The Band's first album, Music from Big Pink, seemed to come out of nowhere, with its ramshackle musical blend and songs of rural tragedy. The Band, the group's second album, was a more deliberate and even more accomplished effort, partially because the players had become a more cohesive unit, and partially because guitarist Robbie Robertson had taken over the songwriting, writing or co-writing all 12 songs…

The rating of this album is a bit of a problem - on one level, it isn't any better than one would expect from a studio pick-up band doing raga-style covers of "I Am The Walrus," "&Black Is Black," "Eleanor Rigby," "&Blue Jay Way," etc. It isn't what one would can call a terribly adventurous recording, and it's exactly the opposite of the recordings - George Harrison's "Love You To" and "Within You, Without You" - whose textures it seems to want to emulate. On the other, it does have its odd moments of beauty, such as the heavy sitar noodling on "Eleanor Rigby" and "I Am The Walrus," and the sitar subbing for the lead vocal line on Pete Townshend's "I Can See For Miles" is worth hearing once, at least. "Blue Jay Way" is so strange - the Beatles' original being a raga-style number with no sitar - that it is also worth a listen…

The Bee Gees were a pop music group formed in 1958. Their lineup consisted of brothers Barry, Robin, and Maurice Gibb. The trio were especially successful as a popular music act in the late 1960s and early 1970s, and later as prominent performers of the disco music era in the mid-to-late 1970s. The group sang recognisable three-part tight harmonies; Robin's clear vibrato lead vocals were a hallmark of their earlier hits, while Barry's R&B falsetto became their signature sound during the mid-to-late 1970s and 1980s. The Bee Gees wrote all of their own hits, as well as writing and producing several major hits for other artists…

Various Artists - Spiritual Jazz, Vol 3: Modal, Esoteric and Ethereal Jazz from The European Underground (1963-1972) (2012) {Jazzman ‎JMANCD 050}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 448 Mb | MP3 @320 -> 185 Mb
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© 1963-72, 2012 Jazzman Records | ‎JMANCD 050
Jazz / Spiritual Jazz / Modal Jazz / Continental Jazz

At the end of the ‘50s, Miles Davis’ Kind of Blue heralded the revelatory arrival of modal jazz. As the vibrations of these giant steps resonated across the world, European jazz musicians reassessed their bearings and began to steer a new course. Across the continent they sent roots down into the rich soil of the European folk and Christian liturgical traditions, extended their music along ancient routes of communication and trade to the Middle East, and reached across the crumbling ramparts of the European empires to the music of Asia Africa and Latin America.

Faithfull was still known primarily as a pop singer when she put out North Country Maid, but this is in fact very close to a pure folk album, with a bit of influence from pop, rock, blues, and jazz. Largely overlooked even by Faithfull fans, it's actually a quite respectable effort, and probably her best LP (other than greatest-hits compilations) from the time when her voice was still on the high side. Ably backed by sessionmen including guitarists Jon Mark and Jim Sullivan, she interprets mostly traditional material on this record, including "She Moved Through the Fair," "Wild Mountain Thyme," "Sally Free and Easy," and "Scarborough Fair"…

Kenny Clarke & Francy Boland - Jazz Is Universal (1961) {2012 Japan Jazz Best Collection 1000 Series WPCR-27191}
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© 1961, 2013 Atlantic / Warner Japan / Rhino | WPCR-27191 | Jazz Best Collection 1000 Series
Jazz / Modern Big Band / Progressive Jazz

Features 24 bit remastering and comes with a mini-description. Some big bands started outside the U.S. One notable example was the Kenny Clarke-Francy Boland Big Band—which was formed in '60 by American expatriate drummer Clarke, Belgian pianist Boland and former Ellington bassist Jimmy Woode. The band lasted just over 10 years and recorded more than 20 albums. Solos were spread among the 13 all-star musicians, and the band's charts were often intricate and laced with European flavor.

Doug Watkins Quintet - Soulnik (1960) {Prestige–New Jazz OJCCD-1848-2 rel 1994}
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© 1960, 1994 Prestige / New Jazz / Fantasy / OJC | OJCCD-1848-2
Jazz / Hard Bop / Cello

Bassist Doug Watkins only led two recording sessions before his death in 1962, and this set (which was cut for New Jazz and reissued on CD in the OJC series) has sometimes appeared under Yusef Lateef's name. Watkins doubles on cello (an instrument he had reportedly only begun playing three days earlier) during the set with Lateef (who triples on tenor, flute, and oboe), pianist Hugh Lawson, bassist Herman Wright, and drummer Lex Humphries. The quintet performs three standards, Watkins' "Andre's Bag," and a couple of Lateef tunes. The use of oboe and cello on some numbers makes the date stand out a bit from the usual hard bop sessions of the period and straight-ahead jazz fans will want to get this CD.

Various Artists - Spiritual Jazz, Vol 2: Esoteric, Modal and Deep European Jazz 1960-78 (2012) {Jazzman Records JMANCD 046}
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© 1960-78, 2012 Jazzman Records | ‎JMANCD 046
Jazz / Spiritual Jazz / Modal Jazz / Soul Jazz / Deep Jazz

As the ‘60s progressed, cultural and political revolutions occurred both in the US and in Europe. Jazz was both a victim and a saviour, with radical developments in the music occurring in both continents. In the US, artists took control of their own musical destiny as small labels broke away from the mainstream, expressing new and creative visions of freedom and peace against a backdrop of civil unrest, repression and war. Be sure to check the first volume of this series, Spiritual Jazz.

Blues on the South Side is probably the best album slide guitarist Homesick James ever laid down (originally for Prestige in 1964). The stylistic similarities to his cousin, the great Elmore James, are obvious, but Homesick deviates repeatedly from the form. Tough as nails with a bottleneck, he goes for the jugular on "Goin' Down Swingin'", "Johnny Mae", and "Gotta Move", supported by pianist Lafayette Leake, guitarist Eddie Taylor, and drummer Clifton James.

Steppenwolf is a Canadian-American rock band, prominent from 1968 to 1972. The group was formed in late 1967 in Los Angeles by lead singer John Kay, keyboardist Goldy McJohn, and drummer Jerry Edmonton (all formerly in Canadian band The Sparrows). Guitarist Michael Monarch and bass guitarist Rushton Moreve were recruited by notices placed in Los Angeles-area record and musical instrument stores…

Johnny Griffin & Dexter Gordon - Jazz Undulation (1968) {2014 Japan Studio Songs Remaster YZSO Series}
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© 1968, 2014 Studio Songs Japan | YZSO-10042 | Mono
Jazz / Hard Bop / Saxophone

Jazz Undulation is an exciting live album that captured tenor saxophonist Johnny Griffin in an interesting and unusual setting. Bassist Jimmy Woode and drummer Kenny Clarke were frequent collaborators of Griffin's at the time, all three living in Europe and being members of the Clarke-Boland Big Band. Pianist Hampton Hawes was visiting Europe at the time, and probably just happened to meet them in Rome.

None of the Band's previous work gave much of a clue about how they would sound when they released their first album in July 1968. As it was, Music from Big Pink came as a surprise. At first blush, the group seemed to affect the sound of a loose jam session, alternating emphasis on different instruments, while the lead and harmony vocals passed back and forth as if the singers were making up their blend on the spot…

Miles Davis - In Stockholm 1960 Complete (1992) {4CD Set Dragon Records DRCD 228}
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© 1960, 1992 Dragon Records | DRCD 228
Jazz / Hard Bop / Modal Music / Trumpet

This remarkable four-CD set features John Coltrane with the Miles Davis Quintet just a short time before 'Trane went out on his own. Davis sounds inspired by his star tenor and although Coltrane was reportedly bored with the repertoire ("On Green Dolphin Street," "All Blues," "Fran-Dance," "Walkin'" and two versions of "So What"), he is at his most explorative throughout this often-stunning music. In addition, the rhythm section (pianist Wynton Kelly, bassist Paul Chambers and drummer Jimmy Cobb) had been together for two years and is really tight. Although currently out of print, it is well worth any foot work that may be needed in order to acquire it. This highly recommended set also includes a brief interview with Coltrane from this period.

Sam Jones plus 10 - The Chant (1961) {Riverside OJCCD-1839-2 rel 1994}
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© 1961, 1994 Riverside / OJC / Fantasy | OJCCD-1839-2
Jazz / Hard Bop / Bass

Bassist Sam Jones's Riverside recordings have long been underrated. This CD reissue features Jones on bass and cello for four songs apiece with a particularly strong supporting cast including cornetist Nat Adderley, trumpeter Blue Mitchell, trombonist Melba Liston, altoist Cannonball Adderley (who only takes one solo) and Jimmy Heath on tenor; Victor Feldman and Heath provided the colorful arrangments. Highlights include "Four," "Sonny Boy," Jones's "In Walked Ray" and "Over the Rainbow" but all eight selections in this straightahead set are rewarding.