Stanton Moore, “Stanton Hits the Bottle” from All Kooked Out (1998, Fog City Records). Solo debut for the former Gallactic drummer. New Orleans-style mix of funk, rock, jazz … and marching band.
Arthur Blythe, “Bush Baby” from Illusions (Columbia, 1980). Alto sax player with distinctive sound and unique band of tuba, cello, and scratch guitar from Blook Ulmer. Early 80s not yet recognized as a great era of jazz, and Blythe in the middle of it.
Medeski, Martin & Wood, “Gwyra Mi” from Radiolarians III (Indirector Records, 2009). “Stanglehold” bass and “Still Waiting” (Talking Heads) quote. Jazz for rock ears.
Jackie McLean, “Omega” from Let Freedom Ring (Blue Note, 1962). Alto player with searing sound over ostinado base. Out, but still groovy.
Mose Allison, “Parchman Farm” from Local Color (1957, Prestige). Mose’s tribute to Mississippi (his home state) state penitentiary.
Herbie Hancock, “Chameleon” from Headhunters (Columbia, 1973). The famous groove from the first million-selling jazz album.
Joe Henderson, “Caribbean Fire Dance” from Mode for Joe (Blue Note, 1966). Classic hard-bop/new thing with Lee Morgan joining the leaders tenor sax on the front line.
The Bad Plus, “Anthem for the Ernest” from Suspicious Activity (Columbia, 2005). Power trio jazz.
Ramsey Lewis, “Money in the Pocket” from Wade in the Water (1966, Cadet). “Commercial” jazz from the 60s, but with a groovy Joe Zawinul-penned tune.
Ry Cooder and Manuel Galban, “Caballo Viejo” from Mambo Sinuendo. Reggae-ish Cuban music.
Robert Muzarek, “Blow Up” from Playground (Delmark, 1998). Chicago jazz of the era, with leader on cornet, Jeff Parker on guitar (still plays around Chicago). Recorded on Chicago label. Song composed by Herbie Hancock for Italian movie of the same name.