive way with his horns – which in this case include tenor, alto, soprano sax, and flute – handled with a fluid, creative sort of energy – and one that's often soulfully swinging, despite the gentle approach of the session – with echoes of the 70s modal generation that make for some of the album's especially great moments! Titles include "Hills Over Tuscany", "Dragon Fish", "Diffuse", "Adventures", "Pigeon Peas", and "Camp Dan". CD

One of the greatest sessions ever recorded by Ronnie Mathews – an excellent soul jazz pianist who's working here in a mode that's similar to that of Kenny Barron, Cedar Walton, or other 70s lyrical giants! Mathews' touch on the keys is incredible – at one moment extremely sensitive and pensive, at another racing forward with a searing searching spirituality that's driven on by the bass of Yoshio Suzuki and the drums of Louis Hayes – a great rhythm duo who really help give the record a very special, unique feel. The album features the original compositions "Ichiban", "K's Waltz", and "Jean-Marie" – plus a great version of "Manha Do Carnaval", which features Mathews on Fender Rhodes! CD

A pretty great set from Les McCann – and quite a bit different than some of his other work of the time! This one's sub-billed as "the ballad style of Les McCann" – but it features Les playing these laidback, mellow numbers that are way different than most jazz ballads of the time – almost darkly modern moments that draw a lot from rich tones and gentle chromes – of the sort we've hardly ever heard McCann play this way, and which almost hint at some of the gentler touch he'd use on the keys during the Fender Rhodes generation – even though this one's recorded a decade before. Backing is equally thoughtful and sensitive – with Herbie Lewis on bass and Ron Jefferson on drums – and titles include two originals – "Pretty Lady" and "Dorene Don't Cry I" – plus "Django", "Stella By Starlight", "On Green Dolphin Street", "Ill Take Romance", and "Little Girl Blue". CD

A seminal session from Roscoe Mitchell – beautiful work recorded for the small Nessa label, and a real testament to the fragile beauty of his music! Some of the tracks are solo, and others feature Roscoe in shifting groups with other AACM players – a duet with bassist Malachi Favors, another with reedman Anthony Braxton, a trio with Muhal Richard Abrams on piano and George Lewis on trombone, and a quartet with Joseph Harman, Henry Threadgill, and Wallace McMillan. The sound's about as haunting as you can get for the AACM in the 70s – sensitive sounds, complex tones, and a rich approach to creative music that goes far beyond jazz – a really stark contrast to the styles of New York or European avant players from the same period! Titles include "Off Five Dark Six", "A1 Tal 2LA", "Nonaah", "Sing", "Chant", "Ericka", and "Tahquemenon". CD

One of the hardest to find of the early Lee Morgan albums on Blue Note – and a very lyrical batch of hardbop tracks, played with a slightly exotic flair! Morgan's group on the date features melodic modernists Benny Golson on tenor and Gigi Gryce on alto sax – both of whom push Morgan past his youthful bop approach into more sensitive areas – especially Golson, who wrote and arranged the tunes on the date with a sublime mix of hardbop and deeper musical ideals! Rhythm is from the trio of Wynton Kelly on piano, Paul Chambers on bass, and Charlie Persip on drums – and titles include a great reading of Golson's "I Remember Clifford", plus four other originals by Benny – "Hasaan's Dream", "Domingo", "Mesabi Chant", and "Tip Toeing". CD

One of the hardest to find of the early Lee Morgan albums on Blue Note – and a very lyrical batch of hardbop tracks, played with a slightly exotic flair! Morgan's group on the date features melodic modernists Benny Golson on tenor and Gigi Gryce on alto sax – both of whom push Morgan past his youthful bop approach into more sensitive areas – especially Golson, who wrote and arranged the tunes on the date with a sublime mix of hardbop and deeper musical ideals! Rhythm is from the trio of Wynton Kelly on piano, Paul Chambers on bass, and Charlie Persip on drums – and titles include a great reading of Golson's "I Remember Clifford", plus four other originals by Benny – "Hasaan's Dream", "Domingo", "Mesabi Chant", and "Tip Toeing". CD features a bonus alternate take. CD

A great album by Lee Morgan – and one not to pass up! The Rumproller often gets too easily lumped next to The Sidewinder – because of an obvious title and cover similarity to that hit record – but like that one, the album's far more than jazz cliche – and shows Lee Morgan to be one of the greatest jazz musicians of the 60s. The set starts off with the title cut, "The Rumproller" – hard-wailing soul bop, in the manner of Lee's most popular work – but then it easily flows into more sensitive material that has a freer, lyrical feel – like the great original tune "Eclipso" and Wayne Shorter's "Edda" – both of which are superb. Lee is astounding, as always, on trumpet – and the rest of the group includes the great Ronnie Matthews on piano, plus Joe Henderson, Victor Sproles, and Billy Higgins. LP, Vinyl record album

A great album by Lee Morgan – and one not to pass up! The Rumproller often gets too easily lumped next to The Sidewinder – because of an obvious title and cover similarity to that hit record – but like that one, the album's far more than jazz cliche – and shows Lee Morgan to be one of the greatest jazz musicians of the 60s. The set starts off with the title cut, "The Rumproller" – hard-wailing soul bop, in the manner of Lee's most popular work – but then it easily flows into more sensitive material that has a freer, lyrical feel – like the great original tune "Eclipso" and Wayne Shorter's "Edda" – both of which are superb. Lee is astounding, as always, on trumpet – and the rest of the group includes the great Ronnie Matthews on piano, plus Joe Henderson, Victor Sproles, and Billy Higgins. LP, Vinyl record album