‘Maximum Swing: The Unissued 1965 Half Note Recordings’ with the Wynton Kelly Trio only bolsters the case that Wes Montgomery is the greatest jazz guitarist of all time.

Bob James’ ‘Once Upon a Time’ helps to complete our understanding of an artist far more adventurous than his popular works come close to suggesting.

This constitutes the most significant addition in a very long time to the catalog of – and insight into – the brilliant but enigmatic Eric Dolphy.

Before any of those seminal recordings by the AACM family could happen, Roscoe Mitchell’s ‘Sound’ needed to.

The long-forgotten ‘Both Directions at Once, The Lost Album’ is nonetheless as gratifying as many other John Coltrane albums from the Impulse! era; indeed, it holds its own against the entire, history-making discography.

Albert Ayler’s violent alchemy of Africa and Europe imbues ‘Copenhagen Live 1964’ with historical importance because more than fifty years hence, these ideas put into practice sound as radical today as they did back then.

‘I Called Him Morgan’ is a compelling, up-close documentary chronicling of the self-destructive lifestyle of jazz prodigy Lee Morgan.

Great audio quality and Jack DeJohnette’s rare presence makes ‘Another Time: The Hilversum Concert’ a “new” Bill Evans album that’s also easy to recommend for reasons well beyond merely completing a catalog.

‘Smokin’ in Seattle: Live at the Penthouse (1966)’ will quench the thirst of anyone wanting more of Wes Montgomery with Wynton Kelly.

‘Get Dreamy’ is a little more than a curiosity for the Terje Rypdal freaks, fans of original psych-rock who hadn’t already discovered this obscure relic of its time will find much to trip over.