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Massively funky work from the mighty Weldon Irvine – sublimely cosmic and filled with soul throughout! The vibe here is a bit more focused than on some of Weldon's earlier albums – a moody blend of electric keys, heavy percussion, and some slight bits of jazzy solo work by trumpeters Charles Sullivan and Everett Blood Hollins, and saxophonist Sonny Fortune – both players who really help the album find some soulful structure! The album's all-instrumental, and has Weldon really taking off on the keyboards – not just using them for main solos, but also dropping in cool noisy bits and analogue effects that really sound great – almost out-Herbieing Herbie Hcock for the record, and turning in some of his biggest classics on wax! Titles include the massive sample cut "We Gettin' Down", plus "Jungle Juice", "Blast Off", "Softly", "Power & The Glory", "Yasmin", and "Pogo Stick".

Weldon Irvine meets Strata East – and the result is one of the keyboardist's funkiest albums ever! The set's more jazz-based than the soul/funk outings Weldon cut for RCA and his own label – with great focus on Weldon's lines on clavinet and Fender Rhodes – supported by sweet guitar lines and lots of heavy percussion – often a mix of drums and congas, which really sounds great. Pianist Virginia Joe Jones joins the group on a few cuts – but the main star here is definitely Weldon, who sparkles wonderfully on some spiritual keyboard solos. Titles include "Pleasure Pain & Me", "Marjorie Moon", "Down Home", "Fat Mouth", "Turkish Bath", and "Gemini Mood".

Rare work from Weldon Irvine – a selection of tracks recorded as private studio outings, reissued briefly by Luv N Haight in the early 90s, and then only on vinyl! The style here is much more jazz-based than some of Irvine's soul recordings – a mode that's often all instrumental, and which features Weldon playing more acoustic piano than on his 70s fusion classics – but usually mixed in with sweet electric elements, too – which creates this wonderfully righteous balance in the music! The whole thing's very soulful, with plenty of undercurrents of the RCA years – and guest players include Steve Grossman on tenor, Marcus Miller on bass, Tom Browne on trumpet, and Bobby Broom on guitar – the latter 3 of which all worked with Weldon at GRP, making us guess that some of these 80s sides were intended for release on that label. Titles include "Kundabuffer", "Music Is The Key", "Mr PC", "We Can Try Again", and "Blues For Spike". CD features a huge amount of bonus tracks – including "Blue In Green", "Heard It All Before", "It's Funky", "Shopping", "The Sisters", "Think I'll Stay A While", and "Misty Dawn" – all only ever on the Sisters album, making their first appearance here on vinyl.

A huge musical treasure – a full unreleased album by Weldon Irvine, plus a bonus video as well! The music is from the stage play Young Gifted & Broke – a short-lived production by Weldon, and one that's done with some of the same hip modes he was bringing to his own music of the 70s – as well as to other artists as well, especially Nina Simone! The style's more jazz than funk, but is still mighty nice – as the instrumentation features loads of electric piano lines from Weldon, and a sparklingly soulful style that's way hipper than most of what you'd find on the stage at the time. Most tunes have lyrics, but are still heavy on Fender Rhodes lines from Weldon – and titles include "Karate Dancer", "Pity for The Man", "Black Lightning's Song", "Musical Interlude", "Comin Home", "We Got A Deal", "No Now Never None", and "Ghetto Lament". DVD features a documentary titled The Edification Of Weldon Irvine – filmed in 1979 by Collis Davis – partly on the play, but also on Irvine and his music too – a beautiful document with footage in both color and black and white. DVD also has subtitles in Japanese – but is in English throughout.

Weldon Irvine's last album for a major label – and a key set that marks the debut of the legendary Don Blackman! Irvine's still very much in charge of the session, but Blackman's emerging here with the strength that would show up on his later soul sessions – singing lead vocals on some of the best cuts on the record, and also playing acoustic piano next to Weldon's bank of electric keys. Tunes are nicely varied throughout – returning to the exploratory nature of some of Irvine's earlier records – and there's even some great mellower numbers that are some of our favorite tracks on the set – including the sublime stepper "I Love You", the gently spacey "Music Is The Key", and a sweet instrumental cover of "What's Going On". Other tracks include "Sinbad", "Don't You Worry Bout A Thing", "Do Something For Yourself", and "Here's Where I Came In".

Massively funky work from the mighty Weldon Irvine – sublimely cosmic and filled with soul throughout! The vibe here is a bit more focused than on some of Weldon's earlier albums – a moody blend of electric keys, heavy percussion, and some slight bits of jazzy solo work by trumpeters Charles Sullivan and Everett Blood Hollins, and saxophonist Sonny Fortune – both players who really help the album find some soulful structure! The album's all-instrumental, and has Weldon really taking off on the keyboards – not just using them for main solos, but also dropping in cool noisy bits and analogue effects that really sound great – almost out-Herbieing Herbie Hcock for the record, and turning in some of his biggest classics on wax! Titles include the massive sample cut "We Gettin' Down", plus "Jungle Juice", "Blast Off", "Softly", "Power & The Glory", "Yasmin", and "Pogo Stick".

Landmark early work from the legendary Weldon Irvine – recorded way back when he was first coming to fame with Nina Simone, but done as an obscure indie effort for his tiny Nodlew label! The set's a wicked batch of keyboard-heavy funk – at a level that's similar to some of the best titles on Black Jazz or Strata East at the time, but also filled with an even richer array of colors and musical ideas. Weldon's work on electric piano is worth the price of admission alone – often spare, spacious, and perfectly placed – especially on the funky classics "Homey", "Mr Clean", and "Sister Sanctified" – a tune later cut by Stanley Turrentine, but heard here in Weldon's original version! Other cuts include "Gloria", "Juggah Buggah", "Blues Wel-Don", and "Liberated Brother".

Massive music from the legendary Weldon Irvine – three albums in a single set! Cosmic Vortex is a genius bit of work from the legendary Irvine – a mightily righteous effort that more than lives up to its heady title and cover! Keyboards are very much at the forefront of his sound – played with that heavily vamping left hand that makes his work so funky – but there's also a focus on lyrics here too – sung by Weldon with support form singers Ojuleba & Nalo, in a way that creates a righteous "many voiced" mode on the lyrical tracks! Titles include excellent track "Walk That Walk, Talk that Talk", plus other great ones like "Love Your Brother", "Let Yourself Be Free", "Quiet", "I'll Name It Tomorrow", and "Love Jones". Sinbad features the debut of the legendary Don Blackman! Irvine's still very much in charge of the session, but Blackman's emerging here with the strength that would show up on his later soul sessions – singing lead vocals on some of the best cuts on the record, and also playing acoustic piano next to Weldon's bank of electric keys. Tunes are nicely varied throughout – returning to the exploratory nature of some of Irvine's earlier records – and there's even some great mellower numbers that are some of our favorite tracks on the set – including the sublime stepper "I Love You", the gently spacey "Music Is The Key", and a sweet instrumental cover of "What's Going On". Other tracks include "Sinbad", "Don't You Worry Bout A Thing", "Do Something For Yourself", and "Here's Where I Came In". Spirit Man is massively funky work from the mighty Weldon Irvine – sublimely cosmic and filled with soul throughout! The vibe here is a bit more focused than on some of Weldon's earlier albums – a moody blend of electric keys, heavy percussion, and some slight bits of jazzy solo work by trumpeters Charles Sullivan and Everett Blood Hollins, and saxophonist Sonny Fortune – both players who really help the album find some soulful structure! The album's all-instrumental, and has Weldon really taking off on the keyboards – not just using them for main solos, but also dropping in cool noisy bits and analogue effects that really sound great – almost out-Herbieing Herbie Hcock for the record, and turning in some of his biggest classics on wax! Titles include the massive sample cut "We Gettin' Down", plus "Jungle Juice", "Blast Off", "Softly", "Power & The Glory", "Yasmin", and "Pogo Stick".

Weldon Irvine's last album for a major label – and a key set that marks the debut of the legendary Don Blackman! Irvine's still very much in charge of the session, but Blackman's emerging here with the strength that would show up on his later soul sessions – singing lead vocals on some of the best cuts on the record, and also playing acoustic piano next to Weldon's bank of electric keys. Tunes are nicely varied throughout – returning to the exploratory nature of some of Irvine's earlier records – and there's even some great mellower numbers that are some of our favorite tracks on the set – including the sublime stepper "I Love You", the gently spacey "Music Is The Key", and a sweet instrumental cover of "What's Going On". Other tracks include "Sinbad", "Don't You Worry Bout A Thing", "Do Something For Yourself", and "Here's Where I Came In".

One of the most beautiful records to come out of the early 70s – a tremendous indie effort from a young Weldon Irvine! Irvine put this album together as sort of a musical "time capsule" of his generation – an effort to capture the era's thoughts, feelings, and emotions through a mix of music, vocals, and a few spoken bits – all woven together in a way that changes moods nicely, but always keeps the same righteously spiritual vibe! Weldon plays keys that are both electric and acoustic throughout – and he's joined by a very hip batch of players who include Jimmy Owens, Lenny White, Alex Blake, George Cables, and others – all working here in a very rough-edged and soulful mode. Titles include the classic break track "Bananas", the sweet vocal number "Deja Vu",and the soul classic "Feelin' Mellow" – also covered by Fatback Band, but even better here in the original! Other tracks include "Soul Sisters", "Watergate Don't Bug Me", "Spontaneous Interaction", and "I Am".

A fantastic bit of spiritual jazz funk – and one of the rarest 70s albums on Fantasy Records! The group's headed up by Nat Adderley Jr (son of the famous Nat Sr) on keyboards and vocals – and the ensemble is a hip, young collective with an approach that reminds us of work by Oneness Of Juju, Gary Bartz, and Weldon Irvine! If those three names aren't enough to prick up your ears for this one – one drop of the needle should be enough, as the record's a real winner all the way through, filled with well-written songs, and a mixture of soul jazz, funky fusion, and vocal tracks that really work great together. The kind of sweet rare 70s album you'll buy from us, and treasure for years – filled with great cuts like "In Search Of Happiness", "Red, Black, & Green", "Variation On Last Night", "Live My Life For You", "Killin' Time", and "Little Dahuoud's Dance".

A real watershed album from Horace Silver – a record that has him stepping strongly into the 70s – but with a rich new groove that's different both from his 60s work, and from the heavy politics of his United States series too! The album has Horace picking up a slightly electric sound, changing his groove from 60s soul jazz into more of a 70s modal approach – working here with David Friedman on vibes, Bob Cranshaw on electric bass, and Mickey Roker on drums, plus additional horn work by the Brecker Brothers – a really great combination of musicians that help Silver realize some really unique rhythms, and lots of moments that have a subtle yet righteous sense of soul! The selection of material is fantastic – hipper than usual for Horace – and titles include Weldon Irvine's "Liberated Brother", Moacir Santos' "Kathy", and Horace's own "Strange Vibes", which has some great vibes dancing around Horace's piano! A very nice album, and one of our favorites by Horace!

A masterpiece of smooth jazzy funk – and super-hip session headed up by the young keyboardist Bernard Wright! Wright's working here with an insider crowd of jazz funk players that includes Bobby Broom, Dave Grusin, Marcus Miller, and Don Blackman, whose funky style is very similar to Wright's. The record sort of picks up the groove where some of the Fantasy Records sessions of the 70s left off – mixing together jazz and soul into a captivating blend that's made even better by Dave Grusin's tight production. Includes Don Blackman's sample classic "Haboglabotribin", a nice version of Weldon Irvine's "Music Is The Key", and the cuts"Just Chillin' Out", "Master Rocker", and "Bread Sandwiches". Great all the way through, though – and a record that still delights us year after year!

Rare grooves in many flavors – a wonderful collection of rare gems from the American 70s underground – and a set that's overflowing with cuts from some of the most valuable albums of the period! The core vibe here is jazz, but there's also a lot more going on too – bits of funk, some spiritual touches, and some downright soulful moments too – all presented in a set of tracks that really lives up to the "deep" in the title – a bit like Gilles Peterson pulling together music of this nature, but as if he dug even deeper than usual! Titles include "Shake Your Poo Poo (45 version)" by Earl Carter & The Fantastic 6, "Vaya Mulatto" by Stone Alliance, "Free Man" by George Freeman, "African Rhythms (45 version part 1)" by Oneness Of Juju, "Mr PC" by Mike Selesia, "Destroy The Nihilist Picnic" by London Experimental Jazz Quartet, "Intergalactic Love Song (alt mix)" by The Diddys with Paige Douglas, "Ain't Got No I Got Life" by Nina Simone, "Only Yesterday" by Weldon Irvine, "Afra Jum (alt take)" by Francisco Mora Catlett, and "Dream Come True (part 1)" by Three Of Us.

An amazing second CTI set from Freddie Hubbard – one that takes off nicely from Red Clay territory, and starts to hit an even funkier mode! The tracks here are all relatively long, with a huge amount of solo space for Freddie on trumpet, Joe Henderson on tenor, George Benson on guitar, and Herbie Hancock on piano. The title track "Straight Life" has a style that's quite searing and righteous at points – almost some of Freddie's boldest playing on record from the time. It's followed by an excellent take on Weldon Irvine's "Mr Clean" – one that's rompingly funky while still as righteous as the work on side long title track – played with some great electric piano from Herbie and sweet guitar lines from Benson. The set closes with a mellow take on "Here's That Rainy Day", played in a way that reminds us of Hubbard's more lyrical style – but still with plenty of CTI 70s overtones.

Excellent work from Marcus Miller – the kind of soul-drenched, bass-led set that's made him a favorite for years! There's a tightness here that almost takes us back to the feel of a Stanley Clarke set from the 70s – a right on the money groove you'll hear right from the start – with more than enough bite in the basslines, and a sound that's never too smooth to make the album lose its groove. The set features guest work from Sean Jones on trumpet – plus a bit of vocals from Dr John, Gretchen Parlatto, and Ruben Blades – but overall, Miller's clearly the star attraction here, as you'll hear on cuts that include "Detroit", "Redemption", "Slippin Into Darkness", "Jekyll & Hude", "Revelation", and a great cover of Weldon Irvine's "Mr Clean".

In the pocket, and plenty darn funky – a killer collection of 70s jazz funk that's heavy on electricity, yet still keeps things mighty sharp throughout! The groove is tight – tighter than the raw soul of the 60s jazz years – yet never uptight, as all these cuts are plenty fresh and freewheeling, and definitely preserve the most spontaneous vibe of the players. Some cuts have a bit of vocals, some have some larger backings, but all still have some great solos in the middle – with an especially strong emphasis on sweet keyboards! Titles include "Zauis" by Eddie Russ, "Barbara Ann" by Webster Lewis, "Coming To You Live" by Charles Earland, "Brazilica" by Ramsey Lewis, "Sinbad" by Weldon Irvine, "Put It In The Pocket" by Freddie Hubbard, "Palos" by Willie Bobo, "Chicago Theme" by Hubert Laws, "Hop Scotch" by Harvey Mason, and "In The Park" by Lonnie Liston Smith.

Amazing live work from this legendary MPS group – electric funk mixed with plenty of horns – all in a hard-grooving big band style that nobody else could match at the time! Peter Herbolzheimer may not be a household name on this side of the Atlantic, but back in the day he was one of the coolest cats working in the European scene – and on records like this, he shows an amazing talent for blending electric grooves and soulful horn solos – all in a blend that takes the Clark Boland Band ethos to a new 70s generation! Rhythms come from a group that features two electric pianos, and a bit of organ – by Dieter Reith and Horst Muhlbrandt – guitar from Peter Catherine, electric bass from Gunter Lenz, and congas from Sabu Martinez – and the horns are even heavier – with alto and flute from Ferdinand Povel, trombone from Ake Persson and Jiggs Whigham, and trumpets from Kenny Wheeler, Art Farmer, Ack Van Rooyen, and Palle Mikkelborg! Tunes are nice and tight, and plenty darn funky – and titles include a tasty take on Weldon Irvine's "Mr. Clean", plus the tracks "Hoops", "Scenes", and "Don't Speak Now".