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A rare early 70s record from guitarist, singer and songwriter Ray Stinnett – who was the guitar player for Sam The Sham & The Pharaohs at their wooliest and bulliest – and made this long-buried solo record for A&M in '71! Ray was born in Memphis, and after his success with Sam The Sham, he dropped out for a while in San Francisco before heading home to Memphis. A Fire Somewhere was recorded at Fame and Argent, and sure enough, it's got quite a swampy southern groove at times – but there's also some sparer acoustic numbers that carry a post-hippie vibe that he no doubt soaked up in San Francisco. It's hard to believe it's been shelved for such a long time! Includes "Salty Haze", "You Make Me-Feel", "Silky Path", "Wheel Of Time", "Stop", "Long Rivers Flow", "America", "You & I", "Honey Suckle Song", "Liberty High", "Natural High", "Love Is The Answer", "A Fire Somewhere" and "The Rain".

A rare early 70s record from guitarist, singer and songwriter Ray Stinnett – who was the guitar player for Sam The Sham & The Pharaohs at their wooliest and bulliest – and made this long-buried solo record for A&M in '71! Ray was born in Memphis, and after his success with Sam The Sham, he dropped out for a while in San Francisco before heading home to Memphis. A Fire Somewhere was recorded at Fame and Argent, and sure enough, it's got quite a swampy southern groove at times – but there's also some sparer acoustic numbers that carry a post-hippie vibe that he no doubt soaked up in San Francisco. It's hard to believe it's been shelved for such a long time! Includes "Salty Haze", "You Make Me-Feel", "Silky Path", "Wheel Of Time", "Stop", "Long Rivers Flow", "America", "You & I", "Honey Suckle Song", "Liberty High", "Natural High", "Love Is The Answer", "A Fire Somewhere" and "The Rain".

A Brazilian underground classic from the early 70s – mindblowing work that mixes heavy percussion with lots of guitar – in a style that's samba soul one minute, but heavier rock the next! There's a bit of a Jorge Ben influence going on at times – particularly in the way the record uses quickly-strummed acoustic guitar next to the earthy rhythms – but the overall sound is also a bit more fragile at times, and rougher around the edges, especially at its most expressive moments. But that quality only serves to make the album more striking – an instantly captivating set that needs no previous cultural knowledge at all! Really tremendous stuff – the kind of lost treasure that will have you scratching your head, but loving it at the same time! Titles include "Apelo", "Grinfa Louca", "A Mente", "Tramba", "Madalena", "Mensageiro", "Cristina", "Olhar Animal", and "Microfones Metalicos".

A real sleeper – and one of the treasures of the Arista Freedom series! The album's a rare meeting between Argentine tenor player Gato Barbieri and South African pianist Dollar Brand – a true global meeting of the jazz minds, and a recording that's stronger than most of the work either player was recording at the time! 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. Tracks are long, with a free flowing quality that's infused with soul and spirit – and titles include "Hamba Khale", "Aloe & The Wildrose", and "To Elsa".

A wonderfully edgey album – and a lost classic of South American jazz! The album's a rare 1966 set cut by Argentinian tenorist Chivo Borraro and his quartet – done in a style that uses some fantastic influences from American modal and soul jazz of the 60s, filtered through some of the freer rhythms of the European scene of the same time. There's a number of cuts on here that remind us of the best expatriot work of American player Nathan Davis – raw and emotive playing, yet always swinging as much as possible – as you'll hear on the album's killer cut "Half and Half", it's great take on "Summertime", and the standout "Charlie's Blues".

One of the darkest records ever for this core member of Emerson Lake & Palmer – and a very unique project, too! Dario Agento hired aging prog rock star Keith Emerson for this 1980 horror soundtrack, and the overall approach used by Emerson is similar to some of his solo instrumental work from the late 70s – with lots of keyboard-heavy tracks (acoustic piano, organ, electric piano) that show off Emerson's virtuosity and classical training. The score has some elements that are similar to some of Argento's other soundtracks – like the contemporary work by Goblin – but it's also much more of an Emerson-driven album. The whole thing's remastered here and presented with a total of 18 tracks that include "Mark's Discovery", "Rose Gets It", "Elisa's Story", "Inferno", and "Taxi Ride".

Sublime sounds from the later years of Bill Evans – and a recording that shows just how perfectly his piano talents were finding new heights of timing and tone! Many of the tracks here are relatively mellow, and often somewhat dark as well – moody, but not in a way that's negative at all – and instead a real showcase for the darker tones and deeper feelings that Evans continued to evolve into his music in these final stretches – carried off with superb sensitivity by Marc Johnson on bass and Joe LaBarbera on drums. The recording quality is wonderful – just perfect to capture the special quality of the performance – and titles on this first volume include "Stella By Starlight", "Gary's Theme", "MASH", "We Will Meet Again", "Letter To Evan", and "Noelle's Theme".

A pair of disco gems back to back in a 2CD set – with great bonus tracks too! First up is Evita, a loving take on the hit 70s musical – one that serves up all the best tracks in a sweet disco mode – and moves the sound from Broadway to the main floor of Studio 54! Festival present the material, but the key force here is disco maestro Boris Midney – who really helps craft some compelling keyboard-heavy grooves for the set – wicked dancefloor rhythms that have lots of sweet funky touches, topped with vocals that still retain some of the drama of the original! The approach worked surprisingly well with audiences at the time – and titles include "Don't Cry For Me Argentina", "Buenos Aires", "I'd Be Surprisingly Good For You", "Rainbow High", "She Is A Diamond", and "High Flying Adored". CD features four more long bonus tracks – including two "Special Dance Music Version" mixes from promo 12" singles – plus "Don't Cry For Me Argentina (7" version)" and "Don't Cry For Me (Mexican 12" mix)". Next up is another great Boris Midney project – one of the few issued under his own name, and a cool disco-fication of the themes from The Empire Strikes Back! The set only features four tracks, but all of them are relatively long – and filled with cool instrumental touches on keyboards, guitar, and percussion – more than enough to blow similar Star Wars disco projects out of the water! Titles include "Yoda's Theme", "The Imperial March", "Han Solo & The Princess", and "Star Wars".

A definite delight from Ronnie Foster – a post-Blue Note set that actually has the keyboardist sounding better than ever! Ronnie's always been one of those guys who seems to work best when moving against a bit of structure – and here, that force is provided by the excellent Jerry Peters – who's come up with some great soul backings that also have these nicely offbeat corners – more than enough to preserve some of the quirkiness of Foster's work from previous years – yet also giving him a bit more direction too! There's a bit of vocals on the set – mostly from Ronnie – with backing from Phyllis Hyman, Jim Gilstrap, and Peters himself. Titles include "Argentina", "We As Love", "Let Me In Your Life", "I've Got Your Love", and "When Will I Write You A Song?". This CD version also includes the bonus "You're The One (US 7" Single)".

A rare non-soundtrack record from Goblin – but done in a style that's equally wonderful as their famous music for horror films! The set really shows the progressive roots from which they sprang – with a sound that's a bit fuller than some of their soundtrack work, and which also has vocals too – sung in Italian, but with a very Peter Gabriel sort of edge to them. Keyboards figure heavy in the mix, and there's also some really nice dark undercurrents too – on titles that include "La Danza", "Mark Il Bagarozzo", "Terra Di Goblin", "Un Ragazzo D'Argento", and "Notte".

A non-soundtrack album from Goblin – but one that's right up there with the spirit of their classic scores for director Dario Argento! The tunes here are a bit longer, and spin out with a great mix of funky rhythms and electric keyboards – Fender Rhodes and clavinet, mixed nicely with tight basslines and fuzzy guitar – really showing the group's earlier rockish roots, but handled with the lean, jazzy style that would make them kings of the Italian soundtrack scene of the 70s. Titles include the long versions of "Aquaman" and "Dr Frankenstein" – which were both used later in Suspiria – and other cuts include "Roller", "Goblin", "Snip Snap", and "Il Risveglio Del Serpente".

Not really a Goblin soundtrack, so much as a soundtrack project by some of the band's members – Claudio Simonetti, Massimo Morante, and Fabio Pignatelli – but still a nice one, with most of the group's classic elements firmly in place! The score's a great counterpart to this very odd Dario Argento film about a novelist turned murderer – and it's filled with lots of spacey keyboards, fuzzy guitars, and the kind of weird atmospheric bits you'd expect from an early 80s horror film! Titles include "Slow Cirkus", "Lesbo", "Flashing", "Tenebre", "Waiting Death", and "Jane Mirror Theme".

Not really a Goblin soundtrack, so much as a soundtrack project by some of the band's members – Claudio Simonetti, Massimo Morante, and Fabio Pignatelli – but still a nice one, with most of the group's classic elements firmly in place! The score's a great counterpart to this very odd Dario Argento film about a novelist turned murderer – and it's filled with lots of spacey keyboards, fuzzy guitars, and the kind of weird atmospheric bits you'd expect from an early 80s horror film! The CD includes a total of 19 chilling tracks, with a number of bonus cuts, a few of them remixes. Titles include "Slow Circus", "Lesbo", "Jane Mirror", "Waiting Death", and "Gemini".

A lost 60s small group sessions from Gonsalves – the genius tenor sax player who was one of the strongest points of Duke Ellington's band in the 50s! The set features Gonsalves playing with trumpeter Willie Cook – backed by an Argentinian rhythm section with Enrique Villegas on piano. Apart from the great Latin inflected original, "Blues For BA", the tunes are simple and familiar ones – "Perdido", "I Cover The Waterfront", "Just Friends", and "I Can't Get Started" – done in an easily grooving small combo format that's got the feel of a relaxed blowing session. Gonsalves' tone is wonderful, as always, and the roughness of the session brings out a sound that he rarely had in other recordings at the time.

Lovely bossa work from Argentine guitarist Agustin Pereyra Lucena – one of his first records, done in a style that's right up there with the best of Brazil in the 60s! Acoustic guitar is the main instrumentation on the set – supported by light percussion, warm basslines, and some occasional wordless female vocals – which drift in and out of the set with a really wonderful tone! The vocals make for a really great element to the set – working a bit like they do in Baden Powell's albums from the same time. Titles include "Tema Para Martin", "O Astronauta", "Tristeza De Nos Dois", "Canto De Ossanha", "Pro Forma", and "Berimbau".

The second album from O Terco – the guitar-heavy power trio who were one of the hardest things going in Brazil during the early 70s! The album's got a style that's somewhat progressive, but which also still holds onto plenty of late 60s psychedelic elements – qualities both sweet and dark, often compressed into the arrangements with an approach that's a bit like some of the more underground South American rock of the time. Side one of the album features 5 shorter tracks – "Deus", "Voce Al", "Estrada Vazia", "Lagoa Das Lontras", and "Rock Do Elvis" – and the second side features the 19 minute suite"Amanheger Total" – a soaring, building number with lots of changes throughout! CD features 2 bonus tracks – "Tributo Ao Sorriso" and "Adormeceu".

Complicated and folksy work from Quintal De Clorofila – aka Garden Of Chlorophyll – the duo of Negendre and Dimitri Arbo, singing together and working on an assortment of instruments that include acoustic guitars, casio keyboard, bandolim, microharp, soprano sax, flute, and lots of percussion! The style is as unusual as the group's name and presentation – but almost has as many echoes of other South American folk as it does more familiar work from Brazil – and although the record was cut in the early 80s, it's got an incredibly earthy tone, and sounds much more like some lost acid folk set from the late 60s! Titles include "As Alamedas", "Jornada", "Drakkars", "Liverpool", "Jardim Das Delicais", "Balada Da Ausencia", and "O Ultimo Cigano". CD features 2 bonus tracks too!

A bit trippy, a bit groovy – and a very compelling little set from the Brazilian duo of Rubinho & Mauro Assumpcao! At one level, the record's got an earthy feel that matches the cover image of the pair climbing out of a tree without their shirts on – but at another level, there's often echoes of some of the funkier modes coming into Brazilian music at the time – a slight Samba Soul influence that mixes well with the earthy, sometimes personal vocals of the duo. In a way, there's almost a similarity here to early work by Os Novos Baianos – who seem to inhabit a similar space – and like that group, these guys have a sound that's got plenty going on, even if you can't completely understand it! Titles include "Ta Tudo Ai", "Debandada Geral", "A Montanha", "Bloco Da Visao", "Os Olhos", "Sozinho Nao Estou", "Quero Companheira", and "Pe Na Estrada".

A creepy 70s Italian zombie film soundtrack by Guiliano Sorgini – his atmospheric and clearly influential score for Living Dead At The Manchester Mourge! It's an eerie mix of spare, chilling elements and more driving, psych-influenced bits – kind of like a less proggy version of the kind of grooves Goblin would put down for Dario Argento's Suspiria a couple of years later! Truly an under-appreciated classic in trippy Italian horror movie soundtracks! Includes "John Dalton Street", "Surreal", "Trance", "Aggression", "The Death Of The Dead", "Drowned Guthrie", "George", "Manchester M2 6LD" and more.

A surprisingly nice set that brings together Clark Terry and Thelonious Monk! Given Terry's bright approach to jazz, it's a bit hard to imagine him and Monk working well together – but at the time of this session, Clark still had a fair bit of an edge – with roots in a number of modern styles of the 50s, and a flair for crafting a compelling line on his horn. The set's got a number of nice originals – and titles include "In Orbit", "Pea Eye", "Argentina", "One Foot In The Gutter", and "Buck's Business". (Also issued under the name Clark Terry In Orbit.)

Great late 60s work from Ronnie Von – an under-appreciated Brazilian rocker, and one with a sound that sits nicely between the Jovem Guarda generation and some of the headier groups to come in the 70s! There's a nice array of psychedelic influences at play here – strong echoes of British work of the time, but used in much more sophisticated ways than any Jovem Guarda acts – never a simple copycat approach, but also never as arty as some of the Tropicalia recordings of the time either. Ronnie's voice has a depth that allows some nice changes in mood from track to track – lightly lyrical one moment, a bit darker and more tripped-out the next – bringing a sense of variety to the record that almost recalls Caetano Veloso during the time, but a bit more rockish overall. Titles include "Atlantica", "Dindi", "De Como Meu Heroi Flash Gordon", "Foi Bom", "Rose Ann", "Comeci Uma Brincadeira", and "Mares De Areia". CD features 4 bonus tracks – earlier singles that include "Meu Bem", "Paraiso", "O Pequeno Principe", and "Meu Mundo Parou".

Groovy psychedelic rock from Brazil – the self-titled effort from Ronnie Von – a Brazilian television personality and musician who stayed incredibly busy from late 60s through the 70s – but recorded few albums as sublime as this album from 1968! It's really a near-perfect batch of sunshine rock – sung in Portuguese and featuring some of the similar freeform sounds of his Brazilian contemporaries of the time – with groovy western touches in the instrumentation. Ronnie's vocals are backed up by organ washes and piano, buzzing guitars and walloping drums – but the overall feel is quite melodic. A wonderful blend of California sunshine and Brazilian rock grooves! Tracks include "Meu Novo Cantar", "Chega De Tudo", "Espelhos Quebrados", Anarquia", "Esperahca De Cantar", "Contudo, Todavia", "Anarquia", "Mil Novecentos E Alem", "Canto De Despedida" and more – plus 6 bonus tracks!

Mad music from the Argentine scene of the 70s – tracks so great, we're counting our cash for a record-digging trip to Buenos Aires! The tunes here are way funkier than you might expect – numbers that often have Spanish language lyrics, but which feature instrumentation that's clearly influence by the American funk and soul scene of the time – plus a bit of psych as well, given some of the trippier touches on a few of the songs! Most numbers are from the very start of the 70s – and the vibe is almost like previous psych and garage combos hitting a more soulful mode – turning their riffing guitar, heavy drums, and sweet keyboards towards some very funky themes. Titles include "Buenos Aires Soul" by Jumbo, "El Club De Los Vampiros" by Banana, "Aprendiendo A Bailar Push & Pull" by Antoine Y La Push & Pull Band, "Crash Boing" by Clan Equis, "Bim Bam Bum" by Buchanan, "El Ruido Continua" by The Satanic Girls, "Nina Piel De Arena" by Mandinga, and "Un Hombre De Hielo" by Hielo.

An Italian horror extravaganza – a set devoted to the films of Dario Argento, and the music that went with them! The set's a distillation of a previous hardcover edition – and features a nicely-done 32 page booklet filled with gripping images from Argento's classic spooky films of the 70s and early 80s – and the CD features loads of great creepy music, with 16 cuts that include "Placcaggio" and "Ninna Nanna In Blue" by Ennio Morricone, "Profondo Rosso" and "Mad Puppet" by Goblin, "Inferno" by Keith Emerson, "Suspiria" and "Tenebre" by Claudio Simonetti, "Steel Grave" by Steel Grave, "Trauma" by Pino Donaggio, and "Dark Dreams" by Signor Wolf – a tribute track added to the package!

Vintage Argentinian tangos and more by Trio De Cajon – plus contempary club-ready adaptations by many of the finer club soul and downtempo producers, remixers and dance music collectives from around the world – including Mo' Horizons, Mark Farina, Up, Bustle & Out, Flevans, Vigilante, Argenis Brito and more! The double CD package does a great job of presenting the more traditional sounds of Argentina and Uruguay with The Trio De Cajon originals – as well as some great contemporary interpretations. Disc one is the originals – and the titles include "Malena", Carnaval De Mi Barrio", "Mariposita", "Afiches", "Viva Jujay", "Juan Del Monte" and more. Disc 2 is the remixes: with "Viva Jujay" by Stimming, "Carnaval De Santiago" by Mo'Horizons, "Mariposita (GLA mix)" by Mark Farina, "Milonga Sentimental" by Jonny Drop, "Carnaval De Mi Barrio" by Adriano Konialidis, "Viva Jujay" by Flevans, "La Arenosa" by Argenis Brito (Senor Coconut), "Milonga Sentimental" by Jonny Drop and more. 27 tracks on 2CDs.

Remixes of 60s Argentinian tango grooves by Trio De Cajon – as adapted by some of the finer club soul and downtempo producers, remixers and dance music collectives from around the world – including Mo' Horizons, Mark Farina, Orb, Up, Bustle & Out, Flevans, Fede Lijt, Vigilante, Argenis Brito, Adriano Konialidis and more! 16 tracks stretched nicely over 3LPs: "Viva Jujay" by Stimming, "Carnaval De Santiago" by Mo'Horizons, "Mariposita (GLA mix)" by Mark Farina, "Milonga Sentimental" by Jonny Drop, "The Juan Del Monte Story In Three Parts" by The Orb Vs Gaudi, "Carnaval De Mi Barrio" by Adriano Konialidis, "Viva Jujay" by Flevans, "La Arenosa" by Fede Lijt, "Milonga Sentimental" by Jonny Drop and more.

A real sleeper – and one of the treasures of the Arista Freedom series! The album's a rare meeting between Argentine tenor player Gato Barbieri and South African pianist Dollar Brand – a true global meeting of the jazz minds, and a recording that's stronger than most of the work either player was recording at the time! 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. Tracks are long, with a free flowing quality that's infused with soul and spirit – and titles include "Hamba Khale", "Aloe & The Wildrose", and "To Elsa".

Steve Lacy's legendary Argentinean recording – one of his boldest moments of the early years, and the start of a long history of superb work away from the American scene! The group here is quite unusual – as players include Enrico Rava on trumpet, Johnny Dyani on bass, and Louis Moholo on drums – one budding European improviser, and two key members of the Blue Notes – who'd left South Africa for the UK by the time of this release. The live performance features only two long tracks – "Forest" and "Zoo" – both played with a sense of freedom not heard before in Lacy's music, at a level that really points the way towards his explosive presence in the French and Italian scenes in years to come!

One of David Murray's most ambitious projects ever – and that's saying a lot, given the depth of the 150-plus albums in his recording career! As you'd guess from the title, the set's a tribute to the En Espanol albums by Nat King Cole from the early 60s – and like those gems, Murray's project is a trans-cultural outing that brings together his jazz roots with Cuban musicians, additional strings, and an occasional vocalist – all recorded in studios from Argentina, to Portugal, to France! There's still a nicely unified feel to the whole record, though – and there should be, given how long Murray has kept this musical vision in his heart – and honestly, the whole thing is one of the most impressive things he's recorded in years – not only a great reminder that he's got deep respect for many jazz traditions, but also that he can inflect his horn with rich flavors with effortless ease. Titles include "Quizas Quizas Quizas", "Black Nat", "Piel Canela", "Cachito", "Aqui Se Habla En Amor", and "El Bodeguero".

A great early and slightly obscure album from Argentine pianist Enrique Villegas – recorded in New York in the mid 50s, with bass by Milt Hinton and drums from Cozy Cole! Villegas' approach to the keys is very rhythmic and a little bit pyrotechnic at times – almost inspired a bit by the Garner generation of Americans, but also showing its own sense of timing, space, and drama. The approach is almost equal parts jazz and more mainstream piano work – always creative, and well-matched with the sensitive talents of Hinton and powerful touch of Cole. Titles include "Yesterdays", "Lazy Bones", "Where Or When", "Poor Butterfly", "Someties I'm Happy", "What Is This Thing Called Love", and "Embraceable You".

One of the grooviest Mexican groups of the 60s – a combo who mix together beat, garage, and psychedelic sounds with a really wonderful feel – much more like some of the Argentine and Peruvian combos who've been getting more exposure these days! There's definitely an American rock influence going on, but most of the lyrics are in Spanish, which instantly helps differentiate most of the tunes – and the production style has a way of making the familiar organ and guitar lines sound somehow weird and strange – sometimes due to odd echoes and fuzz in the production techniques. The LP features 13 tracks in all with titles that include "Opus 14 Interior 12", "Dime", "Shake", "Confesion", "El Soldado", "Sabia", "No Lo Hagas" and "Substitute".

Two rare Argentine albums from Vera Sienra – back to back on a single CD, with great notes too! Nuestra Soledad is a tremendous debut, and unlike anything that we can easily put into words – fado in style, but carried off in a way that's more bossa nova overall – yet done with a fuller sense of feeling that almost echoes European singers of the decade before! Vera's vocals are incredibly deep – not baritone, but filled with a sense of melancholy that hardly matches the image on the front cover – and the arrangements and guitar are done by Eduardo Mateo, who you might know from other excellent work of this nature from the Buenos Aires scene. Titles include "La Flor", "Si Tiene Final", "Aquel", "El Caminante", "Calle Triste", and "Junto Al Cristal". Vera is a slightly different album from a few years later – a record with some fuller backings, and an even more emotive approach overall – yet still done with that amazing vocal approach, and nicely restrained in ways that really underscore the sense of sadness in the tunes. Titles include "Uno Mas", "No Me Dejes Ir", "Cancio Para El Tiempo", "La Gaviota", "Y Porque Nos Conocimos", and "La Inconformidad".

Amazing sounds from Argentine drummer Domingo Cura – a range of rhythms that go way beyond anything you might already know in South American music! Most numbers are quite spare – and have a way of mixing rootsy drumming with offbeat production, instrumentation, and even a bit of electronics – all of which results in these really mindblowing sounds that are unlike anything else we can think of – rhythmic and pulsating, yet also ethereal and haunting – with a range of styles all wrapped together, almost as if Charles Hayward was recording in an ethnographic setting, with help from Tortoise, and a bit of jazz instrumentation as well! The package brings together key tracks from some of Cura's most important 70s recordings – and titles include "Viento Norte", "La Trunca Norte", "Vidala De La Copla", "La Vieja", "Mincura", "Golpes De America", "Juana Azurduy", and "Percusion".

If you've ever wondered why the world needs so many Bill Evans recordings, then we've got a record to show you why – a sublime batch of live material recorded in Buenos Aries during the 70s, and one of those Evans dates that somehow seems extra-special – even amidst all of Bill's other wonderful records! There's a charm here that grabs us right from the start – those always-perfect, always-lyrical notes from the piano by Bill, richly soulful work on bass from Eddie Gomez, and these lightly dancing drums from Marty Morell that swing things in this gentle way that's incredible – the perfect balance of the Evans trio of the time – captured with a range of spontaneous expressions that show why the group was almost always even more amazing live than in the studio! Titles on this second volume include "Waltz For Debby", "Beautiful Love", "34 Skidoo", "Up With The Larks", and "Time Remembered" – and even if you've got Bill doing these tunes on other records, you've got to hear him handling them here.

Sublime sounds from the later years of Bill Evans – and a recording that shows just how perfectly his piano talents were finding new heights of timing and tone! Many of the tracks here are relatively mellow, and often somewhat dark as well – moody, but not in a way that's negative at all – and instead a real showcase for the darker tones and deeper feelings that Evans continued to evolve into his music in these final stretches – carried off with superb sensitivity by Marc Johnson on bass and Joe LaBarbera on drums. The recording quality is wonderful – just perfect to capture the special quality of the performance – and titles on this second volume include "Up With The Lark", "Minha", "Someday My Prince Will Come", "Nardis", and "If You Could See Me Now".

A seminal Italian horror soundtrack, played by the great Goblin, and created for this totally creepy film by Dario Argento! The band are using a lot of airy keyboards and electronics here – in broad washes of sound filled with evil and darkness, instead of some of the group's usual funkier rhythms. Not that the whole score's slow and moody, though, because some of the tracks have a nice early 80s electronic feel – like late Tangerine Dream, or instrumental Ultravox. Plus, a few themes have very haunting vocals, set to very creepy orchestrations! There's a total of 16 cuts on this CD, with the usual Cinevox unreleased goodies thrown in! Titles include "The Wind", "Sleepwalking", "Jennifer", "The Monster Children", and "Jennifer's Friends". Creepy!

An overlooked gem from the early years of Schema Records – a straight jazz set that crackles with classic modal energy! The group's really a great one – and features some tremendous trumpet from Fabrizio Bosso – plus trombone from Gianluca Petrella, piano from Stefano Bollani, and saxes from Gaetano Partipilo – mostly all players who've really gone on to make a name for themselves after this set! There's a really classic feel here – somewhere between the Italian jazz of the Basso/Valdambrini group, and some of the best hardbop on Saba/MPS. The group falls into none of the cliches that you might expect – quite a surprise at the mid 90s time of the session, but a bit more common in today's club jazz era – and the production here is wonderful too, just right for the 60s feel of the record. Titles include "Mr. Kenyatta", "Argento D'Africa", "Unit 7", "Mira", and "Modal Convention".

Heavy fuzz from late 60s Brazil – a Tropicalia-era album, but one with a slightly more mainstream groove – one that mixes elements of regional music with psychedelic elements and bouncy, mod-styled backings! The approach is somewhat like the work going on over at EMI/Odeon during the time – although there's certainly a trippier side to the record as well, thanks to arrangements from Rogerio Duprat, Damiano Cozzela, and Julio Medagalia. There's a fair bit of groovers on the record – although in a somewhat offbeat mode – nestled nicely next to a few headier tunes that help balance out the whole set wonderfully. Titles include "Alegria Alegria", "Quem Sabe", "Que Maravilha", "Fossa Boboca", "Longe Do Tempo", "Pela Rua Da Praia", and "Vou Buscar Voce".