Juba

The release of this album is an event momentous enough to warrant repeating the preamble to the previously published review of Albert Ayler's Quartets 1964: Spirits To Ghosts Revisited… Before considering the music on this disc, something else has to be celebrated—the resurrection of Werner X. Uehlinger's Hat Hut label (see past profiles). Founded in 1975, the Swiss-based company's hatOLOGY series championed European and American outer-limits jazz, producing a large catalogue of newly recorded and legacy material. Sadly, in 2016, financial pressures obliged Uehlinger to sell the back catalogue and the hatOLOGY name to Outhere Music.

Marion Brown Septet - Juba-Lee (1966) {Fontana Japan PHCE-1007 rel 1990}
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© 1966, 1990 Fontana Japan | PHCE-1007
Jazz / Avant-Garde Jazz / Saxophone

Recorded only a month before his classic Impulse debut, Three for Shepp, this much overlooked session, though quite different, is more than reputable in its own right. The reason for its obscurity is pretty simple. Juba-Lee, as of May 2003, had yet to see formal release anywhere in the world other than its original Dutch pressing and subsequent reissues in Japan. Otherwise, it bears a good deal of resemblance to his Marion Brown Quartet date on ESP, so listeners familiar with that session should know what to expect here. Among other reasons, this is because both sessions share the talents of Alan Shorter and bassist, Reggie Johnson. Also on hand were tenor man Bennie Maupin, pianist Dave Burrell, drummer Beaver Harris, and trombonist Grachan Moncur III.

Yusef Lateef - The Blue Yusef Lateef (1968) {Atlantic Masters Series 8122-73522-2 rel 2001}
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© 1968, 2001 Atlantic / Warner | 8122-73522-2
Jazz / Post Bop / Jazz Blues / Saxophone / Flute

On The Blue Yusef Lateef (1968), listeners get an amazing chapter from the late ’60s, an amazing period when everything in the world of Jazz was changing. Lateef was big on concept recordings. This album examines all the different ranges of emotion contained within the blues genre. In sound, it is the very best the ’60s had to offer in terms of experimentation and accessibility. This is blues you can dance to, but also meditate to and marvel at.