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Mose Allison's last album for Prestige Records – before moving onto even bigger fame at Columbia and Atlantic during the 60s! Unlike Allison's later sets, this one is mostly instrumental – but there are a few sweet vocal tracks that bring out the hip, rootsy lyrical modes that would make Mose a big hit with the mod scene overseas – including the classic "Eyesight To The Blind", plus "That's All Right" and "Do Nothing Till You Here From Me". The remaining piano trio sides have a great rollicking groove – rootsy, yet slightly modern too – with bass by Addison Farmer and drums from Ronnie Free – on titles that include "Promenade", "It's Crazy", "Strange", "Autumn Song", and "Groovin High".

A rare treasure from the Art Ensemble Of Chicago – recorded as a supposed third album for Atlantic records in 1974, but unissued for years until the group released it on their own! The session is a live one, recorded at the Montreux Jazz Festival – and features the unique addition of Muhal Richard Abrams on piano, making for the group's first session ever with the instrument! Muhal's work nicely colors in the spare spaces on the set – giving a soaring, lyrical quality to a few of the numbers – and really standing in stark contrast to the freer solo work of the other players. At times, Abrams is playing these longer lines that almost have a McCoy Tyner sort of energy – directing the set with a tremendous searching vibe – and at other times, he joins the group in their sparer exploration of sound and space – in a mode that's similar to some of their Parisian recordings. Titles include "Sun Precondition One", "Kabalaba", "Kaba Song", "Mal's Delight", and "Improvization A2".

One of Azymuth's best-remembered albums from their American years on Milestone – a really killer classic that beautifully blends Brazilian and American styles of fusion! There's a simple, elegant feel to these tunes that takes off nicely from the group's previous album for Atlantic in Brazil – a pushing forward of the soulful sides of their style, but with just the right blend of quirkier elements as well – one that still keeps the edge of the early years, yet helps the group reach out with a wonderfully warm sound! Most tracks are quite spare, and without any too-smooth polishing in production – and titles include the classic "Jazz Carnival", a funky fusion classic if there ever was one – plus "Light As A Feather", "Avenida Das Manguerias", "This Exists", "Partido Alto", "Dona Olimpia", "Amazonia", and "Young Embrace". CD also features four bonus tracks – "Jazz Carnival (full original mix)", "Avenida Das Manguerias (SS translation by Theo Parrish)", "Jazz Carnival (Yambee rework by Ashley Beedle & Yam Who)", and "Codsall Juniors" by Mark E.

Amazing – simply amazing – and one of the best LPs of 60s soul you could ever buy! Darrell Banks was one of the many lost talents laboring in Detroit during the 60s – and he was part of the city's hip underground soul scene that included monster talents like Steve Mancha and JJ Barnes, all of whom fall into the "should have been famous" category, but who have fortunately been honored for years by soul fans worldwide. This album's one of two that Banks ever issued under his own name – and it's a collection of singles that were put together by Revilot, but issued in full LP format by Atlantic. Banks mixes together raw deep soul vocals with some hipper uptown production – and the result is soul that's about as classic as "classic" could be! Every single cut's a winner, written by some of the finest talents in soul music at the time – and tracks include "Here Come The Tears", "Our Love (Is In The Pocket)", "I'm Gonna Hang My Head & Cry", "Baby What'cha Got For Me", and Banks' semi-hit, "Open The Door To Your Heart".

A really unique little record – and one with a trans-Atlantic heritage too! The sounds here are all from Martinique, but are heavy in African roots as well – and offer up a criss-crossing of rhythmic and tropical modes that's mighty unique! The grooves have some vocals, but are often mostly focused on the instrumental interplay – some great percussion that moves at a very skittish pace – topped with these guitar lines that are both light and jagged, and which have a pulsing rhythmic intensity that's pretty darn hypnotic! Horns are nice, and get some great solos too – and there's a quality the record that's both airy and deep at the same time. Titles include "Chimen Ta La", "Bochet", "Ansinel", "Flabo Pep La", "Omaj Pou Danyel", and "Endepandans".

A dancefloor classic! The album's the second by Gregg Diamond's Bionic Boogie, and head and shoulders above the rest – a sublime blend of soul and club that's hardly been matched again! Diamond manages to make things groove, but never loses sight of the soulful styles that make the record so great – and works here with key contributions from a young Luther Vandross, who gives the album some of the same strong vocal arrangements he brought to his own first two albums on Atlantic! Luther sings lead on the album's legendary track "Hot Butterfly", and works in a group with Cissy Houston on other tracks – sweetly soaring with vocals that go far beyond most disco efforts of the time. Simply sublime, and with classics that include "Hot Butterfly", "Paradise", "Cream (Always Rises To The Top)", "Chains", and "When The Sh*t Hits The Fan (Rocket Pocket)".

A killer debut from Black Slate – one of the leading lights in British reggae at the start of the 80s – and a group with a warmly soulful sound! Black Slate have a great way of sounding smooth, but never too slick – a balance between their laidback energy and the mellow production modes of the set – all of which give them a vibe that's a bit like the best of Third World in the late 70s, although less commercial overall. The album's got a wonderfully warm appeal – and were it on Island Records, would have undoubtedly cracked the charts on this side of the Atlantic too. But it's also that overseas obscurity that makes it a bit more of a gem overall. Titles include "Amigo", "Sticks Man 80", "Boom Boom", "Romans", "Thin Line Between Love & Hate", and "Freedom Time". CD also features bonus tracks – "Black Slate Rock (12" version)", "Amigo (single)", and "Boom Boom (single)".

A tremendous collection of work from Inge Brandenburg – a German jazz singer who never made it big on our side of the Atlantic, but who cut some excellent English language recordings in the 50s and 60s! The package features a great range of tunes from Inge – pulled together to accompany a recent documentary that's helped folks rediscover her music – with work from a variety of different labels, and an especially strong focus on tracks from the late 50s and early 60s! The style is tight jazz throughout – spurred on by players who include Albert Mangelsdorff on trombone, Dusko Goykovich on trumpet, Joki Freund on tenor, and Herb Geller on alto sax – plus many others who make the small group recordings on the record really shine. Titles include "The Lonesome Road", "Body & Soul", "All Of Me", "Love For Sale", "Temptation", "Secret Love", "The Man I Love", "The Face Of Love", "Skylark", "I Can't Give You Anything But Love", and "Non Je Ne Regrette Rien".,

Quite obscure later work from Maxine – done in a style that's partly like her classic uptown soul work for Wand, but which also has some more down-home and rootsy moments – in an approach that was clearly intended to make her come across as more of a hard soul singer! Arrangements are by Bert De Coteaux, and all very strong throughout – with a level of quality that matches the Atlantic sort of session of this type, which was probably what Bert was aiming for! Titles include the single "We'll Cry Together", plus "Piece Of My Heart", "See & Don't See", "Reason To Believe", "You're The Reason I'm Leaving", and "Didn't You Know".

A brilliant mix of Afro and deep funk styles – the kind of grooves you'd get if Fela Kuti hung out with The Meters in the late 60s! Budos Band recall the genius of 90s deep funk combo The Daktaris – and have a similar love of older African rhythms touched by a newer indie funk sound – a complexity in the group's well-arranged horn parts, but a simplicity to their rhythms that makes the album cook like some of our favorite classics from years back. Sax and trumpet lines are mixed nicely with heavy percussion and a fair bit of organ at the bottom – creating a murky groove that has a bit of New Orleans in the mix, but also has most of the instruments stepping along with the rhythm – in a very cool take on the Africa 70 sound. Tracks are all instrumental, and all incredible – and the record's one of the freshest we've heard from the deep funk underground in years – a second-generation set that gets way past simple copycat funk and into its own unique groove! Titles include "Budos Theme", "Ghost Walk", "King Charles", "Eastbound", "Across The Atlantic", "Up From The South", "TIBWF", and "Monkey See Monkey Do".

Surprisingly nice work! Like the rest of Solomon's post-Atlantic LPs, this one has a sound that's different than his classic work, but which also exposes a whole new side of his talent, and range of vocals that didn't always show up for Atlantic. Solomon arranged and produced here, and the sound is mellow and a bit modern, but still with excellent southern soul touches. Most of the tracks are new, and are dedications to Martin Luther King Jr., who was the inspiration for the album. The stuff's a lot more political than most of Solomon's work, as you might guess by titles like "I Have A Dream", "Now Is The Time", "Social Change", and "Mountain Top".

A fantastic bit of tripped out funk! Cane & Able were one of the many groups that came out of the collective surrounding the Lafayette Afro-Rock Band in the early 70s – and like that group, Cane & Able draw on a wide range of influences to create a heavy funky sound. The album mixes the African influences used by the LARB with more of a hard soul vocal approach, with some cuts sounding a bit like material from Atlantic albums of the late 60s, but handled with more of a fuzzy edge. Includes a great funky reading of Wilson Pickett's "Don't Knock My Love", a cover of "Who's Gonna Take The Weight", and the long tripped-out groover "Girl You Move Me"!

An obscure record with a silly title – but a seminal batch of southern soul instrumentals, recorded at the height of the Muscle Shoals scene! The record's a really odd one in the Chess catalog – because it's got the feel of a record that should have come out on Atlantic or Capitol, or more appropriately Fame – as Rick Hall arranged and produced the record, and it features instrumentation by all his best Fame Studios session players, including Charlie Chalmers and Andrew Love on tenor, Gene Miller and Wayne Jackson on trumpet, Jimmy Johnson guitar, Spooner Oldham on piano, Carl Banks on organ, and Roger Hawkins on drums. Chalmers handles the main solo lines on tenor – cutting nice King Curtis-y lines over some well crafted southern soul grooves with a strong funky 45 feel. There's some particularly great cuts on the album – and titles include "Night Rumble", "Velvet Soul", "Groovin", "Soulin", "Two In The Morning", and "Poppin".

A beautiful name for a beautiful record – a classic set of hardbop material from John Coltrane's early years as a leader – and a session that has him working with Donald Byrd on trumpet, Red Garland on piano, Paul Chambers on bass, and Art Taylor on drums! The album's got a beautifully laidback feel that prefaces some of the Coltrane's more exploratory work on Impulse and Atlantic – but one that still also has the earthy, straight ahead feel of his best early years on Prestige – a great combination that makes the record a key moment in the early career of The Great One. Tracks are all quite long – not exactly blowing session tunes, but done with a feel that's more open than some of the other Coltrane albums of the time – and titles include "Black Pearls", "Lover Come Back To Me", and "Sweet Sapphire Blues".

One of the most haunting albums we've ever heard from Perry Como – a session recorded in Italy during the mid 60s – featuring arrangements by Nick Perito, and backing vocals by the Alessandro Alessandroni Singers! The tunes include a fair bit of older Italian numbers – some sung in the language of their origin, some in English translations that we've come to know on this side of the Atlantic – and Como takes them all with a sad-tinged style that makes the album one of his moodiest ever – a record that oozes melancholy with every song, and which has a late nite, heartbreaking appeal that goes beyond even the understanding of language. The set's a great one to convey the popularity of Italian work on the American market in the 60s – and Como carries off the session even better than some of the more likely singers on the scene during the period. Titles include "Souvenir D'Italie", "Forget Domani", "Anema E Core", "One Day Is Like Another", "Arrivederci Roma", "Oh Marie", and "E Lei".

The second Arthur Conley album for Atlantic – and like the first, a record that really cooks with some great Otis Redding production! The sound and style is very similar to Otis' work for Stax during the 60s – but the album was recorded at Fame Studios in Muscle Shoals, with engineering by Jimmy Johnson, and it's got a bit of a different sound from the Memphis soul of Otis' records. There's more horns, and less organ and guitars, and Conley's vocals are produced in a raw style that brings out the best of his work. Includes versions of the Otis Redding tracks "Ha Ha Ha" and "I've Been Loving You Too Long", plus Conley's own "Love's Got Me", "Hand & Glove", and "I'll Take The Blame".

Despite any prejudice you might have against Maynard Ferguson, he actually does a damn good job backing up Chris Connor's lovely voice on this record – probably because his band is super-hip, and includes players like Jaki Byard, Joe Farrell, and Rufus Jones. Connor is in fine icy form, as usual – and it's nice to hear her get a bit more jazzy backing than some of the more somber arrangements you'll hear on her Atlantic sessions. Titles include "The Wind", "Send For Me", "Where Do You Go?", and "Deep Song".

Although Don's probably best known for his Atlantic stuff, we really love this album for Mercury from the early 70s. It's a nice bit of 70s soul, with a sound that's a lot more in place than that of his earlier recordings in the decade, which were a bit bluesy. The LP includes the great AM radio hit "I Was Checkin' Out She Was Checkin' In", plus the funky "Overtime Man", and "The Pinch Hitters". Groovy 70s soul, with a nice quirky twist.

Smoking stuff – and one of Bill Doggett's best albums away from the King record label! The style here is even tighter than on King – somewhere in a space between 60s soul jazz and soul instrumental modes – with Doggett's organ right out front in the mix, stepping along some great short little numbers! The record's nice and playful – and at times feels like an Atlantic instrumental set – on cuts that include "Hot Fudge", "Soul City", "Monkey", "One Fine Day", "The Worm", "Fingertips", and "Soul Zone".

The third in The Drifters' early 70s revival run in the UK for Bell Records – and possibly the strongest album of the bunch! The lineup of the group has changed a bit, but the sound here is still the same – a nice 70s update of the group's earlier sound – in a way that still keeps all the lilting moments of the early 60s Drifters' style on Atlantic, but which also brings in some fuller, smoother production too – handled by Roger Greenaway, who also wrote a number of tracks for the record too. The wealth of original material really keeps things fresh – and has the group stretching past a simple rehash of the early days – and titles include "The Juggler", "Harlem Child", "Hello Happiness", "I've Got You On My Mind", "Don't Cry On A Weekend", "Can I Take You Home Little Girl", "There Goes My First Love", and "You Chose A Fine Time". CD also features 2 bonus tracks – "It Looks Like I'm The Clown Again" and "Closely Guarded Secret".

A brilliant criss-crossing of group from this cool trans-global group – a set recorded in London, but with roots in Venezuela, LA, and Ghana – served up with a sound that's even greater than the sum of its parts! Malcolm Catto recorded the record – and really helps bring a funky energy to the record, by working alongside lead studio help from Jack Yglesias of The Heliocentrics – pushing here into a space that's even more offbeat than the grooves of that group! There's loads of rich acoustic instrumentation – especially percussion – and Mulatu joins the record at one spot, furthering the exotic appeal of the set. Some tracks have an almost ethnographic vibes, while others are a bit more contemporary – although the overall sound is more than worthy of placement on the Soundway label. Titles incude "Arena", "Cumbacutiri", "Fly Through The Lightning To Speak With The Sun", "El Negrero", "Escape To The Palenque", "Manicero", "La Familia", and "Speak To The Spirit Of The Sea".

Smoking soul from the mighty Lee Fields – and a set that really has him getting back to his roots, as well! The record's billed as a follow-up to the previous My World – but it's got a style that's much more deep soul, much more southern-tinged than that great record – a beautiful indication of Lee's rich legacy in soul music – which stretches back decades, with rare releases on small indie labels! Yet the sound here is much stronger than Fields ever got back in the day – thanks to help from The Expressions, and some sublime Truth & Soul production – a combination that really has the record feeling as if it were recorded for Atlantic at Muscle Shoals at the end of the 60s. Lee's vocals really rise to the setting, and may well be some of his best in years – and that's saying a hell of a lot, given how great he always is! A stone home run throughout – with titles that include "Faithful Man", "Wish You Were Here", "Moonlight Mile", "Walk On Thru That Door", "Still Hanging On", "You're The Kind Of Girl", and "I Still Got It".

The instrumentals for the smoking soul set by the mighty Lee Fields! The record's billed as a follow-up to the previous My World – but it's got a style that's much more deep soul, much more southern-tinged than that great record – a beautiful indication of Lee's rich legacy in soul music – which stretches back decades, with rare releases on small indie labels! Yet the sound here is much stronger than Fields ever got back in the day – thanks to help from The Expressions, and some sublime Truth & Soul production – a combination that really has the record feeling as if it were recorded for Atlantic at Muscle Shoals at the end of the 60s. A stone home run throughout – with titles that include "Faithful Man", "Wish You Were Here", "Moonlight Mile", "Walk On Thru That Door", "Still Hanging On", "You're The Kind Of Girl", and "I Still Got It".

Rock 'n' soul from South Africa's The Flames – their '67 set Burning Soul and '68's Soultime – on a single CD! Burning Soul wasn't the group's first album, but it's the first featuring vocalist Blondie Chapman, who helped steer the group's more rocking roots to a sound more indebted to classic Motown and Atlantic soul! They do keep a nice undercurrent of rock & roll, though,and this is a nice little set with some really groovy covers. Titles include "You Got It Made", "Stop, Look And Listen", "Knock On Wood", "Hold On I'm Coming", "Purple Haze" and more. Soultime has a pretty cool mix of straighter late 60s style soul-rock with a bit of trippy psyche influences in the mix. At this point, the group reminds us a little bit of Soul Survivors and some of the acts on Dunwich – and the bass-heavy groove of the tracks is really wonderful. Titles include "Lost", "If You Think You're Groovy", "I Was Made To Love Her", "Useless Illusions", "Restless", "Wishes", and "Solitude".

Sublime 70s work from Darrow Fletcher – a singer we mostly know for his early soul singles in Chicago – but one who really hits his stride on these rare sessions from LA! The music was mostly recorded for Ray Charles' Crossover label – although a few singles also appeared on Atlantic too – and the work has Fletcher's wonderful sweet soul vocal approach coming into play with these warmly flowing grooves that are mighty nice – almost a west coast take on the style that Leroy Hutson was doing in Chicago on Curtom! In the setting, Fletcher's even more appealing than before – a mature singer with a hell of a balance between class and soul, poise and swing – more than enough to rival his hippest contemporaries. Production on most tracks was done by Joel Webster – who also recorded for Crossover – and titles include "The Rising Cost Of Love", "Honey Can I", "Try Something New", "Secret Weapon", "Let's Get Together", "It's No Mistake", "Election Day", "Improve", and "Wind Up Toys".

A sweet overview of the early years of Aretha Franklin's career – her formative days at Columbia Records, when she was working in a variety of styles before heading over to bigger fame at Atlantic! Even at this early stage, Aretha's one hell of a singer – and, despite what folks who listen to Jerry Wexler might say, this early Columbia work is pretty darn amazing throughout – steeped in a number of different modes, with bits of jazz, R&B, and early soul sewn together beautifully throughout. The double-length set is filled with key early moments from Aretha – and titles include "Don't Cry Baby", "Lee Cross", "Skylark", "One Step Ahead", "Evil Gal Blues", "Take A Look", "Runnin Out Of Fools", "People", "Try A Little Tenderness", and "Take It Like You Give It".

A sweet overview of the early years of Aretha Franklin's career – her formative days at Columbia Records, when she was working in a variety of styles before heading over to bigger fame at Atlantic! Even at this early stage, Aretha's one hell of a singer – and, despite what folks who listen to Jerry Wexler might say, this early Columbia work is pretty darn amazing throughout – steeped in a number of different modes, with bits of jazz, R&B, and early soul sewn together beautifully throughout. The double-length set is filled with key early moments from Aretha – and titles include "Don't Cry Baby", "Lee Cross", "Skylark", "One Step Ahead", "Evil Gal Blues", "Take A Look", "Runnin Out Of Fools", "People", "Try A Little Tenderness", and "Take It Like You Give It".

Lost funky work from one of the soulful sisters of Aretha Franklin! Erma's got a hard-hitting style that's right up there with Aretha's best for Atlantic – and on this album, she's working in Chicago with Johnny Pate, Sonny Sanders, and Willie Henderson – for a harder-hitting sound than her famous sis, really in the groove with the best of Brunswick from the late 60s! Erma's vocals are incredible – equally at home with the original tracks on the record, as well as some late 60s hits that are nicely soulized by the boys in the band! Titles include "Hold On I'm Coming", "Baby I Love You", "Light My Fire", "You've Been Cancelled", "Can't See My Way", and "Gotta Find Me A Lover".

A cooking little album from guitarist George Freeman – his first album as a leader, recorded during a brief initial period of fame at the start of the 70s! The album's got a stripped-down, very groovy feel – one that takes off from some of Freeman's 60s work with Groove Holmes – but which puts George center stage, and allows for plenty of examples of his amazing tone and phrasing on the guitar! The core group is a trio – with Sonny Burke on organ and Billy Mitchell on drums – and Freeman's more famous brother Von joins in on tenor sax on a good portion of the tracks – playing in a soul jazz mode that's arguably better than that used on his Atlantic debut, recorded right around the same time. One more track features an even more unusual lineup – with Lester Lashley on trombone, Robert Pierce on organ, and Kalaparusha Maurice McIntyre on tenor, making one of his few appearances on record of this type! But the real star of the set throughout is George Freeman – playing the electric guitar with a quality that's unlike anyone else we can think of – a nitty, gritty tone that's almost a direct heir of T-Bone Walker, but a lot jazzier overall! Titles include the great funky number "Must Be Must Be", plus "Hoss", "Cough it Up", "Mama Papa Brother", "Birth Sign", "My Ship", and "My Scenery".

One of the best studio albums ever from the legendary Von Freeman – and a date that really captures some of the careful essence of his live performances in Chicago! Unlike the previous Atlantic album, which tried to fit Von into a more expected bag, this easygoing Nessa session really lets him open up and take off – blowing tunes that are straight ahead, but always with that offbeat style that turns the songs inside out – making them rich exploratory fields for inventive and creative solos! The group fits Von's longtime credo of never upstaging the leader – which gives his tenor lots of room to blow – and players include John Young on piano , David Shipp on bass, and the great Wilbur Campbell on drums. Titles include a great version of Mancini's "Mr Lucky", plus "Swinging The Blues", "Polka Dots And Moonbeams", and "Have No Fear Soul Is Here". This great Nessa CD version has a killer bonus track, too – the Freeman-composed "Boomerang".

Soaring soul from The Futures – a Philly group who'd already worked for years in the underground before cracking the racks with this debut LP in 1975 – schooled strongly in their best vocal modes from previous singles, and ready to unleash the best side of their sound on the world! The set's got a perfectly put-together style that's much more like some of the Philly vocal work on Atlantic of Philadelphia International at the time – although also not as commercial, thanks to a righteous undercurrent in the group's presentation and overall aesthetic – hinted at by their image on the cover! Arrangements are by David Van DePitte and Wade Marcus, who also echo a bit of Detroit styles too – particularly the righteous blend of The Temptations towards the end of their Motown years. The Futures are equally great on mellow cuts and stormers – and titles include Castles", "Do Unto Others", "Ninety Days (In The House Of Love Correction)", "I Had A Dream", "Love Will Be Around Forever", and "Super Love". Plus, the CD features 7 bonus tracks – duets with Barbara Mason on "We Got Each Other" and "Make It Last" – plus "No One Could Compare", "Grade A Woman", "The Way Of A Woman In Love", "Castles (single version)", and "You Better Be Certain".

Fantastic stuff – and a record that may well be the greatest ever from the mighty Serge Gainsbourg – high praise indeed, considering the greatness of Gainsbourg's other music! The album is one long suite built around a spare, electric bass-driven theme – a slow funk riff that's been sampled countless times over the years, and which has gotten the album continuous play on both sides of the Atlantic for many many years. The mighty Jean-Claude Vannier handles the arrangements, and Serge mutters the lyrics over the top, in a raspy loud whisper – while the funky rhythms dart in and out of odd washes of sound, and unusual eerie sounds. There's a very strong soundtrack feel to the album, as waves of music envelop the lyrics – tripped out in funky beats that have become legendary over the years, thanks to some very famous samples! Titles include "En Melody", "Cargo Culte", "Ballade De Melody Nelson", "Valse De Melody", "Ah! Melody", and "L'Hotel Particulier". Wonderful US version too – with a 40 page deluxe booklet that features extensive notes on the album – and a 1971 interview with Gainsbourg!

Fantastic stuff – and a record that may well be the greatest ever from the mighty Serge Gainsbourg – high praise indeed, considering the greatness of Gainsbourg's other music! The album is one long suite built around a spare, electric bass-driven theme – a slow funk riff that's been sampled countless times over the years, and which has gotten the album continuous play on both sides of the Atlantic for many many years. The mighty Jean-Claude Vannier handles the arrangements, and Serge mutters the lyrics over the top, in a raspy loud whisper – while the funky rhythms dart in and out of odd washes of sound, and unusual eerie sounds. There's a very strong soundtrack feel to the album, as waves of music envelop the lyrics – tripped out in funky beats that have become legendary over the years, thanks to some very famous samples! Titles include "En Melody", "Cargo Culte", "Ballade De Melody Nelson", "Valse De Melody", "Ah! Melody", and "L'Hotel Particulier".

Nikki lays down some of her righteous poetry over a backing provided by the Sweet Inspirations and a host of Atlantic studio musicians. The groove is pretty soulful, and this is probably one of her most successful albums that blend poetry and music. Titles include "A Certain Peace", "The Women Gather", "The Way I Feel", "Just An NY Poem", and "My House".

Fierce funky grooves from the legendary Nico Gomez – a set cooked up in Europe, but heavy with influences from the other side of the Atlantic – from Havana all the way up to New York! There's definitely a Latin groove to the record – one that's similar to other Gomez productions – but there's also lots of heavy funk at the bottom – with basslines that drive most numbers along boldly, really raw percussion played with a nice sense of spontaneity, and these super-tight keyboards and guitars that you might find in American funk! The mix of modes is very much in the best spirit of contemporary groups like Chakachas or Lafayette Afro Rock Band – and titles include "Caballo Negro", "Lupita", "Baila Chibiquiban", "Pa! Pa! Pa! Pa!", "One Note Samba", "Cuba Libre", and "El Condor Pasa".

Fierce funky grooves from the legendary Nico Gomez – a set cooked up in Europe, but heavy with influences from the other side of the Atlantic – from Havana all the way up to New York! There's definitely a Latin groove to the record – one that's similar to other Gomez productions – but there's also lots of heavy funk at the bottom – with basslines that drive most numbers along boldly, really raw percussion played with a nice sense of spontaneity, and these super-tight keyboards and guitars that you might find in American funk! The mix of modes is very much in the best spirit of contemporary groups like Chakachas or Lafayette Afro Rock Band – and titles include "Caballo Negro", "Lupita", "Baila Chibiquiban", "Pa! Pa! Pa! Pa!", "One Note Samba", "Cuba Libre", and "El Condor Pasa".

The amazing debut of RB Greaves – a soul singer with a difference! RB struck big with this album on late 60s Atlantic Records – yet despite production at Muscle Shoals, and arrangements from Arif Mardin, the sound here is quite different than most of his contemporaries – and certainly not the southern soul you'd expect! Instead, Greaves goes for a crackling quality that really showcases his trans-American roots – a vibe that's almost like Johnny Nash at points, and has a similar way of embracing a whole host of different sounds at one time – not just late 60s soul, but some other undercurrents of pop, and even some occasional folksy or island flavors as well. The album's standout hit is the legendary "Take A Letter Maria" – a cut that broke big on both sides of the tracks, and which is one of the most compelling story songs of the time. Other tunes include "This is Soul", "Ballad Of Leroy", "Ain't That Good News", "Home To Stay", and "Birmingham Alabama".

A genius album from Swedish baritone giant Lars Gullin – and a set that's from a period that was much less documented on our side of the Atlantic! Gullin was one of the undisputed masters of the instrument, and his American recordings on Mercury and Prestige stand as proof to his talent – but his work from the 60s, done back in his native Sweden, has been lost for years – and is often deeper and more complicated than his US sides of the 50s! This set from 1964 features Gullin in the company of a host of very talented "pals" that includes some of the greatest talents in jazz in Sweden at the time – Rolf Billberg on alto, Jan Allan on trumpet, Harry Backlund on tenor, Torgny Nilsson on trombone, and Lars Sjosten on piano – all artists used by Gullin in varying combinations, working through these wonderful arrangements of original tunes that are among some of the best he ever wrote. The set features haunting arrangements that defy description, and which allow the soloists free room to express themselves in a manner that skirts between hardbop and modernism, but which always manages to swing! Titles include "It's True", "I've Seen", "Prima Vera", "Decent Eyes", "Gabriella", and "Portrait Of My Pals". CD also features 4 bonus tracks too!

A great lost album from Eddie! The record was one of his few cut for Columbia – recorded between his early years at Vee Jay and his hit years at Atlantic – and it's an excellent little batch of cuts, with a tight Chicago soulful grooving sound, and a strong approach that mixes hardbop and soul jazz in a very nice way. Some of the material is pop in origin – like "Goldfinger" and "People" – but even those tracks are done very nicely, with a nice groove and Eddie's biting sax firmly in place. Other titles include "East End Blues", "Rice Pudding", "That's Tough", and "Ineffable".

Two live albums and three studio classics – the near-complete Atlantic recordings of the legendary Donny Hathaway! Donny's one of our favorite soul artists of all time – not just because he hails from our hometown of Chicago, but also because his music is beautiful, brilliant, and beyond compare – some of the most sophisticated soul of his generation – as musically complex as the ideas in the lyrics! The package features both Donny Hathaway Live and Donny Hathaway In Performance – two genre-defining concert sets – plus the three core studio albums Donny Hathaway, Everything Is Everything, and Extension Of A Man – all packaged in small LP-styled sleeves!

A killer set from one of the most unique acts of the 70s – the legendary Hot Chocolate, a group with a sound unlike anyone else at the time! Hot Chocolate's groove was a bit soul, a bit rock, and often nicely funky underneath – and the British group really won lots of new ears on this side of the Atlantic with their bad-stepping approach to 70s pop! This self-titled album's one of the greatest ever from the group – and the cool compressed production further pushes their sound into really great territory – mushing the guitars up alongside the keyboards, squeezing the hip vocals of Errol Brown into a badass edge, and glamming things up ever so slightly. Arrangements are by the great John Cameron – a talent we've loved since his late 60s work with Donovan – and production is by the legendary Mickie Most, who's still burning strong here in the 70s. The album features the group's huge hit "You Sexy Thing", plus "Lay Me Down", "Amazing Skin Song", "Hello America", "The Street", "Call The Police", and "A Child's Prayer". CD is overflowing with bonus tracks too – including the b-side version of "You Sexy Thing", and the cuts "Sexy Lady", "Blue Night", "Cheri Babe", and "Everything Should Be Funky".

Great recent work from legendary bassist Chuck Israels – a player known for his famous work with Bill Evans, but a musician who's just kept on growing over the years! This set's got a great 50s modern jazz vibe – bass by Israels and guitar from co-leader Axel Hagen – in a setting that also features drums from Peter Kahlenborn and tenor and clarinet from John Ruocco. The bass and guitar often take the lead – in ways that echo the vibe of an older Jim Hall-styled session – and when clarinet's in the mix, there's a wonderfully open style to the record – not exactly the Jimmy Giuffre trio on Atlantic, but not far off either! Titles include "Koko", "Slow Freight", "The Boy Next Door", "Chaconne A Son Gout", "The Sweetest Sounds", and "Minor Tributary".

One of our favorite albums of all times – and a legendary testament to the greatness of the Chicago music scene in the late 60s! Melvin Jackson was the bassist in Eddie Harris' very successful group of the time – and his playing on Eddie's trippy and funky records for Atlantic is one of the factors that made them so great. Here, he's working with an acoustic bass, amplified with electronics like a Varitone sax – and this strange-sounding instrument is set up in a hip group that mixes Cadet funky studio players (Phil Upchurch, Morris Jennings, Jody Christian) with some of the brighter young players of the AACM (Roscoe Mitchell, Lester Bowie, and Leo Smith.) Jackson's bass is looped through all sorts of crazy effects, and the result is this amazing blend of avant garde playing and groovy rhythms that is beyond compare! The album includes great reworkings of two Eddie Harris funk tracks – "Bold and Black" and "Cold Duck Time" – plus monster originals like "Funky Doo", "Say What", "Dance Of The Dervish", and "Funky Skull (parts 1 & 2)".

Early work from Syl – very different than some of his later work! Both cuts were produced by Johnny Cameron – done with a hard bluesy groove, but also more of a jazz-based approach on the vocals. Syl's voice still sounds a lot like before, but there's less guitar in the grooves – and more of a hard-vamping band approach, with piano and horns pushing out in an Atlantic Records kind of sound. Still great – and "Straight No Chaser" is probably the best, not a cover of the jazz standard, but a hard romping groover!

Great work from Grace Jones – still riding high on a disco wave here, but also finding her own space and sound too! The mighty Tom Moulton produced, ensuring some great sound for the set – and arrangements are by Thor Baldursson and John Davis, both of whom bring in nice sense of fullness, but never smother Grace too much – a key factor, given that her vocal approach is often a bit more restrained than some of the other disco divas of the time. There's less covers here than before, and Grace herself even penned some of the tunes. Titles include "Suffer", "Sinning", "Saved", "Atlantic City Gambler", "On Your Knees", and "Don't Mess With The Messer".

Very cool stuff – a rare European-only album that brings together some of King Curtis' funkiest tracks ever – and which really stands as one of the most perfect full records we've ever heard from the King! The sound here is more Stax Records than some of the mellower cuts that Atlantic issued under Curtis' name – and although some of his full albums for the label had hits mixed with filler material, lots of of the tracks here offer up the same sort of instrumental greatness you'd get from the b-sides of some of the best King Curtis funky 45s! Titles include "Last Night", "Sing A Simple Song", "Instant Groove", "Memphis Soul Stew", "In The Pocket", "Hold On I'm Coming", "I Was Made To Love Her", "Jump Back", and "I Heard It Through The Grapevine".

Smoking tenor from one of the greatest reedmen of all time – and one of the few who could easily bridge the worlds of jazz, soul, and R&B! The set's one of King's earliest albums – recorded back in 1959, and really given a tight Atlantic Records focus that takes the music way past some of Curtis' recordings for other labels – a sharp, tight punch in the rhythms that really works perfectly with his horn! Most of the players have a jazz pedigree, but fall nicely in line behind the tenor lead – on a rich range of original titles that include "Midnight Ramble", "The Shake", "Lil Brother", "Jaywalk", "Snake Eyes", "The Groove", and "Chili" – plus a sweet take on "Peter Gunn" too!

An instant groove from King Curtis – and a record that's even more deeply soulful than some of his other Atlantic albums! The title cut's a killer – a hard-vamping number that pushed funk further into the mainstream back in the day – and lots of the rest of the album follows suit, by bringing in some of the rougher King Curtis edges that usually only showed up on b-sides of 45s – while other full albums usually focused on sweeter sounds. There's a few of those here too – but even those tracks have a looser, more personal feel than before – not as much "perfect" soul sax, and a bit more grit. Arrangements are by Arif Mardin and King Curtis – and Duane Allman plays guiter on some cuts! Titles include "The Weight", "Sing A Simple Song", "Instant Groove", "Hey Jude", "Games People Play", "La Jeanne", and "Foot Pattin".

One of the best-remembered moments from the mighty King Floyd – a southern soul singer who came into the game slightly later than some of his Atlantic Records contemporaries, but who still packs a punch that's right up there with the best of them! The album's best known for the huge hit "Groove Me" – a slinky, catchy tune that's gotten King plenty of play over the years – but the whole thing is pretty darn great, and shows a new sound and style of southern soul coming into play – as Floyd's working in Jackson, at the Malaco Studios, with Wardell Quezergue producing – in a sound that's a bit free of some of the more obvious Memphis and Muscle Shoals modes, yet without any of the cliches that would later hold some folks back too. King balances things perfectly throughout – and in addition to "Groove Me", the set also features "Let Us Be", "Messing Up My Mind", "What Our Love Needs", and "Don't Leave Me Lonely".

Later genius from Rahsaan Roland Kirk – a record of wonderful depth and soul, and a session that moves back to the straighter jazz focus of some of his work from the Mercury years – yet still keeps all the personality and charm of the best Atlantic sides! Roland's playing in a warm jazzy mode that still features some of his wit and tricks – but which also is even more nicely in a straight jazz vein on the album's best tracks – rolling out in a gently soulful 70s mode that features some slight electric touches, but which preserves a main focus on his own soulful work on a variety of saxes and flute. The lineup is great too – with a shifting group of players that include Hilton Ruiz, Billy Butler, Walter Perkins, and even the great Trudy Pitts – and titles include "Sugar", "Serenade To A Cuckoo", "The Christmas Song", "Los Angeles Negro Chorus", "Bright Moments", "Night In Tunisia", and "J. Griff's Blues".

A beautiful late chapter in the jazz journey of Rahsaan Roland Kirk – and an album of subtle genius that's really opened up to us over the years! The setting here isn't as "hit you over the head" as on some of Kirk's Atlantic Records – because at one level, the tunes are mostly straight, and free of gimmicks – yet also still manage to conjure up the warmth, spirit, and soul that Roland brought to his best work. There's a slightly electric vibe running through some of the tunes, thanks to keyboards from Hilton Ruiz – and the album also benefits from organ work by Trudy Pitts and guitar from Billy Butler – both of whom are wonderfully restrained, in a way that matches the subtlety of the entire conception of the set. Titles include "Theme For The Eulipions", which features a great recitation from Betty Neals, plus cool chorus vocals – and other titles include "Goodbye Porkpie Hat", "Giant Steps", "Loving You", and "I'll Be Seeing You".

A beautiful late chapter in the jazz journey of Rahsaan Roland Kirk – and an album of subtle genius that's really opened up to us over the years! The setting here isn't as "hit you over the head" as on some of Kirk's Atlantic Records – because at one level, the tunes are mostly straight, and free of gimmicks – yet also still manage to conjure up the warmth, spirit, and soul that Roland brought to his best work. There's a slightly electric vibe running through some of the tunes, thanks to keyboards from Hilton Ruiz – and the album also benefits from organ work by Trudy Pitts and guitar from Billy Butler – both of whom are wonderfully restrained, in a way that matches the subtlety of the entire conception of the set. Titles include "Theme For The Eulipions", which features a great recitation from Betty Neals, plus cool chorus vocals – and other titles include "Goodbye Porkpie Hat", "Giant Steps", "Loving You", and "I'll Be Seeing You".

A beautiful late chapter in the jazz journey of Rahsaan Roland Kirk – and an album of subtle genius that's really opened up to us over the years! The setting here isn't as "hit you over the head" as on some of Kirk's Atlantic Records – because at one level, the tunes are mostly straight, and free of gimmicks – yet also still manage to conjure up the warmth, spirit, and soul that Roland brought to his best work. There's a slightly electric vibe running through some of the tunes, thanks to keyboards from Hilton Ruiz – and the album also benefits from organ work by Trudy Pitts and guitar from Billy Butler – both of whom are wonderfully restrained, in a way that matches the subtlety of the entire conception of the set. Titles include "Theme For The Eulipions", which features a great recitation from Betty Neals, plus cool chorus vocals – and other titles include "Goodbye Porkpie Hat", "Giant Steps", "Loving You", and "I'll Be Seeing You".

The sound of Ricky Tick hits Schema Records – with a whole new groove in the process! Tenorist Timo Lassy has won our ears strongly with his previous records for Finnish label Ricky Tick – hardbop groovers that are filled with soul and life, and lots of spontaneous live jazz playing. This smoking Schema records set has all that same sort of energy – but shifts the groove slightly from hardbop to more of a mod sort of style – thanks to use of Wurlitzer electric piano in the combo, which helps bring along a jaunty approach to the rhythms! The vibe's a bit like an Atlantic Records soul jazz set from the late 60s – like work by David Newman or Hank Crawford – and Timo's tenor is in great company alongside the electric keys, acoustic bass, drums, and percussion. Titles include "Touch Red", "Teddy The Sweeper", "Creole Stew", "It Could Be Better", "Uncle Harry Came To Town", and "Shootin Dice".

A fantastic lost album from one of the 60's most under-rated female singers – done in a style that's far hipper than Barbara's work for Atlantic! The set's got a vibe that's totally great – proud and righteous – stepping out in a mode that shakes off the sweetness of Barbara's earlier records, and grooves into a much more mature 70s-styled groove – handled perfectly by producer Ollie McLaughlin! Although Barbara and Ollie hailed from Detroit, the set was actually recorded in Chicago at the end of the 60s – with arrangements by Mike Terry, and a sophisticated groove that has some of the bounce of records by JoAnn Garrett or Marlena Shaw at the time. Every cut is a winner – and the album's a no-filler gem that we treasure in our soul collection! The record includes of great tracks, including "Baby That's A No No", "Break Away", "Anyway", "You Made Me A Woman", "Oh, Be My Love", "How Can I Tell", and "Slip Away". CD also features 3 bonus tracks – "That's The Way I Like It", "Ask The Lonely", and "Why Did It Take You So Long".

Beautiful music from Charles Lloyd – a great package that brings together all the important Norwegian recordings the tenorist made for ECM in the 90s – music that really helped renew interest in this legendary player! The style here is wonderful – laidback and flowing, in a mode that almost returns Lloyd to that very strong sound he had with Atlantic Records in the late 60s – perhaps a bit less righteous here, but still very powerful and spiritual – at a level that also even seems to bring a new sort of life to that of his bandmates too! The players are a pretty tight lineup throughout – with Bobo Stenson on piano on all tracks, plus Palle Danielsson or Anders Jormin on bass, and either Billy Hart, Ralph Peterson, and Jon Christensen on drums. The set features five full albums, plus a booklet of notes – the titles Fish Out Of Water, Notes From Big Sur, The Call, All My Relations, and Canto.

An amazing organist – probably the best in Europe! Eddy Louiss is a genius – a massive player who should have been huge, but who's barely been recognized over on this side of the Atlantic, save for a bit of recording with Stan Getz. This 1972 session is a gem – one of his best records, recorded in 1972 with a small quartet that includes Kenny Clarke on drums, Jimmy Gourley on guitar, and Guy Pederson on bass. The set's got a laidback soul jazz feel – with lots of long tracks that let Gourley and Louiss meander about, while Clarke punctuates the tracks nicely with some sharp work on the drum kit. Titles include "Bohemia After Dark", "Ow", "Bag's Groove", "I Should Care", and "Angel Eyes".

Herbie Mann's going for a bit of a Memphis soul groove on this album – but he handles the work with his own sort of flair, and takes the style in a whole new direction! Unlike other sessions of this nature, Herbie didn't just fly down to Memphis and cook up a standard batch of tracks in the studio – and instead, he produced the whole thing himself, and is working in a mode that uses southern soul as a starting point, but which also takes off in some of the headier, trippier directions of Mann's Embryo imprint on Atlantic. Players here include Roy Ayers on vibes, George Bohannon on trombone, Sonny Sharock on guitar, Miroslav Vitous on bass, and Larry Coryell on guitar – and the groove is plenty darn funky throughout, with lots of long tracks that almost seem to have a dose of 70s soundtrack funk in the mix! The cut "Memphis Two Step" is a great little funk track with a monster drum break at the beginning that really gets the track grooving – and other titles include "Soul Man", "Guinnevere", "Acapulco Rain", "Kabuki Rock", and "Down On The Corner".

A wonderfully mixed-up, messed-up batch of jazzy tracks from the great Steve Marcus – working here at the height of his late 60s powers on Atlantic's ultra-cool Vortex label! As with other Marcus albums of the time, there's kind of a long haired, freewheeling energy to the set – jazz that's still steeped in some of the best modern and soulful styles of the 60s, yet also touched a bit with some of the rock experiments at the time – not really in the instrumentation, but in the way the whole group approaches the groove. Marcus blows some mighty tenor sax – and the lineup also includes Herbie Hancock on electric and acoustic piano, Miroslav Vitous on bass, and Bob Moses on some pretty heavy drums. Some cuts have some hip larger arrangements – and titles include "Hope", "Wild Thing", "T With Strings", "America", "Amy", and "Hey Jude".

An offshoot of the 4AD rock scene from the UK, this number sampled Rakim from "Paid In Full" to great effect – and it made quite a bit of sense that the track was issued on 4th & Broadway in the US (probably also a legal move, so that the label wouldn't sue 4AD for copping a sample from one of their artists! The record features a bit of scratching by CJ Mackintosh, with a bubbly beat that made it huge on both sides of the Atlantic.

A nice little take on the "city symphony" mode that was big in American music a few decades back – served up by the Wynton Marsalis Septet of the early 90s, with decidedly modern touches! The double-length album's a three-tiered affair – with part one standing out as Wynton's extended "Cityscape" – a tribute to New York, done in styles that range from mellow and contemplative, to more hustling and bustling, in true speed of the city. Next up is another suite of tracks titled "Transatlantic Echoes" – work that's still jazz-based, but with a nod to African roots in some of the percussion and phrasing. Last up is "Some Present Moments Of The Future" – the final suite of the album, and one that almost echoes some of the rootsier modes explored by Wynton in his southern trilogy of a few years before. Players include Wynton on trumpet, Todd Williams on tenor and soprano sax, Wes Anderson on alto, Wycliffe Gordon on trombone, Reginald Veal on bass, Herlin Riley on drums, and Eric Reed on piano – and the album also features some guest tenor from Herb Harris and a bit of piano by Marthaniel Roberts.

A beautiful set of jazz album cover art from the 50s and 60s – hardcover, in full color, and packed with hundreds of classic images! The title's a reflection of the strong scope of material – work from both the east and west coast scenes, pulled from labels like Prestige, Atlantic, Riverside, Pacific Jazz, and Contemporary – all known for their great sense of cover design – as well as amazing music! In many cases, the covers are grouped together to show thematic elements from a specific designer – and in others, they show the different labels each reflecting the others with some very cool trends for representation. Images are all shot from original copies of LPs – including some UK issues which belie the British origins of the compilers (also known for their famous Blue Note volume) – and the hefty book is 10" square, which will nestle nicely next to your collection of rare early jazz albums! 222 pages, hardcover, in full color.

An amazing collection of work from Toussaint McCall – a set that finally gives this classic soul singer his due! McCall stands as one of the best southern soul singers of his time – and one who's often painfully overshadowed by the better known singers on Atlantic and the larger labels. His hit "Nothing Takes The Place Of You" is well known as a soul classic – but Toussaint recorded a number of other tracks during the 60s, nearly all of them as sublime as that hit! This 24 track package is oddly one of the first times that this work has been properly collected together – and the compilation is a much-needed look at Toussaint's incredible soul talents. Trust us, you'll be playing this one again and again – right next to your Dave Godin Deep Soul volumes, or your James Carr reissues! Titles include "Nothing Takes The Place of You", "One Table Away", "What Part Do I Play", "That's Life", "Shimmy", "The Toussaint Shuffle", "I'm Gonna Make Me A Woman", "I'll Do It For You", "The Title Escapes Me", "Step By Step", and "All For A Love Like You".

An underground gem from Gwen McCrae – and the record that first set the tone for her dancefloor classics for Atlantic in the 80s! The album has Gwen shaking off some of the southern soul of her roots – stretching the genre out to hit notes that are much more in tune with modern soul of the time – a warmly sophisticated approach that uses Gwen's vocals to best effect on a variety of adult themes, but which also kicks in some great midtempo and mellow grooves on the set. A perfect example of this is the album's sublime stepper "All This Love I'm Givin" – a track that works perfectly on the dancefloor, yet which also has a heck of a lot of deep soul too – and the rest of the album follows in a similarly sublime sort of groove. Other titles include "I Can Only Think Of You", "I Found A Love", "Maybe I'll Find Somebody New", "The Melody Of Life", and "The Joy".

An underground gem from Gwen McCrae – and the record that first set the tone for her dancefloor classics for Atlantic in the 80s! The album has Gwen shaking off some of the southern soul of her roots – stretching the genre out to hit notes that are much more in tune with modern soul of the time – a warmly sophisticated approach that uses Gwen's vocals to best effect on a variety of adult themes, but which also kicks in some great midtempo and mellow grooves on the set. A perfect example of this is the album's sublime stepper "All This Love I'm Givin" – a track that works perfectly on the dancefloor, yet which also has a heck of a lot of deep soul too – and the rest of the album follows in a similarly sublime sort of groove. Other titles include "I Can Only Think Of You", "I Found A Love", "Maybe I'll Find Somebody New", "The Melody Of Life", and "The Joy". CD features bonus tracks – "The Joy (single version)" and "All This Love That I'm Givin (single version)"

Carmen McRae really opens up on this sweet 70s set for Blue Note – expanding past the traditional jazz of her roots, and even some of the groovier work of her Atlantic years – into a sweeping, contemporary sound that's all adult, all the way! The vibe is great – in the same sophisticated, soulful territory as Marlena Shaw's recordings for Blue Note during the same stretch – yet also couched in those unmistakable McRae vocals – always with a crisp edge, even in the mellowest moments – a unique sound that no other singer can touch. The set was produced by Roger Kellaway – who also arranges, along with Dave Grusin and Byron Olson – all of whom give Carmen a set of sweeping larger backings that make for a fairly majestic album – on titles that include "I Am Music", "I Never Lied To You", "Like A Lover", "Who Gave You Permission", "A Letter For Anna Lee", "You Know Who You Are", and "I Ain't Here".

Carmen McRae really opens up on this sweet 70s set for Blue Note – expanding past the traditional jazz of her roots, and even some of the groovier work of her Atlantic years – into a sweeping, contemporary sound that's all adult, all the way! The vibe is great – in the same sophisticated, soulful territory as Marlena Shaw's recordings for Blue Note during the same stretch – yet also couched in those unmistakable McRae vocals – always with a crisp edge, even in the mellowest moments – a unique sound that no other singer can touch. The set was produced by Roger Kellaway – who also arranges, along with Dave Grusin and Byron Olson – all of whom give Carmen a set of sweeping larger backings that make for a fairly majestic album – on titles that include "I Am Music", "I Never Lied To You", "Like A Lover", "Who Gave You Permission", "A Letter For Anna Lee", "You Know Who You Are", and "I Ain't Here".

Oh how we love this album – and we think it may well be the best album ever from Charles Mingus! The set was recorded in that magical Mingus year of 1957, but oddly not released until 1962 – missing some of the initial frenzy of his discovery during the Atlantic and Columbia years. But the album's actually a treasure that predates the better-known latter sides – with a sharpness and intensity that Mingus hardly ever matched again! The group is one of his strongest ever – with Shafi Hadi on alto, Clarence Shaw on trumpet, Jimmy Knepper on trombone, and Bill Triglia on piano. There's a slight Latin vibe, as you might expect from the title – but it's very slight overall, and most of the tunes are in that sharply angular, fully expressive style that flowered most strongly for Mingus in the late 50s. There's not a wasted moment of music on the whole album – with tight solos and incredible rhythms that dominate every second of the extended tracks – and titles include "Dizzy Moods", "Flamingo", "Los Mariachis", "Ysabel's Tabel Dance", and "Tijuana Gift Shop".

Oh how we love this album – and we think it may well be the best album ever from Charles Mingus! The set was recorded in that magical Mingus year of 1957, but oddly not released until 1962 – missing some of the initial frenzy of his discovery during the Atlantic and Columbia years. But the album's actually a treasure that predates the better-known latter sides – with a sharpness and intensity that Mingus hardly ever matched again! The group is one of his strongest ever – with Shafi Hadi on alto, Clarence Shaw on trumpet, Jimmy Knepper on trombone, and Bill Triglia on piano. There's a slight Latin vibe, as you might expect from the title – but it's very slight overall, and most of the tunes are in that sharply angular, fully expressive style that flowered most strongly for Mingus in the late 50s. There's not a wasted moment of music on the whole album – with tight solos and incredible rhythms that dominate every second of the extended tracks – and titles include "Dizzy Moods", "Flamingo", "Los Mariachis", "Ysabel's Tabel Dance", and "Tijuana Gift Shop". Plus, this 2CD set features a whopping 19 tracks added to the original album – with the bonus "A Colloquial Dream (aka Scenes In The City)", plus many alternates, breakdowns, and partial takes. A fitting tribute to this amazing album!

A mod little record from trumpeter Willie Mitchell – a set that's as groovy as it is soulful, with a vibe that's somewhere between 60s instrumental outings on Verve and Atlantic Records! Tunes are a mix of soul and pop numbers, handled by Mitchell's combo with some mighty tight drums and good use of organ on most numbers – which creates a fluid feel that really takes off with the album's fresh and inventive arrangements! Even familiar tunes are transformed nicely by Mitchell's great touch in the studio – as you'll hear on cuts that include "634-5789", "Taste Of Honey", "Secret Agent Man", "Bad Eye", "Wooly Bully", "Java", "Shadow Of Your Smile", and "Hot Cha".

A smoking selection of work from Memphis giant Willie Mitchell – some of the funkiest tracks he ever recorded, stuffed together in one mighty set! Willie's probably best know for his famous studio work for Ann Peebles and Al Green – but on his own, Mitchell can carve out a cooker like nobody's business – in this case with a great ear for the kind of harder instrumental soul sounds you might hear from Stax or Atlantic Records at the start of the 70s! These tunes have a way harder edge than the compressed, smooth sound of Willie's work with singers – and often feature a sharp solo instrument in the lead – such as tenor sax, riffing guitar, or soulful trumpet. Titles include "Breaking Point", "Six To Go", "Poppin", "Pearl Time", "20-75", "Leo's Mood", "The Champion", "Mercy", "That Driving Beat", "30 60 90", "Everything's Gonna Be Alright", and "Big Power House".

A nice one! The MJQ record for the Beatles' famous Apple label, and the album's one of their most interesting of the 60s! The production's pretty straight, but the group's playing in a cool open-ended style that still has elements of their earlier work, but which really makes things a lot more interesting than some of the Atlantic recordings. Milt Jackson's vibes have a bit more of a bell-like quality on some parts, and the rhythm team of Percy Heath and Connie Kay kick it with a soul jazz vibe on a few numbers – a nice change from the sleepier rhythms of earlier albums. Titles include "The Blue Necklace", "Exposure", "Jasmine Tree", and "Three Little Feelings".

A standout session from Jack Montrose – one of the most overlooked players on the west coast scene of the 50s! Montrose's tenor work is always a treat, but here, he's playing in an unusual setting that includes Red Norvo on vibes, Joe Maini on alto sax, and Jim Hall on guitar – all working with Jack on a set of tunes that have the tight arrangements of his work on Atlantic and Pacific Jazz – yet which also open up with some interesting instrumental twists that break the mold a bit! Side one of the set features the 18 minute tune "Concertino Do Camera" – a nicely extended track that offers plenty of room for solo work – and the other shorter tracks still offer up strong solos too – on titles that include "Bernie's Tune", "A Dandy Line", "Bockhanal", and "For The Fairest".

A heavy slab of jam band funk! Mushroom are a heavy jamming funk outfit with a classic groove – working hard with horns and Fender Rhodes to craft up solid slabs of groove, circa early 70s Atlantic Records vintage. This 5 track ep has about as much music as you'd find on a regular album – and it's awash with great remixes, like the Bundy K Brown remix of "American's Own The Moon", and the Quintus Kannegiesser remix of "Let's Have Sex", both of which are considerably more modern sounding than some of the other tracks on the set, like the group's cover of "Compared To What" or the original "Foxy Music".

A classic bit of mainstream prog from Nektar – a group who were a big part of the German underground of the early 70s, but who also managed to make some waves on this side of the Atlantic as well! Nektar aren't as full-on or focused as some of the prog acts who cracked the charts at the time, but they do have a tightness that rivals some of the best of the up-and-coming groups to secure a major label contract – particularly deft musicianship that really stands out in its complexity, at a level that might draw some comparisons with Gentle Giant – although probably not as arty or obtuse, given that these guys could be a bit more straightforward. The set's got some especially great mellotron next to other keyboards and guitar – and titles include "Countenance", "Death Of The Mind", "Pupil Of The Eye", "The Dream Nebula", and "Warp Oversight".

A classic bit of mainstream prog from Nektar – a group who were a big part of the German underground of the early 70s, but who also managed to make some waves on this side of the Atlantic as well! Nektar aren't as full-on or focused as some of the prog acts who cracked the charts at the time, but they do have a tightness that rivals some of the best of the up-and-coming groups to secure a major label contract – particularly deft musicianship that really stands out in its complexity, at a level that might draw some comparisons with Gentle Giant – although probably not as arty or obtuse, given that these guys could be a bit more straightforward. The set's got some especially great mellotron next to other keyboards and guitar – and titles include "Countenance", "Death Of The Mind", "Pupil Of The Eye", "The Dream Nebula", and "Warp Oversight". 2CD version also features a bonus bootleg 1971 recording of the record!

A wonderful package – a set that brings together two rare funk albums by Newban, an early version of Atlantic Starr – plus bonus tracks too! The first Newban record is one of the sweetest ensemble funk albums of the 70s – and a record that's gone on to become a classic, despite the fact that most people know little about the group! Newban have a sound that's almost a jazzier take on the Earth Wind & Fire groove of the time – a style that's warm and fluid, and which really gets past the cliches of other larger funk acts – and manages to find a space in sound that's all its own! There's lots of odd phrasings and chords on the set – creating these very blue passages even when the group's grooving in an uptempo mode – almost like the sense of sadness that creeps out from Stevie Wonder's work during his best early 70s years. The sound is totally unique, and uniquely wonderful – and the album includes the classic "Father Time", plus the cuts "Magic Lady", "Mellow Days, Easy Nights", "Fatback Sally", and "Hungry Grin". Newban 2 is every bit as great as the first album – if not better – with some excellent excellent lost material that's the kind of stuff that still keeps you diggin' for the hard ones. Includes the track "Greenburgh", with a tight funky intro and a smooth sweet soul groove, plus lots of other great cuts like "Free Your Mind", "Easin' Through", "Find a Place to Live", and "Rhythm & Rhyme". This deluxe package also features three rare bonus tracks – "Oh Wow", "Miracle Holiday", and "Bells" – tracks recorded before the first two albums!

One of the greatest studio talents of Europe in the 70s! Janko Nilovic may not be a household name, but he was a seminal force in the Parisian studio scene during the 60s and 70s – cutting jazz, funk, pop, and Latin sides with a nutty genius that we'd be hard pressed to beat on this side of the Atlantic! He had a mad talent for mixing unmixable elements – in the kind of way we might ascribe to some of the better MPS groovy sides, or some of the weirder European funk albums, like the classic work of Duke Of Burlington. This long-overdue 2 volume set takes a rich look at Nilovic's talent - and provides some of his best obscure work in a very handsome package. Titles on this first volume include "Gipsy Funk", "Shacking Pop", "Electric Days", "Cross Rolls", "Blow Down", "Centre Atomique", and "Scratching Machine".

Pan-African rhythms from Ray Stephen Oche – topped with some great jazzy elements as well! The set's one of Ray's classics from the Paris scene – a set that draws heavily from his Nigerian roots, yet also takes full advantage of the wider cultural vibe going on in France at the time – echoes of free jazz in the instrumentation, righteous soulful elements in the vocals, and a complicated rhythmic approach that brings in plenty of funk from the other side of the Atlantic as well! The album's a killer all the way through – and tracks include "Kano City Sky", "Ayipe Assa", "At The Jazz Fountain", "Ada Ode", "Trumpet Calls The People Of Nigeria", "Peace Upon Kenemaland", and "Down Beat Special".

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

Although James Phelps has a deep raw soul voice – he's matched here with some nice uptown arrangements courtesy of Phil Wright, for a sound that's a lot like some of the best solo Ben E. King solo stuff for Atlantic! "Love Is A 5-Letter Word" is a nice slowly-rolling track with a catchy chorus – and "I'll Do The Best" has an uptowny style that's wonderful – really one of those "shoulda been a hit" kind of tunes!

One of the deepest soul sets from Esther Phillips' 70s years on Kudu Records – a set with some nicely gritty grooves and a surprisingly earthy feel at times – especially when compared to some of her other albums of the time! Backings are by James Brown's old reedman, Pee Wee Ellis – and although there's some of the usual Kudu electric funk in the mix, there's also some deeper soul elements too – a vibe that's often a bit laidback and open, almost more Atlantic Records at points – which is a mighty good fit for Esther's wonderful voice! As usual for Kudu, the players are an all-star lineup – one that includes Richard Tee on keyboards, George Benson on guitar, Maceo Parker on tenor, and Bernard Purdie and Billy Cobham on drums – and Don Sebesky's also on deck a bit, to sweeten a few tracks up with light strings. The album's got a great version of Bill Withers' "Use Me" that features a tasty break in the intro – and other titles include a great version of "Alone Again (Naturally)", plus the cuts "Let's Move & Groove", "Cherry Red", "Let Me In Your Life", and "You & Me Together".

One of the deepest soul sets from Esther Phillips' 70s years on Kudu Records – a set with some nicely gritty grooves and a surprisingly earthy feel at times – especially when compared to some of her other albums of the time! Backings are by James Brown's old reedman, Pee Wee Ellis – and although there's some of the usual Kudu electric funk in the mix, there's also some deeper soul elements too – a vibe that's often a bit laidback and open, almost more Atlantic Records at points – which is a mighty good fit for Esther's wonderful voice! As usual for Kudu, the players are an all-star lineup – one that includes Richard Tee on keyboards, George Benson on guitar, Maceo Parker on tenor, and Bernard Purdie and Billy Cobham on drums – and Don Sebesky's also on deck a bit, to sweeten a few tracks up with light strings. The album's got a great version of Bill Withers' "Use Me" that features a tasty break in the intro – and other titles include a great version of "Alone Again (Naturally)", plus the cuts "Let's Move & Groove", "Cherry Red", "Let Me In Your Life", and "You & Me Together".

An overlooked gem from Wilson Pickett – recorded in the post-Atlantic years, and with some great funky moments mixed in with those undeniably soulful vocals from the Wicked Pickett! Arrangements are by Brad Shapiro, who works the same magic here with Wilson that he did with a handful of other southern soul artists – updating their groove a bit more for the 70s, while also still respecting the best rootsy elements of the vocals. The style's a lot like some of Joe Tex's best funky moments from the same time – save that Wilson's vocals are even rawer and grittier – and titles include "I'm Gonna Do It All Over", "That Woman", "Best Part Of A Man", "Let Me Know", "Sweetwater Jail", and "It's Gonna Be Good".

An obscure US album that presents some late 50s work recorded by Parisian easy maestro Andre Popp! Popp's had a strong reputation for years as being the Esquivel of the other side of the Atlantic, and this album's a perfect illustration of that point – very much like the earliest Esquivel work at RCA, a mixture of older romantic easy listening styles with some stranger twists and odd instrumentation – a bit less electric and spatial than Esquivel's own albums, but definitely with that "pushing the envelope" sound that was shifting the mood music era at the time. Tracks include "La Bardinette", "Sexy Sax", "La Pendule", "Musique Mechanique", "Du Vent Dans Les Voiles", "Melodie Du Sud", and "Tunisia Waltz".

A great bit of soul from Clarence Reid – otherwise known as Blowfly – and a key album in the Miami scene at the end of the 60s! Clarence is working here in a very classic Atlantic records style of soul – with all the rootsy southern elements of the previous southern work at Memphis and Muscle Shoals, but handled with a well-produced sound that has elements of New York Atlantic. Most of the album's in a tight funky soul mode – with bits of Sly Stone or Charles Wright showing up a lot on the grooves – and cuts include the single "Nobody But You Babe", plus "Doggone It", "Get Back", "Tear You A New Heart", "Fools Are Not Born", and "Send Me Back My Money". There's also a goofy photo on the front – proving that Clarence Reid was better off behind a mask as Blowfly!

A great bit of soul from Clarence Reid – otherwise known as Blowfly – and a key album in the Miami scene at the end of the 60s! Clarence is working here in a very classic Atlantic records style of soul – with all the rootsy southern elements of the previous southern work at Memphis and Muscle Shoals, but handled with a well-produced sound that has elements of New York Atlantic. Most of the album's in a tight funky soul mode – with bits of Sly Stone or Charles Wright showing up a lot on the grooves – and cuts include the single "Nobody But You Babe", plus "Doggone It", "Get Back", "Tear You A New Heart", "Fools Are Not Born", and "Send Me Back My Money". There's also a goofy photo on the front – proving that Clarence Reid was better off behind a mask as Blowfly!

A surprising late folk entry in the Elektra Records catalog – recorded in the early 70s, and with some sublime production from the great Gary Usher! The sound is definitely contemporary folk, as promised in the title – but there's more of a singer/songwriter sensibility too – more mature songs than straighter folk, made even more so by Usher's production – and harmonies on some of the vocals that almost recall the post-folk world over at Atlantic. Steve Melshenker and Steve Cowan wrote the album, and do most of the vocals – and both play acoustic guitar too – alongside piano, flute, dobro, bass, and cello, which makes for a warm acoustic sound. Titles include "The Ship", "The Order", "The Man", "The Calm", "The Storm", "The Return", and "The Reason".

The long-lost first album from Shoes – recorded at home, and even rawer than any later releases – appearing here on vinyl for the very first time! The group are already pretty amazing at this early point – right on the money, and almost with more of a punkish vibe at points – although other tunes have them ripping out these mean guitar lines that are definitely way too ballsy for early punk. The songwriting is superb – amazing considering how young the guys were, and that the record was really just recorded for their own initial interest – and not a bigger company looking for a hit. There's also more darkness than in later years too – not everywhere, but at key points that make for a nice edge to the record. Titles include "Pinheads", "Love Took A Turn", "Rock Your One", "Along With Love", "New Meat", "I'm Brazen", "The Atlantic", "My Anisette", and "Educated".

The first-ever full length collection of work by The Sisters Love – an ultra-hip female soul group who cut some incredibly funky singles, but never issued a full album – finally given their due in this amazing batch of singles from the late 60s and early 70s! The Sisters Love sound is a great blend of funky rhythms, hard soul vocals, and soaring harmonies on the chorus – in a way that's almost a cross between the work of Lyn Collins at People Records with the best sounds of Sweet Inspirations over at Atlantic – but even more righteous overall, thanks to production work by the likes of Willie Hutch, Gloria Jones, Gene Chandler, and Monk Higgins! The set brings together singles recorded for Motown and A&M – all recorded over a period of 6 years, but tremendously unified overall – with a badass soul sound that rivals the legendary album by The Jackson Sisters. Titles include "Give Me Your Love", "My Love Is Yours", "The Bigger You Love", "Blackbird", "Ring Once", "Mr Fix It", "You've Got To Make Your Choice", "You've Got My Mind", "Now Is The Time", "Forget It I Got It", "Ha Ha Ha", "I Know You Love Me", and "Try It You'll Like It".

Funky funky funky! Lonnie plays live with a tight group that includes tenor, guitar, and some very heavy drumming – really wailing at a level that was surprising for funky organists of the time, and which really set the pace for a whole new generation! The players are more obscure than on the usual Blue Note sides – save for Ronnie Cuber, who played baritone with Mongo Santamaria, and is one of the most underrated 60s funky players. Recorded live at the Club Harlem in Atlantic City, and with a deep raw funky sound that must have blown the roof off the club! Titles include "Move Your Hand", "Layin' In the Cut", "Charlie Brown", and "Sunshine Superman". One of his best ever!

A soulful set from Carroll Thompson – the debut from the sultry UK singer, and a set that went onto become a key classic in the lovers rock genre! Carroll has a great way of mixing Jamaican styles with a bit more of a London vibe – coming up with a criss-cross of modes that really reflects the way that reggae changed when it moved across the Atlantic – picked up by the British scene, and circulated amidst different communities in London. Thompson's approach is a perfect portrayal of this mode – as she sings sweetly with these great two-step backings that also draw plenty of energy from late 70s mellow soul – with some aspects that are almost like New Jersey soul of the generation before. Titles include "Simply In Love", "I'm So Sorry", "No You Don't Know", "Sing Me A Love Song", "Merry Go Round", and "Mr Cool".

A wicked little set from British pianist Eddie Thompson – a player who always wasn't as well noticed on this side of the Atlantic, but who will forever be remembered for this classic date for MPS! The set's got a great criss-crossing of styles – a punctuated way of playing the keys with roots that go back to jazz piano of the pre-war years – yet a flowing, open approach to the groove that's also pure MPS too – kind of a timeless match that's really compelling, and which makes the record unlike anything else we can think of from the time. The trio features Tony Archer on bass and Terry Jenkins on drums – and titles include "Jitterbug Waltz", "I Wish I Was In Love Again", "Tea For Two", "Spring Is Here", and "My Romance", plus the nicely grooving original, "One Mohr Time".

A landmark album from one of the greatest European pianists ever! Stan Tracey first made his mark in the Brit bop scene of the late 50s – breaking out with a fresh style that was infused with modern touches of Monk and Tristano – certainly some of the most striking on his side of the Atlantic at the time. By the time of this 1965 album, he'd honed his sound brilliantly – and is working here in quartet formation on a set of original tunes based around Dylan Thomas' Under Milk Wood. Don't be put off by the source of the album's inspiration, though – as there's no "jazz meets poetry" here, just straight jazz in a fresh modern vein – played by a group that features wonderfully edgey tenor by Bobby Wellins, arcing perfectly with Tracey's angular lines on piano! Drums are by Jackie Dougan, bass is by Jeff Clyne, and the album's one of the key British jazz treasures of the 60s! Titles include "AM Mayhem", "Starless & Bible Black", "Cockle Row", "No Good Boyo", "Penpals", and "Llareggub".

The full range of greatness from the Trammps – key gems from their years on Buddah, Atlantic, and Philly International Records – nearly every one of them a non-stop groover throughout! The Trammps were one of the most unique groups on the Philly scene of the 70s – a great harmony outfit like some of their contemporaries, but geared up for the dancefloor right from the start – with a soaring, soulful vibe that was crucial to the development of the disco sound at the time! They really hit the heights with some cuts in the latter half of the decade – yet always managed to come across with the well-honed group soul focus of their roots. This 34 track package offers up the Trammps in all their greatness – and titles include "Trained Eye", "Groove All Mighty", "Zing Went The Strings Of My Heart", "Trammps Disco Theme (Tom Moulton mix)", "Starvin", "Body Contact Contract", "Hold Back The Night", "Love Epidemic (Tom Moulton mix)", "Mellow Out", "VIP", "Music Freek", "Love Magnet", and "Soul Bones".

Killer soul from Doris Troy – a wonderful selection of classic singles from a variety of different labels – mostly smoking selections from the 60s, but a few rare gems from later years too! Doris is one of those singers who never hit the chart heights of some of her contemporaries, but always managed to do impeccable work – as you'll hear here on a range of singles for labels like Calla, Cameo, Capitol, Atlantic, and Apple! Troy's got this amazingly rich voice – one we'd rank right up there with Aretha Franklin at her best – supported here by a range of backings that run from deep soul to uptown soul to some warmer 70s modes. Titles include "Face Up To The Truth", "Just One Look", "What A Night Night Night", "Don't Tell Your Mama", "You Tore Me Up Inside", "Heartaches", "He's Qualified", "I'll Do Anything", "Hear Me Calling", "Can't Hold On", "Tomorrow Is Another Day", and "What A Wonderful Lover".

An excellent group from the 70s East Coast scene – one with a heavy harmony sound that should have made them huge! The record was cut during the prime early days of the Sigma Sound Studios – and the record features arrangements by Philly greats like Norman Harris, Ronnie Baker, and Vince Montana – all working here in a mode that's similar to that applied to The Spinners after they made their move to Atlantic, but with a bit more edge. Yet it's the vocal harmonies that really take the cake – as they mix together deep-rooted Temptations-esque righteous vocals with sweeter harmonies in the New Jersey falsetto mode – a perfect blend that's carried off with a great deal of power here! The style is very compelling, and great on just about every cut – and titles include "Society", "That Was Yesterday", "It Really Hurts", "Look At All The Lonely People", and the great cut "Whispers".

A really unique group – with a sound that's unlike anything else we've ever heard before! The Eastern European players certainly aren't a household name on this side of the Atlantic – but they've got a very inventive approach to their music here – using four acoustic basses, each recorded at different parts of the stereo spectrum – plus some additional tuba to really further the deep sounds in the set! Songs are improvised and have incredible interplay at the low end of the sonic spectrum – with bass from Szilard Mezei, Ervin Malina, Zoltan Csanyi, and Erno Hock – plus tuba from Kornel Papista. Titles include "Hep 17B", "Hep 15F", "Hep 58/2", and "Hep 16".

Good live session recorded in the states in 1972, and released the next year by Atlantic. The Art Ensemble's in excellent form, and lay down a stellar performance throughout. The set ranges from driving percussion jams to spare tenor soloing with bass accompaniment. Great stuff, and one of their landmark American recordings. Includes "Unanka", "Immm", and "Odwalla".