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Tried-and-true underground hip hop mixed with more experimental beathead touches from Blu – with collaborations and production by Exile, Shafiq Husayn, Flying Lotus, Dibia$e, Daedalus and more – plus appearances by U-God, J*Davey, Co$$, Pac-Div and more. Titles include "Doin Nothing" with U-God, "Everything OK" feat Ms Jack Davey, "Everybody Nose" feat Sa-Ra & Nola Darling, "Hours", "Annie Hall" feat Chop, Cherry Pop & Tiombe Lockhart, "Tags" feat Exile, "Spring Summer Winter Fall" feat Jimetta Rose, "Down To Earth" feat Donel Smokes, Definite & Double Oh, "Keep Pushinn", "Doin Something" feat Pac Div, U-N-I, J*Davey, Tiron & Ayomari and more.

The vinyl debut of some great tracks by Divine Scienze – and a joint release between Redefinition Records and Blu's New World Color label. "Happiness Is" features Blu, Scene and Britain Parker. "Ring The Alarm" feat Blu.

An amazing document of the legendary Jimi Hendrix – pulled together from private writings, vintage interviews, and other rare materials that really shed light on the genius of Jimi, and get way past some of the overwrought stereotypes of his all-too-short career! There's some great performance footage too, mixed with rare photos – and even some personal drawings, song drafts, postcards, and more – a mini-museum of vintage Hendrix – with lots of artifacts from his life behind the scenes.

Rare film footage of The Rolling Stones – shot in the 1965 during brief tour of Ireland – with some of the earliest professional performance footage of the Stones, plus backstage and otherwise behjind-the-scenes action! While quite a bit of the fottage has been seen in one form or another over the years – often enough to have informed classic Stones lore, anyway – it's pretty amazing that it's only now being a presented as the true, underappreciated classic of early rock documentaries that it really is! Restored and including some never-before-scene footage, with film producer and then-Stones manager Andrew Loog Oldham's cut as well as director Peter Whitehead's.

Leftfield underground hip hop phenon Blu – a set on Nature Sounds that pulls together a pretty great batch of cuts devoted to his work as a producer – with tracks by Just Lee, Da 1, Aaron Smartz, ScienZe & Versis, Micah, Esmeralda Starlett, Blu, Blu & Sene and others. 14 in all: "Point Blank" by Just Lee, "Good Gracious" by Da 1, "Avenge Of The Cheap Ass" by Blu & Sene, "Brown Sucre" by Esmeralda Starlett, "Twetney Seven" by South Broad and more.

Crispy, creative work from the team of Blu & Exile – a duo who may well be one of the most creative studio talents we've heard in years! There's loads of warm acoustic samples dropped into the mix – set against a sharper edge from the production, but still delivered with plenty of soul – almost a warmly jazzy vibe we remember from early Tribe Called Quest – with a similarly playful feel. The set features guest work by I Ced, Fashawn, Homeboy Sandman, Johaz of Dag Savage, Black Spade of Hawthorne Headhunters, and ADAD – and titles include "Don't Be Jelly", "The Great Escape", "A Man", "A Letter", "Ease Your Mind", and "O Heaven".

There's kind of a Blue Lagoon story going on here – as if you couldn't guess from the cover – and who better to score such a film than the Italian maestro of love, Stelvio Cipriani! The soundtrack has a slinky, sexy quality that's way more urban than the setting of the movie – lots of sweet keyboards over basslines, usually moving slow, and sometimes augmented by bits of guitar or vocals – all with this great languid late afternoon afterglow sort of vibe! Edda Dell'Orso adds her lovely voice to a handful of numbers – and the CD features 19 tracks from the film, all nicely remastered!

Blu is joined by mic veteran RA The Rugged Man and Tristate of Durag Dynasty on this nice single from Nature Sounds.

Some of our favorite albums ever from pianist Muhal Richard Abrams – an amazing run of eight records for the Black Saint/Soul Note label – rich in fresh colors, tones, and new musical ideas! There's a sensitivity to some of these records that you don't always get with Abrams – a personal feeling that brings in a much-needed warmth to his complex compositional forms – often in collaboration with other players on the Chicago scene, but also with a wider range of avant players, especially from New York – where Abrams would have a great influence in the 80s. The lineup of musicians here is wonderful – a virtual who's-who of the jazz left at the time, at least from an American perspective – with performances from George Lewis, Roscoe Mitchell, Amina Myers, Thurman Barker, Baikida Carroll, Andrew Cyrille, Craig Harris, Stanton Davis, Marty Erlich, Dick Griffin, Cecil Bridgewater, Fred Hopkins, Dierdre Murray, and so many others. The set features 8 full albums, each in a tiny LP-styled sleeve – and titles include Siphumonesty, Mama & Daddy, Blues Forever, Rejoicing With The Light, View From Within, Hearinga Suite, Blu Blu Blu, and Think All Focus One.

A stone classic from Blood Sweat & Tears – and a record that went onto have a tremendous impact in jazz, rock, funk, and soul! The group's format is plenty darn famous – adding a lot of horns to hip riffing grooves – but despite countless plays on oldies stations over the years, this initial album still has a power that's undeniable – a way of putting the whole thing together that really uses the best elements of the late 60s studio – handled with sweet production from James William Guerico that rivals his best work for Chicago! Even the lead vocals by David Clayton Thomas hold up nicely – and the set includes the classics "Variations On A Theme By Eric Satie", "And When I Die", "Smiling Phases", "More & More", "Spinning Wheel", and "You've Made Me So Very Happy". CD features bonus live tracks – "More & More" and "Smiling Phases".

A wild debut from Blood Sweat & Tears – one of those records that forever changed the face of popular music! The set's noteworthy not just for early vocals from Al Kooper – who was a key part of the group at their start – but also for key production work from a young John Simon – who helped arrange a bit, threw in a few musical touches, and really gave the group some focus on record – of the sort that would continue over the course of man albums. The set's got some added strings at points, and there's even some backup vocals from the duo of Valerie Simpson and Melba Moore. Titles include "Overture", "I Can't Quit Her", "Just One Smile", "Without Her", "My Days Are Numbered", "Morning Glory", and "So Much Love/Underture". CD features bonus tracks – "Refugee From Yuhupitz", plus demo versions of "I Love You More Than You'll Ever Know" and "The Modern Adventures Of Plato Diogenes & Freud".

A late 60s score by Giorgio Gaslini – his work for the 1969 erotic film Le Sorelle – one with some subtle piano and strings-led sweetness, and some groovier, kind of loungey numbers, too! We know little about the film, but we'd wager that subtlety isn't a strength – which makes Gaslini's compositions all the more impressive in the quieter movements, but there's some more dramatic and stripped down jazzy bits that are also quite impressive. Includes some vocalizations by the always great Edda Dell'Orso, too. Titles include "Memory", "Le Rose Blu", "Quicksilver", "Diana", "Alex", "Voce Di Strato Psicologico", "Bliss", "Una Distesa Di Desideri", "Qualcosa Di Incomprensible" and more. Lots of bonus tracks, too – alternate sequences of the original soundtrack titles and other assorted material. 24 tracks in all!

Classic early European material by Dizzy Gillespie – recorded in Paris in the early 50s, and featuring backing by players that include Don Byas, Wade Legge, Jean-Jacques Tilche, and Bill Clark. The groove runs from straight bop to swing, with touches of Cubop in the mix, thanks to conga work by Humberto Canto Morales. There's a total of 21 tracks in all – and this is the best-ever compilation of the material we've ever seen, especially as much of it was issued on smaller eps, and always gets cast over different sets when it comes out. Titles include "Cognac Blues", "Sabla Y Blu", "Lullaby In Rhythm", "Blue Moon", "Mama's Blues", "Taking A Chance On Love", and "Moon Nocturne".

A strange lost relic from Beach Boy Bruce Johnston – recorded in the mid 70s with some sweet AOR production work by Gary Usher. The album's actually a fantastic slice of late 60s sunny LA pop – and features work by Curt Boettcher, Chad Stuart, and a few other lost pop luminaries – working with Johnston in a compressed style of pop that's got some nice similarities to the better 70s work of the Beach Boys. The album includes great remakes of "Deirdre" and "Disney Girls", a strangely nice version of "I Write The Songs" (actually written by Johnston himself!) – and the tracks "Rendezvous", "Won't Somebody Dance With Me", "Pipeline", and "Thank You Baby". A great bit of overlooked soft rock from the 70s! 2 bonus tracks on this Japanese CD edition: single and 12" disco versions of "Pipeline".

A really wonderful album from Michel Legrand – one of his few jazz efforts to really capture the same dynamic charm of his soundtracks! The album was recorded live – with a mixed group of electric and acoustic players that includes Joe Beck, Randy Brecker, Ron Carter, Phil Woods, and Ron Carter – and the overall approach is spaciously baroque, setting up the tunes with the same clever care as Legrand's best scores, giving the soloists plenty of room to step out and paint strong colors and tones in sound. Legrand sings a bit on one track, and duets with vocalist Lary Shelly on the track "Pieces Of Dreams" – and other titles include "The Saddest Thing Of All", "Splittons", "One At A Time", and "The Friday Fugue".

One of a few key efforts done by Michel Legrand for RCA in the 70s – sessions that stand out as some of his best jazz work from the decade, and which present Legrand in unfettered brilliance, both as a player and arranger! This live date still has the original compositions and sense of arrangement that we love so much in Legrand's soundtrack work – but it's also looser and freer, with more room for improvisation to expand upon the gentle warmth of Michel's imagination. Legrand is on piano – both electric and acoustic – and other players include Phil Woods on alto, Ron Carter on bass, Grady Tate on drums, and George Davis on guitars. Legrand sings a bit, in his beautiful sort of way – scatting wonderfully on a version of "Orson's Theme", and performing the lyrics on the haunting "Blue Green Grey & Gone". Other titles include "Organ Eyes", "I Will Wait For You", and "Watch What Happens".

A Sunshine Pop treasure – and a record that perfectly straddles a few different strands of late 60s pop! The quintet have fabulous harmonies – of the sort rooted in The Four Freshmen, and given a sunny finish by The Beach Boys – but they also move here in a way that prefaces soft rock modes of the decade to come – working in arrangements from Jack Pleis that still have plenty of jazz and pop, but which also compress things in a cool way too – giving the whole album a sublime sound that's really unique! The album's not exactly like the Roger Nichols & The Small Circle of Friends, but it's definitely got a similar vibe – and no surprise, the group start things off with a great version of "Don't Take Your Time". Other tracks include "Where Do I Go", "Mornin I'll Be Movin On", "The Heart Is A Lonely Hunter", "Love Years Coming", "A Time For Us", and "Free & Easy". Includes two bonus tracks – "Time" and "Mirror Maze Lady".

The latest audio dispensary system from Oh No – who's carved a pretty solid niche as an unpredictable, indefatigable hip hop conceptualist – this one a suite of tracks inspired by snake oil style newspaper, radio and television advertisements from decades past! Oh No is on the beats and production here on a mix of thematic instros and vocal tracks with guests Declaime & Georgia Anne Muldrow, Souls Of Mischief, Blu & Med, Gangrene partner Alchemist, Rapsody & Psalm One and others. Includes "Intro Doctor Visit", "Creepers", "Jones's" feat Blu & MED, "Wet 'Em Up", "The Difference", "Perfect Cylinders", "Animals" with Chali 2Na & Roc C, "Rollin' Up" with Alchemist, "Drifters", "Improvement" with Declaime & Georgia Anne Muldrow and more. CD also includes the bonus track "Controlled Riots" with Souls Of Mischief.

The latest audio dispensary system from Oh No – who's carved a pretty solid niche as an unpredictable, indefatigable hip hop conceptualist – this one a suite of tracks inspired by snake oil style newspaper, radio and television advertisements from decades past! Oh No is on the beats and production here on a mix of thematic instros and vocal tracks with guests Declaime & Georgia Anne Muldrow, Souls Of Mischief, Blu & Med, Gangrene partner Alchemist, Rapsody & Psalm One and others. Includes "Intro Doctor Visit", "Creepers", "Jones's" feat Blu & MED, "Wet 'Em Up", "The Difference", "Perfect Cylinders", "Animals" with Chali 2Na & Roc C, "Rollin' Up" with Alchemist, "Drifters", "Improvement" with Declaime & Georgia Anne Muldrow and the bonus track "Controlled Riots" with Souls Of Mischief.

One of the more understated Japanese sessions from drummer Elvin Jones – but a great date that also really lets you hear his wonderful touch on the drums! The record's a collaboration with alto player Akira Ohmori, who blows here with this deft, soulful quality that's mighty nice – more 70s than the date of this album would imply, and set up in a sensitive quartet with great work on piano from Fumio Itabashi! There's a spacious quality to the record that Jones really respects – never coming on too strong, and instead shading in these complex rhythm elements that spark nicely with Akira's alto. Titles include "Mingus Mood", "Bloomdido", "Saxology", "I Concentrate On You", and "A Part Of Me".

A pretty great soundtrack from Riz Ortolani for the early 70s War Goddess flick, aka Le Guerriere Dal Seno Nudo, aka Le Amazzoni – and like the best of Ortotani's work for somewhat pulpy flicks of the era, it's got sweep, intimacy and all around strengths that go above and beyond! The sounds range from drum-led action with sweeping string tension and beyond. This great Quartet edition includes all the tracks from the original Japanese soundtrack album release and adds on a whopping 12 bonus tracks! 22 in all: "Le Amazzoni", "Montagne Blu", "Rampianto E Paura", "Montagne Blue", "La Lunga Attesa", "Echi E Trasparenze" and more.

A less tense and caustic Roots than the crew that hit us on the majority of Rising Down a couple years earlier – and this one's as strong of an album as they've delivered since moving over to Def Jam. In truth, we were a little scared when we saw some of the guests credited – Monsters Of Folk, John Legend, Joanna Newsom and other headscratchers on top of more likely collaborators such as Phonte, Blu, Peedi Peedi and Dice Raw – it gets over very, very well here! How I Got Over is a Roots effort through and through, with contemplative and soulful tracks that simmer and stew in tried and true fashion. The tracks with those indie rock guests turn out to be among the Roots-iest tracks on the record. Believe that! So you can rest easy, the Roots are The Roots here, just what we wanted and just what we get! Includes "A Peace Of Light" feat Amber Coffman, Angel Deradoorian & Haley Dekle, "Walk Alone" feat Truck North, PORN & Dice Raw, "Now Or Never" with Phonte & Dice Raw, "Dear God 2.0" with Monsters Of Folk, "The Day" feat Blu, Phonte & Patty Crash, "Doin It Again", "Tunnel Vision" and more.

Although he's best known for his vocal R&B hit "Heartbreak", Jon Thomas was also a darn good organist, and this mid 50s album for Mercury's a nice batch of sides in the same tradition as contemporaneous work by Bill Doggett and Doc Bagby. The tracks are short and lively, and Jon plays with most of the stops out, for a vibrato-heavy sound. Titles include "Blu Jon", "Hot Tip", "Fat Back", "Go & See", and "Jelly Belly".

A slept on solo effort from Carl Wilson of the Beach Boys – released in 1983 and a record brings some surprising touches to the production – harder-charging rave up guitars being the one that stands out – still with big hooks and Carl's instantly identifiable vocals! A left turn on the sunny, post 70s highway Beach Boys related projects, yet still in the family. Titles include "She's Mine", "Of The Times", "Young Blood", "If I Could Talk To Love", "One More Night Alone" and more, plus the bonus track "Givin You Up (Single edit)".

A surprisingly sweet solo effort from Beach Boy Dennis Wilson – a record of surprising depth and darkness, and arguably stronger than most of the albums at the time from the larger group! Dennis produced the album himself, with some executive help from James William Guerico – whose guidance here seems key, given the overall quality of the set. There's some echoes of Beach Boys' styles in the music, but the sound is much more personal as well – Wilson's ragged vocals in the lead on all numbers, sometimes upfront and fragile, sometimes given a bit more umph through the use of processing – at that level that the whole group would often experience in the studio during the 70s. The album's as much of a showcase for Dennis' writing skills as it is for his vocals – and songs are co-written with co-producer Gregg Jakobson, as well as Carl Wilson, Mike Love, and Karen Lamm-Wilson. Titles include "River Song", "Friday Night", "Thoughts Of You", "Dreamer", "Time", "You And I", and "What's Wrong". This Japanese edition of the vital 2CD version of the album is totally great - with a booklet with notes and photos – notes in Japanese, but the track info and personnel details are included in English – and all those great bonus tracks that include "Mexico", "Holy Man", "Only With You", and "Tug Of Love". Disc Two includes with the sessions for the unreleased Bambu album – with tracks that include "School Girl", "It's Not Too Late", "Under The Moonlight", "Are You Real", "He's A Bum", "Cocktails", "I Love You", "Constant Companion", and "Time For Bed", "Holy Man Taylor Hawkins Version)" and more.

A mostly instrumental Exhibit from the mighty K Def – and a top shelf slice of timelessly inventive, head nodding hip hop production! Great stuff with prominent beats that pull you right in, but there's a lot more going on in the mix – sinister bass lines, moody keys, bits of guitar and more. It kicks off a pair of strong tracks with guest MCs – "Exhibit 2A" featuring Seven Shawn of World Renown and "The Fundamentals" with Blu & Quartermaine – and the instrumentals include "Improvs From The Brain", "Mind Boggled", "Get Your Mustard", "Relay The Piece", "Lost My Thought Part 1", "Stay Thinking About Music", "Chord Tester", "Rock It", "Lost My Thought Part 2" and more. 17 tracks in all.

A mostly instrumental Exhibit from the mighty K Def – and a top shelf slice of timelessly inventive, head nodding hip hop production! Great stuff with prominent beats that pull you right in, but there's a lot more going on in the mix – sinister bass lines, moody keys, bits of guitar and more. It kicks off a pair of strong tracks with guest MCs – "Exhibit 2A" featuring Seven Shawn of World Renown and "The Fundamentals" with Blu & Quartermaine – and the instrumentals include "Improvs From The Brain", "Mind Boggled", "Get Your Mustard", "Relay The Piece", "Lost My Thought Part 1", "Stay Thinking About Music", "Chord Tester", "Rock It", "Lost My Thought Part 2" and more. 17 tracks in all.

An album with a sweet title, but a very hard groove – a stone stormer from Japanese drummer Takeo Moriyama – put together with these soaring reed lines that almost make the whole thing feel like an early 70s album from Elvin Jones! There's a very spiritual feel to the music at times – a searching quality that comes through especially in the work on tenor from Yoshio Kuniyasu, and additional flute and alto from Kochi Matsukze – as well as in the piano from Fumio Itabashi, who works here with his best modal impulses – really building up the groove in a wonderful way, and helping to keep the whole thing as soulful as some of the best US work of this nature from the mid 70s. Tracks are all originals, in Japanese – save for the group's version of the famous title tune, which offers up one mellower moment.

A really special record from a really special group – one of two sublime 70s gems from Azteca – a wicked blend of jazz, funk, Latin, and soul – all put together by a young Coke Escovedo! Coke's ostensibly the leader of the group, but there's also a richly collaborative feel going on – a style that brings together jazz players like Tom Harrell on trumpet, Mel Martin on saxes, George Muribus on Fender Rhodes, and Flip Nunez on organ – and Latin players like Victor Pantoja on congas, Coke Escovedo on timbales, and Pete Escovedo on added percussion. In fact, the set's a key early example of the strength of the Escovedo family – and like their best later efforts, the set really stretches out and pushes the boundaries of conventional genres. There's also some great guest work from Lenny White on drums, Mike Nock on keyboards, and Neal Schon on guitars – and vocals are by a range of singers who really keep things fresh. Titles include "Red Onions", "Mazatlan", "Whatcha Gonna Do", "Mexicana, Mexicana", and "Love Is A Stranger".

A lost Burt Bacharach treasure – a bit later than classic vintage, but a wonderful album from the mature maestro – and sometimes overlooked, due to its status as a soundtrack! The work here is totally great – that mellow, easy-flowing style that Burt really perfected around the time of Living Together – served up here in a batch of sweet instrumental tracks, plus a few key vocal numbers with lyrics sung by Jackie DeShannon, Libby Titus, and Michael McDonald – all of whom slide down more into the Bacharach ethos than stand out as their usual selves – and we mean that in a good way! Titles include "I Don't Need You Any More", "In Tune", "If We Ever Get Out Of Here", "On The Beach", "I've Got My Mind Made Up", "Find Love", "Luisa", and "I Think I'm Gonna Fall In Love".

Blood Sweat & Tears are really stretching out here – working their already-famous magic through a range of great tunes, both originals and covers – and coming up with some great longer-form expressions of their sound in the process! David Clayton-Thomas is firmly in the lead on vocals – but at points, the instrumentation almost takes over even more – especially on some of the jazz-heavy jam numbers that would go onto shape generations of high school and college music ensembles! Side two features the excellent "Symphony For The Devil/Sympathy For The Devil" suite – and other cuts include "He's A Runner", "The Battle", "Lucretia MacEvil", "Lonesome Suzie", "Fire & Rain", "40,000 Headmen", and "Hi De Ho".

An excellent full length set of beats & genius from J Dilla – put together by fellow beatmaker extraordinaire Pete Rock, with all Dilla beats – a surprising triumph! Call us jaded, but honestly, we weren't sure how deep the well could go of ready-to-go beats from Dilla, but this stuff is truly top shelf – nearly as strong as the instant classic Donuts from a few years back! Pete Rock crafts the set as if it's a radio show or mixtape, but his skill in so doing is well above and beyond the norm – neither Pete's interjections nor the guest rappers ever get in the way of the flow, it's as smooth as can be. Vocal guests include Ma Dukes (the album was made under Ma's auspices), plus Lil Fame & MOP, Black Thought, Frank Nitty of Frank N Dank, Doom, Illa J & Cue D, Blu, and others. Titles include "King", "I Told Yall", "Smoke" feat Blu, "CaDILLAc". "Fire Wood Drumstix" feat Doom, "Big Day", "24K Rap" feat Havoc of Mobb Deep & Raekwon, "Coming Back", "Mythsysizer" and more. 28 tracks in all, about an hour of unreleased Dilla!

A totally groovy soundtrack from Giovanni Fusco from the late 60s – is work for Il Sesso Degli Angeli – with sounds that range from stripped down moddish pieces, to acoustic guitar grooves to Italian pop styles of the time – great stuff that's somehow never been issued before this release on Beat Records! Includes 17 sequences of the title theme with a pretty dynamic stylistic range, plus "Pink Purple Yellow And Red", "Verde Rosso Giallo E Blu" and more.

An amazing tribute to the genius of Curt Boettcher and Millenium – a set that not only features the group's classic Columbia album, but also a host of rarities and solo projects as well! The beautiful package features all albums in paper sleeve LP-styled covers, packaged in a big box with full notes – almost like finding a lost history of music that never existed in the mainstream market – finally brought together by a CD-based time machine! So, in addition to the core classic album Begin, you also get the Pieces collection of Millenium rarities – and the Voices Of Millenium set too. Then, the collection also features the albums Another Time and Chicken Little Was Right by Curt Boettcher, Everything For You and Do Onto Others by Sandy Salisbury, and Many Are The Times by Lee Mallory – all beautifully pressed and delightfully packaged!

A great idea for a compilation – a really cool set that focuses on the best days when jazz and rock were really combined together – that stretch in the late 60s and early 70s when horns were equally blended with guitars, in a groove that was plenty powerful overall! Some of the numbers here are familiar giants of the genres, and others are a bit surprising – and together, the music really does a great job tracing this evolving trend through its growth in the 70s! Titles include "Killing Floor" by Electric Flag, "Get It On" by Chase, "What Is Hip" by Tower Of Power, "Hold On" by Memphis Horns, "Mercy Mercy Mercy" by The Buckinghams, "Gonna Fly Now" by Maynard Ferguson, "Some Skunk Funk" by Brecker Brothers, "Vehicle" by Ides Of March, "In The Stone" by Earth Wind & Fire, "Non Pacem" by Azteca, "Goldmine" by Sons Of Champlin, and "New York" by Dreams.

A strange, yet cool little record from Terry Melcher! Melcher was the consummate LA hipster – the son of Doris Day, a friend of Brian Wilson, and allegedly the real target of The Manson Family when Sharon Tate was knocked off – that's a whole heck of a lot of 60s and 70s baggage – but he's a pretty terrific artist who deserves some more praise to go with all the notoriety! This obscure set from the mid 70s is a perfect set of desperado pop – country-tinged tunes in kind of a Graham Parsons/late Byrds sort of way, with so-Cal C&W tunes written by Melcher and Lee Hazelwood! Titles include "Fire In A Rainstorm", "Take It To Mexico", "High Rollers", "Card Game", and "Rosarito".

Amazing stuff from Ahmed Abdul-Malik – one of the early 60s most enigmatic jazz talents! Malik was Thelonious Monk's bassist for a few years, but by the time of this record, he was working in a very sophisticated cross-cultural mode – pulling together many different strands of jazz and Eastern music, forging them into a very unique sound. Unlike some of Malik's other records, which featured a style that was very heavy on Middle Eastern instrumentation, this one's got a very even blend of jazz, and features excellent work by Tommy Turrentine on trumpet, Calo Scott on cello, Eric Dixon on tenor, and Andrew Cyrille on drums. Malik himself plays bass and oud, and the record's got a snaking mix of jazz and exoticism that's roughly similar to Yusef Lateef's work on Savoy, or some of Sun Ra's work from the time. Titles include "Nights On Saturn", "La Ibkey", "The Hustlers", and "Oud Blues".

Sublime sounds from the always-amazing Ahmed Abdul-Malik – a jazz bassist at heart, but also a musician with a great ear for Eastern instrumentation as well! Ahmed cut a few key records at the end of the 50s and start of the 60s – and this spellbinding set may well be one of his strongest – a set that moves past some of the more gimmicky use of exotic instrumentation on other albums, and focuses on a jazzy core that really shines strongly on the album's long tracks! There's still a nice sense of the East on the record – thanks to Hamza Aldeen's oud – but the set also features great jazz solos from Seldon Powell on flute and tenor, and the great Ray Nance on both cornet and violin. Drummer Walter Perkins plays with a fluid style that's perfect for the date – and pianist Paul Neves has a lyrical approach to piano that works wonders for the groove. Titles include "Spellbound", "Never On Sunday", "Body & Soul", "Song Of Delilah", and "Cinema Blues".

Great rootsy Cajun accordion – a version of the genre that's much grittier than any of the later versions that were spread more strongly through the mainstream – and definitely light years from the touristy sounds heard in more recent years! This set offers up a host of rare small label recordings from Nathan Abshire – a player who really handles his instrument with a personal touch – almost as raw and soulful as a harmonica in the hands of a blues musician, and often supported by rhythms that are pretty darn blue as well – although also with a definite Louisiana sound! The package features material with the Pine Grove Boys and Balfa Brothers group, plus others by Nathan on his own – and the set features 25 titles that include "Pine Grove Blues", "Offshore Blues", "Shamrock", "J'Etais Au Bal", "Choupique Two Step", "Partie A Grand Basile", and "Dying In Misery".

Almost an underground groove supergroup – given that the set features work from Earl Zinger (Rob Gallagher of Galliano) at the helm, production from 2 Banks Of 4, vocals from Valerie Etienne, and funky rhythms from Shawn Lee! The combination of talents come together here in a very new way – with a style that's much grittier and earlier than before, although still pretty darn groovy overall – almost putting a raspy old school touch on a scene that's definitely matured on its own, and may well be old enough to lay claim to the rootsy sound of this set! Rob's songwriting has definitely matured, and at some of the best moments, there's almost a British Tom Waits-y kind of quality to the set. Titles include "Below Sea Level", "Burial Blues", "Whip Of The Wind", "Laxfield Blasphemy", "Velvets Eleven", "Margaret Catchpole", and "Foggy Dew".

Almost an underground groove supergroup – given that the set features work from Earl Zinger (Rob Gallagher of Galliano) at the helm, production from 2 Banks Of 4, vocals from Valerie Etienne, and funky rhythms from Shawn Lee! The combination of talents come together here in a very new way – with a style that's much grittier and earlier than before, although still pretty darn groovy overall – almost putting a raspy old school touch on a scene that's definitely matured on its own, and may well be old enough to lay claim to the rootsy sound of this set! Rob's songwriting has definitely matured, and at some of the best moments, there's almost a British Tom Waits-y kind of quality to the set. Titles include "Below Sea Level", "Burial Blues", "Whip Of The Wind", "Laxfield Blasphemy", "Velvets Eleven", "Margaret Catchpole", and "Foggy Dew".

Fantastic work from the Cannonball Adderley Quintet – one of their greatest performances from the seminal early 60s years! The band at this time includes Cannon on alto, Nat on cornet, Victor Feldman on piano, Sam Jones on bass, and Louis Hayes on drums – and although Feldman's not as strong of a soul jazz player as Bobby Timmons or Joe Zawinul, both of whom also played with the group, his playing on this set is great, thanks to a really lively rhythm section! Includes an 11 minute version of "Sack O Woe", plus "Blue Daniel", "Azule Serape", and "Big P".

Fantastic work from the Cannonball Adderley Quintet – one of their greatest performances from the seminal early 60s years! The band at this time includes Cannon on alto, Nat on cornet, Victor Feldman on piano, Sam Jones on bass, and Louis Hayes on drums – and although Feldman's not as strong of a soul jazz player as Bobby Timmons or Joe Zawinul, both of whom also played with the group, his playing on this set is great, thanks to a really lively rhythm section! Includes an 11 minute version of "Sack O Woe", plus "Blue Daniel", "Azule Serape", and "Big P". CD also includes a bonus track – "Our Delight".

An interesting early side by Cannonball that captures him before he'd really found his voice – and when the folks at Mercury still didn't really know what to do with him. The record's a tightly arranged set of tracks from Duke Ellington's musical "Jump For Joy" – with arrangements by Bill Russo, and small group playing that includes Emmett Berry, Bill Evans, Barry Gabraith, Jimmy Cobb, and a small string section. The sound's actually quite haunting – and Cannon's alto solos remind us more of some of the best "with strings" soloing heard on Verve in the early 50s than they do his later soul jazz classics on Riverside or Capitol. That's ok with us, though – because the session's still got a lot to offer in that respect, and Cannonball handles the solos wonderfully! Titles include "Bli Blip", "Just Squeeze Me", "Nothin", and "The Tune Of The Hickory Stick".

A swingin' Japanese concert by one of Cannonball's best groups from the 60's. Joe Zawinul's on piano, brother Nat's on cornet, Sam Jones is on bass, and Louis Hayes is on drums. But the real treat here is Yusef Lateef, who does some excellent reed work on tenor, flute, and oboe – and who's playing at this point with that great mix of soul jazz and out-sounds that he was cooking up at the time. There's some great long cuts, including an excellent 12 minute reading of Lateef's "Brother John", plus the title track, "Come Sunday", "Tengo Tango", "Easy To Love" and "The Weaver".

One of the all-time great ones by Cannonball! This record captures him in the prime of his early soul jazz fame – working with an unbelievably heavy quintet that featured Bobby Timmons on piano (with Barry Harris sitting in on a few tracks), Sam Jones on bass, Louis Hayes on drums, and brother Nat Adderley on cornet. The quintet forged a sound that made them an immediate hit – and which had their tight, jagged, soul-drenched sound getting copied by everyone. The record features some amazing soul jazz standards – like Nat's original version of "Work Song", the first-ever record of Timmons' amazing "Dat Dere", Cannon's slinky "Them Dirty Blues", and the jaunty groover "Jeannine", a wonderful cut by Duke Pearson that never sounded better! The CD features alternates of "Work Song" and "Dat Dere" – for a total of 9 tracks in all!

One of the all-time great ones by Cannonball! This record captures him in the prime of his early soul jazz fame – working with an unbelievably heavy quintet that featured Bobby Timmons on piano (with Barry Harris sitting in on a few tracks), Sam Jones on bass, Louis Hayes on drums, and brother Nat Adderley on cornet. The quintet forged a sound that made them an immediate hit – and which had their tight, jagged, soul-drenched sound getting copied by everyone. The record features some amazing soul jazz standards – like Nat's original version of "Work Song", the first-ever record of Timmons' amazing "Dat Dere", Cannon's slinky "Them Dirty Blues", and the jaunty groover "Jeannine", a wonderful cut by Duke Pearson that never sounded better! The CD features alternates of "Work Song" and "Dat Dere" – for a total of 9 tracks in all!

At this point, things were getting better from Cannonball – as he was getting a lot more of a handle on his style as a soloist, and began sticking to the tight little combo sound that would make him a star in the 60s. This album was recorded slightly before Cannon's classic lineup would begin to gell – but it features some very able company in the form of Art Blakey, Wynton Kelly, and Milt Jackson, with a tight hard bop sound to the group. The title cut's a near-classic, and other tunes include "Sounds For Sid", "Groovin High", "Serves Me Right", and "Blues Oriental".

Bossa madness – and a really hard to find pressing of this album! Cannonball Adderley recorded this nice little groover in 1962, when American musicans were just getting on the bossa tip, and still keeping things pretty authentic. The record was cut in New York with Sergio Mendes' early Bossa Rio group – the legendary Brazilian jazz ensemble that featured Paulo Moura, Dom Um Romao, and Durval Ferreira. The mixture of tight bossa rhythms and Cannon's soulful sax is totally great – and it's only because the Riverside label was folding at the time that the record never got bigger fame. Includes the cuts "Joyce's Samba", "Clouds", "Minha Saudade", "Corcovado", "Batida Diferentes", and "Sambops".

A lost treasure from Antiono Adolfo – keyboard player, arranger, and one of the greatest Brazilian talents of his generation! Adolfo's sound and style is contemporaneous with the best work of Marcos Valle, Edu Lobo, and others – and like them, he has an approach that mixes together jazz, MPB, baroque orchestrations, easy scoring, and a bit of funk – similar to the best work of the Blue Brazil generation on EMI/Odeon Records. The approach is one that's rarely been matched by any other artist – and it's a strong reason why Adolfo's records from this period are extremely sought after in the world of collectors. This beautiful album from 1970 has Adolfo working with the group A Brazuca – who bring some wonderful vocal harmonies to the set, mixing with strings, guitars, and some great electric piano work from Adolfo. Includes the breezy classic "Transamazonica", plus the cuts "Que Se Dane", "Atencao Atencao", "Claudia", "Panorama", "Tributo A Victor Manga", "Caminhada", "Grilopus No 1", and "Cotidiano".

Aerosmith at their most classic! At their peak, Aerosmith brought a hard rock edge to the more groove oriented boogie and blues rock influences. Toys In the Attic is most certainly one of their peaks, if not THE peak. Includes the all time greats "Walk This Way" and "Sweet Emotion", plus "Big Ten Inch Record", "Uncle Salty", "Round And Round", "You See Me Crying", "Adam's Apple" and "No More No More".

The electro classic, famous in part for that incredibly prescient sample from Kraftwerk that went on to become the basis for what seems like the entire Miami Bass industry for a while – but it's so much more than that. Truly a benchmark record!

Excellent work from this totally sweet west coast Latin combo – a wonderful group who mixed Latin percussion with piano and vibes – in a manner that's similar to some of Cal Tjader's best Verve work of the 60s! Some tracks also make nice use of flute or alto sax – creating a snakey feel that really adds a new dimension of light and color to the tunes. The whole set's a great blend of Latin rhythms, jazzy solo work, and some mod 60s touches – and titles include "Monkey Time", "Afro Rock", "Let My People Go", "Walk On By", "Moses", "Liberation", and "Together".

Great work by one of the grooviest groups on the LA 60s scene! The Afro Blues Quintet have a blend of soul jazz and Latin styles that's similar to the best 60s work by Cal Tjader, or to records by small combos like the Quartette Tres Bien or The Latin Jazz Quintet. Lots of grooves have a nice modal swing to them – nice and jazzy, with slight touches of soulful instrumentation, all fused into a tight Latin-styled groove. Loads of great original tunes – including "Mystic Mambo", "Freaks", "Incantations", "Victims Of Chance", "Let My People Go", and "Afro Rock".

Smoking grooves from an incredible group – the amazing Afro Blues Quintet, a combo with a sound like no other! These guys were never one for stardom, but during the mid and late 60s, they burned up the west coast scene with an incredible blend of vibes, piano, and reeds – often kicked up nicely with some hard-rolling rhythm work that gave their tracks a similar mod groove to classics by Johnny Lytle, Ramsey Lewis, or Pucho & The Latin Soul Brothers! But the real difference with the ABQ (if we can call them that!) is that they had a really spacious approach to their sound – never putting too much into the mix, and instead using the space between the notes every bit as much as the notes themselves. The grooves are great, and since most of this work has never been reissued, the set's totally fresh to the ears of most listeners! As usual, the folks at BGP have done a great job with the notes – and the set features 22 tracks from the group's Mira, Surrey, and Crestview recordings – titles that include "Monkey Time", "Freaks", "La La La", "Southside Habit", "Mirror Image", "Afro Rock", "Evening Of The Beast", "Spartacus", "Candie Luv", and "Our Mambo".

A great step forward for the Afro Latin Vintage Orchestra – even better than their previous album, and a set that beautifully mixes together jazz, Latin, and African elements into one seamless groove! Percussionist Masta Conga is at the head of the group – leading the ensemble with a unique vision that's less of the overdone Afro Funk you might know from other contemporary combos – and more of a classic 60s blend of elements – especially that unique hybrid of Latin modes you'd get from west coast groups – like the Afro Latin Soultet or Afro Blues Quintet – both clear choices of inspiration, given this group's name! Yet there's also some 70s elements moving through the grooves too – thanks to great Fender Rhodes lines, and bits of other keyboards too – often used in these cool spare ways that work perfectly with the mix of funk and Latin in the rhythms, and occasional bits of strings as well. Most tracks are instrumental, although there are a bit of vocals on the set – and titles include "Requiem Pour Un Grooveur", "Petrof Sublimination", "Onze De France", "Gibbon's Dub", and "Dimension 7".

A sweet Japanese set from Toshiko Akioshi – recorded at the Blue Note in Tokyo, with a group that really replicates the sound of her big band from the 70s! Key partner from those years – Lew Tabackin – is in the group playing loads of great tenor and flute solos – and other players include a range of younger Americans, including Jim Rotondi on trumpet and Jim Snidero on alto and flute – all working in that great Akioshi/Tabackin formation – tight head arrangements, but lots of room to soar out on solos on the longer tracks! Terumasa Hino also guests a bit on trumpet – and titles include "Hirohiko's Delight", "The Village", "Lady Liberty", "Unrequited Love", and "Hope".

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

The cover of this one makes it look like a no-name leaderless session, but this one actually features some great work by some very hip players! Half the album features vibist Teddy Charles leading a group of modernists that includes Hal McKusick, Frank Socolow, Bill Russon, Bob Brookmeyer, Mal Waldron, and Donald Byrd – on tracks that have a bluesy base, but a bit of an edge to them. The other half features Manny Albam leading a combo with Al Cohn, Teo Macero, Art Farmer, Bill Evans, Phil Woods, and Eddie Costa. The session was done to showcase the talents of 4 of the best modern arrangers of the late 50s – Manny Albam, Bill Russon, Teo Macero, and Teddy Charles – all of whom contribute some great charts to a set of tracks that includes "Swinging Goatsherd Blues", "East Hampton Blues", "Blues In The Night", "Night Crawlers", and "Blues For Amy".

Mellow warmth from the great Monty Alexander – one of his best for MPS, and a trio set cut with Senator Eugene Wright on bass and Bobby Durham on drums! The roundness of Wright's bass makes the best cuts on the album even better – as he rolls around with a subtle sense of soul that really helps Alexander step into the 70s nicely – getting past some of the stiffness of 60s albums and even hitting a few funky notes at times! Titles include the jazzy dancer "Monticello", a classic reading of "We've Only Just Begun", and the tracks "Blue Alexander", "Love Story", and "Summer Of 42".

Obscure album by Lorez, with a mix of jazz and pop stuff, and arrangements (mostly) by pianist Ronell Bright. Bright plays in the group backing Lorez, as does the great tenor player Teddy Edwards. The legendary Paul Gayten produced, and the track list includes "Play Me The Blues", "Comet In the Sky", "Psychedelic Bag", "Nonchalantly", "Talk About Cozy", and "Endless".

A 60s bossa classic from Johnny Alf – a set that really showcases the bluer side of bossa at the time! The set's got a rich, sophisticated sort of sound – right up there with the best Elenco or Forma vocal sessions of the 60s, thanks to orchestrations by Jose Briamonte, which move along with this really dark undercurrent. Alf's vocals and piano contrast nicely, with these oddly-turning notes that are really unique – a distinct approach that made Johnny one of the most standout talents of this new generation. This album's easily one of his greatest efforts – and titles include "Gismi", "Kao Xango", "Cancao Pra Disfacar", "Ceu Alegre", "Eu So Sei", and "Bossa So".

A 60s bossa classic from Johnny Alf – a set that really showcases the bluer side of bossa at the time! The set's got a rich, sophisticated sort of sound – right up there with the best Elenco or Forma vocal sessions of the 60s, thanks to orchestrations by Jose Briamonte, which move along with this really dark undercurrent. Alf's vocals and piano contrast nicely, with these oddly-turning notes that are really unique – a distinct approach that made Johnny one of the most standout talents of this new generation. This album's easily one of his greatest efforts – and titles include "Gismi", "Kao Xango", "Cancao Pra Disfacar", "Ceu Alegre", "Eu So Sei", and "Bossa So". CD features the bonus track "Eu E A Brisa".

Beautifully free alto work from Byron Allen – a player who really shines brightly on this rare session for ESP Records – one of the few ever cut under his own name! Allen's got a style that's right up there with the 60s best from Ornette Coleman or Marion Brown – able to move with a fluidity that's breathless, even amidst rhythms that are very loose and open – as the trio here works in a style that almost echoes some of the harmelodic modes of Coleman, but which eventually pushes farther towards the freedoms of other artists on ESP! The set has some wonderful bass from Maceo Gilchrist, whose round, rolling tones really make the album sparkle – as do the punctuated drums of Ted Robinson. Titles include "Today's Blues Tomorrow", "Time Is Past", "Three Steps In The Right Direction", and "Decision For The Cole-Man".

Early 60s surf rock from ace guitarist Richie Allen & The Pacific Surfers – another prime example of the excellent slices of expertly crafted, yet vaguely trashy instrumentals Capitol Records was cranking out in the era! There's a seedy quality to these gems that's really wonderful – perfect for beach front debauchery then as well as now! Tracks include "Surfers' Slide", "Sunday Surfer", "The Lonely Surfer", "Ridin' The Woodie", "Swing Low", "Surfers' Hop", "A Touch Of Blue", "Malibu Run", "Comin' Back To You", "Tidal Wave" and more.

Bossa guitar, dreamy orchestrations, and a wonderful American take on the Brazilian sound of the 60s – served up with sparkling Capitol Records production in a set that's easily one of the greatest by guitarist Laurindo Almeida! Almeida's guitar is matched here with some lightly jazzy backings from Lex De Azevedo – slightly pop, but always groovy – and with a gentle sound that matches bossa roots with some of the more complicated modes from 60s soundtrack years – served up in sweeping strings, moody woodwinds, and some nicely isolated notes from Almedia's acoustic guitar. Titles include "A Man & A Woman", done very nicely, plus "Mas Que Nada", "Soft Mood", "Bluesette", "Call Me", and "Going Out Of My Head".

A sweet Latin-styled set from trumpeter Herb Alpert – but one that's got a very different vibe than his faux Latin grooves of the 60s! The set here is done with key contributions from both Juan Carlos Calderon as a songwriter, and Jose Quintana as a producer – both talents who really help Herb reshape his groove in a mighty nice way! Backings are big, and somewhat smooth – as in the "Rise" era – but there's also some Latin jazz elements in the mix too, and an overall approach that isn't nearly as cluttered as you might expect for the time – with an especially strong emphasis on Herb's trumpet solos in the lead. The set was the first issued on the A&M Latin label – AyM Discos – and also features a bit of Spanish language vocals as well. Titles include "Fandango", "Route 101", "Angel", "Aria", "Sugarloaf", "Coco Loco", "Latin Medley", "California Blues", and "Push & Pull".

Amazing work from a legendary Peruvian guitarist – an electric player who works here with a really wonderful sense of groove – and often an echoey tone that's completely sublime! Most numbers have this bouncy, tropical sort of vibe – but the guitar really gives them all an edge, and seems to underscore the strong percussion work that really gets things moving – a balance that's a bit like champeta at times, but maybe a bit more unique! Teo's instrument is often recorded with a style that's more 60s surf than you'd guess from the date of the sessions – and that echo trips things out nicely, and almost brings a spacey edge to some of the best numbers on the set. The package features a bonus insert with notes and images – and titles feature Teo in a number of groups – "El Sha La La" by Cielo Gris, "El Rey Loco" by Los Blue Kings De Nana, "Mi Orgullo" by Los Sanders De Nana, "El Borrachito Peruano" by Conjunto Luz Roja, "Los Hombres Tambien Lloran" by Los Jharis De Nana, and "La Tanga Carioca" by Costa Azul.

A stone classic from Gene Ammons – and a record that introduced his talents to a whole new audience in the 60s! The album's a more laidback one than some of Jug's more hard-blown honkers – as you might guess from his hit rendition of the ballad in the title – and the instrumentation here varies between organ from Johnny Hammond Smith and piano from Mal Waldron – making for a nice tapestry of dark-tinged, late nite moods. Other players include Frank Wess on tenor and flute, and Art Taylor or Ed Thigpen on drums. Titles include the classic "Angel Eyes", plus "You Go To My Head" and "It's The Talk Of The Town" – and slightly more groovin numbers like "Getting Around" and "Water Jug".

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

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

More proof that the Prestige blowing session style worked perfectly for Gene Ammons – as he's right at home on the album's long relaxed tracks, cut in the company of expert players like Art Farmer, Jackie McLean, Duke Jordan, and Art Taylor. Candido's also along for most of the ride, giving the record a nice kick – and the set list includes four long tracks, "Madhouse", "Happy Blues", "The Great Lie", and "Can't We Be Friends".

A real turning point in the career of Gene Ammons – a record that almost returns Ammons to his earthier roots, and in the process helps build up a whole new sound in soul jazz for the 60s! The "Jug" nickname in the title is kind of a joking way to help Ammons stand alongside "Miles", "Trane", "Diz", and other one-name monikered stars in jazz – but even without that gimmick (which somehow lasted for years), the album's got a depth that more than gets Gene back on top, thanks to a gritty soulfulness and good sense of feeling in the grooves! Players here include Richard Wyands on piano on most numbers – plus a rare appearance by Clarence "Sleepy" Anderson on 2 numbers – one on organ, one on piano. Rhythm is by Doug Watkins on bass and JC Heard on drums – and Ray Barretto makes one of his great soul jazz appearances on drums – rolling the groove along with a nice bit of bounce throughout! Titles include "Tangerine", "Ol Man River", "Easy To Love", "Seed Shack", "Miss Lucy", and "Namely You".

A great little session by Jug – cut after the late 50s blowing session years, and with a much tighter sound that's very much in the pocket! The record features two groups – one with Walter Bishop, Art Davis, and Art Taylor; the other with Patti Brown, George Duvivier, and Taylor – and both groups are backed by Ray Baretto, for a tight rolling groove. Most titles are standards or loosely composed lines, but Jug's tenor is in great form – and the setting features some wonderfully economic playing. Tracks include "Up Tight", "Jug's Blue Blues", "Lester Leaps In", and "The 5 O'Clock Whistle".

Late great work from Ammons – an album done at the time of his funk sides for Prestige, but recorded in the style of his earlier years in Chicago! The session's a laidback set of soulful solo-heavy work – recorded as part of a hip series of shows at the North Park Hotel, with a local rhythm trio that includes Jodie Christian on piano, Cleveland Eaton on bass, and Marshall Thompson on drums. James Moody joins Ammons in the frontline, and the set's got the best electric feel that you'd hear if you were lucky enough to catch either player in a small club date in the early 60s. Loads of very imaginative solo work in the best Chicago tenor tradition – with titles that include "Work Song", "Jim Jam Jug", "Have You Met Miss Jones", and "C Jam Blues".

A pair of hard-wailing tenor albums on Verve – both of them great! Boss Tenors In Orbit is a studio album, but one that really has Gene Ammons and Sonny Stitt recreating some of the bold energy of their live shows – coming across with a vibe that's much more Prestige Records than Verve, thanks to the presence of the Don Patterson trio on the set! Backing is by Don on Hammond, Paul Weeden on guitar, and Billy James on drums – a nicely loose combo that really lets the tenorists stretch out and show their stuff. The cuts are mostly standard material – "John Brown's Body", "Walkin", "Long Ago And Far Away" – but the twin-tenor sound is great, and Patterson's free organ lines riff away nicely! On Boss Tenors, Gene Ammons and Sonny Stitt go head to head in this classic album of tracks that perfectly captures the joy and fury of their live performances from years before! The record was cut in Chicago with a very hard rhythm section that includes John Houston on piano, Charles Williams on bass, and George Brown on drums – and it's way heavier than the usual Verve "meeting of the masters" session, and feels more like a record that should have been issued on Prestige or Argo. Both players are impeccable, and the solos stretch out for a long long very live time. Titles include "Blues Up & Down", "The One Before This", and "Counter Clockwise" – but these guys even groove amazingly on standards like "Autumn Leaves" and "No Greater Love".

A nice little 2-fer collecting two great meetings of two greats! Jug and Stitt go head to head on Boss Tenors, a classic album of tracks that perfectly captures the joy and fury of their live performances from years before! The record was cut in Chicago with a very hard rhythm section that includes John Houston on piano, Charles Williams on bass, and George Brown on drums – and it's way heavier than the usual Verve "meeting of the masters" session, and feels more like a record that should have been issued on Prestige or Argo. Both players are impeccable, and the solos stretch out for a long long very live time. Titles include "Blues Up & Down", "The One Before This", and "Counter Clockwise" – but these guys even groove amazingly on standards like "Autumn Leaves" and "No Greater Love". Boss Tenors In Orbit was a follow up one year later, an obscure little session with the pair once again recreating the energy of their live shows – as they stretch out nicely on very long tracks that have spare backing by the Don Patterson trio! The cuts are mostly standard stuff – "John Brown's Body", "Walkin", "Long Ago And Far Away" – but the twin-tenor sound is great, and Patterson's free organ lines riff away nicely!

Recorded live at the Brooklyn Academy of Music, New York City, February 7-10, 1983. A HUGE amount of material! Includes the tracks "Say Hello", "Walk The Dog", "Violin Solo", "Closed Circuits", "For A Large And Changing Room", "Pictures Of It", "Language Of The Future", "Reverb", "If You Can't Talk About It, Point To It", "City Song", "Finnish Farmers", "Democratic Way", "Private Property", "Neon Duet", "Difficult Listening Hour", "So Happy Birthday", "Dance Of Electricity", "Sax Duet", "Born, Never Asked", "From The Air", "Beginning French", "Talkshow", "Cello Solo", "Blue Lagoon", "Stiff Neck", "Hothead", "Telephone Song", "Sweaters", "We've Got Four Big Clocks", "I Dreamed I Had To Take A Test", "Big Top", "It Was Up In The Mountains", "Big Science", "Red Map", "Strike", "False Documents", and many, many more!

One of the only albums ever cut by Maxi Anderson – a hell of a soul singer who's lent her talents to a number of sessions over the years, but who sounds especially great here in the lead! Anderson's got a vibe that's almost like Minnie Riperton at the time – a warmly glowing approach to soul that's sophisticated, yet sweet and personal too – set up nicely here with some great Cali arrangements from Gene Page, who slides in an undercurrent of funky soul at the bottom – especially on some of the album's great Skip Scarborough cuts. Titles include "Dancin To Keep From Cryin", "Glory Glory", "Delta Road", "Lover To Lover", "Let Him In", "By Your Side", "Walk Softly", "The Perfect Day", and "Music On My Mind".

A great follow-up EP to Anika's addictive Stones Throw debut – a darkness-tinged batch of covers – bringing some great songs by The Kinks, The Crystals, Chromatics and Shocking Blue along with a pair of dubbed up versions of earlier Anika singles. There's a bit of no wave vibe of stark electronics and moody vocals, but Anika's got an overall presense unlike anyone else. Once again she gets some excellent production by Geoff Barrow of Beak> and Portishead. Titles include "I Go To Sleep", "He Hit Me", "Love Buzz", "In The City", "No One's There (Dub)" and "Yang Yang (Dub)".

A great follow-up EP to Anika's addictive Stones Throw debut – a darkness-tinged batch of covers – bringing some great songs by The Kinks, The Crystals, Chromatics and Shocking Blue along with a pair of dubbed up versions of earlier Anika singles. There's a bit of no wave vibe of stark electronics and moody vocals, but Anika's got an overall presense unlike anyone else. Once again she gets some excellent production by Geoff Barrow of Beak> and Portishead. Titles include "I Go To Sleep", "He Hit Me", "Love Buzz", "In The City", "No One's There (Dub)" and "Yang Yang (Dub)".

A massive amount of early work by The Animals – brought together in one overstuffed package with some unreleased tracks as well! The group here have a great rough sound – much more bluesy than in later years, which turns out to be a perfect setting for the young Eric Burdon – whose vocals soar out wonderfully over a mix of original tunes and remakes of American classics by folks like Ray Charles, John Lee Hooker, Sam Cooke, Bo Diddley, and others! Producer Mickie Most really knows how to keep the right sort of edge on the tunes – lots of raw power in the instrumentation, especially the Hammond and guitar – and a stark, dark quality to Eric's vocals that went onto become the stuff of legend. Package features 40 tracks in all – with titles that include "I Believe To My Soul", "Don't Let Me Be Misunderstood", "Club A Go Go", "For Miss Caulker", "Feel", "Boom Boom", "Don't Want Much", "It's My Life", "House Of The Rising Sun", "We've Gotta Get Out Of This Place", and "I'm Gonna Change The World".

The most outwardly political album to date from Antibalas – and quite possibly the funkiest one too! The set's got the group really grooving hard in their 70s Afro Funk-inspired vein – jamming at a level that would make Fela Kuti blush – working together with a fierce array of percussion, horns, keyboards, and guitars to jam up a groove that stretches back to the best days of the African-styled funk of the classic years. The whole thing's wonderful – every bit as essential for any fan of 70s Fela as it is for the current deep funk underground of which Antibalas are a part – and if you had any fear that their move to a semi-major label would hurt them, rest assured that they sound better than ever! Titles include "Big Man", "Obanla'e", "Elephant", "Sister", "Pay Back Africa", and "Who Is This America Dem Speak Of Today?"

A damn legendary record from the last years of Chess Records – and for good reason, too! Archie Whitewater were a group that was years ahead of its time – a rock combo, but one with real genre-crossing sensibilities that made them perfect for the experimental styles at the Cadet/Concept side of Chess – the same slice of the musical universe that gave us Rotary Connection and important productions from Charles Stepney! The sound here has some surprisingly soulful elements at times – especially the instrumentation, which features some great break moments that get nice and funky, and strands of soulful jazz and blues that really make the music way different than most other groups we can think of – or maybe a bit like a rare elite who shared such visionary territory with Archie Whitewater, such as Shades Of Joy on their first Fontana record. The keyboards and sax lines are as great as the drums – and the vocals have a melancholy undercurrent that's a really refreshing change from some of the overly-postured modes you'd get from other groups in 1970. Titles include the sublime sample cut "Cross Country" – but there's loads of other nice ones with the same stripped-down "Dusty Fingers" sort of groove – and other titles include "Life Is A River", "Home Again", "Lament For The Walking Dead", "Seacoast", "Country To the City", "Friends & Neighbors", and "Mist Of The Early Morning".

A key album in the career of Louis Armstrong – one that helped him forge the fourth or fifth great comeback in his career! As you'd guess by the title, the album's built around Louis' hit version of "Hello Dolly" – sung in a mode that at one level stretches back to his roots in trad jazz, but at another kind of peps the whole thing up with a mod 60s/20s retro sort of swing – more syncopated than before, with a choppy little groove that pushed Louis right back onto the charts. Backing is by a small group that includes Billy Kyle on piano, Arvell Shaw on bass, and Joe Darensbourg on clarinet – and the album's filled with other great numbers that include "A Kiss To Build A Dream On", "Moon River", "You Are Woman I Am Man", "Blueberry Hill", and "Be My Life's Companion".

A classic live date from Satchmo – and expanded to include the complete performances on that legendary night at Boston's Symphony Hall – for the first time ever! Recorded in November of 1947 and originally released in '51, it's never before been issued with both the first and second sets that night. There's also a number of great tunes here that were released before in edited versions, but fully presented here. It's such wonderful stuff – both as a top-shelf document of this period of American jazz – and as a brilliant example of Satcho's charming stage presence. His trumpet and solo vocals are well captured, and you can here up humming along on the instrumentals, too. The players at this point who are All Stars, indeed, include Jack Teagarden on vocals and trombone, Barney Bigard on clarinet, Dick Cary on piano, Arvell Shaw on bass, and Sid Catlett on drums – plus some great vocals by Velma Middleton. 29 songs on 2CDs – in a hardback package with a great booklet – and featuring "When It's Sleepy Time Down South", "Stars Fell On Alabama", "Body And Soul", "Steak Face", "Back O'Town Blues", "St James Infirmary", "Mop Mop", "Jack Armstrong Blues", "That's My Desire", "C Jam Blues", "Baby Won't You Please Come Home", "Mahogany Hall Stomp" and more – many previously unreleased!

Some consider this the worst point in Louis' career – when he was singing odd pop material for Decca, and had really left his jazz roots behind. We don't think it's that bad, though – and the album's got a wonderfully playful style that shows what a great entertainer Louis could be when he was up for the challenge. Gordon Jenkins did the arrangements, and the record features Louis' version of "Blueberry Hill" – plus the tracks "Chlo-e", "Jeannine", "Spooks!", "Trees", and "It's All In The Game".

One of the last live appearances by Louis Armstrong – presented here in a really charming little album, issued in a small pressing by The National Press Club! The album's a great document of all the Armstrong charms in one package – as Louis talks as much as he plays – telling stories and speaking about the music on the first half of the set. The second half then features material recorded after Armstrong's passing – with Tyree Glenn and Tommy Gwaltney keeping up the vibe, especially on some of the spoken passages where Glenn talks about Louis! The sound quality is a bit "broadcast"-styled at the start – and titles include "Rockin Chair", "Royal Garden Blues", "Love For Sale", "Crazy Rhythm", and "It's Alright With Me".

Previously unissued material from the great Harry Arnold – excellent mid 60s big band sessions, as creative as they are hard-swinging! Arnold's group here is at the top of its form – working together with a rich array of tones and colors that show the best legacies of 50s modern jazz in the large ensemble idiom – yet with a lean quality that really allows lots of voice from the soloists, too – a lineup that includes Arne Domnerus, Jan Johansson, Lars Farnlov, Bengt-Arne Wallin, and Georg Riedel! Arrangements are by Wallin, Pete Jacques, and others – but it's Arnold who clearly knows how to make the whole thing hold together this well. Titles include "It's In The Bag", "Margie", "Blues For Nathan", "Cheryl", "Tina", "Per Spelman", "You've Got It", "I Knew It I Knew It", and "King Valiant".