Bobby Hutcherson and Harold Land live. Blow Up. Antibes 1969

Bobby Hutcheron and Harold Land.

Recorded Live at Juan Le Pin, Antibes, 25th July 1969.

What can i say, more stunning music from this incredible Quintet.

This one's been contributed by Greg, the beer swillin' jazz-guru behind Sounds at the Edge of the Universe and the now closed, Black Classical. I'm guessing this cover came from the man himself.

There is another version out there. For me, this one wins hands down.

Many Thanks

Johnny Dyani

"...Witchdoctor's Son contains the most infectious, buoyant, gleeful music...the interaction between Pukwana and Tchicai's vastly differing phrase sensibilities is one of the joys of this recording..."

ARTISTSJohnny Dyani (bass) Mohamed Al Jabry (congas) Alfredo Nascimento (guitar) Dudu Pukwana (alto sax) Chuim de Sequeira (drums) John Tchicai (tenor sax, alto sax)

TRACKS1. Heart With Minor's Face2. Ntyilo Ntyilo3. Radebe4. Mbizo5. Eyomzi6. Magwanza7. Radebe8. Heart With Minor's Face9. Ntyilo Ntyilo

Another highly recommended offering from IGOR.
Many thanks

Bailey Sabu Brotzmann.

Bailey Sabu Brotzmann.

Live in Okayama. Recorded 16th November 1987.

Another awesome contribution, this time from Jazzme.

We are transported to the other end, the far end, of the jazz-scale.

Highly recommended.

This review snagged from One Final Note;

Released in an extremely restricted pressing on Kouichi Oishima's Improvised Company imprint (a label designed incidentally with the primary purpose of issuing unreleased Peter Brötzmann recordings—how's that for an admirable mission?) this disc is a rare collectible from square one. The reality that the music contained on its silvery surface is of such high quality almost seems like a bonus. Two pieces preface the highly anticipated main event meeting between the three: a full-tilt duo explosion between Sabu and Brötzmann and a maddening solo conflagration by Bailey.The first piece is in much the same vein as it's predecessor captured on Improvised Company's first release, a paint-peeling, rafter-splintering blowout that finds Herr Brötzmann exploding out of the starting gate with Sabu's incendiary traps licking at his boot heels. A percussive flood envelops the saxophonist carrying him along on a crashing rhythmic wall of fire, his own horn scorching a charred path out front. This is ecstatic free jazz at its most relentlessly volatile, the monochromatic nature of the recording contributing to the coarsely militant discord. Nine minutes into the maelstrom, the German drops out and Sabu bangs out a bombastic rush of clatter tinged by unexpected Blakeyesque press rolls. Brötzmann's keening tarogato surfaces, wailing an Eastern line over Sabu's volatile cadences before the duo locks briefly into an oddly syncopated groove. Eventually the energy reverts back to ecstatic release as Brötzmann lets fly with a flood of overblown yawps.Throughout his solo piece Bailey strangely recalls John Fahey with weirdly strummed, almost chordal progressions speckling his improvisations. High on his frets sometimes creating almost harpsichord-like sonorities from his sparsely amplified strings. He also makes judicious use of his patented volume pedal effects, stretching tones and chopping them short in equal measure with an alien logic even the most erudite of improvisers would be hard pressed to fathom. Toward the middle of the piece he seems to alter his proximity to the recording equipment and his sound flattens, but these lapses are usually only momentary.Echinous slabs of dissonance from Bailey lacerate the boiling phalanx of Sabu's cymbal vortex. Brötzmann unsheathes his horn and commences hacking with constricted high register saxophone howls. The three collide in a raging liquid cacophony and are dragged kicking and screaming by gravity's rainbow down a bottomless funnel of dissonant sound. Later the velocity subsides and the dynamics of the trio open up as Brötzmann moves once again to tartly rendered tarogato. Considering the high-volume sound expenditures and the primitive nature of the recording configuration the three voices retain a remarkable degree of independence and clarity.

New link added to comments via jazzme.

Bobby Hutcherson and Harold Land live. Stockholm 1969

Bobby Hutcherson and Harold Land.

Recorded live at Stockholm, Sweden. 28th July 1969.

Another helping of truly beautiful music from a very special line up.

These guys are all playing at the top of their game once again.

Many thanks Greg, for the superb artwork.

Bobby Hutcherson and Harold Land live. Antibes 1969

Bobby Hutcherson and Harold Land.
Recorded live at the Jaun les Pins Jazz Festival, Antibes, 26th July 1969.

Same Shame
Spiral
The Peacemaker

Not just rare, impossible to find!

Another top notch Cover design from Greg

Thanks as ever.

Bobby Hutcherson & The Super Four

Bobby Hutcherson & the Super Four.

Nice Groove.

Baystate. Recorded 11th/12th December 1983 Studio 44, Monster, Holland.

Produced 1991.

Very rare Japanese issue.

Contains the content of the Album "Four Seasons"

Noah Howard

Noah Howard
Patterns and Message to South Africa.

This one's far to good to be languishing in a comments box.
Another fine example of great taste from igor.

Highly recommended

Gary Marks : Gathering 1973

Gary Marks

3 tracks from this highly recommended album.

Difficult to pigeon hole this one. There's some folk, jazz and a touch of soul.

Check out the vibes player on "We Free" David Samuels.

Awesome stuff.

Definitely worth a couple of listens.

Kalaparush : Dream of - - - -

Kalaparush : Dream of - - - -

Recorded at the Spirit Room, Rossie, New York, 2nd/3rd June 1998

A first for Private Press.

Reed player "Kalaparush" Maurice McIntyre, another alumnus of Muhal Richard Abrams' Experimental Band, added an intense spiritual fervor to the abstract paradigms of Chicago's creative music (basically transporting the intuition of Albert Ayler and John Coltrane into a different context). He also straddled the line between rhythm'n'blues and free jazz in a spontaneous way that had few equals. Humility in the Light of the Creator (february 1969), featuring Leo Smith on trumpet, John Stubblefield on woodwinds, Malachi Favors on bass, Amina Claudine Meyers on piano and George Hines' wordless vocals, contained the five-movement suite Ensemble Love and the 19-minute Ensemble Fate. McIntyre formed Light (Fred Hopkins on bass, Sarnie Garrett on electric guitar, Wesley Tyus on drums, Rita Omolokun on vocals) and recorded Forces and Feelings (november 1970). He then relocated to New York and began teaching at the "Creative Music Studio" that vibraphonist Karl Berger had opened in Woodstock in 1972. One of the least prolific of all creative musicians, McIntyre took a decade to find the inspiration for Peace and Blessings (june 1979), basically a duet between Longineu Parsons (on trumpet, flugelhorn, flute, sopranino, soprano and alto) and McIntyre (on tenor, flute, clarinet, bass clarinet and percussion) plus a bassist and a drummer. The live Ram's Run (march 1981) featured a quartet with McIntyre on tenor, Julius Hemphill on alto, Malachi Thompson on trumpet and a drummer. After Dream Of (june 1998), in a trio with drummer Pheeroan Aklaff and bassist Michael Logan, McIntyre settled for a trio with a tuba player and a drummer on South Eastern (november 2001), the live The Moment (november 2001) and Morning Song (august 2003). Paths Of Glory (march 2004) added a bassist to the sax-drums-tuba trio.

John Coltrane : Transition

John Coltrane : Transition

Impulse. Recorded at the Rudy van Gelder Studios, Englewood, June 1965.

One of my all time favourites

Webster Lewis in Norway 1971

Webster Lewis in Norway the Club7 live Tapes
featuring the post-pop, space rock, be-bop, gospell tabernacle chorus and orchestra BABY!

Do you Believe is the killer!

Roy Brooks and the Artistic Truth

Roy Brooks and the Artistic Truth

Live at the Town Hall. Recorded 26th May 1974, New York City.

This is an amazing album

Kalaparusha

Kwanza

Kalaparusha. Recorded 9th May 1977

Kalaparusha, Malachi Thompson, John Betsch, Juma Sultan

What an incredible album.

Pharoah Sanders

Pharoah Sanders.
Izipho Zam, Strata East SES-19732. Recorded 14th January 1969.

Balance, is a stormer ....

Andrew Hill

Andrew Hill

Judgment. Blue Note 1964

Bobby Hutcherson, Richard Davis, Elvin Jones.

Siete Ocho.

Joe Henderson

Joe Henderson.

Multiple, Milestone. Recorded January 1973

Tress-Cun-Deo-La

Robert Glasper

Robert Glasper
Canvas. Blue Note 2005.

No where near out of print, but still a highly recommended album.
Not sure about the title, however you need to hear,

Jelly's da Beener

Max Roach

Max Roach's - Freedom Now Suite.
Recorded in New York 31st August and 6th September 1960.

Freedom day.

Wornell Jones

Wornell Jones.
Fantasy Label 1979.

Time for a one-off soul special.
Just the one killer soul track for when it's time to dim the lights down low.

Must have been Love

Joshua Redman Quartet

Joshua Redman Quartet. 1994

Moodswing.


Just one track from this highly recommended album.

The track is called Obession.

Dick Durham

Dick Durham. OP's Waltz.

Private Pressing.

Recorded at Sound ideas Studios, New York, 10th September 1973

Dick Durham, Richard Davis, Hank Huncharoff.

OP's Waltz

Here's that Rainy Day

Rock Scherzo

The World's Weirdest Ragtime Player

Happiness Bossa-Nova

Oh, That old Riff

Summertime

We'll be together Again