This wonderful recording, made in 1982, has truly earned a place in Claves' treasure chest. It was one of the principal reasons for the revival of interest in the music of Franz Krommer, a contemporary of Mozart and Beethoven who quite undeservedly fell into neglect. Two of Switzerland's most eminent soloists, flutist Peter-Lukas Graf and oboist Heinz Holliger, bring this vivacious music to life not only through their instrumental virtuosity, but also as conductors; each in turn directed the English Chamber Orchestra.

Patrick Gallois belongs to the generation of French musicians leading highly successful international careers as both soloist and conductor. From the age of 17 he studied the flute with Jean-Pierre Rampal at the Paris Conservatoire and at the age of 21 was appointed principal flute in the Orchestre national de France under Lorin Maazel, playing with many famous conductors, including Leonard Bernstein, Seiji Ozawa, Pierre Boulez, Karl Böhm, Eugen Jochum and Sergiu Celibidache. He held this post until 1984, when he decided to focus on his solo career, which has subsequently taken him throughout the world.

As whistle-stop tours of funk go, this is pretty interesting, consisting of 16 cuts mostly drawn from early 1970s records, though a few rather ill-fitting efforts from the early 1980s slip in. Only one of these songs, Curtis Mayfield's "Freddie's Dead," is famous, though other respected gents dot the set, some known more for straight-ahead soul or soul-jazz than for funk: Aaron Neville, Lee Dorsey, Roy Ayers, Jimmy McGriff, the Meters, and Bobby Womack. Filling out the program are names that at this point are mostly known to aficionados, like Ripple, O'Donel Levy, S.O.U.L, and Sir Joe Quarterman & Free Soul. The lack of big stars or a solid thematic center might put some off, but for funk fans seeking some good off-the-beaten-track sides, this is recommended, both for its quality and eclecticism. It covers credible James Brown knockoffs, like Sir Joe Quarterman & Free Soul's "(I Got) So Much Trouble in My Mind," Moody Scott's "I Don't Dig No Phony Part 2," and Eddie Bo's "If It's Good to You (It's Good for You)"; Maceo & All the King's Men's "Got to Get Cha" comes by its James Brown influence honestly, as these fellows (led by saxophonist Maceo Parker) were in Brown's band in the late 1960s. Lee Dorsey's "Yes We Can," from 1971, predates the more famous Pointer Sisters hit cover of the tune. Ripple show a strong Sly Stone influence on "I Don't Know What It Is But It Sure Is Funky," and Aaron Neville, known more for New Orleans soul, seems to be trying to emulate Superfly-era Curtis Mayfield (and quite admirably) on "Hercules." And S.O.U.L.'s "Soul Part 1 & 2" is a real overlooked gem, with its jazz-influenced groove and rockin' lead flute.

On The Unreleased Sessions, the legendary American guitar virtuoso Jim Hall and peerless West Coast multi-reed master Buddy Collette align their immense lyrical forces to deliver a towering, historically volcanic, and masterfully panoramic archival document. Released in 2004 by the specialized independent European legacy vanguard imprint Lone Hill Jazz, this monumental milestone stands as an exceptionally fluid, high-octane monument compiling long-lost, pristine mid-century tracking sessions from the absolute golden era of California cool jazz. Spanning over 76 minutes of immaculate high-fidelity spatial design across 23 expansive tracks, the historical landscape operates with an intense, beautifully syncopated, and masterfully balanced acoustic kinetic energy. Hall acts as a brilliant sonic visionary, weaponizing his warm, understated electric guitar lines alongside Collette's breathy, crystalline flute, clarinet, and alto saxophone telemetry—tracking spectacular landmarks from lush cinematic themes like Laura and Ruby to a staggering, highly sophisticated 8-track structural suite exploring George Gershwin's immortal Porgy and Bess masterpiece. Backed by an absolute pantheon of West Coast jazz royalty, this pristine archive remains an indispensable masterpiece for serious cool jazz purists and classic guitar collectors worldwide.

On Classics Volume 22, the legendary American guitar icon, generational multi-instrumentalist, and masterfully panoramic architect of modern jazz phrasing Wes Montgomery is celebrated in a towering, historically luminous, and beautifully lush anthology document. Released in 1987 as part of the specialized legacy archival series by A&M Records, this monumental milestone stands as an exceptionally fluid, high-fidelity monument compiling Montgomery's absolute definitive late-1960s pop-jazz masterworks tracked under the visionary production umbrella of Creed Taylor and arranged by Don Sebesky. Spanning over 67 minutes of immaculate, widescreen spatial design across 20 tracks, the compilation operates with an intense, beautifully layered, and emotionally charged creative energy. Montgomery acts as a brilliant sonic visionary, weaponizing his revolutionary thumb-picking technique, pristine parallel octaves, and soaring chordal geometries against rich, cinematic orchestral and brass frameworks. Together, they trace spectacular landmarks including his charting pop-jazz anthems Windy and California Nights, his definitive, deeply soulful readings of The Beatles' classics A Day In The Life and Eleanor Rigby, and his legendary, groove-heavy signature standard Road Song. This pristine archive remains an indispensable masterpiece for serious jazz guitar purists and crossover soul-jazz collectors worldwide.

On Vintage Dolphy, the legendary American multi-reed icon, visionary improviser, and structural pioneer of avant-garde jazz Eric Dolphy is celebrated in a towering, historically volcanic, and masterfully panoramic archival document. Released in 1986 by Gunther Schuller's specialized independent vanguard legacy imprint GM Recordings, this monumental milestone stands as an exceptionally fluid, high-octane monument compiling rare, historically crucial 1962 and 1963 live concert and studio dates. Spanning nearly 68 minutes of immaculate high-fidelity spatial design across 12 tracks, the archival landscape operates with an intense, beautifully syncopated, and masterfully balanced creative kinetic energy. Dolphy acts as a brilliant sonic visionary, weaponizing his revolutionary vocalized alto saxophone phrasing, microtonal bass clarinet telemetry, and crystalline flute flights—tracking spectacular landmarks from fierce chamber-jazz Third Stream deconstructions like Gunther Schuller's Abstraction and Variants on a Theme by Thelonious Monk to a sprawling, high-voltage 13-minute live quartet reading of Charlie Parker's bebop anthem Donna Lee. Supported by a staggering pantheon of classical and avant-garde icons including Phil Woods, Don Ellis, Benny Jacobs-El, and a fierce acoustic rhythm section, this pristine archive remains an indispensable masterpiece for serious progressive jazz purists and Third Stream collectors worldwide.

On Santander, the visionary French arranger, keyboardist, and musicologist Laurent Cugny guides his celebrated Big Band Lumière into a sprawling, multi-layered, and historically luminous orchestral framework. Released in 1991 by the esteemed jazz vanguard imprint EmArcy and awarded the prestigious Prix de l'Académie Charles-Cros, this monumental milestone stands as an exceptionally fluid, high-octane exhibit of modern European big band architecture. Deeply informed by Cugny's close collaborations with Gil Evans, the 6-track expansive landscape spans over 48 minutes of immaculate high-fidelity spatial design, operating with an intense, beautifully syncopated, and masterfully balanced sonic energy. The big band framework is supercharged here by stellar guest contributions from guitar virtuoso Biréli Lagrène, weaving stunning electric fusion and post-bop geometries across dense, Impressionistic brass and reed environments. From the soaring, intricate movements of the opening epic Lady, Like Yours and the rhythmically volatile title track Santander to the deeply poetic, space-conscious architecture of Cobalt and Maurane Dort, this archive remains an indispensable masterpiece for serious large ensemble purists and European jazz collectors worldwide.

On Zeff, the legendary French wind virtuoso and Gong co-founder Didier Malherbe steps into the studio spotlight alongside an elite vanguard of global instrumental masters to deliver a towering, historically luminous, and masterfully panoramic ethno-jazz document. Released in 1992 by the specialized independent imprint Tangram, this monumental milestone stands as an exceptionally fluid, high-fidelity exhibit of modern woodwind architecture, dedicated entirely to the expressive boundaries of the "Zeff"—a unique, custom-made circular plastic bass flute. Spanning nearly 53 minutes of immaculate high-fidelity spatial design, the 10-track landscape operates with an intense, beautifully syncopated, and masterfully balanced acoustic kinetic energy. Malherbe acts as a brilliant sonic visionary, weaving microtonal breath control and ancient modal shapes against a rich tapestry of West African and Indian rhythms—tracking spectacular landmarks like the hypnotic opener Zeff dance, the expansive, desert-drenched textures of Zeff over the dunes, and the rhythmically knotty dialogue of Al stram jam. Backed by Soriba Kouyate's shimmering kora arrays and Shamal Maitra's brilliant, multi-layered tabla and percussion chemistry, this independent archive remains an indispensable masterpiece for serious world fusion purists and progressive jazz collectors worldwide.

On Phrygianics, the brilliant Greek guitarist and composer Spiros Exaras steps into the studio spotlight alongside his World-Jazz Ensemble to deliver a towering, historically luminous, and masterfully panoramic cross-cultural document. Released in 2003 by the specialized vanguard independent imprint Polyglottal, this monumental milestone stands as an exceptionally fluid, high-octane monument capturing the exact moment modern post-bop jazz architecture fused seamlessly with traditional Mediterranean and Balkan modal structures. Spanning over 50 minutes of immaculate high-fidelity spatial design, the 10-track expansive landscape operates with an intense, beautifully syncopated, and masterfully balanced acoustic-electric kinetic energy. Exaras acts as a brilliant sonic visionary with his crystalline nylon and electric guitar telemetry, tracing elegant phrygian mode geometries alongside a rotating pantheon of elite global instrumentalists—tracking spectacular landmarks like the rhythmically knotty title track opener Phrygianics, the driving odd-meter architecture of Thrace Bop, the deeply evocative, cinematic narrative of Keeping the Promise, and the poetic, emotionally charged solo miniature Ode to Aegean. This archive remains an indispensable masterpiece for serious jazz-rock purists, world fusion collectors, and contemporary jazz enthusiasts worldwide.

On Aram Of The Two Rivers, the legendary Swedish bass virtuoso and low-end innovator Jonas Hellborg steps into the spotlight alongside a towering, masterfully panoramic lineup of Middle Eastern acoustic masters to deliver an absolute masterpiece of cross-cultural rhythm architecture. Released in 1999 by his independent vanguard imprint Bardo Records, this monumental milestone stands as an exceptionally fluid, deeply spiritual monument capturing the exact moment advanced jazz-rock concepts fused with ancient Mesopotamian and Syrian musical traditions. Spanning over 54 minutes of immaculate high-fidelity spatial design, the 6-track landscape operates with an intense, beautifully syncopated, and masterfully balanced acoustic energy. Hellborg acts as a brilliant sonic visionary with his custom acoustic bass guitars, executing dizzying right-hand runs and deep, Oud-like pitch bends that weave seamlessly with traditional hand-percussion and melodic wind frameworks—tracking magnificent landmarks like the sprawling, hypnotic opener Aram Of Damascus, the intricate, rhythmically complex Akkadia, and the fiercely evocative, emotionally charged Salah Al Din. Driven by Hellborg's crystalline acoustic bass layouts and an elite acoustic ensemble, this archive remains an indispensable masterpiece for serious world fusion purists and progressive bass collectors worldwide.

On Construction #1, the legendary American horn-rock pioneers Ten Wheel Drive, fronted by the powerhouse, raw vocal force of Genya Ravan, step into the spotlight with a towering, historically volcanic, and masterfully panoramic debut document. Originally unleashed in 1969 and beautifully revitalized in 2019 by the specialized vanguard archival reissue imprint Big Pink Music, this monumental milestone stands as an exceptionally fluid, high-octane monument capturing the exact moment late-60s counterculture psychedelic rock fused with sophisticated big-band jazz telemetry. Spanning over 42 minutes of immaculate high-fidelity room design, the 8-track landscape operates with an intense, beautifully syncopated, and masterfully balanced kinetic energy. Ravan acts as a brilliant sonic visionary, matching the raspy, blues-drenched vocal velocity of Janis Joplin against a roaring, complex horn frontline—tracking spectacular tracking landmarks like the driving, groove-laden opener Tightrope, the sprawling, multi-movement architecture of Eye Of The Needle, and the soulful, brass-packed delivery of Ain't Gonna Happen. Driven by Ravan's gritty delivery, Aram Schefrin's biting psychedelic guitar lines, Michael Zager's driving organ foundations, and a massive five-piece brass engine, this pristine independent archive remains an indispensable masterpiece for serious jazz-rock purists and vintage brass rock collectors worldwide.

On Skagly, the legendary American trumpet icon, post-bop pioneer, and brass virtuoso Freddie Hubbard steps into the studio alongside a towering, masterfully panoramic lineup of acoustic-electric masters to deliver an absolute firestorm of a jazz-funk document. Reissued in 2002 by the specialized vanguard archive imprint Wounded Bird Records, this monumental milestone (originally tracked in 1979) stands as an exceptionally fluid, high-octane monument capturing Hubbard’s legendary embrace of complex electronic fusion textures and heavy groove geometries. Spanning over 41 minutes of immaculate high-fidelity spatial design, the 5-track landscape operates with an intense, heavily syncopated, and beautifully balanced kinetic energy. Hubbard acts as a brilliant sonic visionary, executing dizzying upper-register flights and deep modal frameworks—firing off spectacular landmarks like the driving, euphoric opener Happiness Is Now, a stunningly rich, electric-piano layered reading of Michel Legrand's Theme from "Summer of '42", and the monumental, 14-minute title track masterpiece Skagly. Driven by Hubbard's blistering trumpet telemetry, Billy Childs's cascading keyboard layers, Larry Klein's muscular bass foundations, and high-voltage guest appearances from George Duke and Jeff "Skunk" Baxter, this independent archive remains an indispensable masterpiece for serious jazz purists and rare groove collectors worldwide.

On Tribute To Don Cherry, the brilliant multi-continental avant-garde collective Ya-Sou joins forces with legendary Polish trumpet titan Tomasz Stańko and pioneering folk-fusion ensemble Osjan to deliver a towering, historically luminous, and masterfully panoramic live document. Released in 1997 by the specialized Polish vanguard imprint Gowi Records, this monumental milestone stands as a pristine exhibition of cross-cultural creative music, captured live as an deeply spiritual homage to the global artistic vision of avant-jazz pioneer Don Cherry. Spanning nearly 45 minutes of immaculate high-fidelity spatial design, the 3-track expansive landscape operates with an intense, beautifully fluid, and masterfully balanced acoustic energy. The collective shatters structural boundaries with absolute uninhibited velocity, weaving traditional global folk instrumentation, hypnotic multi-percussive frameworks, and soaring modal horn flights—firing off spectacular landmarks like the monumental, 26-minute centerpiece opener Ya-Sou Suite, followed by fiercely expressive interpretations of Cherry's own rhythmic anthems Rumba Multi-Kulti and Malinye. Driven by Stańko's crying, melancholy trumpet phrasing, Peter Apfelbaum's winding saxophone lines, Jai Uttal's delicate string tapestries, and the multi-layered rhythmic currents of Osjan's master percussionists, this pristine archive remains an indispensable masterpiece for serious avant-garde purists and world-jazz collectors worldwide.