Yeah on Parlan.
I haven't really had this experience too much with jazz records of the past couple of years, but things that I've had for some years and which I still count as absolutely unreal (and that I came to with little expectation):
Hans Dulfer's Ritmo-Natural LPs on Catfish - Candy Clouds, The Morning After the Third, and El Saxofon (w/ Frank Wright) - don't think music like this exists anywhere else; free-Afro-Latin-psychedelic jams that I really can't put my finger on, and nor could I live without. I had no idea what to expect with the first purchase, and the others did not let down! They certainly need a reissue!
John Tchicai & Cadentia Nova Danica (Polydor) - again, I had no idea what I was getting into with this record, but it is so utterly unique that I can't imagine my life pre-CND.
Ric Colbeck - The Sun Is Coming Up (Fontana) didn't think he was all that hot with Noah Howard, so this one came as a real surprise.
Eddie Gale's Ghetto Music (Blue Note) - somehow, I thought this had the potential to be weak. Boy was I wrong.
Howard Riley - The Day Will Come - (CBS) - I bought it on a lark because a friend said I would like it. Well, it might be one of the best inside-outside piano trios I've ever heard. His other records are great, too, but this is a mother...
I had similar experiences approaching the music of Graham Collier and Ray Russell, both people whose records I bought without any preconception other than curiosity, and was summarily blown away. I mean, there are a lot of good, obscure jazz records out there. However, the thing about uniqueness is what really gets me going. If it doesn't sound like anything else... that's when my expectations are exceeded.