"Cannonball" Adderley's brother Nat was equally adept at popularising jazz music as his more heralded sibling. Work Song is far and away his finest set, with the terrific title track becoming the cornetist's biggest hit. Much of the soulful inspiration comes from the cello/guitar support provided by Sam Jones and Wes Montgomery. Recommended.
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The Great Summit: The Master Takes Louis Armstrong & Duke Ellington 1961 [Roulette]
A casual encounter between Armstrong and Ellington, with Satchmo's band providing backup and the Duke contributing all 17 compositions. By this stage Armstrong's trumpet was taking a backseat to his vocals. Meanwhile Ellington, as one critic put it, was merely "slumming it" with yet another of his noted jazz contemporaries. Good, but not great.
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Eastern Sounds Yusef Lateef 1961 [Moodsville]
Lateef continued his fascination with Asian music on this fine record. An accomplished tenor - here he also plays oboe and flute. Often unjustly regarded as a novelty act, this record shows Lateef was ahead of his time. Consisting primarily of originals, there are also stunning treatments of themes from the films Spartacus and The Robe.
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The Black Saint & the Sinner Lady Charles Mingus 1963 [Impulse!]
A mesmerising suite of extended forays from the somewhat eclectic "New Folk Band". Written as a six-part ballet about a tortured soul, the accompanying liner-note from Mingus' psychiatrist had record company nerves on edge. The album is also notable for the use of overdubbing in its production - an all-time first for a jazz record.
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Search for the New Land Lee Morgan 1964 [Blue Note]
The fact that trumpeter Lee Morgan recorded this album early in 1964 before his previous album The Sidewinder hit it big on the pop charts probably explains why it avoids the formulaic repetitiveness of his later records. It is an explosion of creativity, thanks largely to the presence of Wayne Shorter, Herbie Hancock and Grant Green.
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Sound Roscoe Mitchell Sextet 1966 [Delmark]
A remarkably influential album that marked the first recordings by members of Chicago's radical AACM art movement. A range of novelty instruments are employed in a rambling improvisation that is almost completely devoid of rhythm. Three of the musicians appearing, including Mitchell, would go on to form the Art Ensemble of Chicago.
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Forest Flower Charles Lloyd 1966 [Atlantic]
The classic Forest Flower, recorded live at Monterey in 1966, showed that it was possible to be both progressive and popular. Lloyd plays both flute and tenor, backed by unknown newcomers pianist Keith Jarrett and drummer Jack DeJohnette. A range of global influences and psychedelic sideshows make this record a joy to behold.
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Rip, Rig & Panic/Beautiful Edith Rahsaan Roland Kirk 1965-67 [Limelight]
Blind multi-instrumentalist and political activist Rahsaan Roland Kirk may have died somewhat prematurely, but he didn't fail to leave his indelible mark on the jazz world before he went. This single CD has two of his finest - Rip, Rig & Panic featuring Kirk's tenor being generally regarded as his best. Edith is one of RRK's more melodic outings.
