Groovy Grandad - (Cops & Robbers and The Village Show)

Nice cover, too, with Fela squatting, playing a mighty big tenor! LP, Vinyl record album Cover has a bent corner. A wonderful little tribute to the late, great John Coltrane — served up as a piano trio session led by Tommy Flanagan, but done with a sense of power and imagination that rivals the strength of Trane's classics!

All tracks here are originals by Coltrane, performed by Flanagan with a forceful approach to the piano that show s a bit more McCoy Tyner than usual — and which is propelled strongly on most numbers by bold rhythm work from the team of George Mraz on bass and Al Foster on drums.

Foster's work on the kit is especially nice — quite bold, and really soaring forward with a sense of righteous energy — inspiring Flanagan to heights we've never heard before on a session like this. Small drill hole through barcode. Some of the best passages here have this rich, melodic, almost majestic statement from the trumpet of Thomas Johansson and tenor of Andre Roligheten — beautifully bold yet fluid players together — but also able to crackle with energy when the solo passages open up — driven on nicely by Oscar Gronberg on piano, Jon Rune Strom on bass, and Tollef Ostvang on drums.

Three full albums of romping organ work from Wynder K Frog — plus lots of bonus tracks too! First up is Sunshine Superfrog — a record with a Donovan reference in the title, but a much more mod set overall — thanks to searing Hammond work from organist Mick Weaver, who was maybe one of the hippest London cats on his instrument at the time! The tunes draw equally from the Hammond soul jazz of artists like Jimmy Smith or Jimmy McGriff, and from the soul instrumental style of the time — particularly the grooves of Stax and Atlantic Records — and the deft work on the keys of the organ show that you hardly need a singer to make these records groove.

This set's a lot different than the work he did in that band, though — as the album's all instrumental, and has a quick-stepping, all-soul sound that's a lot like the best Jimmy McGriff organ jazz albums on Sue Records — mixed with maybe a bit of the mod sound of London at the time! Tunes are tight and short, but pack plenty of punch — and the album also features great work on saxes from Chris Mercer and Dick Heckstall-Smith.

Last up is Into The Fire — which has the group really opening up, laying down some wonderfully jazzy and funky instrumentals with a fuzzy Hammond sound that's really great! Although the set was recorded in the UK, the best cuts have a soulful crossover sound that feels like it should have been recorded during one of the Cadet Concept sessions in Chicago at the same time. A great little package that offers up a long-overdue look at the full talents of the legendary GQ — not just the group's big hits during their club classic years, but also their early roots as the excellent Rhythm Makers funk ensemble!

This overstuffed package offers up plenty from both eras of the combo — show ing their amazing tight funk style from the mid 70s, which morphed into the fuller GQ sound on Arista Records — always with a sharply rhythmic vibe that made these guys way hipper than any of the countless disco acts to show up at the time — especially once the 80s groove years came along, and they could show off some of their jazzier styles too!

An unlikely contender to the throne of king of electro, this early 80s effort from Eddie Grant helps to prop him up there quite nicely. Heavy synth driven grooves bubble along nicely with that crisp Linn Drum sound, and though this album benefited from some wider pop appeal, there's more than a bit of Eddie's reggae side show ing through too!

A windy city hero — the amazing Garland Green, a singer who makes us mighty proud we hail from Chicago! Garland's got an incredible style that few others can touch — partly schooled in the 60s iceman modes of Jerry Butler and Walter Jackson, with all the sophistication that might imply — but also often given a raspier twist, with slightly southern echoes that make Garland's music feel even more deeply personal! And while most folks know Green's big hits for the Uni label, this package show s a rich legacy that goes much father than that — work recorded for labels that include Cotillion, Spring, RCA, Ocean Front, and Revue — in addition to some key Uni tracks.

This trans-label set really does a wonderful job of show ing the full range of Garland's mighty talents — a sublime set of soul cuts that run from the start of the 70s right up to the early 80s modern years — packaged with detailed notes too.

As before, the groove is totally top-shelf — well-written, well-produced, and definitely at the head of the modern soul pack of the time! The pair have a bit more of a boogie bounce at the bottom than before, yet still always keep things cool — and definitely show their roots strongly from the more sophisticated corners of the Chicago soul scene — especially the best male vocalists of their 70s generation.

LP, Vinyl record album Cover has light wear. Sweet swinging 60s work from British bandleader Ted Heath — packaged together in one nice double-length set! The Big Ones features Ted really grooving it up at the end of the 60s — picking up some of the modder tunes of that part of the decade, and swinging them with some groovy touches that include electric bass, guitar, and drums that are a heck of a lot harder than on some of his earlier records.

Ted's still got the jazzy Heath band sound firmly in place — but also makes the whole thing swing with a mod Brit Easy sort of approach! The album features some added string arrangements, but also still boasts the great arranging talents of Johnny Keating, then still Heath's right-hand man, and a killer when it comes to arranging horns in breakout jazzy moments. CD CDr pressing with full artwork. Ernie Henry was a fantastic alto player who only cut a rare few albums before his untimely death.

Most folks will know him from his great work on a few Monk sessions — but this album features tracks that were the last the Henry cut as a leader, done in late shortly before he passed away. The records show Henry as an emerging lyrical modernist on the alto — kind of a soul jazz version of Lee Konitz, but with a bit more of a swing. Cover has a mostly split top seam with clear tape remnants, light wear and aging, and small spots of red marker on back. The music of Antonio Carlos Jobim opened up huge new territory for male singers in Brazil during the 60s — a way of being personal and emotive, but without any of the overdone modes of the generation before — nor some of the false bravado that was usually mixed in with the presentation of the lyrics!

Instead, Jobim allowed a stripped-down, warmly poetic approach that opened up huge new territory for singers in the bossa generation and beyond — as you'll hear in this very cool collection of classic work that begins during the initial time of Jobim's first compositions, and runs through the 60s and 70s to show an array of artists who were really helping to transform his music.

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The Kay-Gees' funkiest record ever — a set that's harder and sharper than anything else they'd ever record in years to come! Three full funky albums — and bonus tracks too! On Kilowatt, The Kay-Gees are burning bright — in that razor-sharp approach to funk that made the group one of the best of their generation — able to strongly step on the dancefloor, but without losing any of the rawness of their funky 45 years! The balance is a bit like Fatback at their best — and that group is maybe one of the few we'd match next to the Kay-Gees at this point — and although the basslines are up a bit more than before, they never hit any sort of too-cliched or overdone modes, as in some of the other big funk groups of the period.

George Jones is one of the most amazing talents in country music — and he was also one of the most messed-up cats on the Nashville scene — with a lifestyle and legend that maybe tops the decadence of some of the bigger rock stars of the 70s! Writer Rich Kienzle clearly loves Jones' music — as do we — but he's also not afraid to open up the darker corners of George's life — recounting his personal troubles that occurred alongside his cultural success — a long path to stardom that began with his boyhood in Beaumont, Texas — and which took a long time rising through a range of seminal recordings in the 50s, 60s, and 70s — all of which maybe show ed Jones' growing and changing more than any other of his country music contemporaries.

The full story is captured here — in a book that's pages, hardcover, and has some black and white images. Book Spine has a small remainder mark.

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The vintage years are some of the best years for the legendary BB King — served up here in a package that focuses strongly on the music he made during his first 15 years in the studio, with lots of rare tracks for the RPM, Crown, and Kent Records labels — including a few titles that appear here for the first time ever! King at this point was a genre unto himself — able to play a raw electric guitar with the best of his Texas precursors, but also able to fit it into smoother, more sophisticated arrangements — often with that current of jazz that was show ing up in the Memphis scene in the 50s, and given that undeniable BB King charm on the vocals!

The package features a whopping 86 titles on four CDs, all with a wonderful level of packaging — typical of the usual Ace Records style, which means wonderful notes, great graphics, and a presentation that's way better than the usual clunky longbox set. This is hardly a "hits" collection, and instead digs very deep — and then lays out the material in a wonderful way that show s the huge evolution in King's music before his bigger 60s fame on ABC Records.

A 2nd version of Doug Watkins Soulnik album — issued here with Yusef Lateef as the leader, even though the set was recorded under Watkins' name. Although Watkins was one heck of a hardbop bassist in his day, he show s a new side on this enigmatic album from the early 60s — one that has him playing cello as the frontman for a group that includes Yusef Lateef and other Lateef cronies like Herman Wright, Hugh Lawson, and Lex Humphries.

NOTE — Cover is heavily stained and flaky, with masking tape on the top seam. One of Hubert Laws' funkiest records for CTI — recorded with a full group funky style that's plenty darn great, and a lot harder-hitting than some of Hubert's more laidback sessions for the label! Arrangements are by Bob James and Laws — working here with a large batch of players who come together beautifully, almost in the style of a funky 70s cop show soundtrack! The legendary trumpeter Booker Little — paired here with drummer Max Roach, who was frequently Book's leader at the time!

The set's got a sharp-edged and modern mix of hardbop and fresh ideas — very similar to the best Roach albums of the time — and with a similar sort of group — given that in addition to Little's trumpet, the set also features George Coleman on tenor, Tommy Flanagan on piano, and Art Davis on bass! All arrangements were done by Little — making the album a real show case of that bold vision in jazz that was taken from us all too soon — and titles include "Milestones", "Rounder's Mood", "Dungeon Waltz", and "Jewel's Tempo".

LP, Vinyl record album Japanese pressing, on King — with insert! Back cover has light aging, but this copy's in great shape. A beautiful show case for the warm, ringing tones of guitarist Lage Lund — a wonderful player who's only gotten better and better over the years! Lage has this richly chromatic style that's always a treat with a larger group, but it gets an especially strong focus here in an intimate trio — just the bass of Ben Street and drums of Bill Stewart — both of whom can be nicely laidback, and let Lund's full sound really dominate the recording!

A great document of the crossover between the New York Latin scene and the Catskills — the upstate resort community that was as important to the Latin groups as the uptown clubs! Like many groups of the period, Machito's found a heck of a lot of work in the Catskills during the 50s — most notably at the Concord Resort, paid tribute to by this set — which includes photos of famous Concord staffers that include swimming instructor Buster Crabbe and golf pro Jimmy Demarest! But apart from that gimmicky approach, the album's actually a strong one for Machito — show ing the kind of grooves that helped his 50s group cross over big — a mix of mambo and early cha cha tracks that include "Patricia", "Guaglione", "Torero", "Cha Cha Cha Loco", "Cotillon Mambo", and "Mambo La Concord".

LP, Vinyl record album Original pressing. Cover has clear tape on all seams. Raw crackling hip hop funk beatcraft at its deepest from mighty Madlib — working in his Beat Konducta style for this third entry in the epic Madlib's Medicine Show Series! Beat Konducta In Africa is a hazy hip hop instrumental set from 'Lib lest you thought it might be a funky compilation of rare African material with some additional mixing from J Rocc — based on rare African vinyl.

He looks far beyond Afrobeat and funk sources, with some raw funk rock beats, psych, garage and more with some trippy vocal samples — and he's building up from blueprints records originally pressed all over Africa — Zambia, Nigeria, Ethiopia, Ghana, Botswana and Ivory Coast. But too much mention of the source material risks making this sound like a compilation or a mix set, when it's Madlib all the way!

Great set that features a spare set of duets between Shelly Manne and Russ Freeman, and a spooky mix of drums and piano that has a sort of "experimental" feel, but which manages to swing throughout. Great to hear Freeman with a lot of room around him, and Manne show s that he's a great talent with a really melodic approach to the drums. Cool groovy abstract cover, too. LP, Vinyl record album Yellow label pressing with deep groove. Cover has light aging and minor stains. Given where Ray Manzarek's career was going in the years after the breakup of The Doors, it's hard to say the whole thing's "out of control" — but we will admit that the album's a really compelling one, with some great moments that make us tip our hat to Mr M!

There's a really varied feel to the set here — but the best moments have Manzarek bringing in a strong bit of jazz — show ing off the keyboard talents first honed on 60s hits, but stretching out with some hipper grooves. And honestly, there's kind of an artsy playfulness here that's years beyond The Doors, and which almost prefaces some of the more experimental New York work in later years. LP, Vinyl record album Cover has wear with wear and clear tape along the seams.

Nice album from the 70's that brings together some of the beautiful jazz sides that Charlie Mariano cut during the late 60s while he was living in Japan with his then wife, pianist Toshiko Akiyoshi. The record's split up into two sets of tracks — one is a series of compositions from West Side Story that feature Mariano's icy alto playing in beautiful light, free lines.

The other set's comprised up of 2 longer, later tracks — "Haru-No-Umi" and "Stone Garden Of Ryoan Temple" — both of which show Charlie in a haunting experimental period, and playing a number of different reed instruments, in addition to his usual alto. If you're a bit fan of Mariano and we're huge fans of his , the record is an essential collection of some great rare stuff by him!

LP, Vinyl record album Includes obi! Cover has a bit of aging. Two disco classics from the hands of Meco Monardo — an artist who's probably best known for his Star Wars projects, but who also did some great work in the late 70s under other names too! First up is a soaring Disco Symphony from Camouflage — a studio project from Meco, with vocals by the lovely Mysti! There's definitely a full, rich quality to the music, but some of the rhythms are pretty lean too — some tight rhythms mixed with the larger strings in the symphony — that great balance you'll find on classic work from the Casablanca label!

The centerpiece of the record is a 15 minute version of "MacArthur Park", which is merged with the group's "Disco Symphony", in some nice arrangements by Harold Wheeler. The two other cuts — "Bee Sting" and "Take A Ride" — are nice and long, with a good disco groove as well!

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Next up is Show down, featuring lead singer Sampson — a strange mix of disco, ensemble funk, and some off-beat soul — a bit changed up from track to track, but with some really nice numbers in the mix! The record's got a bit of a mid 70s New York indie feel to it — like the kind that you might have heard on Wand or Scepter, in which one track will be mellow, the next one disco, and the next one a bit silly — but that's also the charm of the record, kind of an oddity on Prelude at the time. One of our favorite all-time vocal groups — even if they did sell a bazillion records during the 70s!

Of course, we have to give the lion's share of the credit to Teddy Pendergrass — whose darkly warm vocals pushed most of the group's tracks over the top, and forever set a new standard for male vocals in soul music. Teddy's singing strong and clear on this 15 track set of hits by the group — a nice batch that includes some of their best mellow material, and more than enough of their strident hits, the sort that still show up day and day again on oldies stations, with no complaints from us!

The group are still recording at Sigma Sound, with Melvin at the production helm — and they've also got that great balance between a deep-voiced lead singer new arrival David Ebo and the soaring harmonies of the rest of the group. Tunes are wonderfully written — the right mix of personal and political from the group's biggest years — and the album's got a really great sense of pace and timing overall, maybe even more so than previous records. LP, Vinyl record album With some sticker remnants.

Lots of funky keys and choppy sax passages — on this sweet Japanese fusion session headed up by reedman Kohsuke Mine! Mine plays both soprano and tenor on the record, and it's got a feel that's halfway between some of the harder jamming European fusion sides of the 70s — like mid 70s electric groovers on MPS — and some of the more cosmic Japanese sides of the same time — those more tripped-out records that had a relaxed, soulful approach to the music.

An incredible document of the legendary Mingering Mike — the self-styled 70s soul superstar who never recorded any music, but created a huge body of work on hand-drawn record sleeves and 45s! Mike's story has been told briefly before in Wax Poetics, but this book really gets to the full scope of his creations — as it offers up almost color pages of record covers, record labels, and even fake "records" themselves — made out of cardboard, but presented by Mike as if they were his very own albums!

The book was put together by Dori Hadar — the DC digger who first stumbled upon the work at a flea market — and he's done a great job of bringing out aspects of Mike's life, and the way that they show up on the albums — very thoughtful commentary throughout, and from the perspective of a record lover who knows that Mike's genius is no mere "outsider art" accident — but a thorough investigation of all aspects of the black music business in the 70s!

One of the all-time classics of early 60's mainstream jazz — and a beautiful record that show cases writing and arranging talents of Oliver Nelson! Nelson had been bumping around a variety of sessions before this one — as a leader, sideman, and arranger — but it was with this album that his true talents really unfolded — sparkling with a depth of imagination and expression that marked him as one of the greatest artists in 60s American jazz!

The group on the set is an all-star sextet — featuring Paul Chambers, Eric Dolphy, Bill Evans, Roy Haynes, and Freddie Hubbard — a disparate group of players who manage to come together with Nelson and find a unique voice that's rarely been duplicated again! A fantastic record — and one that you can't go wrong with!

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Beam me up Scotty, this music hurts my ears! If you've ever seen older episodes of Star Trek, you'd hardly think that Mr Spock and Captain Kirk could ever pass as pop singers — but during the late 60s, thanks to a series of recordings for Dot Records, both Leonard Nimoy and William Shatner got the chance to stretch out their vocal chords by taking familiar tunes of the time and giving them a more dramatic Trekkie twist!

Nimoy was actually a pretty darn good singer at the time — having come out of a career in which he'd done some nightclub work — and although Shatner really didn't have much of a voice, he hardly let that stop him — as you'll hear on his overly-dramatized tunes in the set, which are spoken and acted out as much as they're sung!

Oddly, we really find this stuff to be pretty darn groovy — especially in comparison to other 60s pop vocal albums of the time, which often just had the same tunes redone, but in versions that were pretty flat. These versions are anything but flat — and alongside the dramatic renditions of the lyrics, often feature cool spacey instrumentation, weird production, and odd arrangements that clearly show ed that all parties involved were having a pretty darn good time! The roots of house music and beyond — a mighty cool discography that does a special job of locating the music many years before it first exploded in Chicago and Detroit, then following it for many years after that, through a host of global scenes and styles!

The publication is a discography, of the Japanese type — which means that some text is in Japanese, but there's lots of pictures of albums and 12" singles, plus discographical info in English — all laid out in chapters that show an evolution of sounds and styles over time, in a way that doesn't require any Japanese to understand!

A damn soulful album from Ghanaian percussionist Rim Kwaku Obeng — recorded in LA at the end of the 70s, with loads of sweet clubby touches in the mix! Rim gets in plenty of tight percussion — lots of which show cases his rim-heavy approach to the drums — and also plays keyboards and sings a bit too — in a larger group that mixes in some very hip LA funky elements, a bit like some of the criss-crossing that Hugh Masekela did on his Chisa Records sessions!

The style makes for a great bit of funky club with lots of deeper acoustic percussion elements in the sound — and titles include the massive break classic "Funky Drummer", plus "Nothing Is Free", "Spend Your Money", "Gas Line", "Sunkwa", and "Believe In Yourself". Special package — also includes the bonus 12" tracks "International Funk voc ", and "International Funk inst ". An amazing testament to the continuing genius of Yoko Ono — a beautiful monograph from a career's worth of work — filled with images that will have you thinking of Yoko as way more than just the wife of a famous Beatle!

The book goes back to some of Ono's earliest years — with photos from early performance pieces and Fluxus actions — plus 60s objects, writings, compositions, and much more — as equally captivating in later years as they were at the start. Images are interspersed with critical writings — including pieces on Ono in Fluxus, and a look at her films — plus texts by Yoko too. Man, we don't know if Johnny and show were growing their own weed in the back of the tour bus or what — but these late 60s efforts for the band are nice and messed up!

The tipoff's probably a young Shuggie, looking very stoned on the cover, and just managing to hold up his fingers for a peace sign! Better than Johnny, though — who's flipping the bird in the same photo!

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Shuggie still manages to get in some nice guitar work on the album, though - and Mighty Mouth Evans adds some color to the proceedings with his usual flair. A classic 50s collection of Verve material by Charlie Parker — and one of those records that will definitely help you understand his genius right from the start! The lineup here is slightly large — wonderful arrangements by Joe Lipman that are a bit orchestral, with strings as well — but never used in styles that get in the way of Charlie Parker's solidly smoking alto sax!

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In fact, the music is a key example of just what makes Bird so different — as he's right out front, taking off in all his own directions — show ing that although part of a group, a musician of his caliber can also take flight in ways that few jazz musicians would have imagined a few years before. A really great post-Atlantic album from Wilson — one recorded with deep soul production from Dave Crawford and Brad Shapiro, both of whom are working at the height of their best early powers!

The feel is much deeper, in fact, than some of Pickett's later, waning work for Atlantic — done with a mix of rough soul vocals, burning rhythms, and some nice touches of strings that make for a strong counterpoint in terms of mood. Very compelling, and a record that goes a good way towards show ing that Pickett's more than just a one trick pony! We can't promise anything about the quality of the tape — but this is a mighty cool object.

Four different performances from the Finnish scene of the 70s — really show ing the vibrant energy of that corner of the jazz world at the time, even if the rest of the world wasn't paying attention! First up is Piirpauke — a group that effortlessly rolls between electric and acoustic elements, balancing the soulful expressions of reedman Sakari Kukko with the keyboards of Otto Romanowski and guitar of Hasse Walli.

Most of the group members play percussion at points — which seems to give them an organic sensibility that comes through in the performance — as tunes build without ever jamming too much, even when things get slightly offbeat. Next are three tracks by the Tapio Tuominen Trio — a group that really has the lead tenorist Tapio soaring out with quickly-creative solos — borrowing a bit of a page from the Sonny Rollins book, as he works here with bassist Jorma Koivulehto and drummer Jukka Wasama — but also getting more expressive with elements borrowed from the influence of Albert Ayler.

Next is work by the Pori Big Band — a sweet group that has full colors in the ensemble passages, but then also features some great solo sounds from players who include Kari Sarpila on tenor, Seppo Tyni on guitar, Reijo Widbom on trumpet, and Ilkka Karumo on alto. Tracks are nicely structured — and include "Back To Pori" and the especially nice soulful tune "Ladies First". Tapiola Big Band complete the set — a group that's also large, but which has some nice spiritual currents too — as they open up on two long tracks that go past the 10 minute mark.

An unusual set that definitely show cases the evolution promised in the title — a CD that brings together a number of rare tracks from the New Jersey soul scene of the 70s, plus a few more contemporary tracks that follow a similar lineup!

The vintage work here is by the Plainfield Admirations and Bags — groups that have a vibe that reminds us of some of our favorite rare New Jersey singles of the period — especially in the way that it seemed like Jersey groups were equally well-suited to both funk and sweet soul, which you'll hear in great form here! The more recent cuts follow the funky side of the legacy — and are relatively strong, although we'll be honest in saying that we like the vintage tracks the most. The CD also comes with a surprisingly big booklet, filled with notes on the evolution of the artists, and with lots of personal details and photos too.

One of the most important Sun Ra albums from the early years of Saturn Records — a set that got a bit more circulation than some of his other records, and which show s the group really expanding their sonic range in a wonderful way! The tune has a brooding intensity that's amazing — very spacey at times, and free, but not in an aggressive way. Other tunes follow in their own rich pattern — and also feature Ra on Sun Harp, celeste, dragon drum, and marimba — on titles that include "The Shadow World", "Abstract Eye", and "Abstract I".

A really wonderful collection of work from the great Jerry Reed — some more obscure albums than his bigger hits, which makes for a really fresh selection of music throughout! Explores Guitar Country is maybe one of the rootsier efforts during the early RCA years of Jerry Reed — a set that definitely lives up to the "guitar country" promised in the title, as his strong command of the instrument is right up front in the mix — often on these midtempo numbers that sound perfect with his style!

Cookin has Jerry Reed reaching for some of the groovier material that would bring him great fame — but the songs are also balanced with some slightly folksy currents, maybe a bit like the late 60s work of Waylon Jennings — with some surprising commentary from time to time, and a richness of feeling that wasn't always allowed Jerry in some of his more famous, joke-heavy moments. Georgia Sunshine is a record that has Jerry Reed really hitting that formula that would make for some big albums in the 70s — a mix of witty, upbeat numbers and some occasional deeper moments — many of which are featured here in songs penned by Jerry himself!

An incredible album — and a landmark session that show ed that the bossa nova was still alive and well in the s! The album pairs the breathy jazz vocals of Elis Regina with the booze-soaked warmth of Antonio Carlos Jobim — in a set of spare arrangements that feature a lot of touches from Cesar Carmargo Mariano, whose work on Elis Regina's 70s sessions is still the stuff of legend!

Elis' vocals dominate, but when Tom comes in, the result is even more spectacular — especially given the generally light instrumentation used on most tracks — which means that the vocals carry the bulk of the sound on the set! One of the greatest albums ever from The Rolling Stones — a set that still draws on all the bluesy roots of their best 60s material, yet which also show s a sharper, nastier edge as well!

The album show s the tremendous sense of focus and power the Stones had in this crucial late 60s stretch — a bold step forward that would give them some of their most memorable moments ever, launched by this sublime set of tracks that includes "Sympathy For The Devil", "Street Fighting Man", "Dear Doctor", "Parachute Woman", "Prodigal Son", "Factory Girl", and "Stray Cat Blues".

One of the greatest Sonny Rollins records ever! The set is a legendary batch of trio tracks that feature Sonny working in a format that is incredibly free for the time, and which show him as more of a modernist than a bopper — although his solos are still pretty darn fantastic from a bop perspective. Blue Note recorded Sonny at 2 sessions at the Village Vanguard on November 3, — and both sessions are offered here in their complete form! Both groups are amazing, and this is simply one of the best live sets ever captured by the label — and the kind of work that Rollins' had yet to reach in the studio.

But forget the titles, because it's the playing that makes this one so wonderful! The set is a legendary batch of trio tracks that feature Sonny working in a format that is incredibly free for the time, and which show him as more of a modernist than a bopper — although his solos are still pretty darn fantastic from a bop perspective — stretching out in free, piano-less space — really cutting some amazing edges, and blown in tones we might never have expected from Rollins a few years before.

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