Bristling with east meets west polytonality and rhythmic intrigue and tinged with a Trane-like spirituality… Blowing gorgeous tones and fluidly unraveling complex ideas…(Brooks) succeeds to a startling and almost rapturous degree.

Dexter Gordon (tenor sax) returned to the United States in the spring of 1969 to create his first studio recordings in nearly a decade. Joined by James Moody (tenor sax), Barry Harris (piano), Buster Williams (bass), and Albert "Tootie" Heath (drums), Gordon actually documented enough material for two long players – Tower of Power (1969) and More Power! (1969) – both of which became primary staples of the artist's voluminous Prestige catalog. An opening flourish from Heath on "Montmartre" marks the commencement of the platter, leading into a mid-tempo bop. Gordon and Moody swing steadily as they bounce ideas off each other.

Having performed and collaborated with the Maria Schneider Orchestra, David Bowie, Sufjan Stevens, Ivan Lins, Alicia Keys, Justin Timberlake, Wynton Marsalis, and the Saturday Night Live house band, trombonist and composer Ryan Keberle brings these experiences to bear leading his own band, Catharsis, which has released four acclaimed studio albums.

A second volume of the Guy Segers project where the basic live band session is enhanced by an extensive post production involving contributions from a wide range of musicians. This time round several tracks in the collection are focussed around the intense and distinctive voice of Carla Diratz. Overall, Reflection In A Moebius Ring Mirror is a release of unparalleled scope, almost astounding in its reach, but with its beauty and sense of questing allowing the listener opportunities to immerse themselves. The players are all superb, and Guy’s way around the studio means that his constructed tracks are seamless yet exploratory. It is well worth taking a dip into these welcoming waters - but watch out for the currents.

On his CD Lasting Impression, Brooks' devotion to jazz, blues, and Indian music comes across loud and clear. With "Taj Express," the CD's opening cut, Brooks blows warm and resonating tones over a backdrop of stinging syncopation. Brooks and his all-star band play with ease in the song's odd-metered choruses and post-bop inspired heads. As with the rest of the songs on the album, Brooks and friends make the complicated passages of "Taj Express" fly by without the slightest hint of strain.

Features the high-fidelity SHM-CD format (compatible with standard CD players). Brand new digital remaster. A pair of modern moments from George Russell – back to back on a single CD! Stratusphunk is not "phunk", in the way you might think of "funk" – but an album that sets a whole new standard for modern jazz in the 60s – thanks to the fresh ideas of George Russell! Russell's in his best modal mode here – and there's a highly rhythmic construction to most tunes – layers that build beautifully, and which have a sharper edge than some of George's earlier work in the 50s – a balance that's better heard than described by our words, and which is completely compelling right from the start.

Ten years ago, Ikebe Shakedown began pushing the boundaries of instrumental music. Each new track and live set has sent them deeper into combining the primal elements of ’70s soul, raw psychedelic style, and cinematic Western soundtracks with powerful grooves and soaring melodies. Now, with their new release, Kings Left Behind (Colemine Records), the band is giving listeners more mystery and majesty than ever before. The album features the entire group collaborating to produce tracks that deliver punches right to the gut, even as dreamy guitars and lush horn melodies and string arrangements capture the imagination…

This album features music inspired by and performed during a concert tour that Q'd Up and several BYU students made to five Russian cities during the fall of 2017. Q'd Up has a unique and infectious sound that is a product of the personalities of the players, the arrangements and compositions of Steve Lindeman and Jay Lawrence and Kelly Eisenhour, the blend of a wide variety of sounds and styles stemming from the impressive versatility of each of the group members, and the energy and synergy that come with the love of the music and of each other. Q'd Up has existed in various incarnations since 1983 and has established itself as a musical force in Utah and the West.

The Best Of King Curtis 1952-1961 - Saxophone titan King Curtis gets the stellar showcase he deserves on Dave Penny’s latest career-defining set for Fantastic Voyage, continuing the roll which has seen the label raise the benchmark for knowledgeable, expertly-annotated compilations. Over three discs and nearly 100 tracks, Wail Man Wail! traverses the unmistakable tones of the late Curtis Ousley after he arrived from Texas in New York City in 1952, winning amateur night at Harlem’s Apollo before embarking on a recording career which took him to several seminal independent labels and bands with the likes of Lester Young and Lionel Hampton. He settled in New York for 17 years, declaring himself King Curtis and quickly making a name for roaring instrumentals and enhancing countless sessions.

Reissue with the latest 2015 remastering. Comes with liner notes. Nicely sharp sounds from the great JJ Johnson – a set that has the trombonist really honing his edge on a host of tight, short tracks – with a vibe that almost recalls his initial bop recordings on Blue Note and Prestige! The style here is a bit more sophisticated – definitely with an ear towards the modern directions that JJ was exploring in the 50s – but the sound is also nicely spontaneous, with more focus on improvisation between group members than larger arrangements – quite nice, given that the group features excellent tenor from Bobby Jaspar on tenor – and either Tommy Flanagan or Hank Jones on piano, Percy Heath or Wilbur Little on bass, and Elvin Jones on drums. Tracks are short, and titles include "Overdrive", "Cube Steak", "Chasin The Bird", and "Solar".

Song of Innocence is the debut album of American composer and producer David Axelrod. It was released in October 1968 by Capitol Records. Axelrod sought to capitalize on the experimental climate of popular music at the time and composed the album as a suite-like tone poem based on Songs of Innocence, a 1789 illustrated collection of poems by William Blake. It was recorded at Capitol Studios in Los Angeles with an orchestra and a variety of studio musicians, including keyboardist and conductor Don Randi, guitarist Al Casey, bassist Carol Kaye, and drummer Earl Palmer. Song of Innocence is an instrumental jazz fusion record that incorporates elements of classical, rock, funk, pop, and theatre music. It is arranged for bass, drums, and string instruments, written in the rock idiom with tempos centered on rock-based patterns by Palmer. Axelrod used contrast in his orchestral compositions and interspersed the album's euphoric psychedelic R&B form with dramatic, harrowing arrangements to reflect the supernatural themes found in Blake's poems. The music's reverent, psychedelic overtones evoke their themes of innocence and spirituality.

This previously unreleased Dixieland set (put out by Jazzology on a 1996 CD) teams trumpeter Max Kaminsky with clarinetist Pee Wee Russell, valve trombonist Brad Gowans, pianist Teddy Roy, bassist John Field and drummer Buzzy Drootin. Taken from radio broadcasts emanating from Boston's Copley Terrace, these private acetates (made by a collector and sometimes a bit worn) contain some excellent playing. The 16 selections are primarily Dixieland warhorses (including "Love Is Just Around the Corner," "Dippermouth Blues," "Basin Street Blues," and "Honeysuckle Rose"), and no real surprises occur, but the spirit of the times definitely comes through.

Wonderful Chillout, Lounge and Smooth Jazz Music from the Blue Bar including some amazing Artists. The perfect Album to Chillout Your Mind!

This CD reissue has the four songs recorded by baritone great Pepper Adams for an obscure 1975 Enja quartet LP with pianist Walter Norris, bassist George Mraz and drummer Makaya Ntshoko plus one number apiece from Adams' two Justin Time albums with Denny Christianson's big band in 1986. Although Pepper was seriously ill by the mid-'80s, he plays quite well on his features with the orchestra ("Osage Autumn" and "My Funny Valentine"). However, it is for his numbers with Norris (two originals, "A Child Is Born" and a powerful version of "Well You Needn't") that this fine hard bop-oriented CD is most highly recommended.