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Two classics from the legendary Idris Muhammad! Black Rhythm Revolution is one of the first records ever as a leader from funky drummer Idris Muhammad – a set that was cut right at the same time Idris was burning up the kit on his classic jazz funk sessions with other Prestige label players! The groove here is tight, funky, and very much in the mode that Muhammad laid down for other bigger soloists – a solid, socking sound that was the early 70s inheritance of the "Popcorn" funk groove of the late 60s. Players here are all great – and include Melvin Sparks on guitar, Harold Mabern on electric piano, and Virgil Jones on trumpet – and tracks include great covers of "Express Yourself" and "Super Bad", plus "Wander" and "Soulful Drums". Peace & Rhythms is a wonderful departure from Muhammad – and proof that he could do a lot more than just provide heavy breaks for Lou Donaldson and Melvin Sparks! This set is surprisingly spiritual and righteous at points – with a groove that's almost more like Strata East than some of Muhammad's previous work as a sideman on Blue Note and Prestige. Side one features the extended "Peace and Rhythm Suite" – a beautiful cut that's filled with searching, soaring energy – and side two includes two vocal cuts "Brother You Know You're Doing Wrong" and "I'm a Believer", both sung by Sakinah Muhammad – plus "Don't Knock My Love". Players are all great – and a nicely different lineup than the usual Prestige jazz funk gang.

2 classic Stitt albums back to back – Turn It On and Black Vibrations, both recorded during his early 70s funk years at Prestige! Turn It On is very firmly the funky Prestige sound of the early 70s – complete with Idris Muhammad on drums, organ by Leon Spencer, guitar by Melvin Sparks, and trumpet by Virgil Jones. After years of noodling around on the Varitone, never quite hitting his right moment, Stitt breaks out nicely in the company of these hot young funky players. The record's got a few mellow moments that point towards his older ballad style, but the funky numbers are the best. Titles include "Turn It On", "The BBQ Man", and "Miss Riverside". On Black Vibrations, Sonny Stitt joins up with a tight group of prime Prestige funky players – like Idris Muhammad, Leon Spencer, Melvin Sparks, and Virgil Jones – for a sound that's much funkier than some of his other records for the label. The set's got a good set of modern funk tracks, with all the quality moments you'd expect from these top-notch players. Titles include "Goin' To DC", "Calling Card", "Them Funky Changes", and "Black Vibrations".

An amazing tribute to London's Acid Jazz label – an imprint that's had an undeniable influence on all the things we do here at Dusty Groove! The massive package is way more than just a collection of the label's classics – and instead, it offers up a range of sounds that influenced the acid jazz scene in the UK at the end of the 80s – and others that go on to show the development of funk and soul in London as the 90s moved on. The package features a 52 page hardcover book, filled with Acid Jazz artwork and images; another 20 page book with the story of the label; a DVD with an interview and video footage of Snowboy, James Taylor Quartet, and other label stars; a 7" single with two unreleased tracks – "Never Stop" by The Brand New Heavies with Jan Kincaid and "Rock Steady (inst)" by The Brand New Heavies; and 4CDs worth of music with songs by Alice Clark, Small Faces, Dinosaur L, Charles Earland, Mark Murphy, The Quick, Jose Feliciano, Pharcyde, Forest Mighty Black, Mr Scruff, Paul Weller, Gang Starr, One Creed, Humble Souls, Tribe Called Quest, Nuyorican Soul, Soho, Ballistic Brothers, and many others. 65 tracks in all – and that's just the music!

Seminal early work from Willis Jackson – two classics back to back on a single CD! Blue Gator is a massive early Prestige set from tenorist Willis – and just the kind of record that set him firmly in the soul jazz camp for the 60s! By the time of the set, Jackson had already won plenty of fame for his R&B-tinged work – but here, he stretches out a bit more, and really gets creative on his solos – working with a very hip group that includes Jack McDuff on organ and Wild Bill Jennings on guitar – both players making a similar shift in their music at the time. The tracks are lively, recorded with a bold, loud tone, and have lots of those great open-mouthed tones from Jackson – quite possibly a good reason for his "Gator" nickname! Tracks include "Blue Gator", "East Breeze", "The Gator Jumps", and "Try A Little Tenderness". Cookin Sherry is solid-sending soul jazz from the great Willis Jackson! The album features Gator blowing in a group that includes Jack McDuff and Wild Bill Jennings on all cuts – plus bass by either Milt Hinton or Wendell Marshall, drums by Bill Elliott or Al Johnson, and some tasty added conga by Buck Clarke on a few cuts! The album's got a tight, yet laidback feel to – perfect kickback jam session material, in that classic Prestige soul jazz mode. Titles include "Contrasts", "Cookin Sherry", "Mellow Blues", and "Sportin".

Seminal early work from Willis Jackson – two classics back to back on a single CD! Blue Gator is a massive early Prestige set from tenorist Willis – and just the kind of record that set him firmly in the soul jazz camp for the 60s! By the time of the set, Jackson had already won plenty of fame for his R&B-tinged work – but here, he stretches out a bit more, and really gets creative on his solos – working with a very hip group that includes Jack McDuff on organ and Wild Bill Jennings on guitar – both players making a similar shift in their music at the time. The tracks are lively, recorded with a bold, loud tone, and have lots of those great open-mouthed tones from Jackson – quite possibly a good reason for his "Gator" nickname! Tracks include "Blue Gator", "East Breeze", "The Gator Jumps", and "Try A Little Tenderness". Cookin Sherry is solid-sending soul jazz from the great Willis Jackson! The album features Gator blowing in a group that includes Jack McDuff and Wild Bill Jennings on all cuts – plus bass by either Milt Hinton or Wendell Marshall, drums by Bill Elliott or Al Johnson, and some tasty added conga by Buck Clarke on a few cuts! The album's got a tight, yet laidback feel to – perfect kickback jam session material, in that classic Prestige soul jazz mode. Titles include "Contrasts", "Cookin Sherry", "Mellow Blues", and "Sportin".

Hard hitting R&B organ tracks from the early years of Jack McDuff! The CD features 14 tracks – with the full LP of Brother Jack and Goodnight, It's Time To Go, and one extra track from Jack's Steppin Out LP. The tracks show Jack just getting past the stock jukebox sound of his "Honeydripper" hit, and pushing into a realm that's a lot more lively, jazzy, and filled with his own unique touches. Tracks include "Drowsy", "Sanctified Waltz", "Godiva Brown", "A Smooth One", and "McDuff Speaking".

Keyboardist Sonny Phillips was one of the lesser-known talents on the Prestige roster of jazz funk greats in the early 70s – and this nice 2-in-1 CD brings together his 2 best albums for the label, both of which feature Phillips on organ, along with giants like Ivan Boogaloo Joe Jones on guitar, Bernard Purdie on drums, and Rusty Bryant on tenor. The album Sure Nuff is probably Phillips' best for the label – a set that's done with the lean, hard funky sound of other greats working for Prestige during the same time – especially on the cuts "Sure Nuff, Sure Nuff", "The Other Blues", "Be Yourself", and "Oleo". Black On Black has a bit more of a mellow groove, but still kicks nicely, especially on the tracks "Check It Out", and "Black On Black". 10 tracks in all, with the usual "Legends Of Acid Jazz" package.

A key turning point for Johnny Hammond Smith – 2 hip albums from the latter half of the 60s, a time when he was really changing up his groove! First up is Soul Flowers, one of Johnny's most obscure records – and a great little album that's filled with short tracks played by a largeish group – all in a groove that's almost got a cop show feel! The album's got a gritty, dirty feel that's totally great – a nice change from Johnny's early 60s soul jazz, and a definite nod at the funk that would come in the 70s. There's twin tenors on the date from Houston Person and Earl Edwards – who often blow together on the heads, creating a mini-horn section sort of feel that then breaks up into more of a small combo mode as the set rolls on. Guitar is by the wonderful Wally Richardson, who works alongside electric bass from Jimmy Lewis – rumbling nicely next to Hammond's newly-lean sound on the organ. Added congas from Richard Landrum round out the set – and titles include the wonderful "NYPD", plus "Dirty Apple", "Ode To Billie Joe", "Days Of Wine & Roses", "Tara's Theme", and "I Got A Woman". Dirty Grape is excellent work from Johnny Hammond Smith – a record that really lives up to the "dirty" in the title! The approach here is a bit like some of Jimmy McGriff's recordings at the end of the 60s – organ soloist riffing around on some short hard tracks, with a bit of electric bass in the mix to soup things up a bit, rhythm-wise! The players include Wally Richardson on guitar – whose solos and sound are almost as important to the date as Johnny Hammond's – plus the twin team of Houston Person and Earl Edwards on tenor, Fender bass by Jimmy Lewis, drums by John Harris, and added conga by Richard Landrum. Tracks include some very groovy numbers – like "Dirty Grape", "Animal Farm", and "Black Strap Molasses" – plus covers of "To Sir With Love", and "Love Is A Hurtin Thing".

2 late 60s sides by Groove Holmes – back to back on one CD! The Groover is a nice one from the days when Groove was playing with guitarist George Freeman! The core of the tracks on here feature a trio of Holmes, Freeman, and drummer Billy Jackson – and the trio knows how to cook nice and nicely, especially on the original cut "The Walrus", a groovy number written by Freeman, with his usual off-kilter approach. Other cuts include "My Scenery", "Blue Moon", and "I'll Remember April". That Healin Feelin is a tight, no-nonsense set of hard grooves featuring a quartet that includes Rusty Bryant, Billy Butler, and Herbie Lovelle. There's a strong bottom sound to the session – picking up from the Misty days, when Groove learned that he could take just about any track, and make it groove like a mofo! Because of this, the album's selections – "That Healin Feelin", "Irene Court", "Castle Rock", and "On a Clear Day" – all sound night and tight, as Groove would have delivered the tunes playing before one of his many well-attended audiences at the time!

Two organ and tenor classics – back to back on a single CD – with some bonus cuts too! Four Dimensions is sweet soulful work from the legendary Don Patterson – a great Prestige set that has tenorist Houston Person joining the organist's hip trio with Pat Martino on guitar and Billy James on drums! The tunes have that loping soul jazz sound you'd find in Person's best early work at the time – a groove that's got plenty of bottom, but also a nice dose of lyricism as well – and the use of Houston's horn here seems to bring out a different approach from Patterson than you'll hear on his sessions with Booker Ervin. There's a very slight hardbop element at times – and titles include "Sandu", "Freddie Tooks Jr", "Red Top", and "Last Train From Overbrook". Next up are most of the tracks from the album Hip Cake Walk – a massive pairing of the tenor of Booker Ervin and Hammond of Don Patterson – a record that's got a very famous cover image, and which marks for one of the greatest meetings of soul and modernism at mid-60s Prestige Records! There's no bass at all on the set – just lots of quick, tight rhythm lines from Patterson on the pedals of the Hammond – mixed with drums from Billy James, and served up with plenty of space for Ervin to open up on tenor – blowing with more soul than on some of his modernist sides of the time! Oddly, the CD does not include the title cut – "Hip Cake Walk" – but does include the other 4 tracks from the album, "Rosetta", "Sister Ruth", "Under The Boardwalk", and "Donald Duck". CD also features more Ervin/Patterson material from the same session – the tracks "Sentimental Journey", "Theme For Dee", and "Just Friends".

Early, early work from the Heavies, with their original singer Jay Ella Ruth, working a tight funky groove that's very much like a slicked up James Brown sound, rather than the poliched modern soul vibe they'd move towards later.

A harder-edged set than before from Corduroy – a record that's still heavily steeped in the 60s territory of previous releases, but one with a bit more of a mod feel overall! There's lots of heavy Hammond and guitar in the mix, and the vocals have a warm appeal too – kind of a blue-eyed soul take on mod London modes – served up here with a sound that's arguably tighter and more soulful than lots of current work of this nature! Corduroy was always a group that never fully got its due – and with records like this under their belt, they were easily one of the hippest acts on the Acid Jazz imprint at the time. Titles include "Don't Wait For Monday", "Practice What You Preach", "Magic Carpet", "January Woman", "Mini", "Motorhead", "Along The Rooftops", "End Of The Rainbow", and "Red Mercury".

A harder-edged set than before from Corduroy – a record that's still heavily steeped in the 60s territory of previous releases, but one with a bit more of a mod feel overall! There's lots of heavy Hammond and guitar in the mix, and the vocals have a warm appeal too – kind of a blue-eyed soul take on mod London modes – served up here with a sound that's arguably tighter and more soulful than lots of current work of this nature! Corduroy was always a group that never fully got its due – and with records like this under their belt, they were easily one of the hippest acts on the Acid Jazz imprint at the time. Titles include "Don't Wait For Monday", "Practice What You Preach", "Magic Carpet", "January Woman", "Mini", "Motorhead", "Along The Rooftops", "End Of The Rainbow", and "Red Mercury".

Four classic albums by this hip UK group – all with rare bonus tracks too! First up is the wonderful Dad Man Cat – our favorite record by one of the best funk records to ever come out of England! On this great debut album, Corduroy are a tight funky combo, with an organ and clavinet mod sound that still holds up damn well over the years. Their songwriting is great, and the groove on the set push way past the stock acid jazz riffing of the early 90s. Best example of this is "Skirt Alert", a cut that begins with an amazing drum break, then grooves into a Brazilian-inflected funk number, in the manner of Earth Wind & Fire's use of the idiom. Other tracks include "Chowdown", "How To Steal The World", "Electric Soup", "Money Is", and "Six Plus One". CD also features six bonus demo tracks! High Havoc is a real shift for Corduroy, who are opening their sound a lot here from earlier releases – showing that the group was way more than just one of London's many retro funk combos at the beginning of the 90s. The set includes the sublime track "Something In My Eye", a breezy bossa number that would almost put Brasil 66 to shame, and which we can guarantee will have you hitting the repeat button on your CD player again and again! Other tracks include "The Corduroy Orgasm Club", "Breakfast In Love", "Nobody Move", "Very Yeah", "Clearing Up Music", "Lovely Lonely & Loaded", and "The Frighteners". CD features 9 more bonus tracks – some previously unreleased! Next is Out Of Here – a record that's still heavily steeped in the 60s territory of previous releases, but one with a bit more of a mod feel overall! There's lots of heavy Hammond and guitar in the mix, and the vocals have a warm appeal too – kind of a blue-eyed soul take on mod London modes – served up here with a sound that's arguably tighter and more soulful than lots of current work of this nature! Corduroy was always a group that never fully got its due – and with records like this under their belt, they were easily one of the hippest acts on the Acid Jazz imprint at the time. Titles include "Don't Wait For Monday", "Practice What You Preach", "Magic Carpet", "January Woman", "Mini", "Motorhead", "Along The Rooftops", "End Of The Rainbow", and "Red Mercury". CD features 7 more bonus tracks – a number of unissued demos! Last up is Quattro – Live In Japan 1994 – a great little live set from Corduroy – recorded late in their career, but with the stripped down funky feel of their best early work! The album was recorded in Japan – but the groove is pure London jazz funk all the way, with a tight mix of keyboards and riffing guitars, electrically grooving in a very soulful way. Includes versions of "Skirt Alert", "Something In My Eye", "Mini", "Money is", "London, England", "Electric Soup", "E Type", "The Frighteners", and "Chow Down".

A slinky set of organ jazz & soul by The Filthy Six for Acid Jazz – modern combo with a profound love for and mastery of mid-to-late 60s funky organ combos – as sly as can be The Fox! This is a group that knows what they want and what they can do – delivering vintage style, though modern relevance. The originals are great for showing the group's skill at a number of classic Hammond organ styles, be it jazzy or funky – and there's a couple of cool covers, including adaptations of Off The Wall and J5 era Michael Jackson – Girlfriend" featuring guest vocalist Brendan Reilly plus "Never Can Say Goodbye". Other tracks Include "Midnight Boogaloo", "Down Frenchmen Street", "Prattle In Seattle", "The Rum Diary", "Getting Better", "The Fox", "Jukebox" and "Get Down". 12 tracks on the CD version.

A fantastic compilation of work from one of the grooviest groups on the UK scene of the late 60s – a mod combo with a surprisingly funky undercurrent at times – and a sound that's virtually the definition of the freakbeat groove! The drums here are wonderful – as heavy and massive as the fuzzy guitars – and although most of the tracks have a tuneful approach on the vocals, it's the bottom end that really drives the numbers strongly – a crossover between rock and soul that's a perfect summation of the mod aesthetic at its best! Titles include "Tick Tock", "Love Them All", "Hold On", "Mud In Your Eye", "Gotta Get Enough Time (demo)", "I Forgive You", "Two Can Make It Together", and "Gong With The Luminous Nose".

A fantastic compilation of work from one of the grooviest groups on the UK scene of the late 60s – a mod combo with a surprisingly funky undercurrent at times – and a sound that's virtually the definition of the freakbeat groove! The drums here are wonderful – as heavy and massive as the fuzzy guitars – and although most of the tracks have a tuneful approach on the vocals, it's the bottom end that really drives the numbers strongly – a crossover between rock and soul that's a perfect summation of the mod aesthetic at its best! Titles include "Tick Tock", "Love Them All", "Hold On", "Mud In Your Eye", "Gotta Get Enough Time (demo)", "I Forgive You", "Two Can Make It Together", and "Gong With The Luminous Nose".

Rare and raw mod rock from The Frays! 90 Wardour Street features a bunch great mid 60s recordings from the group – with a couple of great tunes that were released by Decca as singles back in the day, but the 12-track album was never released – until now! A nice back of spare, but wallop mod rhythms & hard blues. It's got a nice, unvarnished vibe overall – with some really sharp guitar lines, walloping drums and harp-blowing! Includes "Don't Start Crying Now", "Eenie Meenie Miney Mo", "Fattening Frogs For Snakes", "Help Me", "I Wonder Who", "Keep It To Yourself", "Red's Dream", "Groovin'", "My Babe" and "Walk On".

A raw, frantically-paced live set by boxer turned soul singer Freddy Mack – captured live at Toft's Club in the UK! It's rawly recorded, which is great, given the gritty soul style at play It's a batch of rollicking covers done with infectious energy, Freddy clearly doing his thing out front of a tight rhythm section, heavy horns and backing singers. The audience reaction is intense to say the least – kids screaming there heads off, and that's a vital part of the sound! Includes "Bare Footin'", "Funky Broadway", "Sock It To 'Em JB", "Long Tall Sally", "Three Time Loser", "Stand By Me", and 12+ minute finale medley.

Early work by the James Taylor Quartet – one of the group's first hard-hitting Hammond-driven albums, and a killer batch of retro funky tunes with a 60s R&B instrumental feel! James is really wailing on the Hammond on this one – blowing out some hip solos that romp with a mod late 60s London groove, stomping his way through hip covers of tunes that include "Blow Up", "Mission Impossible", "Alfie", "Mrs Robinson", and "Goldfinger" – and laying down some great originals like "Be My Girl", "The Stooge", and "Untitled No 1". A really great album – and the kind of record that shows the raw roots of James' early career, the ones he's returning to in his recent excellent funk recordings!

Chicago house music really takes off – in this massive collection that really documents the most experimental years in the Windy City club scene! By the mid 80s, Chicago house had already had a few years under its belt – stepping strongly forward as a revolutionary new mode of club music – stripped-down from disco, borrowing some electronics from overseas, and giving the world a fresh new vision of dancefloor sounds that would have a huge influence for decades to come! And by the end of the decade, folks were really starting to play with the format – bringing in lots of older analogue electronic sounds, dubbed "acid" for the way they burned and tweaked – and garnering the city even more interest from the UK and European scenes – who thought the name referred to drug usage, and took the cue to ignite their own waves of house-based parties on the other side of the Atlantic. While back home, Chicago artists were spurred on to experiment even more – and things went from warm and clubby to downright sci-fi – an aesthetic that's really captured strongly in this set from Soul Jazz. 2CD set features the cuts "Can You Feel It" from Mr Fingers, "Hallucinate" by Acid Wash, "151" by Armando, "The Jacking Zone" by Risque Rhythm Team, "I Can't Understand" by Pleasure Zone, "Rabbit Trax 1" by James Jack Rabbit Martin, "Freedom (Factory mix)" by The Children, "Ecstasy" by Mr Fingers, "Washing Machine" by Mr Fingers, "The Night Calls" by Bizzy B, "Go Wild Rhythm Trax No 3" by Virgo, "World Turns Around" by Cool McCool, "House Nation" by The Housmaster Boyz, "Love Trak" by Acid Wash, "Strength Of Bass" by Devotion, "Abstract Expressionism" by The Unknown, "No Way Back" by Adonis, "Choice Of The Underground" by Rocky Jones, "The Juice" by Mr Fingers, and "I Believe" by A Black Man, A Black Man, & Another Black Man.

Chicago house music really takes off – in this massive collection that really documents the most experimental years in the Windy City club scene! By the mid 80s, Chicago house had already had a few years under its belt – stepping strongly forward as a revolutionary new mode of club music – stripped-down from disco, borrowing some electronics from overseas, and giving the world a fresh new vision of dancefloor sounds that would have a huge influence for decades to come! And by the end of the decade, folks were really starting to play with the format – bringing in lots of older analogue electronic sounds, dubbed "acid" for the way they burned and tweaked – and garnering the city even more interest from the UK and European scenes – who thought the name referred to drug usage, and took the cue to ignite their own waves of house-based parties on the other side of the Atlantic. While back home, Chicago artists were spurred on to experiment even more – and things went from warm and clubby to downright sci-fi – an aesthetic that's really captured strongly in this set from Soul Jazz. LP part one features the cuts "Can You Feel It" from Mr Fingers, "Hallucinate" by Acid Wash, "151" by Armando, "The Jacking Zone" by Risque Rhythm Team, "I Can't Understand" by Pleasure Zone, "Rabbit Trax 1" by James Jack Rabbit Martin, "Freedom (Factory mix)" by The Children, "Ecstasy" by Mr Fingers, and "I Believe" by A Black Man, A Black Man, & Another Black Man.

Chicago house music really takes off – in this massive collection that really documents the most experimental years in the Windy City club scene! By the mid 80s, Chicago house had already had a few years under its belt – stepping strongly forward as a revolutionary new mode of club music – stripped-down from disco, borrowing some electronics from overseas, and giving the world a fresh new vision of dancefloor sounds that would have a huge influence for decades to come! And by the end of the decade, folks were really starting to play with the format – bringing in lots of older analogue electronic sounds, dubbed "acid" for the way they burned and tweaked – and garnering the city even more interest from the UK and European scenes – who thought the name referred to drug usage, and took the cue to ignite their own waves of house-based parties on the other side of the Atlantic. While back home, Chicago artists were spurred on to experiment even more – and things went from warm and clubby to downright sci-fi – an aesthetic that's really captured strongly in this set from Soul Jazz. LP part two features the cuts "Washing Machine" by Mr Fingers, "The Night Calls" by Bizzy B, "Go Wild Rhythm Trax No 3" by Virgo, "World Turns Around" by Cool McCool, "House Nation" by The Housmaster Boyz, "Love Trak" by Acid Wash, "Strength Of Bass" by Devotion, "Abstract Expressionism" by The Unknown, "No Way Back" by Adonis, "Choice Of The Underground" by Rocky Jones, and "The Juice" by Mr Fingers.

An essential look at the key years of the Chicago house scene – the time when the city's musicians were carving out a whole new space in sound! Although early house first began as an extension of some of the later modes of disco and 80s club, influences from European post-punk and post-disco work soon crept into the mix, and pushed the Chicago artists to work in a darker, edgier sound that was completely unique! The work from this period is filled with stark, spare electronics – not the cheesy kind that showed up often in New York electro records, but intense analogue bits that had a really dark, dystopic space age sort of quality – laid out over harsh beats and bass, and often presented with no additional vocals at all. For the collection, Soul Jazz do a great job of picking out the best of the early acid house scene in Chicago (the key recordings before the term got picked up overseas, and used to make some very dodgy dance music at the end of the 80s) – and then they go on to pull together some of the best strands of the house revival in Chicago in the early 90s, including key work from the Cajual label. 2 CD set features 17 tracks in all – including "This Is Acid" by Maurice, "Do You Want To Percolate" by The Sweat Boyz, "Beyond The Clouds" by Mr Fingers, "Go Wild Rhythm Track" by Virgo, "Acid Crash" by Tyree, "Dum Dum (part 2)" by Fresh, "Acid Bass" by Roy Davis Jr, "Phuture Jacks" by Phuture, "I've Lost Control" by Sleezy D, "Take Me Higher" by Virgo Four, "Acid Over" by Tyree, "Box Energy" by DJ Pierre, "Video Clash" by Lil Louis, "Explorer" by Green Velvet, "Like This" by Two Of A Kind, "Acid Tracks" by Phuture, and "Downfall" by Armando.

An essential look at the key years of the Chicago house scene – the time when the city's musicians were carving out a whole new space in sound! Although early house first began as an extension of some of the later modes of disco and 80s club, influences from European post-punk and post-disco work soon crept into the mix, and pushed the Chicago artists to work in a darker, edgier sound that was completely unique! The work from this period is filled with stark, spare electronics – not the cheesy kind that showed up often in New York electro records, but intense analogue bits that had a really dark, dystopic space age sort of quality – laid out over harsh beats and bass, and often presented with no additional vocals at all. For the collection, Soul Jazz do a great job of picking out the best of the early acid house scene in Chicago (the key recordings before the term got picked up overseas, and used to make some very dodgy dance music at the end of the 80s) – and then they go on to pull together some of the best strands of the house revival in Chicago in the early 90s, including key work from the Cajual label. 2LP set features 8 tracks in all – including "This Is Acid" by Maurice, "Do You Want To Percolate" by The Sweat Boyz, "Beyond The Clouds" by Mr Fingers, "Go Wild Rhythm Track" by Virgo, "Acid Crash" by Tyree, "Dum Dum (part 2)" by Fresh, "Acid Bass" by Roy Davis Jr, and "Phuture Jacks" by Phuture.

An essential look at the key years of the Chicago house scene – the time when the city's musicians were carving out a whole new space in sound! Although early house first began as an extension of some of the later modes of disco and 80s club, influences from European post-punk and post-disco work soon crept into the mix, and pushed the Chicago artists to work in a darker, edgier sound that was completely unique! The work from this period is filled with stark, spare electronics – not the cheesy kind that showed up often in New York electro records, but intense analogue bits that had a really dark, dystopic space age sort of quality – laid out over harsh beats and bass, and often presented with no additional vocals at all. For the collection, Soul Jazz do a great job of picking out the best of the early acid house scene in Chicago (the key recordings before the term got picked up overseas, and used to make some very dodgy dance music at the end of the 80s) – and then they go on to pull together some of the best strands of the house revival in Chicago in the early 90s, including key work from the Cajual label. 2LP set features 9 tracks in all – including "I've Lost Control" by Sleezy D, "Take Me Higher" by Virgo Four, "Acid Over" by Tyree, "Box Energy" by DJ Pierre, "Video Clash" by Lil Louis, "Explorer" by Green Velvet, "Like This" by Two Of A Kind, "Acid Tracks" by Phuture, and "Downfall" by Armando.

Contemporary mod and garage – and Vol 3 in the series from Acid Jazz – the longstanding UK label that's been generating new enthusiasm for 60s styled stormers since it's inception! The UK scene is pretty well represented here, which is right and natural given the mid 60s Brit inspiration – but there's a global reach, too – with combos from Liverpool, to NYC to Moscow! A riveting batch of tunes, rooted in the mid-to-late 60s style, though done with contemporary relevence. Includes "Out Of Control" by The Riots, "You've Become A Witch" by The Electric Mess, "Gonna Find You" by Snakeman 3, "Perfect Crime" by Wet Dog, "Life Stranger" by The Feathers, "Simple Man" by Cryssis, "Ultra-Violence" by Supernovas, "Robin You Lie To Me" by Houdini Dax and more.

A sweet and long overdue second set of Mo' Jazz from the Acid Jazz label – who made us wait just about 20 years for it – and much like the early 90s collection, it's a fresh take on timeless jazzy sounds that'll stand the test of time! It puts together nice contemporary numbers by Laurent Doumont, Filthy Six, Derek and Jodi Chai, The Cavemen, Max Middleton, G's Way and others – with riffs on classic post bebop jazz, organ funk, boozy jazzy soul ballads and more – with nicely cooking instros and vocal numbers alike. Classic-schooled, fresh sounds from artists we hope to hear much more from in the future. Bring on Vol 3! Includes "Everything I Do's Gonna Be Funky" by Laurent Doumont, "Live Again" by Derek Chai feat Jodi Chai, "Pedalo" by Riley Stone-Lonergan, "Wine Cups" by Richard Bundy, "Get Down" by Filthy Six, "Booze Blues" by Nigel Price Trio, "Return Of The Prodigal Son" by The Cavemen, "Treehouse" by Sam Q's Night Patrol, "Catch Me If You Can" by G's Way and more, 12 in all.

A sweet and long overdue second set of Mo' Jazz from the Acid Jazz label – who made us wait just about 20 years for it – and much like the early 90s collection, it's a fresh take on timeless jazzy sounds that'll stand the test of time! It puts together nice contemporary numbers by Laurent Doumont, Filthy Six, Derek and Jodi Chai, The Cavemen, Max Middleton, G's Way and others – with riffs on classic post bebop jazz, organ funk, boozy jazzy soul ballads and more – with nicely cooking instros and vocal numbers alike. Classic-schooled, fresh sounds from artists we hope to hear much more from in the future. Bring on Vol 3! Includes "Everything I Do's Gonna Be Funky" by Laurent Doumont, "Live Again" by Derek Chai feat Jodi Chai, "Pedalo" by Riley Stone-Lonergan, "Wine Cups" by Richard Bundy, "Get Down" by Filthy Six, "Booze Blues" by Nigel Price Trio, "Return Of The Prodigal Son" by The Cavemen, "Treehouse" by Sam Q's Night Patrol, "Catch Me If You Can" by G's Way and more, 12 in all.

Raucous R&B, tight psych and mod soul from the late 60s UK – on a stellar Vol 4 in the great Rare Mod series from Acid Jazz – and nearly everything on it is entirely fresh to our ears! Rare Mod really goes deep, uncovering tunes that are honestly as infectious as the major mod standard bearing hits of the day – with raw drums, killer Hammond organ grooves and gritty vocals that give everything a sharp edge – but it’s commited by groups that proudly flaunt classic soul and R&B influences. Great stuff! Includes "Big Bird" by Dog Soul, "Tell Daddy" by All Night Workers, "Together Forever" by Gary Farr and the T-Bones, "Me And My Baby" by Row Boat, "Cover Girl" by Perfumed Garden, "The Thinking Kind" by The Wild Ones, "Arthur" by Virgin Sleep, "LSD" by Tomorrow's Children and more, 16 in all.

Raucous R&B, tight psych and mod soul from the late 60s UK – on a stellar Vol 4 in the great Rare Mod series from Acid Jazz – and nearly everything on it is entirely fresh to our ears! Rare Mod really goes deep, uncovering tunes that are honestly as infectious as the major mod standard bearing hits of the day – with raw drums, killer Hammond organ grooves and gritty vocals that give everything a sharp edge – but it’s commited by groups that proudly flaunt classic soul and R&B influences. Great stuff! Includes "Big Bird" by Dog Soul, "Tell Daddy" by All Night Workers, "Together Forever" by Gary Farr and the T-Bones, "Me And My Baby" by Row Boat, "Cover Girl" by Perfumed Garden, "The Thinking Kind" by The Wild Ones, "Arthur" by Virgin Sleep, "LSD" by Tomorrow's Children and more, 16 in all.

A whole new set of mod soul smokers – contemporary cuts, but mostly recorded with a vibe that hearkens back to the sound of London in the 60s – which means plenty of influence from Motown and other Northern Soul sources, plus an occasional touch of jazzy Hammond too! These tracks are all recent, but really showcase the Acid Jazz talent for getting an older style right – not exactly pure 60s, but more the best Brit blue-eyed modes – of the sort you might have heard when Style Council could hit a groover like this, or when some of the more recent Acid Jazz acts are at their best. Titles include "Pandora" by Men Of North Country, "Girlfriend" by The Filthy Six, "Return To Space" by Twisted Tongue, "Ordinary Joe" by Jasmine Kara, "No More Heroes" by Night Trains, "From Now On" by Magnus Carlson, and "Sex Is On Fire" by Jerk Juice.

Rare mid 60s soul from Jimmy James & The Vagabonds! This great little EP on Acid Jazz features material that Jimmy cut in 1967 – and it's seeing release for the first time ever! His Vagabonds on these sessions include Herb Prestige and John Roberts – drummer and bass player for The Ram Jam Band – plus guitarist Dave Tedstone and organ groover Art Regis of The Squires. Includes "She's Looking Good", "Aunt Dora's Soul Shack", "Soul Sister, Brown Sugar" and "Why (Must I)".

A monster! If you buy one Latin record this year – make it this one – because it's one of the greatest ever recorded! Ray's late 60s Acid album is a landmark recording – a sublime mixture of Latin jazz, percussion, and soul – grooving hard in a variety of styles, and always hitting the money on every single track. The title cut "Acid" is one of those tunes you'll be playing until you're locked up in a nursing home – and the rest of the record is equally great – with cuts like the bouncy groover "Soul Drummers", the tasty boogaloo "El Nuevo Barretto", and the extended "Espiritu Libre", a great Latin jazz track, with very "out" piano!

A classic bit of London funky guitar from Ronny Jordan – the heir apparent to Grant Green and Ivan Boogaloo Joe Jones – and one of the best new players of his generation! The set takes the older funky guitar styles of the 60s soul jazz generation, and fuses it with a 90s nujazz approach – to come up with some tight groovers that have a surprisingly classic feel, yet which also sparkle with the fresher sounds of the time – some of the hip rhythms that were bubbling around in London during the Talking Loud and early Acid Jazz years. Titles include a great remake of "So What", the jazz/hip hop classic "Get To Grips", and the cuts "Cool & Funky", "Summer Smile", "Show Me", "Nite Spice", and "After Hours".

Drummer Alphonse Mouzon cut some of the hardest, heaviest fusion albums ever to hit the Blue Note label in the 70s – including this legendary powerhouse of a record! The set features Mouzon with one of his longtime partners – guitarist Tommy Bolin – hitting a hard-rocking, heavy fusion sound that really blows off the roof – more than enough influence from the younger generation to showcase the new energy hitting electric jazz – and a bit like some of the work that Alphonse would do with other artists in later years! Mouzon's drums explode like a case of dynamite hitting a nitroglycerine factory – and Bolin wails away on guitar like a buzzsaw out of control. There's some nice little licks on the set – making the record a good one for the sample crowd – and a really high octane album with loads of nice changes! Titles include "Nitroglycerin", "Mind Transplant", "Snow Bound", "Ascorbic Acid", and "Carbon Dioxide".

Funky club with jazzy touches – all served up in a stripped-down mode that takes us back to some of our favorite dancefloor experiments of the 90s! The groove here is somewhere in the house-y side of the Acid Jazz scene of early 90s London, or mid-decade work from the Tokyo club jazz crowd, or even a bit like "Hot Music" from Soho – a tune that would be a great comparison for the sound of this sweet little set! Rhythms are built from lots of sampled live jazz passages – so there's an acoustic warmth throughout, even when things are processed – and there's enough live jazz instrumentation to keep a spontaneous feel in the music as well. Titles include "Karabine", "Get A Wiggle On", "Voodoo Juju", "Black Milk", "Hip To The Jive", and "Solitaire".

New wave opera space elf Klaus Nomi (Bowie collaborator), remembered by friends and fans. The story of Sylvester ("Mighty Real", "Do Ya Wanna Funk"), with listeners guide, bibliography and amazing fotos. Esquerita centerfold. Chicago r&b eccentric Bo Dudley interviewed. Mayo "Red Crayola" Thompson talks at length. Shonen Knife interviewed. Acid jazz legends Pharaohs tell it like it is. Sammy Davis Jr. Chili mix reviewed by Mark Robinson. Plus: Eazy E, Fountains of Wayne, eight shining Shebrews, Ricky Wilson, Queen, Peter Allen, Liberace.

A jazzy dancefloor classic from Pal Joey! During the late 80s, lots of UK producers and groups were working in a nu jazz mode – mixing older jazz styles with newer rhythms and production, in a mode that often was called acid jazz, but which also moved into other camps. In the US, though, few groups were making such a stab at a nu style – save for Soho, whose "Hot Music" was one of the first new American underground cuts to really bring back that classic jazz flavor. The cut's a totally catchy one, worked around riffing hi-hit and snare fills, looped over and over, in a mode that's certainly been copped a lot lately by French producers! "Dance" is another number from the Pal Joey universe – a bit more familiar house overall, but still filled with lots of funky touches the give things a very classic feel!

A jazzy dancefloor classic from Pal Joey! During the late 80s, lots of UK producers and groups were working in a nu jazz mode – mixing older jazz styles with newer rhythms and production, in a mode that often was called acid jazz, but which also moved into other camps. In the US, though, few groups were making such a stab at a nu style – save for Soho, whose "Hot Music" was one of the first new American underground cuts to really bring back that classic jazz flavor. The cut's a totally catchy one, worked around riffing hi-hit and snare fills, looped over and over, in a mode that's certainly been copped a lot lately by French producers! "Dance" is another number from the Pal Joey universe – a bit more familiar house overall, but still filled with lots of funky touches the give things a very classic feel!

One of the greatest soul groups from the UK in the 80s – a real bright spot in the years before Soul II Soul and the rise of acid jazz – and a set we'd rank right up there with Sade's best work of the time! Working Week have a very jazzy sound at their core – acoustic rhythms, and a strong commitment to jazz at the core – no surprise, given that two of the group's three members were previously involved with Weekend! The third member is the lovely Juliette Roberts – easily one of the best Brit soul singers of the time – and an artist who really helps push some of the more American influences in the group's music – while still giving the whole thing a bit of a London sparkle, too. The mix is sublime, and the whole album's great – full of classic cuts that include "Autumn Boy", "No Cure No Pay", "Sweet Nothing", "Who's Fooling Who", "Thought I'd Never See You Again", and "Venceremos".

Think that groovy sounds in London only started with the acid jazz scene at the end of the 80s? Think again – because in the years before, The Bass Clef was a real hotspot of cross-cultural activity – helping to spark the fire that would burn strongly in the Dingwalls years and beyond! This excellent set provides a rare look at London's Latin and African grooves in the mid 80s – featuring not just local players, but groups from outside the UK who were making a big impact at the time – yet who also seemed to pick up some of London's great ear for funk and soul as well. Titles include "Amata" by Somo Somo, "Wosa Wena" by District Six, "Batucada" by London School Of Samba, "Cafe De Paris" by Cayenne, "Dos Labrimas" by El Sonido De Londres, and "Entre Rejas" by Barrio Latino.

A bit trippy, but also pretty darn funky – a wonderfully groove-conscious assortment of work from Blue Note and some other EMI-related labels – most of it from the tail end of the 60s and the hip start of the 70s! There's a bit less psychedelia here than you might guess from the title, but that's ok with us – as the track list is wonderful – and features some of the hippest, most mature grooves coming out at the time – a blend of cuts that ranges from righteous soul jazz to the soaring productions of Larry Mizell! Titles include "Howling For Judy" by Jeremy Steig, "Streets Of Calcutta" by Ananda Shankar, "Light My Fire" by John Andrews Tartaglia, "Wind Parade" by Donald Byrd, "Hallelujah I'm Coming Home" by Candido, "Acid Pot Or Pills" by Horace Silver, "Music Is My Sanctuary" by Gary Bartz, "Harlem River Drive" by Bobbi Humphrey, "Cristo Redentor" by Donald Byrd, and "Love For Sale" by Gene Harris. 12 tracks in all!

A wonderful compilation of the Microsolutions 12-inch series on the always edible Soul Jazz Records – A scatter-shot mix of the electronic underground – from glitchy house to jazzy broken beat to left-field hip hop and back again. The common thread here is the absolute abandonment of anything straightforward – each number drops a heavy dose of heady experimentation in the mix! Tracks include "Humbaba" by Kit Clayton, "We Got It 303 (Live Acid edit)" by Secondo, "Tranzit" by Rekid, "BBQ Plate (Telefon Tel Aviv mix)" by AmmonContact, "Discoetique" & "Sunday Love Of Kind" by A Greenman, "Mouth Party" & "Boulez' Toes" by Sutekh, "On Bellflower (Smyglyssna mix)" by AmmonContact, "Sunkissed (Daedelus mix)" by Hu Vibrational, "Batmen" & "Banana Peel" by Kid 606, "Enkidu" by Kit Clayton, "Friends & Gardens (Corker/Conboy mix)" by Hu Vibrational, and "Body Ginger" by Tim Exile.

Killer stuff all around! This album's a monster – one of Ray's greatest, with the same sort of Latin Soul groove heard famously on his classic Acid LP. The record has Ray cutting across many genres – blending Latin, soul, jazz, and a slight bit of funk – all into a set of grooves that never stops pleasing, and which will make you start digging through the Latin racks like mad, just to find another LP this great! Titles include "Hard Hands", "Abidjan", "Got to Have You", "New York Soul", and the fantastic track "Love Beads", which has a cool rolling piano line that sounds like a great De La Soul sample. It's a great track, and makes the entire album worth the price!

"Head Sounds" is a heck of a great way to describe this album – as it's filled with some of Ray's most mind-expanding cuts! The album kicks off with the tune "Acid", which you probably know from the album of the same name, but which still really does a great job of setting the pace here – and then it rolls into some fantastic longer cuts that really have a very strong jazz component. Ray and the group stretch out tremendously, hitting off-color notes and tones that almost make the record feel like one of Eddie Palmieri's jammers from the same time. 3 tracks on the set are over 8 minutes long, which should give you a good feel of the openness of the work – and titles include "Abidjan", "Espiritu Libre", "Drum Poem", and "Tin Tin Deo".

A monumental piece of funk – and a record that came into the world at a time when it seemed like just about everyone had forgotten how to play real funky music! This set's the US version of the first album by London scenesters The Brand New Heavies – and although it came out in the states 2 years after the UK set, it's essentially the same record – just featuring new vocals by singer N'Dea Davenport in place of the original vocalist Jay Ella Ruth. Davenport's vocals transported the group from indie acid jazz obscurity into the US soul charts in a way that nobody ever expected – and the resulting album is a stone classic that's filled with excellent cuts like "Ride In The Sky", "Never Stop", "Dream Come True", and "Stay This Way". Great stuff all around – and one of the few classic soul albums of its generation!

Drummer Alphonse Mouzon cut some of the hardest, heaviest fusion albums ever to hit the Blue Note label in the 70s – including this legendary powerhouse of a record! The set features Mouzon with one of his longtime partners – guitarist Tommy Bolin – hitting a hard-rocking, heavy fusion sound that really blows off the roof – more than enough influence from the younger generation to showcase the new energy hitting electric jazz – and a bit like some of the work that Alphonse would do with other artists in later years! Mouzon's drums explode like a case of dynamite hitting a nitroglycerine factory – and Bolin wails away on guitar like a buzzsaw out of control. There's some nice little licks on the set – making the record a good one for the sample crowd – and a really high octane album with loads of nice changes! Titles include "Nitroglycerin", "Mind Transplant", "Snow Bound", "Ascorbic Acid", and "Carbon Dioxide".

Great back-to-basics work from Jimmy Ponder – a well-crafted but laidback session that has the guitarist really opening up nicely in a hip quartet! Jimmy never tries too hard to get things back to the sound of the old days – never any of those hokey nods to the acid jazz generation you might find at the time – and instead, he really enjoys the open setting of the session, and crafts some well-played solos with a sweet hollow-body sound! The group features Mark Soskin on piano, Peter Washington on bass, and Roger Humphrey on drums – and the album features an especially nice 9 minute take on "The Creator Has A Master Plan", plus "Johnny's Place", "Moonlight In Vermont", "Softly As In A Morning Sunrise", and "Sunshine".

A jazzy dancefloor classic from Pal Joey! During the late 80s, lots of UK producers and groups were working in a nu jazz mode – mixing older jazz styles with newer rhythms and production, in a mode that often was called acid jazz, but which also moved into other camps. In the US, though, few groups were making such a stab at a nu style – save for Soho, whose "Hot Music" was one of the first new American underground cuts to really bring back that classic jazz flavor. The cut's a totally catchy one, worked around riffing hi-hit and snare fills, looped over and over, in a mode that's certainly been copped a lot lately by French producers! "Dance" is another number from the Pal Joey universe – a bit more familiar house overall, but still filled with lots of funky touches the give things a very classic feel!

One of the greatest soul groups from the UK in the 80s – a real bright spot in the years before Soul II Soul and the rise of acid jazz – and a set we'd rank right up there with Sade's best work of the time! Working Week have a very jazzy sound at their core – acoustic rhythms, and a strong commitment to jazz at the core – no surprise, given that two of the group's three members were previously involved with Weekend! The third member is the lovely Juliette Roberts – easily one of the best Brit soul singers of the time – and an artist who really helps push some of the more American influences in the group's music – while still giving the whole thing a bit of a London sparkle, too. The mix is sublime, and the whole album's great – full of classic cuts that include "Autumn Boy", "No Cure No Pay", "Sweet Nothing", "Who's Fooling Who", "Thought I'd Never See You Again", and "Venceremos". Amazing reissue – with a full bonus CD, and a whopping 15 extra tracks! Working Week were early proponents of really reworking tunes for singles, especially with jazzy elements – as you'll hear on cuts that include "Veceremos (jazz dance special 12")", "Afoche", "Storm Of Light (inst)", "Bottom End", "Stella Marina (main mix)", "Inner City Blues (urbane guerilla mix)", "Who's Fooling Who (dance version)", "Venceremos (7" bossa version)", "Stella Marina (full rap)", "Pepe's Samba (live)", and "Murphy's Law (live)".

A jazzy dancefloor classic from Pal Joey! During the late 80s, lots of UK producers and groups were working in a nu jazz mode – mixing older jazz styles with newer rhythms and production, in a mode that often was called acid jazz, but which also moved into other camps. In the US, though, few groups were making such a stab at a nu style – save for Soho, whose "Hot Music" was one of the first new American underground cuts to really bring back that classic jazz flavor. The cut's a totally catchy one, worked around riffing hi-hit and snare fills, looped over and over, in a mode that's certainly been copped a lot lately by French producers! "Dance" is another number from the Pal Joey universe – a bit more familiar house overall, but still filled with lots of funky touches the give things a very classic feel!