Great stuff – recorded in Mingus' classic period! Mingus leads a sharp small group here – a wonderful quintet that features Booker Ervin on tenor, John Handy on alto, and Richard Wyands on piano – with longtime musical partner Dannie Richmond on drums! The session was recorded live at the Nonagon Gallery in New York, and has that sort of arch-modernist groove that was Mingus' hallmark in these key late 50's years. Ervin, as always, is amazing, and John Handy, who makes his recording debut here, demonstrates the genius that Mingus had for spotting brilliant young players as he plays with the sort of imagination and intensity that he only ever managed to hit again on one or two of his own records as a leader. The record's got four long tracks, including long takes of "Nostalgia In Times Square", "Alice's Wonderland", and "No Private Income Blues". LP, Vinyl record album

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A rare set of Billy Strayhorn tracks recorded in Paris by Alan Douglas. The tracks are incredibly haunting, and mostly feature Strayhorn's solo piano with spare backing by Parisian bassist Michel Goudret. There are a a few short moments on the record that add backing voices or strings – but even in those moments, Strayhorn's tender tentative piano is right up front in the mix. The whole thing's a treasure, and a rare peek at the solo talent that made Ellington's band one of the best. Titles include "A Flower Is A Lovesome Thing", "Lush Life", "Strange Feeling", and "Chelsea Bridge". LP, Vinyl record album

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Great music from jazz guitarist Mundell Lowe – a set that was originally written as the soundtrack for an early 60s sexploitation film, Satin In High Heels – but which works equally well as a jazz album on its own! Lowe's in a slightly different setting than on some of his earlier records – working with larger arrangements that include a rich array of sounds and tunes from Eddie Costa on piano and vibes, Clark Terry and Joe Newman on trumpets, Al Cohn and Oliver Nelson on tenor, Jimmy Cleveland on trombone, and Phil Woods on alto sax – an all-star lineup who make the music sound way better than you might expect! Lowe's guitar gets a lot of center space in the sound – providing the right sort of slinky, crime jazz-styled elements – and titles include "Coffee Coffee", "Lake In the Woods", "Pattern Of Evil", "Blues For A Stripper", and "East Side Drive In". Nice jazzy sound, and a very sexy theme! CD

Twin-flute magic from the quintet of Herbie Mann and Sam Most – both of whom play the long, thin instrument here – in intertwining lines of sound that are totally great! There's a style here that's often a bit more frenetic than usual for Herbie – one that's possibly picked up from Most, as might be heard on some of his later sides from the 60s. Whatever the case, even when things are gentle, there's some nice little interplay – a lot of action from both flute players, supported by guitar from Joe Puma, bass from Jimmy Gannon, and drums from Lee Kleinman. Arrangements are by Russ Garcia, and titles include "It's Only Sunshine", "Fascinating Rhythm", "Empathy", "Seven Come Eleven", "Just One Of Those Things", and "Flying Home". CD

Blazing horns, indeed – but that's maybe no surprise, given that the album features the great tenor of Tommy McCook and the trumpet of Studio One mainstay Bobby Ellis! The album's kind of an update of older rocksteady instrumental modes, of the sort you would have heard on McCook's records back in the day – lean, nicely grooving in a mellow way, but with a vibe that's more informed by 70s roots at the core – and served up with backings from Sly Dunbar on drums, Robby Shakespear on bass, Ansel Collins on organ, and Clinton Ferron on guitar! Both players get in plenty of solo moments, but sound great in unison too – and titles include "Blazing Horns", "Mine Eyes", "Glorious Lion", "Tommy's Mood", "Ites Of Zion", and "Jah". LP, Vinyl record album

One of the best of the early 60s comeback albums by the legendary bop trumpeter Howard McGhee – and a record that really has the player finding a whole new groove in his music! At this point, Maggie's got a fantastic tone that was missing from his earlier records, filled with pain and raw emotion – but also measured with a maturity that gives his solos an incredible sense of economy that delivers a whole hell of a lot with just a few simple notes – a balance that comes through beautifully here, maybe even more so than on any other record by Howard from the time! He's playing here in a great group that includes Roland Alexander on tenor, Bennie Green on trombone, Tommy Flanagan on piano, and Pepper Adams on baritone – and tracks include "Dusty Blue", "Groovin High", "Cottage For Sale", "Flyin Colors", and "With Malice Towards None". CD

An obscure set from Hammond genius Jimmy McGriff, but a great one too – nicely different than his earlier work for Sue Records, and done at a level that really shows his growth at the end of the 60s! The record's one of those unusual Sonny Lester productions that seem to open up McGriff's approach to the keys – moving past more standard jazz organ sounds of a few years back, and finding all these inventive, original ways to open up a groove! Jimmy's still giving 110% on the Hammond – grooving with an unnamed group in a mode that recalls the fiercely swinging sound of Groove Holmes at his best in the mid 60s – and like Holmes, McGriff has a real talent for taking familiar numbers, and making them swing with a very soulful edge! Titles include the great original "Once Again", plus great takes on "The Way You Look Tonight", "Laura", and "Moon River". CD

A Basie tribute, but a really smoking one – thanks to some hard swinging arrangements from Manny Albam, and plenty of heavy Hammond from the great Jimmy McGriff! The tracks are mostly numbers from the Count Basie songbook of the 50s and 60s, but they're strongly reworked here with a swinging 60s vibe – played with lots of strong horn work in the background, all used as a perfect foil for Jimmy's leaner organ solos over the top! The style's quite similar to other big band organ work of the time – particularly records made by Jimmy Smith in collaboration with Oliver Nelson, or Jack McDuff with Benny Golson – and McGriff's organ comes through nice and clean in the mix, with that sharply fluttering sound that really made him one of the true standouts of the 60s. Titles include "Hob Nail Boogie", "Cute", "Every Day", "Blues Go Away", and "Slow But Sure". CD

A key recording in the 50s career of modernist Hal McKusick – a spare and breezy session that really lets him display his unique approach to the alto sax! Hal's playing here in a very spare quartet – with only the guitar of Barry Galbraith, bass of Osie Johnson, and drums of Milt Hinton to back him up – so spare, in fact, that at times, it almost sounds like McKusick is blowing solo – working in that crisp, fresh tone of his on a few familiar numbers, plus some great Manny Albam compositions that have a playfully modern feel. Titles include "Minor Matters", "Give Em Hal", "By-Ian", "Blue-Who", and "Taylor Made". CD

Marian McPartland in one of her grooviest settings – a very soulful trio with Ben Tucker on bass and Jake Hanna on drums – in an outing that really transforms the sound of the tunes from West Side Story and other Leonard Bernstein compositions! The whole thing actually feels more like some of Tucker's best from the 60s – and has that sharply pulsating vibe he brought to his work when he got a chance to really step out on bass – at a level that also has Marian's piano transforming into these bolder, blockier chords that really groove nicely, yet still retain some of the more lyrical touches she was known for. Tunes are all familiar, but swing nicely – and titles include "It's Love", "Cool", "I Feel Pretty", "Somewhere", "Ya Got Me", "I Can Cook Too", and "Lonely Town". CD

One of the coolest jazz vocal albums you'll ever find! Frank Minion sings this suite of tracks billed as an "Introduction To Black Opium Street", and he puts the music together with little recitations in between the tracks, so that the whole thing sounds like one of the great Langston Hughes jazz albums from the same period. Minion's singing voice is in the same rich-toned tradition as singers like Johnny Hartman, but his speaking voice is raw and very soulful – and he gets more than able backing by a great set of players that includes Tommy Flanagan on piano, Roland Alexander on tenor and flute, Dannie Richmond on drums, and Paul Chambers on bass. The whole album sounds more like a rare session on Candid than it does the usual stuff on Bethlehem – and it's a surprisingly hip album that still holds up well over the years! Titles include "Oddsville USA", "Bongo Blues", "Autobiography Of A Musician", "Watermelon", "Flamenco Sketches", "Laughing Boy", and "Later". CD

A very cool album for fans of the jazz funk sound of Mainstream Records in the early 70s – as the package includes tracks by some of its grooviest players, but which we don't think were issued on their other albums for the label! There's plenty of funky numbers – that groove that Mainstream picked up from Prestige Records when that label started hitting some jazz funk modes at the start of the 70s – served up here with all-star groups that go even beyond the strong work of the leaders! Titles include "Smiling Faces Sometimes" by Charles Kynard, "Alone Again Naturally" by Blue Mitchell, "Family Affair" and "Respect Yourself" by Dave Hubbard & Charles McPherson, "Willow Weep For Me" by Charles Williams, and "Roy's Tune" by Roy Haynes. CD

A rare and exceptional vocal jazz LP – cut by the obscure Marilyn Moore, then the wife of Al Cohn – who's pictured in profile on the cover of the record! Marilyn's got a style that's somewhat raspy – clearly inspired by Billie Holiday at times, and not what you'd expect in comparison to some of the cooler, clearer female singers who worked on Bethlehem in the 50s. The backing is in a small group mode – with Cohn on tenor and bass clarinet, plus Don Abney on piano, Joe Wilder on trumpet, Barry Galbraith on guitar, Milt Hinton on bass, and Osie Johnson on drums – all in a nicely relaxed mode to fit the mellow, moody sound of the record. There's a nice sense of darkness throughout – a bit more edge than you might expect – and titles include "Trouble Is A Man", "Ill Wind", "Born To Blow The Blues", "Lover Come Back To Me", and "You're Driving Me Crazy". CD

Great late 70s work from Art Pepper – a Japanese live performance, and one that has Pepper and the group stretching out in a beautiful way – on the sorts of longer, extended performances the reedman favored so much late in his life! The Michel Legrand reference in the title is maybe an indication that you're in for some more sensitive territory here – as Art's alto gets some beautiful accompaniment from Milcho Leviv on piano, next to gentle rhythm work from Bob Magnusson on bass, and Carl Burnett on drums. Titles include long takes of "The Summer Knows", "Red Car", "Caravan", and "The Trip". CD

A very groovy record, hiding under a slightly obscure name – but one that's overflowing with all-star talent throughout! The great Ernie Wilkins heads up the whole thing – and his approach here is way groovier, way funkier than just about any other record he worked on – which is maybe no surprise as the lineup features heavyweights like Chris Woods and Hubert Laws on tenor and flute, Kenny Burrell and David Spinoza on guitars, Woody Shaw and Joe Newman on trumpets, and Frank Owen on keyboards and organ! But maybe the best part is the rhythm – as the set features a young Chuck Rainey on bass, with great drums from either Grady Tate or Herbie Lovelle – on titles that include great takes on "Everyday People", "Get Back", "Come Together", "Spinning Wheel", "Down On Me", "Journey To the Center Of The Mind", and "One". CD

Ruth Price is definitely live and beautiful – stretching out here on a small combo date recorded in Hollywood – with a groove that's maybe a little hipper than some of her previous records too! The album features backings from a trio that includes Victor Feldman on piano, Bob Whitlock on bass, and Colin Bailey on drums – players who've got this groovy swing that really transforms the familiar numbers in the live setting – and which brings out this wonderfully open, expressive quality in Price's vocals – at a level she didn't always hit on other records. Titles include "Some Other Time", "This Heart Of Mine", "You Are Not My First Love", "Just Because We're Kids", and "I'm Gonna Laugh You Right Out Of My Life". CD

Wonderful work from guitarist Jimmy Raney – easily one of his standout sets of the 60s, and a record that features some great second guitar from Jim Hall! The pairing of guitars makes for a really unique sort of sound – one that's more languidly flowing than some of Raney's previous work, in ways that opens up with some tremendous tones and colors throughout – almost a guitar-based version of the sort of groove that Clark Terry and Bob Brookmeyer got with their horns while recording for Mainstream at the time. The presence of Zoot Sims on tenor is also a great factor of the record – and there's almost a gentle bossa nova influence going on here, but one that's touched with more modern elements too – in ways that really transform the sound of Sims' horn. Other players in the group include Steve Swallow on bass and Osie Johnson on drums – and titles include"A Primera Vez", "Presente De Natal", "Este Seu Olhar", "Betaminus", "Move It", "All Across The City", and "Coisa Mais Linda". CD

Aaron Sachs is best known as a clarinet player, but he also serves up some mighty mean tenor sax on this rare date for Bethlehem – work on the horn that really makes the record a standout! Sachs plays tenor on about half the tracks, and uses the instrument in these cool clipped phrases that are almost as deft as his equally great work on the clarinet – although that latter instrument has a lighter, more stepping tone in the album's modern arrangements. Urbie Green is on trombone and Danny Bank plays baritone sax – and both players set up a nice "bottom" for Sachs to work against – and rhythms dance lightly and nicely with work by Barry Galbraith on guitar, Clyde Lombardi on bass, and Osie Johnson on drums. Titles include "One Track", "Helen", "The Bullfrog", "Conversation", and "Kingfish". CD

A brilliant 80s set from Pharoah Sanders – a record that has him a much more understated setting than some of his other albums from the time – but one that's maybe even more soulful and searching overall! The great one plays blistering tenor right from the start – in a quartet with John Hicks on piano, Curtis Lundy on bass, and Idris Muhammad on drums – all players who have this way of doing a lot with a little, especially in the rhythm department – where they seem to give Sanders some of his strongest sense of groove since the key albums for Theresa. Muhammad's got this tight sense of timekeeping, but with a looseness that we love – and Lundy's warm soulful bass does more than enough to give the set a sound bottom – and Hicks' free lyrical piano works nicely with Sanders' spiritual horn. Titles include a remake of "You've Got To Have Freedom", plus "Naima", "Origin", "Speak Low", "After The Morning", and "Africa". Also features the tracks "Duo" and "Heart To Heart" – not on the vinyl release! CD

Beautiful late 80s work from Pharoah – a wonderfully uncomplicated session that still has a great degree of soul! The album was recorded in Paris, with a quintet that includes William Henderson on acoustic piano, Stafford James on bass, Eddie Moore on drums, and Cheikh Tidiane Fale on percussion – and the overall approach is a bit more straight ahead than on some of Sanders' other albums – but in a really great way! The tunes are long and introspective – all done with spiritual rhythmic approaches, letting Pharoah open up on tenor and soprano sax – but never in a way that's overblown or overdone. The solos are perfectly placed – with wonderful phrasing and tone, rich in the colors that we've always loved on Sanders' work, but which can sometimes get lost in the confusion of an over-ambitious session. Titles include "Moon Child", "Moon Rays", "Soon", "Moniebah", and "The Night Has A Thousand Eyes". CD

Sublime early work from the legendary Ronnie Scott – small group numbers that show him starting out the 50s as a hell of a bopper, and a handful of tracks with a Latin vibe – cut with Kenny Graham's Afro-Cubists! Those cuts begin the set, and they're wonderful – material that often has Scott out front, soloing on tenor alongside Graham – with Latin jazz backings, in a way that's similar to the best cubop material that Verve was doing at the time! The remaining part of the record features Scott leading two different small groups – with players who include Dill Jones on piano, Harry Klein on baritone, and Tony Crombie on drums. Titles include "Not So Fast", "Fast", "Twin Beds", "Avalon", "Scott's Expedition", "Nemo", "Troubled Air", "Eureka", and "Seven Eleven". CD

Features Andre Persiany on piano, Roland Lobligeois on bass, and Oliver Jackson on drums. CD

Archie Shepp at his spiritual best – recording in Paris in 1969, and absorbing a heck of a lot pan-African influences! Shepp's in the lead on tenor – working with a great lineup of up-and coming avant geniuses – Clifford Thortnton on cornet, Lester Bowie on trumpet, Roscoe Mitchell on bass saxophone, Dave Burrell on piano, Malachi Favors on bass, Philly Joe Jones and Sunny Murray on drums – and the unusual addition of Art Taylor on "rhythm logs" and Laurence Devereaux on balafon! The centerpiece of the album is the amazing "Yasmina" – a long track that builds with passion and fire, pulsing with an intensity that you'd expect more from Pharoah Sanders than Shepp himself. Next up is "Sonny's Back", a wonderful straight jazz groover with Archie and Hank Mobley on twin tenors upfront – making a rare and memorable recorded appearance together! The set's capped off by a mellow version of "Body & Soul", one that points towards the more soulful side of Shepp's work in the 70s. CD

Featuring Harold McNair, Stan Tracey, Jackie Dougan, and Stan Tracey. CD

A mainstream jazz combo, but one with plenty of modern edges too – thanks to the skills of the players in the sextet! The musicians here are equally comfortable skirting a number of different styles, which they do very well in the set – especially the horn section, which features Bob Wilber on tenor, Sonny Truitt on trombone, and Johnny Glasel on trumpet! Most numbers are originals by the group members, and the arrangements have that fresh flair that Wilber would bring to later, better-known work – swung by a rhythm section that includes Bob Hammer on piano, Bill Britto on bass, and Eddie Phyfe on drums. Titles include "Itchy Fingers", "Two Kinds Of Blues", "Strange Diet", "Tasty", "As Far As We're Concerned", and "Pink Ice". CD

A nice bit of an American comeback set for Buddy Tate – although he'd never really "gone away", thanks to a good crop of European recordings in the earlier part of the 70s! The set's got Buddy leading a group of "buddies" that includes Roy Eldridge, Illinois Jacquet, Mary Lou Williams, and Milt Hinton – all working in a loose swinging mode that has lots of the Verve-revival styles of Pablo work of the 70s. Tracks are long, and a bit jam sessiony – and titles include "When I'm Blue", "Rockaway", "Medi 2", and "Paris Nights". CD

Sweet 70s fusion from John Tropea – a tightly-crafted album, but one that's never too slick, and which still has plenty of soul! Tropea's that rare breed who actually sounds better with a bit more polish – and he seems to draw magically from the high quality of studio support he gets on the record, inspiring his own guitar work onto strong new levels! There's a sense of focus here that seems to even go beyond John's first 2 albums as a leader – and the whole thing's nicely unified with a laidback groove and an R&B-inspired approach to electric jazz. Titles include "Livin In The Jungle", "In This Time", "Look What They've Done To My Song", "You're My Every Need", and "Yours Next To Mine". CD

A 70s set from Sarah Vaughan, but one that's recorded in a classic small combo mode – acoustic overall, and a bit of a change from her other sessions for Mainstream Records! The date's a live one, and the tracks are taken at a looser level than some of Vaughan's studio work – a bit more open, and with a bit of conversation too – which is a nice surprise, and which has the singer really hitting this personal vibe that's great – even though we also love her when she's polished too! The group's a trio – with Carl Schroeder on piano, John Gianelli on bass, and Jimmy Cobb on drums – and titles on this first volume include "A Foggy Day", "All Of Me", "I Could Write A Book", "Misty", "Wave", "Like Someone In Love", "My Funny Valentine", "Willow Weep For Me", and "The Lamp Is Low". CD

The second trip into the studio for Cedar Walton's mighty Eastern Rebellion ensemble – and every bit as great as the first! This time around, the lineup's a bit different – with Bob Berg in on tenor, and Curtis Fuller expanding the group on trombone – but the groove is still the same – wonderfully in the pocket soul jazz, swinging with a gentle and fluid glide that's really tremendous. The work ranks up there with the best of Walton's recordings ever – and the tunes are all originals with a rich imagination for tone, soul, and color – and plenty of space for strong solo work. Titles include "The Maestro", "Sunday Suite", "Ojos De Rojo", "Fantasy In D", and "Clockwise". CD

A funky big band album, recorded by Thad Jones & Mel Lewis, with the great Joe Williams on vocals! The record is one of the most sought-after by the team – probably because it includes the hard breakbeat version of "Get Out of My Life Woman". The other tracks are pretty funky, too, with nice soul groovers like "Night Time Is The Right Time", "Woman's Got Soul", and "How Sweet It Is". Players include Pepper Adams, Joe Farrell, Jerome Richardson, and Roland Hanna – and the Jones/Lewis group is at the height of its hipness here! LP, Vinyl record album

A funky big band album, recorded by Thad Jones & Mel Lewis, with the great Joe Williams on vocals! The record is one of the most sought-after by the team – probably because it includes the hard breakbeat version of "Get Out of My Life Woman" that's been sampled often over the years. (Actually, hasn't every version of it been sampled by someone?) The other tracks are pretty funky, too, with nice soul groovers like "Night Time Is The Right Time", "Woman's Got Soul", and "How Sweet It Is". Players include Pepper Adams, Joe Farrell, Jerome Richardson, and Roland Hanna – and the Jones/Lewis group is at the height of its hipness here! LP, Vinyl record album

Live set from the mid 70's, featuring Mary Lou's piano with only bass accompaniment, and the tracks "Praise the Lord", "Roll 'Em", "Blues For Peter", and "Waltz Boogie". Lots of her later spiritual jazzy kind of stuff. CD

An album that's noteworthy not just as one of the few sessions as a leader from trumpeter Stu Williams – but also as a sublime showcase for the alto talents of a young Charlie Mariano, who really sparkles on the record! Charlie's alto sax seems to give Williamson's trumpet an edge that we usually don't hear on his sides from the time – cutting the whole groove with a bit more soul than might be expected for a Bethlehem session. The set's an expanded version of the 10" album Sapphire – and features Stu and Charlie alongside a group that includes Claude Williamson on piano, Max Bennett on bass and Stan Levey on drums – on titles that include "Slugger", "Sapphire", "Strike Up The Band", "Autumn In New York", "Sunday", "Yardbird Suite", "Stu's Dues Blues", and "The Lady Is A Tramp". CD

Soul Galore from Jackie Wilson – and easily one of his hardest-hitting albums of the 60s! The set's got Jackie really stepping out with his best sort of groove – that raw power that really unlocks his vocal range, set to some of the funkiest backings he'd had on record so far – a real surprise from arranger Dick Jacobs, who also doesn't give Wilson any of the weaker cuts that could sometimes hurt other records! Instead, this set is full of the kind of wicked hard soul numbers that really set Jackie on fire – killer cuts that include "Brand New Thing (parts 1 & 2)", "Stop Lying", "Let Me Build", "3 Days 1 Hour 30 Minutes", "I've Got To Get Back", "So You Say You Wanna Dance", "Everything's Gonna Be Fine", and "Your Loss My Gain". CD also features two bonus tracks – "I Believe" and "Be My Love". CD

A cool quintet session from the great trombonists JJ Johnson and Kai Winding – one that really lets their twin horns soar free together – with only a bit of light backing to spur them on! The group's got a great rhythm section – with Dick Katz on piano, Al Harewood on drums, and either Milt Hinton or Wendell Marshall on bass – and the format is simple, but wonderful – as Kai and JJ step out tightly on the leads, then trade solo lines with effortless easy – almost in the way a jazz vocal harmony group might at the time! The pair recorded often together, but this set's still one of their greatest – and titles include "Stolen Bass", "Out Of This World", "Gong Rock", "Lope City", and "That's How I Feel About You". CD features a whopping 7 alternate takes of tracks on the album, too! CD

A jazz piano lover's delight – as the extended set features material from a special one-night performance, recorded at Mailparquet Hall in Tokyo in 1993 – on an evening when a host of top-level pianists all came together on the same stage! The set features core rhythms from the killer team of Bob Cranshaw on bass and Alan Dawson on drums – who you might know from great Prestige Records sessions of the 60s – then each player moves into the piano chair, getting two or three tracks each, and sometimes playing solo – in a lineup that includes Junior Mance, Tommy Flanagan, Kenny Barron, Roger Kellaway, Dave McKenna, Duke Jordan, Marian McPartland, and Ray Bryant. 30 tracks in all – and a great document of a very special night! CD

A double-length collection of jazz piano work – all of which is exclusive to this set, which is culled from a series of 1993 performances at the Kani Hoken Hall in Tokyo! The package follows in the same style as the others in the series – in that there's a few solo moments, but mostly trio tracks that have excellent rhythm from the core duo of Bob Cranshaw on bass and Grady Tate on drums – who then serve as support for an excellent rotating lineup of pianists – an all-star cast that includes Eric Reed, Don Friedman, Benny Green, Cyrus Chestnut, James Williams, Geri Allen, Ray Bryant, Kenny Barron, and Junior Mance – all of whom deliver two tracks on the set! CD

A soulful message from the 70s – served up here on a collection that focuses on a mighty nice side of the TK Records label from back in the day! TK hit big fame with its Miami spin on disco in the mid 70s, but the label also had a great ear for other sorts of soul music too – and here, the focus is on the warmer, more sophisticated modern soul tracks that marked their output away from the chart hits – work created in the south, but with a hip vibe that resonates strongly with the best work in New York, Philly, or other northern cities. The tracks are all hand-picked by DJ Ryuhei The Man – who also does his own edits of a few tracks – and the set also features some rare singles from artists who never recorded a full album for TK. Titles include "All This Love That I'm Givin" by Gwen McCrae, "I Like My Birdie" by Leno Phillips, "Keep Her Happy" by Phillip Wright, "Never Had A Love So Good" by Charles Johnson, "Bessie" by JBs Wedge, "It's Your Sweet Love" by Jimmy Bo Horne, "The Way We Life" by Raw Soul Express, "Where Is The Love" by Betty Wright, "Listen To My Heartbeat" by Little Beaver, "Human (Ryuhei The Man express 45 edit)" by Brief Encounter, "What Am I Gonna Do (Ryuhei The Man Miami 45 edit)" by Reid Inc, and "Be With Me (Ryuhei The Man Miami 45 edit)" by Milton Wright. CD

A beautiful big band set from the great Art Blakey – but one that's got all the sharp focus of his small group sides by the Jazz Messengers! The lineup here is a great one – that very vibrant early 80s version of Blakey's group with Bobby Watson on alto sax, Bill Pierce on tenor, and James Williams on piano – augmented by Kevin Eubanks on guitar, Valerie Ponomarev on trumpet, and the Marsalis brothers rounding out the set with some extra horn work! The sound is strong and proud, and handled by Blakey with a tightness that's similar to his smaller group work of the time – but with a power that's simply incredible – especially when Watson's presence is made known on his tunes "Wheel Within A Wheel", "Linwood", and "Bit A Bittadose". Also features a take on Williams' "Minor Thesis". CD

A really wonderful set from the great Charles Brown – known to most as a blue singer, and a sophisticated one at that – but also an artist with a fair bit of jazz in his style, which is unlocked nicely on this 60s session for Mainstream Records! Arrangements are by Don Sebesky, and there's some great players on the date, working in a smaller core combo that features Kenny Burrell on guitar, Seldon Powell on tenor and flute, Don Elliot on vibes, and Roger Kellaway on piano – all players who underscore the best aspects of the music. Brown also plays piano – and titles include "I Know", "Cottage For Sale", "Night Life", "Glory Of Love", "Pledging My Love", "I'm Just Fooling Myself", and "Tomorrow Night". CD

A trio treasure from the incredible Sonny Clark – a rare non-Blue Note date from the late 50s, and a wonderful illustration of his powers on the piano! The setting is spare, but the sound is never sleepy – as Sonny's working here with Max Roach on drums and George Duvivier on bass – both of whom make for very lively compatriots in the trio – and help Sonny hit some fiercely flowing lines on piano! And apart from Sonny's great playing, the album's also a great showcase for his writing skills too, as nearly never tune's an original – with titles that include "Nica", "Sonia", "My Conception", "Minor Meeting", and "Blues Mambo". Also features a version of "Sonny's Crib" – mis-labeled here as "Sonny's Crip"! CD

One of the greatest albums as a leader from tenorist George Coleman – an artist who we feel often never gave us enough with himself in the lead as well! George brings in that great edge he used on earlier sessions with other leaders, while still also really establishing himself as one of the most expressive tenorists of the 70s in a mainstream mode – almost that balance between straighter swing and sharper corners that Joe Henderson brought to key recordings at the time. The group here are very fluid, and able to shift wonderfully with George's lead – Hilton Ruiz on piano, Sam Jones on bass, and Billy Higgins on drums – a masterful lineup who make magic throughout, on titles that include "Amsterdam After Dark", "New Arrival", "Lo-Joe", "Autumn In New York", "Apache Dance", and "Blondie's Waltz". CD

One of the more homegrown sets on the legendary BYG label – a record that's co-led by two musicians who never got much recognition outside the scene, but who are both pretty darn great! The album's billed to drummer Claude Delcloo, who's got a wonderful touch on the kit – but it's also got plenty of leadership from alto saxophonist Arthur Jones - as the pair work with a fantastic group that have a very AACM spirit – thanks to work from Roscoe Mitchell and Joseph Jarman on reeds, Clifford Thornton on congas, Malachi Favors on log drums, and Earl Freeman on gong and percussion! Kenneth Terroade is also on the set on reeds too – the album features the long title track as its single performance – an improvisation that moves between spareness and density in the best AACM style. CD

Never-failing genius from Art Farmer – recording here in his later years, and working in that long and open-ended mode we love so much! There's few trumpeters who could make a record like this work – but Farmer's got a tremendous ability to stretch out on longer tunes with well-crafted solos that make beautiful use of soundspace and texture – letting his trumpet almost float along in the air and find its own notes, while the trio of Geoff Keezer piano, Kenny Davis bass, and Lewis Nash on drums provide just the right sort of accompaniment. The album's got a grace that matches any of Art's excellent mid 70s sides from Japan – and is proof that his talents never waned as the years went on – making him one of the few talents from his generation who continued to create and invent beautifully over time. Titles include "Soul Eyes", "Isfahan", "Will You Still Be Mine", "Sad To Say", "Time On My Hands", and "Recorda Me". CD features the bonus track "Cherokee Sketches". CD

One of the boldest, best-remembered albums from pianist Burton Greene – a session that has him joining in on all the groundbreaking free energy of the Parisian scene in 1969, while also still holding on to some of those fluid, organic qualities he has in his own music too! The group here is quite bold – with help from other BYG/Actuel players who include Jacques Coursil on trumpet, Arthur Jones on alto, Beb Guerin on bass, and Claude Delcloo on drums – musicians who really seem to embolden Greene, and make for some his most dramatic playing on a session up to this point in his career! Titles include the long "Aquariana Suite" – plus "Two One Two Vibrations" and "From Out Of Bartok". CD

One of the rare few albums cut by vocalist Dodo Greene – best known for her obscure Blue Note session – and even that one's pretty darn rare! Dodo's a hell of a singer, and one that never fully got her due (although we can testify to seeing her years ago in a wonderful small club set on the Buffalo scene!) She's quite soulful, and has a unique phrasing that's partly some of the personally-tinged energy of the Billy Holiday generation, and partly the fuller mode of the sorts of late 40s singers who had to work in front of larger, more romping groups – a balance that she strikes well here, on the album's nice balance of jazz instrumentation and larger arrangements. Backings are by Slide Hampton – so you can bet that they're pretty darn hip – and titles include "Manhattan", "Ain't What You Do", "Don't Cry Baby", "Black Coffee", "The Breeze", and "It's A Pity To Say Goodnight". CD also features material from a bonus rare single – "Tell Me" and "Hold On". CD

The title alone is more than enough to win us over here – as it's a great Duke Pearson composition that turns out to be a wonderful showcase for the most lyrical modes of pianist John Hicks! That tune's the leadoff, and it really sets the tone for the record – a gently soulful set that has Hicks working in a wonderful trio with Ray Drummond on bass and Idris Muhammad on drums – both players with a warmly melodic feel, especially Drummond – who seems to create this resonance with John's piano. Titles include "Is That So", "Emily", "Yesterdays", "I'll Remember April", "Sonnymoon For Two", and "April Eyes". CD

One of the hippest large American ensembles of the late 60s – almost a US equivalent to the groovy sound of the Clark Boland Big Band over in Europe! Trumpeter Thad Jones and drummer Mel Lewis had already made some great music together on their own – but once they came together in a record like this, they really found a great new direction for their energy – a bold musical force that's strong enough to also encompass the rich talents of players who include Pepper Adams on baritone sax, Joe Farrell on tenor, Jerome Richardson on soprano sax, Richard Williams on trumpet, Bob Brookmeyer and Tom McIntosh on trombones, Hank Jones on piano, and Richard Davis on bass! The sound is full, but never overwhelming – and like the Clark Boland group, this one has a great way of breaking open to allow key soloists to have some great space on their own – a modern approach, and one that still never has the band losing its groove. Titles include "ABC Blues", "Mean What You Say", "Three & One", and "Once Around". LP, Vinyl record album

One of the first great albums by alto saxophonist Jimmy Lyons as a leader – a tremendous entry into the BYG/Actuel series of avant jazz recordings at the end of the 60s – and a record that may well be one of the greatest that Lyons ever gave us! The setting here is nice and lean – a piano-less quartet with an all-star lineup – Lester Bowie on trumpet, Alan Silva on bass, and Andrew Cyrille on drums – the last two of whom provide all sorts of open, post-rhythmic energy that really sets the horns free – and Bowie is a wonderful match for Lyons in the energy of the set! There's a beautiful balance between structure and freedom throughout – and titles include "Other Afternoons", "My You", "Premonitions", and "However". CD

A hell of a soundtrack from the great Johnny Mandel – maybe his jazziest work of the 60s, and perfectly scored for this groovy cop film that stars Paul Newman as the 45-wielding title character! The vibe here is almost more 60s Quincy Jones than anything else – with sublime orchestrations from Dick Hazard, Bill Holman, and Billy Byers – which all have this great balance between swinging ensemble passages and standout solo instruments, including a sweet bit of Hammond. The record features two vocal tracks – "As Sure As You're Born" with lyrics by Marilyn & Alan Bergman, and vocals by Sam Fletcher – "Quietly There", by Morgan Ames with vocals by Ruth Price – and instrumental titles include "Magnus Cum Louder", "Harper", "Harper's Ferry", "Mexican Breakfast", and "Bel Air". Also features the vocal track "Livin Alone" – written by Andre Previn, with lyrics by Dory Previn. CD

An overlooked gem from keyboardist Barry Miles – and one of the most compelling early 70s sides on the Mainstream Records label! Barry's got a way of really making his keys sing out nicely – playing both acoustic and electric piano with plenty of warm tones and gently flowing modes – but never in a way that's too far out from jazz, or too smooth to be sleepy. The set features twin guitars from Pat Martino and John Abercrombie, both of whom underscore the chromatic nature of Miles' playing – and other players include Lew Tabackin on tenor and flute, Victor Gaskin on bass, Terry Silverlight on drums, and Warren Smith on congas. Titles are mostly Miles originals – and include "Descent", "Tangent", "White Heat", and "Little Heart Of Pieces". CD

A key 70s album from Blue Mitchell – and a set that's perfectly balanced between the lyricism of his mid 60s sides for Blue Note, and the electric funk of later years! The tracks are long, and have a really great vibe – plenty of room for Mitchell's sweet trumpet in the lead, with longer solos than on his last funk albums for Blue Note – and given a nice sense of bounce, a groove that's almost modal at times, by a group that features Walter Bishop on piano, Larry gales on bass, and Doug Sides on drums. Bishop's clearly playing some Fender Rhodes at times – ala his Black Jazz albums – and the group also features some of the most righteous tenor work we've ever heard from Jimmy Forrest, an artist we really know best for sides from a decade before. Titles include a killer reading of "Soul Village" – later recorded famously by Bishop – plus "Blues For Thelma", "Queen Bey", "Mi Hermano", and "Are You Real". CD

A wild one! After the straight hard funk of some of his earlier recordings as a leader, Bernard "Pretty" Purdie breaks out here in a compelling album of soul jazz tracks done in a number of styles. The approach is sort of big studio funk – with some cuts that have a harder sound, and others that open up in a groove that's gotten a lot more complicated than the early days. Horace Ott arranges, conducts, and plays electric piano, and Richard Tee plays organ on a number of cuts – but the real charmer is Purdie, whose work on drums is always great! Funky tracks include "Heavy Soul Slinger", a medley of "What's Goin On" and Ain't No Sunshine", and "Good Livin". Also features a cover of Aretha Franklin's "Day Dreamin", plus the extended "Song For Aretha", which is Purdie's extended tribute to Aretha (with whom he'd recorded), and one that features a very strange monologue! CD

A fantastic album as a leader from Sonny Red – a saxophonist who never got much chance to record under his own name, but always gave us something special when he did! Sonny recorded famously with Donald Byrd and Curtis Fuller in the 60s – but here, he's in an even hipper 70s mode of his own – a bit modal, a bit spiritual – in ways that make the whole album feel like some of the best 70s efforts on the Black Jazz label, with a righteous quality we might never have expected in Red a decade before! Sonny blows tenor, alto, and flute – all of them with a sharp, soulful edge – and he works here in a fantastic quartet that includes Cedar Walton on piano, whose own shadings give the record a lot of depth – plus the great Billy Higgins on drums, and Herbie Lewis on bass. Titles include a great remake of "Mustang", which Red recorded with Donald Byrd – plus "And Then Again", "Love Song", "Tears", and "Rodan". CD

Features Antonio Sanchez on drums and keys, Seamus Blake on tenor sax and Electric Wind Interface, John Escreet on piano and Fender Rhodes, and Matt Brewer on bass – plus special guests Thana Alexa on vocals and Adam Rogers on guitar. CD

Straight, soulful work from Archie Shepp – an overlooked gem from the start of the 90s, and a set that we'd rank right up there with his classics from his great "straight" period of the late 70s! The album's got frequent partner Horace Parlan on piano – who already helps things get grounded in all the right territory – and the excellent Wayne Dockery is on bass, a player with subtle power that really helps give the album all the right depth. George Brown completes the group on drums – and Shepp blows both tenor and alto sax – the latter of which has this raspy quality that's maybe overblown, but in this really powerful way. Title sinclude "Ask Me Now", "Party Time", "Billie's Bossa", "Go Down Moses", and "Now's The Time". CD

Beautiful work from Archie Shepp – a record that's filled with meaning and power, and which really stands out as a freer expression of his ideals while working on the European scene! The players here are an array of other BYG/Actuel luminaries – including Burton Greene on piano, Grachan Moncur on trombone, Malachi Favors and Alan Silva on bass, and Philly Joe Jones and Claude Delcloo on drums. Hank Mobley makes a surprising appearance on a version of "Oleo" – joining Shepp's tenor after the first half of the track, which is titled "Rain Forrest". That side-long track is complemented by another long number on the flip – "Mamarose/Poem For Malcolm" – a very spiritual track with some nice vocalizations too. CD