Stanton Moore, “Let’s Go” from Flyin’ the Koop (Blue Thumb, 2002). The new New Orleans shuffle beat.
Herbie Mann, “Hold On (I’m Coming)” from Memphis Green (Atlantic, 1969). Record long popular with rock listeners. Memphis soul rhythm section backing the leader’s flute, Roy Ayers vibes, and twin guitars of Larry Coryell (first solo) and Sonny Sharrock (wild second solo).
Rahsaan Roland Kirk, “Dance of the Lobes” from Natural Inventions: Roots Strata (Atlantic, 1971). Raw with RRK playing multiple reeds at the same time and “tin can” rhythm.
Medeski, Martin & Wood, “Junkyard” from Radiolarians II (2009). WMW with more junkyard jazz.
Gato Barbieri, “Milonga Triste” from Chapter Four: Alive in New York (Impulse, 1975). Bold, romantic tenor sax. After this, it was onto “smooth jazz” stardom. But Gato’s early 70s stuff is the real deal.
Freddie Hubbard, “Far Away” from Breaking Point (Blue Note, 1964). Sophisticated mid-60s “new thing” modal jazz. James Spaulding, like Hubbard an Indianapolis cat, with great flute work.
Nil Petter Molvaer, “Song of Sand II” from Khmer (ECM, 1997). Spacy Scandinavian trumpet with electronica.
Tom Waits, “Heart Attack and Vine” from LP of same name (Elektra, 1980). Not much jazz singing at Pete’s. Too light and smooth. Prefer blues or Waits.
Yusef Lateef, “Blues for the Orient” from Eastern Sounds (Prestige, 1961), Exotic oboe sounds …. but still the blues.
Charlie Haden, “Hermitage” from Quartet West (Verve, 1987). The original Quartet West record, and one of the most sophisticated sounding records you’ll hear. Top shelf.
James Carter, “Odyssey” from In Carterian Fashion” (Atlantic, 1998). Saxist with a dangerous groove.