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The icy cool second album from German avant electronics gurus Der Plan – a great batch of raw electro pop from the nascent new wave of the German scene! Some of the darker touches of the earlier album give way to some quirkier grooves here – with tunes that largely carry a skewed pop sensibility – but done with a spare, kind of haunting sound! Great stuff with some early use of samples and many other touches that pave the way for myriad pop experimentalists to come. Titles include "Lebdoch", "Renate", "Meine Freunde", "Ich Bin Eien Computer", "Robot Bolero", "Eenerale Essen Erdbeereis", "Kleine Schlager-Revue", "Sie Hat Mich Verlassen", "Pausen-Sassa" and many more from the original release – plus a healthy bunch of bonus tracks – "Wat's Dat?", "Rot Grun Tod", "8 1/2 B", "Film Noir 1979" and more.

Toshiko Akioshi makes a trip back to the Japanese jazz scene in the early 60s – for this great little session that has her meeting up with "old pals" from previous years – including Sadao Watanabe on alto sax, Akira Miyazawa on tenor, and Hideo Shiraki on drums! The reunion is a really great one – just the kind of session that stands out as special in the careers of all artists involved – especially Toshiko, who seems to have hit a new level of maturity in her work! The style here is essentially hardbop, but brought together with some well-penned head arrangements that hint at the more sophisticated directions Akikoshi would take in her later years – yet still preserve all the boppish spontaneity of her youth. The set's on a par with the best on Blue Note or Impulse in the US at the time – and is key proof that at the right moments, the Japanese jazz scene of the early 60s was really something to rave about! Titles include "Quebec", "Old Pals", "Watasu No Biethovin", "So What", and "The Night Has A Thousand Eyes".

A far-reaching early gem from Roy Ayers – a set that's much more jazz-based than his later work, and a record that has him touching base with the Blue Note and Strata East sides of the jazz spectrum! The lineup here is incredibly hip – a mix of players that includes a young Charles Tolliver on trumpet, Harold Land and Joe Henderson on tenor, Jack Wilson on piano, and Reggie Workman on bass – not to mention Roy himself on some mighty great vibes! There's a surprising spiritual undercurrent to the music – pointing the way towards jazz to come in the 70s – and titles include "Glow Flower", "Ayerloom", "Virgo Vibes", and "In The Limelight" – plus an early take on Charles Tolliver's "The Ringer".

A far-reaching early gem from Roy Ayers – a set that's much more jazz-based than his later work, and a record that has him touching base with the Blue Note and Strata East sides of the jazz spectrum! The lineup here is incredibly hip – a mix of players that includes a young Charles Tolliver on trumpet, Harold Land and Joe Henderson on tenor, Jack Wilson on piano, and Reggie Workman on bass – not to mention Roy himself on some mighty great vibes! There's a surprising spiritual undercurrent to the music – pointing the way towards jazz to come in the 70s – and titles include "Glow Flower", "Ayerloom", "Virgo Vibes", and "In The Limelight" – plus an early take on Charles Tolliver's "The Ringer".

Joe Bataan working in a pronounced dancefloor soul mode! While the legendary Bataan was no stranger to the fusion of Latin, soul and funk, this some of the most club soul oriented sounds from Joe we've ever heard – and the sessions are seeing official release for the first time ever! The recording feature players who worked on Joe's stellar Afrofilipino and features a backdrop of wonderful Afro and Latin percussion and rhythms with the best sounds of the NYC dancefloor soul in the mix – with uptempo and midtempo vocal numbers flirting with disco and modern soul very nicely – with solid lead vocals and groovy female backup! Most tunes bring a bit of harp into the mix for a little more of a soar that plays off the percussion in really cool way. Titles include "Sadie", "When We Get Married", "My Cloud", "I Need Love", a take on the Isaac Hayes "Theme From The Men", "Let Me Kove You", "My Opera" and "I Do Love You".

A spiritual jazz classic by Harry Whitaker's Black Renaissance – plus a trippy GB remix on the other side! The original version of "Magic Ritual" is here in full – and it's essentially half of the group's classic Body, Mind And Spirit LP – a legendary session that features just 2 long tracks –done Strata East-like style, peppered with voices, both sung and spoken, in a hip, socially conscious mode. On the other side, GB uses the original's elements craft a spacey electro groover that's really in realm of its own! A haunting and heavily percussive trip!

A cooker of a record from Lester Bowie – one that takes the earlier sound of the Brass Fantasy ensemble, and focuses it into a mode that shows his growing love of soul and funk! The set was issued on the the short-lived Venture imprint of Virgin – a surprisingly strong outlook for creative projects like this – and the vibe's quite different than the Brass Fantasy records cut for ECM – with almost a bit more soul at the bottom, and a compact sort of energy that really sends the ideas home. Players include Bowie, Stanton Davis, Malachi Thompson, and Sasul Siddik on trumpets – plus Steve Turre and Frank Lacy on trombones, Vincent Chancey on French horn, Bob Stewart on tuba, and Phil Wilson on drums. Titles include a surprisingly great remake of "Thriller" – plus "Vibe Waltz", "I Am With You", "Duke's Fantasy", "Personality", and "Twilight Dreams".

An insanely wonderful bit of Latin funk! The groove is super heavy, and falls somewhere in between NuYorican soul and Chicano Power rock – with a sound that's pretty close to Black Sugar, but a little bit more psychedelic, due to the heavy guitars and keyboards in the grooves. Hard congas take the lead on most of the tracks – especially the cut "Chapumbambe", which starts with a nice break! Other tracks include "Tema De Bwana", "Motemba", "La Patada", and the massive Latin soul cut "Lolita".

Seminal sounds from John Cage – his groundbreaking Sonatas & Interludes of the late 40s – performed here with a rich sense of tone and timing by James Tenney! The performance is easily the most striking we've ever heard of these short pieces – and really bring out the magical sounds that Cage composed when conceiving of his "prepared piano" approach to music – interpreted wonderfully by Tenney, with a great ear for the sounds inside the instrument! Given that the compositions were initially what had inspired a young Tenney to take up music in his teens, this performance has a deeply personal undercurrent – and it's perhaps that which makes the music here sound so great.

An album that definitely lives up to the title promised by The Commodores – a record that takes all their raw funky energy of the early years, and fuses it into a new groove that would catapult the sextet to superstardom! The sound is commercial, but still has a pretty fresh sort of feel too – that quality the group brought to their work when breaking down so many boundaries in mainstream music – and finding fans in corners that few other funk groups might have touched! There's plenty of upbeat funk tracks in the mix, and even the mellower moments are still balanced nicely enough to avoid any of the cliches that Lionel Richie might have had during his solo years. Titles include "Why You Wanna Try Me", "This Love", "Been Loving You", "Lucy", "Saturday Night", "Lady (You Bring Me Up)", and "Oh No".

Nice stuff – although very different than Stan's albums for Strata East – smoother and funkier, with a west coast Fantasy Records kind of groove overall! Vocals are by Loretta Divine and Charles B Fowlkes – and the album features work by Eddie Henderson, Julian Priester, and Cliff Coulter – all grooving together in a mode that's still soul jazz, but which takes on the tighter R&B-ish approach showing up in Henderson's work of the late 70s. Titles include "The Stoker", "I Am Waiting", "What Do I Do", and "Here I Am".

Pure magic from the lovely Maria Creuza – a singer who only seems to get more soulful as the years go on! The set's got a different feel than some of Maria's earlier work – rootsy some minutes, but with a soul-styled sophistication at others – often arranged with jazzy undercurrents that really seem to let her vocals take off nicely. Arrangements are by Sivuca (who also makes a guest appearance on the set) – plus Gilson Peranzzeta, Carlos Kalunga, and Luiz Roberto – and titles include "Coracao Vira Lata", "Ifa Uma Canto Pra Subir", "Luz", "Pura Magica", "Delicado Perfume", "Sou Rei", and "De Tentacao A Cantada".

Another great achievement from this groovy Italian group – an album that's head and shoulders above anything they were doing just a few short years ago! The Dining Rooms deep to deepen their sound more and more with each new record – hitting a range of tones and colors that take them far beyond their initially simple rhythms, and into a space that's filled with thoughtful lyrics and sensitively-penned tunes! Most of the tracks here hit a groove that's somewhere between mid and downtempo – about half of which feature vocals by guests who include Toco, Dodo Nkishi, Sean Martin, Renaud Chaure, and George Anne Kalweit. There's a fair bit of Fender Rhodes sliding through the tunes, and some warm acoustic basslines as well – really grounding the music in a classic sort of style, even though the overall execution is fairly contemporary. Titles include "Ceremony", "Free To Grow", "Thank You", "Fatale", "Ink", "Cobra Coral", "On The Beach", "Hear Us Now", "Etage Noir (parts 1 & 2)", and "Appuntamento A Trieste".

An amazing lost recording from Kahil El'Zabar – and a Ritual Trio record to rival the great sessions cut for the Sound Aspects label in the 80s! As on some of those records, this one features Kahil's beautiful percussion blended with the bass work of Malachi Favors and trumpet of Lester Bowie – both players who step out here in ways that are even more soulful and spiritual than their performances with the Art Ensemble of Chicago! The tracks are very lean, organic, and build beautifully during the course of the recording – these thoughtfully-flowing numbers that are a perfect summation of the essence that Kahil was trying to get at with the Ritual Trio – almost a more spiritual, righteous take on the Great Black Music ideas forged by the AACM – taken to territory that was even more naturalistic than before. Favors' playing is amazing – and the recording is a perfect example of why his work on bass has always been so revolutionary – and Bowie is really at his best too, with none of the hoke that he could sometimes pick up in his later years. Titles include "Inner Sanctum", "Ju Ju Call", "In The Belly Of Now", "Dawning Of The Aware Ones", "The Ancestors Are Among Us", and "Celestial Dance".

One of Duke's standout sides for Columbia during the late 50s wealth of new recordings – a live set recorded at Miami's Bal Masque nightclub. The arrangements are sophisticated, and Duke's piano is hitting that darkly-tinged later style – but the focus is also on danceable arrangements, letting the crowds sway and swing to the group's warmly chromatic orchestrations. Titles include "Got A Date With An Angel", "Satan Takes A Holiday", "Satin Doll", "Lady In Red", "Donkey Serenade", and "Laugh Clown Laugh".

Breezy bossa from late 70s Paris – a rare European session from Rio ex-patriots Erica Norimar and Chiquinho Timoteo! The record's got a warmly jazzy glow that takes full advantage of the vocals of both artists – trading them back and forth on the more lively tunes, in a way that's clearly inspired by the older Brasil 66 style of the 60s, but reworked here into a slightly hipper 70s sound. Instrumentation is mostly acoustic, with a lot of percussion and guitar that give the tracks a samba-styled groove – but a few tracks also feature a bit of keyboards, plus some occasional sax, flute, and trumpet. Titles include "Forro", "Dodo", "Hein", "Nega De Obaluae", "Gota D'Agua", "A Filha Da Chiquita Bacana", "De Frente Pro Crime", "Kid Cavaquinho", "Ligia", and "Vatapa".

Excellent work from a player we love more and more with each new album – Roberto Gatto, an artist we love equally both for his work as a leader, and on the drums! The set features a slightly larger group than usual – Gatto's Lysergic Band, with alto from Gaetano Partipilo, tenor and soprano sax from Max Ionata, trombone from Roberto Rossi, and trumpet from Giovanni Falzone – all horn players who are used sparingly, in really wonderful ways to flesh out the music, and give it a great deal of individual personality! This is less an ensemble recording than a shifting set of voices that have found some great space to come together – working under Gatto's strong guidance in these moody blends of darkness and light. Other players include Battista Lena on guitar and Alessandro Lanzoni on piano – and titles include "The Swinging Cats", "Lysergic", "Take The Dark Train", "Deep", "Fall", and "Queen Porter March

Beautiful Persian pop from Faegheh Atashin, aka Googoosh (alternately, Gougoush)– and like some of the best, adventurous pop music from around the world at the the time, it's steeped in myriad styles – from emotionally string-laden to funky and danceable! Googoosh is a genuine cultural icon in the realm of period Iranian pop music, but even with that status, some of her most amazing music is stunningly rare. Finders Keepers focuses a bit on the rare stuff for this incredible set – all from the early to med 70s – and it's one of their best ever releases. We don't speak the language, but there's no mistaking the genuine soul at the center of the songs. Really great stuff! Includes "Shekayat", "Talagh", "Mano Tou", "Pishkesh", "Mano Gonjishkaye Khooneh", "Digeh Geryeh Delo Van Menikoneh", "Gharibe Ashena" and more.

A tremendous European meeting of tenorist Dexter Gordon and trombonist Slide Hampton – brought together in this impeccable sextet session for MPS – a real standout in the label's straight jazz catalog over the years! By the time of the set, Gordon had been working heavily in Europe, especially Copenhagen – a locale where he was given ample freedom to stretch out and really explore his tone and phrasing. Hampton had also kicked around the continent a fair bit too, but in a tighter format, doing arrangements for others and working in bigger groups – and it's actually his careful touch that really helps shape the sound of the set – by bringing Gordon's groove into a focus more strongly than before, and reminding us that Dex was a great group player when he wanted to be! The frontline features Gordon's tenor, Hampton's trombone, and the trumpet of Dizzy Reece – often stating the heads in a fluidly soulful way, then breaking out nicely with individual voices – very much in the best Blue Note mode. Rhythm is by the trio of Kenny Drew on piano, Art Taylor on drums, and Niels Henning Orsted Pedersen on bass – and titles include 3 excellent originals by Hampton – "A New Thing", "My Blues", and "A Day In Vienna" – plus a wicked almost-Lee Morgan-esque take on "What's New", and versions of "Shadow Of Your Smile" and "You Don't Know What Love Is".

A great title for this hip little record – one that definitely has the group coexisting together beautifully in the space of the set – working with well-fused energy that really makes the music shine! The set's got the soulful vibe of some of the best indie sets from the end of the 80s – like some of the overlooked gems on the Muse label – with a deep sense of roots, but a fresh way of presenting them – so that the set's neither the usual bag of jazz, nor some overwrought attempt to recreate history. Instead, it's something fresh and new, and very personal – from drummer Winard Harper (who also plays some balafon too!), along with Bruce Harris on trumpet, Jovan Alexandre on tenor, Michael Dease on trombone, Roy Assaf on piano – and guest work from Frank Wess on tenor and flute, Mark Gross on alto, and Tadataka Unno on piano. Titles include "Helen's Song", "Ummah", "Hard Times", "Get Tough", "A Bientot", "Triumph", and "Coexist".

A really great set of spiritually-tuned jazz from the team of bassist Eric Hochberg and drummer Andrew Potter – the latter of whom we love for his work in the Potter & Tillman team! This set was done a fair bit before that classic – and has a freewheeling, exploratory sound that takes off in a mode that's a bit post-Coltrane, but which also has some freer touches too. The best tracks here have a rhythmic, Strata East-like quality – and these include the choppy "Sun", the spacey "Purplatonia", and the soulful "World Thing", which features lead vocals from Grace Davis. Other players include Ross Traut on guitar, Steve Eisen on saxes, and Eric Tilmon on piano.

An incredible collection of work from vibist Bobby Hutcherson – some of his most righteous recordings ever, spread out over the span of 5 albums recorded for Blue Note in the mid 70s – one of which was only ever issued in Japan! The work here has Bobby taking off nicely from his years with Harold Land – and although the set includes two albums with Land, the excellent Cirrus from 1974, and the Japanese-only Inner Glow, the remaining albums feature a range of different players – including Manny Boyd on soprano and tenor sax, George Cables on piano, Larry Nash on electric Piano, Hadley Caliman on reeds, and Freddie Hubbard on trumpet. As with the better-known recordings with Land, the style here is flowing and open – an approach that starts in modal rhythms, and which moves into some of the more soaring, spacious modes shared by Bobby's contemporaries on the indie soul jazz scene – especially artists on labels like Black Jazz and Strata East. The albums here are all amazing – never too slick, and beautifully balanced, with a sense of focus that still makes Hutcherson one of the greatest vibists working at this point in his career. 3CD set features the albums Cirrus, Inner Glow, Waiting, The View From The Inside, and Knucklebean – featuring a whopping 30 tracks in all!

Incredible work from one of the hippest groups in the contemporary underground – Detroit's In The Tradition, a combo with a righteous sound that takes us back to the 70s days of Strata East and Tribe Records! This double-length set is a bold step forward for the group – as some tracks feature their own music, done in a spiritual blend of sounds that's really wonderful – tunes that spin out with long modal rhythms, soaring solos, and a very soulful energy that never lets up – with lots of echoes of the best Chicago and Detroit modes from years back. The other tracks features more work by other jazz greats – Wayne Shorter, Donald Byrd, Freddie Hubbard, and others – reinterpreted by the group in wicked blend of hardbop and soul jazz modes – simply brilliant, and like getting two excellent albums together in a single package – with a really unified sound! Titles include "She Sings To The Wind", "Winter Meeting", "Noloyiso", "Trouble Of The World", "One Love", "Black Orpheus", "Chantized", "Crisis", and "Dreams".

Jazzy samples with an earthy edge – worked together in some magical soundscapes that also manage to groove nicely at the best moments! One of the more "organic" titles in the hip catalog of the Japanese Flower Records label – and a compelling release that takes us back to some of the more progressive days of the Idyllic Records label of the mid 90s. Titles include "Takin You Underground", "Trilhas", "Moments Of Magic", "A Promise", and "Erizevrio".

The often cinematic sounds of Jaga Jazzist, given an extra orchestral sweep – working beautifully well with the Britten Sinfonia chamber orchestra! It's a match made in jazzy, proggy, soundtracky heaven. Jaga Jazzist has a sprawling sound even at their core – with soul jazz, prog and contemporary club sounds delivered in a way that's brilliantly unique to the group – so surely stands to reason that they could adapt quite brilliantly in a grander concert environment. Well, it's even greater than you'd expect! The guitar, vibes, percussion, horns, synth and piano of Jaga Jazzist is complemented beautifully by Britten Sinfonia's strings, flutes, clarinets, bassoon and additional horns and percussion. Includes the slow-building, epic 15+ minute opener "One-Armed Bandit", plus sweet symphonic takes on "Kitty Wu", "Prungen", "For All You Happy People", "Toccata", "Bananfluer Overalt", "Music! Dance! Drama!" and "Oslo Skyline". Recorded at Rockefeller Music Hall in Oslo and at the Baribican in London in fall and summer 2012.

A real step forward for Quincy Jones – a record that really shows the jazzman moving into sophisticated new territory – a sound that's just right for the CTI generation! The album's got a vibe that's a bit similar to Quincy's Walking In Space album, but it's a lot deeper too – touched with some of the African elements you might guess from the title – arranged in ways that are often quite spacious, so that the tunes really take some time to find just the right groove! Backings are large, but show the leaner elements that Jones was bringing to his soundtrack work – and instrumentation includes vibes from Milt Jackson, marimba from Don Elliott, flute from Hubert Laws, soprano sax from Jerome Richardson, trumpet from Freddie Hubbard, trombone from Al Grey, and guitar from Eric Gale. Keyboards figure strongly – played by Herbie Hancock and Bob James – and special features include a bit of guitar and whistling from Toots Thielemans, plus some soulful vocals from Valerie Simpson. "Gula Matari" is an incredible 12 minute tribal groove – and other titles include a killer take on Nat Adderley's "Hummin", plus "Walkin" and "Bridge Over Troubled Water".

Amazing work from the great Jon Lucien – and probably his best-ever record! The album has Jon hitting a totally unified vision of spacey soul – bringing in elements of Brazilian music and touches of his Carribean roots, fusing them together with a sweet jazzy style and one of the most compelling voices we've ever heard in soul music. It takes courage to be this gentle and sincere, and although the record was never a hit when it was released, it's been a perpetual favorite of groovers for many many years – thanks to the depth of Lucien's lyrics, and the unique range of rhythms in the set! Includes the funky "Would You Believe in Me", the space "Lady Love", and the tracks "Kuenda", "Satan", "Love Everlasting", and soooo many more. Essential soul from one of the 70's most righteous artists – and probably the best place to start sampling his rich career!

Madlib invades Blue Note! He gets free reign of the catalog for this mix of sampler genius and live band interpretations, too, as/with Ahmad Miller, Yesterdays New Quintet, Malcolm Catto, Medaphoar, and others from the Stones Throw camp. This one's truly a conceptual triumph, if there ever was such a thing – one of the greatest hip hop producers alive, given carte blanche with the source beats of the century! Madlib's Blue Note crates are heavily weighed in the mid 60s through mid 70s electric beats that often get the shaft in mainstream jazz round-ups, but floor the beathead world into overdrive. Re-interpretations, remixes, and revisions are spliced seamlessly with the source samples, creating a whole new world where hip hop and late model live funk not only co-exists with classic Blue Note jazz, but it actually draws a linear transition between the 2 genius art forms. Beautiful stuff – if the album isn't the most original idea to come along all of these years into the hip hop & jazz underground, it's certainly one of the most perfectly realized projects of its kind, ever! It's one for the time capsule – pure funky sample wizardry by any standard! Includes Monk Higgins' "Slim's Return" interpreted by Ahmad Miller and DJ Lord Such on cuts, "Donald Byrd's "Distant Land", "Ronnie Foster's "Mystic Bounce", Yesterday's New Quintet's adaptation of Wayne Shorter's "Footprints", Madlib Invazion's "Funky Blue Note", the Joe McDuphrey Experience take on Horace Silver's/Herbie Hancock's "Peace/Dolphin Dance" and lots more.

Madlib invades Blue Note! He gets free reign of the catalog for this mix of sampler genius and live band interpretations, too, as/with Ahmad Miller, Yesterdays New Quintet, Malcolm Catto, Medaphoar, and others from the Stones Throw camp. This one's truly a conceptual triumph, if there ever was such a thing – one of the greatest hip hop producers alive, given carte blanche with the source beats of the century! Madlib's Blue Note crates are heavily weighed in the mid 60s through mid 70s electric beats that often get the shaft in mainstream jazz round-ups, but floor the beathead world into overdrive. Re-interpretations, remixes, and revisions are spliced seamlessly with the source samples, creating a whole new world where hip hop and late model live funk not only co-exists with classic Blue Note jazz, but it actually draws a linear transition between the 2 genius art forms. Beautiful stuff – if the album isn't the most original idea to come along all of these years into the hip hop & jazz underground, it's certainly one of the most perfectly realized projects of its kind, ever! It's one for the time capsule – easily Madlib's masterpiece, and pure funky sample wizardry by any standard! Includes Monk Higgins' "Slim's Return" interpreted by Ahmad Miller and DJ Lord Such on cuts, "Donald Byrd's "Distant Land", "Ronnie Foster's "Mystic Bounce", Yesterday's New Quintet's adaptation of Wayne Shorter's "Footprints", Madlib Invazion's "Funky Blue Note", the Joe McDuphrey Experience take on Horace Silver's/Herbie Hancock's "Peace/Dolphin Dance" and lots more.

A great little project that's very much in the same spirit as the Havana Cultura project on Brownswood – a set that features British producer Mala working with a host of contemporary Cuban musicians – all in a groove that takes their roots, and pushes them very firmly towards the future! Mala's not shy about his input here – and really works a lot of electronics and production techniques throughout the set – taking the core acoustic sounds, and moves them into some of the more 21st Century modes that you'd hear from other artists on Brownswood! Things get somewhat abstract at times, yet still have plenty of soul – and titles include "Ghost", "Curfew", "The Tourist", "Change", "Noches Suenos", "The Tunnel", "Mulata", and "Tribal".

A late Norm Whitfield production from the 80s, with a slick commercial soul groove, that's a bit more lean than a lot of his other work. A bit of an odd sidebar sort of record, but not without a few nice moments. Includes "Dance With Me, Baby", "What You Gonna Do", "Easier To Say Goodbye", "Monster Fun", "Don't You Want To Give Me Some", "Got To Stop Wanting It", "Let The Music Take Your Mind" and "Linda".

A rare Japanese session from vocalist Helen Merrill – one of a few key 60s recordings she cut on the Tokyo scene, after initial fame in the US! The album features a great small group arranged by drummer Takeshi Inomata, played by a combo that includes alto, baritone, and trumpet – all used in a cool and laidback mode that resonates nicely with Merrill's more familiar 50s sides on Mercury – but which also stretches out more, too – not as "cool", and with a sense of inflection that's mighty nice. Helen's in great form vocally – often singing in that almost-effortless mode that we love in her classic work – and titles include "It Never Entered My Mind", "Bewitched", "You Do Something To Me", "Teach Me Tonight", "Good Morning Heartache", and "My Favorite Things".

Plenty of fire here – the kind of quick-witted piano work we've really come to admire from Tete Montoliu – who really hits a new level of genius on his 70s recordings for the Steeplechase label! Montoliu has this amazing way of hitting hard, with a real edge – then laying back and just letting things flow – kind of a shift between left and right hand emphasis that really makes for some breathtaking runs on the keyboard – especially with backing here from Niels Henning Orsted Pedersen on bass and Albert Tootie Heath on drums. Tracks are nice and long, and titles include "Sweet Georgie Fame", "Blues For Perla", "Falling In Love With Love", and "Old Folks".

Early, early Blue Note sides, from the dawn of the label, a transitional period in jazz. These sessions, led by Benny Morton and Jimmy Hamilton are truly hard-to-get in their original format, not to mention in any pressing, and these recordings reflect a side of the Blue Note catalog that's rarely considered any more. These swingtet sides feature the cream of the crop of the big band era, performing in smaller tighter groups that let them move around New York's urban jazz scene more easily. Some of the finest soloists of the era are caught here in a unique setting, including Barney Bigard, Ben Webster, Ray Nance and Harry Carney. As you'd expect from the performance standards of the day, the performance are short, tight and sweet, and include "MY Old Flame, "Conversing In Blue", two takes of "The Sheik Of Araby" and "Limehouse Blues" by Benny Morton's All Stars, "Cherry", "Rosetta", "The World Is Waiting For The Sunrise" and "Wiliphant Winnie" by the Sammy Benskin Trio and "Old Uncle Bud", "Blues For Clarinets", "Slapstick" and "Blues In My Music Room" by Jimmy Hamilton & The Duke's Men.

An Afro Funk treasure from the 70s – a rare album recorded by Pax Nicholas, a singer and percussionist who was part of Fela's legendary Africa 70 band! The album's got a sound that definitely echoes that heritage, but with a groove that's pretty weird too – more stripped down than most of Fela's work, with a thin keyboard part that often pulsates under the horns, creating an offbeat, edgey vibe in the music! Nicholas' groove is almost like taking Fela, and putting it through an odd sort of filter – one that turns things slightly sideways, and brings a really fresh sound to more familiar Afro Funk modes – kind of with the same other-worldly feel we love in some Ethiopian work of the time. Tracks are all nice and long – and plenty jamming – and titles include "Na Teef Know De Road Of Teef", "Ataa Onukpa", "Na Six Feet", and "You".

Warm bossa grooves – and the second album by Orlandivo, billed here on the cover as Orlann Divo! The album's a great batch of instrumentals – jazzy, with a mix of percussion, bass, and organ that's quite different from the usual bossa album of its type – much more expansive, and much more chance-taking. The use of organ is incredible – really weird at times, pushing the sonic qualities of the instrument in ways that you'd never hear on a Walter Wanderley album from the same time – and the nature of the tunes is great too, and really pushes past the usual batch of bossa covers and standards to come up with some great off-kilter styles. Features work by Ed Lincoln, Rubens Bassini, and Waltel Branco – and titles include "Samba No Japao", "Zezinho", "Amor Quadradinho", "Afim De Voce", "Vira Lata", "Somos Tres", "Saudade Em Seu Lugar", "Faz De Conta", and "Brincando De Samba".

A bossa nova take on The Beatles – served up with plenty of great keyboard work from the legendary Manfredo Fest! Fest is well know to bossa fans for his killer combo sides of the 60s – and although this album's a much more obscure effort, it follows in a very similar vein – instrumental and strongly jazz-based, with piano or organ as the main solo instrument, soaring over the top of some tightly crackling rhythms! The tunes are all Lennon/McCartney compositions – played with lots of inventive touches that really take them from their roots, and open them up as new groovers filled with keyboard improvisation. Titles include "All My Loving", "Help", "Can't Buy Me Love", "Michelle", "Hard Day's Night", and "Ticket To Ride".

A really rich new chapter in the music of Otto – an artist we've loved right from the start, but one who's blowing us away all over again with this sweet set! There's a fullness here we've never heard from Otto – not a sound that's slick, just an approach that's more thought out and fully-composed – with some classic elements on the backings that take us back to 60s sounds from Beatles to Motown at times – yet served up in ways that all still retain the freshness of Otto's earlier work. Other sounds are a bit more contemporary, yet still have this feeling of timelessness that really stands out – something we might never have said about Ottos' music before. The electronics are kept to a minimum, and tunes are straightforward and less abstract – in a way we never expected, and which shows Otto to really be a great songwriter after all these years. The set was done with heavy collaborations from producer Pupillo, who co-wrote most tracks – and also features assistance from Kassin and Catatau too. Titles include "The Moon 1111", "Dia Claro", "Ela Flava", "O Que Dira O Mundo", "DP", "Hideus", "Miss Apple E Ze Pilantra", and "Selvagens Olhos Nego".

A pretty darn obscure one – with a wild cover, wild title, and a goofy looking bandleader who definitely had a great sense of humor! Pijuan leads the group, sings, and plays organ – and the record's a weird mix of groovy 60s pop, shing-a-ling/boogaloo tracks, and other Latin groovers. The best track is the lively "Shing A Ling Boogaloo", which has some very sinister piano lines – and other highlights include a groovy take on "Up Up & Away", the drum-heavy "Comparsas", and the swinging "La Bala De Plata".

A later gem from Prince Buster – the early 70s Sister Big Stuff album – one that finds his voice as charismatic and soulful as ever! The record finds Buster not only adapting pretty nicely to the more upbeat reggae style on the period, but he's also successfully adapting some surprising numbers! It kicks off with "South Of The Border", a tune popularized by cowboy movie/country & western star Gene Autry – with thick bits of organ, a heavy rhythm, and Buster's easygoing vocals. There's more great numbers in a similar vein, plus takes on tunes made famous by Abyssinians, the title track, which is a riff on Stax soul heroine Jean Knight's "Mister Big Stuff" and more! Other tracks include "Still", "Why Not Tonight", "Wish Your Picture", "Sata A Masa Gana", "Stick By Me", "Young, Gifted And Black", "Stick By Me", "Cool Operator", "Stand Accused", "Protection" and more. 3 bonus tracks on the CD: "Police Trim Rasta" and "My Happiness",.

Two different slices of this powerful group from reedman Dave Rempis – one live performance from Milwaukee, the other from Antwerp – each taking up a CD each! The group gets their percussive name from the dual drums of Tim Daisy and Frank Rosaly – players who bring a real intensity to the music at some moments, yet lie back and have very individual, subtle spirits at other points – often to let Rempis express some amazing tones and textures on alto, tenor, or baritone sax – given great shape and inspiration by Ingebrigt Haker Flaten on bass. All the tracks are long, and very improvised – and titles include "Algonquins", "Cream City Stomp", "Anti Goons", and "Croatalus Adamantooths".

A tremendous live set from pianist Teru Sakamoto – a session that soars with all of the life, soul, and imagination of McCoy Tyner at his 70s best! The record's got a feel that's quite open – long tracks, with plenty of solo space for Sakamoto on the piano – but the sound is always inside, rhythmic, and focused – never too out or too experimental, just soaring up to the skies with a brilliant sense of expression. The trio features Takao Neichi on bass and Takeshi Watanabe on drums – and titles include a great modal take on "My Favorite Things", plus "Left Alone", "Yuyake Koyake", and "Autumn Leaves".

If you think that Pharaoh Sanders' genius as a leader first blossomed during his post-Coltrane years on Impulse, you owe it to yourself to check out this early album for ESP – a startlingly great session that offers a whole new side of his talents! The album features 2 side-long tracks – each of them great in their own ways, both in ways that are far different from the later Sanders sound on Impulse! Pharoah's tone here isn't nearly as raspy as on his more famous sides – it's more straightforward, almost Coltrane-esque – and as the long tracks unfold, there's almost a Sonny Rollins-like sense of spontaneous invention, especially on "Bethera", which takes up all of side two. And while we love the spiritual sensibilities of Sanders' classic albums, we also really like the pointedness of this one – not just because it shows a young Pharoah already possessed of greatness not infused by Coltrane, but also because the album's a mostly-inside session that's a real standout in the ESP catalog! The group's unusual too – and features Stan Foster on trumpet, Jane Getz on piano, William Bennett on bass, and Marvin Patillo on percussion. Tracks include "Bethera" and "Seven by Seven".

If you think that Pharaoh Sanders' genius as a leader first blossomed during his post-Coltrane years on Impulse, you owe it to yourself to check out this early album for ESP – a startlingly great session that offers a whole new side of his talents! The album features 2 side-long tracks – each of them great in their own ways, both in ways that are far different from the later Sanders sound on Impulse! Pharoah's tone here isn't nearly as raspy as on his more famous sides – it's more straightforward, almost Coltrane-esque – and as the long tracks unfold, there's almost a Sonny Rollins-like sense of spontaneous invention, especially on "Bethera", which takes up all of side two. And while we love the spiritual sensibilities of Sanders' classic albums, we also really like the pointedness of this one – not just because it shows a young Pharoah already possessed of greatness not infused by Coltrane, but also because the album's a mostly-inside session that's a real standout in the ESP catalog! The group's unusual too – and features Stan Foster on trumpet, Jane Getz on piano, William Bennett on bass, and Marvin Patillo on percussion. Tracks include "Bethera" and "Seven by Seven". CD also features bonus interview tracks!

Nothing too manic here, as the grooves are all nicely laidback – in that sweetly smooth Shakatak style! The album's definitely a bit more contemporary-styled than some of the group's earlier ones – rhythms that are mostly programmed, and keyboards that have a later 80s sound – but which are still warmed by some of the jazzy touches of before. The vocals are in the lead on most numbers – handled by Jill Saward, who's become a more forceful vocalist in the space of the group's increasingly urban sound. Titles include "Money", "Time Of My Life", "Dr Dr", "Releasin The Feelin", "Walk The Walk", "Slow Dancing", "Mr Manic & Sister Cool", and "Something Special".

Not sure what they mean by "Ameriachi" in the title – but from the sound of the music, there's definitely a great A&M Records-styled mix of jazz, Latin, and South American modes! The set begins with a set of cookers from drummer Hideo Shiraki – working with an excellent group that features tenorist Hidehiko Matsumoto handling arrangements – often in ways that have this upbeat, swinging, and pretty darn groovy way of moving along – sometimes with a bold Herb Alpert-styled trumpet in the lead – other times with a bit of marimba vibes. Titles include "Ashita Ni Nareba", "Akasaka After Dark", "You & Me", and "Ginza Wa Koi No Jujiro". The second half is handled by Takeshi Inomata & His West Liners Plus All-Stars – a group that has an equally great A&M approach to the groove – thanks to arrangements from pianist Masao Yagi! The whole thing's a great illustration of the way that 60s Japanese jazzmen could also work in some groovy instrumental styles in the right setting – and titles include "One Rainy Night In Tokyo", "Omoide", "Goodbye Mr Tears", "Koi Wa Akaibara", and "Aitakute Aitakute".

An amazing document of righteous soul jazz – the full recordings for Horace Silver's United States Of Mind trilogy – done in collaboration with singers Andy and Salome Bey! The sound is completely different from Silver's work of the 60s – very righteous and message-oriented, with lyrics that often express social and political issues of the time – but which are delivered by the singers in a hip style that takes them far beyond their era – so much so, in fact, that all three albums are really only being appreciated to their fullest years later! Most of the recordings feature smaller combo instrumentation from groups that have Silver playing mostly electric piano – alongside musicians that include Randy Brecker, George Coleman, Houston Person, Idris Muhammad, Harold Vick, and Cecil Bridgewater – and overall, the tunes almost feel more like work that would have been issued on the Strata East label, instead of the usual Blue Note grooves of the time. Wonderful to have back out again – especially in this complete version, which features 28 tracks on 2CDs! Titles include "Big Business", "The Happy Medium", "Won't You Open Up Your Senses", "Soul Searchin", "All", "From The Heart Through The Mind", "Total Response", "Cause & Effect", "Wipe Away The Evil", and "Peace".

Skhool Yard is Protest, Supreme, Planet Asia, Shake and Kubiq. The Zion I cut features Amp Live. This single is taken from the Funky Precedent Vol 2 compilation.

One of the Jimmy Smith "jam session" Blue Notes, with a large group that includes Lee Morgan, Lou Donaldson, George Coleman, Tina Brooks, and Art Blakey – nearly all of whom take long solos and dig deep to compete with each other. 3 long tracks, "The Sermon", "JOS", and "Flamingo" – and a hard-wailing, jam session, cutting contest, blowing session feel all the way through!

Two rare soundtracks from the quirky Bruno Spoerri – both of them a very cool blend of jazzy reeds and lots of electric touches! Teddy Bear is from the early 80s, and is one of the later records we've heard from Spoerri – a set that definitely bears the pedigree of its time, through cool use of Lyricon, Prophet, and Emulator keyboards! Bruno often blows his sax into the keys, then processes the reedlines in a very cool way – with a style that's more soulful than usual keyboard styles of the time, given the acoustic roots of the sounds – yet which still has a great 80s vibe overall. Things are almost in the offbeat style of some of the instrumentals from the German AtaTak scene of the time – and titles include "Too Much Smell", "The Silliest Song", "Reanimation Of A Filmmaker", "Small Talk", "The Arrest Of Groucho", and "Baby Baby". Lilith is from a few years before, and has a more conventional 70s approach – great electric piano lines over tight rhythms, with Bruno handling both tenor and Lyricon – on tunes that mix sound library funk with some of the weirder, more offbeat sounds you might know from other Spoerri soundtracks. Titles include "Singing In The Dark", "Winding Down", "The Dance", "Prepare For The Show", "Train", "Going To Work", and "Fanfare".

Two rare soundtracks from the quirky Bruno Spoerri – both of them a very cool blend of jazzy reeds and lots of electric touches! Teddy Bear is from the early 80s, and is one of the later records we've heard from Spoerri – a set that definitely bears the pedigree of its time, through cool use of Lyricon, Prophet, and Emulator keyboards! Bruno often blows his sax into the keys, then processes the reedlines in a very cool way – with a style that's more soulful than usual keyboard styles of the time, given the acoustic roots of the sounds – yet which still has a great 80s vibe overall. Things are almost in the offbeat style of some of the instrumentals from the German AtaTak scene of the time – and titles include "Too Much Smell", "The Silliest Song", "Reanimation Of A Filmmaker", "Small Talk", "The Arrest Of Groucho", and "Baby Baby". Lilith is from a few years before, and has a more conventional 70s approach – great electric piano lines over tight rhythms, with Bruno handling both tenor and Lyricon – on tunes that mix sound library funk with some of the weirder, more offbeat sounds you might know from other Spoerri soundtracks. Titles include "Singing In The Dark", "Winding Down", "The Dance", "Prepare For The Show", "Train", "Going To Work", and "Fanfare".

One of the few sessions ever cut as a leader by soul jazz trumpeter Charles Sullivan – a brilliant talent who shone brightly in the mid 70s, working in hip small groups that were very much in the Strata East mode. This rare, previously Japanese-only release has Sullivan working with Rene McLean, Kenny Barron, Buster Williams, and Billy Hart – on a tightly crafted set of tunes that share the same lyrical searching quality as some of McLean or Barron's own work from the time. The compositions are incredibly soulful – very much in the mode of some of Billy Harper's genius Japanese recordings – and titles include "Re Entry",take on "Body & Soul", "Carefree", "Mabe's Way", and "Waltz For Cricket". CD also includes 2 bonus tracks – longer takes of the beautiful "Body & Soul" and "Carefree". Outstanding!

Incredible first album from a player who would go onto become one of the major soul jazz talents of the 70's – and one of the owners of the Strata East label. Tolliver plays here with the original incarnation of his Music Inc group – which includes Stanley Cowell, Steve Novosel, and Jimmy Hopps. The tracks are all originals, with a brilliant spiritual groove that virtually describes the direction Tolliver and similar post-Coltrane musicians would take in the 70's. Titles include "The Ringer", "Mother Wit", "Plight", and "On The Nile".

A spiritually-resonant set from vocalist Dwight Trible – one of the greatest jazz singers of the past few decades! Trible's got a depth that few others can match – a quality that takes us back to the glory days of Leon Thomas with Pharoah Sanders, or Joe Lee Wilson on the Paris scene of the 70s – but heard only on a handful of albums under his own name, plus work with the Build An Ark collective and Life Force Trio! Cosmic reminds us of everything we loved about Dwight's Living Water album a few years back, and this one may be even stronger – sung with a yearning, soaring, soul-shaking voice that's perfect for both the original material, and a few well-chosen classics. Trible is backed by a stellar group of musicians that includes John Beasley on piano and organ and George Harper on tenor sax – and titles include "Speak To Us Of Love", "I've Known Rivers", "In The Beginning GOD", "Love Is Forever", "Little Afrika", "Algeriangeles", "Hyku For Peace/Come Ye", "It's All About Love" and a glorious take on the Five Stairsteps soul classic "Ooh Child"!

One of our favorite funk combos take on a host of gems from the past – all classic soul and funk numbers that really expand the sound of Osaka Monaurail! The group first got their start doing a great riff on the sound of James Brown – but here, they move into Memphis soul, Chicago funk, and more – working their well-honed instrumental talents over a host of killer cuts that explode in fresh new versions! Unlike other records, where Ryo Nakata sings, this time around he's just leading the group and playing keyboards – but that shift is OK with us, as it gives the horns and guitar lots more space to do their thing. Titles include "Cafe Regio's", "Supershine #9", "Chocolate Buttermilk", "Amen Brother", "Get Down", "Get Ready", "Little Old Money Maker", "Message To Love", "Divertissement", and "Hey Jude". CD also features 3 bonus live tracks – "Tighten Up", "Truck Turner", and "Soulful Strut". Note: This is a different package for the album Amen Brother – which was issued under the Osaka Monaurail name.

Not jazz in any American sense of the music – but some wonderful Tanzanian grooves from the late 70s, often inflected with some really freewheeling work on guitar! The music here is heavy on percussion at the bottom, but has a really sprightly feel overall – perfect for the dancefloor, where this group was quite popular on the East African scene – but with a complexity that also makes the whole thing pretty compelling for a more cerebral listen as well! Interweaving melodic lines really hold things together wonderfully – as the vocals cascade over guitars, all sewn together with these basslines that seem to step along at a slower pace than everything else. The set brings together some of the group's hits, some more obscure recordings, and features full notes in English. Titles include "Lela", "Gwe Manetu Fii", "Heka Heka", "Koka Koka #1", "Magdalena", "Gubu La Mume", "Pili Nihurumie", "Salima Utakujajuta", and "Utatugombanisha".

A wild set of duets, with a really unique feel – a rare date that brings the drums and percussion of Gunter Sommer into play with these massive musings on pipe organ from Hans Gunthe Wauer! There's only one other record we can think of like this – an FMP set that had Fred Van Hove taking similar liberties with the enormous instrument – and Wauer's range of sounds here is breathtaking – from mad runs that must have rumbled the entire studio, to moody atmospheric passages that are punctuated beautifully by Sommer's percussion! We always love Gunter in a spare setting like this, and his work on the record really adds a lot – sometimes just by adding a little. Titles include "Lydische Toccata", "Ech Meissen Crash", "Verschrantke Konstruktion", "Entlang Am Rohrenklang", and "Gesorte Klangflache".

Think major label rock is boring? Think again – and check out this incredible set of tracks from the late 60s and early 70s – all pulled from the catalogs of Liberty and United Artists Records, and recorded at a time when both labels were really willing to take a lot of chances with their music! In the 60s, Liberty was mostly known as a mainstream pop outlet in the US – but over in Europe, the company was recording some incredible cutting-edge groups that included important early prog rockers, space rockers, psyche rockers, and jazz rockers – the kind of genre-crossing groups that were the mainstay of FM radio in its early days, and which are documented here wonderfully in a 3CD set that's overflowing with rare tunes and great notes! Much of the work here has never been issued on CD, and the tracks offer a key picture of an era that's nearly lost – presented with a great sense of timing, history, and full-rocking energy. 39 tracks in all – with titles that include "Intro & Outro" by Bonzo Dog Doo Dah Band, "The Birthday" by Idle Race, "The Seed" by BB Blunder, "Here Comes Mister Time" by If, "Let Me Take You Home" by Gypsy, "Our Captain Cried All Hands" by Allan Taylor, "Little Boy" by Reg King, "Cherry Red" by The Groundhogs, "Paperhouse" by Can, "Country Girl" by Brinsley Schwarz, "Daughter Of The Fireplace" by Man, "Take Me Away" by Colin Scot, "Out Of My Tree" by Clive John, "Psychedelic Warlords" by Hawkwind, "Home Again" by Cochise, "Razor Blade & Rattlesnake" by Deke Leonard, and "Living In The World Today" by Neutrons.

The best in modern jazz in Japan in the mid 50s – a smoking little record that features two different groups! Side one really cooks – thanks to work from Akira Miyazawa on tenor, Sadao Watanabe on alto, and Masao Yagi on piano – all great players who are really at the top of their game here – crackling with tight rhythms in energy that rivals the best Prestige or Blue Note hardbop of the time! The combo play versions of "Confirmation", "I'll Remember April", "East Of The Sun", and "Memories Of You". Side two features a different, larger group – an ensemble that's almost got a west coast feel at times, or maybe a groove that's like some of the best RCA ensemble sessions of the mid 50s. Players include Konosuke Saijo, Takeyasu Mori, Tadayuki Harada, and Tatsuro Watanabe – and titles include "Don't Be That Way", "Snafu", "Strictly Bass", and "The Things We Did Last Summer".

A tight collection of uptempo funk and disco-driven soul tunes – with a selection that goes way past the usual dancefloor favorites! We're not sure how to read the title (which seems to have some sort of "inside take" on black culture in America) so we'll write that off to the overzealous imagination of the British compilers of the set – but we will say that the package includes some great numbers that we wouldn't have thought of otherwise, including a few previously unissued tunes by artists on the Westbound label! The groove is upbeat on most tracks, with plenty of jazzy flourishes and a soulful approach to disco. Titles include "Disco Booty" by Melvin Sparks, "Love Don't Come Easy" by New Jersey Connection, "I Need Somebody To Love Tonight" by Sylvester, "Free Man" by South Shore Commission, "Everything's Gonna Be Alright" by The Clark Sisters, "Latin Disco" by The Counts, "Alvin Stone (The Birth & Death Of A Gangster)" by Fantastic Four, "Moon Trek" by Mike Theodore, "Sadie" by Joe Bataan, "Sure Can't Go To The Moon" by CJ & Co, and "The Magic Man" by King Errison.

Ashford & Simpson recorded plenty of great work on their own, but they were also a tremendous pair of songwriters – and had a way of penning can't-miss work that sounded great in just about anyone's hands! This collection is great testament to that fact – as it starts with gems the duo first wrote back in their early Motown days, then quickly moves up to their late 70s fame, and the way they had a major impact on the dancefloor. The tracks here are often quite familiar, but the actual recordings are sometimes obscure – lesser-known takes on some of Ashford & Simpson's best numbers, laid out back to back as proof of their genius talent for a groovy soul tune. Titles include "Top Of The Stairs" by Collins & Collins, "Keep It Coming" by Tata Vega, "Rough Times" by Angela Bofill, "California Soul" by Marlena Shaw, "Bourgie Bourgie" by Gladys Knight & The Pips, "Have You Ever Tried It" by The Main Ingredient, "I Wouldn't Change The Man He Is" by Blinky, "It's In There" by Jennifer Holiday, "Clouds" by Chaka Khan, "Over & Over" by Sylvester, "Hit & Run Lover" by The Dynamic Superiors, "The Boss (ext club)" by Diana Ross, "Is It Still Good To Ya" by Teddy Pendergrass, "Keep It Coming" by Tata Vega, and "Keep Away Girls" by Stephanie Mills.

DJ Mitsu takes on the legendary Black Jazz label from the 70s – and serves up a sublime mix of spiritual and funky jazz classics from some of the company's greatest records! Mitsu's one of the few cats we could trust with a project like this – and as with his Fender Rhodes mixes from a few years back, this one really respects the core essence of the tunes – yet also finds a way to make them flow beautifully into one another – a 28 track blend of magical music that stands as a great testament to the soulful, spiritual depth of the Black Jazz catalog! There's no tricks or gimmicks at all – just sweet sounds galore – and titles include "Listen Here" and "For Heaven's Sake" by Gene Russell, "Soft Spirit" and "Plastic Creek Stomp" by Henry Franklin, "Infant Eyes" and "Revelation" by Doug Carn, "Little Dance" and "Time & Space" by Rudolph Johnson, "Aunt Lovely" and "Shaw Neeq" by Calvin Keys, "Magic Wand Of Love" and "Maiden Voyage" by Kellee Patterson, "Mode For DD" and "Slinky" by The Awakening, "Trip One" and "Power House" by Chester Thompson and "Funky Mama Moose" by Roland Haynes.

Gilles Peterson takes on the Black Jazz catalog – and the results are completely sublime! The set features Gilles P selecting and mixing his favorite cuts from the legendary label – and the package is a great reminder that, in the years before he dedicated himself more strongly to 21st Century grooves, Peterson was our main man to go to for spiritual jazz like this! There's definitely a special magic to the whole thing – a way of choosing and sequencing the cuts that really unlocks the music even more – even if, like us, you already own all the titles on the Black Jazz label. The whole thing's got a wonderfully righteous vibe – filled with power and soul – and tracks include "Aunt Lovey" by Calvin Keys, "Maiden Voyage" by Kellee Patterson, "Second Wave" by Roland Haynes, "All Your Lover All Day All Night" by Cleveland Eaton, "Beauty & The Electric Tub" by Henry Franklin, "Spring Thing" by The Awakening, "Ndugu's Prayer" by Walter Bishop, and "Awakening Epilogue" by The Awakening.

An astounding collection of Japanese jazz from the end of the 60s – some of the hippest, most vibrant music in the Tokyo scene – and some of the most far-reaching too! The tracks here rival the best Impulse or ESP Records work of the time – really stretching out to find a new voice in jazz – using all the new freedoms of the time to craft tremendously creative solos – yet often still finding a way to make things swing, too! Each track is very long – and the players represent the cream of the crop of the Japanese underground at the time – including some players caught right at the start of very rich careers. Titles include "Mijimasu" by the trio of pianist Masahiko Sato with tenorist Akira Miyazawa, "Mina's Second Theme" by the trio of pianist Yosuke Yamashita, "My Favorite Things" by the quartet of tenorist Akira Nishimura, "On Green Dolphin Street" by tenorist Hidehiko Matsumoto, "Hey Jude" by pianist Takehiro Honda, "Passion Dance" by altoist Kosuke Mine, "Memphis Underground" by drummer Takeshi Inmata, and a long jam session track with Fumio Nanri on trumpet, Junko Mizuno on clarinet, Yuzuru Sera on piano, and George Kawaguchi on drums.

Rare soul from the legendary King Records – hand-picked by Mr Fine Wine, with a special ear for sharp-edged R&B grooves! Most of the work here is from the same early soul stretch as James Brown's initial work for King – and recorded with an equally raw sound overall – heavy rhythms, powerful instrumentation, and amazing vocals that really stretch out with a bold sound for the new generation! A few of the cuts here are by familiar names, and others are lesser-knowns from the rich King catalog – all wrapped together in a big batch of tracks that's filled with the kind of rare gems that Fine Wine's know for – both as a collector and a DJ. Titles include "Old Faithful & True Love" by Earl King, "She's Mine" by Joe Tex, "Mama Needs Your Lovin Baby" by Linda Hopkins, "Cozy's Mambo" by Cozy Cole, "The Jumpin Bean" by The Mystics, "Harem Girl" by Red Prysock, "I Won't Have It" by The King Pins, "One Buffalo" by Jimmy Peterson, "Thanks Mr Postman" by Bobby King, "Solid Rock" by Eli Pauling & The Royalton, "Nothing But Good" by Hank Ballard, and "Take Your Fine Frame Home" by Billy Gayles.

Rare soul from the legendary King Records – hand-picked by Mr Fine Wine, with a special ear for sharp-edged R&B grooves! Most of the work here is from the same early soul stretch as James Brown's initial work for King – and recorded with an equally raw sound overall – heavy rhythms, powerful instrumentation, and amazing vocals that really stretch out with a bold sound for the new generation! A few of the cuts here are by familiar names, and others are lesser-knowns from the rich King catalog – all wrapped together in a big batch of tracks that's filled with the kind of rare gems that Fine Wine's know for – both as a collector and a DJ. Titles include "Old Faithful & True Love" by Earl King, "She's Mine" by Joe Tex, "Mama Needs Your Lovin Baby" by Linda Hopkins, "Cozy's Mambo" by Cozy Cole, "The Jumpin Bean" by The Mystics, "Harem Girl" by Red Prysock, "I Won't Have It" by The King Pins, "One Buffalo" by Jimmy Peterson, "Thanks Mr Postman" by Bobby King, "Solid Rock" by Eli Pauling & The Royalton, "Nothing But Good" by Hank Ballard, and "Take Your Fine Frame Home" by Billy Gayles. Totally great limited package – 20 tracks on 10 funky 45s – all packaged in a mighty cool box!

Massively funky work from the Mainstream Records catalog of the early 70s – some of the grittiest, most hard-hitting tracks recorded by the label at the time! Most of the tracks here are short, but pack plenty of punch – that rock-solid approach to jazz funk that Mainstream was putting down heavier than most other labels at the time – thanks to a top-shelf array of leaders, studio players, and arrangers in the mix! There's a number of tracks here that haven't been reissued as part of P-Vine's single album program on the label – making the compilation even more essential – and the 19 track album features over 75 minutes of music, more than enough to warrant the higher Japanese price. Titles include "Sweet Emma" by Don Burrows, "Mustang" by Sonny Red, "Red Clay" by Jack Wilkins, "Witch Doctor Bump" and "Boogie The Devil In" by The Chubukos, "Spinning Wheel" by Phoenix Authority, "Fire & Water" by Charles Kynard, "Family Affair" by Dave Hubbard, "Signifyin Gemini" by Lamont Johnson, "Freedom Jazz Dance" by Night Blooming Jazzmen, "Mother McCree" by Reggie Moore, "Let's Take The Long Way Home" by Arbee Stidham, and "Never Can Say Goodbye" by Johnny Coles.

An excellent collection of funky tracks from South Africa – most of them with a slightly different feel than work you'd get on other Afro Funk compilations – and we mean that in a good way, too! Some of the artists are names you'd recognize from later recordings of the big South African crossover years of the 80s and 90s – but they're represented here by harder, edgier cuts from the early days – and mixed up with some more obscure acts, too – which really helps bring a freshness to the set, especially given the interweaving of genres that goes on – as you might guess from the extended sub-title of the CD! Titles include "Sangoma" by Malombo, "Oh Yeh Soweto" by Teaspoon & The Waves, "Intombi Ibhinca Isidwaba" by Phuzushukela, "Kikzelani" by Nelcy Sedibe, "Hula Hoop Jive" by Kataki, "Andromeda" by Chris McGregor's Brotherhood Of Breath, "Malume" by Abafakasi, "Baloyi" by Dudu Pukwana & Spear, "Lily's Express" by Gwigwi Mrwebi, "Wozan Mahipi" by Mahlathini & Mahotella Queens, and "Bayeza" by Soul Brothers.

A treasure trove of wonderful tunes – all written by the legendary southern soul team of Dan Penn and Spooner Oldham! The pair rarely entered the spotlight themselves, but contributed countless compositions that helped forge the sound of southern soul in the 60s – classic tunes that made the music of Memphis and Muscle Shoals even more mighty than anyone might have expected – thanks to a depth of feeling, sensitivity of emotion, and a trademark undercurrent of sadness that really helped the music set a new level at the time! This collection is the first to really do justice to the full range of the Penn/Oldham catalog – a beautiful batch of soul singles from a variety of different 60s labels – laid out back to back, in a breathtaking tapestry of soulful music. Titles include "Feed The Flame" by Ted Taylor, "Take Me" by Solomon Burke, "I'm Your Puppet" by Dionne Warwick, "Out Of Left Field" by Percy Sledge, "Cry Like A Baby" by Arthur Alexander, "It Tears Me Up" by Jeanne Newman, "I Met Her In Church" by Tony Borders, "I Need Someone" by The Wallace Brothers, "In The Same Old Way" by Arthur Conley, "Let It Happen" by James Carr, "Are You Never Coming Home" by Sandy Posey, and "I Worship The Ground You Walk On" by Etta James.

The state of jazz, circa 1968 in Japan – a really mindblowing testament to how far the scene had come since the 50s! The performances here are all unique to the record, and every track features a different group – each working in varied styles that move way beyond bop and swing – into the richly exploratory modes that would explode in Japan during the 70s! This means that you get evocative reed work from Sadao Watanabe on "The Fox Doesn't Trot", modern piano and edgey tenor from George Otsuka and Hidehiko Matsumoto on "The Time Machine", soaring swing from Sharps & Flats on "Drive Guide", soulful vibes and guitar from Shungo Sawda and S Hiraoka on "Sam Sack", and open, soaring horn work from Terumasa Hino on trumpet and Hidehiko Matsumoto on tenor on "Free Spirits".

The stonking keeps on going – and the Northern Soul rarities never stop! In this great sixth volume to the long-running Talcum Soul series, the tunes are even more obscure than before – really rare nuggets from the mighty EMI catalog – placed alongside a few more familiar tunes, but tracks that are still a long way from 60s chart hits! The grooves are uptempo throughout – very much in the classic Northern mode, but also showing some of the evolution of the scene's tastes in recent years – its ability to allow some deeper soul modes, and rhythms that change things out a bit more than before. Titles include "Lonely Man" by The Outsiders, "They'll Be Coming" by Sam Ambrose, "Spread Your Love" by Jimmy Holiday, "Yes You Did" by Herman Hitson, "Love Man From Carolina" by Bird Rollins, "Take Your Time & Love Me" by Grover Mitchell, "Who's It Gonna Be" by D & Joe, "Love Slipped Thru My Fingers" by Sam Williams, "Isn't It Just A Shame" by Kenny Wells, "Stop Hurting Me Baby" by Purple Mundi, "Lonely Girl" by Annabelle Fox, "Teardrops Are Falling" by Little Natalie & Henry, "Two Sides To Every Story" by Jimmy Love, and "Perfect Love" by The Diplomats. 26 tracks in all!

The Verve vaults are open again – and as with other Remixed sets, they've let in a host of hip talents to change up their classics! This time around, the results seem even better than before – thanks partly to a very strong array of mixers, including some of our own personal funky favorites – but also thanks to a change in remixing styles for this sort of work – an added complexity, and respect for the originals – so that the tunes aren't just simple smatterings of old vocals over contemporary beats! Titles include "Cry Me A River" by Dinah Washington remixed by Truth & Soul, "Everybody Loves The Sunshine" by Roy Ayers remixed by 9th Wonder, "Gimme Some" by Nina Simone remixed by Mike Mangini, "There Was A Time" by James Brown remixed by Kenny Dope, "California Soul" by Marlena Shaw remixed by Diplo, "Take Care Of Business" by Nina Simone remixed by Pilooski, "Bim Bom" by Astrud Gilberto remixed by Psapp, "Dilo Como Yo" by Patato & Totico remixed by Antibalas, "Evil Ways" by Willie Bobo remixed by Karriem Riggins, "I Get A Kick Out Of You" by Ella Fitzgerald remixed by Cinematic Orchestra, and "Tea For Two" by Sarah Vaughan remixed by Chris Shaw.

A beautiful slice of Japanese jazz from the 70s – grooves that mix together older bamboo flute sounds with modern styles – bits of funk, modal, and fusion that work perfectly with the warm tones of the flute! The blend is completely seductive – very Japanese, but with a really universal appeal – and as you'd guess, most of these cuts never made it out to the rest of the world at the time – so we've got the cats at Wax Poetics Japan to thank for bringing them all together in a killer set like this! There's plenty of funky numbers on here that really make the set worth getting – a real musical discovery, as you'll hear on cuts that include "Eli's Coming" by Singers Three, "Left Right" by Richard Pine & Company, "See See Rider" by Singers Three, "Blue" by Takeshi Inomata & The Sound Limited, "Loving You" by George Ohtsuka, "Negative & Positive" by Minoru Muraoka, and "Judy's Samba" by Seiichi Namakura Quintet.

Poll winners from the Japanese scene of the late 50s – stepping out in a special live performance from the time! The album's almost got a Verve Records sort of feel – especially from the all-star tip – and tunes are more swing than bop, although there's definitely a few modern touches from time to time. Notes are all in Japanese, so it's hard to say who's on which cut – but the set features work from Eji Kitamura, Jimmy Takeuchi, Seiji Hiraoka, Akio Nagata, and others – on titles that include "Someday Sweetheart", "Moonglow", "Shine", "Sweet Lorraine", "Tendery", "Russo", and "Padam Padam".

A spiritual jazz classic – one of the rarest albums of its type from the 70s! This legendary session was recorded by Roy Ayers' keyboardist Harry Whitaker – working here as the leader of the Black Renaissance group, a one-shot ensemble that featured Woody Shaw on trumpet, Azar Lawrence on saxes, Buster Williams on bass, and Mtume on percussion. The session was cut in New York in 1976, but only issued on a rare album that came out briefly in Japan. Yet somehow, the quality of the work and the depth of soulfulness have created a strong aura about the session – making it an oft-cited influence by a generation of DJs and soul jazz listeners. The album only features 2 long tracks – both of them strong ensemble numbers that build modally searching grooves in a Strata East-like style, peppered with voices, both sung and spoken, in a hip, socially conscious mode. Both tracks – "Black Renaissance" and "Magic Ritual" are excellent, on a par with the best 70s spiritual soul jazz!

An amazing dip into the best years of Japanese jazz – that special time when the nation was really finding its own musical voice – and turning out some sounds that are still pretty darn incredible all these many years later! Despite the dates in the title, most of these tracks hail from the cusp of the 70s – the late 60s/early 70s stretch when things really took off in Japanese music, and players began to really experiment with new sounds and styles! All tracks here are groovers – and some have exotic elements that echo their Japanese origin, while others take on complex rhythmic modes, or use trippy electric touches – almost always with pretty darn soulful results. Titles include "Babylonia Wind" by Kiyoshi Sugimoto, "Blue Soul" by Modern Jazz Sannin No Kai, "Tabaruzaka" by Nobuo Hara & Hozan Yamamoto, "Like Miles" by Teramasu Hino, "Favela" by Kazuo Yashiro, and "My Favorite Things" by Sadao Watanabe.

Tropical funk, hazy rhythms, and simmering Afro funk & soul from the Caribbean – a killer collection put together by Hugo Mendez– fantastic stuff from Barbados, St Lucia, Jamaica, Trinidad, St Vincent and beyond! Tropical Funk Experience does a great job of pulling together the a diverse set of funky sounds – with lots of funk that carries both JBs and Afro funk styles, harder grooving and more tripped out sounds, and reggae – with tropical versions of funky standards, and even more numbers that are totally fresh to our ears. Titles include "Spouge Explosion", "Let Me Get Stoned" by Boo & The Tru Tones, "Take The Funky Feeling" by Blue Rhythm Combo, "Cissy Strut" De Boys En Dem, "Fugitive Dub" by Skatalites, "Basa Bongo" by Yoruba Singers, "Smokey Feeling" by The Organization"," New Bag" by The Exciters, "Jive Samba" by Llans Thelwell And The Celestials and more.

A great little album from Roy Ayers' early years with Polygram – often overlooked amidst some of the bigger records in the catalog, but a very soulful set that's got some wonderful funky numbers! There's a really jazzy feel going on here – Roy's nod back to his older roots in music, touched with some of the sharper styles of the 70s generations – especially in the rhythms, which are starting to have that snapping sound that was the Ayers trademark in the 70s. Vibes ring out wonderfully throughout – often getting more space than vocals – and other instrumentation includes soprano sax from George Braith, keyboards from Harry Whitaker and Leon Pendarvis, and drums from Bernard Purdie. Bits of strings slide in nicely, showing a deeper sound to Roy's arranging skills – and titles include the funky break classic "The Boogie Back", a sweet reading of "Feel Like Makin' Love", with all the right electric effects to get the best out of the song's mellow righteous vibe – and the great cuts "Fishika", "Sensitize", "Don't You Worry Bout A Thing", "When is Real Real?", and "Change Up The Groove".

Big Star's amazing Third (or 3rd if you please) – one of the best one-time lost rock albums of the 70s, if not ever – a record that was tough to find for years before finally becoming an acknowledged classic! How this could have ever been thought of as anything less than essential is a mystery. There's this weary quality to the vocals and songwriting of Alex Chilton that's sublime – paired with a raw, rocking underbelly – and finished with strings, horns and other Memphis-y accents. You could think that it all sounds like an ill fit – but no, it's glorious! This vinyl version from 4 Men With Beards features the original cover and original mixes of the 1978 release. Tracks include "Stroke It Noel", their great cover of the Velvets "Femme Fatale", "Thank You Friends", "Jesus Christ", "Holocaust", "Blue Moon", "Take Care" and more.

An insanely wonderful bit of Latin funk! The groove is super heavy, and falls somewhere in between NuYorican soul and Chicano Power rock – with a sound that's pretty close to Black Sugar, but a little bit more psychedelic, due to the heavy guitars and keyboards in the grooves. Hard congas take the lead on most of the tracks – especially the cut "Chapumbambe", which starts with a nice breakbeat. Other tracks include "Tema De Bwana", "Motemba", "La Patada", and the massive Latin soul cut "Lolita".

An amazing lost recording from Kahil El'Zabar – and a Ritual Trio record to rival the great sessions cut for the Sound Aspects label in the 80s! As on some of those records, this one features Kahil's beautiful percussion blended with the bass work of Malachi Favors and trumpet of Lester Bowie – both players who step out here in ways that are even more soulful and spiritual than their performances with the Art Ensemble of Chicago! The tracks are very lean, organic, and build beautifully during the course of the recording – these thoughtfully-flowing numbers that are a perfect summation of the essence that Kahil was trying to get at with the Ritual Trio – almost a more spiritual, righteous take on the Great Black Music ideas forged by the AACM – taken to territory that was even more naturalistic than before. Favors' playing is amazing – and the recording is a perfect example of why his work on bass has always been so revolutionary – and Bowie is really at his best too, with none of the hoke that he could sometimes pick up in his later years. Titles include "Inner Sanctum", "Ju Ju Call", "In The Belly Of Now", "Dawning Of The Aware Ones", "The Ancestors Are Among Us", and "Celestial Dance".

Sublime spiritual jazz from Strata East – one of the label's rarest recordings, and one of its hippest too! The set has an incredibly righteous feel – a blend of keyboards, saxes, guitar, percussion, and vocals that steps off with a very deep feel – one that's heavy on the best post-Coltrane modes of expression in jazz, and which really takes advantage of the freedoms of the Strata setting to open up the sound in really beautiful ways! Beatrice Parker handles the vocals, with a very warm and spiritual style that's not unlike some of the early, righteous recordings by Dee Dee Bridgewater – and other group members include Khaliq Abdul Al Rouf on saxes, Bevin Turnbull on keyboards, Mashujaa Aliye Salamu on guitar, Leroy Seals on bass, and Fred Kwaku Crawley on a host of hip percussion instruments. There's a slight undercurrent of funk on a few tunes, but most tracks are focused more in a soaring, spiritual groove – with titles that include "Circles", "The Sojourner", "Peace (Salaam)", "Traces Of Trane", "Ecstasy", "Music Is Nothing But A Prayer", and "Malika".

A great title for this hip little record – one that definitely has the group coexisting together beautifully in the space of the set – working with well-fused energy that really makes the music shine! The set's got the soulful vibe of some of the best indie sets from the end of the 80s – like some of the overlooked gems on the Muse label – with a deep sense of roots, but a fresh way of presenting them – so that the set's neither the usual bag of jazz, nor some overwrought attempt to recreate history. Instead, it's something fresh and new, and very personal – from drummer Winard Harper (who also plays some balafon too!), along with Bruce Harris on trumpet, Jovan Alexandre on tenor, Michael Dease on trombone, Roy Assaf on piano – and guest work from Frank Wess on tenor and flute, Mark Gross on alto, and Tadataka Unno on piano. Titles include "Helen's Song", "Ummah", "Hard Times", "Get Tough", "A Bientot", "Triumph", and "Coexist".

The often cinematic sounds of Jaga Jazzist, given an extra orchestral sweep – working beautifully well with the Britten Sinfonia chamber orchestra! It's a match made in jazzy, proggy, soundtracky heaven. Jaga Jazzist has a sprawling sound even at their core – with soul jazz, prog and contemporary club sounds delivered in a way that's brilliantly unique to the group – so surely stands to reason that they could adapt quite brilliantly in a grander concert environment. Well, it's even greater than you'd expect! The guitar, vibes, percussion, horns, synth and piano of Jaga Jazzist is complemented beautifully by Britten Sinfonia's strings, flutes, clarinets, bassoon and additional horns and percussion. Includes the slow-building, epic 15+ minute opener "One-Armed Bandit", plus sweet symphonic takes on "Kitty Wu", "Prungen", "For All You Happy People", "Toccata", "Bananfluer Overalt", "Music! Dance! Drama!" and "Oslo Skyline". Recorded at Rockefeller Music Hall in Oslo and at the Baribican in London in fall and summer 2012.

Perhaps THE greatest Quincy Jones album of the 60s – a hard-swinging batch of big band bossa tunes – and one of the greatest American takes on the bossa sound ever! Quincy really brings a lot of soul to the set – syncopating the bottom end of the tunes to really bring out the rhythms, and working with a jazzy flourish of horns that creates all these quick and clever little turns in the tunes! The sound's been heard most famously on the incredible track "Soul Bossa Nova" – an original by Quincy for the set, which has gone onto much greater fame through its use in the film Austin Powers, and a bazillion TV commercials! But the whole album's great too – and other tracks include "Serenata", "Lalo Bossa Nova", "Boogie Bossa Nova", and "Chega De Saudade".

A beautiful record from Japanese vocalist Kimiko Kasai – sung in English as a tribute to Billie Holiday, but in a style that's wonderfully all its own! Backing is by Holiday's old pianist Mal Waldron, and the quality of the set is exquisite – way more than the simple knock-off sound-a-like one you'd expect. Instead, Kasai and Waldron come up with a whole new reading of the songs, taking them generations past Holiday's original work, recorded very much in the mode of some of the best Japanese small combo sessions of the 70s. Recorded in Japan, and issued here in the US version, with the tracks "Don't Explain", "My Man", "Yesterdays", and "Left Alone".

Another vicious set of hammering, lovable skronk from Last Exit – the mighty mid 80s free group that featured Sonny Sharrock, Peter Brotzman, Bill Laswell and Shannon Jackson! This should certainly not come as a surprise, but the sound is as muscular as can be without exploding all over the place. Each player brings their most hammering torrents. Brotzmann and Sharrock get to bring the noise, and a great sense of playfulness while Laswell and Jackson keep rhythmically sound. And boy, does Jackson hit those drums! Ouch! Tracks include the 18 minute "Hard School", "Brain Damage", "Taking A Beating", "Last Call" and "Dark Heart".

Strange and incredible mid 70s atmospherics from Jean-Pierre Massiera – dark atmospherics that roll from heady psych rock to cerebral funk and proggy dynamics – taken to a far deeper dimension thanks to Massiera's hypnotic use of tape samples and layered vocal errata! It's amazing how much is going on here, especially given that the feverish hypnotic effects never lag – as wild and tripped out as it gets, the hold it has on your sensory processors never lags! Billed as a Gallic concept album, it may very well be that, but we can only speak for the visceral thrills – which it has, and many to spare! Includes 3 long pieces, "Frayeur", "Angiosse", and the 16 +minute "HIA".

Paris takes on Clarence Thomas, Colin Powell, and George Bush The First, on the first release on his own label. Tracks include "The Days Of Old", "Coffee, Donuts & Death", "Bush Killa", "Assata's Song", "Long Hot Summer", "Conspiracy Of Silence", "Thinka 'Bout It", "Guerrillas In The Mist", "Make Way For A Panther", "Sleeping With The Enemy", "Rise", and more.

Nice set of funky fusion recorded in Canada, but performed by a group of Italians, including keyboardist Franco D'Andrea. The record's got some good spacey grooves with electric keyboards, and nice choppy fusion tracks in a European 70's style. There's a bit of vocals, but nothing too bad, and most of the record is straight fusion. Tracks include "Take Off", "Myosotis", "Red Earth", and "Fata Morgana".

A great collection of modern soulful tunes – pulled together by the 2000 Black label, an imprint which takes its name from the famous Roy Ayers tune of the same name! Choosing Roy as a reference point would be a difficult thing to live up to for most other labels – but the 2000 Black posse do a damn good job of living up to Roy's legacy here, taking the positive spiritualism that infused his classic work, and using it to inform a whole new set of experiments in modern music. Roy's present on a remake of "2000 Black" done with MM Black, and the set is rounded out by 11 more like minded numbers: "Brand New Day" by Pavel Kostiuk, "Future Past" & "Space Junky" by Nubian Mindz, "Into The Now" by Seiji, "Terah" by Nu Era, "Sunnin" by Catalyst, "Groovesome" by Domu, "Nu Way" by Kuni, "Avenues" by Titonton, "Diamondstone" by Somatik and "The Mind" by Da One Way featuring Bembe Segue.

This series keeps on getting better and better – and this fourth installment may well be the best illustration to date of the birth of soul music! As hinted by the title, the collection features tracks from the late 50s and early 60s that marked a key transition from earlier R&B and blues into soul music – work that pulled a bit more strongly from the church than some of its predecessors, and which also put over a groove that was a bit more sophisticated, sometimes a bit more polished – all to set the stage for the huge soul music explosion to come later in the 60s! A number of the artists here are familiar from R&B years, but they're represented by tracks that show a real change in their styles – and others are known from later successes, but stand out here with early work that's a lot more formative – making them a perfect choice for the collection. CD features 24 tracks in all – including "Come On & Stomp" by Marv Johnson, "Lil Valley" by The MMs & The Peanuts, "Bossa Nova Baby" by Tippie & The Clovers, "Irresistible You" by Bobby Peterson, "Take Your Heart" by Betty Willis, "Puff" by Kenny Lynch, "Jack Be Nimble" by The Intruders, "A Clock That's Got No Hands" by Della Reese, "I Came Running" by Wade Flemons, "You'd Be Crying Too" by The Matadors, "The Gypsy Said" by The Fiestas, "Please Don't Cry Anymore" by Ketty Lester, "Pretty Little Girl Next Door" by Bobby Day, and "Trouble I've Had" by Clarence Ashe.

Perfect stuff for fans of 80s groove! This set features 12 killer modern soul cuts pulled from the catalog of the Capitol/EMI labels – home to some of the smoothest most soulful work in the early 80s, lots of which is pretty darn tough to get on reissue these days. According to the notes, all the tracks are taken from the original 12" single mixes – and the times for nearly all tracks is well over 5 minutes, perfect for groovers! Titles include "Just Can't Give You Up" by Mystic Merlin, "Love On A Summer Night" by The McCrarys, "Dancing In The Night" by Lanier & Co, "Working Up A Sweat" by Full Circle, "On The Beat" by BB&Q Band, "Joy & Pain" by Maze, "Rock Me Tonight" by Freddie Jackson, "There Ain't Nothin (Like Your Lovin)" by Paul Laurance, "Love's Comin At Ya" by Melba Moore, "Sound Of Music" by Dayton, and "Solid" by Ashford & Simpson.

A great follow-up to the first Jobim Jazz set from guitarist Mario Adnet – and in many ways, an even better-conceived version of the project! The difference this time around is that Adnet's been working through the concept in a live setting for a few years – and has come up with wonderfully rich arrangements that really push beyond any simple bossa remake sort of vibe – and instead show up the rich, complicated qualities that we've always loved in the music of Antonio Carlos Jobim – especially in the 70s years of his career! Adnet mostly plays acoustic guitar, but other instrumentation is full with horns – usually flutes and saxes that are intertwined beautifully, with a dipping, soaring sort of energy – not unlike some of the best arrangements by Moacir Santos. Titles include "Takatanga", "Mojave", "Boto", "Bonita", "O Homem", "O Barbinha Branca", "Samba De Maria Luiza", and "Deus E O Diablo Na Terra Do Sol".

One of the best later albums from Joe Bataan – a really wonderful little set that takes off strongly from the salsoul experiments he first began on the Afrofilipino album! The album's got a great blend of clubby rhythms and Latin soul touches – all arranged by Marty Sheller, and carried off by Joe with soulful vocals that still retain a fair bit of the heartbreaking qualities of the older days. There's a punch and funky undercurrent here that was often missing from other Salsoul albums – and titles include the great "Rap O Clap O", which is kind of a remake of Cheryl Lynn's "To Be Real" – plus "Sadie (She Smokes)", "Mestizo", "Rock Me All Night Long", and "Latin Lover". CD features a lot of bonus tracks too – including different mixes of "Rap O Clap O" and "Sadie" – making for a total of 12 tunes in all!

One of the most righteous albums of the 21st century so far – and an instant classic we'll be loving for years! Build An Ark are a seriously heavy soul jazz ensemble, with roots and traditions that stretch back to the most righteous days of the 70s underground – the brainchild of producer Carlos Nino and vocalist Dwight Trible – and featuring work by soul jazz stalwarts that include Phil Ranelin, Nate Morgan, Derf Reklaw, Adam Rudolph, and others – all coming together in a fresh, new expression of the righteous ideals that first motivated their original work! Under the guidance of Nino, the group really gels together nicely – working in a loose mode that's a nice change from the tighter cosmic 21st century soul of the European scene – and returning to the organic, almost folksy forms that first emerged on 70s independent labels like Tribe, Strata East, and Nimbus. LA luminary Nate Morgan plays some great Fender Rhodes on many of the album's best tracks – and singer Dwight Trible has a soulful range that's somewhere between the style of Terry Callier and Leon Thomas. This EP features 5 tracks in all – including a massively beautiful remake of Pharoah Sanders "You've Got To Have Freedom", plus Phil Ranelin's "Vibes From The Tribe", and the original tracks "Pure Imagination/Tortoise & The Hare", "Door Of The Cosmos (take 1)", and "Marcia" – the last 2 of which weren't on the full LP!

Another great achievement from this groovy Italian group – an album that's head and shoulders above anything they were doing just a few short years ago! The Dining Rooms deep to deepen their sound more and more with each new record – hitting a range of tones and colors that take them far beyond their initially simple rhythms, and into a space that's filled with thoughtful lyrics and sensitively-penned tunes! Most of the tracks here hit a groove that's somewhere between mid and downtempo – about half of which feature vocals by guests who include Toco, Dodo Nkishi, Sean Martin, Renaud Chaure, and George Anne Kalweit. There's a fair bit of Fender Rhodes sliding through the tunes, and some warm acoustic basslines as well – really grounding the music in a classic sort of style, even though the overall execution is fairly contemporary. Titles include "Ceremony", "Free To Grow", "Thank You", "Fatale", "Ink", "Cobra Coral", "On The Beach", "Hear Us Now", "Etage Noir (parts 1 & 2)", and "Appuntamento A Trieste".

Sublime spiritual jazz from Strata East – one of the label's rarest recordings, and one of its hippest too! The set has an incredibly righteous feel – a blend of keyboards, saxes, guitar, percussion, and vocals that steps off with a very deep feel – one that's heavy on the best post-Coltrane modes of expression in jazz, and which really takes advantage of the freedoms of the Strata setting to open up the sound in really beautiful ways! Beatrice Parker handles the vocals, with a very warm and spiritual style that's not unlike some of the early, righteous recordings by Dee Dee Bridgewater – and other group members include Khaliq Abdul Al Rouf on saxes, Bevin Turnbull on keyboards, Mashujaa Aliye Salamu on guitar, Leroy Seals on bass, and Fred Kwaku Crawley on a host of hip percussion instruments. There's a slight undercurrent of funk on a few tunes, but most tracks are focused more in a soaring, spiritual groove – with titles that include "Circles", "The Sojourner", "Peace (Salaam)", "Traces Of Trane", "Ecstasy", "Music Is Nothing But A Prayer", and "Malika".

Overlooked genius from Hampton Hawes – one of a number of excellent albums made during a late 60s stint on the European scene – and a set that really has Hamp pushing forward from his previous albums in the US! The tracks are wonderfully fluid – set fire with that Hawes style that was already magical at the start, but which really seemed to find a new sort of energy overseas – possibly here because of the excellent rhythms from Jimmy Woode on bass and Art Taylor on drums – also two players who were really coming into their own at the time. Hampton's got this great blend of lyricism and soulful swing – one that feels a bit like some of the MPS projects that Woode was recording at the time with other players, and which makes the album a real treasure in Hawes' catalog. Every cut save one is an original – and titles include "Sonora", "Blues Enough", "Black Forest", "Spanish Steps", and "Dangerous". CD features 5 bonus tracks – including "Blues For Bud", "Children's Play", "They Say It's Wonderful", and alternate takes of "Black Forest" and "Spanish Steps".