Released to celebrate his centennial, here is the great jazz guitarist live in performance in Berkeley, California, in 1962; with Johnny Griffin, Wynton Kelly, Paul Chambers, and Jimmy Cobb.
All the recordings from these sessions — our absolute favourite Wes Montgomery — including two previously unreleased performances.
‘Montgomery seems never to have played anything lacking his innate mirth and happiness. In that he had an amiable Midas Touch that made his performances uplifting and immediately identifiable. Montgomery had a tangible simpatico with Kelly, both being superb blues and ballads players. When unison playing, the two are of one mind, that of swing and propulsion. Griffin’s presence adds a woody organicness that is both fecund and free (AllAboutJazz)’.

Terrific solo guitar recordings of the Catalan’s own compositions — in the flamenco tradition, but also nodding to Baroque music, specifically Bach.

Of this Jamaican pianist’s whole heap of recordings — running all the way back to Clue J and the Blues Blasters, at Studio One — here is one of our clear favourites: a quartet date (including Montego Joe on congas) in 1972, kicking off with a scintillating go at Richard Evans’ Montevideo, copped off Ahmad Jamal, and featuring an unmissable, funked-up commandeering of the title track.

Originally relelased on the Moondog label in 1955.

Originally released by Epic in 1953.

From the 1950s, when Moondog was homeless and busking in NYC. ‘His later records may be better known, but this is the real shit’ (Byron Coley, The Wire).
Startlingly remastered at Abbey Road.

Twenty-five interpretations of Hardin’s compositions — from early-1950 songs like All Is Loneliness and Be A Hobo, to canons written in 1968 — by the Dedalus ensemble.
‘The melodic invention, the prodigious rhythms, and the mixture of genres, as original as they are obvious, all come together to form a music that merits consideration strictly as music.’

Aged just 19, with Pepper Adams, Bobby Timmons, Paul Chambers and Philly Joe Jones. Though so early, this is a crucial set, kicking off with a scorching, fresh A Night in Tunisia.
Timmons plays a blinder.

Lee Morgan (trumpet), Joe Henderson (tenor sax), Ronnie Mathews (piano), Victor Sproles (bass), Billy Higgins (drums).
Japanese one-off CD. The LP is in the Blue Note Classics series.

‘Classic Vinyl Series.’

Delightfulee, The Cooker, Leeway, The Rumproller, Search For The New Land.

At the fountainhead of soul jazz and boogaloo, the stinging opener is an all-time, humungous, utterly irresistible jazz hit.
Joe Henderson and Barry Harris are superb throughout. Don’t miss Hocus-Pocus.

‘Classic Vinyl Series.’

With Chris Potter and Jason Moran.

His own compositions for solo piano by this collaborator of Louis Sclavis.
‘Thoughtful, reflective and profoundly lyrical.’

Originally released in 1981, Mr. Circle’s Thi Nam should really have been recognised decades ago as a jazz dance classic. A beautiful example of European jazz fusion at its most sophisticated and optimistic, the album is immersed in the sonics and rhythms of pan-Latin fusion and Brazilian samba, but with one foot in the upful jazz fusion exemplified by Roy Ayers or the Mighty Ryeders.
Taking inspiration from Ursula Dudziak, Flora Purim, and Norma Winstone, singer Monika Linges uses the crystalline tone of her voice as an instrument within the ensemble. The LP is built around the interaction of her vocalising with bandleader Mikesch van Grümmer’s keyboard versatility, all underpinned by the surging Brazilian rhythms laid down by drummer Gerd Breuer and percussionist Ponda O’Bryan.
The result is a unique set of sunlit, Brazilian-inspired jazz fusion. Aimed squarely at the feet throughout, the album kicks off with a double whammy: the funky title track, followed by. the percussion-rich Juntos. The long form Suka begins with a shimmering intro before taking flight halfway through into an urgent jazz samba with Linges’ vocals to the fore. Featuring the vocals of Bill Ramsay, Tides is another driving jazz-dancer with a Brazilian twist, while the summery, propulsive Schoch-Schach features virtuosic interplay between Linges and alto saxophone.