Jazz — All Formats  

A landmark bit of jazz funk – from one of the greatest backup groups of the 70s! Herbie Hancock first brought The Headhunters to light – working with the San Francisco-based combo that included Bennie Maupin, Mike Clark, Paul Jackson, and Bill Summers – using their sound to give his work the right dose of funk it needed to reach new audiences during the decade. This album's the first to feature the group on their own, without Herbie – and if we don't mind saying so, they sound even better without him! The whole thing's a wonderful mix of jazz funk grooves and very unusual rhythms – and the record contains the monster full length version of "God Make Me Funky", which is 9 minutes and 35 seconds of non stop funk, plus the cuts "If You've Got It, You'll Get It", "Magic", and "Here & Now".

A landmark bit of jazz funk – from one of the greatest backup groups of the 70s! Herbie Hancock first brought The Headhunters to light – working with the San Francisco-based combo that included Bennie Maupin, Mike Clark, Paul Jackson, and Bill Summers – using their sound to give his work the right dose of funk it needed to reach new audiences during the decade. This album's the first to feature the group on their own, without Herbie – and if we don't mind saying so, they sound even better without him! The whole thing's a wonderful mix of jazz funk grooves and very unusual rhythms – and the record contains the monster full length version of "God Make Me Funky", which is 9 minutes and 35 seconds of non stop funk, plus the cuts "If You've Got It, You'll Get It", "Magic", and "Here & Now".

Searing early work from Joe McPhee – quite possibly his hardest-hitting recording of the 70s, even if the material wasn't properly issued until 25 years later! The performance was done for radio station WBAI in New York – and it features McPhee, Clifford Thornton, and Byron Morris coming together in an experimental setting that also includes some earlier taped performances by McPhee alongside the live work by the group! There's an energy here that rivals the most aggressive avant work on Impulse Records at its best – a soaring, righteous sound that's got an undercurrent of social change and politics, as you'd find in classics by Archie Shepp or Marion Brown. The remaining members of the group include Mike Kull on piano and Harold E Smith on percussion, and McPhee plays trumpet as well as tenor – on titles that include "Black Magic Man", "Nation Time", "Song For Lauren", "Message From Denmark", "Harriet", and "The Looking Glass 1".

A double treasure from Billy Bang – two late 70s vintage performances in a single package! First up is Black Man's Blues – a really amazing performance from Bang, cut during some of his most creative years on the New York loft jazz scene, at a time when Billy was carving out a rich new space for his instrument in jazz – and helping move forward a very creative generation of musicians as well! The lineup here includes Bilal Abdur Rahman on tenor and soprano sax, William Parker on bass, Rashid Bakr on drums – along with Bang's violin, bells, shaker, and percussion. But almost even more compelling are a few spoken passages from Billy – extremely proud, righteous words, spoken with assurance that really sends them home – and which helps the album stand out strongly in the genre of jazz and spoken word. Not all tracks feature spoken bits, but when they appear, they're great – and titles include "Ganges/Enchantment/Tapestry", "Albert Ayler/Know Your Enemy", and "Black Man's Blues". New York Collage is a radio performance from 1978 – one that has a beautifully focused feel, even on some very long tracks – thanks to a bold musical vision from Bang, who's at his lean best here – able to reach for high concepts, without ever getting bogged down in them. Players include Bilal Abdur Rahaman and Henry Warner on saxes, William Parker on bass, Khuwana Fuller on congas, and Rashid Bakr on drums – and titles include "Subhanallah", "Illustration", "For Josie", and "Nobody Hear The Music The Same Way".

Incredible work from drummer Rashied Ali – a set that really delivers on the promise of the music he first crafted with John Coltrane! The vision here is wide and expansive, yet still has a soulful, spiritual heart – a great balance of the free impulses of all players with the core unity of the group – a righteous energy that holds up strongly, even over the course of the album's two long tracks. The set's a great contrast to the work going on in the European scene at the time – and really shows how the American indie recording scene was able to capture performances in a more solid, focused sort of way. In addition to Ali's work on drums, the quartet also features excellent alto and flute from Carlos Ward, piano from Fred Simmons, and bass from Stafford James – the last of whom really ties the whole thing together with his sense of soul. Titles include "Akela" and "As Salaam Alikum".

A brilliant album – and real turning point for Herbie Hancock! After first coming onto the scene as the soul jazz hero between Blue Note funky classics like "Watermelon Man" or "Blind Man, Blind Man" – Herbie emerges here as a concerned modernist with a strand of spirituality that runs deeper than previously expressed. The key track in this vision is his brilliant modal number "Maiden Voyage" – one of those tunes that sounded totally fresh immediately, and which was picked up by many others as a jazz anthem during the 60s. The rest of the album's equally great – and features George Coleman on tenor, Freddie Hubbard on trumpet, Ron Carter on bass, and Tony Williams on drums – all making for a very hip lineup that really lets Herbie open up stylistically! Other titles include "Dolphin Dance", "Little One", and an original version of "Survival Of The Fittest".

One of the strangest covers we've seen in years – and a perfect fit for this obscure session of unusual grooves! Drummer Bubbha Thomas is working here in a mode that's kind of an electrified 70s take on the Texas showband style of earlier years – a mode that has the core funky combo augmented by electric keys and moog in just the right places! The tunes on the set are all instrumentals – jamming along in a sweet little style that mixes funky jazz with some of the rougher touches of the indie 45 scene – letting the band stretch out on extended solos on most cuts, but still keeping the rhythms very tight and in the pocket! In a way, the approach almost feels like some of the funkier work on Tribe Records from Detroit, especially on tracks that have more ambitious solo work. Players include Doug Harris on flute and tenor, Ronnie Laws on tenor, John Henderson on electric piano, and a young Hugh Ragin on trombone – and titles include "Herbs Of Life", "Sweet Ray", "Famous Last Words", "Country Fried Chicken", and "Survival Song".

Revolutionary jazz from the era of the Civil Rights Movement and beyond – soulful and spiritual jazz as important as any of the era – an impeccably well chosen compilation of Freedom, Rhythm & Sound from Soul Jazz Records! The set is a tie-in with Soul Jazz's essential Freedom, Rhythm & Sound book – documenting the sounds and providing an aural portrait of a fertile creative period in African American music and cultural history – when the societal struggles were a counterpart to the heretofore unseen depth of creativity and empowerment in jazz music. Includes a nice booklet of notes, and songs from both the independent underground, and some that made it onto established labels like Verve and others, and material by Joe Henderson, Archie Shepp, Errol Parker, Mary Lou Williams, Art Ensemble Of Chicago, Horace Tapscott, Sun Ra and many more. 23 pivotal tracks on 2CDs, many running on the longer side, for a straight up incredible set of spiritual soul jazz: includes "Africa" by Oliver Lake/NTU, "Space A Nova" by Stanton Davis' Ghetto/Mysticism, "Miss DD" by Mary Lou Williams, "Old Time Religion" by Art Ensemble Of Chicago, "Drinking Song" by Gary Bartz NTU Troop, "Attica Blues" by Archie Shepp, "Peyote Song No III" by Horace Tapscott & Pan Afrikan Peoples Arkestra, "Freedom Time" by Pharoahs, "Black Survival" by Roy Brooks & Artistic Truth and more.

Brilliant work as a leader from McCoy Tyner – and easily one of his most righteous albums ever – a true batch of spiritual gems that really takes the John Coltrane legacy one step further! Most numbers build with a modal vibe that's more Impulse Records than Blue Note – and players on the set include Alice Coltrane on harp, Gary Bartz on alto, Wayne Shorter on tenor and soprano sax, Ron Carter on bass, and Elvin Jones on drums – a wonderful lineup that really holds tightly to the soaring, soulful energy that Tyner spins from his piano – a mode that's never too far out or avant, yet which stretches to the skies with a heavenly vision. The whole thing's wonderful – and tracks include "Message From The Nile", "The Wanderer", "Survival Blues", and "His Blessings".

'A much hipper record than you'd guess from its cheesy early 90s cover – an image that's almost a relic of the unfortunate time when jazz was trying to take on hip hop album art! Fortunately, Philip Harper's got a lot more depth than his photo – a rich quality that sparkles with the best indie soul jazz touches of the time – a solid grounding that allows all players plenty of room for expression, in ways that are a nice extension of modes from a decade or two before! Harper plays both trumpet and flugelhorn, and works with a strong lineup that features Javon Jackson on tenor, Jamal Haynes on trombone, Kevin Hays on piano, Duane Berno on bass, and Nasheet Waits on drums – and possibly most surprising, Terry Harper sings vocals on two tracks – providing a slightly gentle respite from the well-blown energy of the horns in the frontline. Titles include "Weaver Of Dreams", "Soulful Sin", "The Old Country", "Survival", "Mellow Afternoon", and "Songbird".

An intense album of spiritual jazz tracks – played by Lon Moshe and the Southern Freedom Arkestra! The album was recorded in 1976, during the height of the Black Fire DC underground scene – and Moshe's playing vibes at the head of a large group that's perhaps the most spiritual ensemble on the already pretty darn spiritual Black Fire label. Tracks are long and free floating – as vibes and marimba mix with piano, strings, percussion, trumpet, and occasional vocals. Titles include "Low Ghost", "Ballad For Bobby Hutcherson", "Doin The Carvin For Thabo", "Survival Raga #9", and "Love Is Where The Spirit Lies".