Easily one of the most important records ever made, John Coltrane's A Love Supreme was his pinnacle studio outing that at once compiled all of his innovations from his past, spoke of his current deep spirituality, and also gave a glimpse into the next two and a half years (sadly, those would be his last). Recorded at the end of 1964, Trane's classic quartet of Elvin Jones, McCoy Tyner, and Jimmy Garrison stepped into the studio and created one of the most thought-provoking, concise, and technically pleasing albums of their bountiful relationship (not to mention his best-selling to date).

Davis's second recording since ending his six-year retirement was one of his best of the 1980s. Unlike his bands from the 1970s, this particular unit leaves plenty of space and plays much more melodically. Guitarist Mike Stern lets loose some fury, but electric bassist Marcus Miller is not reluctant to walk now and then in a straight-ahead fashion, drummer Al Foster and percussionist Mino Cinelu are tasteful, and Bill Evans gets in a few good spots on soprano. As for Davis, he was gradually regaining his earlier form. This double LP is highlighted by "Back Seat Betty," a side-long investigation of "My Man's Gone Now" and two versions of Davis's childlike "Jean Pierre." ~ Scott Yanow

A tribute to jazz drumming legend Kenny 'Klook' Clarke. Sax player Nathan Davis assembled The Paris Reunion Band, featuring such jazz greats as Woody Shaw, Dizzy Reece, Johnny Griffin, Slide Hampton, Kenny Drew, Jimmy Woode and Billy Brooks, to honour the late drummer, who was an instrumental figure in the formation of be-bop.

Italian jazz pianist Stefano Bollani explores the rhythms of the samba in this performance recorded live in Rio de Janeiro in 2006.

Part of the 39-part Jazz Sessions music profile/performance television series, this episode focuses on the work of jazz trumpeter Steven Bernstein. Bernstein plays a series of improvisations each dedicated to a different cultural figure.

Track Listings
Side: 1 : Get Live '83 (The Senior Rap)
Side: 2 : Carver Senior Song (Class of '83)

Out of print for over 40 years this is a true rare 12” party hip-hop classic re-issued by Soul Jazz Records in a one-off edition of 1000 copies. Absolutely stunning very rare old school party disco rap 12” performed by members of the Chicago public high-school Carver High. Originally released in 1982 on their own private-press Challenger Records. The track is the opening highlight of Soul Jazz Records’ recent Yo! Boombox collection and is featured here in its full glorious seven and a half minutes and comes complete with exact-replica of the striking original hand-drawn artwork.

The illustrious career of the Brazilian singer Elizeth Cardoso goes way back to when she was a lounge and radio singer in the 1930s and `40s. In fact, French vocal icon Edith Piaf was counted among her many admirers, and Cardoso was revered in Brazil the way Mahalia Jackson and Frank Sinatra were in the USA. While Cardoso preferred samba, she actually recorded the first full bossa nova album (with songs by Tom Jobim) in 1958. In 1966, she got together with peer Ciro Monteiro for a whirlwind tour of bossa nova favorites--A BOSSA ETERNA consists of medleys of Brazilian songs, both well-known and not.

Sam Barsh is perhaps best known for having spent a few years as a member of the Avishai Cohen Trio. With his own group, he performs what he has said is a "funky blend of jazz, R&B and slick ambient grooves." Perhaps that is true in person but, on his debut CD, there is virtually no funk. Instead, Barsh plays 13 originals that are full of repetition, simple rhythms, and inconclusive playing. Many of the selections, such as "nuTrance," "George Dub," and "Rainy Day Loop" do not go anywhere, just stating the same idea over and over again as if he and his quartet are waiting for the singer or soloist to show up and give them some direction. As far as ambience goes, there is not much color or originality to be heard although the musicianship is clearly at a high level. Barsh sounds like he can play keyboards well, but clearly his compositional skills, as evident on this CD, are not at the same level. ~ Scott Yanow