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Overlooked genius from Art Farmer – a less-remembered session from the early 80s, and one that features him in a hip quintet with the great Sahib Shihab! The feel here is as lyrical and laidback as some of Art's other work from the time, but the presence of Sahib on soprano and baritone brings a good sense of feeling to the record – one that almost sharper than usual for a Farmer session, and which seems to push the trumpeter more strongly than usual on the upbeat numbers. An added plus is the rhythm section – which features Kenny Drew on piano, Mads Vinding on bass, and Ed Thigpen on drums – all players who had plenty of time together on the Copehagen scene, and who work in an equally cohesive way here. Titles include "Arrival", "Blue Wail", "Context", "Back Door Beauty", and "Passport".

Amazing images galore – some classic covers from the Jamaican scene of the 60s and 70s, and lots more obscure images too – all presented in very vivid color, with a lot more clarity than any of the beat up original copies we have in our collection! The book really does full justice to the visual side of the reggae scene – and brings together a huge amount of covers we've never seen before, with others that look way more vibrant here than on a tiny CD reissue – presented in this record-shaped book that reminds us why albums always look so great in the racks! Most images are overflowing with color – really beautiful reproductions – and the oversized book is hardcover, and almost 240 pages overall.

An incredible collection of revolutionary jazz album cover art from the 60s & 70s – bold, vivid and unforgettable art for bold, vivid and unforgettable jazz – compiled and edited by Gilles Peterson and Stuart Baker! It's a snapshot of an era in jazz music when cultural and stylistic boundaries were besting wide open – and many of the ones documented are the holy grails of the era – pressed in small quantities and firing up the rare crate diggers since! Iconic art for labels such asa BYG/Actuel, Strata East, Nimbus, ESP and many more, and artists including Sun Ra, Phil Cohran, Pharoah Sanders, Prince Lasha, Hannibal Marvin Peterson, and Marcus Belgrave to name just a few. Gilles Peterson, Stuart Baker and Soul Jazz have done an exceptionally great job with the notes and text, too – much better than other books of its kind! Heavy duty, large format hardcover, to give you true-to-life-size cover art – as it was meant to be seen! 179 pages.

Incredible images from one of the most legendary reggae labels ever – the mighty Studio One, home to decades of classic music, put together with equally-classic images on the record covers! The book is maybe even more of a treasure than some other album art books you'll find – because over the years, many of the Studio One images were pretty watered-down on the market – either pressed up on poor paper that never stood the test of time, or cropped and cribbed from for mainstream reissue packages – but never with the same sort of beauty you'll find in these images! The book is done in the same totally great style as other Soul Jazz books – and features full album images on 12" by 12" pages – all in brilliant color, too. There's some helpful notes at the beginning, and throughout in a few spots – and the book is super-heavy, and 216 pages in all – with some smaller images at the back.

A great 4-part suite that rivals any of Manny Albam's other sessions from the time – including Jazz Greats Of Our Time, or Jazz New York. The tracks here are all quite long, and done in a bluesy mode that gives the album a bit more soul than usual for Albam – making great use of solos by Art Farmer, Nick Travis, Bob Brookmeyer, Al Cohn, Phil Woods, and Gene Quill to flesh out the feeling of the set.

Amalia's future soul full length debut for Tokyo Dawn! On Art Slave, Amalia does a pretty amazing job of showing off a broad range of inspiration, but delivering a record that's fresh and uniquely her own. She's one of more expressive contemporary soul vocalists on the international scene – with a voice that can deliver catchy soul hooks and spacey funk wierdness with equal brilliance – and her range is incredible, too! The production on this set is pretty heavy with spacey electro funk – and titles include "Art Slave", "Welcome To Me", "4 U", "All The Funk I Need", "Bonafide", "Psychoanalyze", "Stop Please", "Zebra Butt-A-Fly", "Luxurious (Ad Bourke Remix)", "Freeze That!", "I'm The Woman" and more.

A holy grail of 70s African Funk – and not just for the unusual look of the cover! The set's a really unique one – almost rootsier than most of the better-known Ghanian grooves of the time, but funkier too – with a brilliant blend of raw percussion, quirky basslines, and some smoking horn parts that are a lot more American soul and funk than the usual 70s African groove! The whole thing's stunning all the way through – a record that totally informs an understanding of its generation, yet in ways that no other record can touch. Wonderful all the way through, with not a bit of filler – and all cuts are right on the money for any fan of African funk! Titles include "Toffie", "Fa No Dem Ara", "This Hustling World", "Kwaakwaa", and "Akoko Ba".

One of Gene Ammons' classics from the 60s, and a straight ahead session of soul jazz tenor and piano, with drums by Art Taylor and a bit of extra conga from Ray Barretto. Nice rolling 60's soul jazz groove, and some nice piano comping behind Jug by Patti Brown and Walter Bishop Jr. Tracks include "Travelin", "Soft Summer Breeze", "Carbow", and "Song of The Islands".

A great 12-inch from BADBADNOTGOOD – with a far-reaching jazzy/cosmic funk take on Kanye West's "Flashing Lights" – plus the equally impressive "UWM". "Flashing Lights" kicks off sparely with thick keys and heavy, heavy drum sound – in a way that initially made us think it was going to settle in with sort of a space rock take on Kanye's track – but it blasts off from there with a far more varied, continually evolving sound. The beats roll from stable to frenetic, and the tune eventually brings in some pretty incredible soul jazz keyboards – and finally comes full circle. "UWM" is a creative mix of spacey hip hop and jazzy keyboard grooves.

Out of the wreckage of Cream came some very hip grooves! Ginger Baker was the hippest of the group's 3 members – and although he's often credited by soul fans for his work with Fela, he should also get a hats off for his work with the group Air Force – essentially a 10-piece (which seems to have been expanded beyond even that number for this set) that came up with some of the most monstrous art funk jamming we've heard! At its base, the group's in the jazz rock mode – with players that include Brit jazz luminaries Phil Seamen, Harold McNair, and Graham Bond, plus rockers like Baker, Steve Winwood, Denny Laine, and Rick Grech. The tracks are all long groovers in a post-beat group mode – and the best tracks have a jamming sound that's pretty over the top! It's full of the propulsive, Afro-influenced bass and percussion, some wild, jazz funk flute and sax, plus amazing work on violin, guitar and occasional, ephemeral vocals. Awesome stuff – one of the best and most innovative live albums of the era! Titles include "Da Da Man", "Aiko Biaye", "Do What You Like", "Doin It", and "Don't Care". It's about time this thing arrived on CD!

Very righteous work from Fontella Bass – an album done after her time at Chess Records, and after her work in Paris with the Art Ensemble Of Chicago – in a heartfelt, southern soul mode that's totally great! Fontella's back working with producer Oliver Sain, who first brought her fame back in the 60s – but the sound is a bit more sophisticated than before, drenched with roots from gospel and country soul, but also inflected with some of the more righteous modes of the early 70s, too. Fontella's vocals are incredible – with a range that should have made her one of the leading ladies of soul in the 70s – and titles include "To Be Free", "I Need Love", "Wiping Tears", "Hold On this Time", "Talking About Freedom", and "My God My Freedom My Home". 4 bonus tracks on this CD edition: "It Sure Is Good", "I'm Leaving The Choice To You", "Home Wrecker" and "It's Hard To Get Back In".

Brick City vet and Artifacts affiliate Beneficience delivers a sharp set of hip hop in Concrete Soul for Ill Adrenaline – featuring an impressive roster of guests – but to Bene's credit, he's never overshadowed here! Guests include Lord Tariq, Masta Ace, Chubb Rock, Roc Marciano, El Da Sensei, D-Flow, Billy Danze, AG and more. Includes "YWE" with Lord Tariq, "Reality Vs Fiction" feat Masta Ace, "Cold Train" with Grap Luva & Rob-O, "Concrete Soul" feat Troo Kula of Brainwash 2000, "Masterful Method" with Chubb Rock, "Art Of War" with Billy Danze of MOP, "All Real" feat AG, "Metal Cuff Links" feat Nature,, "Somethin' Yall Can Roll Wit", "Under Constructuon, "Hood Cartel" with Roc Marciano and more.

An amazing album that has Art Blakey completely reinventing himself for the 70s! Blakey shifts from straight hardbop to kind of a modal soul jazz groove, touched with some of the electric playing of the younger jazz generation, but not enough to qualify as fusion or funk. Instead, he's working with some great younger players – like Carter Jefferson, Woody Shaw, and Michael Howell – hitting a groove that reminds us of some of the best underground soul jazz on labels like Muse or Strata East. Includes the amazing long groovers "Mission Eternal" and "Chant For Bu", a famous Tribe Called Quest sample – plus new electric piano versions of "Moanin" and "Along Came Betty", both of which feature vocals by Jon Hendricks.

One of the greatest albums ever for Blue Note – and the only album recorded by tenor player Tina Brooks that was issued during his lifetime! The album's nearly perfect – and features Brooks' edgey tenor set in an all star group that includes Duke Jordan on piano, Freddie Hubbard on trumpet, Sam Jones on bass, and Art Taylor on drums. Brooks had blown on other Blue Note sessions before, but here, working as a leader, his sound is tremendous – vaguely to the left of center of some of his other tenor counterparts on the label, but with an equally impeccable approach to soul and rhythm. Titles include "Miss Hazel", "Good Old Soul", "Up Tight's Creek", and "Theme For Doris".

Ahhh. . . Nice! Wonderful intelligent, spiritual rhymes, full of Islamic prayer references, blunt antagonist rhymes, a battle with the ugliest of inner demons and broken artist poverty all hugged by catchy bouncing hook filled choruses. And all the production is handled by Ant, a true autuer akin to Pete Rock, now becoming more comfortable with his art with each release: tight organ loops, snapping drums, bright horns and nice upright basslines. "Soulful" is the key adjective here. Tracks include "Star Quality", "Pay Them Back", "Shadows On The Sun", "Forest Whitiker", "Room With A View", "Back Stage Pacin", "Missing Teeth", "Dorian", "Soul Whisper", "Champion", "Prince Charming", and more! Side F to this triple vinyl set has 4 added instrumental versions!

Oscar Brown moves into a funky 70s mode – working here with some great soul-based arrangements by Chicago soul legend Richard Evans! There's lots of funky clavinet grooving on the record by Tennyson Stephens and Marvin Yancy – and other players include Chess/Cadet session groovers, like Henry Gibson, Phil Upchurch, and Art Hoyle. The record was recorded in Chicago and produced by Jerry Butler – and it's clearly one of his efforts from the days when Jerry was dipping into the hip Chicago underground of the early 70s. Oscar reprises a number of classics – like "Hazel's Hips" and "But I Was Cool" – and the album includes some newer tunes like "Rilly?", "Ghetto Scene", and "Bull 'Bleep'", all a bit more righteous than before.

A bold early statement from a young John Coltrane – and an album that really has him expanding his talents as a tenor soloist! Coltrane's working here in open-ended quartet format – with backing from the Red Garland trio that includes Paul Chambers and Art Taylor – on a set of longer tunes that really let the young Trane stretch out on his solos, unobstructed by any other horns in the lineup. There's a nice mix of hardbop ideals, gentle ballads, and personal soul to the set – and titles include Coltrane's classic reading of Tadd Dameron's "Good Bait", plus "I Want To Talk About You", "Russian Lullaby", and "Theme For Ernie".

Rare hard funky soul from early 70s titans Damn Sam The Miracle Man – and some of the rawest, fiercest funk we've ever heard! Damn Sam is actually a group – spearheaded by vocalist OC Tolbert – a man with a roaring voice and righteous delivery that could tear through brick – and producer Jack Taylor. If not for the amazing funky 45 tracks "Damn Sam The Miracle Man", "Smash" and "BJ" – all of which appear on this long lost LP – they may have been obscure to even the most diligent crate diggers, an argument in favor of that format if there ever was one. The group is a real killer, with absolutely pummeling funky drums and snapping electric congas & bongo work on just about every track – plus soaring trumpet and sax work that counterbalance the fury of Tolbert's vocals nicely. Tolbert's history with gospel lends a genuine spiritual aspect to the frenzy, too – one of the sweetest raw funk tornadoes you could every hope to get swept up by! Other tracks include "Give Me Another Joint", "Let Me Be Your Only Man", "LA 26000", "Poor Mary", Music Makes You Feel Alright", "Rainy Night In Georgia", and "Sonny B".

Sweet and gritty soul from D'Angelo – who takes a huge step into deeper territory on Voodoo – and it's one of the most monumental records of its time! On one level, Voodoo works as a nicely stripped-down session with a very classic soul feel. Gone are the overzealous flourishes that sometimes overwhelmed his earlier songs, and in their place are some sweetly crafted vocal parts with a classic Marvin Gaye/Al Green feel. That warmth is probably what made Voodoo a massive popular success – but what makes it such a creative triumph are the darker undercurrents – hinting at a troubled soul struggling for spiritual truth. One of the rare cases in popular music when great art became music for the masses! Titles include "Left & Right (feat Method Man & Redman)", "The Line", "Spanish Joint", "Africa", "Feel Like Makin Love", "The Root", "Playa Playa", "Devil's Pie", and "Greatdayndamornin/Booty".

A real lost treasure – and an incredible session that offers a real meeting of minds that's far more than you'd expect from the simple cover and title! The set is a later one for Vee Jay, and it brings together half of the Jazz Messengers with a batch of west coast players – in a groove that wonderfully mixes together different traditions and rhythms in jazz – and which steps out with a sound that's far more than the sum of its parts! Art Blakey, Lee Morgan, and Curtis Fuller join a group headed by Buddy De Franco, and featuring Victor Feldman on piano and vibes, plus Victor Sproles on bass and Freddie Hill on trumpet. The sound of the group is quite unusual – and a lot lighter than you'd guess – giving Buddy plenty of room to solo in a breezy style that's grown tremendously since his 50s recordings – pushed along by some heavier soul from Art and the group. Titles include "Rain Dance", "Blues Bag", "Twelve Tone Blues", "Kush", and "Cousin Mary".

Foreign Exchange and friends get some remix love! As impressive and eclectic as Nicolay and Phonte are as the flagship FE duo – and given the depth of their excellent +FE Music catalog – you probably expected them to attract the crème of the crop of cosmic soul remixers, and that they do! Reworks features top shelf tracks by FE – plus tracks led by Deborah Bond, Zo!, Sy Smith, Jeanne Jolly, Vikter Duplaix, solo Phonte and others – and remixes/works by 4Hero, Nicolay, Tall Black Guy, James Poyser's and ?uestlove's Randy Watson Experience and others. Tracks include "So What If It Is", "The Last Fall (Focus. . .+FE Experience Remix)", "Fight For Love (Nicky Mendes And Brasil '66 Remix)", "If She Breaks Your Heart (Randy Watson Experience Remix)" feat Yahzarah and more by Foreign Exchange, plus "Games You Can't Win (Nicolay Remix)" by RJD2 feat Kenna, "Flight Of The Blackbyrd (4Hero Remix)" by Zo feat Phonte, "Electric Love (Nicolay Remix)" by Vikter Duplaix, "The Art Of You (Nicolay Remix)" by Sy Smith, "Love Songs" by Phonte feat Focus & Sy Smith, "This Could Be The Night (Tall Black Guy Remix)" by Zo feat Eric Roberson, Darien Brockington & Phonte, "Acslater (Nicolay Remix)" by The Hot At Nights and more. 21 tracks on 2CDs.

Foreign Exchange and friends get some remix love! As impressive and eclectic as Nicolay and Phonte are as the flagship FE duo – and given the depth of their excellent +FE Music catalog – you probably expected them to attract the crème of the crop of cosmic soul remixers, and that they do! Reworks features top shelf tracks by FE – plus tracks led by Deborah Bond, Zo!, Sy Smith, Jeanne Jolly, Vikter Duplaix, solo Phonte and others – and remixes/works by 4Hero, Nicolay, Tall Black Guy, James Poyser's and ?uestlove's Randy Watson Experience and others. Tracks include "So What If It Is", "The Last Fall (Focus. . .+FE Experience Remix)", "Fight For Love (Nicky Mendes And Brasil '66 Remix)", "If She Breaks Your Heart (Randy Watson Experience Remix)" feat Yahzarah and more by Foreign Exchange, plus "Games You Can't Win (Nicolay Remix)" by RJD2 feat Kenna, "Flight Of The Blackbyrd (4Hero Remix)" by Zo feat Phonte, "Electric Love (Nicolay Remix)" by Vikter Duplaix, "The Art Of You (Nicolay Remix)" by Sy Smith, "Love Songs" by Phonte feat Focus & Sy Smith, "This Could Be The Night (Tall Black Guy Remix)" by Zo feat Eric Roberson, Darien Brockington & Phonte, "Acslater (Nicolay Remix)" by The Hot At Nights and more. 21 tracks on 2CDs.

Incredible work from Michael Franks – his first five albums for Warner Brothers, all packaged together in one sweet little set! At this point in his career, Franks is almost a whole genre unto itself, one that sets a whole new tone for the male voice in American music! The style here is light and jazzy – almost an evolution of modes first begun by Kenny Rankin, and served up here with a similarly compressed production style that really brings out the jazz in the instrumentation – yet the work isn't straight jazz either – as Franks works with plenty of soul, and a great ear for a hook too – a really genre-crossing style that always has these records showing up in some of the hippest collections of 70s work you'll find. There's almost a Steely Dan sense of the sublime going on here – and instrumentation is often used warmly and gently – never too slick to overwhelm the gentle wit of Michael's lyrics. The set features the full albums The Art Of Tea, Sleeping Gypsy, Burchfield Nines, Tiger In The Rain, and One Bad Habit – all packaged in tiny LP-styled sleeves!

A record that's got a lot more to offer than just the "fun" promised in the title – and a set with a much deeper feel than you might guess from its wrapping paper cover! The quartet is definitely heavy on horns – soprano and alto sax from Volker Schlott, tenor and flute from Thomas Klemm, trombone from Jorg Huke, and trumpet and flughelhorn from Joachim Hesse – all working here with only a bit of percussion, but mostly just crafting these amazing lines in space between their horns – in ways that maybe echo a bit of the sax quartet style of the time from the US, but which definitely goes way way beyond as well! Things are never too far outside, and at many times, there's this sense of color and tone that almost recall some late 50s/early 60s experiments from folks like Jimmy Giuffre or Art Farmer – with all the sense of swing and soul that might imply. Other numbers have a more contemporary feel – and titles include "Round Funk", "Primo Tono", "Permanent'z", "Kanon II", "Bluestekuchen", "3 Saxophonie Nr 2", "Free Notes", and "Largo Lapidarius".

80s groove from the Ingram Family – a record that features the core vocals of Ron Aikens and Galaxy, plus plenty of great backing funk from the Ingrams! The style here is a great mix of boogie, street soul, and bits of electro – with a style that's a bit like Aleem from the same period, but a bit funkier overall. Ron's lead vocals can be nice and sweet on the mellower tracks, and on the funkier ones the rest of the trio come in and chant with the chorus in a sweet ensemble mode. There's also plenty of great keyboards in the mix too – some with great squishy and splashy bits that really make the tunes sound great! Butch Ingram produced, and titles include "We're Here To Rock You", "You Got It", "Party", "Spend Some Time", "Come Let Me Love You", and "Give Your Dog A Bone".

Long tracks and plenty of room to move around – a perfect setting for the classic sound of the Red Garland Trio on Prestige! Despite the title, the album's not so much groovy as it is lyrically beautiful and filled with sensitivity – a key bridge between piano players of the mainstream in the years before Garland, and some of the bigger, bolder names that would rise up during the 60s soul jazz years. Rhythm is by Paul Chambers on bass and Art Taylor on drums – and the longer tracks give Chambers plenty of room to express his unique talents on the bass. Titles include "Gone Again", "Hey Now", "Will You Still Be Mine", "What Can I Say Dear", and "C-Jam Blues".

Two albums that really show why we love Benny Golson so much! Turning Point is an incredible, and oft-overlooked album from the great Benny Golson – and one of the few early albums that really point the way to his huge run of work for decades to come! The style here is a bit looser, and more open than some of Golson's previous albums – less of a focus on arrangements, and more on the spontaneous interplay between his tenor and the crack rhythm section – which features Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – a dream lineup who really make the record sparkle. But the real star of the show is Golson – who's hitting this raspy, soulful tone he never had before – much freer of soul jazz formalities, and with a modern edge that's wonderful – as you'll hear on titles that include "Alone Together", "Turning Point", "Stella By Starlight", and "Dear Kathy". On Free, things aren't as tightly structured as on some of Benny's more arranged albums of the period – and he opens up wonderfully in a small group setting – playing in a beautifully confident tone, but with a slightly raspy edge – cutting, changing, and swinging perfectly in lines that are masterfully crafted, yet full of raw emotion. The group's a thoughtful quartet, and includes Tommy Flanagan on piano, Ron Carter on bass, and Art Taylor on drums – and tracks that inlcude "Sock Cha", "Shades Of Stein", "Just By Myself", and "Just In Time".

Fantastic electric work from the great Joe Henderson – one of his most free-wheeling sets for Milestone, and one of his best as well! The album's got a much more open, fluid groove than some of Joe's earlier electric sets – one that has Henderson working through longer tunes that almost have a Gary Bartz-ish sense of soul. Joe plays flute, soprano, tenor sax, and percussion – and also manages to do a bit of vocalizing on the record too – singing in a cool, angular mode that almost has traces of Andy Bey. Other players include Larry Willis on electric piano, echoplex, and ring modulator – plus James Ulmer and John Thomas on guitar, Dave Holland on bass, Jack DeJohnette on drums, and Art Jenkins on percussion. There's even a slight touch of funk on a few of the tracks – but not in a way that's overdone – again in keeping with the gentler soulful mode you'd expect from Bartz. Titles include "Tress Cun Deo La", "Me Among Others", "Song for Sinners", "Bwaata", and "Turned Around".

Some of Bobbi Humphrey's greatest work of the post-Blue Note years – an album that's filled with soulful fusion tunes throughout, all with a great focus on her funky flute! Bobbi also sings a bit on the set, but in a way that's pretty darn great – wonderfully sweet at times, with a bit of an influence from Minnie Riperton that really warms up the set. Arrangements are by Cleveland Eaton, with a bit of help from Art Jenkins – and production is by Ralph MacDonald, who clearly has a great ear for the blend of jazz and soul that Bobbi's going for on the set. And although Larry Mizell's not on board, some of the cuts here still have that stepping/sliding sort of groove from Bobby's Mizell-produced Blue Note years – a really wonderful sound that's a perfect showcase for her uniquely jazzy talents on the flute! Tracks include "Freestyle", "Home Made Jam", "Sunset Burgundy", "Good Times", "My Destiny", "I Could Love You More", and "If You Want It". This Soulmusic.com edition has 2 bonus tracks: "Home-Made Jam (Extended Version)" and "Sunset Burgundy (Single Version)".

Moody material from Bobby Hutcherson – and one of the first records to feature his vibes in the company of tenorist Harold Land – a player who would help Hutcherson make some mighty fine music over the years! The set's got a super-hip group – with Stanley Cowell on piano, giving the record a warm, spiritual undercurrent – one that works perfectly with the lyrical soul of Land's horn. Other players include Reggie Johnson on bass and Joe Chambers on drums – and titles include "Spiral", "Ruth", "Poor People's March", and "Visions". The album also includes one more track – "Jasper" – which was recorded in a 1965 session without Land and Cowell – but with Sam Rivers on tenor and bass clarinet, Freddie Hubbard on trumpet, and Andrew Hill on piano! Recorded in the 60s, but only initially issued on vinyl in 1979!

Ron Trent and Jose Rico working together as Indigenous Travels – on a single that serves as a tribute to Azymuth's Jose Roberto Bertrami – and sure enough, it's got the tropical percussion and Brazilian flavour to show for it! "Paradise Ritmito Carnival" really does show some love for the feverish percussion and spacey atmoshere of Azymuth – blended with the cosmic clubby soul of Ron Trent and Downbeat Records' Jose Rico.

A smoking second album from Rebbie Jackson – a set that has Rebbie working with strong production help from two of the bigger aspects of the Columbia Records soul family in the 80s – Tito Jackson and Reggie Lucas, who each handle a handful of songs along with David Conley and Howie Rice. The album's got a bubbly, perky approach to soul – almost more catchy and beat-heavy than Jackson's debut for the label, with cuts that include "Reaction", "Ticket To Love", "Ain't No Way To Love", "Lessons In The Fine Art Of Love", "Always Wanting Something", "You Send The Rain Away", and "If You Don't Call". CD features loads of bonus tracks – including "You Send The Rain Away (single)", "Reaction (single)", "Reaction (ext dance)", "Reaction (dub)", "Reaction (inst)", "Ticket To Love (7" mix)", and "Ticket To Love (12" mix)".

A smoking second album from Rebbie Jackson – a set that has Rebbie working with strong production help from two of the bigger aspects of the Columbia Records soul family in the 80s – Tito Jackson and Reggie Lucas, who each handle a handful of songs along with David Conley and Howie Rice. The album's got a bubbly, perky approach to soul – almost more catchy and beat-heavy than Jackson's debut for the label, with cuts that include "Reaction", "Ticket To Love", "Ain't No Way To Love", "Lessons In The Fine Art Of Love", "Always Wanting Something", "You Send The Rain Away", and "If You Don't Call". CD features loads of bonus tracks – including "You Send The Rain Away (single)", "Reaction (single)", "Reaction (ext dance)", "Reaction (dub)", "Reaction (inst)", "Ticket To Love (7" mix)", and "Ticket To Love (12" mix)".

A holy grail from the prime years of Blue Note hardbop – and one of the first records ever recorded by Clifford Jordan, then a fresh young tenor talent just blown in from Chicago! The album has Jordan working with an all-star lineup that includes Art Farmer on trumpet, Sonny Clark on piano, and Louis Hayes in drums – blowing with a style that is a bit looser than other Blue Notes from the time, with touches of lyrical expression, brought on by the presence of Farmer and Hayes. Great overall – as tight as a bop side, but with a much deeper soul! Titles include "Confirmation", "Laconia", "Soul-Lo Blues", and "Cliff Craft".

The first album by the group that later went on to become Oneness Of Juju! The album was recorded with a group that featured Plunky Nakabinde and Lon Moshe on reeds and percussion – plus Babatunde on congas and drums – and the overall sound is very much in kind of an Art Ensemble Of Chicago mode - with more "out" soloing overall, mixed with some of the spiritual jazz leanings that would show up more on the group's later work. The album's a fitting record for the Strata East label – as it shows the imprint's equal ability to carve up heavy avant work and more strident spiritual soul jazz. And if we say so ourselves, Plunky's really a wailer on tenor and soprano – sounding a lot like Kalaparusha or some of the other AACM players from the time! Titles include "(Struggle) Home", "Soledad Brothers", "Freedom Fighter", and "Nairobi/Chants".

An obscure group, but a wonderful one – and an ensemble we really wish we could hear more from! Yet thankfully, they've given us this wonderful album from the start of the 80s – a soaring, soulful set that seems to pick up the funky torch dropped by Earth Wind & Fire – and push things forward with the same blend of jazzy undercurrents and righteous feelings! Tunes are uptempo, but never too much so – and handled with musicianship that's really top-shelf – and the production has a wicked blend of jazz and soul that almost feels like some of Wayne Henderson's best productions from the At-Home years. The record features a wonderful soul number called "Dreams", which has great compressed grooves, and some early vocals by Miki Howard – and other titles include "Swingin", "Aspects", "Mirror Of My Soul", "I'll Always Love You", and "Who Are You?". CD features both UK and US cover art – and bonus cuts that include "Emergency", "The Word Is Out", "Swingin (rmx)", "Midnight Groovin (single)", and "Midnight Groovin (12" version)".

A landmark album of hard-rocking soul – and a record that broke open both genres for a generations to come! The set's about as classic as you can get for Little Richard – filled with killer numbers that jump around boldly in some heavy New Orleans piano-led grooves – all topped by Richard's raw, raspy, utterly amazing vocals! And sure, you may know some cuts here from oldies radio, but together they really have a heck of a lot of power – and stand as a testament to the fresh genius that Little Richard represented at this early point – a sound that hundreds would try to copy, but nobody could ever hope to match. Titles include "Tutti Frutti", "Rip It Up", "True, Fine Mama", "Long Tall Sally", "She's Got It", "Oh Why", "Baby", and "Slippin' & Slidin". Great new CD reissue – with bonus demo versions of "Baby" and "All Night Long", and an interview with Art Rupe – plus bonus videos of "Tutti Frutti" and "Long Tall Sally", both screen tests!

One of our favorite records ever from ESP – a set that's got even more soul and spirit than we usually hear from the label! The album's one of the first (and few) from saxophonist Frank Lowe as a leader – and it's a unique date that also features alto and soprano sax from Joseph Jarman, who's really blowing beautifully here away from the Art Ensemble of Chicago! The set's got a vibe that's almost like the shift towards the loft jazz years the New York scene took after the initial avant wave documented by ESP in the 60s – informed with some of the spiritualism of the post-Coltrane generation on Impulse Records. Other players include a young William Parker on bass, Joseph Jarman on soprano and alto, and The Wizard (aka Raymond Lee Cheng) on violin, and Rashid Sinan on drums. Side one's got a beautiful long track called "In Trane's Name", and side two has "Brother Joseph" and "Thulani".

Never-heard music from the legendary Frank Lowe – but pulled from the same sessions that produced the classic Black Beings album on ESP! The group here features wonderful interplay between Frank's tenor and the soprano and alto sax of Joseph Jarman – both of whom get plenty of space to work together on the album-length performance. Lowe's tone has that raspy brilliance that always moves us – a sense of soul that's somewhere between Albert Ayler and Archie Shepp – and Jarman really knocks it out of the park as things get moving, hitting these frenzied sounds that are way more intense than anything we heard him record with the Art Ensemble! Other players in the group include Raymond Lee Cheng (The Wizard) on violin, William Parker on bass, and Rashid Sinan on drums – all working with the same sort of brooding depth we love on the Black Beings album. The album features one long tune – "The Loweski" – in five parts.

One of the few non-hip hop singles on Pop Art, and a mellow modern soul number by Major Harris.

Really lovely work from Nicole Mitchell – an artist who's really been blowing our minds in recent years – working in a wide variety of styles, all of them great! This set has Nicole blowing solo flute, but in a setting that appears to have her on two different versions of the instrument, overdubbed – which creates this incredible sound that's airy, yet lyrical – and filled with a deep soul, even amidst some of the gentler tones! The music is pretty free, but pretty tuneful too – and it's a beautifully personal side of Nicole's music, yet one that's also put together with a bit more straightforward energy than some of her other albums like this. Titles include "Beehive", "Six Wings", "Song Of Suchness", "Desert Choir", "Blue Mountain", "Dadwee", "Forest Family", and "Cave Of Forgotten Spring".

Simply astounding! Soul Station is a deceptively simple album that has tenor giant Hank Mobley playing standards and originals in a quartet with Wynton Kelly on piano, Paul Chambers on bass, and Art Blakey on drums– a spare and simple group, but one with a direct energy that's really amazing – in a way that makes for some of Mobley's best solos on record! The tracks here are all relatively basic in construction, but this territory allows all players to really relax and open up – especially Mobley, who really dominates the proceedings with some well-blown lines on tenor. Blakey's work is great too – nicely restrained, and the date marks one of his last sessions ever as a sideman. Titles include "Soul Station", "Split Feelin's", "Dig Dis", and "This I Dig Of You".

Simply astounding! Soul Station is a deceptively simple album that has tenor giant Hank Mobley playing standards and originals in a quartet with Wynton Kelly on piano, Paul Chambers on bass, and Art Blakey on drums– a spare and simple group, but one with a direct energy that's really amazing – in a way that makes for some of Mobley's best solos on record! The tracks here are all relatively basic in construction, but this territory allows all players to really relax and open up – especially Mobley, who really dominates the proceedings with some well-blown lines on tenor. Blakey's work is great too – nicely restrained, and the date marks one of his last sessions ever as a sideman. Titles include "Soul Station", "Split Feelin's", "Dig Dis", and "This I Dig Of You".

One of our top 5 favorite Blue Note records of all time – a bold and powerful session from trumpeter Lee Morgan, but one that sat in the vaults for 15 years before release! The session was recorded around the same time as Morgan's hit The Sidewinder (which eclipsed its release at the time) – but it's got the soaring, searching energy of later Morgan work on records like Sixth Sense or Charisma – a whole new groove at the time, and one that's explored perfectly by a group that includes Jackie McLean on alto sax, Curtis Fuller on trombone, McCoy Tyner on piano, Bob Cranshaw on bass, and Art Blakey on drums. Modal lines come into play with older hardbop and soul jazz modes – and the result is an explosive batch of tunes that resonate with bold power throughout! Nearly all tunes are incredible originals by Lee Morgan – and titles include "Tom Cat", "Exotique", "Twice Around", and the completely captivating "Rigor Mortis". A treasure, and one not to pass up!

An important and overlooked British ensemble of the late 60s – a group who were contemporaries of the Spontaneous Music Ensemble and AMM, but who never fully received the same sort of attention! The People Band have a relatively loose approach to improvisation – one that's sometimes a bit warmer and more personal than some of their UK contemporaries – definitely driven by freedom, but also still hanging onto an inherent sense of soul that almost recalls the AACM a bit more than anything else. As with a group like the Art Ensemble Of Chicago, the players switch up instruments a fair bit – really trading sounds and notes in a spontaneously creative way – with Mel Davis on piano, trombone, and cello; Terry Day on drums and alto sax; Lyn Dobson on tenor; Mike Figgis on flugelhorn and acoustic guitar; Frank Flowers on bass; Russell Hardy on piano and keyboards; Eddie Edem on congas and trumpet; Terry Holman on bass and one string thingaphone; and George Khan on tenor and flute. Titles include "Home Trio", "Conduction", "Skip To Part 3", and "Conduction 3". CD features the full album originally issued on the Transatlantic label, plus a few bonus tracks.

One of the few rare non-trio recordings done by Powell from around this time. He plays with a trio (Paul Chambers bass, Art Taylor drums) on the whole first side of the record, but the group's then joined by Curtis Fuller for all of side 2. Fuller's deep trombone makes for a different twist, and a slightly deeper sound than usual – especially given that the album was recorded live at Birdland. Titles include "Moose The Mooche", "Some Soul", "Blue Pearl", and "Keepin' In The Groove".

Brilliant work from Sun Ra – and one of his rarest LPs! This double LP set was recorded with only a quartet – John Gilmore on tenor, Michael Ray on trumpet, Luqman Ali on drums, and Ra on keyboards. The album's got a number of tracks that are relatively straight – at least for Ra – and which are played with a wonderful edge that makes them instantly compelling, sounding almost like obscure indie soul jazz sides from the east coast underground of the mid 70s. The feel on most numbers is very different than Ra's usual work, and the record sparkles with a genius that makes us wish someone would get the Horo catalog reissued sometime soon! Includes the sublime vocal tune "When There Is No Sun", plus the original tracks "The Horo", "Moon People", "Rome At Twilight", and "Friend & Friendship" – plus a very nice cover of "My Favorite Things"!

2 lost sides from the One-derful stable of Chicago soul! "Black Is Beautiful", by the Redemption Singers, is a spiritual soul track from the late 60's, with a progressive political message, and a nice sound that resembles that of groups like The Art Reynolds Singers, and other "singers" ensembles from the soul era. "Honey In The Be-Bo" is a nice rolling instrumental, with a good piano line out front, and backing by the One-derful studio group.

Massive issue with a great interview (with amazing photos) with Chicago 60s and 70s behind-the-scenes soul music queen Helen Saffold, another ridiculous Nardwuar interview with Snoop Dogg, the story of British Invasion pin-up boy Ian Whitcomb, Metal graphic designer Dennis Dread's visit to Frank Frazetta's art collection, the tragic tale of underground comix rebel Jim Osborne, Cleveland 70s punk legends Easter Monkeys, Plastic Crimewave salutes the Paul Butterfield Blues Band, an in-the-booth interview with White Sox organist Nancy Faust on the eve of her retirement, an insiders look into the Ramones, and tons of comix, reviews, and obituaries.

Articles, reviews, interviews and comics covering the history of Rock, punk, soul and hip hop on television. The main feature is an exhaustive, critical episode guide to every episode of Behind The Music. Also features interviews with 60s garage band Daughters Of Eve, Snoop Dogg, King Diamond, Eddie Shaw of The Monks, Cannibal Corpse, Art Fein, Jim Peterik of The Ides of March and Marv Wolfman of Marvel Comics. Plus Hanna-Barbera, The Goodies, The Beatles, Jerry Lee Lewis and much more.

The Equals story (60s brit mod bubblegum soul). Ludicrous Dolly Parton critical discography (over 100 lps reviewed). The mysterious ? (Question Mark and the Mysterians) interviewed and observed. The West Coast Pop Art Experimental Band. 2 Live Crew get the Pedro (Funkadelic lp cover artist) Bell treatment. Johnny Thunders comix. Los Crudos anarchist interview. Roctober #1 reprint with rockabilly behemoth Sleepy Labeef, the Connells, Scott Radinsky (hardcore punk vocalist turned major league pitcher). Plus Runaways, Weird Al, KISS, the Goblins, Godzilla, zillions of comix

Incredible! This is a stunning set of African-inspired jazzy percussion tracks – similar to some of the work done by Art Blakey on his Orgy In Rhythm albums, but with a lot better horn work, and with an overall conception that's much more unified! AK Salim did some sleepier work for Savoy in the 50s – but by the time of this 1965 recording, he was emerging as a progressive composer with a strong talent for bringing together disparate moods and styles. This rare recording was one of his best works ever, and it's one of the most unusual sides cut by Prestige in the 60s. It features Johnny Coles, Pat Patrick, and Yusef Lateef out front on horns – plus backing by a host of Latin and African percussionists. Tracks are very long – and the reed work of Lateef and Patrick makes the set especially worthwhile for jazz listeners. Titles include "Afrika", "Kumuamkia Mzulu", and "Pepo Za Sarari".

A deeper, spacier set from Shaolin Afronauts – and one that goes a bit further into the cosmos, as you might guess from the title and cover art – though it's still firmly rooted in timeless Afro Soul and Funk! Once again, the greatest West African soul, jazz and funk of the 70s provides the most vital inspiration for the group – but the Afronauts go further with the freewheeling jazzy atmosphere on this one – especially on the longer cuts. The majority of tracks run longer than 5 minutes, giving them plenty of evolutionary space to travel, over the funky bedrock that's paved underneath. The horns are fantastic – with nine credited players – along with stellar drums and percussion, guitar, bass, Hammond and Rhodes.Includes "Brooklyn", "Gayanamede Prelude", "Winds Across Gayanamede", "Los Angeles", "Quest Under Capricorn", "End Of A Sun", "Amhara", "Forests Of Io" and "Saturn's Dance". 9 tracks on the vinyl version.

A classic of spiritual, soulful jazz – and one of Archie Shepp's greatest albums! The set was recorded in New York after a few free and festive years in Paris, and it's an amazing about-face that has Archie stepping into a world of righteous, full-on, political, and funky themes – the likes of which are far more outspoken than any of his previous recordings. The group on the set is quite a large one – hip New York underground players, a small string ensemble, and even a few singers – like soul diva Joshie Armstead and vocalist Joe Lee Wilson. Overall, the sound's somewhere in the same place as the Art Ensemble of Chicago's amazing Les Stances A Sophie – in that the record comes from a free jazz tradition, but moves into a more rhythmic focus in order to communicate its message. The added vocals and recitations are wonderful – very moving, and much less hippy-dippy than on other Shepp records of the time – and the whole thing holds together with a unique sound and substance that's made it a treasure that holds up again and again. A true gem, and one we'll never part with! Tracks include "Quiet Dawn", "Goodbye Sweet Pops", "Steam (parts 1 & 2)", "Attica Blues", "Blues For Brother George Jackson", and "Ballad For A Child".

A classic of spiritual, soulful jazz – and one of Archie Shepp's greatest albums! The set was recorded in New York after a few free and festive years in Paris, and it's an amazing about-face that has Archie stepping into a world of righteous, full-on, political, and funky themes – the likes of which are far more outspoken than any of his previous recordings. The group on the set is quite a large one – hip New York underground players, a small string ensemble, and even a few singers – like soul diva Joshie Armstead and vocalist Joe Lee Wilson. Overall, the sound's somewhere in the same place as the Art Ensemble of Chicago's amazing Les Stances A Sophie – in that the record comes from a free jazz tradition, but moves into a more rhythmic focus in order to communicate its message. The added vocals and recitations are wonderful – very moving, and much less hippy-dippy than on other Shepp records of the time – and the whole thing holds together with a unique sound and substance that's made it a treasure that holds up again and again. A true gem, and one we'll never part with! Tracks include "Quiet Dawn", "Goodbye Sweet Pops", "Steam (parts 1 & 2)", "Attica Blues", "Blues For Brother George Jackson", and "Ballad For A Child".

One of Horace Silver's greatest records ever – and the album that always makes us remember how many of his tunes are now etched in the memory of modern jazz! The album's got a slightly exotic bent that you might guess from the title – a furthering of the sound that Silver first started on his own after breaking with Art Blakey – a hint of more cosmic modes to come in soul jazz, yet still served up here with more of the punch you might expect from 60s Blue Note. The group is great – with Blue Mitchell on trumpet and Junior Cook on tenor – both super-tight at the start of the tunes, then breaking off into deeply personal territory on their solos. Rhythm is from Gene Taylor on bass and John Harris on drums – the latter a lesser-known compatriot of Silver, but one with a nicely loose sensibility that really adds a lot to the record. The writing is great – and titles include "Sayanara Blues", "Tokyo Blues", "Ah So", "Cherry Blossom", and "Too Much Sake".

One of Horace Silver's greatest records ever – and the album that always makes us remember how many of his tunes are now etched in the memory of modern jazz! The album's got a slightly exotic bent that you might guess from the title – a furthering of the sound that Silver first started on his own after breaking with Art Blakey – a hint of more cosmic modes to come in soul jazz, yet still served up here with more of the punch you might expect from 60s Blue Note. The group is great – with Blue Mitchell on trumpet and Junior Cook on tenor – both super-tight at the start of the tunes, then breaking off into deeply personal territory on their solos. Rhythm is from Gene Taylor on bass and John Harris on drums – the latter a lesser-known compatriot of Silver, but one with a nicely loose sensibility that really adds a lot to the record. The writing is great – and titles include "Sayanara Blues", "Tokyo Blues", "Ah So", "Cherry Blossom", and "Too Much Sake".

Trumpeter Louis Smith made only two records for Blue Note, but both of them are great! This set's arguably his most famous – because of a rare uncredited appearance by Cannonball Adderley, working here under the "nom de date" of "Buckshot La Funke" – and blowing with a power that beats most of his other Mercury sessions of the late 50s! But the real credit here should go to Louis Smith – who's got a sense of power and command that should have made him one of THE trumpeters of the 50s – an emerging young talent to stand alongside Lee Morgan, Nat Adderley, and other post-Fats Navarro/Clifford Brown talents on the instrument. Smith sparkles throughout with a mix of soul and modernism we really love – and an earthy way of blowing the horn that doesn't always reach its goals, but which draws even more energy from its ability to try! The rhythm section on the album's also very tight – with Art Taylor on drums, Doug Watkins on bass, and either Tommy Flanagan or Duke Jordan on piano – and tracks include "Ande", "Brill's Blues", "South Side", and "Val's Blues".

Very late material from Art Tatum – recorded at a private party in LA in 1956, and featuring the piano genius working his way through spare complicated solo versions of standards. Titles include "Yesterdays", "Body & Soul", "Someone To Watch Over Me", "I'll Never Be The Same", "Tenderly", "Begin The Beguine", and "Willow Weep For Me". Great cover, too – one that was lifted by JTQ for an early album cover!

Chicago deep house player & producer Glenn Underground's deepest and most soul jazz-steeped effort to date! We really thought Glenn stepped up his game pretty decisively on the previous full length for his Strictly Jaz Unit label – and Forgotten Art is another major leap forward. This is modern instrumental club music at it's most soulful, jazz aware and able – the beats and rhythms drive the sound, but there's so much vibrant, live energy here – keys, horns and eclectic percussion in particular. Classic dance music from 70s jazz & disco to benchmark house influences flow in and out, but it's also profoundly contemporary without copping to current trends – in other words, it's straight up built to last. Nah, Glenn. . .we won't forget this one! Titles include "Strumming & Thinking", "Forgotten Art (Music)", "Safe At Home", "Robots & Bumblebees (A Tribute To Patrick Adams)", "Shiloh (A King's Return)", "Silent Pimp (Peace In My Place)", "Tabernacle", "What's Next" and "Peace For Nippon (Japan)",

Warmly soulful sounds from Chicago deep house icon Glenn Underground – who continues to masterfully translate dancefloor-tailored soundscapes into the full length album format – and he does it with a compelling vibe that leaves a lot of his contemporaries in the dust! Glenn is great simply on the dancefloor tip, but he goes well beyond the call of duty by bringing in a wealth of jazzy and soulful instrumentation. So, along with the percolating beats and insistent rhythms, you get these sax solos and other brass goodness, some brilliant keyboard grooves and lots more. Dancefloor soul with an uncommon depth! Includes "Calor (Heat)", "For The Love Of Money", "Master Fuze", "Scenic Route", "The Band Played On" "DiscoSucks (Interlude)", "Going Bananas (Gorilla Interlude)", "Service", "AfterHours", "Reckless Art" and more.

One of the dueling cover story ssues of Wax Poetics – headed by great features on classic rap legend Big Daddy Kane, blue-eyed soul hero Daryl Hall, upstart hip hop gamer Joey Badass and progressive jazzy soul singer Jose James! Solid, worthy choices one and all – and pretty much every artist featured in Issue 54 could just as easily be on the cover! Includes interviews with Steely Dan's Donald Fagen, an extremely rare interview with Jimmy Spicer, plus pieces on Laura Nyro, Ghetto Brothers, Bobby Caldwell, Clams Casino, Nosaj Thing and Keyboard Kid. As always, it's got both both classic and comparably rarely seen photos, shots of old school cover and inner label art and more. Another essential issue!

A killer ECM debut from Kenny Wheeler – a real standout in the label's classic 70s run, and a record that's overflowing with soul and feeling! Wheeler had already made a number of key recordings by the time of this ECM set, but the label's approach seems to unlock something new in his playing – a deeper sensitivity, yet never in the slower, too-open way of other ECM players – almost an Art Farmer sort of approach to the flugelhorn, which he uses exclusively on this set. The tracks are all quite long, but very focused and flowing – with key rhythmic support from the trio of Keith Jarrett on piano, Dave Holland on bass, and Jack DeJohnette on drums – all of whom are happy to put their own agendas aside, and let Wheeler's magnificent lines direct the album's sound. Titles include "Heyoke", "Smatter", and "Gnu Suite".

Beautiful bossa from the vaults of Brazil's Elenco Records – warm, breezy treasures from the heart of the 60s with numbers by legendary singers and groups such as Edo Lobo, Quarteto Me Cy, Nara Leao, Baden Powell, MPB-4 and more! The independent Elenco label was founded in Rio in 1963 and aimed to bring the biggest names in bossa together under one roof. The label not only succeeded in that effort, but the artists brought out some of their best performances! Soul Jazz not only puts together essential material – compiled by Stuart Baker, who also contributes the exceptional sleeve notes – they manage to outdo themselves, which is honestly an incredible thing, considering that every compilation they put out is filled with treasures. The booklet features Baker's notes, some photos of the artists, and some original Elenco album cover art – the latter of which is nicely paid tribute to with Soul Jazz's own packaging for the set. 23 tracks in all: "Resolucao" by Edu Lobo w/Tamba Trio, "Consolocao" by Baden Powell, "O Canto De Ossanha" by Quarteto Em Cy, "Zanzibar" by Edu Lobo, "Maria Moita" by Nara Leo, "Enquanto A Tristesse Nao Vem" by Sergio Ricardo, "Negro" by Lucio Alves, "Sentinela" by MPB-4 and more.

Genius work from one of the greatest Southern Soul studios ever – Muscle Shoals' legendary Fame Studios – the start of a huge wave of great music in the 60s, and a genre-changing sound that's still going strong today! The package is the best we've ever seen to look at Fame – not just a killer selection of the studio's music – 75 tracks that bring together rare singles, hits, and some lesser-known gems – but also a beautiful hardcover book, filled with pages and pages of great notes, vintage images, and more – really telling the unique take of Fame, producer Rick Hall, and all the mighty talents who helped make Muscle Shoals one of the most important sites for soul music in the 60s and 70s. Titles include "Ten Miles High" by David & The Giants, "Search Your Heart" by George Jackson, "Let Them Talk" by Dan Penn, "Two In The Morning" by Spooner's Crowd, "Lady In The Rain" by Lowell Fulson, "Wanted Lover" by James Govan, "Grits & Gravy" by The Fame Gang, "Get Involved" by George Soule, "What Color Is Love" by Roscoe Robinson, "Laugh It Off" by The Tams, "Thief In The Night" by Ben & Spence, "Take Me Just As I Am" by Mitty Collier, "I'm Just A Prisoner" by Candi Staton, "Thread The Needle" by Clarence & Calvin, and "Slippin Around With You" by Art Freeman.

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

Revolutionary jazz from the era of the Civil Rights Movement and beyond – soulful and spiritual jazz as important as any of the era – an impeccably well chosen compilation of Freedom, Rhythm & Sound from Soul Jazz Records! The set is a tie-in with Soul Jazz's essential Freedom, Rhythm & Sound book – documenting the sounds and providing an aural portrait of a fertile creative period in African American music and cultural history – when the societal struggles were a counterpart to the heretofore unseen depth of creativity and empowerment in jazz music. Includes a nice booklet of notes, and songs from both the independent underground, and some that made it onto established labels like Verve and others, and material by Joe Henderson, Archie Shepp, Errol Parker, Mary Lou Williams, Art Ensemble Of Chicago, Horace Tapscott, Sun Ra and many more. Volume 1 of the vinyl version has 10 tracks on 2LPs, many running on the longer side, for a straight up incredible set of spiritual soul jazz: includes "Africa" by Oliver Lake/NTU, "Space A Nova" by Stanton Davis' Ghetto/Mysticism, "Miss DD" by Mary Lou Williams, "Old Time Religion" by Art Ensemble Of Chicago, "Drinking Song" by Gary Bartz NTU Troop and more.

A mind-expanding look at Memphis soul – one that gets way past common cliches about the city and its music! There's a heavy dose of funk in the mix on most numbers here – a gritty, fuzzy approach to the music that seems slightly borrowed from the Detroit scene at the end of the 60s – then mixed with some rougher, rootsier southern soul styles too! But other tracks take on a more sophisticated sound too – some of the righteous elements that hit Stax in the post-1968 period, especially as Isaac Hayes and David Porter were working on their own great solo work. Yet unlike Hayes and Porter, most of the artists here are much lesser-known – singers and groups who never charted big, but who got the chance to record for Memphis labels like XL, Stax, Select-O-Hits, and Sounds Of Memphis. CD features 20 tracks in all – and titles include "Dig It" by The Optimistics, "Mississippi Mud" by Smithsonian, "Two Paces Ahead Of Love" by Willie Walker, "Pullin" by The Minits, "It's Bump Time" by Gene Bowlegs Miller, "Blackrock Yeah Yeah" by Blackrock, "Keep The Faith" by Mel & Tim, "Watch Dog (alt)" by Barbara & The Browns, "Come What May" by John Gary Williams, "Strange Things" by Art Jerry Miller, "Shake" by The Ovations, "Tip Toeing" by Alvin Cash, "The Way Of Me" by Hannon, "Take A Giant Step" by LaCleve Milon, "Papa Killed A Chicken" by Willie Toliver, and "Don't Boom Boom" by Lillian Hale.

An amazing introduction to one of the most significant cultural movements in the latter half of the 20th Century – the groundbreaking years of Tropicalia in late 60s Brazil! The music and legacy of Tropicalia are referenced often, but hardly ever presented this well – and this package is everything we could have hoped for as an introduction to the movement – filled not just with great music, but also an overwhelming amount of notes that trace the history of Brazilian music and art through their changes in relation to Tropicalia! In fact, the notes are almost worth the price of the compilation alone – very densely written over 48 pages in the CD booklet, with more information in one place than we've ever seen before. But as you might imagine, it's the music that really makes the set special – and Soul Jazz have done an excellent job of pulling together key late 60s works from the most important musicians associated with Tropicalia – an great starting point for the movement that's filled with most essential tracks! Titles include "Bat Macumba" by Gilberto Gil, "Tuareg" and "Sebastiana" by Gal Costa, "A Minha Menina" and "Panis Et Circenses" by Os Mutantes, "Alfo Mega" and "Tropicalia" by Caetano Veloso, "Gloria" and "Jimmy Renda-Se" by Tom Ze, "Procissao" by Gilberto Gil, "Ave Genghis Khan" by Os Mutantes, "Take It Easy My Brother Charles" by Jorge Ben, "Quero Sambal Meu Bem" by Tom Ze, "Lost In The Paradise" by Caetano Veloso, "Bat Macumba" by Os Mutantes, "Domingo No Parque" by Gilberto Gil & Os Mutantes, and "Irene" by Caetano Veloso.

A bold early statement from a young John Coltrane – and an album that really has him expanding his talents as a tenor soloist! Coltrane's working here in open-ended quartet format – with backing from the Red Garland trio that includes Paul Chambers and Art Taylor – on a set of longer tunes that really let the young Trane stretch out on his solos, unobstructed by any other horns in the lineup. There's a nice mix of hardbop ideals, gentle ballads, and personal soul to the set – and titles include Coltrane's classic reading of Tadd Dameron's "Good Bait", plus "I Want To Talk About You", "Russian Lullaby", and "Theme For Ernie".

Soul Junction's a great title for this one – because the album's a great meeting point between 50s hard bop and some of the looser, earthier styles that were beginning to show up in the first years of soul jazz! The title track of this one is worth the price of admission alone – as Red Garland works with John Coltrane and Donald Byrd on a 15 minute tune that starts slow, builds in a bluesy way with nearly 8 minutes of trio work by Garland, Art Taylor, and Jamil Nasser – then finally rolls into some great late nite solo work on the horns! Other tracks are a bit shorter, but follow a similar easygoing and soulful approach – and tracks include "Woody'N You", "Birk's Works", "I've Got It Bad", and "Hallelujah". From the same sessions that also created the album All Mornin Long!

A treasure! The set features rare live work from three key members of The Blue Notes, working here alongside tenorist Frank Wright in a late 70s performance from the Netherlands – issued here for the first time, and with really brilliant sound overall! The lineup features Dudu Pukwana on alto and piano, Johnny Dyani on bass and piano, Louis Moholo on drums, and the legendary Frank Wright on tenor and a bit of double bass – all working together freely with a tremendous sense of collaboration – Wright's tenor blown with beautifully soulful, raspy tones that seem to push Dudu even farther than on some of his other albums from the time. There's almost an Art Ensemble Of Chicago feel to the record, although the whole thing comes off with a bit more of a South African soul – as befits the origin of the players – on titles that include "Ancient Spirit" and "Contemporary Fire".

A very cool idea – and a set that works together almost as a "lost" Otis Redding album – from the cover art right down to the grooves on the disc! The package focuses on the deepest, bluest side of Otis Redding – his amazing talent for a heartbreaking song and a sad-tinged ballad – of the sort that it seemed like Otis sang better than anyone else! This well-done collection brings together a few well-known numbers and other overlooked gems – all in a package that has a really unified theme and sound, and which almost feels like some concept album that Stax developed back in the 60s, but never released. Titles include "Gone Again", "A Waste Of Time", "These Arms Of Mine", "I've Got Some Dreams To Remember (rougher dreams)", "Open The Door (skeleton key version)", "Everybody Makes A Mistake", "Free Me", and "Little Ol Me".

A very cool idea – and a set that works together almost as a "lost" Otis Redding album – from the cover art right down to the grooves on the disc! The package focuses on the deepest, bluest side of Otis Redding – his amazing talent for a heartbreaking song and a sad-tinged ballad – of the sort that it seemed like Otis sang better than anyone else! This well-done collection brings together a few well-known numbers and other overlooked gems – all in a package that has a really unified theme and sound, and which almost feels like some concept album that Stax developed back in the 60s, but never released. Titles include "Gone Again", "A Waste Of Time", "These Arms Of Mine", "I've Got Some Dreams To Remember (rougher dreams)", "Open The Door (skeleton key version)", "Everybody Makes A Mistake", "Free Me", and "Little Ol Me".

The only album we've ever seen from singer Helyne Stewart – a great west coast set from the start of the 60s, done with a nice dose of soul in the mix! Stewart's got a really lovely voice – a lot more class and poise than you might expect from the slightly gospel-oriented image on the cover – and she swings wonderfully with a set of players that includes Teddy Edwards on tenor, Jack Sheldon on trumpet, Frank Rosolino on trombone, and Art Pepper on alto – all great horn players who slide in at key points to help inflect the tunes with their own touches too. Bassists are Jimmy Bond and Leroy Vinnegar, both of whom bring up the bottom nicely, even at mellow moments – and titles include "My Silent Love", "The Man I Love", "Why Don't You Do Right", "Love Is Here To Stay", "This Can't Be Love", "Besame Mucho", and "Easy To Love".

Spiritual soul and spoken word with instrumental inflections – a perfect illustration of the righteous sound of the Flying Dutchman label at the start of the 70s! The imprint was famously home to Gil Scott Heron, Lonnie Liston Smith, Leon Thomas, and other hip cats at the time – but also recorded a fair bit of work that was even more progressive and political – including key records from forces helping to carry the legacy of Civil Rights well into the 70s! This package offers up a perfect blend of those modes – great jazz tracks that carry the legacy of John Coltrane forth even further, and political records that were often more powerful than anything in the press at the time. Titles include "Sais" by Lonnie Liston Smith", "Nevertite" by The Esoteric Circle, "The Creator Has A Master Plan" by Louis Armstrong and Leon Thomas, "Lament For John Coltrane" by Bob Thiele Emergency, "Friends & Neighbors" by Ornette Coleman, "Sit Down" by Carl B Stokes with Oliver Nelson, "Echoes" by Leon Thomas, "The Giant Is Awakened"b y Horace Tapscot, "Gonna Get Some Right Now" by Chico Hamilton", and "We're Threatening The Oppressors" by Angela Davis.

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!

Very righteous work from Fontella Bass – an album done after her time at Chess Records, and after her work in Paris with the Art Ensemble Of Chicago – in a heartfelt, southern soul mode that's totally great! Fontella's back working with producer Oliver Sain, who first brought her fame back in the 60s – but the sound is a bit more sophisticated than before, drenched with roots from gospel and country soul, but also inflected with some of the more righteous modes of the early 70s too. Fontella's vocals are incredible – with a range that should have made her one of the leading ladies of soul in the 70s – and titles include "To Be Free", "I Need Love", "Wiping Tears", "Hold On this Time", "Talking About Freedom", and "My God My Freedom My Home".

Art Blakey at the Keystone Korner – really rattling the rafters with a great lineup that includes Bobby Watson on alto sax, David Schnitter on tenor, and Valery Ponomarev on trumpet! Although the Shorter/Morgan lineup is always hailed as one of Blakey's best, we're also pretty partial to this great late 70s stretch of The Jazz Messengers – as it shows some wonderful early flowering of Watson's alto, and his songwriting abilities; Ponomarev's well-blown trumpet lines; and Schnitter's crisp, sharp lines on tenor – always carved out with a great depth of feeling. Add to the mix some great piano from James Williams, and bass from Dennis Irwin, and you've got a great lineup next to Blakey's drums – all working together in a rough-edged, hard soul space on tracks that include "Pamela", "Unlimited", "Dark Side Light Side", "Blues For Two", and "In This Korner".

A beautiful Art Blakey album from the early 70s, and one that's got the same sort of electric soul jazz vibe as his great Buhania record! Art's playing here with a great set of musicians that includes Woody Shaw, George Cables, John Hicks, and Ramon Morris – and the group grooves together in a style that sounds more like a Strata East recording that it does like Blakey's classic Blue Notes! The tracks are long, with a very soulful vibe, some nice electric touches, and a good modal groove at the best moments. Titles include "Child's Dance", "C.C.", and "Song For A Lonely Woman" – but the whole album's great, and not to be passed up if you dig 70s soul jazz!

A bold early statement from a young John Coltrane – and an album that really has him expanding his talents as a tenor soloist! Coltrane's working here in open-ended quartet format – with backing from the Red Garland trio that includes Paul Chambers and Art Taylor – on a set of longer tunes that really let the young Trane stretch out on his solos, unobstructed by any other horns in the lineup. There's a nice mix of hardbop ideals, gentle ballads, and personal soul to the set – and titles include Coltrane's classic reading of Tadd Dameron's "Good Bait", plus "I Want To Talk About You", "Russian Lullaby", and "Theme For Ernie".

A bold early statement from a young John Coltrane – and an album that really has him expanding his talents as a tenor soloist! Coltrane's working here in open-ended quartet format – with backing from the Red Garland trio that includes Paul Chambers and Art Taylor – on a set of longer tunes that really let the young Trane stretch out on his solos, unobstructed by any other horns in the lineup. There's a nice mix of hardbop ideals, gentle ballads, and personal soul to the set – and titles include Coltrane's classic reading of Tadd Dameron's "Good Bait", plus "I Want To Talk About You", "Russian Lullaby", and "Theme For Ernie".

An incredible collection of work from the great Johnny Copeland – way way way more stuff from the early years than we ever knew he recorded! Johnny's one of the few Texas singers of his generation who kept the flame burning brightly over the decades – but it's this stuff that's still his best work – amazing southern soul tracks handled in a mode that's unlike anything else – no Memphis or Muscle Shoals cliches here, and instead a really deep, personal approach to the music that makes tremendous use of Copeland's vocals! There's some slight undercurrents of blues at points, but the music is definitely soul – sometimes inflected with jazz on the mellower cuts, ala a Duke/Peacock recording – although the tracks here were for the Jet Stream, Wet Soul, and Wand labels – mixed here with a number of previously unreleased tracks. The 2CD package really hones in on Johnny's greatness – and serves up a whopping 43 tracks recorded between 1965 and 1971 – titles that include "The Invitation", "Why Don't You Make Up Your Mind", "Somebody's Been Scratchin", "Every Dog's Got His Day", "Wizard Of Art", "I Waited Too Long", "The Hip Hop", "Four Dried Beans", "Mother Nature", "You're Gonna Reap Just What You Sow", "Dedicated To The Greatest", "I Wish I Was Single", "Danger Zone", and "Slow Walk You Down".

Sweet and gritty soul from D'Angelo – who takes a huge step into deeper territory on Voodoo – and it's one of the most monumental records of its time! On one level, Voodoo works as a nicely stripped-down session with a very classic soul feel. Gone are the overzealous flourishes that sometimes overwhelmed his earlier songs, and in their place are some sweetly crafted vocal parts with a classic Marvin Gaye/Al Green feel. That warmth is probably what made Voodoo a massive popular success – but what makes it such a creative triumph are the darker undercurrents – which hint at a troubled soul struggling for spiritual truth. One of the rare cases in popular music when great art became music for the masses! Titles include "Left & Right (feat Method Man & Redman)", "The Line", "Spanish Joint", "Africa", "Feel Like Makin Love", "The Root", "Playa Playa", "Devil's Pie", and "Greatdayndamornin/Booty".

The title might give you some hint of the feel of the set – as it's got a relatively complex quality, one that definitely fits its naming with a difficult formula – although the music itself is anything by formulaic! The group's headed by tenorist Ellery Eskelin, and features a round of New York stalwarts that includes Andrea Parkins on piano and accordion, Jim Black on drums and percussion, Marc Ribot on guitar, Melvin Gibbs on bass, and Jessica Constable on voice – all working together in the mix of free jazz and more offbeat, art-based sounds they can create. Through it all, Eskelin's tenor brings a nice degree of soul to the set – and titles include "If Not Now", "Tell Me When", "Anyone's Guess", "Say It Again", and "More Than That".

One of Art Farmer's pivotal mid 50s sides – recorded in the company of altoist Gigi Gryce, a great player and a budding young arranger who helped Farmer really formulate the best side of his sound! The tracks are lyrically modern – but still have a nice dose of soul in them – a wonderful blend that really sets the stage for the move that Art was making away from earlier trumpeters in jazz – into that hip territory that was neither too cool, nor too overblown – and which would almost be known as "Farmer-like" in years to come! The album features Gryce and Farmer in 2 different groups – one with Horace Silver on piano, Percy Heath on bass, and Kenny Clarke on drums – the other with Freddie Redd on piano, Addison Farmer on bass, and Art Taylor on drums. Titles include "Social Call", "Capri", "Deltitnu", "Stupendous Lee", and "Blue Concept".

Landmark work by one of the greatest jazz outfits of the early 60s! Art Farmer and Benny Golson were both known as well-composed players during the 50s – strongly soulful, but often with a fine sense of arrangement that usually tended towards the lyrical side of things. With this group, though, they turned that approach towards a heavier sounding style of jazz – tightly stepping soul jazz, in the manner that was being explored at the time by Cannonball Adderley, Art Blakey, and others – presented by Farmer and Golson with a bit more groove and a wonderful kick at the bottom! This album's the first the group cut together – and apart from trumpet by Farmer and tenor by Golson, it also features Curtis Fuller on trombone, McCoy Tyner on piano, Addison Farmer (brother of Art) on bass, and Lex Humphries on drums. Includes the massive original recording of "Killer Joe", which went onto become one of the most recorded jazz standards ever, plus the tracks "Blues March", "Mox Nix", "Park Avenue Petite", and "I Remember Clifford". Perfect tone, perfect groove, and a perfect sound all the way through!

The second album from Foreign Exchange – the formerally bi-continental project of North Carolina MC, and nascent soul singer Phonte of Little Brother, and transplanted Dutch producer Nicolay – who take an even deeper turn into spacey soul on Leave It All Behind! Given that Phonte is singing rather than rapping, you'd be tempted to say that Foreign Exchange has left hip hop behind, but hip hop is in the heart and soul – and the group was born of the idea of hip hop as an evolving art form – so rhymes or not, it's hip hop to us. The spacey, jazzy melodic groove here finds producer Nicolay in peak form – a nice balance between thumping bass, beats and mellow atmospherics, and the mood is impeccable. We're pretty much stunned at how well Phonte is developing as a vocalist, with laidback lead and overdubbed backing vocals that go back the heart & soul comment above. A left turn for a duo that was adventurous to begin, with an excellent move to the next level! Titles include "Daykeeper", "Take Off The Blues", "All Or Nothing/Coming Home For You", "I Wanna Know", "House Of Cards", "Sweeter Than You", "Valediction", "If She Breaks Your Heart", "If This Is Love", "Something To Behold" and "Leave It All Behind".

Although Benny Golson is perhaps best known as a lively arranger in the modern idiom, he's also a kick-ass tenor player when he wants to be – and on this classic, he definitely wants to be! Unlike some of Golson's more tightly arranged records of the early years, this date is a deeply gutsy soul jazz session – support from a group that includes Ray Bryant on piano, Paul Chambers on bass, Art Blakey on drums, and Curtis Fuller on trombone – all sliding into long tracks that have plenty of room for solos! The whole thing's a bit like the more spontaneous side of the Jazz Messengers groove – and titles include "The Stroller", "Drumboogie", "My Blues House", and a beautiful version of "Yesterdays".

A moodier session than usual for Griff – but in a nice way – and one that's cut with Buddy Montgomery on vibes and piano, and handled in a laidback soul jazz mode that's a refreshing change from some of his sharper hardbop sides! Highlights include the extended original "Slow Burn", plus renditions of the classics "Do Nothing Till You Hear From Me" and "The Midnight Sun Will Never Set". The group's completed by Monk Montgomery on bass and Art Taylor on drums – and in a way, the album sort of feels like one of Monk and Buddy's Mastersounds sessions, with the added touch of a horn player!

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

A groovy dream come true – the complete studio recordings of German bandleader Peter Herbolzheimer – easily one of the funkiest European talents of the 70s! Although Herbolzheimer's got a clunky name, his sound is incredibly fluid and tight – a large group approach to funk that rivals some of the best American work of his time – including classics from Lalo Schifrin, Johnny Pate, and other key maestros of the blacksploitation era. Peter's got a way of taking a large group of players and really making them groove – a sound that's kind of an electrified extension of the styles first laid out at MPS by the Clarke-Boland Big Band, but served up with a hipper, funkier 70s approach to rhythm. Like the CBBB, Herbholzheimer's groups often feature American players – such as Art Farmer on trumpet or Herb Geller on saxes – alongside more familiar MPS talents like Dusko Goykovich on trumpet, Dieter Reith on organ, Ferdinand Povel on flute, Jiggs Whigham on trombone, and Sigi Schwab on guitar – joined by the legendary Sabu Martinez on a few of the best sessions here! The 4CD set is a massive discovery in music – as it features not only Herbholzheimer's Rhythm & Brass albums for MPS and Polydor, but also records under the group names Certain Lions & Tigers and The Galactic Light Orchestra. The package features a whopping 8 albums in all – Soul Condor, Time Travellers Galaxis, Waitaminute, Wide Open, Hip Walk, Touchdown, and I Hear Voices – most of which have never been reissued before – a whopping 61 long funky jazz tracks!

Smoking Motown work from Thelma Houston – a great 70s set that catches the singer at the top of her groove! The album's polished, but never in a too-commercial way – and the grooves acknowledge the growing role of the dancefloor in mainstream soul, yet also mostly stay away from some of the disco cliches of the time – thanks to sophisticated work by arrangers Art Wright, Paul Riser, and Michael Smith! Although we should also point out that this is the record that gave Houston one of her bigger hits – the key crossover track "Don't Leave Me This Way" – nestled nicely amidst other great numbers like "Don't Know Why I Love You", "Any Way You Like It", "If It's The Last Thing I Do", and "Don't Make Me Pay".

Killer work from Freddie Hubbard – some key transitional sides for Atlantic Records, and easily some of his most soulful work ever! Freddie started out as a bopper on Blue Note, but then made a great shift at Atlantic – exploring space and sound in a really wonderful way, and opening up towards some of the killer modes you'd know from his classics on CTI. There's just a bit of electricity in the mix here, as most cuts are acoustic – but they already stretch out in some hip, spiritual styles that are really great. Titles include "For BP", "Lonely Soul", "High Blues Pressure", "Midnite Soul", "Black Soldier", Interlude I", "Echoes Of Blue", "Threnody For Sharon Tate Comment", "Spacetrack", "Leap Frog", "Up Jumped Spring", "Latina", and "On The Quee Tee".

A holy grail from the prime years of Blue Note hardbop – and one of the first records ever recorded by Clifford Jordan, then a fresh young tenor talent, just blown in from Chicago! The album has Jordan working with an all-star lineup that includes Art Farmer on trumpet, Sonny Clark on piano, and Louis Hayes in drums – blowing with a style that is a bit looser than other Blue Notes from the time, with touches of lyrical expression, brought on by the presence of Farmer and Hayes. Great overall – as tight as a bop side, but with a much deeper soul! Titles include "Confirmation", "Laconia", "Soul-Lo Blues", and "Cliff Craft".

Really lovely work from Nicole Mitchell – an artist who's really been blowing our minds in recent years – working in a wide variety of styles, all of them great! This set has Nicole blowing solo flute, but in a setting that appears to have her on two different versions of the instrument, overdubbed – which creates this incredible sound that's airy, yet lyrical – and filled with a deep soul, even amidst some of the gentler tones! The music is pretty free, but pretty tuneful too – and it's a beautifully personal side of Nicole's music, yet one that's also put together with a bit more straightforward energy than some of her other albums like this. Titles include "Beehive", "Six Wings", "Song Of Suchness", "Desert Choir", "Blue Mountain", "Dadwee", "Forest Family", and "Cave Of Forgotten Spring".

One of our top 5 favorite Blue Note records of all time – a bold and powerful session from trumpeter Lee Morgan, but one that sat in the vaults for 15 years before release! The session was recorded around the same time as Morgan's hit The Sidewinder (which eclipsed its release at the time) – but it's got the soaring, searching energy of later Morgan work on records like Sixth Sense or Charisma – a whole new groove at the time, and one that's explored perfectly by a group that includes Jackie McLean on alto sax, Curtis Fuller on trombone, McCoy Tyner on piano, Bob Cranshaw on bass, and Art Blakey on drums. Modal lines come into play with older hardbop and soul jazz modes – and the result is an explosive batch of tunes that resonate with bold power throughout! Nearly all tunes are incredible originals by Lee Morgan – and titles include "Tom Cat", "Exotique", "Twice Around", and the completely captivating "Rigor Mortis". A treasure, and one not to pass up!

A really beautiful little album from NYCC – the name-shortened version of the New York Community Choir, stepping out here with a sound that's even better than their RCA debut! NYCC draw on a strong secular/spiritual tradition of work by The Art Reynolds Singers or Voices Of East Harlem – and like the latter, they've got a great way of infusing a soul tune with a deeper sense of self and spirit – especially in the way the lead vocals soar out of the larger group support. Arrangements here are by Leon Pendarvis, who gives the set a sound that's full and rich, but never overdone – really majestic stuff and completely without any sort of hoke at all. Titles include "We Can Make It", "The World Is Waiting For A Change", "I'll Keep A Light In My Window", "Make Every Day Count", and "A Song Can Reach Your Heart".

Libidinous, soundtracky funk from France! Streaking is a great set of funky French grooves from Jean Claude Pelletier – one that's clearly informed by and indebted to the cinematic soul and blacksploitation soundtrack style coming out of the States in the early part of the 70s – with a boisterous, bright European twist! It feels like a blend of soundrack funk and grand scale late 60s and early 70s French pop & soul. Even with the latter elements, it's fairly hard-hitting and certainly geared for the dancefloor on whatever continent! Wah wah guitars, rubbery bass grooves, heavy drums & percussion and a punchy brass section define the sound. To make even groovier, the title and almost all the tracks are cheeky nods to art of streaking! Includes "Hello Streakers", "Special Streaking", "Dangerous For Your Health", "Nudes And Marines", "To Streak With The Devil", "Streaking Land", "Topless On The Trail" and "Streak To Streak".