A crucial European performance by Albert Ayler in the mid 60s – one that wasn't issued until many years after the recording, but which has become one of the sharpest pictures of his genius at the time! The vibe here is different than the Ayler albums for ESP – still very much in the same territory, but with this approach that's really reaching out with a deeply spiritual consciousness – an energy to embrace the whole history of jazz, both very old and very new – and re-form its entire ideology into a richly personal expression. Ayler's tremendous on tenor, but Don Ayler is often equally great on trumpet – and the unusual group features Michel Samson on violin, William Fowell on bass, and Beaver Harris on drums. Titles include really unique readings of "Bells", "Prophet", "Our Prayer/Spirits Rejoice", "Ghosts", "Truth Is Marching In", and "Spiritual Rebirth/Light In Darkness/Infinite Spirit". CD

Brilliant late work from spiritual saxophone genius Albert Ayler – one of his last truly great albums! The session has none of the jazz-meets-other music feel of some of the other Impulse albums – and is more in the straight expressive style of the ESP recordings. Tracks are more reined in here – with some short themes that are almost a distillation of the freedom Ayler had been expressing for a few years, summed up beautifully in tunes that have a plaintive cry, filled with as much soul and love as Ayler could muster into his horn! Players include Donald Ayler on trumpet, Cal Cobbs on harpsichord, Alan Silva on bass, and Milford Graves on drums – and titles include "Zion Hill", "Love Flower", "Love Cry", "Ghosts", "Omega", and "Dancing Flowers". CD also includes some extra bonus material! CD

Brilliant late work from spiritual saxophone genius Albert Ayler – one of his last truly great albums! The session has none of the jazz-meets-other music feel of some of the other Impulse albums – and is more in the straight expressive style of the ESP recordings. Tracks are more reined in here – with some short themes that are almost a distillation of the freedom Ayler had been expressing for a few years, summed up beautifully in tunes that have a plaintive cry, filled with as much soul and love as Ayler could muster into his horn! Players include Donald Ayler on trumpet, Cal Cobbs on harpsichord, Alan Silva on bass, and Milford Graves on drums – and titles include "Zion Hill", "Love Flower", "Love Cry", "Ghosts", "Omega", and "Dancing Flowers". LP, Vinyl record album

Three very rare slices of work from the great Albert Ayler – all of them pretty darn mindblowing! The set begins with Ayler's appearance at the 1967 Newport Jazz Festival – a set that must have been a shock to audience members who'd seen some of the more staid work at the event – as Ayler really lets loose on alto, tenor, and soprano sax – working with a very freely improvising quartet that includes Michel Samson on violin, Bill Folwell on bass, and Milford Graves on drums – really going to town on the titles "Japan/Universal Indians", "Our Prayer", and "Truth Is Marching In/Omega". Next is a single track that was recorded at the funeral of John Coltrane – a spiritual blend of "Love Cry/Truth Is Marching In/Our Prayer" – blown by Ayler on tenor, with Don Ayler on trumpet, Richard Davis on bass, and Milford Graves on drums. The last track is the earliest on the set – and very early for recorded Albert Ayler as well – a captivating performance recorded in Copenhagen in 1962 – as Ayler's tenor joins the work of the Cecil Taylor trio – with Taylor on piano, Jimmy Lyons on alto, and Sunny Murray on drums – as the group soar on a 21 minute reading of "Four". CD

Early work by avant saxophone genius Albert Ayler – and very very striking! The setting is very spare, with only bass and drums backing Ayler up – and the way the album is mixed, Ayler's solos dominate the tracks in a way that isn't always the case with some of the more group-driven later work. His tone is amazing even in this early date of 1962 – and he completely blows away the other two players on the set, drummer Sune Spangberg and bassist Torbjorn Hulcrantz. The set was first recorded by the small Swedish label Bird Notes, and it's the beginning of a longtime love affair that Swedish modernists had with Ayler's tone and playing – a love affair that runs up to the current avant garde that includes Mats Gustafsson. Includes a mindblowing reworking of "I'll Remember April", plus versions of "Rollins Tune", "Tune Up", and Ayler's own "Free". LP, Vinyl record album

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Two Latin funk classics – back to back in a single set! First up is the self-titled Azteca album – a crowning moment for the west coast Latin scene in the 70s – a wonderful Bay Area set that brings together some of the best talents working on that scene at the time! The set's got a great blend of modes – Latin soul, touches of funk, and plenty of the jazzy inflections you'd expect from a lineup that includes Coke Escovedo on timbales, Paul Jackson on bass, Lenny White on drums, George Muribus on Fender Rhodes, Tom Harrell on trumpet, and Victor Pantoja on congas! Vocals are by Pete Escovedo – who brings in a heady soulful sound to the set – and the vibe is a bit like work by Malo or El Chicano, but even more jazz-based overall! Titles include "Peace Everybody", "Empty Prophet", "Can't Take The Funk Out Of Me", "Azteca", "Ah! Ah!", and "Mamita Linda". Next is Pyramid Of The Moon – a really special record from a really special group – one of two sublime 70s gems from Azteca – a wicked blend of jazz, funk, Latin, and soul – all put together by a young Coke Escovedo! Coke's ostensibly the leader of the group, but there's also a richly collaborative feel going on – a style that brings together jazz players like Tom Harrell on trumpet, Mel Martin on saxes, George Muribus on Fender Rhodes, and Flip Nunez on organ – and Latin players like Victor Pantoja on congas, Coke Escovedo on timbales, and Pete Escovedo on added percussion. In fact, the set's a key early example of the strength of the Escovedo family – and like their best later efforts, the set really stretches out and pushes the boundaries of conventional genres. There's also some great guest work from Lenny White on drums, Mike Nock on keyboards, and Neal Schon on guitars – and vocals are by a range of singers who really keep things fresh. Titles include "Red Onions", "Mazatlan", "Whatcha Gonna Do", "Mexicana, Mexicana", and "Love Is A Stranger". CD

An incredible little record – and the set where it really all comes together for this legendary funky jazz group! Azymuth were already great on their debut, although maybe a little experimental at times – but here, they really find the soulful groove that later got them big fame on the US scene – effortlessly blending their tight jazz skills with a dose of samba soul, and turning out some wonderfully groovy music in the process! There's clearly an influence here from the best years of Earth Wind & Fire – but also more of the edge that you'd expect from the young trio – as the amazing Jose Roberto Bertrami blows us away with his wickedly sharp keyboard solos, as Alexandre Malheiros and Mamao create these beautiful rhythms that go way past anything you might have expected from a trio. The whole thing's wonderful – one of the most soulful Brazilian records of the 70s – and titles include the great cuts "Tarde", "Tamborim Cuica Ganza Berimbau", "Falcon Love Call", and "Aguia Nao Come Mosca". CD

Sublimely soulful work from Azymuth – 2 albums back to back on a single CD! Cascades is fantastic fusion from a group who just couldn't miss during these early 80s California years! The sound here is smooth, but never slick – always a little offbeat, and quite different from more mainstream US fusion of the time – thanks to the genius of Jose Roberto Bertrami's keyboards, which glide one moment, dip the next, and often have these slight changes in speed that are totally great. Other members of the core trio include Alex Malheiros on bass and guitar and Ivan Conti on drums and percussion – and the set also features guest work by Mauricio Einhorn on harmonica, Jose Carlos on flute, and Sidney Moreira on percussion. Titles include "Remembering Milton", "Club Morocco", "Through The Window", "Festa Nativa", "Cascade Of The Seven Waterfalls", and "Indian Pepper". Rapid Transit is a set with a really warm groove overall – hardly the too-fast, or too-urban record you might expect from the title! Instead, there's a nicely organic sensibility going on here – a sound that feels fresh and spontaneous, even when it's in the highly electric territory of Jose Roberto Bertami's keyboards. There's a slight bit of added flute and percussion on the set, but most of the sounds here are from the core Azymuth trio – who even vocalize wordlessly on one of the album's best tracks. Titles include "Missing Doto", "Make Mine Guarana", "Gate Of Time", "I'm Just Looking Around", "Somewhere In Brazil", and "Afternoon". CD

Amazing early work from Azymuth – rare demo recordings done at the home studio of keyboardist Jose Roberto Bertrami, in the short space before the group issued their legendary debut! The tracks here are as much jazz funk as they are the later modes that Azymuth would put forth – killer instrumentals that are really driven by great keyboard lines from Bertrami, who'd already been making music in other formats for years – and who works here on Fender Rhodes, Arp, Clavinet, Hammond, and a range of other keyboards too! The drums are fantastic, too – handled by a young Ivan Conti, who gets help on percussion from an early fourth member of the group, Ariovaldo Contesini – and as you might guess, the incredible basslines of Ivan Mamao Conti really help the whole thing groove. All material is very well-recorded – these aren't rough or unfinished tracks at all – and the whole thing should just be thought of as a first chapter for the group, right before they started putting out their famous records. Titles include "Prefacio", "Castelo", "Melo Do Cuica", "Xingo", "Laranjeiras", "Eqiupe 68", "Unknown Song For Mario Telles", "Manha", "Duro De Roer", "Quem Tem Medo", "Juntos Mais Uma Vez", and "Bateria Do Mamao". CD

The legendary Azymuth rises from the ashes – on this, their first record after the passing of keyboardist Jose Roberto Bertrami – with a sound that takes us back to the amazing cosmic funk of their first few albums in the 70s! The new keyboardist, Kiko Continentino, has a sound that's really wonderful – the same sort of spare approach to Fender Rhodes that made Bertrami so great back in the day – but also maybe a bit more edge than Jose had in recent years, which gives the group a really refreshed sound, and a lean groove that's completely sublime! The trio are joined by percussionist Robertinho Silva and keyboardist Daniel Maunick at some points – and Maunick also produced the record. Titles include "Orange Clouds", "Neptunians", "Fenix", "Villa Mariana", "Papa Samba", and "Rio Doce". LP, Vinyl record album

A sweet 80s groover from the mighty Azymuth – a set that's early in their run of albums during the decade for Fantasy Records, and one that offers up a nice adaptation of the groove from their early Brazilian classics! Tracks are nice and lean, and acoustic percussion is blended with keyboard work at a level that really opens up the sound – and which makes Azymuth so different from so many other fusion outfits recording in the US during the time – as does the occasional use of wordless vocals, and that really special sense of rhythm that the group deliver so well! The set includes the classic ten minute "Last Summer In Rio" – a great Fender Rhodes number that was once a huge steppers cut in Chicago – plus the great tracks "The House I Lived In", "What Price Samba", and "May I Have This Dance". CD

A sweet 80s groover from the mighty Azymuth – a set that's early in their run of albums during the decade for Fantasy Records, and one that offers up a nice adaptation of the groove from their early Brazilian classics! Tracks are nice and lean, and acoustic percussion is blended with keyboard work at a level that really opens up the sound – and which makes Azymuth so different from so many other fusion outfits recording in the US during the time – as does the occasional use of wordless vocals, and that really special sense of rhythm that the group deliver so well! The set includes the classic ten minute "Last Summer In Rio" – a great Fender Rhodes number that was once a huge steppers cut in Chicago – plus the great tracks "The House I Lived In", "What Price Samba", and "May I Have This Dance". LP, Vinyl record album

The album that really broke the B52s out of the box – the one that took them from being an underground favorite in the clubs and the party scene, to being the kind of group that finally got the exposure they deserved! Of course, some of the help here comes from superproducers Nile Rodgers and Don Was – who really help the group focus on their hooks and crossover groove – all summed up perfectly on the album's hit "Love Shack" – a tune that still gets heavy play around the globe all these many years later. Other tracks include "Roam", "Channel Z", "Cosmic Thing", "Dry Country", "Topaz", "Follow Your Bliss", and "Bushfire". LP, Vinyl record album

Very cool sounds from Baba Zula – a group who really keep the Turkish psychedelic sound strong well into the 21st Century – by working here on long, extended tracks that blend electric elements with plenty of earthy acoustic touches! The group is led by Osman Murat Ertel on electric saz – an instrument that he plays with the touches of a psychedelic guitar, but with a more open, fluid style overall – amidst other instrumentation that includes a fair bit of percussion, darbuka, davul, electronics, and even an electric oud! There's a bit of vocals on the record, but the main focus is on the long-spun instrumental passages – which stretch out nicely on tunes that include "Kucuk Kurbaga", "4 Nal", "Kelebekler Kuslar", "Tafus Havasi", "Col Aslanari", and "Sipa". LP, Vinyl record album

Very groovy work from one of Sweden's hippest jazz singers! The recordings on the set capture Alice Babs in her early years, singing with the Swe-Danes trio – a group that featured Alice on lead vocals, plus male support by violinist Sven Asmussen and guitarist Ulrik Neumann – both of whom also sing harmony vocals behind Alice's lead. The approach is light and groovy – kind of The Chordettes meet Lambert Hendricks & Ross – with a blend of harmony and vocalese styles, all done with a nice jazzy flourish. Titles include "Swe Dane Shuffle", "Scandinavian Shuffle", "Hot Toddy", "Goofus", "Paul's Chicken", and "Not Yet". LP, Vinyl record album

One of the greatest soundtracks ever from Luiz Bacalov – a set that's filled with sex and slink, but which also has a great sense of groove as well – blending bossa jazz, mod moments, and all the best styles of the late 60s Italian scene! The music is mostly acoustic, but has a really great way of using sustained notes on flute – which creates this dreamy vibe that's almost electric, especially when offset by acoustic basslines, percussion, and piano – all used at a level that's right up there with the best from Morricone or Trovajoli at the time! There's also wonderful drifting vocals in the mix – courtesy of Nora Orlandi – and titles include "Round Nassau", "Swingin Easy In Tanganika", "Rio Zona Sul", "L'Amica", and "Taxi Cab 67". Features two bonus tracks – "L'Amica (ripresa)" and "The Bitter Truth (inst)". LP, Vinyl record album

Excellent work from one of the funkiest steel bands around – a totally hip combo who just seem to be getting better and better with each new release! This time around, they've stepped up the beats even more than before – mixing their 70s funk and steel drum work with just a slight current from hip hop production – all of which almost makes you feel like Wu-Tang made a trip to the Caribbean, then came back with these tapes as a result! There's also some additionally cool touches in the horns – used with maybe some slight Ethio jazz inflections at points – alongside other elements that really help move the Bacao aesthetic forward in a mighty nice way. Titles include "Hotline Bling", "Grilled", "How We Do", "Hazy Memories", "In The Crosshairs", "The Champion's Walk", and a very cool take on the "Stranger Things Theme"! CD

Excellent work from one of the funkiest steel bands around – a totally hip combo who just seem to be getting better and better with each new release! This time around, they've stepped up the beats even more than before – mixing their 70s funk and steel drum work with just a slight current from hip hop production – all of which almost makes you feel like Wu-Tang made a trip to the Caribbean, then came back with these tapes as a result! There's also some additionally cool touches in the horns – used with maybe some slight Ethio jazz inflections at points – alongside other elements that really help move the Bacao aesthetic forward in a mighty nice way. Titles include "Hotline Bling", "Grilled", "How We Do", "Hazy Memories", "In The Crosshairs", "The Champion's Walk", and a very cool take on the "Stranger Things Theme"! LP, Vinyl record album

Badbadnotgood have always been pretty damn great, actually – and never better than on album IV – a remarkable step forward for the group! As ever, they take inspiration from some of the best prog, jazz, funk (and proggy jazz funk...they blend) of the 70s and beyond, but weave it into fairly distinctive and genuinely fun modern sound. It's built to last, too –we're sure be able to come back to their work in a couple decades and it'll still work! IV finds them with the confidence to trade in some fairly subtle, smoothed out moments between to more boisterous ones, and they're more dexterous in the instrumentation – especially in the horns, keys and percussion – but some great vibes, strings, flute and more when the mood calls. Includes the great vocal track "Time Moves Slow" with Sam Herring of Future Islands, "And That, Too", "Lavender", "IV", "Chompy's Paradise", "Structure No. 3", "Cashmere", "Hyssops Of Love" and more. LP, Vinyl record album

A millennial classic from Erykah Badu – a record that came along right as the current century was starting up, to show a soulful path that would keep things strong for many years to come! The album grabbed a bigger audience than Erykah's first, but still kept things strong – really focusing in on that amazing vocal style that made the singer such a unique talent – and which always had edges that were sharper, and runs that were deeper, than some of her contemporaries who might be able to trick a phrase with a bit of spirit, but never deliver the whole thing in the way that Badu can! Themes are both personal and hinting at her political turns to come – and titles include "Kiss Me On My Neck", "Didn't Cha Know", "My Life", "AD 2000", "Bag Lady", "In Love With You", and "Booty". LP, Vinyl record album

Badu is back with some of the deepest, funkiest and best music of her career – a mindblowing treatise for a New Amerykah – and what we'll consider an instant classic whether the world at large catches on or not! Erykah steps up this time with a set that balances the wilder impulses of her criminally underappreciated Worldwide Underground and more of a hip hop based, righteously grooving style – but still bursts with a freshness that's unrivaled to say the least. From free spirited soul, to sparse hip hop funk this record is both blunt and beautiful – with a slow-building emotional resonance that'll reach the most jaded souls. Modern soul music of the first order that gives us goosebumps from the first spin to the last beat! The album kicks off with Erykah riffing on and remixing Ramp's "American Promise" as an intro – and it just gets deeper from there. Producers/collaborators include Madlib, Sa-Ra, Karriem Riggins, James Poyser and ?uestlove. Amazing!!! Titles include "The Healer", "Me", "My People", "Soldier", "The Cell", "Twinkle", "Master Teacher", "The Hump" and "Telephone". LP, Vinyl record album

An excellent album that's a perfect document of the strong impact that Quincy Jones had in the transatlantic jazz scene of the late 50s and early 60s! The set was recorded in 1960, and features two players that Quincy would leave behind in Europe to have a huge influence on the scene. Trumpeter Benny Bailey is the greatest of these – and his impact on jazz in Germany and Sweden during the 60s and 70s cannot be discounted. The other is drummer Joe Harris, who does excellent work here in a group that includes Arne Domnerus on sax, Ake Persson on trombone, and Gunnar Svensson on piano – all Swedes that Quincy picked up after touring the country heavily during the late 50s. The set grooves with the best of Jones' work on Mercury from the time – and although Quincy's not listed in the credits, it's probably only because of contractual reasons. Titles are all Jones originals – including "Meet Benny Bailey", "Plenty, Plenty Soul", "Fallen Feathers", and "The Midnight Sun Never Sets". CD

Hardbop albums don't get any better than this – and although drummer Dave Bailey only recorded for a brief stretch as a leader, this session's one that shows that he was a heck of a force to contend with! The record's got an intensity that easily rivals the best by Art Blakey over at Blue Note during the early 60s – but Dave's also got a slightly looser groove too – a bit more sense of humanity, and one that allows for really organic interplay between the players. There's a slight soul jazz undercurrent – especially in the piano lines of Billy Gardner – and other players in the quintet include Bill Hardman on trumpet, Frank Haynes on tenor, and Ben Tucker on bass. The group wails on an early version of Tucker's classic "Comin' Home Baby", plus other great originals like "Coffee Walk", "Lady Iris B", and "Two Feet In the Gutter". A old favorite on the south side of Chicago! LP, Vinyl record album

Hard to have any feet in the gutter when you sound this great – as the album's a killer batch of hardbop, led by drummer Dave Bailey during his classic short run on Columbia! The lineup here is amazing – a rock-solid sextet with Clark Terry on trumpet, Junior Cook on tenor, Curtis Fuller on trombone, Horace Parlan on piano, and Peck Morrison on bass – all hitting with an intensity which rivals the best on Blue Note or Prestige – but which is arguably even better, given that most of the tracks on the set really stretch out! Side two features an extended 20 minute take on "Sandu" – and side one features "One Foot In The Gutter" and "Well You Needn't" – both over 10 minutes long! CD

A great return to form for drummer Donald Bailey – a player who's probably best known for his work in the classic Jimmy Smith Trio of the late 50s/early 60s – but who sounds especially amazing here in a recent, righteous recording! Bailey's working with some very tight talent – the mighty Odeon Pope on tenor sax, Charles Tolliver on trumpet, George Burton on piano, and Tyrone Brown on bass – all players with a lot of depth in their music, and a brooding intensity that makes the record burn a lot more fiercely than anything Bailey ever recorded back in the day. The horns are especially nice – and although Tolliver's only on two of the album's nine tracks, Pope more than holds his own on the others – blowing that heady tenor sound that always grabs attention right from the get-go. Titles include "Blues It", "Gone Now", "For All We Know", "USQ/Trilogy", "Blue Gardenia", "Plant Life", and "Variations". CD

A jazz records of sorts, but a funk one as well – recorded mostly by Gerald Bailey on a variety of instruments, and with an intimate vibe that really reflects the creative process! The tunes often have a nice kick, with some really great drums – and are short and melodic, with key passages on piano and keyboards, plus a bit of trumpet – not really solos so much as themes that come into the mix and really give each tune a particular color and flavor! This is definitely the case of hip hop influencing instrumental creativity, especially in production – and titles include "Dune Boogie", "Overnight Heat", "Crab Shell", "Raised By Frogs", "Aurica", Call To Act", "Dasani Falls", "Dusty Rhodes", and "Free Trial". LP, Vinyl record album

We know it's hard to think of anyone named Mildred as hip, but take it from us, the lady's actually a great singer with a deep capacity for jazzy blues and mellow R&B. These rare Savoy sides were cut during the years 1946 and 1947, and they feature great backing by pianist Ellis Larkin on nearly every cut, set up in either small combo or large group settings. Titles include "At Sundown", "Love In Vain", "It's A Woman's Prerogative", "You Started Something", and "Born To Be Blue". LP, Vinyl record album

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A trio of solo albums from Phillip Bailey – presented here with bonus material too! First up is Continuation – an 80s soul classic from Philip Bailey – stepping out here from Earth Wind & Fire in a set that has him sparkling strongly as a solo act! The vocals still have that trademark Bailey sound – a wonderful range that's never overdone, and which seems to shine especially well on the mellow and midtempo tunes in the set! Production is by George Duke, who does a lot to preserve the jazzier warmth of Bailey's previous settings – and although there's a bit more crossover potential here, the sound is still never too commercial or aimed at the charts. Titles include "It's Our Time", "Trapped", "I Know", "I'm Waitin For Your Love", "Desire", "The Good Guy's Supposed To Get The Girls", and "Your Boyfriend's Back". Next is Chinese Wall – a big breakthrough for Philip Bailey – and a record that was kind of a second-level explosion for the Earth Wind & Fire sound in the 80s! There's a definite crossover feel to the record – a style that takes Bailey's soulful vocals, and mixes them with lots of catchy hooks – in ways that push the Kalimba aesthetic even more into mainstream modes. Yet the album's still got some solid soul grounding, too – thanks to arrangements by Tom Tom and Arif Mardin – which is a nice contrast to the production by Phil Collins, who also guests on the hit "Easy Lover". Other cuts include "Time Is A Woman", "Go", "Walking On The Chinese Wall", "Photogenic Memory", "I Go Crazy", and "Children Of The Ghetto". Last is Inside Out – a set that has Philip Bailey working with Nile Rodgers, who gives him a lean, clean sound that works perfectly with his vocals! The sound is a nice change from the direction Bailey was heading in previously – a return to the focused soul of the later Earth Wind & Fire years, with his amazing lead opening up in ways that few other singers can match. Tunes are pretty well-penned too – catchy, but never cloyingly commercial – and titles include "State Of The Heart", "Welcome To The Club", "Special Effect", "Because Of You", "Take This With You", "The Day Will Come", "Back It Up", and "Echo My Heart". 3CD set features nice bonus material – "I Know (ext dance mix)", "Love Is Alive", "Easy Lover (with Phil Collins)", "Walking On The Chinese Wall (single)", "State Of The Heart (dub mix)", "Twins (with Little Richard)", "Twins (club mix)", and "Easy Lover (ext dance mix)". CD

A mega-hit, but for good reason – as the record brought sophistication back to chart soul at the end of the 80s – proof that well-done, deeply-voiced records could still beat the schmaltz of the geri-curl generation! Anita's working here in territory that draws from the classics, but is certainly all her own – a space between jazz and soul that was hardly ever handled this well by other artists at the time. Titles include "Priceless", "Lead Me Into Love", "Giving You The Best That I Got", "Good Love", "Rules", "Good Enough", and "You Belong To Me". CD

A classic album of classy vocals – one that helped set a whole new tone in 80s soul music! Anita had already gained a bit of experience on the soul scene before this set, but with this record she emerged as a full-formed diva who could effortlessly blend jazz and soul into a magnificent new sound. The production has a few touches that date the record a bit, but there's a timelessness to the set that was apparent to listeners the moment it was released. Titles include "Mystery", "No One In The World", "Sweet Love", "You Bring Me Joy", and "Caught Up In The Rapture". CD

A classic album of classy vocals – one that helped set a whole new tone in 80s soul music! Anita had already gained a bit of experience on the soul scene before this set, but with this record she emerged as a full-formed diva who could effortlessly blend jazz and soul into a magnificent new sound. The production has a few touches that date the record a bit, but there's a timelessness to the set that was apparent to listeners the moment it was released. Titles include "Mystery", "No One In The World", "Sweet Love", "You Bring Me Joy", and "Caught Up In The Rapture". LP, Vinyl record album

From the female singer in the obscure group Chapter 8, Anita went onto become one of the biggest selling soul music acts during the 80s – and this album's her first effort as a solo act. The record's a smooth sophisticated batch of soul tunes, with lots of nice jazzy touches, and a classy sound that was quite refreshing in the face of some of the overly-synthesized soul work of the time. Patrick Moten produced and wrote most of the cuts – but it's Anita's deep vocals that make the record work so well. Titles include "You're The Best Thing Yet", "Feel The Need", "No More Tears", "Will You Be Mine", and "Do You Believe Me". CD

From the female singer in the obscure group Chapter 8, Anita went onto become one of the biggest selling soul music acts during the 80s – and this album's her first effort as a solo act. The record's a smooth sophisticated batch of soul tunes, with lots of nice jazzy touches, and a classy sound that was quite refreshing in the face of some of the overly-synthesized soul work of the time. Patrick Moten produced and wrote most of the cuts – but it's Anita's deep vocals that make the record work so well. Titles include "You're The Best Thing Yet", "Feel The Need", "No More Tears", "Will You Be Mine", and "Do You Believe Me". LP, Vinyl record album

Includes the albums I Remember You, Milestone, and A Tribute To Chet Baker. CD

One of a handful of late 50s albums that Chet Baker recorded for Riverside – all of which are some of his last great 50s work in the studio, before a shift in the 60s to a wider-ranging approach to his music! The style here is definitely in the "classic" Baker mode set down for Pacific Jazz – but a bit more fleshed out by the other players in the set – who seem to push a bit more personality into the tunes, and not just let Chet's trumpet dominate. The sound is soft and gentle – as you'd expect from the title – and other players include Bill Evans, Pepper Adams, Kenny Burrell, Paul Chambers, Connie Kay and Philly Joe Jones – all bringing a bit of a New York undercurrent to the west coast Baker solo style. Titles include "How High the Moon", "It Never Entered My Mind", "If You Could See Me Now", "You'd Be So Nice To Come Home To", "Time On My Hands", and "You And The Night And Music". LP, Vinyl record album

Cool moody work from Chet Baker – a very unusual set that has him blowing with a larger group than usual! The set's real star is Jack Montrose – the great west coast arranger who had a perfect talent for taking horns and locking them up tight to create a sound full of gloss and surprise! Montrose plays tenor sax on the set – in a three sax section that also features Herb Geller and Bob Gordon – and the rest of the group includes Russ Freeman on piano, Shelly Manne on drums, and Joe Mondragon on bass. Chet's work is great too – but the real appeal of the set is the Montrose-styled groove – very nice all the way through! Tracks include "Ergo", "A Dandy Line", "Pro Defunctus", "Goodbye", "Headline", and "Little Old Lady". LP, Vinyl record album

A sweet little quartet session from the mid 50s – one of Chet Baker's legendary albums recorded in Paris at the time, with a quality that's nicely different from some of his work in the US! Part of that quality is the group – an unusual lineup that includes Gerard Gustin on piano, Jimmy Bond on bass, and Bert Dahlander on drums – but Baker is also changing things up a bit from the Pacific Jazz years too, and working with a more sophisticated understanding of sound and tone that would develop even more strongly in the later half of the 50s! As usual with Chet, the tunes are standards, but completely transformed by his handling – titles that include "I'll Remember April", "Tenderly", "Lover Man", "Summertime", and "You Go To My Head". CD

A sweet little quartet session from the mid 50s – one of Chet Baker's legendary albums recorded in Paris at the time, with a quality that's nicely different from some of his work in the US! Part of that quality is the group – an unusual lineup that includes Gerard Gustin on piano, Jimmy Bond on bass, and Bert Dahlander on drums – but Baker is also changing things up a bit from the Pacific Jazz years too, and working with a more sophisticated understanding of sound and tone that would develop even more strongly in the later half of the 50s! As usual with Chet, the tunes are standards, but completely transformed by his handling – titles that include "I'll Remember April", "Tenderly", "Lover Man", "Summertime", and "You Go To My Head". LP, Vinyl record album

Maybe one of the greatest albums of Chet Baker vocal material you could ever hope to buy – a fantastic testament of the young talent at the top of his game – effortlessly moving between well-conceived trumpet solos and those fantastic vocals that were unlike any other singer at the time! Half the album was recorded live, the other half in the studio, but there's a very unified vibe to the whole thing – and the great Russ Freeman plays piano on both tracks, and a bit of celeste at a few points too. Titles include "That Old Feeling", "Look For The Silver Lining", "There Will Be Another You", "I Fall In Love Too Easily", "My Buddy", "My Funny Valentine", and "I Get Along Without You Very Well". Every track is great, and these are the original vocal recordings that put Chet on the map! LP, Vinyl record album

Completely evocative late life work from Chet Baker – one of the last albums he ever recorded, and a set that shows just how much Baker kept evolving in the later years of his career! Given some of the personal troubles that plagued Chet over the decades, there's sometimes a thought out there that he was a weaker version of himself at this time – but that's definitely not the case, as Baker really shifted his sound and style to accommodate some of his challenges, at a level that maybe made the music even more powerful than some of his music from years before! Some of the best moments here feature contributions from key musical partner of the 80s Nicola Stilo, who uses flute, guitar, and piano in these light ways while Chet's soloing with this strong, fluid vibe that's a real surprise – gentle, but extremely powerful. A few cuts bring in a bit of keyboards, and Chet sings a bit – but his best "singing" here is through his trumpet, which is still a hell of a voice in jazz. Titles include "Chet's Blues", "Waiting For Chet", "The Party Is Over", "With Sadness", "Deep Arabesques", and "Like The Precedent" – plus a lovely reading of the Elvis Costello tune "Almost Blue". CD

Features Gerry Mulligan on baritone sax, Jimmy Rowles on piano, Chico Hamilton on drums, and either Joe Mondragon, Bobby Whitlock, or Carson Smith on bass. CD

One of Chet Baker's most classic albums of the 50s – a record that features both vocals and strong trumpet solos – all from a time when Baker was one of the hottest things going in jazz! The album's different from records from previous years, in that it moves Baker from LA to New York – where he works with a great quartet that features Kenny Drew on piano, George Morrow or Sam Jones on bass, and Philly Joe Jones or Danny Richmond on drums – all players who have a slightly different approach than some of Baker's compatriots on Pacific Jazz sessions, which also seems to bring out a bit more bite in Chet too. Tracks are still shortish, with those breathy Baker vocals we love so much, balanced with really well-crafted trumpet solos – and titles include "It Could Happen To You", "Do It The Hard Way", "Old Devil Moon", "Dancing On The Ceiling", and "The More I See You". CD features 2 bonus tracks! CD

One of Chet Baker's most classic albums of the 50s – a record that features both vocals and strong trumpet solos – all from a time when Baker was one of the hottest things going in jazz! The album's different from records from previous years, in that it moves Baker from LA to New York – where he works with a great quartet that features Kenny Drew on piano, George Morrow or Sam Jones on bass, and Philly Joe Jones or Danny Richmond on drums – all players who have a slightly different approach than some of Baker's compatriots on Pacific Jazz sessions, which also seems to bring out a bit more bite in Chet too. Tracks are still shortish, with those breathy Baker vocals we love so much, balanced with really well-crafted trumpet solos – and titles include "It Could Happen To You", "Do It The Hard Way", "Old Devil Moon", "Dancing On The Ceiling", and "The More I See You". LP, Vinyl record album

A sweet little quartet session from the mid 50s – recorded in Paris, with backing by Gerard Gustin on piano, Jimmy Bond on bass, and Bert Dahlander on drums. Chet's playing in a simple open-ended style – working some lyrical magic on a series of standards that include "I'll Remember April", "Tenderly", "Lover Man", "Summertime", and "You Go To My Head". The album's as great as any of his US work of the time – and it's long overdue for reissue! CD

Tracks include "The Thrill Is Gone", "Time After Time", "Look For The Silver Lining", "Daybreak", "Just Friends", and "My Ideal" – 20 cuts total. CD

The last-ever Chet Baker recording with a quartet – and a set that shows just how completely magical the legendary trumpeter was even up to the end! Chet at this time is completely different than Chet in the 50s or 60s – as he'd really found a way to make all these amazing new sounds on his horn, partly as a way of getting around some of his physical limitations, but also as a way of opening up some of those mid 60s ideas that he barely explored on record at the time. He's working here with a very important musical partner from the last decade – getting great help on guitar and flute from Nicola Stilo – plus Marc Abrams on bass and Luca Flores on piano – on titles that include "Portrait In Black & White", "Funk In Deep Freeze", "Arborway", "In A Sentimental Way", and "If I Should Lose You". LP, Vinyl record album

That's "Heath", not "health" – as you might think the title's misspelled – as in Jimmy Heath, who arranged most of the numbers on the set! Heath's contribution is a good one too – as it helps Baker create one of his most tightly-wrapped albums of the time, a well-blown session recorded here with a group that includes Art Pepper on alto, Phil Urso on tenor, Carl Perkins on piano, and Lawrence Marable on drums. The presence of Urso is especially appreciated – as his sharper, deeper tone really brings a wider sound to the album than some of Chet's other dates of the time – especially when combined with the excellent sound of Pepper! Titles include "CTA", "For Minors Only", "For Miles & Miles", and "Resonant Emotions". LP, Vinyl record album

Chet Baker on trumpet and vocals, Roger Rosenberg on tenor, baritone and soprano saxophone, Phil Markowitz on piano, Jon Burr on bass, and Jeff Brillinger on drums. Recorded live at Rising Sun Celebrity Jazz Club on March 7th 1978. CD

A classic Pacific Jazz album, one that features Chet Baker laying back in three different ensembles – a quartet (with Russ Freeman), sextet (with Bud Shank and Bob Brookmeyer), and septet (with Jack Montrose, Herb Geller, and Bob Gordon). Arrangements are by Freeman, Montrose, and Johnny Mandel – and the set list includes a few strong originals, plus other familiar numbers, all done in the warmly intimate style of Baker's best early work. Titles include "Tommy Hawk", "All The Things You Are", "No Ties", "Russ Job", "Bea's Flat", "Goodbye", "Moonlight Becomes You", and "Little Man You've Had A Busy Day". LP, Vinyl record album

An excellent session that stands as one of both players' strongest from the time! Baker's really opening up here, moving more into that hardbop mode of the late 50s – and Pepper's already hit his stride here – with the pair of them working in a group that includes Phil Urso on tenor, Carl Perkins on piano, Curtis Counce on bass, and Larry Marable on drums. The whole set's got that west coast cool crossover to hardbop feel that you'd get on Baker's Chet Baker And Crew set – thanks to fire from the rhythm section, and a sharp edge from Urso. Tracks include "Minor Yours", "Tynan Time", "For Miles & Miles", "CTA", and "Picture Of Heath". CD

Although the initial release of this music was a cheap attempt to cash in on the tragic fame of the late James Dean, this 1956 session was also one of the nicest big band dates to come out of the Pacific Jazz catalog of the 1950s! Chet Baker and Bud Shank are the featured soloists of the set – and the group's conducted by Johnny Mandel and Bill Holman, both excellent arrangers with a strong feel for soundtrack-oriented material of this sort. Tommy Sands sings vocals on a version of "Let Me Be Loved", which is the only standard on the set – as the rest of the tracks are originals by the great Leith Stevens. The band's filled with other west coasters that you'll recognize – and titles include "The Movie Star", "Jimmy's Theme", "The Search", "Lost Love", and "Rebel At Work". CD

Two of the coolest trumpeters from the LA scene of the 50s – reunited here in a never-issued album from the start of the 70s! At the time of the set, Jack Sheldon was the real star of the date – big on TV, and a very confident, cool player – as well as a singer with a wonderfully distinct sound (which some folks might remember from Schoolhouse Rock or The Merv Griffin Show!) Jack started out in the mellow modes shared by Chet Baker during his early years – but by the time of this set, he was a nicely different player – which makes the pairing with Baker so great – especially as this was a time when Chet was really laying low, and hardly recording at all. The rest of the group features Jack Marshall on guitar, Dave Frishberg on piano, Joe Mondragon on bass, and Nick Ceroli on drums – a very sprightly combo who add a lot to the record – and both Chet and Jack sing on the record, in addition to serving up trumpet solos too. The record is an especially great one for Sheldon – very confident vocally, and really at the height of his powers here as both a singer and instrumentalist – with that wry approach that we love so much. Titles include "Evil Blues", "You Fascinate Me", "Once I Loved", "Too Blue", "Just Friends", "But Not For Me", "I Cried For You", and "Historia De Un Amor". CD

A very cool album from the Italian branch of RCA Records – and a set that features a host of artists from other nations who briefly stopped over in Italy, and recorded some of these gems for the label! There's a core energy to the set, which balances contributions from a few key artists, mostly from America – and for jazz fans alone, the set is noteworthy for two tracks that have trumpeter Chet Baker blowing with orchestrations from a young Ennio Morricone – "So Che Ti Perdero" and "Il Mio Domani"! And there's plenty of other great bits too – singer Helen Merrill working with maestro Armando Trovajoli on "Nessuno Al Mondo" and "Estate" – plus Perez Prado on "Guaglione" and "Arrivederci Roma", Antonio Prieto on "Papa" and "Baciami", and even some very cool cuts from young poppers Paul Anka and Neil Sedaka. LP, Vinyl record album

A great later date from CTI – proof that the label still had its magic going on well into the 80s! The session's a larger group effort headed up by Don Sebesky, and featuring key solos by Chet Baker, Jim Hall, and Hubert Laws – all of whom get plenty of room to do their thing on the album's longer tracks! Other players include Kenny Barron, Jack Wilkins, Jorge Dalto, George Mraz, and Steve Gadd – plus bit of added percussion – and although the group is large, the overall sound is relatively lean – spacious and airy, in keeping with Baker's best moments on records like these, and always sensitive enough to let Hall's gentle work on the strings of his guitar shine through nicely! Titles include "Malaguena", "Django", "Swan Lake", and "All Blues". LP, Vinyl record album

Fantastic solo work from Ginger Baker – a musician who only seemed to get better and better the farther he moved away from Cream and Blind Faith! A set like this really gives Ginger a chance to open up and explore all the many musical currents that were grabbing his interests – served up here in a mix of jazz, funk, rock, and soul delivered by a lineup who are every bit as stunning as the music on the album! In addition to plenty of work from Baker on drums, the set features jazz contributions from the excellent Harold McNair and Chris Wood, who both play saxes and flute – plus drums from the legendary Phil Seamen – as well as a heck of a lot more sax and organ from Graham Bond, plus bass from Ric Grech, guitar and vocals from Denny Laine, organ and vocals from Steve Winwood, percussion from Neemoi Acquaye, and lots more contributions from a lineup that's almost too big to mention. The results are wonderful – and titles include "Toady", "Let Me Ride", "We Free Kings", "12 Gates Of The City", "Do U No Hu Yor Phrenz R", and "Sweet Wine". CD

Atlantic's great early soul singer delivers 2 sides of fairly traditional material – both in her own gutsy R&B style. Precious Memories features LaVern singing 12 gospel tunes like "Didn't It Rain", "Too Close", "Without A God", "Touch Me, Lord Jesus", and "Journey To The Sky". LaVern's fine, but the real treat is the backing by Alex Bradford and his singers, one of the most soulful gospel groups of the late 50s! The next set of 12 tracks are all older Bessie Smith numbers – performed with small group backing that includes Sahib Shihab, Paul Quinichette, Buck Clayton, and Jimmy Cleveland. LaVern's versions are a bit jazzier than Bessie's – and titles include "After You've Gone", "preaching The Blues", "Empty Bed Blues", "Back Water Blues", and "Gimme A Pigfoot". CD

A really wonderful album – timeless in sound and style, and a set that almost takes us back to the warmth of some of our favorite Brazilian records from the 70s! Bala Desejo have a way of mixing harmonies with lead vocals that's completely sublime – often set to light percussion, acoustic guitar, and other spare instrumental touches that glow as nicely as the vocals! If you've heard some of the 70s material from Quarteto Em Cy, you'll know part of the vibe here – but there's also maybe a more contemporary sense of songwriting too, which really keeps things fresh – on titles that include "Lua Comanche", "Nesse Sofa", "Chupeta", "Faixa Tecnica", "Chronofagia", "Muito So", "Dourado Dourado", and "Lambe Lambe". CD

A really wonderful album – timeless in sound and style, and a set that almost takes us back to the warmth of some of our favorite Brazilian records from the 70s! Bala Desejo have a way of mixing harmonies with lead vocals that's completely sublime – often set to light percussion, acoustic guitar, and other spare instrumental touches that glow as nicely as the vocals! If you've heard some of the 70s material from Quarteto Em Cy, you'll know part of the vibe here – but there's also maybe a more contemporary sense of songwriting too, which really keeps things fresh – on titles that include "Lua Comanche", "Nesse Sofa", "Chupeta", "Faixa Tecnica", "Chronofagia", "Muito So", "Dourado Dourado", and "Lambe Lambe". LP, Vinyl record album

A long-overdue collection of work by Balka Sound – an important 80s group from Brazzaville, and one whose name evokes their style of music – a sound based in folksy roots, but which is updated here with electric guitar and bass, next to lively percussion and really great vocals! The group's lead singer is Nkibi Albert, who has this really enigmatic way of putting across a lyric, especially when a bit of echo is used in the production – and amidst the other instrumentation, he also plays ngonfi as well. The production is great on most of these tracks – not nearly as mainstream as other African sounds from the time, which were rising to meet the global world music market – and titles include "Bia Sala", "Lekou", "Ku Mavula", "Kidilu", "Ah Luisaala", "Nia Nia", "Wa Yiwou", "Mwan Kisana", and "Kwele". CD

Brilliant work from this well-matched trio of improvisers – a group who definitely smash and grab in a highly sonic way – thanks to cello and electronics from Fred Lonberg-Holm, drums and percussion from Paal Nilssen Love, and alto, tenor, and baritone saxes from the great Dave Rempis! If you know the players in other formats, you'll know what they're capable of – and if you've heard them as Ballister before, you'll know that they really seem to set each other on fire – often working with an intensity that's breathtaking, very much at the level that Paal serves up on some of his own work as a leader. Fred uses the cello in a very different way than most other classical and jazz – and Dave, as always, is incredible with his freeform sense of creativity throughout. Titles include "Smash", "Grab", and "Even More Smashing". CD

Brilliant work from this well-matched trio of improvisers – a group who definitely smash and grab in a highly sonic way – thanks to cello and electronics from Fred Lonberg-Holm, drums and percussion from Paal Nilssen Love, and alto, tenor, and baritone saxes from the great Dave Rempis! If you know the players in other formats, you'll know what they're capable of – and if you've heard them as Ballister before, you'll know that they really seem to set each other on fire – often working with an intensity that's breathtaking, very much at the level that Paal serves up on some of his own work as a leader. Fred uses the cello in a very different way than most other classical and jazz – and Dave, as always, is incredible with his freeform sense of creativity throughout. Titles include "Smash", "Grab", and "Even More Smashing". LP, Vinyl record album

A blistering album from Belgian/Congolese rapper Baloji – music related to his directorial debut in the film Augure, and delivered with even more punch than some of his previous albums! Baloji got his start in the group Starflam, but has really grown strongly as a solo artist – pushing the boundaries of the hip hop elements that informed his roots, and fusing them with Conglese elements in a very strong way – so that the energy on the record really matches the vivid images in the film! The record features guest appearances from Jamila Woods, Mayra Andrade, Sampa The Great, Cha'Brown, Swazzi, and others – and titles include "Maggi", "Cherche Midi", "Tituba", "Autopsy", "Dahlia Noir", "Faux Billets", "Les Dents Du Piegne", and "La Crosse & La Banniere". LP, Vinyl record album

The first we're hearing from Steven Bamidele, but we're guessing it won't be the last – as this debut has a wonderfully well-crafted vibe from the start, which comes from both Steven's great ear for production, and his snakily sensual vocals! There's a laidback quality to his singing that's offset by a nice crackle in the rhythms – never too fast or in any sort of clubby territory, but with lots of midtempo breaks that are augmented by warmly jazzy work on keyboards, tenor, and piano! The approach is great – intimate and personal, but with a cosmic sensibility as well – on titles that include "Pathways", "Head Down", "Kaleidoscope", "Misunderstood", "Sitting In The Dark", and "Dark Sense Of Humor". LP, Vinyl record album

A brilliant new vision for the legendary Banda Black Rio – the pioneering samba, soul and funk combo that broke so much ground in the 70s and remain vital to this day – led here by William Magalhaes, in a mode that celebrates decades of the best Brazilian music, while fearlessly moving it forward! William's father Oberdan Magalhaes was a driving force behind the original Banda Black Rio, and we couldn't really imagine a more appropriate new vision for the group than his son's. William wrote or co-wrote each track and he sings, plays keys and synth, guitar, bass, drums and more. The expansive group brings a depth of percussion, horns, strings and vocals – delivering timeless and dexterous jazzy Brazilian funk and dancefloor soul. The guest list includes classic and contemporary greats like Seu Jorge, Elza Soares, Marcio Local, Caetano Veloso, Gilberto Gil and others! Includes "Louis Lane" with Seu Jorge & Mano Brown, "Super Nova Samba Funk (9 No Samba)", "America Do Sul", "Isabela" feat Elza Soares and Cesar Camargo Mariano, "Samba Nova", "Quem Vem La" feat Marcio Local, "Deixa Estar" feat Aleh, "Lindos Olhos" feat Seu Jorge and Don Pixote, "Paname" feat Pyroman, "Final Feliz", "Irere" feat Gilberto Gil, "Aos Pes Do Redentor" feat Caetano Veloso and more. 16 tracks on the CD version. CD

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A really wonderful record, and one that's very different than any sort of piano trio album we've ever heard – as there's this richly textural quality to the album that has all the elements resonating in a very special way, with an overall sonic palette that's beautiful! Sure, there's piano on the set, but the bass is often almost higher in the mix, and more melodic too – while the drums move between soft fills and gentle rhythms – with occasional moments that are more powerful, and kick up the bass too – but again with this production approach that has these really amazing sound patterns between all the instruments. Titles include "Bird Flew By", "Drizzling Rain", "Siciliano", "Stefano", "Doppio Movement", "Abacus", and "Wonderful One". CD

A really wonderful record, and one that's very different than any sort of piano trio album we've ever heard – as there's this richly textural quality to the album that has all the elements resonating in a very special way, with an overall sonic palette that's beautiful! Sure, there's piano on the set, but the bass is often almost higher in the mix, and more melodic too – while the drums move between soft fills and gentle rhythms – with occasional moments that are more powerful, and kick up the bass too – but again with this production approach that has these really amazing sound patterns between all the instruments. Titles include "Bird Flew By", "Drizzling Rain", "Siciliano", "Stefano", "Doppio Movement", "Abacus", and "Wonderful One". LP, Vinyl record album

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A real cooker in the Atlantic Records' 60s series from Preservation Hall – a record that definitely keeps up the groove throughout! Side one features work by the combo of drummer Paul Barbarin – a lively player with a romping approach to rhythm – one that perfectly suits the trad sounds from Ernie Cagnolatti on trumpet, Waldren "Frog" Joseph on trombone, and Louis Cottrell on clarinet. Titles include "Too Late", "The Second Line", and "Give It Up". Side two features a great group led by legendary trumpeter Ernie "Punch" Miller – with sweet horn work from a lineup that includes Louis Nelson on trombone and George Lewis on clarinet – the latter of whom is in perfect late formation on his well-crafted solos. Titles include "Nobody Knows The Way I Feel This Morning", "Preservation Blues", and "Hindustan". LP, Vinyl record album

Searing live work from Gato Barbieri – a brilliant little album that follows on the spirit of his other Latin America sessions for Impulse! The format here is similar to those studio outings – an organic blend of percussion, keyboards, and sax – all bubbling together in a highly rhythmic mode that easily shifts between electric and acoustic statements, all in a jazz-based pursuit of older Latin American rhythms and expressions! Eddie Martinez plays some great Fender Rhodes on the album – ringing out with warm tones that are strongly offset by Gato's sharp-edge tenor lines – and all tracks are nice and long, and flow with a sense of creative energy that almost surpasses the studio albums in the series! Titles include "Milonga Triste", "La China Leoncia", "Baihia", and "Lluvia Azul". CD

One of Gato's best! The record's neither too out, nor too poppy – and it has Barbieri playing with that incredible raspy tone – and working over modal grooves laid down by a hip group that includes Lonnie Liston Smith on acoustic and electric pianos, Ron Carter on bass, Lennie White on drums, and additional percussion on most tracks. The cuts have a Latin finish to them, but they've also got a strongly pronounced soul jazz vibe – something that's missing from lots of Gato's other work, and which feels a lot here like some of Pharoah Sander's best work for Impulse! Titles include "Tupac Amaru", "Bahia", "Falsa Bahiana", "El Dia Que Me Quieras", "El Arriero" and "Carnavalito". CD

Two jazz giants of the 70s come together on this rare Italian recording from the late 60s – South African pianist Dollar Brand (Abdulla Ibrahim) and Argentine tenorist Gato Barbieri – both working here in spare duo formation, with edges that are a fair bit sharper than most of their later work! The format is incredibly spare – just tenor and piano, plus some occasional cello work by Brand – dark and angular, but also filled with small flowers of hope, flowering in the spontaneous presence of these two great minds – a tremendous spirit that makes the record very different than freer jazz outings, and which maybe points the way towards some of the classic European tenor/piano recordings to come. Tracks are long, with a free flowing quality that's infused with soul and spirit – and titles include "Hamba Khale", "The Aloe & The Wildrose", and "To Elsa". LP, Vinyl record album

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A jazz record, but one with a vibe that's all its down – and a sound that definitely echoes some of the tropical elements hinted at in the title and on the cover! Laurent Bardainne is a saxophonist who blows with a really rich sound – nicely soulful, and with a raspy, laidback quality that's really seductive – set up here amidst a mix of acoustic and electric elements, including great percussion, occasional keyboards, and just the right electric basslines to trip things along in a sweet midtempo groove! The mix of jazz soloing and nods to global elements takes us back to similar French albums of the 80s – and most of the set is instrumental, although there are occasional vocals from guests, next to great use of outside sound recordings too. Titles include "Singing", "Eden", "We Try", "Serpent Kaa", "Gobules Rouges", "Dance For Eternity", "Welcome", and "Meilleur". CD

A jazz trio, but one who bring something else to the mix as well – as they blend in lots of other elements with their core energy on drums, bass, and keyboards! The keyboards themselves range nicely – acoustic and electric piano, plus other electronics too – and there's a bit of alto and tenor on the set, guest guitar, and use of vocals in Portuguese that almost give the record the vibe of Brazilian music at points – while at other times, the music moves farther from jazz with more of a focus on the groove, then swings back nicely on the next track. Titles include "Black Mica", "Tilia", "Pedra Mae", "Punctum No 2", "Ressonancia", and "Giesta". LP, Vinyl record album

A sweet set of soundtrack funk – from a film named after one of our favorite streets in Chicago! Although the record's got an approach that's perhaps a bit tighter and smoother than anything going down on Stony in the late 70s, it does manage to share a good deal of styles with the Chi-soul scene of the time – thanks to work on the record from Chicagoans Gene Barge, Sonny Seals, and Tennyson Stephens! Many of the tracks on the set have a bad-walking soul approach – one that's kind of a mixture of funky and bluesy – and these are laid out next to some jazzier instrumentals that we like most of all – tunes that have a great funky soundtrack feel, but with a bit more fusion touches than usual, probably because of the work of David Matthews. Titles include "Percy Fired", "Party Lights", "High Speed Posters", "Back To Business", "Chase The Train", "Gangster City", "Dream Ride", and "Peace Of Mind". CD