”Action” by Jackie McLean on Blue Note BLP 4218

July 31, 2026

This is one of my favorite Jackie Mac albums on Blue Note and it contains some brilliant post-bop with McLean and Co in top form. The music is full of energy, fire and technical prowess as this hard to beat quintet smokes throughout. We have Tolliver, Hutcherson, McBee and Higgins backing Jackie.

This one went under the radar for me for a long time, don’t know why really and it is a damn pity, but better late than never to appreciate this highlight in McLean’s career. The music is highly engaging throughout and it feels like Jackie has never sounded better. Favorite tune is perhaps the Tolliver penned ”Plight” with it’s slower paced swaying and flowing beat.

A fantastic recording by Van Gelder, so crisp and well balanced. Love these later BN’s in mono, they are punchy as hell.

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”Byrd in Hand” by Donald Byrd on Blue Note BLP 4019

July 30, 2026

Been after this Byrd on Blue Note for a very long time. It’s one of those elusive titles that I’ve never found a clean enough copy of. So, very happy to finally have landed this lovely example.

One of Byrd’s best imho. The great combination of Byrd and Adams is well known and here we also get the addition of Rouse which elevates it even further. The rhythm section of Walter Davis Jr., Sam Jones and Art Taylor is a huge plus as well.

Favorite tunes are; the opening standard ”Witchcraft”, ”Here Am I” a medium tempo beautifully melancholy effort penned by Byrd and ”Clarion Calls” the minor-key original by Davis Jr., with it’s brilliant theme and wonderful solos.

Love the cover art on this one as well, with the orange tint and Byrd hanging out outside of Van Gelder’s Englewood Cliffs studio.

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”Live at the Lighthouse” by Lee Morgan on Blue Note BST 89906

June 26, 2026

I’ve always loved Lee Morgan. My favorite albums with him as the leader are from the 50’s. His sideman work during the 60’s is stellar as well. But this live album recorded in 1970 at The Lighthouse in Hermosa Beach in Los Angeles is something else. His style is mature and has developed from the previous two decades. We’re talking fiery and progressive modal/post-bop here, which he and the band executes to perfection.

Morgan plays both the trumpet and flugelhorn. The fantastic cats that backs him consists of Bennie Maupin on tenor, flute and bass clarinet, Harold Mabern on piano, Jymie Merritt on bass and Mickey Roker on drums.

We’re treated to four tunes in this original 2 LP set, one tune per side. So it’s long format stuff, which I love. Favorite tunes are perhaps ”Absolutions” by Merritt and ”Neophilia” by Maupin.

The sound has a dry character and the treble is potent in the cymbals for example, but the low end and Merritt’s bass is very present. Overall a very ”live” sounding recording, which the whole point is of course. You wanna feel like you’re sitting there at a table in the club and experiencing the energy from the band and I think you get that.

This album ranks quite high on my list of favorite Morgan albums. It’s a resounding statement in time which exemplifies the leaders virtuosic and evergreen talent.

I visited the venue in Hermosa Beach in 2022. Below are some images from that visit.

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”2 3 4” by Shelly Manne on Impulse A-20

June 25, 2026

I’ve been after this one for a long time but never pulled the trigger on a copy. Circumstances be damned cause when this pristine copy showed up recently I had to get it, finally. We have Manne leading a group consisting of Coleman Hawkins on tenor and piano (on one tune for the first time ever), Hank Jones on piano, Eddie Costa on piano and vibes and George Duvivier on double bass.

Manne made his way from the West Coast to New York and reunited with Hawkins and Jones with whom he had played with in the 40’s.

The sound is absolutely stellar on this date with Rudy Van Gelder excelling. The album was recorded during two sessions on the 5th and 8th of February 1962. Released the same year.

My favorite tunes are perhaps their beautiful take on the classic standard ”Cherokee”, the trio performance on ”Lean On Me” and the duet between Manne and Hawk called “Me and Some Drums”.

One of my favorite albums in the Impulse catalogue and in the jazz canon overall. The vinyl sounds like new, zero noise and a cover in really nice condition to go with it. And how about that cover art image of Manne… beyond cool.

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”Soprano Sax” by Steve Lacy on Prestige PRLP 7125

June 24, 2026

A special album for several reasons. It’s Lacy’s first album as a leader. It’s a quartet and the soprano is the only horn. Can’t think of any other album in my collection when that’s the case. A special one for me personally as well, as it’s an album from the 50’s, and I haven’t bought one from that decade in quite a while. I used to buy 50’s jazz albums all the time, but then I got into the post-bop and avant-garde stuff and been focusing on that for several years now. I feel like focusing a bit on the 50’s and early 60’s again. And this title is a great start.

A lovely session recorded at Rudy’s in Hackensack on November 1st 1957 and released in 1958. Lacy is killing it with this material, which is quite different of course to what he would play later on. One thing that was typical with Lacy is that he always played some Monk compositions. He played with the iconic pianist for a brief period and after that the music of Monk appeared frequently on Lacy’s albums and during his live performances. On this album he chose ”Work” which is a great tune with a quirky theme. Other cuts are the standard ”Alone Together”, which is a definite highlight for me, Cole Porter’s ”Easy to Love”, the calypso ”Little Girl, Your Daddy Is Calling You”, ”Day dream” by Ellington/Strayhorn and ”Rockin’ In Rhythm” by Ellington.

Not a very common LP. Flies a bit under the radar perhaps. But you should check it out if you’re unfamiliar. Original pressings are scarce but it’s worth the search for sure.

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”In a Silent Way” by Miles Davis on Columbia CS 9875

June 22, 2026

A different Miles album for sure from what I’m used to, where he steps into his electric period. The music is stretched, experimental and is very much jazz fusion.

I like this stuff and we still have Shorter, Hancock and Williams from the second great quintet. Some other great jazz cats as well in Dave Holland and Chick Corea. I’m diggin’ the stuff that guitarist John McLaughlin and keyboardist Josef Zawinul contributes. Besides Miles’ evergreen trumpet playing we have Shorter’s soprano sax standing out as a definite highlight.

I enjoy mixing it up when I listen to jazz. A listening session becomes very interesting when you for example choose five records and it’s Booker Little, Albert Ayler, The Ensemble Al-Salaam, Ben Webster and then something from Miles’ later period. There are plenty of different styles to explore and enjoy. And if you mix them during a listening session you’re bound to have a deeper connection and really experience the diversity and beauty of the art form.

In a Silent Way is on the shelf and will be pulled frequently.

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”Sorcerer” by Miles Davis on Columbia CS 9532

June 18, 2026

Slowly collecting titles by Miles from the late 60’s and the work by the second great quintet and a bit beyond. Sorcerer is one of the highlights of that era. The quintet is in full flow at the peak of it’s powers. There is not many other bands that top this group. The music is sophisticated and the creative heights are way up in the clouds. Post-bop/modal jazz at it’s best. The musicianship is outstanding. With players like Miles, Shorter, Hancock, Carter and Williams you’d expect nothing less. It feels like they created a whole new concept of jazz ensemble playing.

Out of all the albums the second great quintet released this is perhaps my favorite. But all of them are top notch. One that is definitely missing is Nefertiti which I will look to acquire sooner rather than later.

For me, Tony Williams’ drums are an integral part of this group. His playing is so unique, so creative and his approach blends so well with the style of jazz they play. Miles trumpet playing is sublime. He was a genius. Shorter composed four out of the seven tunes. Amongst them my favorite tune on the album, ”Prince of Darkness”. His playing is out of this world. Hancock is always great on the keys, displaying so much finesse and his beautiful approach is something to savor. Carters bass lines are so well executed and very creative. He has a big fat sound and his double bass is nicely recorded. All the members are on a different level. Probably my favorite group in jazz together with Coltrane’s classic quartet and Dolphy’s band with Booker Little, Mal Waldron, Richard Davis and Ed Blackwell.

Very happy with this original 1st stereo copy with 1A/1A stampers.

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”Stick-Up” by Bobby Hutcherson on Blue Note BST 84244

June 11, 2026

Found this 1st US original pressing with the shrink on (but opened) and also the Japan direct import OBI and insert present. Pretty cool.

It opens breezy and up-beat with a take on Ornette’s ”Una Muy Bonita”. A wonderful opener. Then we enter post-bop land a la Hutcherson, starting with ”8/4 Beat”, which is a superb example of how great late 60’s post-bop can be. Ballad time next with the beautiful ”Summer Nights”. Love the interplay between Tyner and Hutcherson.

The second side kicks off with a typical up-tempo post-bop smoker called ”Black Circle”. Henderson’s opening solo is fire, dazzling me with his edgy playing and lovely tone on the tenor. ”Verse” comes next, and it’s is a slower burning number with a swaying drum beat. I love when Henderson enters proceedings and delivers a wonderful solo. The last tune ”Blues Mind Matter” picks up the pace and again affirms my love for post-bop during this period. A short one compared to the others but oh so sweet.

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Blue Notes

June 1, 2026

A few from the 4000 series.

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”Heavy!!!” by The Booker Ervin Sextet on Prestige PRST 7499

May 9, 2026

In the words of Marty McFly; this is heavy. Have some great albums by Booker Ervin, but still some left to try and find. This was one of the ones I was looking for, until just yesterday when I bought it from a local store. Top condition 1st pressing with the Prestige trident at 3 o’clock, which was only released in stereo and recorded by Richard Alderson.

The personnel on this is amazing, with Booker on tenor, Jimmy Owens on trumpet and fluegelhorn, Garnett Brown on trombone, Jaki Byard on piano, Richard Davis on double bass and Alan Dawson on drums. Ervin’s bands always seem to be so tight and on point.

It kicks off with the up-tempo ”Bächafillen”, penned by Garnett, which is one of my favorites from this album. Great solo by the composer. Another favorite is the classic melancholy ballad ”You Don’t Know What Love Is”, on which Ervins lyrical and inspired playing is so beautiful. Love Byard here as well. ”Aluminum Baby” is a stroll paced number written by Byard which features a lovely tenor solo.

The second side starts with the groovy and catchy blues ”Not Quite That”, written by Garnett. The brilliant Jaki Byard’s crossover style is a joy to behold. ”Bei Mir Bist Du Shoen”, another favorite, begins in a dramatic cinematic fashion, and then rips into a smoking tempo with Booker taking a patented fiery solo, which should disarm any doubt for the listener, that you’re hearing one of the greatest tenor players in jazz. Jimmy Owens and Garnett take great solos as well with the latter really impressing me on the trombone. Jaki Byard owns proceedings after that with an original solo, which reminds me why he is one of my favorite pianists in jazz. Then back to the theme at the beginning. A lovely conclusion to a session that is probably in my top 3 favorite Ervin titles.

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”Terumasa Hino meets Reggie Workman - A Part” on Love Records / Canyon CAJ-1005

May 8, 2026

Best find of the year for sure. A very rare 1st pressing Japan only promo release by trumpet virtuoso Terumasa Hino and bass master Reggie Workman. Recorded in 1970 for Hino’s own private label Love Records and released in 1971 through the major label Canyon Records. Hard to find but worth the search for sure. This is jazz made for the lovers of post-bop with some avant-garde sprinkled on top. The side long title track has that for sure. It’s so beautifully blended. Very varied stuff with several different parts and much to explore and take in. Virtuoso style playing by both leaders. Hino absolutely smokes. Really love the wailing guitar solo as well by Kiyoshi Sugimoto. The sound is organic and natural which I love.

The second side is a bit calmer with less avant elements. Two lovely post-bop tunes that are lyrical and searching. When dropping the needle and the first tune begins a fantastic sound fills the room. That this is a top notch recording is very evident. Balanced with great detail overall, with the drums sounding particularly sublime. The music is beautiful. In my view, jazz doesn’t get much better than this. Melancholy post-bop is the stuff for me. Takao Uematsu on tenor definitely has an edge to his playing.

The last tune is a slower number with some great solos and lyrical explorations. I especially love the bass clarinet solo by Uematsu and Hino’s solo is brilliant as well, where he truly shows why he should be considered one of the most talented trumpeters in jazz.

A major addition which will be hard to top this year.

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”Choma (Burn)” by Harold Land on Mainstream MRL 344

May 1, 2026

It opens with the title track. The drums are raucous and quite tinny sounding. One might suggest they are not optimally recorded. But it could also be the artistic intention of course. Lots of bashing, less finesse. And there are two drummers. So it feels quite cacophonous. Like a bit of free jazz at times. But the contrast between the relentless pounding of the drums and the solo instruments is quite cool. Land is on flute on this one, plays superbly, and that contrast between the sensitive flute and the raw sound of the raucous rhythm section is different and genius at it’s core.

The second tune is much calmer, groovy and catchy. Drums still very raw sounding.

The first tune on the second side has some groove going on. Great fiery tenor by Land over thunderous drums. Everything else seems to dissipate until the drums gets a bit calmer and the tenor gives the space up. Wild stuff at the end, like free jazz with a groove. The tenor comes back and plays that lovely theme. The unrelenting groove continues and it ends with stop and start drums during the Rhodes solo until it ends with the theme.

The last tune ”Up and Down” sounds perhaps the most post-bop with Land and Hutcherson playing some lovely solos. The drums sound tinny and raw here as well, but it’s manageable as they are played more delicate for most of the tune. My personal favorite.

All in all a very different Harold Land album which stands out for me as a bit more of a free expression while still maintaining cohesion, and recording-wise a much rawer session than I’ve heard him take part in before.

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”The Skipper at Home” by Henry Franklin on Black Jazz BJQD/17

April 30, 2026

Acquired this today and another one when a store in the city had a jazz drop. Arrived 10 minutes before they opened and was first there. Another guy came and it was just the two of us waiting. I told him I was after this Henry Franklin first and foremost and he was eyeing another title. While chatting we realized that we both followed each other on Instagram. Nice guy.

This album is something else. Fantastic 70’s jazz, just like the other Franklin I got, also on Black Jazz. The post-bop tunes are insanely good and some overall favorites are Chick Corea’s ”What Was” on which trumpeter Oscar Brashear and Charles Owens on tenor really cooks, ”The Magic Boy” which is a quintessential uptempo post-bop burner with Skipper on fire, the soothing slow tempo ”Soft Spirit”, which features some beautiful flute playing by Kirk Lightsey , and another beautiful flute heavy tune called ”Waltz for Boobuss”.

The bass playing is outstanding by the leader throughout and is very much in focus and upfront in the mix. He definitely is one of my favorite bassists in jazz.

For me, one of the best on the Black Jazz label and from the 70’s era overall. A beautiful copy. The vinyl plays magnificent and the cover was in the shrink when I bought it. It came off of course. The usual Black Jazz punch hole is also present.

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”Perception” by Catalyst on Muse MR 5025

April 28, 2026

From doing a little research, all white label promos of this title comes with some kind of cut corner/saw cut. So in this case it was fine with me. Great condition otherwise for the cover and the vinyl is in great shape as well. The Muse label has it’s gems, that’s for sure. This one is one of the best on the label for me.

The brilliant but short-lived group Catalyst was formed in Philadelphia in the early 1970’s. ”Perception” from 1973 was their second release following their self-titled debut, released on Cobblestone a year earlier. They released four albums in total.

The music draws from several different styles, like spiritual jazz, post-bop, avant-garde, funk-jazz, soul jazz and fusion. The concoction is pure fire. The groove is infectious. The musicianship is outstanding. The electric elements are tasteful. The recording quality is top notch as well. One of the absolute highlights of this album is the tenor and flute playing by Odean Pope. Coltrane-esque at times but definitely his own man. Besides Pope we have a large ensemble, have a look at the back slick.

A favorite tune on this album is ”Ile Ife” on the second side. With the brilliant drum and bass groove foundation and Pope’s wailing sax floating above. Magic.

If you aren’t familiar with this one, I would highly recommend you go explore.

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”Multiple” by Joe Henderson on Milestone (M 9050)

February 20, 2026

One of my favorite Henderson titles on Milestone.

Another Henderson on Milestone crossed off the list. Have been lucky the past year in finding the top titles that I’ve been after. Every other one after this will be a bonus. My top 5 favorites are in no particular order; Power to the People, Tetragon, The Elements, In Japan and the one I’m showing here, Multiple.

It’s a beautiful album filled with spirituality and soul. Henderson is on fire as usual, delivering his tenor mastery. The compositions are all superb, with the second tune on the first side, which is ”Bwaata”, standing out as one of my favorites. The swaying ebb and flow rhythm is great, the lyrical theme is speaking to me, and Henderson’s thoughtful and expressive tenor sweeps me away to a warmer place. Another highlight on this tune is Dave Holland’s bass solo with the chimes.

Another favorite (perhaps THE favorite) is ”Song for Sinners” with it’s deep and brooding undertones, percussive rhythm, sacral choir and absolutely brilliant tenor display by Henderson.

The group on this session is; Henderson on tenor, soprano, flute, percussion and voices, Larry Willis on electric piano, ring modulator and echoplex, Dave Holland on electric and double bass, Jack DeJohnette on drums, Arthur Jenkins on conga drum and percussion and Janes Ulmer as well as John Thomas on guitar.

The whole album is lovely and if you’re unfamiliar I urge you to check it out. For me, one of Joe Henderson’s best.

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”Voyage From Jericho” by the Charles Tyler Ensemble on AK-BA (AK 1000)

February 19, 2026

Sublime avant-garde effort from 1975 by saxophonist Charles Tyler. A private press on his own AK-BA label, which only released a handful of titles from the mid 70’s to the early 80’s. We’re treated to a slice of NYC loft era jazz of the highest order. Quite accessible stuff with the avant mixed with oriental flavors. And it’s one of those oriental tinted tunes that’s a clear favorite, namely ”Return to the East”. I definitely have an affinity for these kind of tunes, which sets an exotic, lusciously dark and moody feel.

Tyler excels on the alto and baritone throughout and the band backing him are expressing themselves at a very high level as well. We have Sun Ra alumni Ronnie Boykins on double bass, Earl Cross on trumpet, Steve Reid on drums and Arthur Blythe on alto.

This is music to really get in deep with. It’s never predictable, but always challenging the listener to get involved. To reflect and to marvel at the creation of this genre of jazz and it’s revolutionary impact on the art form.

I will continue to explore the avant-garde and it’s many treasures.

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”Love Dance” by Woody Shaw on Muse MR 5074

February 10, 2026

Another Shaw title crossed of the list and this is a lovely session, recorded in 1975 and released in 1976. I would say that this is one of the highlights in his discography. We are served some post-bop goodness which is lyrical and elegant, with latin percussion added as icing on the cake. As you take in the first few notes on the first track you know this album is gonna be a treat.

A fantastic ensemble is backing Shaw, with Steve Turre on trombone/bass trombone, Rene McLean on soprano/alto sax, Billy Harper on tenor sax, Joe Bonner on piano, Cecil McBee on bass, Victor Lewis on drums, Guilherme Franco on percussion and Tony Waters in congas. 70’s jazz royalty for sure.

Favorite picks are the 12 minute long title track penned by Joe Bonner, the swinging ”Sunbath” composed by pianist Peggy Stern and Shaw’s own cooker ”Zoltan”, which is also featured on Larry Young’s ”Unity” as the opening track.

I’ve now managed to collect Woody Shaw’s first six titles as a leader. Time to focus on the later releases more in-depth. I already have ”Lotus Flower” from 1982 which is really good, so looking forward to exploring some more of the later stuff.

This one is in wonderful shape. The cover was still in the shrink, but I disposed of that per usual. The vinyl is in great condition as well.

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”Moon Flight” by Rashied Ali on Survival SR 109

February 3, 2026

My third Rashied Ali title on the Survival label, which he founded in 1972. Relatively accessible stuff. You could say it’s post-bop infused avant-garde with two beautiful ballads present as well. Ali’s patented swirling drum patterns on the more up-tempo stuff is a joy to behold. His ability to fill the space with intricate rhythmic chaos while maintaining cohesion is beautiful. He seems to have a feathery touch around the drum kit but still producing intensity and power. His brush work on one of the before mentioned ballads, which is Waldron’s ”Soul Eyes”, adds so much texture and the tune is a clear highlight. The brushes are used on the other ballad as well, Coltranes ”Naima” (spelled ”Niama” here), which also is a highlight.

Ali is one of my favorite drummers, no doubt. The rest of the bunch are James Vass on alto and soprano sax and flute, Marvin Blackman on tenor and soprano sax, Charles Eubanks on piano and Benny Wilson on double bass. A great group that I have not heard before I believe. So satisfying to explore new players performing at such a high level. The notion that is becoming apparent is to dive deeper into their respective works.

If you haven’t heard this one, give it a try, even if you’re hesitant towards the avant-garde. I think you’ll find enjoyment here. Try the ballads. It’s one of my absolute favorite releases on Survival for sure.

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”Song of Songs” by Woody Shaw on Contemporary S7632

January 24, 2026

Trying to get hold of Woody’s stuff as a leader whenever I can. This one on Contemporary, recorded 1972 and released 1973, has been a want for quite a while. It was his second effort as a leader, following the lovely debut ”Blackstone Legacy”, also on Contemporary.

I love his virtuoso playing and intricate compositional skills. All tunes on the album are his originals. Complex and deep stuff, and his execution on the trumpet is brilliant. His solos are always a treat. His choice of notes and overall approach is unique. A highly advanced player with dazzling technique and harmonic ideas that keeps you engaged and hanging on his every note.

The band backing him is great, with Bennie Maupin on tenor on one tune, Emanuel Boyd on flute and tenor sax, Ramon Morris on tenor sax, George Cables on acoustic and electric piano, Henry Franklin on bas and Woodrow Theus II on drums.

The search for more of Shaw’s recordings continues.

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”Tetragon” by Joe Henderson on Milestone MSP 9017

January 21, 2026

A Henderson on Milestone is always a treat.

First acquisition of the year is this Henderson gem on Milestone. Slowly ticking off his albums on that label, and this is the fourth one. Almost got a fifth at the end of last year but the grading was way off on that one.

This is definitely up there among my favorite Henderson albums. It’s very accessible, with a mix of hard bop and post-bop styles.

A nicely recorded session. It features a great tenor sound which is earthy and natural, a natural drum sound as well with nice details present on the cymbals, the bass is thick and full and the piano is delicately pleasant.

Recorded on two different dates in 1967 and 1968 at Plaza Sound Studios i NYC. We have two different quartets, one with Henderson on tenor, Don Friedman on piano, Ron Carter on bass and Jack DeJohnette on drums. Kenny Barron and Louis Hayes are present instead of Friedman and DeJohnette on one of the sessions.

Favourite tunes is the smokin’ Henderson original ”The Bead Game” and the soothing ”Waltz for Sweetie” penned by Walter Bishop Jr.

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