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Art Blakey and the Jazz Messengers - Live! At Slug’s, N.Y.C. (1968) {Empire Musicwerks ‎545450806-2 rel 2006}
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© 1968, 2006 Empire Musicwerks / Universal | ‎545 450 806-2
Jazz / Hard Bop / Drums

Recorded in August 1968 at Slug’s, the notorious East Village nightclub where Lee Morgan met his violent end, this reissue features a Jazz Messengers lineup that never made a studio record. With Blakey pushing the band and setting the dynamic with his typically bombastic style behind the kit, these Messengers kick into high gear right out of the gate on Slide Hampton’s “New World,” which features dazzling solos from trumpeter Bill Hardman, trombonist Julian Priester and tenor saxophonist Billy Harper, along with a whirlwind solo by the bandleader.

Tiny Grimes - Callin' The Blues (1958) {Prestige OJCCD-191-2 rel 1994)
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© 1958, 1994 Prestige / Fantasy | OJCCD-191-2
Jazz / Bop / Jazz Blues / Guitar / Trombone

This CD is a straight reissue of the original LP. Guitarist Tiny Grimes, who led three albums for Prestige and Swingville from 1958-59, welcomed two extroverted horn players (tenor saxophonist Eddie "Lockjaw" Davis and veteran trombonist J.C. Higginbotham), plus pianist Ray Bryant, bassist Wendell Marshall and drummer Osie Johnson, to his heated session. The group plays three original blues and "Airmail Special." Although J.C., who had a long decline, sounds a bit past his prime, plenty of sparks fly throughout the date, particularly from Grimes and Lockjaw.

John Lindberg - Dimension 5 (1981) {Black Saint 120062-2 rel 1997}
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© 1981, 1997 Black Saint | 120062-2
Jazz / Modern Creative / Post Bop / Progressive Jazz / Bass

While not the absolutely earliest of this excellent bassist, bandleader, and composer's projects, Dimension 5 still features a photograph on the back cover that has prompted comparisons with nervous high school kids at a dance, all dressed up but afraid to ask anyone to boogie. Except John Lindberg is already holding a bass in the picture, so doesn't need a partner, and in the process of creating this recording was putting his best foot forward not to boogaloo but to establish himself as a contender in all three of his areas of obvious talent. Lindberg put together an ensemble for this project that's as sharp as his suit.

John Fahey - Death Chants, Breakdowns and Military Waltzes (1963, 1967) {Takoma TAKCD-8908-2 rel 1998}
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© 1963, 1967, 1998 Takoma / Fantasy | TAKCD-8908-2
Folk / Contemporary Folk / Finger-Picked Guitar / Folk Jazz / Folk-Blues / Progressive Folk

Fahey recorded two versions of this album, one in 1963, the other in 1967; this deluxe reissue gives you both! This was his second album, and the first to get any kind of distribution (the re-record benefits from better fidelity); with compositions like When the Springtime Comes Again; Some Summer Day , and the epic America , it's essential.

Tony Oxley - 4 Compositions For Sextet (1970) {Columbia 494437 2 rel 1999}
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© 1970, 1999 CBS / Columbia / Sony Music | 494437 2
Jazz / Avant-Garde Jazz / Modern Creative

Originally released in 1970, 4 Compositions for Sextet was one of a pair of records saxophonist Tony Oxley recorded for CBS, which, at that time, seemed to be very interested in British free jazz – the label also recorded at least three LPs by avant guitarist Ray Russell and a pair by Evan Parker. Oxley's band for this outing was a dream group of Brit outsiders: Derek Bailey on guitars, Kenny Wheeler on trumpet and flügelhorn, Evan Parker on saxophones, Oxley on drums of course (the only British drummer besides Robert Wyatt who could play pop or free jazz with equal enthusiasm), Paul Rutherford on bass, and Jeff Clyne on trombone.

Eric Dolphy - Iron Man (1963) {Restless-Metrotone 7 72659-2 rel 1992}
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© 1963, 1992 Restless / Metrotone Records | 7 72659-2
Jazz / Post Bop / Avant-Garde Jazz / Saxophone / Clarinet

The companion piece to Conversations (recorded at the same mid-1963 sessions with producer Alan Douglas), Iron Man is every bit as essential and strikes a more consistent ambience than its widely varied twin. It also more clearly anticipates the detailed, abstract sound paintings of Dolphy's masterwork Out to Lunch, in large part because this time around the program is weighted toward Dolphy originals. "Iron Man," "Burning Spear," and the shorter "Mandrake" all have pretty outside themes, full of Dolphy's trademark wide interval leaps and playful sense of dissonance.