Soaring work from the legendary John Coltrane Quartet – a session that was incredibly far-reaching for the time, and which originally was unissued until after the time of Coltrane's death! The record's got the group really pushing forward strongly – hitting a Love Supreme mode, but also showing even some of the sharper edges that John would explore with the group after this one – a beautiful swan song to the lineup of McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums. Things soar with a hell of a lot of spirituality, yet never get too overindulgent to lose their groove – and titles include "Amen", "Dearly Beloved", "Ascent", "Attaining", and "Sun Ship". LP, Vinyl record album

One of the most sensitively soulful records of the 70s from pianist Tsuyoshi Yamamoto – a set that still has him working in a trio format, but which also has a slightly more mellow feel overall – with some especially great work from the leader on the ballads! Yamamoto's style is maturing strongly here – and he's got this commanding spectrum of sound from the piano – gentle right hand passages and deep left hand lines – all nicely balanced with work from Tsutomo Okada on bass and Keiji Kishida on drums. Titles include "Billy Boy", "A Shade Of Love", "Midnight Sun", "Autumn Leaves", "Wave", "Blue Manhattan", and "Kid". CD

A hugely expanded version of this legendary album – one that features loads of unreleased tracks that show the whole thing coming together in the studio! The set's filled with soaring work from the legendary John Coltrane Quartet – a session that was incredibly far-reaching for the time, and which originally was unissued until after the time of Coltrane's death! The record's got the group really pushing forward strongly – hitting a Love Supreme mode, but also showing even some of the sharper edges that John would explore with the group after this one – a beautiful swan song to the lineup of McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums. Things soar with a hell of a lot of spirituality, yet never get too overindulgent to lose their groove – and titles include "Amen", "Dearly Beloved", "Ascent", "Attaining", and "Sun Ship". CD features complete takes of some tracks that were cut off on the original LP release, plus other versions that show a strong development of the music! CD

A really compelling set from this important Japanese group of the 70s – a quartet headed up by guitarist Masayuki Takayanagi – but which features a very complex balance of work from all the individual members! The set initially begins with a traditional vibe, but then seems to step out with each new track – almost encompassing a history of modern jazz in the music, then moving past with its own sense of invention! Masayuki's guitar rings out on the spare "The Blues", which begins – but then moves aside for free flute work from Kenji Mori on a mindblowing take of "You Don't Know What Love Is" – almost handled with a late Dolphy vibe. "Sun In The East" has the ensemble moving boldly together – with double drums and percussion from Joe Mizuki and Hiroshi Yamazaki – and the set concludes with the extended "Free Form Suite" – a tune that definitely lives up to its name! CD

A really great vocal session from 70s Japan – and one that's got a much more spiritual sound at times than some of the others from the scene! Pianist Shigeko Toya has a way of really taking her time with the tunes – finding the right sort of vibe, then opening things up carefully – as singer Mari Nakamoto comes into the mix once the sound is right – using these very different inflections that are almost in some of the more expressively experimental modes of the European female vocal scene of the time. There's some standards on the set, but even these are given very different readings – and titles include "Greensleeves", "The Blues Ain't Nothin", "Hey There", "You'd Be So Nice To Come Home To", and "That Lucky Old Sun". CD

Guitarist Sunao Wada always has a way of giving us something special on record – and that's definitely the case this time around, as his core combo is joined by some great work from Minor Ikeno on alto and flute! But that guest performance is only part of the really unique sound of the record – as the group also has some vocal moments from percussionist Hitomi Ueda, who sings wordlessly, almost as an instrument – in a combo that also features Shizuo Nakayama on Fender Rhodes, Kazuaki Yamamoto on bass, and Joki Yamada on drums! The set features four long tracks, all originals by Sunao – and the record's got that really unique mixing of styles that you'll often find on a Three Blind Mice label release from the 70s – as the imprint was clearly trying for a new voice in Japanese jazz. Titles include "Sunset On The Street", "Jumping Dog", "Shimmer Of The Morning Sun", and "Ambushin The Blues". CD

Athur Baker was a producer with a slightly bumpy path in the 80s, but there's no denying his impact on music at the time – particularly the way he had of funneling sounds from the streets to the dancefloors in the mainstream! Baker was one of the first to really have an ear for both hip hop and other styles of grooves – super-sharp on the right electro elements, yet with a richer understanding of soul, R&B, and club – all of which he brings to work here, on versions of tracks that have all the excitement of a special take on the tune from the clubs back in the day! This 4CD set comes in a huge book-style package, with plenty of notes – and features 43 classic mixes by Baker, with titles that include "Big Love (ext rmx)" by Fleetwood Mac, "Sun City (last rmx)" by Artists United Against Apartheid, "Running Away (Arthur Baker rmx)' by The Colourfield, "C'Est La Vie (ext rmx)" by Robbie Nevil, "Out Of Touch (club version)" by Daryl Hall & John Oates, "Living In A Box (dance mix)" by Living In A Box, "IOU (mega mix)" by Freeez, "Walking On Sunshine (12" version)" by Rockers Revenge, "Soweto (rmx)" by Jeffrey Osborne, "A Love Supreme (jazz in the house rmx)" by Will Downing, "Message Is Love (cupid mix)" by Arthur Baker & The Backbeat Disciples with Al Green, "Ever Fallen In Love (club senseless)" by Fine Young Cannibals, "Buffalo Stance (1/2 way 2 house mix)" by Neneh Cherry, and "Planet Rock (12" voc version)" by Afrika Bambaataa & Soulsonic Force. CD

Athur Baker was a producer with a slightly bumpy path in the 80s, but there's no denying his impact on music at the time – particularly the way he had of funneling sounds from the streets to the dancefloors in the mainstream! Baker was one of the first to really have an ear for both hip hop and other styles of grooves – super-sharp on the right electro elements, yet with a richer understanding of soul, R&B, and club – all of which he brings to work here, on versions of tracks that have all the excitement of a special take on the tune from the clubs back in the day! This 2LP package features 14 classic mixes by Baker, with titles that include "Big Love (ext rmx)" by Fleetwood Mac, "Sun City (last rmx)" by Artists United Against Apartheid, "Running Away (Arthur Baker rmx)' by The Colourfield, "C'Est La Vie (ext rmx)" by Robbie Nevil, "Out Of Touch (club version)" by Daryl Hall & John Oates, "Living In A Box (dance mix)" by Living In A Box, "IOU (mega mix)" by Freeez, "Walking On Sunshine (12" version)" by Rockers Revenge, "Soweto (rmx)" by Jeffrey Osborne, "A Love Supreme (jazz in the house rmx)" by Will Downing, "Message Is Love (cupid mix)" by Arthur Baker & The Backbeat Disciples with Al Green, "Ever Fallen In Love (club senseless)" by Fine Young Cannibals, "Buffalo Stance (1/2 way 2 house mix)" by Neneh Cherry, and "Planet Rock (12" voc version)" by Afrika Bambaataa & Soulsonic Force. LP, Vinyl record album

Two Pharoah Sanders classics – back to back on a single CD! Tauhid is one of the first moments of genius from a young Pharoah Sanders – a set that builds on the energy of John Coltrane's Love Supreme generation – but takes it in a much more expansive direction! The album's got a sense of majesty that's years ahead of its time – righteous, positive, spiritual jazz that flows out with a timeless power, and a quality that almost out-Coltrane's Coltrane! All tracks are long, expressive, and freely flowing – building with a very organic sense of energy – totally free from any gimmicks or cliche. Players include Dave Burrell on piano, Henry Grimes on bass, and Sonny Sharrock on guitar – and Pharoah plays alto, tenor, and piccolo – and even vocalizes a bit. The album begins with the amazing "Upper & Lower Egypt" – which is a perfect illustration of the two sides of Pharoah's genius – free/out & spiritual/modal – and other titles include "Japan", and "Capricorn Rising". Jewels Of Thought is a wonderful reunion of Pharoah Sanders and vocalist Leon Thomas – and a set that captures a lot of the same energy as the pair's previous record – Karma! Thomas' vocals are in wonderful form for the set – stretching out soulfully on the extended classic "Hum-Allah-Hum-Allah-Hum-Allah" – a title that has much of the same grace and power as "The Creator Has A Master Plan. The rest of the players on the date include Lonnie Liston Smith on piano, Richard Davis and Cecil McBee on basses, and Idris Muhammad and Roy Haynes on drums – and unusually enough, each of the double bassists and drummers gets their own channel of sound to work with! The other long track on the album is the extended "Sun In Aquarius" – which is a bit more outside, but still pretty great! CD

Groovy late 60s work from Diana Ross & The Supremes – a record that has them breaking the Motown mold a bit, and hooking up with a nice variety of modder soul and pop modes! Tracks on the set include a few Motown-penned numbers, but the trio also tackle hits like "Everyday People", "Hey Western Union Man", "Let The Music Play", and a great Hair-inspired medley of "Aquarius/Let The Sunshine In"! But the Motown material here is almost even better – and titles include the slightly funky "No Matter What Sign You Are", which has a nice kick in the bottom – as well as "Discover Me", "The Composer", and "What Becomes Of The Brokenhearted". LP, Vinyl record album

Amazing box set – five full albums of material, plus lots of bonus tracks too! First up is Flowers – a soaring classic from The Emotions – thanks to some supreme help from the Earth Wind & Fire side of the soul spectrum! This set has the trio really sounding great – with Kalimba Productions by Maurice White and Charles Stepney – and a good deal of EWF help on the instrumentation as well! The girls break out of the rootsier style used on their earlier Stax recordings, and manage to fit perfectly with the jazzy tinges of the new grooves – and, along with Ramsey Lewis and EWF, the Emotions were part of a hugely successful trinity during the late 70s – one that took the indie soul roots of the Chicago scene and turned it into landmark big business for Columbia Records. The album's got a new approach to female group soul that would go onto shape R&B for years to come – and titles include "Flowers", "I Don't Wanna Lose Your Love", "We Go Through Changes", "Special Part", and "You've Got The Right To Know". Next is Rejoice – a huge hit for both The Emotions and Maurice White – whose Kalimba Productions handled this album in the same hit mode they'd been using for Earth Wind & Fire! There's a polished, soaring bounce her that definitely shows the Earth Wind & Fire touch – and which takes the girls miles from their rougher, rootsier soul of the Stax/Volt years – yet like all the best EWF records of the time, the sound is also plenty soulful, with lots of righteous undercurrents. The album includes the group's wonderful track "Don't Ask My Neighbors", a heavenly tune that builds on a long tradition of sweet female soul from Chicago; the super-huge "Best Of My Love", a hit on dancefloors and radios for years to come – and many other nice numbers like "Blessed", "How'd I Know That Love Would Slip Away", and "Key To My Heart". Sunbeam is great little album from The Emotions – largely because it sounds a lot like prime mid 70s Earth Wind & Fire, with female vocals added over the top – ultimately, pulling away with a soulful charm all its own! Maurice White produced the whole set, and it's got a soaring spacey sound that provides a perfect spiritual edge to the girls vocals – taking them way past the hits, into much more sophisticated soul territory. There's a beautifully righteous vibe going on throughout – a sound that's almost like Minnie Riperton at her 70s Capitol best – and titles include "Love Vibes", "Walking The Line", "Time Is Passing By", "I Wouldn't Lie", "Smile", and "Spirit Of Summer". Come Into Our World has the sweet Emotions at the top of their game – one of the brilliant albums that has the soulful trio working hand in hand with Earth Wind & Fire! The girls were plenty great in their early years, but working with Maurice White and company, they really took off – hitting a whole new level that really unlocked some deeply spiritual power in their vocals! And sure, the approach also yielded the group plenty of hits – but for good reason, too – given the classic quality and all-great nature of a set like this. Maurice White produced, and the lineup is filled with plenty of Earth Wind & Fire players too – working with some great arrangements from Tom Tom 84, Wade Marcus, and others. Tunes are balanced between clubby numbers and some nice midtempo moments – and titles include "Where Is Your Love", "Cause I Love You", "Come Into My World", "On & On", "I Should Be Dancing", "Layed Back", and "Yes I Am". New Affair has The Emotions breaking free a bit from the Earth Wind & Fire influence, and grooving nicely with a sweet 80s feel! The girls' voices are still quite wonderful – some of the deepest harmonies in the female soul world at the time – and the tunes kick it up nicely in a blend of snapping bassy club tracks and mellower cuts that sweetly sway with their great vocals! Loads of wonderful tracks – and an album not to miss! Titles include "Turn It Out", "There'll Never Be Another Moment", "Now That I Know", "Love Lies", "When You Gonna Wake Up", and "Here You Come Again". 3CD set features 8 bonus tracks – including "Boogie Wonderland (12" mix", "Don't Ask My Neighbors (single version)", "I Should Be Dancin (single version)", "My Baby Dance", "Changes", "Where Is Your Love (single version)", and "Flowers (single version)". CD

Mindblowing sounds from Japanese bassist Isoo Fukui – one of a handful of 70s players on that scene who really helped reinvent the sound of his instrument in jazz! Isoo really drives the group here up from the bottom – by playing both bass and cello with these well-inflected notes that are heavy on soul and rhythm, and which often enforce a modal sensibility that's carried out perfectly by the vibes of Kazuhiro Matsuishi and piano of Hideo Ichikawa! A few numbers feature guitar from Shoji Yokouchi, who plays with this chromatic style that really works well with the vibes – and titles include "Lady T", "Happy Walk", "7th Avenue Sunrise", "Early Summer", and "7th Avenue Sunset". CD

The New Herd of Toshiyuki Miyama was one of the greatest large ensembles in Japanese jazz during the 70s – and here, they've got an extra-special sort of sound, thanks to the presence of guitarist Kozaburo Yamaki – who not only solos on all tracks, but also wrote some great original material for the record! Yamaki's tunes have this rising sort of majesty that makes the Herd sound even more powerful than usual – some spiritual currents they don't always have, and which are underscored both by the guitar lines, and the way the rhythms build nicely on the longer tunes. Titles include "Sunday Thing", "Friends", "Plain Song", "Sweet Heart Blues", "Soft Rain", and "Memories". CD

A record with "blues" in the title, but a set that's pure jazz all the way through – and very much in the best spirit of the Three Blind Mice label in the 70s! Guitarist Sunao Wada is working here with a really wonderful group – Masaru Imada on piano and organ, Isao Suzuki on bass and cello, and Tatsujiro Obara on drums – all players who can swing straight one minute, then open up to new ideas and arrangements the next – taking the soul jazz roots of Wada's guitar into some really great territory as the modes and instrumentation shift over the course of the record. Titles include "A Good Deal Of The Blues", "Ocha Ocha", "Local Men's Blues", "Nothing But The Blues", and "Blues Men". CD

Beautiful sounds from Japanese guitarist Sunao Wada – a player who's rich in tones and colors here, and not just the blue ones mentioned in the title! There's an open flow to the record that's really wonderful – maybe the maturity of the Wes Montgomery sound of the late 60s, but set up in an earlier sort of style – with Hammond from Ushio Sakai, bass from Mitsuaki Furuno, and drums from Arihide Kurata – all given the impeccable production touches you'd expect from the Three Blind Mice label! Takao Uematsu adds a bit of tenor to the record, and titles include "Now See How You Are", "Blues World", "Falling In Love With Love", and "Blues For Charlie Christian". CD

A cooking little record from Japanese guitarist Sunao Wada – one with plenty of offbeat touches! Like many of the albums on the Three Blind Mice label from the time, this one's a bit hard to peg – because the moods and styles shift a bit from track to track, and there's an openly exploratory approach to the music that's really trying to find its own space in jazz! Some numbers are straighter bop, but others have a more unusual approach to rhythm that really opens things up – using the guitar in different ways, and having the bass and drums work their lines with unusual phrasing and sounds that really keep things interesting. Other instrumentation includes alto sax from Kenji Mori, piano from Takehiro Honda, and flugelhorn from Kunji Shigi – and titles include "Sick Thomas", "Coco's Blues", "Guitar's Time", and "One's Blue". CD

Really lovely piano work from Masaru Imada – a player who's a bit gentler than some of his Japanese contemporaries of the early 70s, but who also works with this wonderfully lyrical tone! Imada does a great job of balancing a sense of flow with a punctuated approach to the keys – never overdone, and often with this spacious sensibility – but more pointed than a Bill Evans style as well. The first half of the album is solo material, and the second features a trio – bass is by Isoo Fukui and drums are by Mashiko Ozu – both players who step into Imada's world in a way that's subtle, but extremely effective. Titles include "Poppy", "Sea Weeds", "Ascent", "Left Alone", and "When Sunny Gets Blue". CD

A pair of live performances – both of them great, and both done in the very open, creative style of the Three Blind Mice label at the time! Side one features core work by the trio of pianist Tsuyoshi Yamamoto, but with key guest work from Isao Suzuki on cello and Sunao Wada on guitar – both players who really open up the groove a lot! Suzuki solos in this great way on a long version of "Polka Dots & Moonbeams", and also makes an appearance on "Midnight Sugar" – which also has a long, soulful solo from Wada on guitar. Side two features a long take on "Now's The Time" – done in a freewheeling jam session mode – with Yoshio Otomo and Kenji Mori on alto sax, Takao Uematsu and Mabumi Yamaguchi on tenors, and Toshiyuki Daitoku on Fender Rhodes – all in a group led by drummer George Otsuka. CD

Jazz-meets-hip hop-meets-new grooves compilation put together by the folks at the Red Hot organization in the mid 90s. Titles include "Time Is Moving On" by Donald Byrd, Guru, and Ronny Jordan; "Stolen Moments" by United Future Organization; "This Is Madness" by The Last Poets & Pharoah Sanders; "The Scream" by US3 & Joshua Redman; "Trouble Don't Last Always" by Incognito, Carleen Anderson, & Ramsey Lewis; "Nocturnal Sunrise" by Me'Shell NdegeOcello & Herbie Hancock; "Proceed II" by The Roots & Roy Ayers, "Un Ange En Danger" by MC Solaar & Ron Carter, and "The Rubbers Song" by Pharcyde – plus a bonus disc with two versions of "A Love Supreme" and remix of Creator Has A Master Plan". CD

Sweet LA soul jazz from trumpeter Bobby Bryant – an oft-overlooked player with a hard hitting sound that was a bit like Nat Adderley! The album's one of Bobby's best (and few) – and it's got a really groovy little feel, almost in a Jazz Crusaders mode – with a small combo playing live on tight bouncy little tracks that still have some nice room for solo work. The Crusaders reference is a clear one – as Joe Sample's in the group on piano – and other players on the record include Hadley Caliman and Herman Riley, both of whom play tenor. Titles include "Sunny", "Love Is Supreme", "58th Street", "Don't Say Goodbye", and "Blues For Ramona". CD

The classic quartet of John Coltrane, certainly the classic quartet of the 60s jazz scene and perhaps the classic jazz quartet of all time, compiled in one box set with all of their studio recordings! John Coltrane, McCoy Tyner, Jimmy Garrison and Elvin Jones set so many benchmarks for jazz with their envelope pushing style, recording and performances that it's impossible to overstate their importance in the modern musical oeuvre. This set features all of the LPs Coltrane, Ballads, Impressions, Live At Birdland, Crescent, A Love Supreme, The John Coltrane Quartet Plays, Kulu Se Mama, Transition, Sunship, Infinity and First Meditations, plus a number of tracks issued on compilations. 66 tracks in all, spread out over 8 CDs, in a beautiful bookbound package with a metal slipcase and extensive liner notes. The titles are too numerous to list here, but the set includes "Big Nick", "Soul Eyes", "Miles' Mode", "Tunji", "After The rain", "Lonnie's Lament", "The Drum Thing", "Wise One", "Crescent", "A Love Supreme", "Nature Boy", "Brasilia", "Song Of Praise", "Dear Lord", "The Last Blues", "Living Space", "Dusk Dawn", "Dearly Beloved", "Attaining", "Ascent", "Amen", "Love", "Compassion", "Joy", "Consequences", and "Serenity". CD

One of the most unusual albums in the Three Blind Mice jazz catalog of the 70s – a set recorded by overlooked American reedman Allan Praskin, who really opens up in the Japanese setting of the record! Praskin is a player who worked strongly on the European scene for decades – mostly in a modern jazz mode, and with an angular, sharp sound on this set – of the sort that should have made him huge! There's a soulfulness to Praskin's alto that really gives the set a bit more depth than some of the other TBM dates – and he works in a cool piano-less quartet that features Kiyoshi Sugimoto on guitar, Yoshio Ikeda on bass, and Motohiko Hino on drums! All three players really hit some wonderful rhythmic formations – giving the record as much fresh energy as Praskin's horn – and titles include the funky "Height Of Spring", plus "Softly As In A Morning Sunrise", "Reflectors", "Encounters", and "Blues Connotation". CD

Deeply personal work from Japanese saxophonist Hidefumi Toki – a player who manages accomplish a great deal in a fairly stripped down setting – filling spare space with gentle notes on alto and soprano sax, often delivered with a nicely raspy tone! The group here is a quartet – with Kazumi Watanabe on guitar, Nobuyoshi Ino on bass, and Steve Jackson on drums – and the setting is laidback and mellow, often moving at a pace that's slow, but always flowing with a great gentle swing. Tracks are long, and titles include the great originals "Darkness", "Lullaby For The Girl" and "Old Song Blues" – plus nice takes "When Sunny Gets Blue" and Ornette Coleman's "Blues". CD

A great title, and a great little album to match – one that features two guitars, plus bass and drums – in an open-ended style that's mighty nice on the ears! The set's got a lean kind of sound – as you might expect from the lineup – and Japanese players Shoji Yokouchi and Toru Konishi really explore some great territory in jazz with the format. Some numbers actually have a fair bit of a groove – with one guitar playing rhythm, and the other doing solos – while others have more of a spacious, more contemplative feel – a bit like some of the 70s work of Jim Hall. There's definitely a Hall-like sense of space and timing going on here, but as with many Three Blind Mice sessions from the time, the album's also filled with surprises too. Titles include "The Night Comers", "Swingin On A Camel", "Blonde On The Rocks", "Softly As In A Morning Sunrise", and "Message". CD

A very cool setting for Japanese vocalist Mari Nakamoto – a unique trio outing that features guitar from Kazumi Watanabe and bass from Isao Suzuki – both really creative players who push the album way past the usual! The mix of guitar and bass is wonderful – gentle, but still quite swinging even in the mellow moments – but in ways that leave plenty of space for Nakamoto to get really expressive on her vocals, at a level that definitely marks her as one of the best female jazz singers in Japan during the 70s. Tunes are mostly standards, but done in really fresh ways – and titles include "Sunflower", "Just Friends", "What Are You Doing The Rest Of Your Life", "You Came A Long Way From St Louis", and "What A Difference A Day Makes". CD

A jazz guitar/Hammond organ session – the former by Shoji Yokouchi, the latter by Yuri Tashiro – but a variation on the form that's quite different than usual, and very much in the groundbreaking style of the Three Blind Mice label! Shoji plays a few different guitars – both acoustic and electric – and rather than just ape an American use of guitar next to organ, the style here is often nicely changed up – partly because the phrasing can be different when the guitar is acoustic, but also because in true Three Blind Mice form, the arrangements are often very inventive and unusual. Other players include Kunimitsu Inaba on bass and Hajime Ishimatsu on drums – and titles include "New Orleans Sunday", "Drink Up Vodka Martini", "Misty", "Moanin", "Greensleeves", and "Your Watch Is Ten Minutes Slow". CD

An excellent batch of tracks from the old school – material that's heavy on stark beats and boogie basslines – of the sort that was being recorded in NYC in the shadow of Sugarhill! There's plenty of cuts here that would be right at home at a South Bronx street party – equally forged from funk and club as from samples and scratching – but definitely topped with early hip hop lyrics all the way through! The set's got lots of great cuts we haven't seen reissued – and titles include "Paranoia Rap" by Appliances, "New Fresh & Ill" by Chipsy, "Love's Calling (inst)" by Opus Ten, "The Pop" by Gary Davis, "Super Jake" by Gee Dee, "The Easton Assassin" by Sunburst Band, and "We Can't Be Held Back (radio mix)" by Brothers Supreme. LP, Vinyl record album

A strange twist for the girls – not really because the material's country, but because the tunes selected are the kind of country tunes that would often be done in kind of a deep soul mode. There's still a sparkling quality on the album – and the girls' approach to the tunes is less Ivory Joe Hunter country soul than it is Brook Benton uptown style. Still, it's quite a different album for the Supremes – and surprisingly nice! Titles include "Funny How Time Slips Away", "My Heart Can't Take it No More", "Tears In Vain", "Sunset", "You Need Me", and "It Makes No Difference Now". CD

Spiritual jazz both old and new – a collection that really gets past the obvious sides of the genre, and brings together a range of unusual work from the 70s onward! The tracks here are a great antidote to the well-traveled territory of labels like Impulse or Strata East Records – and are mostly from lesser-known sources that include tiny indies from the 80s, and a few ground breaking imprints from recent years! There's definitely a vibe here that holds strongly in the spirit of John Coltrane, Pharoah Sanders, and other innovators from the end of the 60s – but the sound is especially fresh given the obscurity of the tunes. Titles include "For Our Souls" by Doug Hammond, "Amazona" by Francisco Mora Catlett, "The Mystery Of Man" by Sarah Vaughan, "Better Than That" by Nomo, "Gol E Gandom" by Lloyd Miller, "Motherless Child" by Brother Ah, "A Love Supreme" by Dwight Trible, "Why" by Woody Shaw with Carter Jefferson, "Rwanda" by Francis Bebey, "Come Sunday" by Stanley Cowell, and "En El Amanecer Del Tiempo". CD