Beautiful late work from Art Pepper – one of his albums recorded for the well-done Artist House label, and a set that's maybe got a different vibe than some of his Galaxy recordings of the time! There's a rock-solid sense of soul to the record – one that comes from the work of two different rhythm trios – one that features George Cables on piano, Charlie Haden on bass, and Billy Higgins on drums – a rhythm trio who keep things swinging, but never in a way that's too straight – pushing Art a bit around the edges, but letting him come right down the middle with some fantastic solos on alto – the other with Hank Jones on piano, Ron Carter on bass, and Al Foster on drums. Tunes are a bit shorter than on some other albums of the period, but in a great way that really lets you focus in on Pepper's amazing sound –and titles include "Diane", "Stardust", "Blues For Blanche", and "Straight No Chaser". CD

A great little record from Art Pepper – four long tracks that really have him stretching out on alto – but in a way that's maybe a bit different than some of his more burning albums on the Galaxy label at the time! The group here follows from some of the previous Artist House recordings – George Cables on piano, Charlie Haden on bass, and Billy Higgins on drums – a rhythm combo that's mighty nice – and which benefits from some great straight basswork from Haden, and Higgins' always compelling sense of rhythm! Titles include "My Friend John", "Stardust", and "Tin Tin Deo" – plus a reading of "In A Mellotone" that has Art on clarinet. CD features six bonus tracks – the tune "Art's Sweet Blues", and alternates of "But Beautiful", "Yesterdays", "Stardust", "In A Mellow Tone", and "You Go To My Head". CD

Revelatory work from the great Art Pepper – presented here in a complete package for the first time ever. In Pepper's later years, his live dates were often more mindblowing than his studio sessions – especially when the tape was rolling over a long stretch, as was the case over the three nights of recordings presented here! Art's on alto, in a tight group with George Cables on piano – arguably one of his most sensitive accompanists in these years – plus David Williams on bass and Carl Burnett on drums – a lineup that remains firm through the seven sets of music captured in this collection. The package features 42 performances, including 23 performances that appear here for the first time ever, plus bits of banter and other between-song conversation – all wrapped up in a box with a 44 page booklet of notes. Titles include "For Freddie", "Without A Song", "Road Waltz", "Mambo Koyama", "Allen's Alley", "Begin The Beguine", "Landscape", "Valse Triste", "But Beautiful", "Roadgame", "For Freddie", "Donna Lee", "Samba Mom Mom", "Yours Is My Heart Alone", and "Arthur's Blues". CD

A really smoking live set from Art Pepper – recorded quite late in his too-short career, and a great reminder that he still had plenty to offer us when he left the planet! The tracks are all very long, and Art's a masterful soloist throughout – blowing with the sort of non-stop energy and creative vision used on some of his famous expanded live dates from the final years – including the Vanguard sessions box set! Yet there's also maybe even more bite here – a very intense approach a times, driven strongly by a trio that features Milcho Leviev on piano, George Mraz on bass, and Al Foster on some especially strong drums. Titles include "Goodbye", "Red Car", "What Is This Thing Called Love", and "Make A List Make A Wish". CD

A nicely focused set from the great Art Pepper – a record that features a number of familiar bop and jazz themes, but set to a more open, relaxed, and very soulful style that wonderfully reflects all the greatness of Pepper in his final years! The group on the record is nicely understated, but still very hip – George Cables on piano, Charlie Haden on bass, and Billy Higgins on drums – and Art gets plenty of space to step out front and really blow these amazing solos, including one number that features just bass and drums, while Pepper blows a bit of clarinet – which we always love. All other titles feature alto sax – and titles include "Donna Lee", "Anthropology", "You Go To My Head", "Body & Soul", and "Desafinado". CD

A New York album, but one that was oddly recorded in Burbank – and which has Art Pepper sounding very much at the top of his game! The format here is a bit like the other Artist House Pepper sessions, and those he did for the Japanese Atlas label – tight, focused, often tunes that are older jazz or bop standards – but swing with a great rhythm section, and topped with completely sublime alto solos from the leader! The quartet features Hank Jones on piano, Ron Carter on bass, and Al Foster on drums – but one number is a duo between Carter and Pepper, and another features just piano and alto. Titles include "Night In Tunisia", "Lover Man", "Duo Blues", "My Friend John", and "Straight No Chaser". CD features bonus tracks – a version of "Lover Man" with clarinet, the tune "Johnny's Blues", and three more alternate takes from the album! CD

A hell of a record – and one that's not just noteworthy for being one of the rare few sessions as a leader from pianist Dolo Coker – but also for the sideman work by Art Pepper and Blue Mitchell! The pairing of Mitchell and Pepper is an unusual one, but it works wonderfully here – as Art's got a crisp, soulful tone on both alto and his newly-acquired tenor, and Mitchell blows in a real back-to-basics hardbop mode that's much more similar to his Blue Note work than his other electric sessions of the mid 70s! Yet Coker's also a cooker too – and his deft phrasing and soulful currents really make the session move – set fire by the work of Leroy Vinnegar on bass and Frank Butler on drums. Titles include "Roots 4FB", "Mr Yohe", "Tale Of Two Cities", "Jumping Jacks", and "Gone Again". CD features the bonus track "Round Midnight". CD

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". CD

A groovy moogy classic! This was one of the first records to apply the moog sound in a pop idiom in a major way – and boy, is it a resounding success with us! Hugo Montenegro scores a number of pop tracks and originals in the same cool jazzy style that he used on his best 60's soundtracks, then, he builds in a lot of groovy moog parts, and peppers the tracks with some vocals by male members of his chorus. The tracks have a lot of nice sharp bits that might be used as samples, with good quirky moog moments, and occasional heavy drums. Tracks include "Moog Power", "Dizzy", "You Showed Me", "More Today Than Yesterday", "Hair", and a very cool cover of "MacArthur Park". CD

A record with a really beautiful title – and a sound that definitely lives up to the "Sailing Ice" on the cover! The music is very much in the best post-Coltrane mode – played by a group led by the great Japanese drummer Motohiko Hino, and featuring Mabumi Yamaguchi on tenor and Yasuaki Shimizu on soprano and tenor – two reed players who really express themselves with a great sense of spirituality, and lots of searching energy throughout. The tracks are mostly originals (save for a version of "Soultrane") – served up in freewheeling modal grooves, and peppered with sharp, soulful solos that search out bold new territory, but which never get too free and sloppy. The set was recorded live, but the recording quality is excellent – and titles include "Sailing Ice", "New Moon", and "Soultrane". CD features bonus tracks "Rio Rome" and "Milky Shade". CD

A nice little record that lives up to the name of the group – a record that's maybe jazz at the core, but served up in very cinematic ways – very much the spirit of the dark, moody image pictured on the cover! This isn't chase, crime, or cop music – but instead maybe the sounds you'd hear on the journey home after the battle – slow funk in the rhythms, peppered with great work on vibes, piano, and mellotron from Pierre Chretien – who also wrote, arranged, and produced the whole record too! Most tunes have a nice light melody over heavier drums and percussion on the bottom – never too over the top, but well-paced in a way that really makes this one stand out from the pack. Titles include "Les Corbeaux", "Eveil De La Cite", "Aube Sur La Ville", "Fleurs De Bitume", "Le Petit Cimetiere", "Apres Le Deluge", and "Illusions Perdues". CD

A record with a really beautiful title – and a sound that definitely lives up to the "Sailing Ice" on the cover! The music is very much in the best post-Coltrane mode – played by a group led by the great Japanese drummer Motohiko Hino, and featuring Mabumi Yamaguchi on tenor and Yasuaki Shimizu on soprano and tenor – two reed players who really express themselves with a great sense of spirituality, and lots of searching energy throughout. The tracks are mostly originals (save for a version of "Soultrane") – served up in freewheeling modal grooves, and peppered with sharp, soulful solos that search out bold new territory, but which never get too free and sloppy. The set was recorded live, but the recording quality is excellent – and titles include "Rio Rome", "Sailing Ice", "Milky Shade", and "New Moon". CD

Funky funky Thailand – just about the only 70s funk group we've ever seen from that part of the globe, and a great one at that! The Impossibles work in a tightly-crafted ensemble funk style that's clearly influenced by Kool & The Gang – but which also has the group hitting some well-polished notes on a few of the album's vocal numbers – in a totally cool groove that's got plenty of hard funky riffs at the bottom, sweet horns in the middle, and some great compressed pop vocals on the top! The album's a real lost treasure – one that we've never seen on this side of the Atlantic – and was oddly recorded and issued in Sweden in the mid 70s! But this album is way more than just a musical oddity – as it's super-funky all the way through, with a level of quality that will have it at the top of your crates for a long, long time! Titles include "Hotpepper", "Give It Up", "California", "C'mon Baby", "Easy To Be Hard", "Pretty Thing", "Love Will Keep Us Together", and "Love The Life You Live". CD

A legendary record from the late 60s scene in Peru – recorded by a group with the mod roots you might guess from their look on the cover, but who are definitely starting to let their hair down and get a bigger dose of the psychedelic generation in their mix! Instrumentation features all the fuzzy guitars and organ lines you might expect – delivered at that level that's made the group one of the key proponents of the legendary Peruvian scene at the time – one of the heights of South American rock experimentation. The group turn in unusual versions of "In-A-Gadda-Da-Vida", "Strange Brew" and "Hey Joe" – and they serve up some wild originals too, including "Pepper's Boogaloo", "Answer", "Is My Guitar", "Raga Gag", "Words Of Pain", and the wild "Betty Boom Little Monster Doggie & Peggie At The Witches Castle". CD version has 3 bonus cuts – including a Spanish version of "Stormy", plus the instrumentals "Un Nuevo Verano" and "Outside Woman Blues". CD

An all-star group take on the music of Duke Pearson – paying wonderful tribute to the kind of special, soulful grooves that Duke cooked up during his too-short career on Blue Note Records in the 60s! The lineup here is top-shelf, and very much in keeping with the sort of strong combos that Pearson would put together – both for records under his own name, and as a producer for Blue Note – and the lineup here features Diego Rivera on tenor and soprano sax, Art Hirahara on piano, Boris Kozlov on bass, and Vinnie Sperrazza on drums – a no-nonsense group who really focus in on the best elements of the songs, then let loose with great solo work. Jon Davis replaces Hirahara on three tracks on the set on piano – and titles include the great tune "Is That So", plus "You Know I Care", "Sweet Honey Bee", "ESP", "Chili Peppers", "Ready Rudy", and "Idle Moments". CD

A set of incredible records from Charles Mingus – all presented together in one mighty nice package! First up is Mingus Moves – a fantastic fresh new chapter in the career of Charles Mingus – a set that features the addition of two key players who would really shape his sound in the 70s – Don Pullen on piano and George Adams on tenor, both completely wonderful here! The group also features excellent trumpet from Roland Hampton, a player we don't know from many other settings – and the set also features some really nice vocal work from Honi Gordon and Doug Hammond. Titles include "Canon", "Moves", "Wee", "Flowers For A Lady", "Opus 3", and "Newcomer". CD also features bonus tracks – "Big Alice" and "The Call". Changes is key 70s work from Charles Mingus – an album that was recorded over the course of three days of creative activity at the end of 1974, but somehow split into two different albums under the Changes name! The lineup here is prime 70s Mingus – George Adams on tenor, Jack Walrath on trumpet, and Don Pullen on piano – young players who really give a fresh voice to Mingus' musical ideas, and help him find this beautiful late life sense of color, tone, and timing that's completely sublime! Titles on this second volume include "Sue's Changes", "Devil Blues", "Remember Rockefeller At Attica", "Free Cell Block F Tis Nazi USA", "Black Bats & Poles", "For Harry Carney", and "Duke Ellington's Sound Of Love" – which features a guest appearance by Marcus Belgrave on trumpet and Jackie Paris on vocals. On 3 Or 4 Shades Of Blues, Charles Mingus is returning to the soulful gospel-influenced mode he swung big in the early 60s! The record's something of a later predecessor of the classics Blues & Roots for Atlantic and Mingus (x5) for Impulse – and the style is slightly less dramatic, but still quite steeped in soulful explorations that feature plenty of notes from the bluer side of the spectrum! Players include George Coleman and Ricky Ford on tenor, Jack Walrath on trumpet, and Larry Coryell on guitar – and titles include new takes on "Better Git Hit In Your Soul" and "Goodbye Porkpie Hat" – plus"Nobody Knows", "Noddin Ya Head Blues", and "Three Or Four Shades Of Blues". Next is Cumbia & Jazz Fusion – one of the most enigmatic albums that Charles Mingus ever recorded – especially in his later years! The set features two very long tracks done by Mingus for use in a film about cocaine traffic between New York and Columbia – but considering the nature of the music, and the freely exploratory style, both numbers here stand very well on their own! Although touched with some of the Latin influences you might expect from the title, the sounds are often darker and more brooding than, say, the Mingus style on the classic Tijuana Moods set. And instead, there's a very serious soundtrack-like vibe going on through most of the set – larger jazz orchestrations used to beautifully underscore subtle themes, and breakout solo moments from players who include Mauricio Smith on flute, Paul Jeffrey on tenor sax, Jack Walrath on trumpet, and Jimmy Knepper on trombone. The album also features a fair bit of added percussion – and features two long tracks, "Cumbia & Jazz Fusion" and "Music For Todo Modo". Me Myself An Eye is complicated later work from Charles Mingus – a great illustration of the way his power to command a large ensemble never wavered as the years went on! The album features two different large groups of players – filled with modernists young and old – including Ricky Ford, George Coleman, and Michael Brecker on tenors; Ronni Cuber and Pepper Adams on baritone; Randy Brecker and Jack Walrath on trumpets; Lee Konitz on alto, Larry Coryell on guitar, Slide Hampton on trombone, and Eddie Gomez on bass. Side one features the 30 minute track "Three Worlds Of Drums", and side two contains a remake of "Wednesday Night Prayer Meeting", plus "Devil Woman" and "Carolyn Keki Mingus". Something Like A Bird is 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". CD

One of the hippest sets that Duke Pearson ever recorded – and an all-out Blue Note soul jazz set that's even better than Pearson's classic Sweet Honey Bee! Duke's style is deeper and more farther-reaching here – with echoes of styles used at the time by Hank Mobley and Lee Morgan – carried off with some of the more tightly-arranged modes used by Pearson on his backdrops for other players at the time. The group here includes James Spaulding on alto, Freddie Hubbard on trumpet, Jerry Dodgion on alto and flute, Stanley Turrentine on tenor, Garnett Brown on trombone, and rhythm by Gene Taylor on bass and Grady Tate on drums. Tracks have a strong overall focus on the groove – rolling around in that rollicking mid 60s Blue Note style that Pearson helped establish as the label's trademark at the time – but titles are also touched with some of Duke's lighter lyricism, especially on his own solos. Titles include "Make It Good", "Chili Peppers", "Rotary", "Los Malos Hombres", and "Scrap Iron". CD

A long-overdue follow up to the legendary first Ghana Special collection – and one that presents a second chapter of work – not just from the regional scene, but from a time when some of its best artists were also recording in other nations too! The result is a more powerful, soulful style than before – not in a too-commercial "world music" way, but instead blended with elements of soul, funk, and newer club styles to really kick up the groove a bit more – while still keeping all the best elements of the 70s groove intact! There's definitely some drum machine rhythms along the way, but the overall vibe is still nice and warm – and very different than more electro-styled work from the South African scene of the time – and as always with Soundway, the notes and track selection are superb. Titles include "Ebe Ye Yie Ni" by The Godfathers, "Obiara Bewu" by Rex Gyamfi, "Kaakyire Nua" by George Darko, "Adjoa Amisa" by Andy Vans, "Barima Nsu" by Kwasi Afari Minta, "Mumude" by Nan Mayen, "Sii Nana" by Bessa Simons, "New Dance" by Ernest Honny, "Fre Me" by Charles Amoah, "Jigi Jigi" by Dadadi, "Apple" by Gyedu Blay Ambolley, "Alaiye" by Abdul Raheem, "Gye Wani" by Pat Thomas, and "MC Mambo" by Pepper Onion Ginger & Salt. CD

That slightly creepy photo on the cover makes the kids look a bit more like cult members than the kind of sunny, happy flower children you might normally expect – and that's actually part of the quality of the package, too – as the set really gets at all the wonderful tensions taking place in American music in 1967 – a time of great freedom and optimism, but one with an undercurrent of darkness as well! The set really dives deeply into the crucial year of 1967, and goes way past the oldies and radio hits that most people associate with the musical moment – to bring together all sorts of cool cuts that often were only trading hands with the deeper chapters of the underground, mixed with a few other tracks from artists who got more play at the time, but were also changing the system from within! As with other Grapefruit collections, the notes and presentation are as great as the song choices – and the set features 85 titles in all, with work from The Balloon Farm, Gates Of Eden, Zodiac, Vanilla Fudge, Red Crayola, Lemon Drops, Cyrkle, Peppermint Trolley Company, Tim Rose, Spike Drivers, Blues Magoos, Sound Barrier, Grateful Dead, Thursdays Children, The ID, Zakary Thaks, Velvet Underground, Clear Light, Critters, Sagittarius, Jim & Jean, Sonny, Blue Things, Morning Dew, and many others! CD

Essential funk in a single set – three killer albums from James Brown's legendary backing group! First up is Food For Thought – the classic first album by The JBs – James Brown's Fred Wesley-led backing band, and the force behind most of his greatest records of the early 70s! The band are incredible at this point – sharper, harder, and funkier than just about any other combo around – and that includes all the thousands of groups in the funky 45 underground who were always trying to copy their sound, but never got things this right! Not only are the rhythms the stuff of legend – but the use of the instruments is far far above the norm – as can be heard on the mindblowing "The Grunt", which was sampled heavily by Public Enemy to great fame – and which features a saxophone solo that sounds more like a whistling tea kettle! The set collects some of the group's best early singles, and includes all of the short little funky cuts that made them a legend right out of the box – "Pass the Peas", "The Grunt", "These Are The JBs", "Hot Pants Road", "Wine Spot", "To My Brother", "Blessed Blackness", "Theme From King Heroin", "Escapism (parts 1 & 2), and "Gimme Some More" – all together here in one tight little album of massive funky hard beats and breaks! Doing It To Death is an incredible album – a landmark piece of funk that nobody should be without, funk fan or not! The album is the second to feature James Brown's famous backing combo of the early 70s – and unlike their first one, which was really more of a collection of singles, this album has the group playing hard, long, and loud, in the free funk improvisational mode that was James' real contribution to the music at the time. The tracks are all incredibly long, with James at the forefront, egging the band on with shouts and comments – but also letting them open up large instrumentally, playing in a mode that's as much jazz as it is funky soul. The whole thing's peppered with some nice shorter segues between tracks – but the long cuts are the winners, and are some of the best funk ever recorded! Titles include "Mo Peas", "Doing It To Death", "La Di Da La Di Day", "You Can Have Watergate, Just Gimme Some Bucks & I'll Be Straight", and "Sucker". Last up is Damn Right I Am Somebody – quite possibly our favorite record by the JBs, ever! The set starts with a wonderful conversational bit – rapping and musing on the idea of "Damn Right, I Am Somebody" – showing the group in a political and righteous mode for the first time ever. The grooves then kick in – with the same heavy funk as on earlier records, but also a nice nod towards experimental production – from strange fade ups and fade downs, to stark time and rhythm changes, and even bits of electronics used to create some very cool moments in the grooves! The whole thing's as dead funky as can be, and is stuffed with insane classics like "Blow Your Head", "Same Beat", "Damn Right I am Somebody", "I'm Payin' Taxes, What am I Buyin'", and a great cover of Marvin Gaye's "You Sure Love to Ball"! CD

A treasure trove of harmony soul gems – and a package that's overflowing with great numbers from a time when small group soul really sparkled in the funky 45 underground! Most of the cuts here have never appeared on CD before, and a handful are previously unreleased – and together, the set really showcases the sublime style of singing that emerged in the second half of the 60s – a new approach to harmonizing that was different from jazz, gospel, or doo wop groups in previous years – with tremendous interplay between the lead and backup parts of the group, in charts that were continually inventive and richly expressive at a level that still sounds completely great all these many years later! If you only know Motown male groups, or bigger names like The Impressions or Stylistics, you'll find plenty here to discover – a really rich tapestry of tunes that includes "Strange Voice" by The Imaginations, "Baby" by The Joneses, "Boom A Rang" by Dynamic Soul Machine, "By Your Side" by Moon & Mars, "Can't Get You Off My Mind" by Brothers Of Soul, "Waiting For Your Love" by The Love Experience, "Linda" by Salt & Pepper, "Need Someone To Love" by The Symphonies, "Take Your Time" by The Festivals, "That Day When She Needed Me" by The Performers, "We Can Make It Baby" by The Reputations, "You Don't Have To Say You Love Me" by The Four Sonics, and "I'll Be Waiting" by The Lovettes. CD

Beautiful hardbop from Boston – and one of the first-ever albums recorded by trumpeter Donald Byrd as a leader! The set was originally done for the obscure Transition label – also home to inventive early recordings by Sun Ra and Cecil Taylor – and as with those records, there's a very special sort of sound going on here – as the date's a quartet outing, with a very unusual group – with Ray Santisi on piano, Doug Watkins on bass, and Jim Zitano on bass – all giving Byrd plenty of room to solo in the lead. The record features a very different side than some of Donald's other early two-leader sessions (such as the dates with Pepper Adams) – especially as he blows with a warmth and moodiness that we don't normally hear from him at this point – sounding fantastic on titles that include "Little Rock Getaway", "If I Love Again", "What's New", and "Stella By Starlight". CD

A wonderful world of weird and wild tracks from the 45rpm underground – exactly the kind of unusual records that first got Lux and Ivy inspired when they were first forming The Cramps! The mix of artists here is great – there's a bit of soul, a bit of rock, a touch of exotica, and plenty other unusual styles too – and cuts are marked both with unusual instrumentation and production techniques, and just an all-out effort to have as much fun as possible in the recording studio! Titles include "Leather Jacket Cowboy" by Pepper Pots, "You Tarzan Me Jane" by Glen Willings, "Mr Cool" by The Leeds, "Sugar Diabetes" by Eddie Banks, "Voo Doo Drums" by Aki Aleong, "Lose My Mind" by Herbert Henson, "Sound Off" by Titus Turner, "Pulp Wood Charley" by Wee Willie, "Pug Nose & Pony Tail" by Wally Hughes, "Atlantis" by The Blue Bells, "Shawnee" by The Premiers, "Cave Man" by The Vibrations, "The Inebriated Surfer" by Tornadoes, and "Black Lace" by April Stevens. CD

A pair of classics from Strawberry Alarm Clock – back to back on a single CD! First up is their classic Incense & Peppermints – dreamy pop psych from Strawberry Alarm Clock – a great late 60s group who skirted the worlds of Sunshine Pop and more jamming garage rock! This album's got a lot more to offer than you might guess from just the title hit – as the instrumentation sometimes gets nicely tripped out – with cool use of organ, harpsichord, and guitar – plus plenty of special effects in production – and even some of the song styles and lengths are unusual too, making the album way more than just a batch of cute little tunes. Titles include the classic "Incense & Peppermints", the eight minute jammer "The World's On Fire", the instrumental "Pass Time With SAC", and the cuts "Paxton's Back Street Carnival", "Rainy Day Mushroom Pillow", "Strawberries Mean Love", and "Unwind the Clock". Next is Wake Up It's Tomorrow – a great little second set from Strawberry Alarm Clock – much headier and tripped-out than their first! For the record, the group's not just working off the success of a previous single – and instead is really taking time in the studio to try out new ideas, musically, lyrically, and (most importantly) in the range of cool production techniques used on the set! There's still a warm harmony vocal approach on some of the album's best tunes, but they're also matched here with some more progressive guitar parts and fuzzier instrumental touches – in a way that brings a bit of darkness into the sunshine, and creates the wonderful sense of counterpoint that was always the group's strongest suit. Most tunes are nicely unfamiliar, and titles include "Curse Of The Witches", "Black Butter – Past, Present, & Future", "Soft Skies No Lies", "They Saw The Fat One Coming", "Nightmare of Percussion", "Tomorrow", "Sit With the Guru", and "Pretty Song From Psych-Out". CD also features single mixes of "Tomorrow" and "Sit With The Guru". CD

One of the most hard-hitting sessions ever recorded for the Bethlehem label – and a rare date for the imprint by the team of trumpeter Donald Byrd and saxophonist Pepper Adams! The style here is similar to work the pair recorded for Riverside and Blue Note at the same time – razor-sharp hardbop, played with a strong sense of imagination, and plenty of room for drawn-out, creatively-blown solos. Adams is especially great – playing the baritone here with the leanness of a tenor sax – but Byrd is wonderful too, and really starts to break out of some of the more staid modes of his work from a few years back. The group's a sextet that includes guitarist Kenny Burrell, pianist Tommy Flanagan, bassist Paul Chambers, and drummer "Hey" Lewis (another name for Louis Hayes?) – on titles that include "Trio", "Philson", "Libeccio", and "Bitty Ditty". CD

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". CD

The debut album from Stargard – a set that turned the trio into strong soul stars, after a brief and mistaken role in the film Sgt Peppers Lonely Hearts Club Band! Given the failure of that cinematic endeavor, it's amazing that MCA signed the girls up – but it's also clear that the group have a vibe that's really waiting to shine in the spotlight – partly the disco female mode that others had been working already, but also maybe more of a sense of identity too – one that makes them way more than just a trio of vocalists in the hands of a club producer – especially given the way they really hit some surprising deep soul moments on the set. Production is by Mark Davis, with some help from Gene Page – and titles include "Three Girls", "Don't Change", "Theme From Which Way Is Up", "The Force", and "Disco Rufus". CD