Let's put the hook in right from the jump: Echoes of Indiana Avenue is perhaps the most significant release of previously unissued material by a major jazz artist since the The Thelonious Monk Quartet with John Coltrane: At Carnegie Hall appeared in 2005. That's not hyperbole. These tapes, which consist of two live recordings and one studio demo, were cut, presumably, between 1957 and 1958, with various groupings of musicians, including his brothers Monk and Buddy, as well as pianist Earl Van Riper and bassist Mingo Jones. All of the tunes here are now regarded as standards, but some were current then, freshly added in that era, such as Shorty Rogers' Diablo's Dance, Horace Silver's Nica's Dream, and perhaps most importantly, Thelonious Monk's 'Round Midnight and Straight No Chaser. The former, recorded in an organ trio format with Melvin Rhyne on the B-3 and Paul Parker on drums, reveals, even at this early date, how well-developed Montgomery's improvisational language was. His reverent opening is ever so gradually replaced by a shimmering movement toward something approaching early soul-jazz, yet his ability to use the instrument's tonal subtleties and harmonic possibilities add a very different dimension to its harmonic architecture. (And while he recorded it several times during his all-too-brief life, this version is the earliest one we now have of him.) The hard swinging Take the 'A' Train showcases the already distinctive and innovative voicings on the bass strings Montgomery developed. These examples aside, there isn't a weak or middling moment throughout the proceedings. At this early date as a leader, Montgomery was in command, pushing hard at the Charlie Christian-isms that dominated his playing with Lionel Hampton. Sound quality can be a tiny bit rough in places, but it hardly matters when the material is this fine. ~ Thom Jurek, Rovi

After a 20-year hiatus, original lead singer and songwriter David Nelson has put together a new version of the New Riders of the Purple Sage. (New New Riders of the Purple Sage?) Longtime NRPS pedal steel player Buddy Cage joins Nelson for this outing and takes the majority of the solos, adding plenty of feeling to the band's cosmic country meets Grateful Dead sound. Longtime Grateful Dead lyricist Robert Hunter contributes words to seven of the album's 12 tracks, bringing his customary psychedelic sheen to the material. Nelson's familiar high tenor sounds a little gruffer these days, but it's still a beautiful instrument and brings plenty of understated emotion to the music. He's always had a gift for crafting fine melodies and hooks that stick in your mind after a single listen, so it's no surprise that a bunch of these new tunes are as good as anything NRPS have given to us in the past. Fivio is a triumphant love song that's a reinvention of the traditional Irish tune popularized by the Clancy Brothers and features Michael Falzarano's chiming guitar and sighing pedal steel by Cage. Suite at the Mission is a cryptic meditation on life's vicissitudes full of dark humor; it's marked by more sparkling pedal steel from Cage and a world-weary vocal from Nelson. The title track is a bluesy shuffle crammed with mind-bending images that compares favorably to the Dead classic Truckin'. It's one of the album's strongest songs and Nelson delivers it with a jaunty, insouciant air. ~ j. poet, Rovi

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The Fugs sounded a little weary and burnt out on their final studio album of the 1960s. The psychedelic experimentation and orchestral arrangements of 1968's It Crawled into My Hand, Honest were ditched in favor of basic rock or even, at times, acoustic performances. The title track and Queen of the Nile are essentially Ed Sanders solo cuts, with acoustic guitar accompaniment by Dan Hamburg; Bum's Song is likewise pretty much a Tuli Kupferberg recording, with just his voice and Hamburg's guitar. The sexually and politically charged heart of the band continued to beat on songs like Chicago (originally written for the soundtrack of a Yippie movie about Chicago police riots at the 1968 Democratic Convention) and The Belle of Avenue A, about a quickie between a hippie and a truck driver. But the production and adrenaline levels are kind of flat. The country influence that was always present in Ed Sanders' singing and songwriting started to really flower on this LP, where his yodeling vocal style -- which was less than an acquired taste -- prefigured the country satire of his 1969 debut solo album, Sanders' Truckstop. It was up to Tuli Kupferberg to provide the record's highlight, the sincere ballad Flower Children. ~ Richie Unterberger, Rovi