Padurea Spânzuratilor 1965

Raymond Fol's jazz arrangement of Antonio Vivaldi's "The Four Seasons" may have fallen into obscurity, but the French pianist's big band scoring of this classical favorite shows plenty of imagination. With a band of his fellow countrymen, along with expatriate Americans Johnny Griffin (tenor sax), bassist Jimmy Woode, and drummer Art Taylor, he casts a variety of moods, even within individual sections. In the first movement of "Le Printemps (The Spring)" he chooses an Afro-Cuban mood, while the second shifts to a smaller chamber jazz setting, showcasing guitarist Pierre Cullaz, vibraphonist Sadi, and the leader in turn. The first movement of "L'Automne (The Autumn)" starts in a curious blend of cool and swing before switching to a Latin setting, featuring Johnny Griffin…

One of the great entries in Duke Ellington's "exotic" albums of the 60s - records that aren't exactly exotica by any stretch of the imagination, but which have musical themes that were inspired by the international travels of the Ellington band at the time! In this case, the locale is the Virgin Islands - where Ellington performed in 1965, and returned home to record this set as a memory of tunes played by the band in St Croix and St Thomas. The core of the set is the initial Virgin Islands suite - made up of four new tunes that include "Island Virgin", "Virgin Jungle", "Fiddler On The Diddle", and "Jungle Kitty" - all nicely rhythmic numbers that explore some fresh themes with especially nice horn solos from the members of the group. Other tracks are older numbers performed on the tour, given a bit of a new twist here.

Stunning early work from trumpeter Ted Curson - a record that's got as much soul and rock-solid power as you'd guess from the image on the cover! Ted's working here in the company of his frequent partner from the early days - tenorist Bill Barron - and together, they come up with a riveting sound that rivals the genius of early 60s work from Charles Mingus or Booker Ervin - with a similar blend of sharp edges, tight rhythms, and in the pocket soul! The rest of the group features Georges Arvanitas on piano - making a rare American appearance - plus Herb Bushler on bass and Dick Berk on drums.

The Kinks came into their own as album artists - and Ray Davies fully matured as a songwriter - with The Kink Kontroversy, which bridged their raw early British Invasion sound with more sophisticated lyrics and thoughtful production. There are still powerful ravers like the hit "Til the End of the Day" (utilizing yet another "You Really Got Me"-type riff) and the abrasive, Dave Davies-sung cover of "Milk Cow Blues," but tracks like the calypso pastiche "I'm on an Island," where Ray sings of isolation with a forlorn yet merry bite, were far more indicative of their future direction. Other great songs on this underrated album include the uneasy nostalgia of "Where Have All the Good Times Gone?," the plaintive, almost fatalistic ballads "Ring the Bells" and "The World Keeps Going Round," and the Dave Davies-sung declaration of independence "I Am Free."

Milt Jackson at the Museum of Modern Art is one of the many live jazz record dates that should be better known than it is. Perhaps it's because the LP has been unavailable in America since the early '70s; it was released on CD only briefly in Japan. Verve's brilliant Originals series has remedied this situation by issuing the gatefold-sleeve of the LP in a fine edition on compact disc (with the original liner notes pasted into a handsome booklet with the original photos). Released in 1965, shortly after the concert took place, this set is regarded by jazz historians as one of the greatest concerts ever to be performed during the MOMA's terrific free concert series during the '60s. During a rare respite from the Modern Jazz Quartet, Jackson was able to record as a solo artist with musicians of his own caliber. In this case his companions are pianist Cedar Walton, bassist Ron Carter…