The complete 1965 London sets.

The vibes maestro leading a sextet including Sunny Murray and Byard Lancaster.
The jazz-dancer The Known Unknown was the boom tune back in the day, but this is excellent throughout, as unjustly neglected as the SteepleChase albums which came next.

The vibes and marimba player with Horace Tapscott’s Arkestra, together with Adele Sebastian, Diane Reeves, and Billy Higgins, amongst others.
A late-seventies, private-press, spiritual-jazz gem, in Jazzman’s Holy Grail series.

‘Recorded in February and March of 1963, reuniting Stan Getz with Brazilian musicians Luiz Bonfá and Maria Toledo for a lyrically focused follow-up to the landmark Jazz Samba of 1962.
‘Rather than reprising the earlier landmark album’s airy, guitar-driven bossa nova formula, Encore offers a more intimate, reflective setting shaped by Bonfá’s darker harmonic language and Toledo’s distinctive vocal and percussive presence. Getz’s tenor saxophone — warm, unhurried, and effortlessly melodic — threads through this atmosphere with a depth characteristic of his early-1960s work.
‘The program blends Bonfá’s original compositions with pieces by Antônio Carlos Jobim, including Só Danço Samba and Insensatez, highlighting the evolving transnational dialogue between Brazilian songcraft and American jazz phrasing. Bonfá’s nylon-string guitar provides the album’s tonal anchor, its rhythmic clarity and harmonic subtlety opening space for Getz’s lyrical phrasing. Toledo contributes both vocals and percussion, lending the session a textural and emotional range distinct from other Getz bossa nova collaborations.
‘The result is a quieter, more introspective album than its predecessor — one that underscores Getz’s ability to adapt his voice to a variety of Brazilian idioms without dominating them. Jobim appears on several tracks, further grounding the session in the core creators of the bossa nova repertoire.’

‘From 1970, the first Lightmen LP pre-dates the deep-set, maverick jazz issued by the likes of Tribe and Strata East. Mostly groove-based and cohesive, though pushing further out than you might expect from later Lightmens.’ A young Ronnie Laws is here, on the verge of hooking up with Hugh Masekela, and then Earth Wind & Fire; stylistically light years away from Pressure Sensitive, his breakout for Blue Note, in 1975. Also Bubbha Thomas on drums, Doug Harris on tenor sax, Carl Adams on trumpet, Kenny Abair on guitar, and Joe Singleton on trombone.

With Lee Morgan, Curtis Fuller, Victor Sproles, John Hicks, and John Gilmore.
‘It’s a shame that this was the only recording by this particular lineup of the Jazz Messengers, as Gilmore’s strong blowing complements Morgan very well (AllMusic).