13 previously unissued solo acoustic demos including 5 unheard original composition, showcasing Buckley's recognisable style of acid-folk tinged with harpsichord and harmonium. Recorded in 1967, remastered from recently discovered tapes and rare acetate.

The 50th anniversary edition of the Band’s eponymous second album offers a host of extras, some of which are making their debut on this set. Chief among the unheard material here is a new stereo mix by Bob Clearmountain, available both on CD and vinyl, the latter presented as a two-LP 45rpm pressing; there is also a new 5.1 mix on the Blu-ray. The second CD contains the Band’s complete Woodstock set, originally released as part of the Rhino box Back to the Garden: The Definitive 50th Anniversary Archive, along with the seven bonus tracks from the expanded 2000 CD reissue The Band.

Arthur Loesser - In Recital (2001) {2CD Set Marston 52036-2 rec 1967}
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© 1967, 2001 Marston | 52036-2
Classical / Piano / Historical

For Arthur Loesser (1894-1969), who taught the piano, played the piano, wrote about the piano and used it as the anchor of his Cleveland home, this was no ordinary instrument and Loesser was no ordinary pianist. Loesser may be best known for his classic 1954 book Men, Women and Pianos: A Social History. Yet Arthur Loesser studied at the Institute of Musical Arts in New York, which was later to become the Juilliard School. He made his piano debut in Berlin in 1913, his New York debut in 1916 and then toured the United States. His unique approach to the keyboard will delight the discriminating listener. This two-CD set includes his 1967 Town Hall concert which Loesser titled “Sic Transit Gloria Mundi,” and excerpts from Cleveland Institute recitals.

The most underrated of Tyrannosaurus Rex's four albums, Prophets, Seers & Sages was recorded just six months after their debut and adds little to the landscapes which that set mapped out. There is the same reliance on the jarring juxtaposition of rock rhythms in a folky discipline; the same abundance of obscure, private mythologies; the same skewed look at the latest studio dynamics, fed through the convoluted wringer of the duo's imagination…

Thirteen examples of pleasant, mid-tempo, mildly amplified psychedelic pop, most of them owing some considerable debt to the influence of the Beatles' Rubber Soul and Revolver (though not their production), with some of the nutsy brand of humor that Giles, Giles, & Fripp later traded in. This is basically Paul McCartney-influenced psychedelia, not only in the tone and texture of the lead vocals, but the retro style of songs like "I'm So Happy," with some vaguely progressive touches that make one think of the more ornate tracks off of Bee Gees' 1st.

Various Artists - Slow Grind Fever Vol. 5 & 6 (2016) {Stag-O-Lee Records STAG-O-081}
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© 2016 Stag-O-Lee Records | STAG-O-081
Rhythm & Blues / Rockabilly / Soul / Groove / Doo-Wop / Rock & Roll

The soundtrack to a smoky late night bar in Chicago, or a hot Sunday afternoon down at the Popcorn. If you feel the cold sweat of soul, and the cool chills of haunted crooners singing out their final swansong, or the sinful shakes of R&B in it's twilight years, then you have a bad case of Slow Grind Fever! This is a collection of haunting, hungry, heartbroken humdingers full of swing, sway and sleaze. With obscure B-sides sitting next to some of these great artists' last outings on wax. –Stag-O-Lee Records

These 17 tunes come from King's most fertile period, his 1966-68 tenure at Memphis's Stax Records. Stax chief Jim Stewart had been reluctant to sign blues artists because he felt straight blues wouldn't mesh with Stax's patented Memphis soul. Ironically, the fusion of King's sharp guitar wails with the dynamic rhythms of Booker T. & the MGs - the Stax house band - was what set King apart from other bluesmen. The unique blend produced classic after classic: Booker T. Jones' rolling piano propels "Laundromat Blues." Al Jackson's drum shuffle supports "Crosscut Saw." The driving horns of Andrew Love, Wayne Jackson, and Joe Arnold accent "Born Under a Bad Sign." King's ripe and mellow vocals are a perfect match for the soul-drenched music while his dramatic string bends leap out.

Billy Taylor - One For Fun (1959) {2012 Japan Jazz Best Collection 1000 Series WPCR-2712}
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© 1959, 2012 Atlantic / Warner Japan / WEA / Rhino | WPCR-27120
Jazz / Bop / Hard Bop / Piano Trio

Features 24 bit remastering and comes with a mini-description. On One for Fun from 1960, Earl May is back on bass, this time with Kenny Denis on drums. The set has a more contemporary feel than the earlier tracks and features three Taylor originals, including the cool, yet cooking, "A Little Southside Soul." Among the standout tracks, the Rogers and Hart classic "Blue Moon" is transformed by Taylor and company into a vehicle for some of the CD's best solo and group work.

On this brilliant 1963 release, bassist and composer extraordinaire Charles Mingus delivers a fiery, startling imaginative album of solo piano takes of his compositions, free improvisations, and jazz standards. Included are covers of "Body and Soul" and "I Can't Get Started," as well as originals such as "Orange Was the Color of Her Dress, Then Silk Blues." The classic 1963 release by one of jazz’s great revolutionaries is a great insight into the imagination of one of the most imaginative and prolific jazz musicians of the 20th Century.

This recently-discovered release is certainly the jazz find of the year so far in 2007. In much the way that John Coltrane/Thelonious Monk Live at Carnegie Hall and, to some extent, the live Coltrane document One Up, One Down, Cornell 1964 brings a major piece of jazz history into focus in the best way possible–with an actual recording that documents it.

Third Stream, Gunther Schuller's well-intentioned but commercially doomed idea of forcing contemporary classical (i.e. serial) composition music to cohabit with hard bop, produced but a handful of fine recordings, most notably the classic 1960 Atlantic Jazz Abstractions and this 1964 sextet outing under the stewardship of trombonist Michael Zwerin. The choice of Kurt Weill's sleek and elegant compositions was astute: the bittersweet harmonies of Weill (who ultimately emigrated to the U.S. from Germany) lend themselves particularly well to jazz soloing, and accordingly, an outstanding rhythm section featuring the Modern Jazz Quartet's John Lewis (an enthusiastic advocate of Third Stream from its inception) and Connie Kay…

Until he joined John's Children, in March, 1967, Marc Bolan had never even owned an electric guitar. And once he quit the band, it is said, he abandoned it as quickly as everything else which that band represented – freakbeat pop, adrenalined psych, electric soup…

The Band’s pioneering, self-titled album of 1969 is to be released by Capitol/UMe on 15 November in a suite of newly remixed and expanded editions to mark its 50th anniversary.

Revisited and remastered, with additional takes, texts and photos, here is the very first ECM session, recorded in Ludwigsburg in November 1969, featuring the great American pianist Mal Waldron, whose resume included work with Coltrane, Mingus, Dolphy and Billie Holiday. In his original liner notes, Mal wrote: “This album represents my meeting with free jazz. Free jazz for me does not mean complete anarchy… You will hear me playing rhythmically instead of soloing on chord changes.” As Jazz Journal noted, “tough, two-handed modal blues” predominates, and the music sounds as fresh now as the day it was recorded. Indeed, the tersely-grooving “Boo” and “Rock My Soul” could be club hits half a century later.