Nicholas Payton shines in two different ways here – blowing trumpet, and handling piano and Fender Rhodes – often overdubbed, but with a unified sound that makes the album sound wonderful throughout! Part of the strength of the set is the rhythm backing – as Payton works with help from bassist Ron Carter, a player he'd always dreamed of recording with – alongside more regular drummer Karrie Riggins, who fits into the trio with a really magical sense of energy. Tenorist George Coleman joins the group on two tracks – partly as a nod to the Miles Davis album Four & More, which was some of the inspiration for the sound of this set – and titles include "Gold Dust Black Magic", "Q For Quincy Jones", "Big George", "Hangin In & Jivin", "Levin's Ope", "No Lonely Nights", "Big George", and "Lullaby For A Lamppost". CD

A record that has Nicholas Payton nicely changing it up from the usual – not just playing trumpet, but bringing in a fair bit of piano, Fender Rhodes, and clavinet too – but in ways that are very different than you might expect! Buster Williams is on bass and Lenny Williams is on drums – both of whom at times hit these dynamic elements that really takes us back to their 70s material – yet Payton is clearly the overall driving force of the set, as he uses bits of electronics and samples of voices at times too , but with a quality that's nicely intertwined with the music, and hardly some weird "jazz remix" sort of approach. Trust us, this is definitely one of the most unique projects ever from Payton, and one of his most contemporary-styled records too – with titles that include the originals "His Name Is Lenny", "Bleek's Blues", "Jazz Is A Four Letter Word", and "From A Flicker To A Flame" – plus nice remakes of "Pinocchio", "Along Came Betty", and "The Sorcerer". CD

Pianist Harold Mabern works here with a trio of players who really helped him find new focus and energy in later years – the great Eric Alexander on tenor, with John Webber on bass and Joe Farnsworth on drums – a rock-solid lineup who really take off here in a live date from New York's Smoke nightclub! Tracks are all long, and have that solid, soaring sense of groove that always marked Mabern in his early years – but which was lost a bit in the 80s and 90s, until he teamed up with Alexander – and found the kind of inspiration that's returned him to greatness for most of the last 20 years! The songs are straightforward, but filled with searing solos – and with Webber and Farnsworth on hand, things keep swinging in all the right ways. Alexander himself seems to have unlocked a whole new corner of his talents in recent years – very much on display here – and titles include "A Few Miles From Memphis", "Nightlife In Tokyo", "She's Out Of My Life", "Mr PC", "On A Clear Day", "Rakin & Scrapin", "T Bone Steak", and "I Know That You Know". CD

A record that has Nicholas Payton nicely changing it up from the usual – not just playing trumpet, but bringing in a fair bit of piano, Fender Rhodes, and clavinet too – but in ways that are very different than you might expect! Buster Williams is on bass and Lenny Williams is on drums – both of whom at times hit these dynamic elements that really takes us back to their 70s material – yet Payton is clearly the overall driving force of the set, as he uses bits of electronics and samples of voices at times too , but with a quality that's nicely intertwined with the music, and hardly some weird "jazz remix" sort of approach. Trust us, this is definitely one of the most unique projects ever from Payton, and one of his most contemporary-styled records too – with titles that include the originals "His Name Is Lenny", "Bleek's Blues", "Jazz Is A Four Letter Word", and "From A Flicker To A Flame" – plus nice remakes of "Pinocchio", "Along Came Betty", and "The Sorcerer". CD

Wayne Escoffery has some great guests on this record – but honestly, the work at the core is more than great enough on its own – as Escoffery has a way of blowing beautifully alongside the piano and Rhodes of David Kikoski, bass of Ugonna Okegwo, and drums of Mark Whitfield Jr – a wonderfully soulful group who seem to push his tenor into these bold, snakey lines that are completely seductive! Then, on key tracks the group's joined by guests – the vocals of Gregory Porter on a great version of "Rivers Of Babylon" and the track "My Truth", and appearances at other points from Tom Harrell on trumpet and Mike Moreno on guitar. Other titles include "Nostalgia In Times Square", "Sincerely Yours", "Dear John", and "Song Of Serenity". CD

Any record from pianist Orrin Evans is worth of attention – but this set might be worthy of a bit more, given that it features some really beautiful work from alto saxophonist Immanuel Wilkins – a player who's a perfect accompaniment for all the great ideas that Evans brings to his music! Immanuel's horn has all these sharp edges – currents that really set him apart from the rest, and make his voice known instantly when he appears on the tunes – often set up with those darkly rich lines that Evans can cast so well in a small group setting, which he does here on tunes penned both by himself and Wilkins. The pairing is wonderful – and balanced with work from Vicente Archer on bass and Bill Stewart on drums – on long, fresh tunes that include "Momma Loves", "MAT Matt", "Libra", "The Poor Fisherman", "Levels", and "Dave". CD

We love the music of pianist Orrin Evans in many different ways – but we especially love the sounds he makes with his Captain Black Big Band – a really tremendous ensemble that seems to unlock a whole new dynamic energy in his performance! The group here is heavy on horns – two trumpets, two trombones, alto and tenor – shifting a bit throughout the concert here, and really rising wonderfully from the energy that Evans brings on piano! Orrin's sense of sound is beautiful – bold, rich, and visionary – while also still allowing plenty of room for the individual players to really do their thing – as the long tracks here are awash in great solos that have as much power on their own as the ensemble. Rhythm is from Madison Rast on bass and either Anwar Marshall or Jason Brown on drums – and titles include "Trams", "Flip The Script", "Onward", "Question", "The Scythe", and "Answer". CD

A really different record from drummer Joe Farnsworth – a player we always love for a rock-solid approach to his music, but who here is clearly opening up a new chapter in his life – one that really offers a great variation on the sorts of expectations you might have when you see his name on a record! The record's got a gentle flow that's different than the usual Farnsworth drive – with the drummer laying back, and letting some electric elements in the group flow nicely – including the piano and Fender Rhodes of Julius Rodriguez, guitar of Kurt Rosenwinkel, and alto of Immanuel Wilkins – all players we've never heard with Joe before. Bassist Robert Hurst is as rock-solid as always – and titles include a wonderful remake of the spiritual classic "In What Direction Are You Heading", plus "Safe Corners", "Bobby No Bags", "Someday We'll All Be Free", "Filters", "Terra Nova", and "Anyone But You". CD

Vincent Herring can certainly preach with his horn – a deeply soulful version of alto sax that gets plenty of room to open up and speak its message here – working through a set of long, lovely tracks with really great support! The group's a quartet – with Cyrus Chestnut on piano, Yasushi Nakamura on bass, and Johnathan Blake on drums – instantly hitting that kind of a groove that really makes Herring sound his best – a level of accompaniment he doesn't always get on record – but when he does, on a set like this, it reminds us all over again how much we can love his music when it finds the right sound! There's a solidity here that makes the record one of Herring's best in years – and titles include "Dudli's Dilemma", "Ojos De Rojo", "Granted", "Preaching To The Choir", "Minor Swing", "Fried Pies", and "You Are The Sunshine Of My Life". CD

Eric Reed hits a mighty nice bag here – almost a variant of the sort of soulful depths that first brought him to our attention many years back, but also presented with a freshness that's different from his early records too! The title's a reference to the mix of composers of color chosen by Reed for the record – a mix that includes both older jazz and soul music writers – in a lineup that features work by Bill Withers, Stevie Wonder, Horace Silver, Wayne Shorter, Benny Golson, and others – plus originals by each member of the group, a trio that features Luca Alemanno on bass and Reggie Quinerly on drums. Calvin Rhone sings on "Lean On Me", and David Daughtry adds vocals to "Pastime Paradise" – while all other titles are originals, and include "Peace", "Black Brown & Blue", "Christina", "Infant Eyes", "Cheryl Ann", "Along Came Betty", and "One For E". CD

A sweet trio set from guitarist Greg Skaff – set up here with the greats Ron Carter on bass and Tootie Heath on drums! Greg's often heard in a fuller setting – including records with a Hammond B3 in the mix – but this record showcases his cleaner, leaner sounds – a great tone played on a hollow-body guitar, given just the right amount of subtle rhythm accompaniment from Carter and Heath! Greg's clearly the driving creative force in the set – and by that, we mean that Ron and Tootie do a great job of following his lead – and Heath is an especially well-balanced drummer, really keeping the sound right. Titles include "Little Waltz", "Mr RC", "Old Devil Moon", "Angelica", "Caminando", "Ill Wind", "Polaris", and "Lady Of The Lavender Mist". CD

A wonderful album from trombonist Steve Turre – a player who made his mark while young, and just kept on growing over the years – with a bold musical vision that draws on all his experience with the masters, and has been shaped by his strong presence in the lead! The lineup here is a bit larger than some of Turre's smaller group records, which really gives the album a sense of majesty – as Turre's trombone soars at the helm, giving fire to work from Wallace Roney on trumpet, Emilio Modeste on tenor and soprano, Isaiah Thompson on piano, and a host of other great players who shift in and out of the course of the record – including Ed Cherry on guitar, Buster Williams on bass, Lenny White on drums, Trevor Watkis on Fender Rhodes, and Ed Cherry on guitar. Titles include "Blue Smoke", "Planting The Ceed", "Good People", "Sweet Dreams", "Resistance", "Flower Power", "Pharoah's Dance", "Don D", and "Dinner With Duke". CD

Over the course of his many years in music, bassist Buster Williams has only cut a relatively small amount of records as a leader – yet that fact definitely seems to make each one a real delight! That's certainly the case here – as Williams works with a very cool group who really open up in ways that echo the subtle spiritual legacy of the leader – a core combo that features superb work on vibes from Stefon Harris, tenor and flute from Bruce Williams, piano from George Colligan, and drums from Lenny White – all stretching out on long tracks that include some great originals by the leader. Jean Baylor joins the group on vocals on some numbers – giving the whole thing that extra-hip vibe that reminds us of a time when players of Williams generation would make records that followed their own muse, not the market place or the demands of a label – a bit like some of our favorite loosely-structured sessions from years back on Muse. Titles include "The Wisdom Of Silence", "Stairways", "Here's To Life", "Tayamisha", "In The Middle Of A Rainbow", and a great take on "Estate". CD

Drummer Al Foster has a hell of a legacy, one that includes some famous 70s work with Miles Davis – and he's a hell of a leader, too – the kind that always seems to get a little sort of something extra from the players in his group! That's definitely the case here, as he works with a lineup that includes Nicholas Payton on trumpet, Chris Potter on tenor and soprano, and Kevin Hays on piano and Fender Rhodes – all musicians you'll know from their own records, but who come together here with a strong sense of voice under Al's leadership! Potter feels warmed up and more soulful than usual, Payton seems to have a bit more bite, and Hayes really feels unbridled on the keys – maybe in part because the record also has some excellent work on bass from Vicente Archer. Titles include the Foster originals "TS Monk", "Monk's Bossa", and "Anastasia" – plus takes on "Pent Up House", "Blues On The Corner, "Punjab", and "Half Nelson". CD

One of the most soulful records we've heard in years from the late pianist Harold Mabern – and that's saying a hell of a lot, as Harold gave us plenty of soulful sets during his many years on the planet! The record is as fantastic as you might guess from the title – as Mabern takes on tunes made famous by John Coltrane, but delivers the goods in this soaring style that's very much his own – and maybe most specifically, at a level that recalls the vibe he first hit in the 60s when playing with Lee Morgan, and then took to even newer heights on some of his fantastic 70s material – particularly recordings with reedman Frank Strozier! Here, the reeds are handled by Eric Alexander on tenor and Vincent Herring on alto – a hell of a pair – and the group also features really strong work from Steve Davis on trombone, who's really at the top of his game throughout. The rest of the group feature the familiar team of John Webber on bass and Joe Farnsworth on drums – both also really rising to the occasion – and although we'll not be hearing much from Mabern in years to come, this set is a hell of a farewell. Titles include "Impressions", "Blue Train", "Naima", "Straight Street", "My Favorite Things", and "Dahomey Dance". CD

The great Harold Mabern kicks it hard with a key core group – then finds a way to open up with some surprise guest artists as well – including singers Gregory Porter, Kurt Elling, Jane Monheit, and Norah Jones! The core of the album features Mabern's piano rocketing out with rhythm from John Webber on bass and Joe Farnsworth on drums – and getting some strong tenor work from the mighty Eric Alexander – and as the set goes on, the group also brings in Jeremy Pelt on trumpet, Peter Bernstein on guitar, and Steve Turre on trombone. But the key force here is the singers – especially Porter and Elling, who seem to find an old school space with the group that really takes them back to their roots. Elling sings on "You Needed Me", "Portrait Of Jennie", and "Billie's Bounce"'; Porter sings on "Afro Blue" and "The Man From Hyde Park"; Monheit sings on "I'll Take Romance" and "My One & Only Love"; and Norah Jones sings on "Don't Misunderstand" and "Fools Rush In". CD also features Alexis Cole on "Such Is Life" – and the instrumental tracks "The Chief", "Mozzin", and "Bobby Benny Jymie Lee Bu". CD

Bobby Watson is definitely back home here – really re-rooted in the kind of greatness he was giving us on record many years back, at a level that's come back strongly in recent years – thanks to a top-shelf release like this! As you'll note on the cover, Bobby's got his key early musical partner in place – bassist Curtis Lundy, with whom he cut some of his finest in the 80s – and the alto giant's also got some other wonderful bandmates in the lineup – especially trumpeter Jeremy Pelt, whose upbeat tone and way of reaching up with his sound really matches the positivity in Watson's horn. Other players include the great Cyrus Chestnut on piano and Victor Jones on drums – and Carmen Lundy, makes a very welcome vocal return on the title "Our Love Remains". Other tracks include the Watson originals "Side Steps", "Bon Voyage", "Back Home In Kansas City", and "Blues For Alto" – and other tunes include "Red Bank Heist", "Mind Wine", "The Star In The East", and "Dear Lord". CD

Trombonist Steve Davis always gives us something great with each new release – and that's definitely the case here, in a set with a rock-solid group, filled with all original material that really soars right from the very first note! In addition to Davis on trombone, the group also features Steve Nelson on vibes, Peter Bernstein on guitar, Geoffrey Keezer on piano, Christian McBride on bass, and Willie Jones III on drums – all strong leaders in their own right, coming together here as a beautifully cohesive unit to really spin some magic – energy that's tight on the leads, but breaks off nicely with strong solo voices that are never too overindulgent, but really make themselves heard. Tracks include "Encouragement", "Silver At Sundown", "Indigo To Azure", "Off The Cuff", "Star For Chick", "Bluesthetic", and "Faraway Dream". CD

Drummer Al Foster has a hell of a legacy, one that includes some famous 70s work with Miles Davis – and he's a hell of a leader, too – the kind that always seems to get a little sort of something extra from the players in his group! That's definitely the case here, as he works with a lineup that includes Nicholas Payton on trumpet, Chris Potter on tenor and soprano, and Kevin Hays on piano and Fender Rhodes – all musicians you'll know from their own records, but who come together here with a strong sense of voice under Al's leadership! Potter feels warmed up and more soulful than usual, Payton seems to have a bit more bite, and Hayes really feels unbridled on the keys – maybe in part because the record also has some excellent work on bass from Vicente Archer. Titles include the Foster originals "TS Monk", "Monk's Bossa", and "Anastasia" – plus takes on "Pent Up House", "Blues On The Corner, "Punjab", and "Half Nelson". CD

The sense of movement in the album's title is really well-put – as organist Larry Goldings has this effortless way of running up and down the keys of his instrument, and the bass pedals too – spinning things out in a really freewheeling style that's caught fire by the guitar of Peter Bernstein and drums of Bill Stewart! There's a very modern vibe to the whole thing – the album's not a set that's out to rehash a 60s soul jazz mode, but instead show that new expressions from a guitar/organ trio are alive and well – maybe no surprise, given the strength that both Goldings and Bernstein have given us over the years – although brought into even greater focus here. Titles include "Lurkers", "Little Green Men", "Libra", "United", "FU Donald", and "Perpetual Pendulum". CD

Cool is one thing that Eddie Henderson always is – as his sense of tone and timing just seem to get better and better as the years go on – and that's saying a lot, given that Eddie's legacy goes way back to the 70s! And although he did plenty of fusion and soul experiments in his youth, the later decades have always had Henderson moving into a role more as a classic stylist on the trumpet – one who seems to always set a new bar for his playing as time passes by – to a point where anyone would be daft not to call Eddie one of the more important voices on his instrument in the past 30 years. That sense of cool is definitely in place here, as is Henderson's subtle swing, even on the ballads – as Eddie works in a tight quintet with Donald Harrison on alto, Kenny Barron on piano, Essiet Essiet on bass, and Mike Clark on drums – on titles that include "Fran Dance", "Loft Funk", "Nightride", "The Sand Castle Head Hunter", "Naima", "Smoke Screen", "Bee Cool", and "Moontrane". CD

The Montanas look like a bunch of groovy 60s cats on the cover – and while they definitely had some great hits during the British Invasion years, they also kept on cutting some very cool material well into the 70s – all of which is included in this overstuffed set! The work begins where you might imagine – tuneful British rock, with great harmonies and catchy hooks – but as the 60s slide into the 70s, the group changes their lineup, and really start taking on some great new material – the tracks here that really make the collection great! Things are still pretty catchy in the 70s, but the pop modes have shifted a lot – bringing influences from psych and other new styles, and opening up a new sort of production style too – maybe a hint at the more compressed modes that UK acts would use in the 7ts generation. If you only ever thought of The Montanas as a group with a few oldies hits, you'll really be surprised here as you make your way through the 42 track selection of cuts that includes "Doctor Nero", "Difference Of Opinion", "Teardrops", "You Got Me Wrong Girl", "Miss Mackenzie", "Sammy", "Mystery", "No Smoke Without Fire", "Henry Ford", "Suzanne", "Love Machine", "Seaport", "Goodbye Little Girl", "Ciao Baby", "You've Got To Be Loved", "I Need To Fly", "Round About", and two versions of "One Thing Or Another" – plus a cover of the Grateful Dead classic "Uncle John's Band". CD

A stellar early Johnny Griffin recording for Blue Note, and one that features the young tenor genius from Chicago working alongside the equally fantastic John Coltrane and Hank Mobley – plus some additional trumpet from Lee Morgan, and rock-solid rhythm from Wynton Kelly, Paul Chambers, and Art Blakey! As the "blowing session" title might imply, this set features long tracks that let the players get in plenty of soloing (and, we might add, in a very competitive way!) The record is similar to the Prestige sessions of the same vintage and style, but recorded with a little bit more of the care and rehearsal that Blue Note provided. Cuts include "Ball Bearing", "All The Things You Are", and "Smoke Stack. CD

A really wonderful little chapter in the rich, and all-too-short career of bassist Oscar Pettiford – larger group recordings done for ABC in the mid 50s! The sessions show Pettiford to be surprisingly great at such a format – leading a group through Gigi Gryce arrangements that have a nice modern jazz take on earlier bop themes of the 50s. Gryce himself plays alto on the session, and other players include Jerome Richardson, Benny Golson, Art Farmer, Kenny Dorham, Jimmy Cleveland, Al Grey, Tommy Flanagan, and Lucky Thompson. The CD seems to include material from both Pettiford sessions for ABC – for a total of 17 tracks that include "Two French Fries", "Perdido", "Speculation", "Sunrise Sunset", "Smoke Signal", "Deep Passion", "Nica's Tempo", "Not So Sleepy", "Little Niles", and "Seabreeze". CD

A stellar early Johnny Griffin recording for Blue Note, and one that features the young tenor genius from Chicago working alongside the equally fantastic John Coltrane and Hank Mobley – plus some additional trumpet from Lee Morgan, and rock-solid rhythm from Wynton Kelly, Paul Chambers, and Art Blakey! As the "blowing session" title might imply, this set features long tracks that let the players get in plenty of soloing (and, we might add, in a very competitive way!) The record is similar to the Prestige sessions of the same vintage and style, but recorded with a little bit more of the care and rehearsal that Blue Note provided. Cuts include "Ball Bearing", "All The Things You Are", and "Smoke Stack. CD reissue has a very tasty alternate version of "Smoke Stack", with tight alternate solos! CD

An amazing legacy in music from Mike Cooper – a British musician who started out in the world of folk blues, but never ended up moving towards some of the rockish modes of his contemporaries – instead finding his very own sort of special space in the freedom allowed by the Dawn Records label! The set begins with the very spare Oh Really – a set that has Mike Cooper mostly on guitar and vocals, in a style that's part Piedmont, part Delta blues – but also given a more folksy spin, and graced with Cooper's unusual vocals – almost making the whole thing feel like a spare acoustic version of Canned Heat territory – with titles that include "Maggie Campbell", "Saturday Blues", "Electric Chair", "Crow Jane", and "You're Gonna Be Sorry". Do I Know you is a record that follows up with a sound that's maybe a bit fuller than Mike Cooper's debut, but still relatively spare – with Mike on acoustic guitar and slide guitar, Harry Miller on bass (really great bass, by the way!), and Poor Little Anne on a bit of vocals. Miller brings these deep tones to the record that really transform things – and titles include "Do I Know You", "Start Of A Journey", "First Song", "Theme In C", and "The Link". Trout Steel is a beautiful set from the British scene at the start of the 70s – a record that's got a fairly folksy tone, but lots of jazzy currents as well! The set was issued on the seminal Dawn Records label – and really shows that imprint's commitment to the left side of the spectrum – as Mike Cooper's vocals and acoustic guitar come into play with more guitar from Stefan Grossman – plus alto sax from Mike Osborne, tenor and soprano from Alan Skidmore, piano from John Taylor, and bass from the late Harry Miller – all key players on the UK avant jazz scene of the time! The mix of these players with Cooper's core inspiration is not unlike some of the most progressive material coming from Island Records – or, even better, the special jazzy moments on records by Tim Buckley or Tim Hardin – company that Cooper could very easily keep, given the strength of his songwriting. Titles include "Don't Talk Too Fast", "On My Way", "Hope You See", "Weeping Rose", "Trout Steel", "I've Got Mine", "That's How", and "Pharoah's March". Places I Know blends Cooper's acoustic guitar and rootsy vocals with some very compelling arrangements from Mike Gibbs – the British jazz talent who was already known for his larger ensemble creations at the time, but who works here in these really subtle ways – to inflect Cooper's core inspirations with just some slight instrumental colors, tones, and phrases on most numbers – while Cooper brings in the core Machine Gun Co group on a few more. The result is a record that's way more than familiar folk – and arguably a lot hipper than most of the British acid folk of the time, too – on titles that include "Night Journey", "Paper & Smoke", "Country Water", "Time To Time", "Goodbye Blues Goodbye", and "Places I Know". The Machine Gun Co album is a partner record to Places I Know – recorded in the same sessions, but with tracks that are longer, and even more openly expressive – all with backings from the sweet Machine Gun Co quartet, a group with some especially nice electric piano from Alan Cook! Heavy use of that instrument really works against some of the folksier elements in Cooper's music – with these blocks of warm sound and color that really illuminate the tunes, and almost unlock a new level in the vocals. Cooper plays a bit of electric guitar at times – and titles include "So Glad That I Found You", "Lady Anne", "Midnight Words", and "Song For Abigail". CD also features songs from singles – "Your Lovely Ways (parts 1 & 2)", "Time In Hand", and "Schaabisch Hall". CD

One of the more unusual albums on Impulse – and a beautiful session that's filled with surprises you wouldn't expect! Elvin Jones leads a group of well-chosen bandmates in a hip set of tracks that's sort of a "letter" to Coltrane – with groupings that include either Roland Hanna or Hank Jones on piano, plus Richard Davis bass, and Charlie Mariano on alto sax! Mariano is the real highlight of the album, and his sparkling alto playing on the disc is some of his finest work from the 60s – really standing out in one of his few American sessions from the middle part of the decade – soulful, but searching too – very well presented in an album of Coltrane-ness. Titles include "Love Bird", "Fantazm", "Ballade", "Dear John C", and "Smoke Rings". LP, Vinyl record album

That's a country-looking Mike Nesmith on the cover – which is no surprise, as these cuts were all recorded during Nesmith's great early 70s country rock years on RCA – although none of them were issued at the time! Those in the know love Mike's fantastic records with The First National Band – done after his time in The Monkees, at a time when he was really letting his hair down and his songwriting skills flow – to a point where he was joining the hipper country-inspired world of The Flying Burrito Brothers and The Byrds! Those modes are in full flourish here – in a set that features 14 vocal numbers from the RCA years, including many rare alternates – and 8 more instrumentals, which show the wonderful use of pedal steel from Red Rhodes, and some of the other hip players on the sessions. Titles include "American Airman", "Six Days On The Road", and "Circle Sky" – plus rare alternates of "Some Of Shelly's Blues", "Marie's Theme", "Roll With The Flow", "Different Drum", "Tengo Amore", "Dedicated Friend", "Texas Morning", "Rene", "Listen To The Band", and other vocal tunes – some in very different arrangements. Instrumental tunes include "Hollywood", "Tan My Hide", "You Are My One", "Born To Love You", and "Magnolia Simms" – and the set also features a bonus "Loose Salute" radio spot too! LP, Vinyl record album

A great little album of smooth soul cuts from Greg Perry – an extremely talented arranger, producer, and songwriter whose credits includes work in soul, pop, and country – appearing here in one of the few sessions he ever cut under his own name! There's a bit of a southern soul feel to the album, although most of the record's got a modern feel – and we'd compare this one to mid 70s work by Lou Courtney, which has a similar combination of styles. A classic level effort that's been too long undiscovered! Cuts include "Where There's Smoke (There's Fire)", "Melody", "(I Can See The) Handwriting On The Wall", "How's Your Love Life, Baby", "A Taste Of You (Is A Taste Of Love)", "Come Fly With Me", "I'll Always Be In Love With You" and "Let's Get Away From It All". CD

A stellar early Johnny Griffin recording for Blue Note, and one that features the young tenor genius from Chicago working alongside the equally fantastic John Coltrane and Hank Mobley – plus some additional trumpet from Lee Morgan, and rock-solid rhythm from Wynton Kelly, Paul Chambers, and Art Blakey! As the "blowing session" title might imply, this set features long tracks that let the players get in plenty of soloing (and, we might add, in a very competitive way!) The record is similar to the Prestige sessions of the same vintage and style, but recorded with a little bit more of the care and rehearsal that Blue Note provided. Cuts include "Ball Bearing", "All The Things You Are", and "Smoke Stack. CD

A Chicago blues gem – and some of the rarest material issued by King Records in the 60s – very gritty, earthy blues from singer Smokey Smothers – who gets plenty of help in the studio from a young Freddy King! Smothers has this raspy, almost casual style of singing – one that works well with the easygoing rhythms of the tunes, and opens up plenty of space for Freddy to come in and do his thing – coloring the tunes with the same bold tones as on his own King sessions of the time, and maybe bringing a lot more bite into Smokey's songs than they would have had otherwise! The original record is nearly impossible to find – it fell into obscurity almost immediately upon release – and this set brings it back, along with unissued tracks and singles – to make for a whopping 25 titles in all. Tracks include "Crying Tears", "I Can't Judge Nobody", "Smokey's Love Sick Blues", "Give It Back", "The Case Is Closed", "Midnight & Day", "Honey I Ain't Teasin", "Com On Rock Little Girl", "I Ain't Gonna Be No Monkey Man No More", and "Way Up In The Mountains Of Kentucky". CD

JJ Johnson's always a cooker, but during the late 50s he cut some incredible records for the Columbia label – tight bop sessions that still stand as some of his best work! This album's one of them – a real smoker of a set that features Johnson's trombone as the only lead horn in a cool quartet that also includes Tommy Flanagan on piano, Paul Chambers on bass, and Max Roach on drums – a crackling rhythm trio who make the record move a lot more than most other jazz sessions on Columbia at the time! Johnson's sense of tone and phrasing is wonderful – unadorned by any other horns, but a very powerful solo vehicle, especially in the company of the other players – and titles include "Harvey's House", "That Tired Old Routine Called Love", "Nickels & Dimes", "Be My Love", "Paul's Pal", and "Commutation". LP, Vinyl record album

Some of the tightest funky 70s jamming ever – a lost gem from Ray & His Musical Court, a group that perfectly fuses JB/Horny Horns funk with beat-heavy Afro-Cuban groove! Ray and the group are one of the more obscure funky combos of the era, and it's a damn shame, because the group's tight-as-can-be amalgam of JB's style horn riffing and thumping Afro-Cuban percussion is some of the absolute best of its kind. This group seriously smokes any of the current funk bands on the road! On these sessions Ray wrote, produced, played "organ flute" and provided some vocals in a large group that includes three trumpets, bass clarinet, sax, two drummers, congas, electric bass, and a line of mostly Spanish vocalists. Amazing 70s super funk with a very proud Latin edge – and featuring tracks that include "Sunny", "Soul Freedom", "Cookie Crumbs", "De Eso Nada Monada", "Lo Sabia", "Venimos Acabando", "La Pena", and "La Senorita Lola". LP, Vinyl record album

One of the most classic Blue Note sessions ever – and for good reason too! From the cover, to the title, to the hardbopping grooves of the set, this Sonny Clark late 50s smoker is one of the label's best – as pianist Clark is working here at the height of his powers – leading an all-star group that includes Art Farmer on trumpet, Curtis Fuller on trombone, Hank Mobley on tenor, Wilbur Ware on bass, and Louis Hayes on drums – all coming together magically on open-ended tunes that tighten up from the blowing session format, and really send the groove home! Plus, Sonny's writing is also great – as the set's got a number of great originals by Clark – and titles include "Bootin' It", "Sonny's Mood", "Shoutin On A Riff", and "Dial S For Sonny". Features a bonus stereo take of "Bootin It". CD

One of the most classic Blue Note sessions ever – and for good reason too! From the cover, to the title, to the hardbopping grooves of the set, this Sonny Clark late 50s smoker is one of the label's best – as pianist Clark is working here at the height of his powers – leading an all-star group that includes Art Farmer on trumpet, Curtis Fuller on trombone, Hank Mobley on tenor, Wilbur Ware on bass, and Louis Hayes on drums – all coming together magically on open-ended tunes that tighten up from the blowing session format, and really send the groove home! Plus, Sonny's writing is also great – as the set's got a number of great originals by Clark – and titles include "Bootin' It", "Sonny's Mood", "Shoutin On A Riff", and "Dial S For Sonny". LP, Vinyl record album

One of the most classic Blue Note sessions ever – and for good reason too! From the cover, to the title, to the hardbopping grooves of the set, this Sonny Clark late 50s smoker is one of the label's best – as pianist Clark is working here at the height of his powers – leading an all-star group that includes Art Farmer on trumpet, Curtis Fuller on trombone, Hank Mobley on tenor, Wilbur Ware on bass, and Louis Hayes on drums – all coming together magically on open-ended tunes that tighten up from the blowing session format, and really send the groove home! Plus, Sonny's writing is also great – as the set's got a number of great originals by Clark – and titles include "Bootin' It", "Sonny's Mood", "Shoutin On A Riff", and "Dial S For Sonny". CD

A short set of work from El Michels Affair – but as with most of their records, a set that delivers a heck of a lot more than you'd get from other groups in their scene! If the cover looks a bit familiar, it's because the cuts here were recorded during the sessions for the Yeti Season album, but didn't get issued at the time – but they've got a weirder, wilder vibe than that record too – almost as if the already-trippy funk of El Michels were run through a special filter to make things sound even more exotic, yet all without ever losing the groove! Titles include "Poison Song", "Progress", "Nasir", "Messy Grass", "Cham Cham", "Uncut Gem", "Smoked", and "Running Hot". LP, Vinyl record album

2 albums' worth of rare early work from Roland Kirk – back to back on one CD! First up is the classic Third Dimension set for Bethlehem – a record that's not as groundbreaking as later sessions, but still filled with fire and imagination, and proof that the famous blind player was a genius even at an early age! Kirk plays alto, tenor, and soprano – and on all tracks, he plays them in his unique "3-in-1" style, in which he's actually blowing all horns at the same time! The result is an incredible sound, unlike anyone else we can think of – and it's an amazingly raw tone that still swings very hard. Players include Jimmy Madison, Carlu Pruitt, and Hank Duncan – and titles include "Triple Threat", "Slow Groove", "Roland's Theme", and "A La Carte". Next up is Introducing Roland Kirk – recorded in 1960 for Argo/Chess – and a heck of a smoker with a very unusual sound! The session features Roland with a Chicago group that includes Ira Sullivan on trumpet, Don Garrett on bass, and Ron Burton on both piano and organ – the latter of which gives Kirk's playing a very different feel than usual – a bit more soul jazz and gutbuckety than on the later Mercury recordings. In fact, given Roland's use of many different reed instruments (tenor, manzello, stritch, and whistle – all often played at the same time!) – there's almost a Yusef Lateef quality to the album, at last in the style of some of Lateef's more hardbop sides for Prestige at the time. Kirk's tone, as always, is amazing – with that really spacious feel he gets from playing more than one horn at once! Titles include some great originals, like "The Call", "Soul Station", and "Spirit Girl" – plus "Our Waltz" and "Jack The Ripper". CD

A great little record from Junior Mance – done at a time when the pianist had faded from the limelight a bit, after early 70s sessions for Atlantic – but playing here at a level that's maybe even more well-rounded and confident than on some of those albums! The date's just a trio setting – with Martin Rivera on bass and the great Walt Boden on drums – but there's definitely some special magic going on, and the whole thing grooves with a timeless vibe that's way more than you might expect for a small-label session. Junior's left hand is amazing, and his right is pretty damn great too – on titles that include "9:20 Special", "Small Fry", "Deep", "Smokey Blues", "In The Evening", and "Ease On Down The Road". CD features new mastering, and three bonus alternate takes! CD

One of the most classic Blue Note sessions ever – and for good reason too! From the cover, to the title, to the hardbopping grooves of the set, this Sonny Clark late 50s smoker is one of the label's best – as pianist Clark is working here at the height of his powers – leading an all-star group that includes Art Farmer on trumpet, Curtis Fuller on trombone, Hank Mobley on tenor, Wilbur Ware on bass, and Louis Hayes on drums – all coming together magically on open-ended tunes that tighten up from the blowing session format, and really send the groove home! Plus, Sonny's writing is also great – as the set's got a number of great originals by Clark – and titles include "Bootin' It", "Sonny's Mood", "Shoutin On A Riff", and "Dial S For Sonny" – plus a bonus alternate take of the cut "Bootin' It"! CD