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A lesser-known set by Art Pepper from his late 70s years – recorded among a quartet of "friends" who include Russ Freeman on piano, Bob Magnussen on bass, and Frank Butler on drums! The tracks are longish, and mostly older standards – and overall, Pepper's a bit more inside than on some of his other 70s sessions – blowing with a tone that takes us nicely back to the old days, but which is fleshed out by some of the deeper feelings he brought to his sound in the 70s. There's less of the searing long runs here, and more of the crisp lines that first made Art great – coupled with some introspection that's an especially great quality of the record. Titles include "Blue Bossa", "Among Friends", "Round Midnight", "What Is This Thing Called Love", "What's New", "Besame Mucho", and "I'm Getting Sentimental Over You". CD features a bonus alternate take of "Blue Bossa".

One of Art Pepper's classic recordings, in which he plays with a spare quartet backing by Miles Davis' rhythm section at the time – Paul Chambers, Red Garland, and Philly Joe Jones. An essential "east meets west" jazz recording, with Art at the top of his game, playing in a unique setting for the first and only time (it's said that Art didn't even know of the date until the morning of the session). Pepper is one of the few alto players to really establish his own voice on the horn, without aping Bird, and his emotive playing really shines here. A definitive version of "Straight Life" is on this album, along with "Waltz Me Blues", "You'd Be So Nice To Come Home To". and "Star Eyes".

A late 70's compilation of some of the best Art Pepper recordings from the 50s! This 2 LP set features everything Art recorded for the Intro and Jazz West labels, and is a totally necessary addition to any Art Pepper collection – as it's some of the finest work we can think of from the time. Titles include "Pepper Steak", "Tenor Blooz", "Mambo De La Pinta", "Blues In", "Cool Bunny", "Blues Out", and "Five More". 23 tracks in all.

One of our favorite albums ever by Art Pepper – even if it isn't a proper album! The set features material recorded in the late 50s, pulled together to form an album in the early 70s – and overall, it's some of the best Art Pepper work on record we can think of. Pepper plays beautifully on 4 tracks with tenorist Warne Marsh, and the rest of the cuts features equally great accompaniment from the likes of Jimmy Bond, Dolo Coker, Philly Joe Jones, and Red Garland. The material on the album is far fresher than most of Pepper's so-called "classic" sessions, and it shows the edge and creativity of his alto playing in a way that few other albums ever do. We really recommend this one if you've ever been disappointed by another Pepper album – because there's a sharpness here that really comes through. Titles include "All the Things You Are", "What's New", "Autumn Leaves", and "The Man I Love".

An amazing little set – one that's got a sound we could hardly expect! The album's a unique Latin jazz session that brings together some of the best talents of the west coast scene of the late 50s – one that features arrangements from Bill Holman, Benny Carter, and Art Pepper – making an unusual but remarkable appearance here in a Latin mode! The group's nicely stripped down with bongos by both Jack Costanzo and Mike Pacheco – plus drums by Chuck Flores, bass by Ben Tucker, and piano from Russ Freeman. But the real strength of the set is the horn players – including not just Pepper on alto, but also Conte Candoli on trumpet, and Bill Perkins on tenor – all coming together in tightly crafted head arrangements that swing around the rhythm wonderfully – then breaking out in short but sharp solos that really knock the socks off the session! The whole thing's totally great – and proof that the LA scene could cook with the best of them, given the right sort of setting. Titles include "Mucho Calor", "Vaya Hombre Vaya", "Pernod", "I Love You", and "Mambo De La Pinta".

Some of the best Art Pepper work you'll ever find! This 2LP set is filled with tracks that were originally cut for Savoy Records during the time of Art's Surf Ride album for that label, but which were lost on the cutting room floor for years. Pepper's tone is fantastic – with more of an edge than usual, kind of a raspy soulful quality that you don't find in some of his other work, especially those slicker overrated sessions that most consider "classic". We love this material, and this LP is the first time this material has seen the light of day. There's a number of alternate takes, but don't worry, because they're worth hearing, and often have very different solos. Titles include "Everything Happens To Me", "Art's Oregano", "What's New", "Thyme Time", "Nutmeg", "Suzy The Poodle", and "Straight Life".

A very cool late live set from Art Pepper – working in a killer quartet setting! Neon Art Vol 1 features two side-long pieces, recorded in January of '81, at Parnell's in Seattle – both of which are released for the first time ever on this 2012 vinyl from Widow's Taste and Omnivore. Side one features a really great, elongated take on Pepper's "Red Car" – which was a stand out number on The Trip LP a few years earlier. This particular trip is stretched out to nearly 17 minutes long – with bassist David Williams and drummer Carl Burnett laying down a rhythm that's actually got a bit of funk in it – but pianist Milcho Leviev nearly steals the show! Pepper waits in the wings early on, but steps out brilliantly on alto as the performance builds up steam – and you can hear the audience really getting into it. Incredible! The other side features an 18 minute take on Pepper's "Blues For Blanche" – and Art commands this one from the start – by improvising pretty nicely on his sax, without straying too far out – and the players get some spotlight action, too.

Rare work from Art Pepper – and some of his best material from later years, too – all packaged in a really unique little set! The vinyl-only release brings together unreleased live gems from Pepper – all done with a great later group that features George Cables on piano, David Williams on bass, and Carl Burnett on drums – really cooking away here in material from a Japanese tour in 1981! Side one features the brilliant "Mambo Koyama" – a snakey groover with a bit of a Latin vibe – and wonderfully soulful work from both Pepper and Cables! "Over The Rainbow" is a great 14 minute take on the classic – performed at a level that really leaves Art lots of open room to solo in the middle, with a tone that's simply breathtaking! "Allen's Alley" completes the record – done here with a nice romping groove that draws a lot from the basslines from Williams.

Amazing Art Pepper – work from a 1981 tour of Japan, all of it unreleased – and presented here in a package that sparkles alongside some of his best later albums! Side one is mindblowing – an album-side track that has Art stretching out in so many different ways – voicing these really creative lines on the tune "Make A List", as the rhythm section of George Cables on piano, David Williams on bass, and Carl Burnett on drums make these snapping grooves to keep the whole thing going. Side two features two slightly shorter numbers – "Arthur's Blues" and "Everything Happens To Me" – both wonderful examples of the genius that Pepper was expressing near the end of his life! All tracks previously unreleased – and issued here in a limited vinyl format!

Way more than just a bebop revival album – thanks to a hip array of reedmen that includes Art Pepper, John Klemmer, Johnny Griffin, Joe Farrell, Harold Land, and Joe Henderson – and rhythm by a trio with Stanley Cowell on piano!

A double-length set of late genius from the great Art Pepper – a live performance from Tokyo, cut at a time when Pepper was really stretching out on his solos! The tunes are all quite long, with plenty of room for Art's inventive reed work – and the album also features some great spoken bits between a few of the songs – a really great way to hear a Pepper voice that doesn't come from his instrument – which oddly then seems to really illuminate the music to follow. The group's a very familiar one, which means that everyone's in great company – George Cables on piano, Tony Dumas on bass, and Carl Burnett on drums. Titles include "Winter Moon", "Avalon", "YI Blues", "Donna Lee", "Make A List", "Quiet Fire", "Straight Life", and "Landscape".

A lost treasure – finally brought back to light! The album features previously unissued material by the team of Art Pepper and Warne Marsh – tracks recorded back in 1956 for Contemporary records, but only issued many years later as part of the Complete Contemporary project for Pepper's work. Why these dates never made it to wax is a real mystery to us – because the pairing of Pepper's alto and Marsh's tenor is perhaps even greater than the more famous team of Marsh & Konitz – and the sound here is completely wonderful – fluid, modern, and exceptionally poised – yet never without soul! CD includes a few master and original takes of some numbers – and titles include "All The Things You Are", "Tickle Toe", "Warnin", "Stompin At The Savoy", "What's New", "Avalon", and "I Can't Believe That You're In Love With Me".

Beautiful late work from Art Pepper – and a set that definitely lives up to the samba promised in its name! The groove here is a bit more fluid than usual for Art at this time in his career – and that's saying a lot, given the open-ended style of his Galaxy and Contemporary work – and in a way, it's the rhythm section that really seems to drive the record – George Cables on piano, Michael Formanek on bass, and Eddie Marshall on drums – really stretching out on the album's long, live tracks to give Pepper plenty of dancing rhythms underneath his alto lines. The set features two great Brazilian-tinged groovers – "Samba Mom Mom" and a version of "Blue Bossa" – plus "Art Meets Mr Beautiful" and "Here's That Rainy Day".

Late live material from the great Art Pepper – working here with Milcho Leviev, Tony Dumas and Carl Burnett – caught at Ronnie Scott's in June of 1980! Blues For The Fisherman features motherlode of material, with both energetic, roof shaking numbers and more delicate, subtle ones. The 4CD set is especially cool in it's inclusion of Art's avuncular stage banter, really making us feel like we're there in the audience and making us wish we were! It's Vol 6 in the Unreleased Art Pepper series, and it's a heck of a lot of music from a legendary session in one package. Includes "Blues For Blanche", "Ophelia", "Make A List", "Anthropology", "Rhythm-A-Ning", "Rita San", "I'll Remember April", "True Blues", "Red Car", "Un A Mellow Tone", "Blues For The Fisherman" and much, much more.

Way more than just an album with Gene Ammons as a leader – and instead, a set that truly earns the "all stars" listed on the cover – thanks to a great array of supporting players, and a very loose, open-ended jam session style that lets everyone get in plenty of solo space! Ammons' tenor is tremendous, but he's also a great collaborator here, too – working with Idrees Suliman on trumpet, Pepper Adams on baritone, Mal Waldron on piano, Art Taylor on drums, Doug Watkins on bass, and Ray Barretto on conga – in a mode that's maybe slightly tighter than some of the blowing sessions Prestige was doing at the time, but which still has that key longform creative energy that made the hardbop generation so great. Titles include "Blue Gene", "Scamperin", "Blue Greens n Beans", and "Hip Tip" – and all tracks are long, with plenty of focus on solos!

Beautiful work from the legendary Hoagy Carmichael – and one of the few albums to feature him singing his own work! Hoagy's name is one that you're more likely to see in the songwriting credits than in the artist slot for a record – but he's actually got a wonderful voice, one that's filled with honest, personal charms – and which has a sometimes broken-down quality that's perfect for the gentle words of his tunes. This wonderful set features Carmichael working with sublime small combo backing – players who include Harry Edison, Jimmy Rowles, and Art Pepper – working with arrangements penned by Johnny Mandel. Titles include "Rocking Chair", "Georgia On My Mind", "Skylark", "Two Sleepy People", and "Baltimore Oriole".

One of Farmer's best sessions of the 70s – recorded in a mode that's a bit freer than usual, with a group that includes Hampton Hawes, Ray Brown, and either Steve Ellington or Shelly Manne on drums. Art Pepper sits in on 4 of the album's 6 tracks – and it's his tone and edgieness that really opens things up, casting Farmer's work on flugelhorn in a light that's darker than usual, filled with shadows that haven't crept into his playing for years, creating a depth to the record that really keeps us listening. Titles include "Downwind", "Namely You", "What Am I Here For?", and "Will You Still Be Mine?"

An explosive late 70s moment of brilliance from trombonist Curtis Fuller – and one of his greatest albums of the time! The set's got Fuller working with an unusual group – Pepper Adams on baritone sax, making for a nice "bottom" alongside Fuller's trombone, plus James Williams, borrowed from Art Blakey's group of the time – and really stepping out here with some great soaring piano lines. The rest of the quintet features Dennis Irwin on bass and John Yarling on drums – but the real boss of the set is clearly Fuller, who's contributed some wonderful originals to the session, and is clearly working with a re-kindled spirit at this point in his career. Titles include "Four On The Outside", "Suite Kathy", "Little Dreams", "Ballad For Gabe-Wells", and "Corrida Del Torro".

An overlooked gem from Freddie Hubbard – a late fusion outing, done for the Japanese market at a time when most of his American work was returning to more acoustic modes! Freddie's trumpet sparkles brilliantly in the lead – hitting the same sort of soulful, stretching vibe as his best CTI recordings from the mid 70s – served up with an equally great mix of electric and acoustic instrumentation in the arrangements! The lineup of musicians is pretty unique, too – with Art Pepper on alto, George Cables on acoustic and electric piano, Phil Ranelin on trombone, and Roland Bautista on guitars – usually working in these gentle grooving rhythms that have a soulful stepping vibe – and which really let Freddie soar on his trumpet solos. Titles include "Eclipse", "Sunshine Lady", "I Love You", and "Bring It Back Home".

Great early west coast jazz! This album puts together 2 different sessions both recorded by Gene Norman in the early 50s. One features Shorty Rogers heading up a great group with Art Pepper and Jimmy Giuffre – on the tracks "Four Mothers", "Didi", "Sam & The Lady", and "Popo". The other features classic cool Gerry Mulligan material – played by a tentet with Chet Baker, Bud Shank, and Bob Enevoldsen. Titles on that one include "Westwood Walk", "Simbah", "Walking Shoes", and "Rocker".

Marty Paich takes on a host of Broadway tunes from the 50s – but as always with his best work, the result is something quite far from its roots – an amazing batch of jazzy instrumentals that owes very little to the original conception of the tunes! Paich's got an incredible ear for arrangements here – one that manages to make a large ensemble swing with even more dynamic modes than some of his 50s LA contemporaries, but never in ways that fall into some of the more hi-fi oriented tricks or gimmicks of the time. There's always great space for solo voices and personal feelings in the music – which is important, given that the lineup includes Art Pepper on alto, Bill Perkins on tenor, Jimmy Giuffre on baritone, and Stu Williamson on trumpet – not to mention the legendary Scott LaFaro on bass. Titles include "I Love Paris", "I've Grown Accustomed To Her Face", "It's All Right With Me", "Just In Time", "Lazy Afternoon", "If I Were A Bell", and " Younger Than Springtime".

Really great work from trumpeter Jack Sheldon – a bigger band record that doesn't suppress his horn, and which instead really gives him a tight energy that he doesn't always have on other records! Sheldon's playing here with a pretty nice group of players – including Billy Root, who plays some wonderfully fluid baritone sax solos on a number of cuts, as well as better known west coasters like Art Pepper, Chet Baker, Conte Candoli, Harold Land, and Herb Geller. Tracks are short, and the album's really wonderful overall – truly one of the best of Sheldon's few albums as a leader. Titles include "I'm Also A Person", "Arrividerci", "Brown Cow", "JS", "Aplomb", and "Anyhow". This is the 60s issue of a session from 1957 – presented here with a title and cover image that refers to Sheldon's work in the TV show Run Buddy Run.

A really classic-styled set – as you might guess from the Art Blakey homage image on the front cover – a cracker of a session that features some great players from the contemporary Italian scene! There's a bold hardbop vibe to the whole thing – a mode that hangs right up there in the best Blue Note modern mode of the late 50s – no surprise, given the set list, which includes compositions by Sonny Clark, Art Pepper, Eric Dolphy, and Frank Rosolino! Things swing straight overall, but there's a really nice edge to the record – thanks to the work of horn players Danilo Pala on alto and Andy Gravish on trumpet – both musicians we've never really heard before, but who come together beautifully – especially Gravish, whose edgey alto would definitely make Dolphy proud. Other group members include Luca Mannutza on piano, Nicola Muresu on bass, and leader Vittorio Sicbaldi on drums – and titles include "Melody For C", "Candy", "Arrivin Soon", "Bijou The Poodle", "Sorino", "Sad Eyes", and "Blue Daniel".

Charlie Parker classics in a variety of flavors – a great collection of material from the 50s, 60s, and 70s – all showing the huge influence of Bird's songwriting on the sound of modern jazz! The recordings here offer up a variety of formats, in a variety of different settings – piano jazz, guitar work, and hardbop horns – all pulled from the mighty vaults of Fantasy Records. Titles include "Parker's Mood" by Eddie Jefferson, "Scrapple From The Apple" by Blue Mitchell, "Yardbird Suite" by Art Pepper, "Confirmation" by Gene Ammons, "Now's The Time" by Frank Morgan, "Steeplechase" by Hampton Hawes, "Repetition" by Wes Montgomery, and "Billie's Bounce" by Johnny Griffin.

Great Pacific Jazz material – with work by Chet Baker, Bob Brookmeyer, Harry Edison, Phil Ursu, Bill Perkins, James Clay, and Art Pepper!

Very rare indeed – and one of the best 70s albums from Elvin Jones – thanks to a tight quartet lineup who follow his every move with tremendous energy! The style's not as all-out bombastic as Jones could sometimes be in these days – and with a group that includes Roland Hanna on piano, Art Pepper on sax, and Richard Davis on bass, Elvin's in company that allows him to be strongly expressive on both sides of the spectrum! Sure, there's a few searching, soaring numbers that show Elvin's Coltrane roots – but there's also some gentler more introspective moments too, ones that provide great space for solos from Hanna and Pepper. Titles include "Witching Hour", "Pitter Pat", "Tin Tin Deo", "Zange", "Sweet Mama", and "Passion Flower".

Darkly brooding work from John Coltrane's early years as a leader on Prestige – a very unique little record that features twin baritone sax support from Pepper Adams and Cecil Payne! Both players are wonderfully hip here – more than enough to match Trane's unique musical vision for the group's format – and the sound of the session is much edgier than some of his other Prestige work – which may be why the label chose not to issue it until 1963, even though it was recorded back in '57. There's a nice roughness here – the same inspirational early sound you'll get on Coltrane's early sides for Savoy or Imperial – and other players include Mal Waldron on piano, Doug Watkins on bass, and Art Taylor on drums. Titles include "Cat Walk", "Dakar", "Route 4", "Velvet Scene", and "Witches Pit".

An excellent set that brings together Fats Navarro's recordings for Savoy – late 40s sides that were always poorly packaged and annotated on record, which are compiled here wonderfully, with great notes, and a few unissued tracks! Players include Leo Parker, Kenny Dorham, Sonny Stitt, Ernie Henry, Tadd Dameron, Kenny Clarke, Art Blakey, and Charlie Rouse – and the set's got a huge amount of titles, including "Boppin A Riff", "Fat Boy", "Everything's Cool", "Webb City", "Fracture", "Calling Dr Jazz", "Red Pepper", "Spinal", "Fat Girl", "Ice Freezes Red", "A Bebop Carol", and "The Tadd Walk".

The Newborn Touch is always a great one, but it sounds especially nice on this record – a set that seems to go even farther than any of Phineas' earlier trio sessions! There's an almost-ambitious sound to the record that we really like a lot – one that possibly comes from Newborn's choice of compositions for the set, a great bag of non-standard tunes from some of his west coast contemporaries – tracks penned by Ornette Coleman, Art Pepper, Hampton Hawes, Jimmy Woods, and others – some of which are decidedly more modern than the material that Newborn usually plays! There's a complexity here that's great – but one that still doesn't forget Newborn's down-home roots – and titles include "A Walkin Thing", "Be Deedle Dee Do", "The Blessing", "Diane", "Pazmuerte", "Hard To Find", and "Blue Daniel".

Upbeat, jazzy, and swinging – two great albums from Mel Torme's years at Verve! I Dig The Duke I Dig The Count is an album dedicated to the music of Duke Ellington and Count Basie, set to some very upbeat, jazzy backings from Johnny Mandel! The album's quite swinging at points – and given the choice of material, Mel really breaks from the familiar – stretching out nicely to reach the spirit of the famous leaders, but always with that tremendous sense of tone! Titles include "Down For Double", "I'm Gonna Go Fishin", "I Like The Sunrise", "Reminiscing In Tempo", "Oh What A Night For Love", and "In The Evening". On Swings Shubert Alley, Mel Torme takes on the sound of Broadway at the start of the 60s – but he does so in a very groovy way, thanks to hip backings from the amazing Marty Paich! The style here is as swinging and jazzy as the work that Mel and Marty cut together on the Bethlehem label in the late 50s – and the tracks have a nice sort of groove, and an overall lean feel – a sound that takes the music far from its Broadway roots! Players include Art Pepper on alto, Stu Williamson on trumpet, Bill Perkins on tenor, and Frank Rosolino on trombone – all bringing a nice sense of themselves to the set. Titles include "Lonely Town", "Whatever Lola Wants", "Old Devil Moon", "Hello Young Lovers", "Too Close For Comfort", and "Just In Time".

Marty Paich takes on a host of Broadway tunes from the 50s – but as always with his best work, the result is something quite far from its roots – an amazing batch of jazzy instrumentals that owes very little to the original conception of the tunes! Paich's got an incredible ear for arrangements here – one that manages to make a large ensemble swing with even more dynamic modes than some of his 50s LA contemporaries, but never in ways that fall into some of the more hi-fi oriented tricks or gimmicks of the time. There's always great space for solo voices and personal feelings in the music – which is important, given that the lineup includes Art Pepper on alto, Bill Perkins on tenor, Jimmy Giuffre on baritone, and Stu Williamson on trumpet – not to mention the legendary Scott LaFaro on bass. Titles include "I Love Paris", "I've Grown Accustomed To Her Face", "It's All Right With Me", "Just In Time", "Lazy Afternoon", "If I Were A Bell", and " Younger Than Springtime".

An obscure late 50s gem from Pepper – a stripped-down quartet session that has him blowing in a very open-ended mode – quite a difference from some of his more tightly arranged sets! The feel's a bit like Pepper's work with Donald Byrd, but even more openly swinging – played by a quintet that includes Stu Williamson on trumpet, Carl Perkins on piano, Leroy Vinnegar on bass, and Mel Lewis on drums. Tracks are all long and fresh – and the record's almost got the feel of a great Prestige blowing session from the time. Pepper's work on baritone is jaw-dropping throughout – and titles include "Unforgettable", "Baubles Bangles & Beads", "Freddie Froo", and "Muezzin".

One of the Art Ensemble Of Chicago's all-time classics! If you've ever bought an Art Ensemble album and said "Hmm, what's all the fuss about?", get this one. It'll change your mind. The band is in perfect form – and hits an incredible blend of free thinking modernism and soulful soloing, peppered with a healthy dose of humor. The tracks are shortish, and very tight – and titles include "Jackson In Your House", "Song For Charles", "The Waltz", and "Get In Line".

The soundtrack that put John Barry over the top – and to many, THE James Bond soundtrack! The album chills from the first notes of the haunting title theme – the majestic "Goldfinger", sung by Shirley Bassey with a tone that's as dangerous as a razor-sharp hat spinning through the air! Barry then takes over with some wonderful instrumentals – a blend of crime jazz, mood pieces, chase themes, and more – all peppered with that dark dark Bond theme that we love so much! Titles include "Into Miami", "Teasing The Korean", "Alpine Drive", "Bond Back In Action", "Gassing The Gangsters", and "Death Of Goldfinger".

Lots of earthy percussion here – especially on the leadoff 12" mix of "Alegria" – a flurry of bumping basslines and heady rhythms, peppered here and there with these echoes of older African grooves – almost drifting into the mix as if they're coming from a radio in the next room! The tune's also featured in a radio edit – and the flipside features the very percussion "Cuca (Manga Bo rmx)", which is almost a batucada cut at points – plus the heavier "Puxa (Beat Laden rmx)".

Hard to deny the lasting power of this crucial album from The Beatles – a set that unleashed some of their trippiest sounds and most tender moments too! The mix of wit and honesty is wonderful – and the sonic range is dynamic as the archetypal cover image – a package that's had an undeniable impact on modern music for the past few decades! Titles include "With A Little Help From My Friends", "Lucy In The Sky With Diamonds", "She's Leaving Home", "Lovely Rita", "When I'm Sixty Four", "A Day In The Life", and "Fixing A Hole".

Hard to deny the lasting power of this crucial album from The Beatles – a set that unleashed some of their trippiest sounds and most tender moments too! The mix of wit and honesty is wonderful – and the sonic range is dynamic as the archetypal cover image – a package that's had an undeniable impact on modern music for the past few decades! Titles include "With A Little Help From My Friends", "Lucy In The Sky With Diamonds", "She's Leaving Home", "Lovely Rita", "When I'm Sixty Four", "A Day In The Life", and "Fixing A Hole".

Sure it's a soundtrack, and sure it's got a number of songs that are just instrumentals from the film – but the record also features some excellent late Beatles tracks that can only be found here – including the killer tracks "Hey Bulldog" (almost a funky nugget), "Only A Northern Song", and "All Together Now". Also includes "Yellow Submarine" (natch) – plus "It's All Too Much" and "All You Need Is Love" – and side two features a number of groovy instrumentals from George Martin – including "Pepperland", "Sea Of Holes", "March Of The Meanies", and "Pepperland Laid Waste".

Sure it's a soundtrack, and sure it's got a number of songs that are just instrumentals from the film – but the record also features some excellent late Beatles tracks that can only be found here – including the killer tracks "Hey Bulldog" (almost a funky nugget), "Only A Northern Song", and "All Together Now". Also includes "Yellow Submarine" (natch) – plus "It's All Too Much" and "All You Need Is Love" – and side two features a number of groovy instrumentals from George Martin – including "Pepperland", "Sea Of Holes", "March Of The Meanies", and "Pepperland Laid Waste".

A sweet disco cut from Maynard Parker – a cut that really takes on a whole new life here in Kenny Dope's mix! The track starts with some stark, pounding beats – almost pre-house in construction, and peppered with piano riffs and cowbell bits before giving way to some breathy, sexy vocals! Nice and warm, and plenty darn soulful – and an album's worth of masterpiece packed inside the space of a single!

Donald Byrd in a sweet electric mode – as you'd guess from the title! The set was recorded right before Byrd's legendary run with Larry Mizell in the early 70s – and the electric approach is a bit different here – a style that blends Byrd's wonderful trumpet lines with the larger ensemble mode Blue Note sometimes used in the late 60s, but with a spacey, stretched-out feel that's mighty nice! The album's somewhat similar to Byrd's Kofi set – but possibly a bit more open overall – and players here include Duke Pearson on electric piano, Jerry Dodgion on alto and sopranos ax, Frank Foster on tenor, Pepper Adams on baritone, Hermeto Pascoal on flute, Wally Richardson on guitar, Ron Carter on bass, Mickey Roker on drums, and Airto on percussion. Pearson produced, and probably arranged too – given a slight Brazilian undercurrent to the grooves – and titles include "Estavanico", "Essence", "The Dude", and "Xibaba".

A mad mix of Latin and funky rhythms – a 70s classic from the Belgian group Chakachas! The album's best known for its title hit "Jungle Fever" – an insane cut that features heavy drums, choppy guitar, and a stop/start action that's peppered with sounds of female pleasure! The track was a worldwide hit, and continues to be a funky classic today – thanks to a heavy sample history, and a life in playlists worldwide – but the rest of the album's pretty darn great too, and even weirder. Some tracks mix easy Euro grooving with heavy conga, others have kind of an LA Chicano funk approach, and still others throw in some mad horns to complicate matters with nice jazzy riffing. Really great throughout – and maybe one of the best funky albums to ever come out on a major label! Titles include "Jungle Fever", "El Canyon Rojo", "Chica Chica Bau Bau", "Eso Es El Amor", "Ay Mulata", "Cha Ka Cha", "Latin Can Can", and "Yo Soy Cubano".

A wonderful idea for a record – very unique, and with a style that makes for one of the freshest jazz vocal sets we've heard in years! The tunes here are all numbers penned by saxophonist Pepper Adams – a great change from overdone standards – and they've got some inventive lyrics penned by Barry Wallenstein, sung with a very vivid, jazzy flourish by Alexis Cole! The approach is wonderful – hardly what you'd expect from the usual jazz vocal set – and the instrumentation is also great too – a small combo, with twin tenors from Eric Alexander and Pat LaBarbera, both bringing in the kind of solo space and soulful inflections that Adams would have greatly appreciated. Titles include "Urban Dreams", "Julian", "Civilization & Its Discontents", "Lovers Of Their Time", and "Now In Our Lives".

Brilliant work from Adriana Evans – quite possibly her greatest record so far, and that's saying a lot, given how much we've loved everything she's done! There's a perfect, professional vibe to the whole set that's really amazing – soul music like soul music's supposed to be done – tight, yet never commercial – and peppered with these very slight, subtle 60s influences on some of the horn parts and other instrumentation, while still getting bumped along by some modern rhythms at the bottom. The depth to this record is astounding – and we're even more in love with Adriana's music than ever, and bet you'll be too, after hearing this wonderful album. Titles include "Waiting", "Suddenly", "Midnight", "Let You Get Away", "Weatherman", "El Sol", "Sooner Or Later", "Never Thought", and "Set In Stone".

A wild little concept album from the Four Seasons – one that's packaged in newspaper-style cover, and which presents tunes that almost have that late 60s British "snapshots of life" approach to pop – particularly that put forth by The Kinks on Village Green Preservation Society. The album's a true genius effort from Bob Gaudio – now risen to the ranks of producer for the group, and also the key songwriter for the album too – working here in tandem with the great Jake Holmes, a wonderful choice for a record like this! Arrangements are inventive, playful, and definitely at a level that shows some influence from Pet Sounds or Sgt Peppers – but there's also a focused, all-pop approach to the tunes too – one that's hook-heavy even when trippy, and which shows that the Four Seasons were as great at psychedelic and Sunshine Pop as any of the groups they'd inspired over the years. Titles include "Saturday's Father", "Wall Street Village Day", "Wonder What You'll Be", "Soul Of A Woman", "Something's On Her Mind", "American Crucifixion Resurrection", and "Mrs Stately's Garden".

Very groovy stuff! This is the music that was used in the 60s Peanuts cartoons – made famous during the same stretch through its use in goofy Dolly Madison commercials! The album's way better than any of the Peanuts stuff that was on Fantasy, as Vince plays electric harpsichord on a number of cuts, and gets some electric guitar backing by Eddie Duran – for a very groovy sound! Tracks include the classic "Linus & Lucy", plus "Red Baron", "Peppermint Patty", "Great Pumpkin Waltz", and "Rain Rain Go Away".

A trio of classics from the Thad Jones/Mel Lewis Orchestra! First up is the initial Presenting album – great music by one of the hippest large American ensembles of the late 60s – almost a US equivalent to the groovy sound of the Clark Boland Big Band over in Europe! Trumpeter Thad Jones and drummer Mel Lewis had already made some great music together on their own – but once they came together in a record like this, they really found a great new direction for their energy – a bold musical force that's strong enough to also encompass the rich talents of players who include Pepper Adams on baritone sax, Joe Farrell on tenor, Jerome Richardson on soprano sax, Richard Williams on trumpet, Bob Brookmeyer and Tom McIntosh on trombones, Hank Jones on piano, and Richard Davis on bass! The sound is full, but never overwhelming – and like the Clark Boland group, this one has a great way of breaking open to allow key soloists to have some great space on their own – a modern approach, and one that still never has the band losing its groove. Titles include "ABC Blues", "Mean What You Say", "Three & One", and "Once Around". The next album was recorded live in the Thad Jones/Mel Lewis home turf at the Village Vanguard! The group at this point was a freshly-created outfit filled with some of the best large group jazz soloists of the time – players that included Jerome Richardson, Joe Farrell, Eddie Daniels, Pepper Adams, Richard Williams, and Bob Brookmeyer – not to mention Jones and Lewis themselves! The style here is very much in the mode that the Clarke Boland Band was crafting in Europe during the same period – a redefinition of the larger jazz group, in a way that allowed it to swing with the dynamic energy and soul of some of the smaller combos of the 60s. And while the Jones/Lewis group had many years over which to hone their craft, they've never sounded better than on these initial recordings – as you'll hear on tracks that include "Samba Con Getchu", "A That's Freedom", "Bachafillen", and "Little Pixie". On the last album in the set, Ruth Brown joins the big band of Thad Jones and Mel Lewis – in a set that's a real standout in the career of all three artists! Thad and Mel already have a pretty great groove going at this point – a large ensemble approach to jazz, yet one that's swingingly soulful – very much on a par with some of Gerald Wilson's hip work of the same time at time. And adding in Ruth Brown's vocals is a great choice – as she not only needs a great showcase like this for her amazing voice, but also because she really helps unlock a soulful sort of energy that the group always had in their instrumental music. The approach is a bit like some of Etta Jones' best 60s recordings – a nice shift for Brown – and titles include "Black Coffee", "Fine Brown Frame", "You Won't Let Go", "Trouble In Mind", and "Be Anything (But Be Mine)".

A compelling combination of Brazilian forro and jazz, with a touch of American roots thrown in for good measure – all served up in a style that's pretty darn unique! Bold accordion lines are at the lead on most numbers – much more Brazilian than any sort of US or European use of the instrument, and peppered with a nice degree of percussion to create snapping rhythms that move things forward nicely. Yet there's also a bit of fiddle too, mixed with some of the vocals that underscore a much more American approach to songwriting – partly from the themes, and partly from the English language of the tracks. A few of the tunes definitely push this roots agenda a bit more strongly, and emphasize guitar more as well – yet there's also some great cavaquinho work on the album to balance out the Brazilian elements. Titles include "Toco O Sino", "Demon Chopper", "Sun Song", "Drag Me Down", "Horse Eat Corn", and "The Way I Love You".

One of the last albums Charles Mingus ever gave us – before departing this planet way way too soon! The set shows the increasing sophistication of Mingus' music in these later years – a mode that almost echoes the path that Duke Ellington would take in his final decade – a move towards some larger-form material that still holds onto all the raw energy of the early days, but finds a way to not only bridge larger musical ideas – but musical generations as well! As part of this, the set's got a wonderful lineup – with Lee Konitz on alto, Pepper Adams on baritone sax, George Coleman on tenor, Eddie Gomez on bass, and Joe Chambers on drums – and titles include the long title track, "Something Like A Bird", split up over 2 sides of the LP, plus "Farewell Farwell".

A funky funky version of "Hurts So Bad" – one that still carries all the familiar lyric of the tune, but which begins with this totally great intro that sets up a mad groove peppered with hard piano lines and guitar! The mix of the harmony vocals and the sharp groove is mighty darn nice – especially when the production starts to make things sound trippy, too! "I Think Of You" has a trippy feel too – lots of echo on the group's vocals, and guitar tuned more like a sitar – complete with the twang!

Rhonda Thomas sounds better than ever – soaring out in that wonderful mix of jazz and soul that's always made her music so great! We've been following Rhonda for years, and the journey's been a delight at every step – but this time around, the rewards are even greater – as Thomas steps off with a deeply soulful quality that almost reminds us of Maysa at her best, but delivered with some of the leaner flair of the Atlanta scene, of which Rhonda is a very big part! Instrumentation is warm, but never mellow – and there's a nice crisp edge to the rhythms, yet all without resorting to any broken beat styles, or overdone cosmic modes. The album's filled with Thomas' personality and sense of goodwill – overflowing with positive energy from the very first note! Titles include "Listen", "Just Us", "When Music Was Good", "Do Your Thing", "Darfur Woman", "Peppermint Leaves", "Something For You", and "Unmerited Favor". This version includes 3 bonus tracks "The Light (Al Ross rmx)", "Best Intentions (DJ Kemit & Alex Lattimore rmx)", and "Darfur Woman (inst)".

Monster Latin jazz and boogaloo – all the way through! The album's a rare gem from the short-lived Latin Soul years on Decca – cut by Ozzie Torrens, and featuring a great Latin lineup that includes Louie Ramirez on vibes, Charlie Palmieri on piano, and Manny Duran on trumpet – all swinging in very soulful formation, and going for the stripped-down small combo sound that the Spanish Harlem kids were using on the indie labels at the time! The tracks are all instrumentals – with heavy duty playing all the way through, and loads of rhythmic tracks that are peppered with some sock-solid jazzy solo work! The whole thing's a swinger – and titles include "Ozzaboo", "Boogaloo In Apt 41", "Way Out Mambo", "Cool Jerk", "Mia's Boogaloo", and "Tijuana Grass".

Tosca have grown up a bit since we last heard them – getting a bit more subtle, and maybe even more soulful with their sound – maturing into a mellow groove that's a bit more textured than downtempo – peppered with vocals from a shifting array of singers who help further the sound. There's still plenty of the darkness you'd love from the group's previous records, and certainly none of the cheesiness you'd guess from the hat image on the cover – and titles include "Zur Gueten Ambiance", "Stuttgart", "In My Brain Prinz Eugen", "Cavallo", "Bonjour", and "Soda".

Tosca have grown up a bit since we last heard them – getting a bit more subtle, and maybe even more soulful with their sound – maturing into a mellow groove that's a bit more textured than downtempo – peppered with vocals from a shifting array of singers who help further the sound. There's still plenty of the darkness you'd love from the group's previous records, and certainly none of the cheesiness you'd guess from the hat image on the cover – and titles include "Zur Gueten Ambiance", "Stuttgart", "In My Brain Prinz Eugen", "Cavallo", "Bonjour", and "Soda".

An incredible album – and one of the most revolutionary rock albums of the late 60s! The Who recorded this one as a tribute to mainstream radio at the time – linking together some solid stand alone tunes with shorter, wittier tracks that were recorded as commercials for products that included baked beans, acne cream, and deodorant – as well as cool announcer bits too! The end result is one of the most sonically complex records issued by a mainstream rock act of the time – sort of like The Who said "yeah, everyone's trying to copy Sgt Peppers with big arrangements, but we'll take this concept album thing in a whole new direction!" Brilliant all the way through, and with tracks that include "Armenia City In The Sky", "Heinz Baked Beans", "Mary Anne With The Shaky Hand", "I Can See For Miles", "I Can't Reach You", "Rale", "Sunrise", and "Silas Stingy".

One of the coolest collections of Beatles work by Brazilian artists in this hip series from Discobertas – a set that features groundbreaking material penned by the group in 1968 – a few tracks from famous albums, but also some real obscurities too – including some key compositions from emerging solo projects too! The range of songs here is great – way more than just Beatles' hits covered by other artists – and instead that deep contemplation of the greatness of the fab four that held Brazilian music fast in the years of the big MPB boom – which makes the album almost a return to the influence that the group had on Caetano Veloso, Gilberto Gil, and others. These recordings are all new, and the set is a huge batch of 21 titles that include "Cosmically Conscious" by Alexandre Crof, "Not Guilty" by Alvin L, "Badge" by Ramirez, "Sour Milk Sea" by Paulo Ricardo, "Lady Madonna" by A Bolha, "Singalong Junk" by Jullie, "Thingumybob" by Victor Biglione Trio, "Pepperland" by Robertino De Recife, "Step Inside Love" by Zelia Duncan, "Junk" by Regina Machado, and "Across The Universe" by Raimundo Fagner.

Includes tracks by James P Johnson, Herman Chittison, Joe Venuti & His Orchestra, Benny Carter & His Orchestra, Billy Kyle & His Swing Band, Coleman Hawkins Quartet, Sidney Bechet Quartet, the Gotham Stompers, Muggsy Spanier & His Ragtime Band, Ella Fitzgerald & Her Orchestra, Billie Holiday, and the Three Peppers.

Quite possibly the most beautiful record we've ever seen from the folks at The Numero Group – and that's saying a lot, given the quality of all their top-shelf releases! This beautiful edition features a hardcover book of vintage black and white photographs taken on Chicago's south side in the mid 70s – images of patrons and proprietors from long-lost nite spots that include Perv's House, Pepper's Hideout, The High Chaparral, and The Showcase Lounge – all the kind of clubs that were likely to feature the sort of Chicago funk and soul that Numero's been reissuing for the past few years! The images are amazing – a really rare look into the community that supported this sort of music – caught far far from the mainstream, in placed that were almost even private, compared to more well-travelled entertainment outlets. Photographs come from the collection of Michael Abramson – and are beautifully reproduced on LP-sized pages, in a book that also features some vintage flyers, posters, and business cards from the clubs! And if that's not enough, Numero also throws in some great notes of their own, and a bonus 2LP set with music that includes "I'm A Streaker Baby" by Arelean Brown, "No Better Time Than Now" by Ricky Allen, "The Same One" by Malcolm Simmons, "You Made Me Suffer" by Andrew Brown, "This Is My Prayer" by Lady Margo, "It's A Dream" by Little Ed & The Soundmasters Band, "I Sayed That" by Slim Willis Band, "Bring It Down Front" by Hugh Hawkins, "Womans Lib" by Lucille Spann, "Gimmie Some Of Yours" by Artie White, "Baby" by Walter Butterball Davis, "Is It Because I'm Black (inst)" by Syl Johnson, "Goose Walk" by Little Mack, "Young Blood" by Detroit Jr, "California Lady" by James Kinds & Stack, and "I Learned My Lesson" by Willie Davis. The albums are packaged in their own Numero-like cover – then nestled in a slipcover with the book – a hell of a sweet set at this price, and it also comes with an introduction by Nick Hornby!

Simply one of the greatest Donald Byrd albums ever! This crackling 2 part live set is perhaps one of the best realizations ever of the tight soul jazz sound put forth by the group that included Byrd, Pepper Adams, and Duke Pearson – and the whole thing's a hard-swinging live set that's marked with the group's fantastic mix of soulful playing and lyrical soloing. The whole thing's great – and this rare 2CD set features both volumes of the albums, plus a lot of extra material that wasn't on the vinyl versions! Titles include "My Girl Shirl", "Jeannine", "Pure D Funk", "Kimyas", "When Sunny Gets Blue", "Mr Lucky", "Chant", and "Child's Play".

A rock-solid set from Donald Byrd and a great group of players – a record that's got the same sharp edges and dark undercurrents of late 60s classics like Black Jack, Mustang, and Slow Drag! As with those gems, this album's got Donald really experimenting a bit more – especially with the rhythms – which are put forth by a hip trio that features Chick Corea on piano, Miroslav Vitous on bass, and Mickey Roker on drums! But almost even better is the frontline – with Sonny Red making one of his sublime appearances with Byrd, blowing alto with an edge that's amazing – and frequent partner Pepper Adams, adding plenty of baritone on the deep end. The whole thing's great – oddly unreleased until the start of the 80s – and titles include "Samba Yanta", "I Will Wait For You", "Blues Medium Rare", "The Creeper", "Chico-San", "Early Sunday Morning", and "Blues Well Done".

Stanley Turrentine's no spoiler here – as his tenor sax soars out over the top of some sweet larger group arrangements from Duke Pearson – all awash in a great sense of soul, joy, and life! The album's got a much brighter feel than you might guess from the cover – a vibe that's a bit similar to Stan's classic Joyride album, but a bit more open and free – thanks to the lyrical touches of Pearson on the charts. Other players include Blue Mitchell on trumpet, Julian Priester on trombone, James Spaulding on alto and flute, and Pepper Dadams on baritone sax – plus rhythm from McCoy Tyner on piano, Bob Cranshaw on electric bass, Mickey Roker on drums, and Joseph Rivera on percussion. As on some of the other Pearson dates from the time – particularly those with Donald Byrd – the use of electric bass really opens things up, by creating a subtle rhythmic pulse that really drives most numbers along. And also in the Pearson mode, the added players aren't really a horn section in the conventional way – just a group of like-minded, top-shelf jazz players who egg on the main soloist with a great sense of enthusiasm for the music! Titles include "La Fiesta", "The Magilla", "Sunny", "Maybe September", "You're Gonna Hear From Me", and "When The Sun Comes Out".

Pepper Adams never fails to blow us away in a small group setting – and here, on a killer quartet date from the early 80s, he really wins us over all over again! The album's one of those great ones from Adams – in which he's really let loose to open up and blow some extended, imaginative solos – the kind of open-ended baritone sax romps that few (if any) other players could do this well! The rhythm section kicks with just the right sort of energy for the tunes – Jimmy Rowles on piano, George Mraz on bass, and Billy Hart on drums – and titles include "Trentino", "Urban Dreams", "Three Little Words", "Dexter Rides Again", and "Time Is On My Hands".

Sure it's a soundtrack, and sure it's got a number of songs that are just instrumentals from the film – but the record also features some excellent late Beatles tracks that can only be found here – including the killer tracks "Hey Bulldog" (almost a funky nugget), "Only A Northern Song", and "All Together Now". Also includes "Yellow Submarine" (natch) – plus "It's All Too Much" and "All You Need Is Love" – and side two features a number of groovy instrumentals from George Martin – including "Pepperland", "Sea Of Holes", "March Of The Meanies", and "Pepperland Laid Waste".

A rock-solid set from Donald Byrd and a great group of players – a record that's got the same sharp edges and dark undercurrents of late 60s classics like Black Jack, Mustang, and Slow Drag! As with those gems, this album's got Donald really experimenting a bit more – especially with the rhythms – which are put forth by a hip trio that features Chick Corea on piano, Miroslav Vitous on bass, and Mickey Roker on drums! But almost even better is the frontline – with Sonny Red making one of his sublime appearances with Byrd, blowing alto with an edge that's amazing – and frequent partner Pepper Adams, adding plenty of baritone on the deep end. The whole thing's great – oddly unreleased until the start of the 80s – and titles include "Samba Yanta", "I Will Wait For You", "Blues Medium Rare", "The Creeper", "Chico-San", "Early Sunday Morning", and "Blues Well Done".

A rock-solid set from Donald Byrd and a great group of players – a record that's got the same sharp edges and dark undercurrents of late 60s classics like Black Jack, Mustang, and Slow Drag! As with those gems, this album's got Donald really experimenting a bit more – especially with the rhythms – which are put forth by a hip trio that features Chick Corea on piano, Miroslav Vitous on bass, and Mickey Roker on drums! But almost even better is the frontline – with Sonny Red making one of his sublime appearances with Byrd, blowing alto with an edge that's amazing – and frequent partner Pepper Adams, adding plenty of baritone on the deep end. The whole thing's great – oddly unreleased until the start of the 80s – and titles include "Samba Yanta", "I Will Wait For You", "Blues Medium Rare", "The Creeper", "Chico-San", "Early Sunday Morning", and "Blues Well Done".

2 classic albums of late 50s jazz – both showcasing the rich talents of players from Detroit! First up on the disc is the album Motor City Scene – recorded for United Artists under the leadership of Thad Jones in 1959. The set features Thad at his best – late 50s, and working with an excellent group of hometown players! The album's more open and rough than some of Thad's excellent Blue Note sides from the time – in a really great way, one that makes for the kind of session that you rarely get to hear from Thad. Other players include Tommy Flanagan, Al Grey, Paul Chambers, Elvin Jones, and the great Billy Mitchell – whose tenor work on Jones' albums from the time is worth the price of admission alone! Titles include "Like Old Times", "Minor On Top", "Let's Play One", and "No Refill". The next 5 tracks on the set are from a 1960 session for Bethlehem – also titled Motor City Theme, recorded under the leadership of Donald Byrd and Pepper Adams. The two of them groove nicely here with a sextet that includes guitarist Kenny Burrell, pianist Tommy Flanagan, bassist Paul Chambers, and drummer "Hey" Lewis (another name for Louis Hayes!) The band is very tight, and the tracks are long enough that everybody gets in some good licks on the solos. Titles include "Trio", "Philson", "Libeccio", and "Bitty Ditty". Way harder than most of the west coast sessions on Bethlehem too!

Late 60s magic from Martin Denny – a pair of albums back to back on a single CD! On A Taste Of India, Martin Denny takes a tip from the sound of the East – adding some slight Indian flavors to his usual exotica groove – with the help of arranger George Tipton! Most of the music is still in the lush piano instrumental mode that Denny was using in these later Liberty years – but things are definitely groovy throughout, even if the Indian elements are sometimes used in ways that are more bossa than anything else. Maybe not the clearest picture you'll get of the sound of India in the 60s – but a sweet little record, with titles that include "Incense & Peppermints", "Live For Life", "Touch Of India", "Hypnotique", and "Indrani". Exotica Classica is pretty darn nice later work from Martin Denny – a great batch of sexy tracks with stunning backings, and a really nice late 60s mellow piano groove! The great Nick DeCaro handled the arrangements, and gives the record a feel that's almost like A&M Records at times – with these nice weird percussion bits amidst more polished larger arrangements – all punctuated by these sweet piano lines from Denny! The overall feel is less classical than Frenchy/sexy – but that's OK with us – and titles include "Exotic Night", "For Lovers", "The Terry Theme", "Stella By Starlight", and "I Will Wait For You".

Classic work from this cool 70s combo – one of their smoking samba sets for the Tapecar label – a great illustration of the rich energy going on in the Brazilian indie scene at the time! Samba really burst strongly back to the forefront in the 70s – and although some artists commercialized the genre strongly, these guys really kept things at their best basic level – working here in a very spontaneous sort of way – with plenty of percussion bouncing up a groove from the bottom, peppered with lots of tight guitar lines, all in service of these joyous vocals from the whole ensemble! The set features a bit of guest work from Roque Do Pla and Noel Rosa De Oliveira – and titles include "Cara De Pau", "Farinha Na Cuia", "Fundanga", "Catimbere", "Que E Isso", "Quem E Da Bahia Nao Pode Cair", and "Trocando Rosas".

A killer debut from Rasputin Stash – a funky group who work with all the long-haired inspiration you'd expect from their name! The groove is a mix of guitars and tight horns – undercut by the kind of heavy basslines that later made the group a good fit for Curtom Records, and lots of cool percussion touches that pepper the bottom of the rhythms nicely – with a pretty spontaneous feel! At times, there's almost a Watts 103rd Street Rhythm Band vibe to the record, but mixed with some of the trippier influences of the Westbound crew – especially on the guitar – and like those artists, these guys have no trouble at all dipping into a touch of rock here and there to trip out their groove. Titles include "Mr Cool", "You Are My Flower", "Dookey Shoe", "I Want To Say You're Welcome", "Take Me On Back", and "Freaks Prayer".

One of the best Brit psychedelic rock albums of the late 60s – one that sounds incredible to this day! On Ogden's Nut Gone Flake the group really found a way to spin a heady, organ rich, drum heavy, and all around big sound into the structure of the 2 1/2 to 4 1/2 minute pop structure – with out sacrificing a bit of the bombast, or burying a genuine groove in superfluous noise cycles. Truly wonderful stuff – we'll listen to this more often than Sgt. Peppers in our lifetime! Tracks include "Ogden's Nut Gone Flake", "Afterglow Of Your Love", "Long Ago And World's Apart", "Rene", "Lazy Sunday", "Rollin' Over", "The Journey", "Mad John", "Happydaystoytown" and more. This great 2CD remastered edition a bonus disc of early and alternate versions, rare takes and instrumentals – in a heavy duty package with a nice booklet of notes, too! 26 tracks on 2CDs.

Heavy funk galore – and easily one of the best titles in the massive Super Funk series! This one seems to go deeper than all the previous volumes – really digging down for some obscure tracks that push past the obvious funky 45 standards, to include some lost gems from rare sources in the southern scene! The set's awash in hard drums, fuzzy bass, tripped out guitar, and lots of rootsy deep soul vocals – stepping from track to track with a quality level that beats most other funky 45 collections on the market, made even better by some superb liner notes from compiler Dean Rudland! Titles include "I Got Some" by Billy Garner, "Deep Soul (part 2)" by Ron Buford, "Doin The Model" by Eddie Clearwater, "Crazy Legs (part 2)" by Albert Washington, "Momma Momma" by Betty Barney, "Don't Ever Change" by Chet Ivey & His Fabulous Avengers, "The Warm Up (part 1)" by Clifton White, "Chicken Scratch" by The Chili Peppers, "Fat N Funky" by Charles Crawford, "Super Cool (You're Just A Super Fool)" by Pat Hunt, "Out Of Sight" by The Soulsetters, and "Boogaloo Party" by Joe Swift's International. 20 tracks in all!

Heavy funk galore – and easily one of the best titles in the massive Super Funk series! This one seems to go deeper than all the previous volumes – really digging down for some obscure tracks that push past the obvious funky 45 standards, to include some lost gems from rare sources in the southern scene! The set's awash in hard drums, fuzzy bass, tripped out guitar, and lots of rootsy deep soul vocals – stepping from track to track with a quality level that beats most other funky 45 collections on the market, made even better by some superb liner notes from compiler Dean Rudland! Titles include "I Got Some" by Billy Garner, "Deep Soul (part 2)" by Ron Buford, "Doin The Model" by Eddie Clearwater, "Crazy Legs (part 2)" by Albert Washington, "Momma Momma" by Betty Barney, "Don't Ever Change" by Chet Ivey & His Fabulous Avengers, "The Warm Up (part 1)" by Clifton White, "Chicken Scratch" by The Chili Peppers, "Fat N Funky" by Charles Crawford, "Super Cool (You're Just A Super Fool)" by Pat Hunt, "Out Of Sight" by The Soulsetters, and "Boogaloo Party" by Joe Swift's International. 20 tracks in all!

An overlooked gem from Pepper – with piano by Roland Hanna, bass by George Mraz, and drums by Billy Hart! Titles include "Reflectory", "Etude Diabolique", "Claudette's Way", and "That's All".

An early 80s look at Latin jazz from David Amram – with a who's who of Latin jazz players and stellar jazz musicians of other realms – including Paquito D'Riveria, Candido, Machito & Machito Jr, Brazilian percussion guru Duduca Fonseca, David Fathead Newman, Jimmy Knepper, Pepper Adams and others others! What could have come out as clinical or academic comes through with passion and affection, partly because Amram could get such incredible players on the record, but mostly because the multi-instrumentalist ring leader is genuinely celebrating the music rather than simply replicating it. Includes "En Memoria De Chano Pozo, "New York Charanga", "Brazilian Memories", "Celebration", "Song Of The Rainforest" and more.

Pure wonderfulness from Charles Bradley – two killer cuts that really sum up his contemporary genius! "Strictly Reserved" has this slow funk groove that's nice and sinister – a stepping guitar riff that really sets up the groove right from the start – topped with these incredibly soulful vocals from Charles, and peppered with just the right dose of horns! "Let Love Stand A Chance" is a killer too – mellower, and a bit more deep soul – with a burning feel that almost blows away the best James Brown ballads of the King Records years!

Three groundbreaking albums from reedman Jan Garbarek – packaged in a single set! First up is Sart – a great example of the way that ECM helped to bring the voice of the Scandinavian jazz underground to the world at large – as the album's a key showcase for the talents of budding young modernists Jan Garbarek, Bobo Stenson, Terje Rypdal, and Arild Andersen! The record's got a really unusual quality that's quite different from the more jamming fusion or freer jazz of the mid European scene – a sense that plays with space between the notes as much as it does the sounds of the individual instruments, and which seems perfectly cast for the newer style of jazz recording pioneered by ECM. Garbarek plays tenor, bass, and flute on the record; Stenson is on electric and acoustic piano; Rypdal on guitar, Andersen on acoustic (but amplified?) bass, and Jon Christensen is on drums. Titles include "IRR", "Song Of Space", "Close Enough For Jazz", "Sart", and "Fountain Of Tears". Witchi Tai To is warm and wonderful sounds from Garbarek – and a record that brings together so many strands at once! There's of course the obvious atmospherics you might expect from a 70s set on ECM – but there's also some sharply modern moments too – that harder sound that the label was endorsing while helping to shape the world of European jazz on both sides of the fence. And there's even some surprisingly soulful moments, too – not just from Jan's work on tenor and soprano sax, but also from the piano of Bobo Stenson – which rings out wonderfully amidst subtle bass from Palle Danielsson and drums from Jon Christensen. Titles include a great version of Jim Pepper's "Witchi Tai To", plus "Hasta Siempre", "AIR", and "Desireless". Dansere is one of the highlights of saxophonist Jan Garbarek at ECM – and a set that has him working with the well-matched lineup of Bobo Stenson on piano, Palle Danielsson on bass, and Jon Christensen on drums! The shape of the songs is a bit looser than before, but Garbarek and Stenson turn out to be perfect in the setting – opening up, stretching out, and breaking down convention – yet also never losing themselves in self-indulgence either. Titles include "Dansere", "Lokk", "Fris", "Til Vennene", and "Skrik & Hyl".

A stone classic on Verve! Back in the 60s, Wes Montgomery must have been California Dreamin – because by the time of this LP, he'd come a long way from his Indiana roots – and had used the best part of the hip west coast scene to add a lot to his style – fuller rhythms and tighter production that never dampened his sound, and instead really let him open up into a whole new range of sounds! As with some of his other albums on Verve, Montgomery plays warmly chromatic riffs over dark jazzy backings by Don Sebesky – and although tracks are short, Wes gets a lot into his solos on the set – a masterful approach that was almost better in a tighter setting than a looser one! Titles include "Sun Down", "Without You", "Sunny", "Green Peppers", "Mr Walker", and "Winds Of Barcelona".

2 rare albums by this obscure soul jazz combo! The Modern Jazz Disciples are one of those groups that will make you scratch your head and say "who the heck were they?" Unfortunately, we can't answer that question with much information, except to tell you that they were part of the underground of tight local soul jazz acts that peppered America in the 60's, but hardly ever got recorded. Fortunately, these two sessions brought the group out of their native Cincinnatti for a session on New Jazz that ranks right up there with the best soul jazz sides on Prestige. Curtis Peagler (just about the only name in the group that we do recognize) plays alto and tenor, and William Kelly plays this crazy instrument called the Normaphone, which is a valve trombone in the shape of a saxophone, and which has a deep brass sound to it. William Brown plays piano, and the set rolls along with a gutbuckety soul jazz groove on cuts like "Disciples Blues", "Slippin & Slidin", "A Little Taste", "Kelley's Line", "Hapnin's", "Right Down Front", "Ros-Al", and "Along Came Cheryl".

One of the best Brit psychedelic rock albums of the late 60s – one that sounds incredible to this day! On Ogden's Nut Gone Flake the group really found a way to spin a heady, organ rich, drum heavy, and all around big sound into the structure of the 2 1/2 to 4 1/2 minute pop structure – with out sacrificing a bit of the bombast, or burying a genuine groove in superfluous noise cycles. Truly wonderful stuff – we'll listen to this more often than Sgt. Peppers in our lifetime! Tracks include "Ogden's Nut Gone Flake", "Afterglow Of Your Love", "Long Ago And World's Apart", "Rene", "Lazy Sunday", "Rollin' Over", "The Journey", "Mad John", "Happydaystoytown" and more.

Freaky funk tracks by a hip French combo – one that's equal parts mod grooving and sci-fi electronics – all served up in a blend that's mighty nice! Cucumber definitely have a retro vibe, yet refer to a past that never existed at all – a space where moog, Hammond, and theremin co-exist peacefully, often within a single groove – driven on by funky rhythms and an overall vibe that feels like some lost sound library instrumentals from the vaults of KPM! The album's wonderful throughout – way more funky than gimmicky – and a lot harder-hitting than you'd expect from the silly cover. Titles include "Hot Pepper Soda", "Chris Clubber", "Polaroid", "12 Lightyears Per Hour", "Le Deodorant", "Shocking", "Yves Emmanuel Shankar", "Malyflow's Garden", and "I Thank Her Majesty The Queen".

Booty Green steps out of the Johnny Otis Show – to deliver a raunchy batch of comedy tracks on this classic party album from the 70s! The feel here is a lot like some of the bigger names of the time – such as Rudy Ray Moore or Doug Clark – lots of raw jokes, served up before a very lively crowd – some strong party energy that Booty really keeps going throughout the set! Titles include "Chinese Soul Sisters", "Soul Brothers Restaurant", "The Baddest Mother In The House", "The Nurse", and "Talking Clothes". CD also features a full bonus album too – Sonny & Pepper's Battle Of The Sexes!

David Hill rocks it hard on "Wild Child" – starting with a cool humming vocal at the beginning, then running into a quick-vamp mode that's peppered with lots of smoking guitar! Little Esther takes on the tune on the flipside – but gives it a much stronger soul-based approach – really belting things out with the sort of incredible vocals that made the young Esther Phillips an R&B powerhouse right from the start!