”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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”Genesis” by Charles Sullivan on Strata-East SES-7413

December 9, 2025

My Strata-East collection continues to grow. This is the 12th title I believe. I’ve been after this one for quite a while. Seems very scarce. Hard to find in decent shape for sure. And to find a copy with minimal wear on the cover is almost impossible. But I managed to find this copy from a new source and it’s in lovely shape, both cover and vinyl. This source has plenty of other rare stuff as well so I’m hoping to acquire some more.

Sullivan was an amazing trumpeter and I have a couple of records on which he is featured, one leader date and one where he is a sideman. Very nice to been able to add ”Genesis”, which is probably his magnum opus, to the shelves as well.

The music on this album is a mix of spiritual elements, post-bop, funky grooves, infectious percussion, serene ballads and some beautiful female vocals on one tune. A complete 70’s jazz package.

The group features Stanley Cowell, Sonny Fortune, Billy Hart and Dee Dee Bridgewater among others.

A wonderful addition before the year draws to a close.

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”Ghetto Music” by Eddie Gale on Blue Note BST 84294

November 7, 2025

Fantastic spiritual excursion by another Sun Ra sideman, Brooklyn-born trumpeter Eddie Gale. His debut as a leader. Seems this title is quite scarce and in demand. Been looking for it for a while and was very happy to have found a copy online recently.

The first tune ”The Rain” features some lovely lead vocals by Eddie’s sister Joann Gale. The theme is a beautiful one. But the highlight is Gale’s trumpet. His playing is searching and wailing. Superb notes are chosen, displaying a wonderful tone and virtuoso technique. This continues in even more extravagant fashion on the whirlwind second tune ”Fulton Street”. High energy stuff played with intent. Gale’s solo is outstanding. A fiery statement. The whole group is on fire. Russell Lyle’s tenor is fantastic. Got to mention the drums as well. There are two drummers (two bassists as well). Actually, the drums might be the highlight overall on this tune. The thunderous intensity is impressive, and they are very well recorded, as you would expect from Van Gelder.

It gets calmer on the third tune ”A Understanding”, which is spiritual jazz in a nutshell. Expansive and deep, sombre and reflective in nature.

The second side opens with a marching rhythm and chanting vocals. The trumpet solo that follows is sublime in it’s oriental and virtuosic brilliance. Gale’s approach is flamboyant and expressive. Love the tenor solo as well on this. It follows the oriental flavors that Gale led with. It’s called ”A Walk With Thee” and is perhaps my favorite tune on the album.

The album concludes with ”The Coming of Gwilu”, a 13 minute exploration in spiritual moods that sums up the whole approach of this album in a beautiful way. A defined bass line, lively percussion/drums and chanting vocals leads the way into musical nirvana.

I would go as far as to say this is probably in my top 5 list of favorite Blue Notes, and that’s saying a lot.

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”The Will Come, Is Now” by Ronnie Boykins on ESP-Disk 3026

November 4, 2025

Sun Ra stalwart Ronnie Boykins takes the helm on this session, his only effort as a leader, recorded in 1974 and released in 1975. It was the last album released by ESP before temporarily shutting up shop. Boykins, a wonderful bassist and composer, penned all the tunes on the album. The music is spiritual and adventurous, but lyrical and focused. I hear Mingus influences here for example. The arrangements are very engaging and interesting. The spirituality of the 70’s is mixed with nods to the past. African leaning elements are present as well, with some superb percussion and moods, especially on the last tune.

Favorite picks of the album are probably the 12 minute plus title track ”The Will Come, Is Now”, with it’s spiritual, oriental touch and percussion highlights, and also the partly Ornette-esque ”Dawn is Evening, Afternoon”.

This is one of the true gems of 70’s jazz for sure. Been after it for quite a while. Not an easy one to find, so very happy to be able to put this very clean copy on the shelf.

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”Life’s Force” by Ahmed Abdullah on About Time AT-1001

October 16, 2025

Trumpeter Ahmed Abdullah was a longstanding member of Sun Ra’s Arkestra. This title was his debut as a leader, released in 1979. The band features Abdullah on trumpet, Vincent Chancey on french horn, Muneer Abdul Fatah on cello, Jay Hoggard on vibes, Jerome Hunter on double bass and Rashied Sinan on drums. The listener is treated to some fantastic jazz which can be described as spiritual and very lyrical. Love the inclusion of the french horn, cello and vibraphone, which gives the music a special flavor. I’m a sucker for the cello in jazz so this is right up my alley. Fatah’s contribution is stellar.

Abdullah’s tone is smooth, earthy and pleasant. His style is lyrical and grounded, focusing on moods and melody rather than flamboyant flair and virtuosity. I need to check him out with the Arkestra as well, to compare how he fares in that environment. I’m sure it’s a lovely fit.

This is one of those obscure (for the larger masses anyway) titles from the 70’s, pressed on a small label that is just outstanding. I’ve discovered so many great titles during the past year, so many new artists and labels. Mainly from the 70’s, which I now feel is probably my favorite decade when it comes to jazz.

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”Reminicent Suite” by Mal Waldron & Terumasa Hino on Victor SMJX-10155

October 11, 2025

Trying to tick off my most wanted Waldron albums from the 70’s from the wishlist. This one was at the top of that list. Got ”Spanish Bitch” in the spring which was one of the other ones high up on the list.”

Released in Japan in 1973. What makes this one special is of course the two epic side long cuts and Waldrons usual brilliance, but the presence of Japanese trumpet master Terumasa Hino is for me of pivotal importance in making this a standout session.. What a player. Technically dazzling and very lyrical. The rest of the all-Japanese band cooks as well, with Takao Uematsu on tenor sax, Isao Suzuki on double bass, Terumasas brother Motohiko Hino on drums and Uzi Imamura on percussion.

The music is spiritual and dark, longing and searching, groovy and energetic, reflective and meditative. A great variation within the tunes. The title track was written by Waldron and ”Black Forest” by Terumasa Hino.

This copy has the original obi and insert which is very cool. Superb condition on both the vinyl and jacket. Has to be one of my favorite additions of the year, and there has been a lot of great ones. Like I’ve mentioned many times before, Waldron is my favorite pianist and this title was a must have for me.

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”Interstellar Space” by John Coltrane on Impulse ASD-9277

October 10, 2025

Fresh new addition. Picked up the package today. Some sun bleaching on the jacket, but the vinyl sounds as new. While I’m listening to this album now, I’m a bit baffled by myself for not acquiring this masterpiece on vinyl earlier, as I’ve had the stereo deck now for over a year. Better late than never I guess.

Two of my favourite jazz musicians grace this later Impulse title, namely Coltrane and Rashied Ali. A powerful duo recording displaying both musicians mastery and the outstanding musical connection they shared together. The album was recorded in February of 1967. Coltrane died later that year in July. It was posthumously released in September of 1974. Four planetary tunes, all outstanding. My favourite is probably the second cut on the first side named ”Venus”, featuring Ali on brushes. His rhythmical and intricate approach is so masterfully executed. He was a powerful drummer but not in that he bashes the skins, but more in that he plays very dynamic, applying a flurry of propulsive hits while also using his trickery with more subtle and delicate notes.

Coltrane just flows seamlessly through the proceedings, drawing from a seemingly never ending well of ideas. His mastery is on full display here, becoming more alive than ever in this stripped down setting. He plays like it’s his last day on earth. That he needs to get the last creative breath, every last celestial idea, out of his system before his meets his maker. That palpable sense of urgency makes this one of my absolute favourite Coltrane recordings. A supernova in his discography.

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”The Call” by Horace Tapscott on Nimbus 246

October 7, 2025

Horace Tapscott conducting the Pan-Afrikan Peoples Arkestra, session from 1978 on the Nimbus label. Tapscott was a great pianist whose discography I’m slowly getting into. Here he is the pianist and conductor of a large group of musicians. But it never really feels like a larger group. It’s very well excuted with tasteful layerings of instruments and letting the space be open behind the soloists, like in a smaller combo.

We have some great larger ensemble playing as well, like for example during the theme on ”Nakagini Suite” where it feels like a mix of classical and jazz.

The group apparently played every last Sunday of the month for almost five years at the Immanuel United Church of Christ in Los Angeles. That would have been something to have witnessed

It’s spiritual and afro-centric which I love. Will continue my Tapscott trip with great excitement.

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