Jazz — All Formats  

A great trad revival set from trombonist Vic Dickenson – working here with trumpeter Joe Thomas, in a style that really shows the respect that Atlantic Records had for older jazz modes – even during the height of their R&B and modern jazz years! The group's a great one – with trumpet from Buck Clayton, and tenor from Hal Singer and Buddy Tate – and the session features one great long jam session that's almost Verve-like in nature – a cut called "Blues For Baby", that's obviously a great setting for these players. Other shorter numbers include "Undecided", "Lamp Is Low", and "Crazy Rhythm".

Massively funky work from the Mainstream Records catalog of the early 70s – some of the grittiest, most hard-hitting tracks recorded by the label at the time! Most of the tracks here are short, but pack plenty of punch – that rock-solid approach to jazz funk that Mainstream was putting down heavier than most other labels at the time – thanks to a top-shelf array of leaders, studio players, and arrangers in the mix! There's a number of tracks here that haven't been reissued as part of P-Vine's single album program on the label – making the compilation even more essential – and the 19 track album features over 75 minutes of music, more than enough to warrant the higher Japanese price. Titles include "Sweet Emma" by Don Burrows, "Mustang" by Sonny Red, "Red Clay" by Jack Wilkins, "Witch Doctor Bump" and "Boogie The Devil In" by The Chubukos, "Spinning Wheel" by Phoenix Authority, "Fire & Water" by Charles Kynard, "Family Affair" by Dave Hubbard, "Signifyin Gemini" by Lamont Johnson, "Freedom Jazz Dance" by Night Blooming Jazzmen, "Mother McCree" by Reggie Moore, "Let's Take The Long Way Home" by Arbee Stidham, and "Never Can Say Goodbye" by Johnny Coles.

A reverent snapshot of the spiritual & soul jazz emanating from the Mainstream label in the early 70s – a well curated set featuring great numbers by Frank Foster, Blue Mitchell, Hadley Caliman, Roy Haynes and other giants of the scene! The material comes from a time in Mainstream label history when it was essentially relaunched as a jazz label, following some the psyche era rock albums of the previous few years. Soulful jazz sounds from a spiritual realm as well as some in a jazz funk mode, and excellent material all the way! 12 great tracks in all: The sprawling opener "The Loud Minority" by Frank Foster, "Mi Hermano" by Blue Mitchell, "Up And Down" by Harold Land, "Watercress" by Hadley Caliman, "Kamili" by Buddy Terry, "Senyah" by Roy Haynes, "EW Beautiful People" by Frank Foster, "Little One" by Hadley Caliman and "Petits Machins" by Johnny Coles/

This was one of the biggest-selling jazz albums of all-time in Australia – so it's no surprise that it was issued in the US, although in a slightly shorter form than the original double LP. The session features Australia's biggest (and best) reed player, Don Burrows, and his classic 70's quartet that featured the great guitarist George Golla. The music here is very nice, and the set includes a few groovy and funky tracks that perfectly sum up the Aussie 70's jazz sound. Titles include "Sweet Emma", "The Gentle Rain", "Velhos Tempos", and "Maybe Today".

One of the most amazing albums ever from Frank Foster – a totally righteous set that's light years ahead of his earlier work with the Basie Band! The format here is right up there with the best on Strata East at the time – a large-group session that's filled with some of the hippest players of the early 70s – all coming together with a joyous, spiritual sense of power! Foster's in the lead on tenor and soprano sax, but other players include Cecil Bridgewater and Hannibal Marvin Peterson on trumpets, Harold Mabern on keyboards, Elvin Jones on drums, Dick Griffin on trombone, Stanley Clarke on bass, Airto on percussion, and even Dee Dee Bridgewater on vocals! Tracks are all quite long and flowing – spiritual expressions of jazz that rival the greatness of anything recorded for Impules – and titles include "The Loud Minority", "Requiem For Dusty", "JP's Thing", and "EW – Beautiful People".

One of the most amazing albums ever from Frank Foster – a totally righteous set that's light years ahead of his earlier work with the Basie Band! The format here is right up there with the best on Strata East at the time – a large-group session that's filled with some of the hippest players of the early 70s – all coming together with a joyous, spiritual sense of power! Foster's in the lead on tenor and soprano sax, but other players include Cecil Bridgewater and Hannibal Marvin Peterson on trumpets, Harold Mabern on keyboards, Elvin Jones on drums, Dick Griffin on trombone, Stanley Clarke on bass, Airto on percussion, and even Dee Dee Bridgewater on vocals! Tracks are all quite long and flowing – spiritual expressions of jazz that rival the greatness of anything recorded for Impules – and titles include "The Loud Minority", "Requiem For Dusty", "JP's Thing", and "EW – Beautiful People".

Funky organ and plenty of vamping – a really tight little set from the mighty Charles Kynard – who's working here with a really wide-ranging command of the keyboard! As with some of the other Mainstream Records sessions of the time, the backings here are somewhat full – arranged and conducted by Richard Fritz with a style that's almost soundtrack funk at points, but which still has a more jazzy feel overall – thanks to the space given to Kynard's organ solos, and to backings from players who include George Bohannon on trombone, Arthur Adams on guitar, and Paul Humphrey on drums. The set features a surprising cover of Joe Quarterman's classic "I Got So Much Trouble On My Mind" – one that's almost as funky as the vocal original – plus "The World Is A Ghetto", "Superstition", "Zambezi", "Summer Breeze", "Momma Jive", and "You've Got It Bad Girl".

Although Charles McPherson's work for Mainstream isn't always among the best on the label (or in his career), this album has a nice easy slightly-electric groove, and features some nice guitar/piano lines backing up McPherson's soulful alto. Includes a nice slightly funky cover of "What's Going On", the spiritual "Serenity", and more boppish tracks like "Bird Feathers" and "Another Kind Of Blues".

One of Blue Mitchell's hippest funky sets of the 70s – an unusual little record that mixes a bit of funky harmonica with his own soulful trumpet! The approach definitely echoes a bit of the "blues" in the title – but the groove is much more straightforward and funky – that hard-edged approach that shows up on the best electric Mainstream sessions of the time, with a bad-stepping bottom that moves along nicely throughout! Harmonica's handled by Don Bailey, and other players include Joe Sample on keyboards, Herman Riley on tenor, Freddie Robinson on guitar, and Ray Pounds on drums. Cuts are all nice and long, quite open overall, and almost more relaxed than some of Blue's other Mainstream sessions – and titles include "Graffiti Blues", "Yeah Ya Right", "Express", "Asso Kam", and "Dorado".

Wonderful work from guitarist Jimmy Raney – easily one of his standout sets of the 60s, and a record that features some great second guitar from Jim Hall! The pairing of guitars makes for a really unique sort of sound – one that's more languidly flowing than some of Raney's previous work, in ways that opens up with some tremendous tones and colors throughout – almost a guitar-based version of the sort of groove that Clark Terry and Bob Brookmeyer got with their horns while recording for Mainstream at the time. The presence of Zoot Sims on tenor is also a great factor of the record – and there's almost a gentle bossa nova influence going on here, but one that's touched with more modern elements too – in ways that really transform the sound of Sims' horn. Other players in the group include Steve Swallow on bass and Osie Johnson on drums – and titles include"A Primera Vez", "Presente De Natal", "Este Seu Olhar", "Betaminus", "Move It", "All Across The City", and "Coisa Mais Linda".

Previously unreleased work from the legendary group of Clifford Brown and Max Roach – recorded back in the 50s, when Mainstream producer Bob Shad was working on the Brown/Roach dates for Mercury – but not issued until this set in the 70s, when Shad had his own label! The music here is right up there with the best 50s classics by the pair – really showcasing that amazing trumpet style that made Brownie a genius right from the start – next to some of the burning energy he forged with Roach in the group. Every player's tremendous – Harold Land on tenor, Richie Powell on piano, and George Morrow on bass – and titles include two Clifford Brown originals – "Daahoud" and "Joyspring" – plus Roach's "Mildama", plus the standards "I Don't Stand A Ghost Of A Chance", "I Get A Kick Out Of You", and "These Foolish Things Remind Me Of You".

Better than you might think – thanks to piano and organ from Jack Wilson!

A killer album of hard instrumental Latin soul tracks – one of the few albums ever done by funky reed player Mauricio Smith! On the set, Smith plays flute, alto, and soprano sax – and the record's filled with short little groovers that have a nice choppy sound, and lots of heavy conga work by Marcelino Valdes and Victor Pantoja! Other instrumentation includes organ, trumpet, and guitar – blasting out with some really mad rhythms, and very much in keeping with the crazy 60s work of Joe Cain, who arranged the whole thing. The album's got a sound that's very much in keeping with it's funky ghetto cover – and titles include "Hot Peppers", "Viva Guajira", "More Bread", "Mambo For Mauricio", "Puttin You Down", and "El Green Hornet". Excellent!

One of the best entries in the Commodore Series on Mainstream – a collection of obscure mid 50s recordings by flute and tenor player Frank Wess, done in small group settings with a variety of players that include some of his bandmates in the Basie group! There's a more tightly arranged feel here than on some of Frank's other 50s work – but the style suits Wess well, and seems to allow him to stretch out in more lyrical and easy-going modes on the album's best tracks. Other players include Oscar Pettiford, Henry Coker, Jimmy Jones, Joe Wilder, and Urbie Green – and titles include "Danny's Delight", "Mishawaka", "Frankosis", "I'll Be Around", and "Basie Ain't Here".

An overlooked gem from keyboardist Barry Miles – and one of the most compelling early 70s sides on the Mainstream Records label! Barry's got a way of really making his keys sing out nicely – playing both acoustic and electric piano with plenty of warm tones and gently flowing modes – but never in a way that's too far out from jazz, or too smooth to be sleepy. The set features twin guitars from Pat Martino and John Abercrombie, both of whom underscore the chromatic nature of Miles' playing – and other players include Lew Tabackin on tenor and flute, Victor Gaskin on bass, Terry Silverlight on drums, and Warren Smith on congas. Titles are mostly Miles originals – and include "Descent", "Tangent", "White Heat", and "Little Heart Of Pieces".

Sweet electric 70s funk from Blue Mitchell – blowing here in some of the hippest arrangements of his career! Blue's trumpet alone is always pretty darn great, but for this album he's working with arranger Dave Matthews – who gives the tunes fierce groove that mixes vamping guitars with snapping drums – sort of picking up the groove that Matthews forged with James Brown, but allowing for a lot freer jazz interplay! The guitars are often recorded in a cool way that has them sounding a bit "watery" alongside the rhythms – so much so, you'd swear they were keyboards at times – and this approach sounds really great underneath Blue's tighter, harder, more punctuated solos over the top of the tracks. Additional support comes from horn players Joe Farrell and Seldon Powell – and titles include "Funk Walk", "Blue Funk", "Funny Bone", "Golden Feathered Bird", "Harmony Of The Underworld", and "Hot Stuff".

Full-on funky backings for saxophonist Charles Williams – a set that almost has him in the same territory as Stanley Turrentine during his late 70s years on Fantasy Records, or Hank Crawford over at Kudu! The style here is a bit more lush than some of the other Mainstream Records dates of the time – full backings arranged and conducted by Ernie Wilkins – always plenty darn soulful, and built around a mix of strings and jazzier instrumentation – set up with the care and precision of a hip soul soundtrack, and topped by well-crafted alto sax solos by Williams. Other players include Chris Woods on baritone sax, Bubba Brooks and Frank Wess on tenor, Don Pullen on organ, Paul Griffin on electric piano, David Spinozza on guitar, and Ray Barretto on congas – and titles include some great versions of "Who Is He (And What Is He to You)", "People Make the World Go Round", and "Where Is The Love" – plus "Iron Jaws", "Just Before Day", "Ain't No Blues", and "Drown In My Own Tears".

Paul Jeffrey was an obscure tenor player who surfaced briefly on the east coast scene of the early 70s – cutting one great funky record for Savoy, and a handful for Mainstream. This one's a fairly straight batch of tracks, with Jeffrey's tenor poised amidst a quartet with Thelonious Monk Jr on drums, Jack Wilkins on guitar, and Richard Davis on bass. Most of the focus is on Jeffrey's tenor – and tracks include "Brand X", "Moon Madness", "Brand New Day", and "Minor Scene".

A lost chapter in the legendary Harold Land/Bobby Hutcherson relationship – and a record that often gets overlooked. The set is a great moody mellow bit of jazz funk, recorded with Buster Williams on bass, Bill Henderson on electric piano, and Billy Hart on drums. Mtume sits in on congas, and the tracks have a very soulful groove that's different than the duo's work on Blue Note, but which also has the same sense of funkiness. Titles include "Mtume", "Ode To Angela", and "De-Liberation".

Killer electric piano work from the mighty Mike Longo – recorded at a time when he was definitely at the height of his powers! The album sports a rare Mainstream Records appearance from James Moody – who was a frequent partner of Longos on sessions at the time – particularly on some of Dizzy Gillespie's funky records – which bear a lot of similarity to the sharp-edged grooves on this one! The rhythm section is wonderfully tight, and a big part of the success of the set – as they keep things grooving with a slightly sharper edge than some of Longo's other records – thanks to bass from Ron Carter, drums from Mickey Roker, and even a bit of extra congas from Dizzy Gillespie, of all people! Other players include Moody on alto, tenor, and flute – plus Virgil Jones on trumpet and Curtis Fuller on trombone. Titles include "Just To Let You Know", "A Piece Of Resistance", "The Awakening", "Pass It", and "Bitchin".

A surprisingly great little record from Clark Terry – filled with warmth, humor, and some really great grooves! The core of the album is the track "Mumbles", one that's based around Terry kind of slurring a scat vocal to a jazzy 60s groove. The track was a minor hit at the time, and Mainstream recorded a whole album around it – using the arranging talents of Joe Cain, who runs through a lot of elements that really make the set cook – from Latin percussion, to Hammond organ grooving, electric guitar, and an overall sound that's got a hip Verve Records feel. Players include Vinnie Bell, Willie Bobo, Grady Tate, and Jerome Richardson – and Cain really makes the record groove in ways that we've never heard on another Terry session. Titles include "Mumbles", "Rum & Mumbles", "Big Spender", "The Mumbler Strikes Again", "El Blues Latino", and "The Cat From Cadiz".

Pure genius from the hipper side of the LA scene – 2 rare early sessions from trombonist Lou Blackburn, both cut in collaboration with a young Horace Tapscott! The style here is quite hard to peg – a unique blend of soul jazz and modernism – handled with a key focus on unusual rhythms and timings. Blackburn's work on trombone is nicely matched with trumpet by Freddie Hill in the frontline – and the pair work together perfectly in a recasting of some of the modes explored by both instruments in the more mainstream side of the LA scene of the 50s. Tapscott's piano is not nearly as unbridled as in later years, but his presence here is clearly felt on the record – as there's a similar collaborative feel here to some of his later, larger, more spiritual groups. The albums are filled with great original tunes – and titles include "Harlem Bossa Nova", "New Frontier", "The Clan", "Scorpio", "Two Note Samba", "Grand Prix", "Jean Bleu", "Blues For Eurydice", and "Jazzanova". 19 tracks in all – and incredible throughout!

Seminal work from The Brecker Brothers – 6 of the group's best albums, plus the two Blue Montreux live albums – packaged together in one very cool set, in tiny LP-like sleeves! The self-titled Brecker Brothers album is the first super effort from the team of Randy & Michael Brecker, whose twin-horn frontline forged a very popular sound in the mid 70s – some really well-crafted numbers, done with a strong smooth approach that still sits well after all these years! Back To Back features the twin horns of Randy & Michael Brecker, along with alto by David Sanborn, keyboards by Don Grolnick, and guitar by Steve Khan – but one of the things that really makes the album great is the vocal arrangements, which were handled by Luther Vandross, who also sung on the album along with Patti Austin. The set's got a great soulful feel – with some wonderful mellow groovers that have a sweet 70s sound! Don't Stop The Music is a stone classic from The Brecker Brothers – working with touches of club and disco grooves to give an even smoother edge to the jazz funk of the pair. And thanks to some solid soloing that's not afraid to go for the easy spots, the album's a lot more solid than an number of sound-a-like copycat LPs to come out at the time! Heavy Metal Be Bop is tight and funky jamming, with a bit more guitar here than on some of their other records – hence, possibly, the title! Keyboards and guitar jam strongly, but Randy and Michael still get in plenty of space for their solos – pushing their jazz licks with the jamming intensity that might normally be relegated to guitar heroes in the rock world. On Detente, the Brecker's are still rooted in jazz, but definitely step out with plenty of soul in the mix too – vocals from DJ Rogers, Carl Carlwell, Luther Vandross, and others – all of whom really add a lot to the set! On Straphangin, the BBs manage to groove with a sharpness and depth that most of their smoother fusion contemporaries just weren't hitting – an edge that reminds us of the deeper roots these guys had before they started hitting the mainstream! Last up are the live fusion classics Blue Montreux Vols 1 & 2 – both recorded as a unique live all-star outing by a group of Arista's best jazz players at the time! The group's an octet, but plays together in differing formations throughout the record – with Warren Bernhardt on keyboards, Michael Brecker on saxes, Randy Brecker on trumpet, Steve Jordan on drums, Steve Khan and Larry Coryell on guitars, Tony Levin on bass, and Mike Maineri on vibes – the last of which really make for some of the best numbers on the album!

A beautiful return to straighter jazz playing from German trumpeter Till Bronner – heard here in an album of quiet beauty and really subtle moods – played with a depth that goes beyond some of his smoother soul sets! Bronner's honed his trumpet into one of the most pointed sounds in current mainstream jazz – an instrumental voice that resonated beautifully on the Mark Murphy album that Bronner produced and played on – and which steps out into the lead here in a set of mellower small group numbers that include some great piano and organ from Larry Goldings. 4 tracks feature vocals – Carla Bruni on "In My Secret Life", Madelene Peyroux on "I'm So Lonesome I Could Cry", Luciana Souza on "Pra Dizer Adeus", and Till himself on Nick Drake's classic "River Man". Other tracks are instrumentals, and include "Bumpin", "Love Theme From Chinatown", "The Peacocks", and "A Distant Episode".

A funky masterpiece from Bill Cosby – hardly the sort of record you might expect from all of his years on mainstream TV! This set was cut back when Bill was a much hipper cat on the LA scene – and it was the start of a brief all-instrumental run with his Badfoot Brown ensemble – a group who's not named in the notes on the record, but who offer up some seriously funky grooves! Bill supposedly plays keyboards himself – some really mad electric piano that's often repetitive, cyclical, and really hypnotic – a tripped-out style that's more funk than jazz, and which is easily one of the best parts of the record. But the rhythms are great too – equally hypnotic, and build up from bass, organ, guitar, and this whomping sort of drum part – echoing strongly in the background and really bringing a spooky feel to the set. Side one includes the amazing "Martin's Funeral" – sampled famously by Tribe Called Quest, and a 15 minute jam that's inspired by the funeral of Martin Luther King. Side two features "Hybish Shybish", an even longer track that's sort of an improvised jazz game – and which features tripped-out instrumental trading that's simply amazing. The whole record is really mindblowing – a messed-up jam session that's well worth the legend that's been built up around it over the years – and we're hard-pressed to think of another album like it! And as a special bonus, the package features these really long notes written by Bill Cosby himself – words that are as unusual as the music, and a side of him that's hardly been shown again.

Searing live work from Eric Dolphy – part of a series of recordings that set a whole new standard for live jazz recording! The record features Dolphy going even farther out than on his studio sides from the time – as the record features very long tracks performed by a crack group that includes Booker Little on trumpet, Mal Waldron on piano, Richard Davis on bass, and Ed Blackwell on drums. Despite the length of the tracks, Dolphy isn't as far out as on later European live recordings – but the performance is a great example of his inventiveness within a mainstream structure, and the modernist tendencies of both Waldron and Little shine very brightly in the set. The concert was one of Little's last (and greatest) recordings – sometimes billed as a "memorial", even though he was still alive when it was done – and titles on this volume include "Aggression" and "Like Someone In Love".

Stone cooking hardbop – done with all the sharp edges of a New York session, even though the material was recorded live in Rio! The setting is an unusual one – a State Department tour of American jazz musicians – but a lineup that moves way past some of the overly-mainstream "ambassadors" out there – given that the players include Kenny Dorham on trumpet, Zoot Sims and Al Cohn on tenors, Curtis Fuller on trombone, Herbie Mann on flute, and even Ahmed Abdul-Malik on oud! Tracks are nice and long – very much in a jam session mode on the best numbers, but mixed with some well-played mellower moments too – and titles include "Wee Dot", "Red Door", "Autumn Leaves", and the haunting original "Ismaaa", which has a great Eastern feel, thanks to the oud!

Long before he became the giant of mainstream fusion, Dave Grusin was one heck of a jazz player – with a light lively touch on the keys that rivalled that of contemporaries like Oscar Peterson and Erroll Garner. Unlike those guys, though, Dave always had a better eye for the bigger picture – and on this album, he's perfectly matched with some soaring arrangements by Robert Mersey that color his already rich piano work with some beautiful washes of sound. The record's a rare piano and strings session that we'd rank up there with the best – like Herb Albert Presents Pete Jolly, or Oscar Peterson's Inventions & Dimensions – and it's a treasure we come back to again and again over the years. Titles are mostly standards – like "Love Is Here To Stay", "Fly Me To The Moon", "What Is This Thing Called Love", and "The Party's Over" – but Dave takes them to the next level, turning each of them into sublime little jewels that fit perfectly together!

Matthew Herbert never fails to amaze our ears, but he does so even more than ever on this stunning Big Band set! The album's more dynamic, more creative, and more experimental than any of Herbert's other work – hardly the slower, cinematic modes of some recordings – or the jazz-meets-groove styles of others – and instead a rich new palette of musical colors, one that pushes Matthew far far from the mainstream! The work's more orchestral than big band – complicated in tone and rhythm at times, but always finding a space for soul – either in solo instrumental passages, or in the great vocals on the record – sung by Eska Mtungwazi in a really beautiful style, echoing out brilliantly over the larger orchestrations – which themselves were recorded in the House Of Commons and London City Hall. Titles include "Pontificate", "The Yesness", "Battery", "Regina", "One Life", "Just Swing", "The Rich Man's Prayer", and "The Story".

A trio of Blue Note albums from guitarist Stanley Jordan! First up is Magic Touch – a crucial album for the jazz guitar in the 80s – the debut effort of Stanley Jordan, and a set that exploded with a very fresh sound! Jordan has a really unique way of handling his instrument – playing up and down the fret board with both hands – in ways that are often so lyrically compelling and musically complicated that Blue Note had to package the album with a "warning" that there were no overdubs or production tricks on the set – as you might find from other contemporary players on labels like ECM! Instead, Stanley's got a sound that's surprisingly warm and personal – and which, in a way, is recorded with a style that echoes the legend of his initial discovery by the label, while playing in the subway. Titles include "A Child Is Born", "Fundance", "Angel", "The Lady In My Life", "Round Midnight", and "Eleanor Rigby". On Standards Vol 1, guitarist Stanley Jordan takes on a set of standards – not just older tunes from the American songbook, but also some gorovy soul and pop numbers as well! Jordan plays solo throughout – in that open, lyrical style that we loved on his debut – and titles include "Sunny", "The Sound Of Silence", "Send One Your Love", "Moon River", "Guitar Man", and "My Favorite Things". Flying Home features Stanley Jordan in a new sort of soulful setting – one that takes his guitar from the previous solo setting of initial Blue Note albums, and gives it a fuller and smoother groove overall! The production and arrangements are by Preston Glass – a master of smooth jazz in these early years, and one of the few who could still keep things deeply soulful, even while adding in some more mainstream elements – in this case just the right touches to help get Jordan's guitar across to the same 80s audience that was digging cats like Earl Klugh or Bob James. Glass plays a fair bit of keyboards in the set – and titles include "Tropical Storm", "Can't Sit Down", "The Music's Gonna Change", "Flying Home", "The Time Is Now", and "Brooklyn At Midnight".

Thelonious Monk plays the music of Duke Ellington – but as you can imagine, the sound here is quite different than usual! At a time when Ellington was working mostly in large group format for the mainstream, Monk's presentation of his standards in trio format is a wonderful way to unlock their nascent modernism – the angular tones, lines, and complex ideas that were still present in the orchestra readings of the tunes, but which would show up even more strongly in Duke's smaller group dates of the 60s. Many numbers bear the familiar Monk imprint – complicated lines on the keys and sharp changes that really reignite the numbers – and rhythm here is from Oscar Pettiford on bass and Kenny Clarke on drums. Titles include "Mood Indigo", "It Don't Mean A Thing", "I Got It Bad and That Ain't Good", and "Caravan".

Electric funk, with some mighty nice horns – a mix of saxes from Takeru Muraoka – plus trumpet and flugelhorn from Susumo Kazuhara too! We're not sure, but it almost feels as if Takeru's a bit overdubbed – using alto, tenor, and soprano together at various points to give the album a nice strong line over the top – while tight drums, Fender Rhodes, guitar, and percussion get things moving underneath! There's a great balance going on here – a sound that's not nearly as slick as more mainstream Japanese fusion of the time – but rhythms that are still tight and focused, and never on the more overindulgent side of the spectrum. The blend keeps things soulful and funky throughout – on cuts that include "Bon Voyage", "Quaser", "Hot Wind", "May Storm", "Lady Boogie", and "Ode To Naska".

A compelling little record from pianist Phineas Newborn – and we don't just mean that because of it's bizarre image of "instrument love" on the cover! Newborn's got a touch on the piano that's unlike anyone else – kind of a key link between a number of different 50s modes – on the one hand the warmth and feeling you might get from some of the more laidback mainstream stylists, but on the other a sense of poise and economy that ranks right up there with the best small combo players too – really carefully balanced on a record like this, which does a great job of dispersing the energy over the tracks. Backing features John Simmons on bass and Roy Haynes on drums – and titles include "Love & Marriage", "Real Gone Guy", "Gee Baby Ain't I Good To You", "I've Got The World On A String", and "Ivy League Blues".

A set of varied moods and settings – yet one that really does a wonderful job of fleshing out the Sun Ra aesthetic during these crucial years when Ra dubbed himself the "King Of The Sub Underground"! That humorous title is a reference to the fact that Ra and the Arkestra were still working with largely little mainstream exposure – despite the big growth of avant jazz at the time – and were instead working on beautiful recordings like these, often made without any thought of a larger market at all! The CD brings together material from albums originally issued with Sub-Underground in the title – also under other names as well, including Temple U – and the tracks represent the Arkestra really hitting some of their creative heights in a mix of live, studio, and rehearsal recordings. Titles include the brilliant "World Of Africa", recorded in 1968, but with a chunky groove and weird piano that almost feel like a precursor to Fela Kuti; the sublime "Love Is Always" and "Song Of Drums", recorded live with a spare group in a beautifully echoey setting; surprisingly great takes on "What's New" and "Autumn In New York", played by a small group with Ra on a slightly off-tune upright piano; the long "Cosmo Earth Fantasy" suite, with some very fierce sounds; and a nice live take on "Space Is The Place/We Roam The Cosmos", which jumps right into the groove at the start – with a pretty offbeat feel, and lots of cool vocal interplay!

A landmark bit of indie funk from the 70s – one of the few records cut by Detroit keyboardist Eddie Russ, and easily the best! The album features Russ going to town on electric piano – working with a hip combo called The Mixed Bag, which features some wicked work on flute and soprano sax by Larry Nozero – and a vibe that's a lot more laidback than standard funk, or even more mainstream jazz funk too – a sweet open groove that's mighty nice all the way through! The album's really a showcase for Nozero and Russ' solos – trading back and forth effortlessly over long tunes that roll along in a sweet electric-tinged groove – long vamping rhythms that really seem to drive both players onto new heights. Titles include Russ' classic "The Lope Song", a great version of "Hill Where The Lord Hides", and the tracks "Shamading", "Watergate Blues", and "All But Blind".

An early 80s set from Tom Scott, and proof that he could still make an electric jazz album sound more soulful than most of his mainstream contemporaries! There's a really great sense of balance here – production that's certainly polished, but instrumentation that's never sleepy at all – those always-sharp reeds we love from Tom, especially on alto and soprano sax – plus some great keyboard work from Victor Feldman, who has a similar sense of space and timing ot match Scott's groove! The set's got a feel that's a bit like some of the few really great albums from Dave Grusin – and some cuts have vocals, although mostly of the backup type. Titles include "Desire", "Sure Enough", "The Only One", "Stride", "Chunk O Funk", and "Meet Somebody".

A beautiful album of smooth mellow jazzy grooves – and one that proves that Lonnie was still always great, even when he was getting the more mainstream production treatment. The record is similar to ones cut by other older jazz funk keyboardists at the time – like Ramsey Lewis or Charles Earland – in that it's got some more lush arrangements than usual, but still a very soulful feel, and still lots of room for the main soloists. Regular Cosmic Echoes members Dave Hubbard and Donald Smith join Lonnie in a set of arrangements by Bert DeCoteaux, and tracks include "Sunburst", "Journey Into Love", "We Can Dream", and "Explorations".

Plenty of style here – a great later date from Sonny Stitt – one of those near-perfect gems from the years when he had fallen far from the mainstream of jazz, but could still blow with some of the best! There's a simple, almost understated quality to the date that's really wonderful – especially for 1981 – a lineage that flows right back to Stitt's marvelous work for the Roost label, alongside which this record could stand proudly, with only a slight difference in production technique. Other players include Barry Harris on piano, George Duvivier on bass, and Jimmy Cobb on drums – and titles include "Western Style", "Yesterdays", "Eastern Style", "Is You Is Or Is You Ain't My Baby", "The Good Life", and "Killing Me Softly".

An amazing run of music – and key sounds from a time when the Chicago avant garde was finally getting its due in the mainstream! The set features all Novus and Columbia recordings from both the Air trio of Henry Threagill, Fred Hopkins, and Steve McCall – a seminal group from the AACM in the Windy City – and the later recordings made by Threadgill as a leader – featuring even more expansive ideas, and an impressive ear for larger compositions in jazz! The set spans nearly 20 years, and features material from 11 different albums, including some unreleased music too – titles that include the Air albums Open Air Suit, Montreux Suisse Air, and Air Lore – and Threadgill sessions X 75 Vol 1, You Know The Number, Easily Slip Into Another World, Rag Bush & All, Carry The Day, Makin A Move, and Where's Your Cup – plus the previously unissued Vol 2 for X 75. The Air sessions are very earthy and spontaneous – that wonderful creative interplay that marked the AACM legacy at the time. And the Threadgill records start the same way, but show lots of new ideas coming into play – with contributions from Joseph Jarman on reeds, Amina Claudine Myers on voice, Frank Lacy on trombone, Ted Daniel on trumpet, Deirdre Murray on cello, Fred Hopkins on bass, Pheeroan AkLaff on drums, Myra Melford on piano, and a host of other important musicians, all coming together under the leadership of Threadgill. Notes are great, and the 8 CD set features 52 tracks in all – most of them quite long in length!

Inventive percussion and amazing bass work – plus a host of other interesting elements as well – all wrapped up beautifully in this unique collaboration between Isao Suzuki and Masahiko Togashi! Both players were some of the most creative of the mainstream Japanese scene of the 70s – Togashi a drummer who'd often go out, but still maintain a sense of soul – and Suzuki a bassist who often used varations of his instrument that were a bit unusual, and which did way more than simple rhythm work! Here, Isao's working with cello, piccolo bass, and regular bass – in addition to piano and percussion – and Togashi plyas lots more percussion, and a bit of keyboards too – as both players mix up instrumentation in these sensitive shadings of sound and color that are almost a Japanese equivalent of the best ECM experiments of the 70s. Tunes are all as poetic as they sound from the titles – and titles include "A Day Of The Sun", "Birth Of Yellow Eggs", "Silvery Flash", and "Awakening Of The Fresh Green".

One of our favorite compilations of all time – a smoking batch of soulful jazz from the 60s, with a slight bit of funk and blues thrown in as well! The set's exactly what's promised in the title – jazz cuts, but with an ultra-cool mod vibe – the kind of soulful sounds that played big with the younger London crowd digging American music in the mid 60s – and also the kind of music you'd be likely to find blasting out of a backroom jukebox on the west side of Chicago! There's loads of rare single mixes of LP tracks on the set, and a number of smoking 45s from artists you might know better from more mainstream work – really hitting hard here, alongside a few special numbers from the indie underground too. Tracks are cool enough for old school hipsters – but appealing enough to bring in a new listener too – and as proof of that, we've given this one away for many years as a Christmas present. The collection features 25 tracks in all – non-stop pleasure throughout – with titles that include "Soul Shoutin" by Shirley Scott, "Tengo Tango" by Cannonball Adderley Sextet, "Whip It On Me" by Billy Hawks, "Yeh Yeh" by Mongo Santamaria, "Black Talk" by Charles Earland, "I'm Ready" by Otis Spann, "Mama Rufus" by Merced Blue Notes, "Theme From NYPD" by Johnny Hammond, "Step Out & Get It" by The Nomos, "Why Don't You Do Right" by Mark Murphy, "Collard Greens" by Freddie McCoy, "Theme From The Carpetbaggers" by Jack McDuff, "Filthy McNasty" by Eddie Jefferson, "Evil Ways" by Cal Tjader, "Kenny's Theme" by Kenny Burrell, and "Games" by Ivan Boogaloo Joe Jones.

Sadao Watanabe hits a sweet fusiony groove – riding the Orange Express to LA, and picking up some great Dave Grusin arrangements on the way! The album's got the sweetly soulful finish of others from the classic years of Japanese fusion – a style that's as much influenced by mainstream soul as it is by jazz – but which comes across with some top-shelf playing throughout, thanks to a lineup that includes George Benson, Bobby Broom, Eric Gale, Richard Tee, and Marcus Miller – not to mention Watanabe and Grusin themselves! Titles include "Orange Express", "Ride On", "Straight To The Top", "Mbali Africa", and "Bagamoyo/Zanzibar".

One of our favorite compilations of all time – a smoking batch of soulful jazz from the 60s, with a slight bit of funk and blues thrown in as well! The set's exactly what's promised in the title – jazz cuts, but with an ultra-cool mod vibe – the kind of soulful sounds that played big with the younger London crowd digging American music in the mid 60s – and also the kind of music you'd be likely to find blasting out of a backroom jukebox on the west side of Chicago! There's loads of rare single mixes of LP tracks on the set, and a number of smoking 45s from artists you might know better from more mainstream work – really hitting hard here, alongside a few special numbers from the indie underground too. Tracks are cool enough for old school hipsters – but appealing enough to bring in a new listener too – and as proof of that, we've given this one away for many years as a Christmas present. The collection features 25 tracks in all – non-stop pleasure throughout – with titles that include "Soul Shoutin" by Shirley Scott, "Tengo Tango" by Cannonball Adderley Sextet, "Whip It On Me" by Billy Hawks, "Yeh Yeh" by Mongo Santamaria, "Black Talk" by Charles Earland, "I'm Ready" by Otis Spann, "Mama Rufus" by Merced Blue Notes, "Theme From NYPD" by Johnny Hammond, "Step Out & Get It" by The Nomos, "Why Don't You Do Right" by Mark Murphy, "Collard Greens" by Freddie McCoy, "Theme From The Carpetbaggers" by Jack McDuff, "Filthy McNasty" by Eddie Jefferson, "Evil Ways" by Cal Tjader, "Kenny's Theme" by Kenny Burrell, and "Games" by Ivan Boogaloo Joe Jones.

An incredible album from Wes Montgomery – and the beginning of a whole new sound for his guitar! Wes moves away from his small combo soul jazz roots on the set – and hits a wonderfully sweet new vibe with larger arrangements from Don Sebesky – bigger backdrops that fill in the space between the notes wonderfully, yet still leave plenty of space for Montgomery to really open up and do his thing! Sebesky's got a perfect sense of timing on the record – and many tunes have a subtle sort of groove – one that pushes Wes' solos beautifully, and has them open up in chromatic tones that are simply mindblowing. This is the start of Montgomery's really classic years in the 60s jazz mainstream – and titles include the classic "Bumpin", plus "Mi Cosa", "Musty", "Con Alma", and "Tear It Down".

Not really a symphony, but a great album that features the soulful alto sax of Hank Crawford blowing over some rich larger backings from David Matthews – all with a sweetly funky Kudu sound! The style's a bit more polished than some of the other Kudu sessions of the time – almost a bit disco or clubby at times – as Matthews brings in a fair bit of strings and horns to the backings, and also has some female backing singers sweetening up the sound. But as usual with Kudu, the record's no cheap cash-in sort of set – and Matthews ensures that it's got a tightly-crafted groove that's almost like mainstream 70s soundtrack funk at its best moments. Keyboards are by Richard Tee and Leon Pendarvis – and titles include "Sugar Free", "I Hear A Symphony", "The Stripper", "Hang It On The Ceiling", and "Love Won't Let Me Wait".

Despite the title of the album, the group's a sharp-edged fusion combo – one that hails from late 70s Japan, and who works here in the best mainstream fusion mode of the time! The tunes are mostly jazz funk with a bit of polish – heavy on guitars from Kazuo Takeda, who also takes off on some pretty nice solos – and also featuring keyboards from Hisao Sakurai and tenor from Mitsuru Kanekuni. The record is never too jamming, nor too smooth – but one number does feature some unfortunate blues vocals from Takeda. Titles include "Spinning Toe Hold No 2", "No Problem", "Wild Cat", "Swamp Boy", and "Fou Fou Gun Gun".

Long tracks and plenty of room to move around – a perfect setting for the classic sound of the Red Garland Trio on Prestige! Despite the title, the album's not so much groovy as it is lyrically beautiful and filled with sensitivity – a key bridge between piano players of the mainstream in the years before Garland, and some of the bigger, bolder names that would rise up during the 60s soul jazz years. Rhythm is by Paul Chambers on bass and Art Taylor on drums – and the longer tracks give Chambers plenty of room to express his unique talents on the bass. Titles include "Gone Again", "Hey Now", "Will You Still Be Mine", "What Can I Say Dear", and "C-Jam Blues".

A brilliant return from the Hot 8 Brass Band – a New Orleans combo who take tradition into some great funky new territory! As you'd guess from their name, the instrumentation is heavy on brass – played with a gritty, soulful edge – in the way you'd find during some street performance in a corner far from the mainstream Quarter – sometimes accompanied by ensemble vocals, and almost always driven by these great rhythms at the bottom – more than funky enough to set even the heaviest horns on fire with their energy. Titles include "Bingo Bango", "Fine Tuner", "Steamin Blues", "Can't Hide From The Truth", "New Orleans (After The City)", and a nice remake of The Specials' "Ghost Town".

We love Oscar Peterson with strings – a setting he never got to use that often, given the popularity of his famous trio recordings! When Oscar gets set up with strings, he seems to play even more freely than with a combo – let loose from rhythm a bit more than before, and instead focusing strongly on melody – which often comes off with a warmly lyrical feel. This album's a rare entry into the Peterson strings category – a great 50s date with Russ Garcia backing Oscar up – giving the album just the right mix of mellow and modern to match Peterson's magical work on the keys! In a way, the album's a link between two different styles of 50s jazz – some of the warmer string-laden work of the piano mainstream, and some of the sharper sounds of the Verve modern approach to the style – served up here by Oscar in ways that bring both modes together perfectly, with just the right dash of both. Titles include "Laura" and "Tenderly" – both tracks you'd have to have on an album like this – plus "Black Coffee", "Ruby", "Stella By Starlight", "A Sunday Kind Of Love", and "I Thought About You".

Arguably THE classic Cal Tjader album of the 60s – a landmark album that crossed over equally into Latin, jazz, and mainstream audiences – and a stone cooker that's filled with smoking little grooves! The set's probably best known for its title track "Soul Sauce" – one of the biggest jazz hits of the 60s, and a catchy groover that was built around a riff from Dizzy Gillespie, but which also featured a groovier 60s sound, thanks to Cal's use of vibes. The whole album follows in similar format – and features great work by a core combo that includes Armando Pereza on congas, Lonnie Hewitt on piano, and Johnny Rae on drums. Titles include "Soul Sauce" – also known as "Guacha Guaro" – plus the tracks "Joao", "Leyete", "Maramoor", and a killer reading of "Afro Blue" that features guest appearances by Donald Byrd, Jimmy Heath, and Kenny Burrell.

The accordion never sounded groovier – thanks to some great playing by Art Van Damme and amazing production by MPS! This 5CD set features a whopping 10 albums that Art recorded for the legendary German label between 1966 and 1972 – all of which are hipper and more swinging than any of Van Damme's work in the US – and most of which have never been on CD before! Most numbers feature a trademark blend of accordion, vibes, and guitar – and Van Damme plays his instrument in a way that's somewhere between an organ and a saxophone – often hitting notes in really surprising ways, and working with a phrasing that's far different from any mainstream use of the accordion in the 50s. A few sessions augment the instrumentation a bit more – using flutes or saxophones – and overall the whole thing's an amazing illustration of the way that MPS was always able to get work that was a cut above regular dates by any player! 5CD set features the full albums Mit Art Van Damme In San Francisco, Ecstasy, Gentle Art Of Art, Lullaby In Rhythm, Art In The Black Forest, On The Road, Art & Four Brothers, Squeezing Art & Tender Flutes, Keep Going, and Blue World – all remastered, and presented with beautiful notes!

Killer work from one of the greatest labels of the 70s – the boldly-titled Black Jazz Records, a company who put out some tremendous music! Black Jazz was similar to Strata East and Tribe – two other great independents of the time – in that it really allowed the musicians a creative freedom that they didn't always get on bigger and more mainstream labels. The result was a sublime blend of righteous jazz tunes that were some of the most cutting edge jazz funk of the time – a wealth of great numbers that mixed light electric work with really solid jazz soloing, and which occasionally used vocals to serve up the message even more strongly! The set's all-great, all the way through – with classics that include "Our November" by Walter Bishop Jr, "The Messenger" by Doug Carn, "Fonda" by Rudolph Johnson, "Powerhouse" by Chester Thompson, "Eglise" by Roland Haynes, "Black Orchid" by Gene Russell, "Kaiser 405" by Cleveland Eaton, "Infant Eyes" by Doug Carn, "Maiden Voyage" by Kellee Patterson", "Blue Lights" by Henry Franklin, "Criss Cross" by Calvin Keys, "Mode For DD" by The Awakening, and "Time Is Running Out" by Doug Carn.

Flutey! A great collection of funky flute tracks from the Atlantic label – probably the one record company that did the most for getting the flute into the funky jazz mainstream, thanks to work by its giants like Herbie Mann, Hubert Laws, and Roland Kirk. Titles include "Eboness" by Yusef Lateef, "Push Push" by Herbie Mann, "Ain't No Sunshine" by Roland Kirk, "Nubian Lady" by Yusef Lateef, "Thirteenth Floor" by David Fathead Newman, "Sombrero Sam" by Charles Lloyd, "The Wiggler" by Leo Wright, "Let Her Go" by Hubert Laws, and "One Ton" by Roland Kirk.

Jazzy vibes – and jazzy sax, trumpet, and keyboards too – all heard in a host of rare cuts from the 70s – pulled together in one massively great batch of music! The set does a great job of digging around the edges of the 70s – moving past too-familiar jazz funk classics, and coming up with numbers that really get at the more sophisticated side of the genre! Most of the work is by relatively well-known artists, but the whole thing's still a nice change from the mainstream, and features loads of rare groove classics – including "In Good Faith" by Norman Harris, "Latin Spirit" by Leon Huff, "Latin Love" by Dexter Wansel, "Cisco Kid" by Reuben Wilson, "Red Beans" by Jimmy McGriff, "Out On The Coast" by Larry Willis, "Give Me Your Love" by Funk Incorporated, "Killing Time" by Natural Essence, "Like A Thief In The Night" by Mike Longo, "Them Changes" by Lionel Hampton, and "Killing Me Softly" by Hysear Don Walker.

Two killers from Chicago guitarist Bobby Broom – both recorded near the start of his career! First up is Clean Sweep, killer set from a player who should have been huge – ultra-sweet guitarist Bobby Broom, a player we'd vote to become the next big heir to the sound of Wes Montgomery or George Benson! This debut set is a wicked mix of jazz and soul – recorded right at the best stretch of the early GRP label, with a similar blend and sense of depth as the label's initial albums by Don Blackman and Bernard Wright! The core groove focuses strongly on Broom's guitar, but there's also some great vocal numbers too – and it turns out that Bobby's a surprisingly good singer, too – with a nicely honest vocal approach that works great alongside his guitar. Arrangements are by Broom, Dave Grusin, and Marcus Miller – and titles include "No Bad Vibes", "Saturday Night", "Niqui", "Share My Love", "She's My Reason", and "Remember When". Next up is Livin For The Beat is the second LP by this oft-overlooked, but excellent Chicago soul jazz guitarist – and a record that's quite different than his first! Like the second album by Bernard Wright, fellow labelmate at GRP/Arista, Broom's moving into a mode that's more electro/"street" for this second album – which means that there's a lot of keyboards and electronic percussion on the set, giving some tracks a proto-breaking kind of sound – more of a street-level sound than the smoother jazz mode of the first set – which makes for a really surprising change, and helps keep the record away from mainstream fusion cliches of the time. The best cuts, though, are in a smooth 80s groove mode – and Broom shows that he's strong on the vocal tip as well as the guitar. Titles include "Let It Go", "Let's Stay Together", "Rubye", "He Said I Love You", "Beat Freak", "Give Me Your Love", and "Magic Johnson".

One of Hank Crawford's first big records of the 70s – a really great set that helps him shake off some of his stock modes of the 60s and find a very different groove! A big part of the album is arranger Don Sebesky, who gives Hank a backdrop that's sophisticated and smooth, yet still pretty soulful in all the right places – a style that's almost a bit like mainstream soundtrack work of the time, but a bit more jazz focused overall. Hank's solos are right out front on most tracks – blown with that nicely pinched tone that made him a standout back in the day – and other players include Richard Tee on both organ and piano, as well as Idris Muhammad and Bernard Purdie on drums. Titles include "Uncle Funky", "Imagine", "The Sun Died", "Brian's Song", and "Ham", which was arranged by Pee Wee Ellis.

A seminal 70s side from Miles Davis – originally a Japanese recording, and one that returns to the solid push of the initial electric years! The record's a completely cooking little session – one that mixes the raw, noisier styles of other Davis albums with a focus, funked-up energy that's really set loose in the freer standards of the Japanese scene – all to come up with a sound that's completely otherworldly, and which is light years ahead of most mainstream fusion from the period. Pete Cosey plays some really wicked guitar and synthesizer, Al Foster kicks tremendous energy on his drums, Sonny Fortune brings a soulful depth on soprano sax and flute, and Michael Henderson creates massive flow on the bass. Titles include "Prelude", "Interlude", and a long version of "Theme From Jack Johnson".

A sweet late 70s groover from Ramsey – not as all-out electric as some of his earlier work for Columbia, but done with some nice arrangements that have a full and soulful feel! There's a bit of Kalimba/Earth Wind & Fire soul to the mix – and some tracks have production by James Mack and soulful backing vocals by Kitty & The Heywoods – both elements of which serve to provide a nice platform for Ramsey to soar over the top on Steinway. A few cuts feature a bit of electric keys, but overall, the style's in that "acoustic solo instrument over electric backings – in the manner that 70s mainstream fusion was using heavily at the time. Titles include "Dancin", "I'll Always Dream About You", "Every Chance I Get", and "I Just Can't Give You Up".

Madlib invades Blue Note! He gets free reign of the catalog for this mix of sampler genius and live band interpretations, too, as/with Ahmad Miller, Yesterdays New Quintet, Malcolm Catto, Medaphoar, and others from the Stones Throw camp. This one's truly a conceptual triumph, if there ever was such a thing – one of the greatest hip hop producers alive, given carte blanche with the source beats of the century! Madlib's Blue Note crates are heavily weighed in the mid 60s through mid 70s electric beats that often get the shaft in mainstream jazz round-ups, but floor the beathead world into overdrive. Re-interpretations, remixes, and revisions are spliced seamlessly with the source samples, creating a whole new world where hip hop and late model live funk not only co-exists with classic Blue Note jazz, but it actually draws a linear transition between the 2 genius art forms. Beautiful stuff – if the album isn't the most original idea to come along all of these years into the hip hop & jazz underground, it's certainly one of the most perfectly realized projects of its kind, ever! It's one for the time capsule – easily Madlib's masterpiece, and pure funky sample wizardry by any standard! Includes Monk Higgins' "Slim's Return" interpreted by Ahmad Miller and DJ Lord Such on cuts, "Donald Byrd's "Distant Land", "Ronnie Foster's "Mystic Bounce", Yesterday's New Quintet's adaptation of Wayne Shorter's "Footprints", Madlib Invazion's "Funky Blue Note", the Joe McDuphrey Experience take on Horace Silver's/Herbie Hancock's "Peace/Dolphin Dance" and lots more.

Marvelous work from Mostly Other People Do The Killing – and a record that's quite different from its cheesy looking cover! The quartet never fail to amaze us with their creative energy – and this time around, they're paying homage to that moment in 80s jazz when the underground was brimming up in the mainstream – that great point when creative musicians were finding wider exposure on labels like Columbia, Novus, or Blue Note – yet still serving up sounds that were true to their roots. The cheesy packaging is a nod to the visual aesthetics of the time – and the music is a great contrast, which was not uncommon for the period – lots of sharp reeds from Jon Irabagon, percolatedly soulful trumpet riffs from Peter Evans, snapping percussion from Kevin Shea, and these warm, round, deep lines on acoustic bass from Moppa Elliott – who also wrote and produced the set. Titles include "Sayre", "President Polk", "Can't Tell Shipp From Shohola", "Hearts Content", "Jersey Shore", and "Dexter, Wayne, & Mobley".

Great work from Japanese reedman Yoshio Otmo – a player we know from only a handful of 70s records, but who we really love! Otmo – also spelled Ohtmo on some records – has a way of carving out lines that are sharp, yet warm at the sametime – a nice sense of soulfulness that never pushes things too far, yet still has a lot more of an edge than mainstream reedmen on the US scene – a balance that's almost a bit like Joe Farrell at the time, yet with a different vibe too – especially since Yoshio's horns are alto and soprano. This cooker has some great long tracks that feature both electric and acoustic piano in a quartet – and titles include "As A Child", "Happy Talk", "Sentimental Steps", "All In Love Is Fair", and "In A Little Spring Waltz".

A landmark bit of indie funk from the 70s – one of the few records cut by Detroit keyboardist Eddie Russ, and easily the best! The album features Russ going to town on electric piano – working with a hip combo called The Mixed Bag, which features some wicked work on flute and soprano sax by Larry Nozero – and a vibe that's a lot more laidback than standard funk, or even more mainstream jazz funk too – a sweet open groove that's mighty nice all the way through! The album's really a showcase for Nozero and Russ' solos – trading back and forth effortlessly over long tunes that roll along in a sweet electric-tinged groove – long vamping rhythms that really seem to drive both players onto new heights. Titles include Russ' classic "The Lope Song", a great version of "Hill Where The Lord Hides", and the tracks "Shamading", "Watergate Blues", and "All But Blind".

Groovy takes on famous Stevie Wonder Tunes – all of them jazz-based, and played by some of the funkiest artists of the early 70s underground! The set's heavy on Hammond, Fender Rhodes, riffing guitar, and soulful sax – and cuts come from some of the best indie labels of the time – Groove Merchant, Mainstream, and even smaller imprints – all of whom were home to some pretty hip cats back in the day! The package has a sweet edge that really lives up to the high quality of the Return Of Jazz Funk series on P-Vine – kind of a summation of all the greatness the label's done in recent years, wrapped around the compositions of Stevie Wonder for extra impact. Titles include "Music Talk" by Paul Humphrey, "You Are The Sunshine Of My Life" by Pete Yellin, "Superstition" by Charles Kynard, "My Cherie Amour" by Cal Green, "You've Got It Bad Girl" by Richard Groove Holmes, "You Are The Sunshine Of My Life" by Tyrone Washington, "All In Love Is Fair" by Bubbha Thomas & The Lightmen, and "Super Woman" by O'Donel Levy.

Searing live work from Eric Dolphy – part of a series of recordings that set a whole new standard for live jazz recording! The record features Dolphy going even farther out than on his studio sides from the time – as the record features very long tracks performed by a crack group that includes Booker Little on trumpet, Mal Waldron on piano, Richard Davis on bass, and Ed Blackwell on drums. Despite the length of the tracks, Dolphy isn't as far out as on later European live recordings – but the performance is a great example of his inventiveness within a mainstream structure, and the modernist tendencies of both Waldron and Little shine very brightly in the set. The concert was one of Little's last (and greatest) recordings – sometimes billed as a "memorial", even though he was still alive when it was done – and titles on this volume include "Aggression" and "Like Someone In Love".

A pretty unique record by Gibbs – a set of Jewish tunes set to jazz, played by a group that includes vibes, piano, trombone, and clarinet. The clarinet's the main influence here on the sound – as it's used in a snakey way that instantly invokes Klezmer music, yet still retains the fluidity you'd expect from a jazz album. About half the tunes on the album will be instantly familiar – as they're numbers with popularity that brought them out of the Jewish market into the mainstream in years past – and titles include "Bei Mir Bist Du Schon", "S & S", "Nyah Shere", "And The Angels Sing", "My Yiddishe Momme", and "Papirossen (Cigarettes)".

One of the all-time classics of early 60s mainstream jazz – and a beautiful record that showcases writing and arranging talents of Oliver Nelson! Nelson had been bumping around a variety of sessions before this one – as a leader, sideman, and arranger – but it was with this album that his true talents really unfolded – sparkling with a depth of imagination and expression that marked him as one of the greatest artists in 60s American jazz! The group on the set is an all-star sextet – featuring Paul Chambers, Eric Dolphy, Bill Evans, Roy Haynes, and Freddie Hubbard – a disparate group of players who manage to come together with Nelson and find a unique voice that's rarely been duplicated again! The album features 6 fantastic compositions by Nelson, including "Stolen Moments", "Hoe Down", and "Yearnin". A fantastic record – and one that you can't go wrong with!