2007 five CD set, a great installment in Sony/BMG's Original Album Classics series that brings together rare and out of print titles with some best sellers from the Sony/BMG Jazz catalog. Many of these albums have been unavailable on CD for some time and are sought after by collectors…

Reissue with the latest DSD remastering. Comes with liner notes. Beautiful work from trumpeter Terumasa Hino – an early 80s date that was issued in the US, but one that's got as much bold power and freewheeling soul as his Japanese releases from a decade before! The album's surprisingly open for the time – not in the slicker mode that Columbia was hitting as they crossed over some of their 70s fusion players, but in spacious territory that has Hino blowing cornet, in larger arrangements from keyboardist Masabumi Kikuchi and Gil Evans – the latter of whom seems to contribute a strong sense of color and tone to the album! The lineup is great, too – and features both Herbie Hancock and Kenny Kirkland on keyboards, Steve Grossman on reeds, Harvey Mason and Lenny White on drums, Anthony Jackson on bass, and Airto on percussion.

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).

Described as a "Georgian Janis Joplin," Nino Katamadze, from Batumi, is one of Georgia's most renowned singers. Defining the exact style of Katamadze's music is difficult; Nino calls it "art jazz." She sings mostly about love, sometimes spontaneously composing songs onstage."Musical motifs appear in my head unpredictably," she explains. In 1999, Nino Katamadze founded her 4 piece band - Insight. Since then they have been performing across Georgia, in Moscow and in some European countries. Band’s repertoire includes a lot of originally arranged Georgian folk songs. The strong side of the band is Nino’s vocal and extraordinariness in both music and stage performance.

A self-proclaimed Brutal Jazz Orchestra is a fitting tag for this zany, yet talented group of musical pioneers. Chawata is playing instrumental music that places itself in a gap somewhere between jazz/rock, big band, and perhaps because of the bands inane sense for composition, Zappa inspired music. All things combined make for a fully digestable musical product in the end.

In 1959, Yusef Lateef began using the oboe in his recording sessions and on live dates. This album marks that occasion, and is thus a turning point in an amazingly long and varied career. Accompanied by Lonnie Hillyer on trumpet, Hugh Lawson on piano, bassist Herman Wright, and drummer Frank Gant, Lateef was digging deeply into a new lyricism that was Eastern-tinged (the full flavor of that obsession would be issued two years later on Eastern Sounds and had been touched upon two years earlier on Other Sounds, released on New Jazz, where Lateef had used an argol as well as his sax and flute), modally informed, and distinctly light in texture - with the exception of the deep, dark, arco work at the beginning of "Dopolous," by Wright…

David Alan Samuels (October 9, 1948 – April 22, 2019) was an American vibraphone and marimba player who spent many years with the contemporary jazz group Spyro Gyra. His recordings and live performances during that period also reflect his prowess on the steelpan, a tuned percussion instrument of Trinidadian origin.

This album is for anyone who felt let down when the early '70s promise for a truly creative, genre-busting fusion of jazz and rock swiftly disappeared in a wave of vapid, show biz values and disco frippery. On Lady Coryell, the 25-year-old Larry Coryell already possessed a virtuoso's technique and a rich harmonic and melodic imagination. He uses these gifts here to build swirling, multi-tracked, oftentimes intensely psychedelic performances that range seamlessly across the jazz and rock landscape. The most important tracks are "Treats Style" and "Stiff Neck." On the former, the guitarist is teamed with jazz masters Jimmy Garrison (bass) and Elvin Jones (drums) in a power trio of cool swagger and screaming blues. "Stiff Neck"is a furious duet between Jones and the guitarist…

The Chicago Transit Authority recorded this double-barreled follow-up to their eponymously titled 1969 debut effort. The contents of Chicago II (1970) underscore the solid foundation of complex jazz changes with heavy electric rock & roll that the band so brazenly forged on the first set. The septet also continued its ability to blend the seemingly divergent musical styles into some of the best and most effective pop music of the era. One thing that had changed was the band's name, which was shortened to simply Chicago to avoid any potential litigious situations from the city of Chicago's transportation department – which claimed the name as proprietary property. Musically, James Pankow (trombone) was about to further cross-pollinate the band's sound with the multifaceted six-song "Ballet for a Girl in Buchannon." The classically inspired suite also garnered the band two of its most beloved hits – the upbeat pop opener "Make Me Smile" as well as the achingly poignant "Color My World" – both of which remained at the center of the group's live sets.

Paul Hardcastle is absolutely an Icon of Jazz Fusion and Easy Listening music. And his daughter Maxine hit it right on this recording. Its just the right amount of women's voice to make it extremely alluring but not over the top. Just perfect. Beautiful creation an achievement!

On the Corner is a studio album by American jazz trumpeter, composer, and bandleader Miles Davis. It was recorded in June and July 1972, and released later that year by Columbia Records. The album continued Davis' exploration of jazz fusion, bringing together funk rhythms with the influence of experimental composer Karlheinz Stockhausen and free jazz saxophonist Ornette Coleman. Recording sessions for the album featured a changing lineup of musicians including bassist Michael Henderson, guitarist John McLaughlin, and keyboardist Herbie Hancock, with Davis playing the electric organ more prominently than his trumpet.

Sola Terra’s debut record is a journey into sound, with Brighton based septet Ebi Soda. Drawing inspiration from jazz originators and combining their own coastal flavour and creativity creates a fresh energetic style. The tracks ebb and flow over a foundation of rhythm, slipping into smooth guitar riffs, swelling trombone and drum sections. Ebi Soda create a big band feel, spilling tight grooves and innovative brass lines through their live shows and recordings.

Staunch anti-traditionalists, Ebi Soda thrive on this idea of contradiction, seeming more inspired by the atmosphere inside a rave than the sounds heard inside Birdland. Their only debt to typical jazz being to attempt to innovate and experiment at every opportunity.

After scoring an unexpected high-profile success with the disco/jazz fusion of Black Widow, Lalo Schifrin quickly recorded a follow-up album in a similar vein. 1977's Towering Toccata replicates the elegant yet dance-friendly style of Black Widow to the tee, right down to the unconventional cover choices. The best of these is the title track, an insistently rhythmic piece that transforms Bach's gothic-organ extravaganza "Toccata and Prelude in F Minor" into a mid-tempo disco workout that backs up Schifrin's jazzy explorations on the electric piano and synthesizer with scratching rhythm guitar and a pronounced dance beat.

A former member of Frank Zappa’s touring band and longstanding member of guitar hero Allan Holdsworth’s trio, power-precision drummer Chad Wackerman is also an accomplished composer with five albums as a leader to his credit. His latest features Holdsworth (his third time playing sideman to Wackerman), along with the guitarist’s longtime bassist, Jimmy Johnson. The three exhibit their usual uncanny chemistry on a number of Wackerman’s harmonically advanced, prog-rock-meets-jazz originals.