regon, formed in 1970, comprised Ralph Towner (classical and 12-string guitars), Paul McCandless (oboe and English horn), Glen Moore (double bass) and Collin Walcott (sitar and tabla).

The mark that the recording of Caravanserai and Love Devotion Surrender had left on Carlos Santana was monumental. The issue of Welcome, the band's fifth album and its first with the new lineup, was a very ambitious affair and was regarded by traditional fans of Santana with even more strangeness than its two predecessors. However, issued as it was at the end of 1973, after Miles had won a Grammy for Bitches Brew and after Weather Report, Return to Forever, and Seventh House had begun to win audiences from the restless pool of rock fans, Santana began to attract the attention of critics as well as jazz fans seeking something outside of the soul-jazz and free jazz realms for sustenance. The vibe that carried over from the previously mentioned two albums plus the addition of vocalist Leon Thomas to the fold added a bluesy, tougher edge to the sound showcased on Caravanserai.

When Metheny celebrates his cerebral side, he usually follows up with something more accessible. After his difficult yet rewarding collaboration with John Scofield, I Can See Your House from Here, Metheny stresses accessibility with this captivating live album. The primary focus is on his Brazilian-influenced material from Still Life (Talking) and Letter from Home, and the very cohesive Pat Metheny Group offers characteristically expressive versions of such favorites as "Have You Heard," "Beat 70," and "Better Days Ahead." While he could have offered a wider variety of material and perhaps revisited some of his early gems, everything that he does include comes across as honest and heartfelt. Thankfully, Metheny's emphasis on accessibility and crowd-pleasing doesn't come at the expense of his artistic integrity.

Hiroshi Suzuki is probably the best know japanese jazz trombonist with Hiroshi Fukumura. Hiroshi started his professional career in the Nobuo Hara' Sharps & Flats big band, played for various jazz artists as well as Sadao Watanabe, Takeshi Inomata, Yuji Ohno or Shungo Sawada. In 1969, he recorded for Takt Jazz Series, the japanese jazz masterpiece Variation with the Masahiko Togashi Quintet, and Up Up And Away with his big band, The Happy Cats. Later, Hiroshi joined the new super Jazz combo formed by Akira Ishikawa & Hiromasa Suzuki, the Freedom Unity, featuring saxophonist Takeru Muraoka & bassist Kunimitsu Inaba, all present on this recording. Titles include the familiar Jazz standard Walk Tall composed by Joe Zawinul for Cannonball Adderley, Cat by Takeru Muraoka and Romance by Hiromasa Suzuki plus two original compositions by Hiroshi Suzuki, Shrimp Dance & Kuro To Shiro.

2018 debut album, by prodigious keys player, composer and producer Joe Armon-Jones, is buoyant, celebratory and welcoming. With a background in jazz, he draws from influences in dub, hip-hop and soul. Different traditions are infused and commingled together. Soulful brass arrangements are colored with carefully-tuned atmospherics; individual flashes of brilliance are bound into the album's bigger picture. He's part of London's young, jazz-influenced music scene. Drawn from that same close-knit circle, the album features the likes of Moses Boyd, Nubya Garcia and Oscar Jerome. It's playing with those - along with Ezra Collective, which he co-founded, and touring with the likes of Ata Kak and Pharoahe Monch - which has honed his playing and grown his ideas. It's made for a record with an unmistakable depth. He draws on deep musical understanding, making music which is warm and has a feeling of joy. A document of his vision for bringing together his different influences, it's also a testament to hard-earned, head-turning musical virtuosity.

A figure in British modern jazz for over half a century, Don Rendell was both active protagonist and key witness to the main developments in the music from its rise out of tiny clubs and back rooms on up to the most prestigious national stages. From his earliest performances in London’s West End and his work of the 50s and 60s — most not ably with the Don Rendell-Ian Carr Quintet — to the lower profile work of the 70s and 80s, his quite assurance and consistent performance marked him out as a highly respected figure among his peers.

Miles Davis had a deep love and respect for boxing, seeing deep parallels between “the sweet science” and his own relationship with music. One of Miles’ favorites of his own recordings was the 1971 soundtrack to the Bill Cayton documentary about Jack Johnson, and he was inspired by the political and racial subtext of the legendary boxer’s saga. Culled from the celebrated expanded project The Complete Jack Johnson Sessions released in 2003, and name-checking a number of pugilistic legends (“Ali,” “Sugar Ray,” “Duran,” “Johnny Bratton”), these funk-infused recordings rock harder than anything else that Miles put to tape. Featuring a sterling line-up of musicians (Wayne Shorter, John McLaughlin, Dave Holland, Keith Jarrett, Herbie Hancock, Jack DeJohnette, Billy Cobham) and a legendary cover photo of Miles in the ring captured by Jim Marshall, the release finds this music issued on vinyl (in brilliant yellow), for general release, for the first time ever.

The adventurous Finnish musical explorer Markus Pajakkala is back with another exciting chapter of the life of his project UTOPIANISTI four years after the curve ball avant-garde metal meets noise experiment "Brutopianisti" sent shock waves into the fans who had fallen in love with his twisted sense of jazz-fusion sensibilities on his first three albums. Unlike the first three albums, this is once again a solo effort with Pajakkala playing all the instruments on this near 37-minute collection of ten recordings.

Gino Vannelli (born June 16, 1952) is a Canadian virtuoso pop/rock vocalist, singer and songwriter who had several hit songs in the 1970s and 1980s. His best-known singles included "I Just Wanna Stop" (1978) and "Living Inside Myself" (1981). Collection includes: Powerful People (1974); Storm At Sunup (1975); The Gist Of The Gemini (1976); A Pauper In Paradise (1977); Brother To Brother (1978); Nightwalker (1981); Big Dreamers Never Sleep (1987).

Featuring some of the finest avant-garde jazz players from Germany and beyond, the United Jazz + Rock Ensemble began life as a loose studio aggregation assembled for a youth-oriented German television show in 1975. Hoping for a contemporary balance between rock and jazz, producer Werner Schretzmeier called upon pianist Wolfgang Dauner, the former leader of Et Cetera, an avant-garde jazz group Schretzmeier had managed until their breakup in 1972. Initially recruiting musicians from his home base of Stuttgart (then a hotbed of avant-garde jazz), Dauner put together a rotating cast of musicians that were at first dubbed the Eleven and a Half Ensemble (after the program's airtime); this group featured guitarist Volker Kriegel (who shared writing and arranging duties with Dauner), drummer Jon Hiseman, trumpeter Ack Van Rooyen, and trombonist Albert Mangelsdorff…

Galliard were in on the ground floor of the British progressive rock movement, releasing their debut album, Strange Pleasure, in 1969 and mixing jazz, rock, folk, and psychedelic influences. The following year, New Dawn pretty much picked up where its predecessor left off, with one key exception. The band had initially featured two wind players, Dave Caswell and John Smith; though Smith was absent from New Dawn, a whole brace of additional horn players had been brought in to augment the sound. This was during the period when the likes of Chicago and Blood, Sweat & Tears (and their British equivalents) were starting out, and brass-rock was all the rage.

Galliard is a sextet formed in the summer of 68, and developed a psychedelic type of brass rock, fronted by twin wind players Caswell and Smith and singer Geoff Brown. They recorded two albums on the Deram Nova label (the subsidiary prog label of Decca records) around the turn of the 70's decade, when brass rock was the rage. Their first album Strange Pleasure By Galliard, released in 69, was quite eclectic, ranging from Medieval to Flamenco/Spanish music. For their second album New Dawn, wind player John Smith was gone, but the group adjoined a mega brass section of four player, plus keyboardist Morton.

Chick Corea's Elektric Band II found bassist John Patitucci, drummer Dave Weckl and guitarist Frank Gambale going out on their own and being replaced by Jimmy Earl, Gary Novak and Mike Miller. Saxophonist Eric Marienthal was the only sideman from the first Elektric Band to stick with Corea. Although the new members are not as distinctive as their predecessors, the high-quality material played on this release (which includes Jimmy Heath's "CTA," "Blue Miles" and a variety of Corea originals) is very jazz-oriented and occasionally there are straightahead sections. This set is recommended even to listeners who have not yet acquired a taste for fusion.

Rhino continues with their admirable excavation of the Atlantic vaults with this, their second round of some of the label's '60s jazz highlights. In the spotlight are such instrumental heavyweights as Rahsaan Roland Kirk, Eddie Harris, Charles Mingus, Hank Crawford, and Yusef Lateef, and on the vocal end there's fine work by Betty Carter and Mose Allison. Yes, this album might have a tough time competing with similar collections from the Blue Note and Impulse! imprints. But then again, those labels would be hard-pressed to come up with a selection as varied as this: From the truly idiosyncratic Ellington musings of Kirk ("Creole Love Call") to a taste of Aquarius age jazz by Charles Lloyd ("Dreamweaver: Meditation/Dervish Dance"), this 14-track disc truly runs the '60s jazz gamut.

This features an array of exceptional musicians who perform a broad series of jazz-related musical textures. The album stretches from solo piano and string quartet to 13-piece, three drummer ensembles, with special guests including Chris Potter and the Amika String Quartet, amongst others.