Michel Legrand - Anthology (2013) {15CD Box Set EmArcy--Universal Music France 5345569}

Autumn 2013 marks Legrand's great return to the music scene: two concerts with Natalie Dessay at The Olympia in Paris (October 28th and 29th) followed by a tour through France and Europe, and also his first memoirs, Rien n'est grave dans les aigus, to be published by the Cherche-Midi Editeur. To tie in with these events, Universal Classics & Jazz France has undertaken the most ambitious, abundantly prolific and extravagant record-project ever devoted to Michel Legrand: a 15CD boxed-set which brings together every face and aspect of every domain on the Legrand continent; in other words, songs, jazz, original film-soundtracks, symphonic works, musicals…

Mulgrew Miller Trio - From Day To Day (1990) {Landmark LCD-1525-2}

Mulgrew Miller's fifth CD as a leader is a potent trio affair with bassist Robert Hurst and the highly in-demand drummer Kenny Washington, focusing mostly on the pianist's strong originals. All of Miller's compositions hold interest, especially the soft waltz "From Day to Day" and cooking hard bop vehicle "Playthang." The leisurely "What a Difference a Day Made" is a soulful throwback to the early '60s, while his solo interpretation of "More Than You Know" is spacious, delicate, and lyrical. His romp through Miles Davis' "Four" is another gem, though it is inexplicably omitted from the CD booklet, evidently overlooked, as it was not present in the LP edition of this release. Sadly, with Fantasy's sale of the Landmark catalog, this enjoyable CD lapsed from print.

Charles Bell and The Contemporary Jazz Quartet - Another Dimension (1962) {2013 Japan 24-bit Remaster} [Jazz Best Collection 1000 Series]

Features 24 bit remastering and comes with a mini-description. A wonderful set by the enigmatic Charles Bell – a 60s modernist, but one with a great sense of soul! The album definitely lives up to its title, and has a fresh approach to the medium – a style that has some of the Modern Jazz Quartet influence in its structure, yet which also shares some more complex rhythmic ideas from the Ornette Coleman camp – mixed with a straighter hardbop vibe as well! The blend is quite compelling – and in addition to Bell's work on piano, the set also features Bill Smith on guitar, Ron Carter on bass, and Allan Blairman on drums. Titles include "Satan Said", "Django", "Portrait Of Aunt Mary", "Theme", and "Bass Line".

Bo Diddley - Bo Diddley's Beach Party (1963) {Hip-O Select B0015214-02 rel 2011}

A blistering live album, especially in mono, cut by Bo Diddley and company in Myrtle Beach, South Carolina on July 5 and 6, 1963. This album contains 30-plus minutes of the best live rock & roll ever issuedd on record. Diddley and company are "on" from the get-go with a killer instrumental erroneously credited as Chuck Berry's "Memphis" (which it isn't), that's a showcase for Diddley's attack on his instrument and a crunching assault by the rest of the band (all in that shave-and-a-haircut-two-bits beat), cymbals on top of an overloaded bass, and what sounds like every rhythm guitar in the world grinding away.

Bill Evans Trio & Guests - Live In Nice 1978 (2010) {2CD Set, Jazz Lips Music JL778}

This release presents a complete never before released live performance by the great Bill Evans with an unusual trio that never made a studio album (featuring drummer Philly Joe Jones and bassist Marc Johnson). Joining them are Lee Konitz for three amazing quartet tracks, Curtis Fuller (who joins Konitz and the trio for a marvelous quintet version of Lover Man), and Stan Getz and Christian Escoude (who join Fuller and the trio for the finale on All the Things You Are). A rare interview with Evans made right after the Nice concert has also been included on this release, as well as another unissued concert by the same trio taped in Italy a few days later.

Bill Evans - Piano Player (1998) {Columbia CK 65361}

Although this 1998 CD may at first glance seem to be a reissue, all but three of the 11 selections had never been released before. The highly influential pianist Bill Evans is heard in five different settings. An unissued (and slightly earlier rendition) of the third section of George Russell's "All About Rosie" (a showcase for Evans with Russell's 14-piece orchestra) starts off the release. Next are the three previously issued but somewhat obscure numbers: a live rendition of "My Funny Valentine" with Miles Davis in 1958 (played by just a quartet) and two songs from a 1962 set headed by vibraphonist Dave Pike.

Air Pocket (The Fowler Brothers) - Fly On (1975) {2015 DSD Japan East Wind Masters Collection 1000}

Reissue with the latest DSD remastering. A warm and soulful set of fusion tracks – issued only in Japan, but recorded by a hip group from the US! Air Pocket features the Fowler Brothers – Walt, Bruce, Ed, and Steve – on trumpet, trombone, bass, and alto, respectively – plus drummer Chester Thompson, guitarist Mike Miller, and pianist Stu Goldberg, who really plays some great moog, clavinet, and electric keys on the set! Tunes are well-written – a bit choppy, but never too jamming, and really just done in this nice blocky way that creates a slightly funky approach, and a good degree of soul. Titles include "Elephant's Graveyard", "Hi Lo Redic", "Colors For Marvin", "Night's Move", and "Becky".

Jack DeJohnette - Made In Chicago (2015) {ECM Records}

With Made In Chicago, an exhilarating live album, Jack DeJohnette celebrates a reunion with old friends. In 1962, DeJohnette, Roscoe Mitchell and Henry Threadgill were all classmates at Wilson Junior College on Chicago’s Southside, pooling energies and enthusiasms in jam sessions. Shortly thereafter Jack joined Muhal Richard Abrams’ Experimental Band, and Roscoe and Henry soon followed him. When Abrams cofounded the Association for the Advancement of Creative Musicians in 1965, DeJohnette, Mitchell and Threadgill were all deeply involved, presenting concerts and contributing to each other’s work under the AACM umbrella.

Budd Johnson - Budd Johnson and the Four Brass Giants (1960) {Riverside OJCCD-1921-2 rel 1999}

This reissue of a Riverside album, which surprisingly has not yet come out on CD, is a classic. The great Budd Johnson, who takes tenor solos throughout the date and also contributes a bit of clarinet in addition to providing the arrangements, is matched with four distinctive and very different trumpeters: Clark Terry, Harry "Sweets" Edison, Nat Adderley and Ray Nance (who doubles on violin). With Tommy Flanagan or Jimmy Jones on piano, bassist Joe Benjamin and drummer Herb Lovelle, the group performs four swing standards and four of Johnson's swinging originals. The colorful brassmen, Budd's versatile solos, and the inventive arrangements make this a particularly memorable set. Highly recommended.

John Hicks - Piece For My Peace (1996) {Landmark LCD-1545-2}

Pianist John Hicks has long been a master of the modern mainstream without necessarily blazing any new paths of his own. On this CD he is featured on a pair of solo numbers, a duet with flutist Elise Wood (a sensitive version of Duke Ellington's "Star Crossed Lovers"), a trio rendition (with bassist Curtis Lundy and drummer Cecil Brooks III.) of "Mood Swings," with a quintet (a blazing version of "My Shining Hour" that has both Bobby Watson and Vincent Herring on altos) and five selections with the full sextet. Four standards follow six obscurities (including Charles Mingus' "Diane"). Hicks, who often shows off the influence of McCoy Tyner's voicings, has never recorded an uninspired record and this one is better than average for him. Due to the variety of moods, instrumental colors and settings, the music is continually interesting and well worth acquiring.

Bluegrass Champs - Live From The Don Owens Show (2018) {Yep Roc Records YEP-2555 rec 1958-1959}

This recording is as much about rockabilly, ‘50s country and blues as it is about bluegrass - more a hybrid by a young, but seasoned, combo in changing musical times. The Bluegrass Champs held their own or even bested other Washington D.C. talents like Roy Clark, Patsy Cline, Link Wray and Charlie Daniels. They had spent most all of their lives in music and in the late 1950’s were soaking up all the new sounds without denying airy mountain roots. Made up of four members of Country Music Hall of Fame inductee Pop Stoneman’s family, the Bluegrass Champs were master musicians by 1958.

Donald Byrd - Street Lady (1973) {Blue Note Rare Groove Series rel 1997}

A landmark album by Donald Byrd – the first one where he really started to click with jazz-funk producer Larry Mizell! Mizell and Byrd had worked together previously on the Black Byrd album – a soaring bit of futuristic jazz funk that took Byrd's career to a whole new level – but this album's the one where they really began to make the formula cook, blending together tight funky rhythms, spacey keyboards, soulful vocals, and some of Donald's best solo work of the 70s! The whole thing's a masterpiece, and all tracks sparkle – including "Lansana's Priestess", "Witch Hunt", and "Street Lady", one of the funkiest tracks ever on Blue Note. A haunting record with a beautiful spacey groove, and one of the best-ever albums on Blue Note!

Ornette Coleman Quintet - Complete Live At The Hillcrest Club (1958) {2007 Gambit Records 69272}

Ornette Coleman's epic 1959 LPs The Shape of Jazz to Come and Change of the Century were pivot points in modern post-bop jazz and early creative music. This recording is a prelude to those epics, a live two-night engagement in October of 1958 at the Hillcrest Club in Los Angeles. The Coleman quintet, with trumpeter Don Cherry, bassist Charlie Haden, and drummer Billy Higgins, plus a then-young pianist Paul Bley, sets up that new shape of jazz. This eight-selection set features three of Coleman's signature originals, two standards, and three lesser-known, fairly rare pieces that Coleman did at the time.

Andre Williams & The Sadies - Night & Day (2012) {Yep Roc Records YEP-2269}

Toronto alt-country garage rockers the Sadies began sessions for Night & Day with legendary punk-blues wildman Andre Williams in 2008. At that time, Williams was in his seventies and dealing with a plethora of legal troubles as well as pretty heavy substance abuse issues. Eventually the sessions were put on hold while he worked through his legal problems and cleaned up. A few years later, the two factions reconvened to finish work on the album, and the difference in Williams' demeanor and state of being was, as they say, "night and day." This album continues the team-up that began with 1999's collaborative Red Dirt album, and casts Williams' dead center as a greasy narrator or unfiltered barker, humbly backed by the Sadies' respectable but comparatively squeaky clean, garagey (occasionally fiddle-driven) country-blues.

Art Farmer - Art Farmer Quintet At Boomers (1976) {2015 DSD Japan East Wind Masters Collection 1000}

Reissue with the latest DSD remastering. Although flugelhornist Art Farmer permanently moved to Europe in 1968, he has returned many times to the United States to play. For this live LP (recorded for East Wind and released domestically by the defunct Inner City label), Farmer joins up with tenor-saxophonist Clifford Jordan, pianist Cedar Walton, bassist Sam Jones and drummer Billy Higgins for lengthy versions of Charlie Parker's blues "Barbados," "I Remember Clifford," "'Round Midnight" and "Will You Still Be Mine." The group had not rehearsed beforehand but rehearsals were not really needed for these hard bop veterans and even an uptempo version of the ballad "Will You Still Be Mine" comes off quite well.

John Zorn, Wayne Horvitz, Elliott Sharp, Bobby Previte - Downtown Lullaby (1998) {Depth Of Field DOF2}

By the time this was recorded, in 1998, the participants were virtual éminence grises of the downtown New York City scene, but this was the first occasion for the four of them to play together as a quartet (although all but Zorn had been members of Horvitz's band the President). The pieces derive their titles from the addresses of erstwhile performing spaces largely in the East Village and Soho, most of which had their heydays in the loft jazz explosion of the late '70s. All of the cuts are improvised by the group, and the perhaps surprising aspect is how much of the vibe is closer to late Miles Davis than to the free improv aesthetic practiced in the titles' points of reference.

John Hicks - In The Mix (1995) {Landmark LCD-1542-2}

The prolific John Hicks, whose output of trio recordings has been enjoyed during the past 25 years, now offers this mixture of trio, quartet and quintet formats with the powerful addition of Vincent Herring on alto and soprano sax. That should be enough for anyone.

The opener is a trio version of the Hicks tune "In the Mix," a fast-mover that highlights the spirited drum work of Cecil Brooks, followed by the quartet's interpretation of "Yemenja," a beautiful composition that Hicks named after his daughter, which, quite naturally, has plenty of felling, while Herring's soprano adds just the right touch of flavor.

Art Blakey & The Jazz Messengers - At The Jazz Corner Of The World Vol. 1 (1959) {Blue Note Japan TOCJ-4015 rel 1993}

At the Jazz Corner of the World is a two-volume live album by American jazz drummer Art Blakey and the Jazz Messengers, featuring performances recorded in 1959 at Birdland and released on the Blue Note label. The album was originally issued as 12-inch LPs in two volumes and later re-released as a two-CD set.

Humphrey Lyttelton - Humph Plays Standards (1960) {2014 Japanese Bethlehem Album Collection 1000 CDSOL-6151}

Humphrey Lyttleton's a British bandleader, but he makes a rare appearance here on Bethelehem Records in the US – on a session that was one of the early ones recorded in Landsdowne Studios! The group's a small one, and features some especially great work from Tony Coe on alto and clarinet – still in a relatively swing-based mode, but already with those sharp edges that we love so much – and the rest of the record has a similar blend of older jazz with modern inflections, played by a group that also includes Johnny Picard on trombone, Ian Armit on piano, and Jimmy Skidmore on tenor – plus Humph himself on trumpet. Titles include "Love For Sale", "Undecided", "Willow Weep For Me", "Blue Lou", "Prelude To A Kiss", and "Bewitched".

Art Blakey & The Jazz Messengers - At The Jazz Corner Of The World Vol. 2 (1959) {Blue Note Japan TOCJ-4016 rel 1993}

At the Jazz Corner of the World is a two-volume live album by American jazz drummer Art Blakey and the Jazz Messengers, featuring performances recorded in 1959 at Birdland and released on the Blue Note label. The album was originally issued as 12-inch LPs in two volumes and later re-released as a two-CD set.

John Dennis with Charles Mingus & Max Roach - New Piano Expressions (1955) {Debut OJCCD-1843-2 rel 1994}

One of the few albums as a leader cut by pianist John Dennis – noteworthy not only for his own great work on the keys, but also for the presence of Charles Mingus and Max Roach in his trio! Their presence is a bit less surprising when you realize that the album was issued on the pair's Debut label, as part of its strong commitment to finding the best young jazz talent of the 50s – but it's still noteworthy nonetheless, as 1955 is a relatively late date for either player to be working as a sideman, especially in a trio record!

Miroslav Vitous - Miroslav Vitous Group (1980) {2014 ECM 1185, Re:Solutions Series}

As part of the Re:solutions series this historical title has been mastered from original analog sources and reissued in January 2014. Between 1979 and 1982, the Miroslav Vitouš Group was the primary outlet for the abundant improvisational skills of leader Vitouš and John Surman. They made three ECM albums: this eponymously-titled disc from 1980 is the middle one.

Cannonball Adderley - Takes Charge (1959) {Landmark LCD-1306-2 rel 1987}

A hardbop classic from Cannonball Adderley – and one of his harder to find albums from the Riverside days! The set has Cannon playing without his usual group, in the context of an all-star batch of players that includes Wynton Kelly, Paul Chambers, and Jimmy Cobb – who he worked with in his time with Miles Davis – plus occasional guest rhythm work by Albert and Percy Heath. The set's strong and straight ahead – a good bridge between Cannon's early Mercury recordings, and his later albums for Riverside and Capitol – tightly crafted solos with a good deal of soul, Adderley holding down all the horn work on the record.

Jack Wilson - Easterly Winds (1967) {Blue Note Connoisseur CD Series rel 2004}

Easterly Winds provides an excellent contrast to Jack Wilson's first Blue Note album, Somethin' Personal. Where his label debut was cool and romantic, Easterly Winds is a brassy, funky collection of soul-jazz and hard bop with instant appealing. Wilson keeps the tone fairly diverse, both in his originals and covers. After hitting hard with the funky opening pair "Do It" and "On Children" (both of which illustrate that he was familiar with contemporary soul), he quiets the mood with a nice version of Johnny Mandel's "A Time for Love."

Philly Joe Jones - Showcase (1959) {Riverside OJCCD-484-2 rel 1990}

This is a particularly interesting hard bop-oriented set led by drummer Philly Joe Jones. Most unusual is "Gwen," a Jones ballad that has the leader on both piano and (via overdubbing) drums in a trio with bassist Jimmy Garrison. Otherwise, trumpeter Blue Mitchell, trombonist Julian Priester, tenor saxophonist Bill Barron, baritone saxophonist Pepper Adams, either Dolo Coker or Sonny Clark on piano, Garrison, and Jones form a septet that performs modern tunes by Barron, Priester, and Jones, in addition to "I'll Never Be the Same" and Philly Joe's feature on "Gone" (based on the Miles Davis/Gil Evans interpretation of "Porgy and Bess"). A well-conceived, diverse, and recommended CD reissue.

Miles Davis - Seven Steps To Heaven (1963) {2006 DSD Japan Mini LP Edition Analog Collection SICP 1209}

A key point in the development of the Miles Davis sound of the 60s – his first album to feature work from Herbie Hancock, Ron Carter, and Tony Williams – augmented by some equally nice work on other tracks from Victor Feldman and Frank Butler! The sound here is beautifully spare – a wonderful exploration of ideas that Miles had been putting forth on some other albums for Columbia, but crafted here with a vision that's apparent in the very first note – and which transforms both the tunes and the work of the players into a focused, near-perfect sound all the way through.

Chet Baker - In Paris: The Complete 1955-1956 Barclay Sessions (2007) {Barclay–Universal 983839-7 , 8CD, Rare photos}

2007 eight CD box set from the Jazz legend. Chet baker lived and worked in Paris in 1955 and 1956 and in this short time span, he left a great legacy of extraordinary recordings for the Barclay label. For the first time, these recordings are gathered together complete and in chronological order for this astounding box set. Chet In Paris includes 15 previously unreleased recordings (eight of them being full-takes), a new remastered mix and beautiful packaging: a 12 x 12 box containing four double digipaks, an 84 page booklet with rare covers, concert programs, pictures and extensive liner notes, interviews and discographies.

Don Ellis - Haiku (1973) {2010 MPS Reissue 441132 CD}

Don Ellis, the American composer and trumpeter, who died in his 40s in 1978, is mostly overlooked, though his great, fusion-anticipating 1967 Electric Bath album is still prized. This 1973 recording with a strings ensemble is very different from his adventurous work with mind-boggling time signatures in the 60s. But an Ellis venture is never without surprises. All the segments are inspired by haiku, and they reflect that form's brevity.

Chico Hamilton with Eric Dolphy - The Original Ellington Suite (1958) {Pacific Jazz rel 2000, 24bit remastering}

This release will have fans of Eric Dolphy salivating as it includes some long-lost work that jazz scholars didn't know existed at all. When the premiere reissue producer Michael Cuscuna researched all known Pacific Jazz tapes attributed to Chico Hamilton, all he came across were three edited numbers from this session, two of which had appeared on a compilation and another only on a DJ sampler. But this release is due to the luck of a Canadian resident who was digging through a used record bin in his hometown of Brighton, England, where he found a copy of The Ellington Suite with the personnel listed from a later session and a near mint blank test pressing of what turned out to be the long lost Chico Hamilton original version with Dolphy.

Kenny Burrell - For Charlie Christian and Benny Goodman (1986) {Verve 831 087-2 rec 1966-67}

Kenny Burrell's tribute to Charlie Christian and Benny Goodman covers 11 of the songs they recorded together, but doesn't make the mistake of trying to sound anything like their historic recordings during their short time performing together. The guitarist is joined by a first-rate group, including Phil Woods on alto sax and clarinet, bassist Ron Carter, drummer Grady Tate, and vibraphonist Mike Mainieri. Burrell is the only soloist on a soft bossa nova treatment of "As Long as I Live" and the lightly swinging "I Surrender Dear."

Bill Evans & Jim Hall - Undercurrent (1962) {Liberty Japan, CP32-5187, Black Triangle Early Press}

A legendary set from the team of guitarist Jim Hall and pianist Bill Evans – both already wonderful players on their own, but really hitting a magical sort of space here together! The record is a classic in understatement – the inevitable meeting of two players who'd both made a career out of saying more with less – and both Evans and Hall manage to make this special sort of sound when working together in such a space – spare, but never short on ideas – filled with color and tone, but never overdone. The tracks are long and dreamy, and the piano/guitar lines seem to float in the air, suspended on naught but idea and imagination.

Odean Pope Saxophone Choir - Epitome (1993) {Soul Note 121279-2}

Tenor saxophonist Odean Pope's third post-bop Saxophone Choir outing was released on the Soul Note label in 1994. Epitome includes a saxophone section of three altos, five tenors, and one baritone, Eddie Green and Dave Burrell splitting piano duties with Tyrone Brown on bass, and Craig McIver on drums. This is not an avant-garde big-band assembly, even though there are moments ("Coltrane Time") that certainly fit that description. Eight of the ten tracks were written by various group members, with Pope's arrangements incorporating his early Baptist church choir vocal education with Mingus-/Ellington-inflected moods, especially apparent on "Terrestrial," which sounds like a quiet section from Black Saint and the Sinner Lady and "Lift Ev'ry Voice." This is a truly unique and moving ensemble, making any of their discs recommended.

Jimmy Giuffre 3 & 4 - New York Concerts (1965) {2CD Set Elemental Music 5990425 rel 2014}

Columbia Records dropped Jimmy Giuffre following 1962’s experimental Free Fall, and he didn’t record another album for nine years. The period in-between has been called his “lost decade,” but the clarinetist-saxophonist kept busy. His forward vision fit right in at the New York Festival of the Avant Garde in 1965, even though he wasn’t completely aligned with the New Thing. Giuffre’s set from the festival was recorded and broadcast once on Columbia University’s radio station, WKCR-FM, along with a session done earlier in the year in a college auditorium. Both sets are being released as New York Concerts, heard for the first time since those broadcasts, and they present some missing pieces of the Giuffre puzzle.

Larry Bunker Quartette featuring Gary Burton - Live at Shelly's Manne-Hole (1963) {Vault–EMG remastered, rel 2011}

The versatile West Coast jazz drummer, vibraphonist and percussionist Larry Bunker is featured here leading an amazing quartet featuring world renowned vibraphonist Gary Burton; Mike Wofford (piano) and Bob West (bass); recorded live in 1967 at the famous West Coast jazz club, Shelly's Manne-Hole, founded by the legendary jazz drummer Shelly Manne, featuring compositions by Mike Gibbs, Cole Porter, Phil Woods, Jerome Kern and others. All selections newly remastered.

Sonny Stitt - Swings The Most (1959) {2012 Japan Jazz The Best Series 24bit Remaster UCCU-9944}

There's no argument from us – because Sonny Stitt really does swing the most – but even more than that, what really matters to us is his amazing sense of tone, timing, and execution! The album's a near perfect example of a saxophone master at his height – a set that features Sonny blowing alongside the LA trio of Mel Lewis on drums, Lou Levy on piano, and Leroy Vinnegar on bass – but hitting all the tunes with a powerful, professional approach that makes us know he'd sound this great, no matter what the setting. The tunes are wonderfully understated, but offer up a casebook example of just how great jazz soloing can be when it's handled this well – never overdone or overblown, with notes that are improvised, but fall into place magically – as if they always knew where to belong in the first place!

Man - Live At The 'Rainbow' 1972 (1998) {Eagle Records EDL EAG 124-2 rel 1998}

Man were arguably at their peak in 1972, with guitars and solos still locked firmly on stun, and their improvisational powers so taut that it was impossible to predict what might happen next when they played. Certainly the U.K. tour that culminated at the London Rainbow remains one of the most fondly remembered of all the band's excursions, and though the sound quality is just a shade on the murky side, this four-songs-and-a-fiddly-bit souvenir captures all the magnificence of that crowning night.

Dave Holland Quintet - Seeds of Time (1985) {ECM 1292}

As well as being a mighty bassist, Dave Holland has long been a wise band leader, filling his groups with players of differing background and experience and drawing on their collected knowledge and energies. Holland recognised the individuality of Steve Coleman’s skills as soloist and composer early on and featured him in the quintet alongside veterans Kenny Wheeler and Julian Priester, who also brought in material - as did the leader, whose tune “Homecoming” is among the highlights. Between them, this team could reference the whole history of modern jazz.

John Patton - Boogaloo (1968) {2014 Japan SHM-CD Blue Note 24-192 Remaster UCCQ-5025}

Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. Rare work by Hammond organ giant Big John Patton – recorded in 1968, but never issued until 1995, and even then, only briefly! The record features Patton at his finest – stretching out from his basic soul jazz roots, into a more searching use of the organ that's undoubtedly influenced by Larry Young's work at the same time. The record features great work by Harold Alexander on flute and tenor, plus trumpet by Vincent McEwan, drums by George Brown, and added conga by Richard Landrum. The groove is somewhere between 60s soul jazz and modal – and the tracks are long, with that heavy Patton swing! Title sinclude "B&J", "Boogaloo Boogie", "Milk & Honey", "Shoutin But No Poutin", and "Spirit".

Sonny Rollins & Don Cherry - Complete 1963 Stuttgart Concert (2009) {Rare Live Recordings RLR 88645}

This edition contains all known music from the 1963 Stuttgart performance by the Sonny Rollins-Don Cherry piano-less quartet, including the three initial tunes, appearing here on CD for the first time ever, and the concerts finale, Oleo, previously unissued in any format. As a bonus, we have included a rare trio version of I Want to Be Happy recorded by Rollins live at the 1958 Newport Jazz Festival and two rare 1965 quintet tracks.

David "Fathead" Newman - Newmanism (1974) {2015 Japan Fusion Best Collection 1000 Series}

Reissue with 24-bit digital remastering. Comes with a mini-description. Sweet electric grooving from David Newman – a great little album cut with Roy Ayers on vibes and Pat Rebillot on electric piano – both of whom bring a very different feel to the set than Newman's work of the 60s! The style is warm and tight, but never too smooth – as there's these sharp edges and a slightly sinister undercurrent that you don't really find in some of David's other records of the period. Rhythm is by Ron Carter on bass and Andrew Smith or Roy Brooks on drums – plus added percussion from Armen Halburian, who kicks in a slight Latin essence on some numbers – which adds to the hipness of the grooves. Titles include nice versions of Roy Ayers' tracks "Foxy Brown" and "Sweet Tears", plus the cuts "Brandy", "Song For The New Man", "Baby Rae", and "Let Me Know".

Miles Davis - Sketches Of Spain (1960) {2006 DSD Japan Mini LP Edition, Analog Collection, SICP 1207}

A beautiful collaboration between Miles Davis and the great Gil Evans – and perhaps the most perfectly realized of all their projects! The album's got a wonderfully unified feel – as it begins with long compositions that have a distinct Spanish-tinge (and not a Latin-tinge, which is an important distinction to the way the album progresses.) Evans' arrangements have a majesty that takes the songs to the next level – working them as lush, lively backings for Davis' equally majestic trumpet solos, some of the finest he ever recorded with large group backing. Wonderful all the way through – and with the tracks "Concierto De Aranjuez", "Saeta", "The Pan Piper", and "Solea".

Elvin Jones - Genesis (1971) {2014 Japan SHM-CD Blue Note 24-192 Remaster TYCJ-81072}

Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. Elvin Jones rose to fame in the company of one of the greatest saxophone players ever – the mighty John Coltrane – and his post-Coltrane work like this really continues a keen respect for the role of the reeds in jazz – and really does a lot to push it forward as well! There's a compelling edge to the record that's light years from Elvin's work with Coltrane – a completely new sensibility that can be spacious one minute, extremely powerful the next – and quite possibly realized to its fullest potential here, thanks to the mindblowing contributions of Dave Liebman on tenor and soprano sax, Frank Foster on tenor and flute, and Joe Farrell on alto and soprano sax.

Ed Blackwell Project - What It Be Like? (1994) {Enja ENJ-8054 2}

Ed Blackwell made a name for himself in the early '60s drumming with Ornette Coleman's band (Blackwell plays on the free jazz classics THIS IS OUR MUSIC, FREE JAZZ, and ORNETTE ON TENOR). His distinctive approach to timekeeping, which highlights tribal rhythms and New Orleans marching band cadences, is on excellent display on WHAT IT BE LIKE, one of his few dates as a leader. "Nebula," the opener, features a tumbling horn melody with Blackwell providing almost martial accents on the snare, and is an excellent example of his style.

Cannonball Adderley - Alto Giant (1969) {2014 Japan Studio Songs Remaster YZSO Series}

Alto Giant is an exciting live album that captured the Cannonball Adderley Quintet in Milan in 1969, two years after the group recorded 74 Miles Away. Cannonball's music in this period is marked by his enthusiastic embrace of funk and jazz rock. In addition to his brother Nat Adderley on trumpet, the quintet included Joe Zawinul on piano, Victor Gaskin on bass, and Louis Hayes on drums. In addition to the leader's hot and exciting alto playing, what stand out are Hayes's aggressive and effective drumming and Zawinul's contributions in terms of two original compositions (the odd-meter, free jazz-oriented "Scavenger" and the funky "Walk Tall") and his solo performance of "Ballads Medley." The generosity of the leader extended to Gaskin as well, who was prominently featured on "Manha De Carnaval."

Miles Davis - Kind of Blue (1959) {2006 DSD Japan Mini LP Edition Analog Collection SICP 1206}

What can we say? This is the ultimate Miles Davis album – the one that includes so many songs that we've heard way too much in Starbucks, in retail stores, or at a friend's house who claims to be a "jazz expert", but is really a yuppie dilettante. Yet somehow, over all the years, and all those playings, the record manages to still sound fantastic – a truly inspirational piece of music that's long deserved all the attention it gets! The legendary group on the album includes John Coltrane on tenor, Cannonball Adderley on alto, Bill Evans on piano, and Paul Chambers on bass – working with Miles in a relatively modal style, with brilliant rhythm changes and a wonderful sense of space.

Sonny Rollins & Don Cherry - The Complete 1963 Paris Concert (2008) {Gambit 69292}

The collective discography of Sonny Rollins and Don Cherry spans less than a year, but was a fascinating association. This release contains a complete and long unavailable concert by the Sonny Rollins-Don Cherry piano-less quartet - recorded at the Olympia, Paris, in 1963. Among its many highlights, The band work out on a 23-minute version of 'Sonnymoon For Two', a 13-minute version of 'On Green Dolphin Street' and almost 10 minutes of the only existing rendition of "Everything Happens To Me" in both Rollins´ and Cherry´s discographies.

Takeo Moriyama - East Plants (1983) {2018 Remastered Reissue BBE Records BBE473ACD}

Really amazing sounds from Japanese drummer Takeo Moriyama – a record that's sometimes spiritual and organic, sometimes very unusually put-together – and which makes as much use of inventive percussion as it does the leaders drums! The group's got this very cool twin-sax approach – both tenor and soprano, each played by Toshihiko Inoue and Shuichi Enomoto – alternating between the instruments, and creating these textures that are sometimes sharp-edged, but always very striking – especially when the album's percussion from Yoji Sadanari really takes off! The whole thing almost feels a bit out of time, especially for its early 80s recording date – almost like one of those unusual Japanese spiritual sessions from a decade before, which also might not be what you're expecting from the 80s cover image too.

Dave Holland Quintet - Prime Directive (1999) {ECM 1698}

A player's 'prime directive', Dave Holland has decided, should be to spread joy while making creative music. His role model in this regard remains Duke Ellington, whose melodies were the lure to draw listeners deeper into the world of jazz interaction; so it is with the Holland Quintet. Prime Directive, the album, picks where the Grammy-nominated Points of View left off, and is the stronger for the addition of Chris Potter, widely regarded as one of the most exciting young saxophonists in North America.

Fennesz - Agora (2019) {Touch Music TO:115}

Christian Fennesz made Agora in his flat after losing access to his proper studio. He recorded everything through headphones, and didn't go through the trouble of connecting every piece of equipment he owned. Understandably, the result isn't quite as intricately detailed as previous works like Venice or Bécs, but it brings to mind Moodymann's famous dictum that "it ain't what you got, it's what you do with what you have." These four compositions have a hazy quality which most likely would have been scrubbed away in a state-of-the-art studio, and they feel much more exploratory than his usual studio work, edging toward the improvisational spirit of his live performances and collaborations.

Ali Farka Toure with Ry Cooder - Talking Timbuktu (1994) {Hannibal HNCD1381}

Guitarist Ali Farka Touré has repeatedly bridged the gap between traditional African and contemporary American vernacular music, and this release continues that tradition. Talking Timbuktu features him singing in 11 languages and playing acoustic and electric guitar, six-string banjo, njarka, and percussion, while teaming smartly with an all-star cast that includes superstar fusion bassist John Patitucci, session drummer Jim Keltner, longtime roots music great Ry Cooder (who doubled as producer), venerable guitarist Gatemouth Brown, and such African percussionists and musicians as Hamma Sankare on calabash and Oumar Touré on congas.