During an era when the Count Basie Orchestra was often being used as a mere prop behind other singers, this album was quite refreshing. With the exception of trombonist Richard Boone's two eccentric vocals, this is an instrumental date with arrangements provided by bandmembers past and present, and concise solos contributed by quite a few talented players.

Albert King recorded a lot in the early '60s, including some classic sides, but they never quite hit the mark. They never gained a large audience, nor did they really capture the ferocity of his single-string leads. Then he signed with Stax in 1966 and recorded a number of sessions with the house band, Booker T. & the MG's, and everything just clicked. The MG's gave King supple Southern support, providing an excellent contrast to his tightly wound lead guitar, allowing to him to unleash a torrent of blistering guitar runs that were profoundly influential, not just in blues, but in rock & roll (witness Eric Clapton's unabashed copping of King throughout Cream's Disraeli Gears). Initially, these sessions were just released as singles, but they were soon compiled as King's Stax debut, Born Under a Bad Sign.

Jet-Propelled Photographs is the latest-available CD version of a title which has been repackaged and retitled several times over the last 30 years. Recorded in London in April 1967, and produced by the legendary Giorgio Gomelsky, these nine demos feature the original Soft Machine lineup of Robert Wyatt, Kevin Ayers, Mike Ratledge, and Daevid Allen. Although not intended for release, these rough but accomplished performances show the band at their most pop- and song-oriented. Not far removed from Syd Barrett-era Pink Floyd, the jazzy chord changes, unpredictable bursts of scat singing, glib free-association lyrics, ominous buzzing organ, and Robert Wyatt's soulful rasp convey the freewheeling abandon and giddy high spirits that characterized the best early British psychedelia.

Two classic easy-listening albums by Paul Mauriat and His Orchestra, originally released in 1967 and 1968 on the Philips label, together on one CD and remastered from the original analogue stereo tapes for Vocalion's trademark crystal-clear sound. French composer/conductor Paul Mauriat is a classically trained musician who decided to pursue a career in popular music. His first major success came in 1962, as a co-writer of the European hit "Chariot." In 1963, the song was given English lyrics, renamed "I Will Follow Him," and became a number one American hit for Little Peggy March. Mauriat is best remembered for his 1968 worldwide smash "Love Is Blue."

The final album of an (unintentional) trilogy, Crusade is most notable for the appearance of a very young, pre-Rolling Stones Mick Taylor on lead guitar. Taylor's performance is indeed the highlight, just as Eric Clapton and Peter Green's playing was on the previous album. The centerpiece of the album is a beautiful instrumental by Taylor titled "Snowy Wood," which, while wholly original, seems to combine both Green and Clapton's influence with great style and sensibility. The rest of the record, while very enjoyable, is standard blues-rock fare of the day, but somewhat behind the then-progressive flavor of 1967. Mayall, while being one of the great bandleaders of London, simply wasn't really the frontman that the group needed so desperately, especially then. Nevertheless, Crusade is important listening for Mick Taylor aficionados.

For this Milestone LP James Moody leaves his alto at home and mostly sticks to tenor (although he switches to flute on "Cherokee"). Five of the nine selections feature Moody with a five-piece brass section (three trumpets, one trombone and a tuba) and a top-notch rhythm section consisting of pianist Kenny Barron, bassist Bob Cranshaw and drummer Mel Lewis. Tom McIntosh's arrangements are functional but unexciting, with only "Au Privave" catching much fire. Best are the four other numbers which showcase the tenorman with only the rhythm section. Not content to be a mere bebop revivalist, Moody is heard throughout pushing himself, and there are some good moments from Barron too.

Digitally remastered and expanded reissue of this 1967 album by Mayall and his Bluesbreakers, the only studio album to feature future Fleetwood Mac leader Peter Green on guitar. Features an additional 14 tracks including studio cuts and radio sessions.
Eric Clapton is usually thought of as John Mayall's most important right-hand man, but the case could also be made for his successor, Peter Green. The future Fleetwood Mac founder leaves a strong stamp on his only album with the Bluesbreakers, singing a few tracks and writing a couple, including the devastating instrumental "Supernatural." Green's use of thick sustain on this track clearly pointed the way to his use of guitar riffs with elongated, slithery tones on Fleetwood Mac's "Albatross" and "Black Magic Woman," as well as anticipating some aspects of Carlos Santana's style…