Saxophone Solos is a spectacularly explosive, historically monumental, and masterfully synchronized solo acoustic avant-garde masterpiece executed by the legendary British soprano saxophone vanguard icon and free-music pioneer Evan Parker, reissued with historic archival extensions in 1994 by the premier independent European experimental preservation imprint Chronoscope Records. Spanning nearly 80 minutes of breathtakingly intense, radically unbound multi-phonic interactions across 13 continuous real-time movements, this high-fidelity document serves as an absolute pinnacle monument in mid-1970s free improvisation archaeology. Originally recorded in London during September 1975, Parker utilizes this unadorned solo woodwind laboratory to execute a fierce, forward-thinking sonic blueprint that completely rewrote the structural grammar of modern woodwind literature, utilizing unprecedented physical mechanics to transform a single acoustic horn into a multi-layered electronic-sounding canvas.

Earth, Wind & Fire has delivered more than its share of excellent albums, but if a person could own only one EWF release, the logical choice would be That's the Way of the World, which was the band's best album as well as its best-selling. Open Our Eyes had been a major hit and sold over half-a-million units, but it was World that established EWF as major-league, multi-platinum superstars. Fueled by gems ranging from the sweaty funk of "Shining Star" and "Yearnin' Learnin'" to the gorgeous ballad "Reasons" and the unforgettable title song, EWF's sixth album sold at least five-million units. And some of the tracks that weren't major hits, such as the exuberant "Happy Feelin'" and the gospel-influenced "See the Light," are equally powerful. There are no dull moments on World, one of the strongest albums of the '70s and EWF's crowning achievement.

Blue Black is a profoundly deep, rhythmically complex, and masterfully inventive post-bop quartet masterpiece by the legendary American avant-garde jazz pianist and composer Andrew Hill, originally recorded in 1975 and beautifully preserved here via Test of Time Records' highly collectible 2005 reissue. Spanning 37 minutes across five striking original compositions, this high-fidelity document captures the visionary bandleader during a brilliant mid-1970s creative run for the celebrated Japanese jazz imprint East Wind. Striking a sublime balance between structural discipline and fluid, open-ended improvisation, Hill's idiosyncratic, fragmented piano style guides a superb and deeply intuitive acoustic ensemble. The session features the sharp, expressive woodwind coloring of saxophonist and flautist Jimmy Vass, beautifully anchored by Chris White's deep, woody acoustic bass lines and Leroy Williams' crisp, multi-directional drumming. The tracklist is tightly sequenced and exceptionally focused, highlighted by the sprawling, polyrhythmic 10-minute opener Golden Spook, the delicate, impressionistic textures of Mist Flower, and the dark, simmering modal pathways of the Title Track. Exceptionally preserved in pristine lossless audio quality with complete artwork scans, this definitive reissue stands as a mandatory cornerstone and a prized collector's treasure for global purists of modern creative jazz, advanced post-bop composition, and the historic East Wind recording legacy.

Hommage is a profoundly deep, intimate, and masterfully introspective solo acoustic piano tour de force by the legendary American jazz icon and vanguard composer Andrew Hill, originally recorded in 1975 and beautifully preserved here via Universal Japan's highly collectable 2015 digital remaster for the East Wind Music archive series. Spanning nearly 38 minutes across seven striking, fluid structures, this high-fidelity document captures the famously complex bandleader completely stripped of an accompanying rhythm section, laying bare the absolute core of his idiosyncratic harmonic vocabulary and brilliant improvisational mind. Recorded in New York for the celebrated Japanese jazz label, Hill navigates the solo piano format with an orchestral sense of space, utilizing rolling avant-garde dissonances, unexpected rhythmic displacements, and fragments of deeply rooted blues phrasing. The tracklist features phenomenal, highly expressive original compositions alongside a stunningly unique, angular interpretation of Duke Ellington's timeless classic Sophisticated Lady. Highlights include the cascading modal pathways of Naked Spirit, the jagged momentum of Insanity Riff, and the sprawling, episodic closer Rambling. Exceptionally preserved in pristine lossless audio quality, this definitive Japanese reissue stands as a mandatory cornerstone and an absolute holy grail for global purists of solo acoustic jazz piano, advanced post-bop composition, and the historic East Wind catalog.

Released in 1975 by Concord Jazz, Gems is a sparkling, joyful, and breathtakingly agile masterpiece that captures two historic string virtuosos in absolute peak form. Joe Venuti, the universally recognized founding father of jazz violin, forms a dazzlingly tight, telepathic partnership here with George Barnes, a pioneering titan of the electric jazz guitar known for his punchy, horn-like single-note lines. Backed by a flawless rhythm engine consisting of acoustic bassist Herb Mickman, steady rhythm guitarist Bob Gibbons, and the legendary, ultra-crisp swing timing of drummer Jake Hanna, the co-leaders deliver a masterclass in classic swing repertoire. The interactions between Venuti’s sweeping, energetic bow work and Barnes’s pristine electric picking are incredibly vibrant, showing off an effortlessly witty musical dialogue. Moving seamlessly from high-speed, fiery gymnastics on Lover and I Want to Be Happy to a brilliantly swung adaptation of Dvořák’s classical Humoresque, this crystalline acoustic session remains a definitive, essential treasure of small-group swing history.

By late 1975, the Sweet were no more the power in pop land that they had once seemed to be. It was nine months since they broke away from songwriters Nicky Chinn and Mike Chapman, with whom they'd enjoyed almost unfettered success - since that time, only "Fox on the Run" had suggested that the Sweet's own songwriting prowess was even vaguely capable of competing with the masters, and two further singles ("Action" and "The Lies in Your Eyes") had emerged as the band's worst performing efforts since their very earliest days. Time, then, to dig into the vault and see what could be done to salvage the situation - time, then, for Strung Up, a double album comprised of three-year-old live material plus a mishmash of old and new studio work…

Elvin Bishop's Macon Takeover continued on his second Capricorn album, which had a slightly less country feel than Let It Flow but continued to be dominated by twin guitar playing (courtesy of Bishop and Johnny "V" Vernazza) and honky tonk piano playing (from Phil Aaberg). The song quality wasn't quite as consistent this time, but "Sure Feels Good" became Bishop's second singles chart entry.

A short-lived Dutch project Galaxy-Lin were founded in 1974 by a guitarist/mandolinist Robbie Van Leeuwen, who had already been renowned as one of founders of 60s Dutch pop/rock superstars named The Shocking Blue.
Their two albums have been compiled and released in 2013 via Universal Music.
Less chartpop than Shocking Blue the music on these albums is more prog with a hint of jazzrock. Very much on the forefront is the sound of the electric mandolin, a very nice touch indeed. Vocals are by Rudy Bennett of Motions-fame and the other instrumentalists are from various well known Dutch rockbands.

Guitarist Ax Genrich began his career in 1970 with a brief stint with German prog-kraut rockers Agitation Free. There he was able to develop his improvisational style, but was soon poached by Mani Neumeier to join Guru Guru. Together with bassist Uli Trepte, Genrich and Neumeier enjoyed their first major successes and were soon regarded as the new figureheads of Krautrock, releasing Känguru in 1972, a milestone in the genre. After four years and four albums, Ax Genrich left Guru Guru because the string wizard had new plans. The first of these was called Highdelberg and became a kind of Krautrock supergroup project: Guru Guru's Mani Neumeier sat at the drums, supported by Kraan bassist Helmuth Hattler, guitarist Peter Wollbrandt and drummer Jan Friede, as well as the two keyboardists and electronic specialists Dieter Moebius and Hans-Joachim Roedelius (both also of Cluster and Harmonia)…