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Some of the greatest albums in rock and roll are those that were never released – including some that finally saw the light of day after decades, like the Beach Boys' Smile! This book really gets at that fact beautifully – showing how, although never issued, some of these key creative projects really represent the ongoing struggle of rock music in the music business – the push and pull between different forces, and the resulting crash when musical moments never come to be! Each chapter tells the tale of a different album that didn't make it – David Bowie's Toy, Seal's Wonderland, and other projects by The Beastie Boys, Beck, Chicago, Ray Davies, Adam Ant, The Jungle Brothers, and others – almost a musical version of the comic book What If? There's also a final chapter on other almost-rans, including a few that might just make it – and the book has a nice breezy style that's nicely journalistic at times. 319 pages, softcover.

Killer CTI work from Joe Farrell – with grooves so sharp you could cut your trousers on them! Farrell's angular reed style is in perfect form here – grooving with a small group that includes Herbie Hancock on piano, Joe Beck on guitar, Steve Gadd on drums, and Don Alias on percussion – a combo that's got a harder, tighter feel than most CTI groups – a key reason why Joe's records of this time are so legendary! The album features a fantastic version of Stevie Wonder's "Too High" – one that breaks all over the beginning with these riffs by Farrell, then grooves into a CTI electric funk mode for about 13 minutes. All tracks are long – and other tracks include "Hurricane Jane", "Geo Blue", "Penny Arcade", and "Cloud Cream".

Wicked keyboards from Ronnie Foster – and a set that really steps forward from his previous two Blue Note albums! The record really has Ronnie moving into a more rounded soul space – singing along with his keyboards, in ways that may well be aimed at making Foster the next Stevie Wonder – although still with some of the hipper, quirkier touches that make his music so great! The lineup of players is very top shelf – almost more of a CTI/Kudu session, with George Benson and Joe Beck on guitar, Mtume on congas, and lots of heavy bass from William Allen and Gary King. Foster wrote all the cuts – save for a cover of Stevie Wonder's "Tuesday Heartbreak" – and titles include "Funky Motion", which was covered by Roy Ayers – plus "Cheshire Cat", "Fly Away", "Heartless", and "Like a Child".

2 landmark albums from British maestro Michael Gibbs – a key link between the jazz and rock scenes of late 60s London, and one of the few artists of that crowd to really work in a large group mode! Gibbs' albums from the time are a bit like those of Mike Westbrook – in that they take an older big band mode, and infuse it with youthful energy – bringing in modern horn passages, unusual rhythms, and often a rock-based approach to the tunes that makes for some freshly grooving numbers. On both albums, Gibbs is working with the cream of the crop of the Brit crossover scene – and soloists include Chris Spedding on guitar, Kenny Wheeler on trumpet, John Surman on saxes, Frank Ricotti on vibes, and Gordon Beck on electric piano. The tunes are all originals, which adds to the fresh and free-thinking nature of the set – and titles include "Feelings & Things", "Sweet Rain", "Throb", "Nowhere", "Tanglewood 63", "Canticle", "Five For England", and "Sojurn".

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 the most exciting new Brazilian albums we've stocked in a long time! This great new album by Lenine is a mad mix of soulful vocals, flanged-out guitars, rootsy percussion, and modern production with some slight amount of the kinds of sample influences being used by other modern Brazilians (like Carlinhos Brown or Arnaldo Antunes). The real difference, though, is Lenine's great guitar work – which strikes out through the mix in a haunting Beck-ish way. His voice is pretty darn great, too – with a deep richness that we haven't heard since Milton Nascimento or Djavan. The whole package is pretty darn nice – and tracks include "Arede", "Tubi Tupy", "Alzirae Torre", "Relampiano", "Eu Sou Meu Guia", and "Nao Pressao".

The soul saving, Satan deterring classic by The Louvin Brothers – plus the excellent Handpicked Songs compilation of Louvin tracks lovingly selected by an eclectic group of indebted artists – in this great 2CD set from Light In The Attic! Satan Is Real is a fantastic record of country harmony spirituals, cut by the legendary Ira and Charlie Louvin, during the height of their years at Capitol. The record's a treasure all the way through – from great cuts like "Satan is Real", "The Drunkard's Room", and "Dying From Home, And Lost" – to the groovy cover that has the Louvins standing next to a flaming pile of garbage with a statue of Satan! The real deal! Handpicked Songs is amazing music from the greatest chapter of the legendary Louvin Brothers – the kind of work that's made them a legend for generations! The set features Louvin classics chosen by a reverent group of singers and songwriters that really run the gamut – Dolly Parton, Beck, Kris Kristofferson, Chris Hilman, Emmylou Harris, Will Oldham, Zooey Deschanel, The Black Angels, Mark Lanegan, M Ward, and Jim James – but all artists who have been undeniably influenced by Ira and Charlie Louvin, and their way of melding melancholy harmonies into something that goes way beyond everyday country music! The packaging is great – very much up to the Light In The Attic standard – and titles include "Almost Persuaded", "My Baby's Gone", "I See A Bridge", "Knoxville Girl", "Great Atomic Power", and "Alabama".

Crisply popping funky grooves from Roger – an underappreciated mid 80s solo record from the voice of Zapp! The Saga Continues finds Roger still rocking his trademark effects laden vocals and vamping guitar work well into the middle of the decade – with even tighter syncopated percussion, and funky keys & synth bursts – sailing in a killer groove throughout! Roger produced the record along with Larry Troutman – and they bring in Maceo Parker for a horn solo and Ohio Player Billy Beck for keys! Tracks include "In The Mix", "Play Your Guitar, Brother Roger", "The Break Song","I Keep Trying", a vocader funk reading of Wilson Pickett's "Midnight Hour", "Bucket Of Blood", "T C Song" and "Girl, Cut It Out".

Badass organ funk from the mighty Leon Spencer – a set that's got a bit of a fuller feel than some of his previous albums for Prestige – but a groove that's also equally great! The style here is somewhere between blacksploitation funk and some of the grooves from the CTI/Kudu camp – with a bit more horns than before on some of the titles, arranged tightly to provide a great foil for Leon's leaner lines on Hammond! Arrangements are by Ed Bogas on the fuller tracks, and players on the album include Hubert Laws on flute, Frank Wess on baritone, Victor Paz and Virgil Jones on trumpet, Joe Beck on guitar, Melvin Sparks on guitar, and Grady Tate on drums. One track features Leon working in a smaller trio format – and titles include "Superstition", "Give Me Your Love", "The Price A Po Man's Got To Pay", "Where I'm Coming From", and "Trouble Man".

An excellent album of funky electric jazz – and possibly the best one that Phil Woods cut with his European group! The quartet's a very hip group that's way hipper than its clunky name – with Gordon Beck on electric piano and organ, Daniel Humair on percussion and drums, and Henri Texier on bass, flute, and African percussion – all instrumentalists who dip heavily into the deep bag of their mighty talents for the date, helping to push Phil's music into some very cool new territory! The album cooks a lot harder than Woods' previous MGM date with the Rhythm Machine group in Europe – and has a really freewheeling vibe, and a sound that's almost outside at points. All tracks are long, with a modal electric approach that's very nice – and funky in the best parts – and titles include "Chromatic Banana", "Ultimate Choice", "The Last Page", and "The Day When The World".

Gloriously soulful and passionate postwar gospel – one of the best ever compilations on the Tompkins Square label – shining a powerful light on rare African American church recordings, street corner sermon style numbers, choir backed testifying soul & blues, and straight up wonderful spiritual soul music all the way! The tunes range from the mid-to-late 1940s through the 1970s for the most part, with a few later recordings – and part of what's so inspiring about it is the disregard of formality to the program. It has crackly field recordings of congregations, reverends and choirs, back porch gospel blues, and more polished, but no less passionate recordings – the common thread being the raw, honest devotion and deeply felt soulfulness of it. Hats off to producer, compiler Mike McGonigal for putting together such an excellent set, and for his concise, but well done notes on each track, and to Tompkins Square for continuing to raise the bar! 80 tracks on 3 discs: "Peace In The Valley" by Rev Lonnie Farris, "Rock And Roll Sermon" by Elder Beck, "So Glad" by Rev Robert Ballinger, "Wasn't That A Mystery" by Madison County Senior Center Singers, "The Wicked Shall Cease From Troubling" by Nathaniel Rivers, "Jesus' Blood" by Golden Stars Of Greenwood, SC, "God's Mighty Hand" by Rev Utah Smith, "Fire Shed In My Bones" by Boyd Rivers, "Power Is In The Heart OF Man" by Brother & Sister W B Grate, "You Ought To Been There" by The BC Harmonizers, "Go Devil Go" by Madam Ira May Littlejohn and more.

A wonderful tribute to Caetano Veloso – put together by a really surprising range of artists! The tunes are all classic Veloso compositions – Brazilian nuggets that have been making our lives wonderful for years – and they get fresh reinterpretations by a range of artists that includes The Magic Numbers, Beck, Ceu, Chrissie Hynde, Kassin, Moreno Veloso, Tulipa Ruiz, Beck, Mariana Aydar, Seu Jorge, Toninho Horta, and others – a great mix of Brazilian and American artists who really show the far-reaching influence Caetano's had over the decades. Most numbers are pretty well done – never too commercial, and surprisingly sensitive to the lyrics, while also offering up fresh twists with their own arrangements. Titles include "The Empty Boat" by Chrissy Hynde with Moreno, Kassin, and Domenico – plus "London London" by Os Mutantes, "Michaelangelo Antonioni" by Beck, "Eclipse Oculto" by Ceu, "You Don't Know Me" by The Magic Numbers, "Araca Blue" by Marian Aydar, "Alguem Cantando" by Momo, "Quem Me Dera" by Devendra Banhart & Rodrigo Amarante, and "Peter Gast" by Seu Jorge, Toninho Horta, and Arismar Espirito Santo.

Cash's fourth volume of stark, sparely-arranged studio recordings for producer/set list provider Rick Rubin. As Johnny gets on in the years his always haunting voice, like Bob Dylan's, is weighted by age, but the heavily-breathed delivery only adds to the ghostly quality of the increasingly dark tunes. With this fourth set in the series we're far past being surprised by the choice of material – this time Cash conjures up spiritual takes on Depeche Mode's "Personal Jesus", Trent Reznor's "Hurt", Lennon/McCartney's "In My Life", and more traditional material like Hank Williams' "I'm So Lonesome I Could Cry" and the eternally underrated Marty Robbins' "Big Iron". You can't forget that Cash's pen is still pretty sharp, too, as the really spooky imagery in the title track and others testify. The accompaniment includes the great Randy Scruggs, Beck/Tom Waits guitarist Smokey Hormel, Marty Stewart, Glen Campell, and backing vocals by Nick Cave and Fiona Apple. Another great one from the greatest!

One more amazing chapter in the mighty development of drummer Chico Hamilton – a killer 70s session for Blue Note – and a record that goes way beyond his earlier experiments of the 50s, modal grooves of the 60s, and funk work for the Flying Dutchman label! The style here is fusion, but way fresher than the usual type – neither jamming rock-styled, nor mellow and smooth – and instead always tickled by Hamilton's sense of a unique rhythm, and his continued great ear for inventive use of reeds – in this case handled by Arthur Blythe on alto and Arnie Lawrence on soprano and tenor sax. The set's also got Steve Turre on bass and trombone, and both Barry Finnerty and Joe Beck on electric guitars – but the real genius is Chico himself, who handled arrangements and wrote most of the album's great tracks. Titles include the exotic number "Abdullah & Abraham" – plus "Andy's Walk", "Peregrinations", "It's About That Time", "Sweet Dreams", "On & Off", "Little Lisa", and "Space For Stacy".

Jiro Inagaki's definitely in the groove here – hitting hard with a sweet electric vibe, on a set that's easily one of his funkiest albums ever! The set's got a wicked mix of jazz and funk that's right up there with the best on 70s CTI or Kudu – but maybe even leaner overall, given the focused nature of the tunes – and their strongly rhythmic approach! Jiro's on both tenor and soprano sax, and also handles arrangements with Norio Maeda – and the set's especially heavy on Fender Rhodes and electric bass, carved up nicely by sweet guitar lines that almost have a Joe Beck sort of sound. Many tracks are originals, and all are definitely in a tight 70s mode – really stepping forward from some of the more formative funky years of Jiro's previous albums. Titles include "Joie De Vivre", "Crazy Medicine", "That's How I Feel", "Blue Blood", "Raven Speaks", and "Samba Chimba".

Jumpin' rhythm & blues from Johnny Jones – excellent, exciting recordings in more of an r&b revue sound than the more definitively blues based numbers later on – big collection of numbers devided between sessions with The Jimmy Beck Orchestra and The Imperial Seven, aka The Beat Boys. Given the largeish backing, the numbers have a jumpin' groove, but the players keeping it tight enough that some bluesy intimacy is still there in the fabric. Some sessions feature alternate lead vocalists, a few with Earl Gaines, a couple with Larry Birdsong, plus Charles Walker, Levert Allison and others. 35 tracks in all! "Every Night In The Week", "Now That We're Together", "Best Of Luck Baby", "Slave To Love", "Fiesta", "Oh Baby", "I'm Going Home", "Slow Down Baby", "Mercy On My Soul". "24 Hours A Day", "Pickin' Berries" and more.

Smooth and sophisticated grooving from Esther Phillips – a record that really has her shaking off the rag-tag and rootsy modes of earlier years, and gliding sweetly into the mainstream! Phillips' vocals are still as soulful and compelling as ever, but the backings are quite full – penned by Joe Beck, who also plays a fair bit of guitar on the record too – and done with a sound that's in the same mode as David Matthews' backings for other Kudu sides of the time. There's a definite soul-heavy focus going on here – with some clubby touches too – and titles include "Caravan", "Fever", "Pure Natural Love", "Unforgettable", "For All We Know", "Fools Rush In", and "Going Out Of My Head".

An unbelievably fantastic album, and perhaps the greatest one that Dom Um Romao ever did! Dom recorded this one in America with a blend of Brazilian and New York musicians – creating an incredible sound that's unlike anything else we can think of! We'd place this record next to the best electric work by David Axelrod, the dopest funk on CTI, and a rare few other jazz funk albums from the 70s – and the whole thing's completely sublime all the way through! Includes the spare spacey groover "Dom's Tune", the lively dancer "Cinnamon Flower", the jazzy "Family Talk", a great version of "Ponteio", and a take on Sivuca's "Adeus Maria Fulo" with Joao Donato on electric harpsichord! Loads of samples, and players include Joe Beck, Dom Salvador, Sivuca, Mauricio Smith, Portinho, Richard Kimball, and Lloyd McNeill.

An incredible set of Brazilian jazz – one of the few albums that percussionist Dom Um Romao recorded as a leader, and sublime all the way through! The record's got a wonderful blend of funky fusion and Brazilian percussion – and features a group from two continents that includes Sivuca on organ, Dom Salvador on electric piano, Joe Beck on guitar, Jerry Dodgion on alto sax, Lloyd McNeill on flute, and Mauricio Smith on tenor, soprano, and flute. Includes the percussion jammer "Shake (Ginga Gingou)", the modal groover "Wait on the Corner", and the lively scatting tune "The Angels" – but the whole album's great, and other tracks include "The Salvation Army", "Kitchen", and "Lamento Negro".

Gentle magic from singer Jimmy Scott – one of our favorite of his comeback recordings of recent years! The album features tracks that Jimmy Recorded over sessions done in 2000 and 2001 – working with a host of great jazz players like Eric Alexander, Joe Beck, Hank Crawford, David Newman, Grady Tate, and Cyrus Chestnut – all of whom bring a warm and mellow feel to the set, allowing Jimmy some good space to breeze around in understated brilliance. Titles include "Yesterday", "Those Who Were", "How Long Has This Been Going On", "Time On My Hands", and "If I Should Lose You".

An excellent little album – with a very funky sound! Don't be put off by the "jazz rock" in the title – because there's very little rock in here – just some hard funky drums and fuzzy use of guitar – served up by Don Sebesky in his approximation of the sound of the younger generation! The album's very much in the best groovy, groove-heavy Verve instrumental mode of the 60s – a soaring, swinging style that did plenty back in the day to bridge the generation gap. Guitar solos are by Joe Beck and Larry Coryell – and other players include Hubert Laws on flute, Richard Spencer on alto, and Don Sebesky on organ, clavinet, and electric harpsichord! Titles include "Shake A Lady", "Banana Flower", "The Word", "Big Mama Cass", "Somebody Groovy", "I Dig Rock & Roll Music", "You've Got Your Troubles", and "Meet A Cheeta".

Tony's a million miles from his work with the Miles Davis Quintet on this record – grooving in a heavy rock/fusion mode with his New Lifetime group that includes Allan Holdsworth on guitar, Tony Newton on bass and vocals, and Alan Pasqua on keyboards. The tracks have a post Jeff Beck kind of approach – lots of heavy riffing in a way that does create a bit of funk at the right moments, almost in the Alphonze Mouzon/Tommy Bolin mode. Titles include "Sweet Revenge", "Inspirations Of Love", "Lady Jade", "What You Do To Me", and "Joy Filled Summer".

2 sides of sweet electric grooving from Houston Person – records that feature his soulful tenor set in larger arrangements than on his earlier small combo Prestige sessions, in a mode that's a bit like some of the larger jazz sets coming out on CTI and Kudu at the time! Like Stanley Turrentine, who also made a similar shift during this period, Houston turns out to be an extremely strong soloist in this sort of setting – hitting new notes on the laidback ballads, and playing with a richly expressive style that somehow seems even more possible than before, since the core rhythms and melodies are handled by the other players in the ensemble, and Houston's main job is just to blow freely on his solos. There's a few funky numbers on the set, but the mellow tracks are actually pretty darn great too – thanks to work by players that include Bernard Purdie, Joe Beck, Ron Carter, Ernie Hayes, and Grady Tate. Titles include "Sweet Buns & Barbeque", "Put It Where You Want It", "Groove Thang", "Down Here On The Ground", "Let's Call This", "The Pimp", "A Song For You", and "This Masquerade".

An incredible set of Brazilian jazz – one of the few albums that percussionist Dom Um Romao recorded as a leader, and sublime all the way through! The record's got a wonderful blend of funky fusion and Brazilian percussion – and features a group from two continents that includes Sivuca on organ, Dom Salvador on electric piano, Joe Beck on guitar, Jerry Dodgion on alto sax, Lloyd McNeill on flute, and Mauricio Smith on tenor, soprano, and flute. Includes the percussion jammer "Shake (Ginga Gingou)", the modal groover "Wait on the Corner", and the lively scatting tune "The Angels" – but the whole album's great, and other tracks include "The Salvation Army", "Kitchen", and "Lamento Negro".

Hendrix on the cover – and the issue features images from a lost photo shoot, and news about the lost Jimi sessions finally seeing the light of day! There's also bits on Status Quo, Black Keys, Jeff Beck Group, Joe Bonamassa, and others – with lots of photos and other features too!

Donovan at his jazzy best – really picking up where Mellow Yellow left off, and pushing the jazz influences in his sound to deeper lengths! Mr Leitch is a million miles away from his Dylanesque early roots on the set – and is working in territory that's completely his own – a beautiful blend of folk, psychedelic, and jazz-based modes – handled with simple charm throughout, and performed by a group that includes funky sound library genius Alan Hawkshaw on piano, and the great Harold McNair on flute! The title track "Barabajagal" is one of Donovan's most amazing tunes of all time – a funky little number that dances around with some great heavy drums, and which also features guitar by a young Jeff Beck! Other titles include "The Love Song", "Trudi", "Atlantis", "Superlungs My Supergirl", "I Love My Shirt", and "Pamela Jo". The CD features a huge amount of bonus tracks too – including "Stromberg Twins", "Snakeskin", "Lauretta's Cousin Laurinda", "The Swan", "Runaway (demo)", "Palais Girl (demo)", "Sweet Beverley (demo)", "New Years Resolution", and "A Poor Man's Sunshine".

The first album ever from The Faces – a mighty merger of half of the old Small Faces with the young Rod Stewart and Ron Wood, fresh from the Jeff Beck group! The meeting of talents really set The Faces on fire – bringing even sharper focus to the group's previous sound, and giving it a stellar frontman in the face of Stewart – who was still brilliantly soulful here, and way far from all the cliches he'd spew in later years! The guitars are fantastic, the rhythms very raw – and the whole record romps along with this messy blend of rootsy elements and garagey power – never letting up the sonic onslaught for a minute. In the US, Warner still tried to market the group by using "Small Faces" on the cover – but trust us, the sound is way different than before – as you'll hear on cuts that include "Stone", "Around The Plynth", "Looking Out The Window", "Nobody Knows", "Wicked Messenger", and the classic "Three Button Hand Me Down".

One of the funkiest Buddy Rich albums of the 70s – a mad screaming affair that's overflowing with great tunes! The band on the set is very full – with a heck of a lot of trumpets in the brass section, set next to searing sax work by the great Pat LaBarbera. But even better is the rhythm section – which grooves in a hard electric funk mode, thanks to guitar from Joe Beck, bass from Tony Levin, and some surprisingly smoking drums from Buddy himself! Tracks are all very nicely grooving – and titles include "Kilimanjaro Cookout", "Nuttville", "Senator Sam", "Waltz Of The Mushroom Hunters", and "Big Mac".

Killer CTI work from Joe Farrell – with grooves so sharp you could cut your trousers on them! Farrell's angular reed style is in perfect form here – grooving with a small group that includes Herbie Hancock on piano, Joe Beck on guitar, Steve Gadd on drums, and Don Alias on percussion – a combo that's got a harder, tighter feel than most CTI groups – a key reason why Joe's records of this time are so legendary! The album features a fantastic version of Stevie Wonder's "Too High" – one that breaks all over the beginning with these riffs by Farrell, then grooves into a CTI electric funk mode for about 13 minutes. All tracks are long – and other tracks include "Hurricane Jane", "Geo Blue", "Penny Arcade", and "Cloud Cream".

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".

The cover's a bit cheesy, but the record's a great one – stunningly spiritual jazz from saxophonist Idris Ackamoor, and a set that really lives up to his soulful fame from the 70s! The record has a similar vibe to some of Ackamoor's recordings with The Pyramids – very well-crafted work that's filled with a rich spirit and lots of freely creative energy – often moved by rhythms that are warm and flowing, and recorded with a sound that's much more 70s than you'd guess from the date of the recording. Idris plays alto sax, and other group members include Art Hirahara on electric piano, Baba Duru on percussion, Destiny Muhammad on harp, and Fred Harris on drums. Some tracks have vocals – sung beautifully, in a really Strata East sort of way – and titles include "Our Voices", "Beckoning", "Libation Song", "Island Dance", "Move Towards The Light", and "Centurian".

One of the most creative albums ever from UK composer Neil Ardley – and that's saying a lot, given the complexity of his other work! The set's got a wonderful blend of jazz arrangements and some freer passages – scored by Ardley with some of his most sensitive, most beautiful music ever – almost as if the whole thing's an extended soundtrack for a passage in time – or at least a sonic journey that's filled with some wonderful twists and turns! There's definitely some jazz/rock elements in the music, but the main focus is jazz – and Ardley has that same strong sense of large charts and forward-moving rhythms that you'd find in the best early work of Mike Westbrook, particularly his albums for Deram. Players are a very familiar, and very top-shelf batch of British musicians – including Barbara Thompson, Dick Heckstall-Smith, and Don Rendell on reeds; Harry Beckett and Henry Lowther on trumpets; Derek Wadsworth on trombone, Frank Rocotti on vibes, and Stan Tracey on both piano and celeste. Ardley plays prepared piano, and Ivor Cutler makes a great guest appearance on one track – reciting "The Dong With A Luminous Nose" – and Norma Winstone sings on "Will You Walk A Little Faster". The title track – "A Symphony Of Amaranths" – is dedicated to Duke Ellington and Gil Evans – with a feel that more than lives up to both! LP features a bonus "outro" track too.

Great contemporary sounds from Brazil – a collaboration between Nina Becker and Marcelo Callado – done with a really playfully creative feel! Nina's sung recently with Orquesta Imperial, and Marcelo's the drummer in Caetano Veloso's recent group – and the record definitely has echoes of both of those worlds – very creative songwriting, thoughtful interplay between acoustic and electric instrumentation, and a freshly crispy sensibility on the production – which keeps a gentle edge to most of the tunes. Titles include "Cade Voce", "Blues", "Futuro", "Nuvem", "Packing To Leave", and "Essa Menina".

Overlooked later work from trumpeter Harry Beckett – material that really sparkles with a lot of warmth and imagination, and which is pulled together from a collection of different sessions in the late 80s and early 90s! The package features Beckett in a number of settings – including a beautiful duet with pianist Chris McGregor on the title track "Maxine", another duet with pianist Django Bates on "Les Jardins Du Casino", a 24 minute tune titled "Cozy N Rozy" played with a quintet that features McGregor on piano and Courtney Pine on tenor, a sweet take on Jacques Brel's "Amsterdam" in a trio with Joachim Kuhn on piano and JF Jenny Clarke on bass, and two group numbers with Annie Whitehead on trombone and John Burgess on flute and sax – on the tunes "Falling In Love With Love" and "Bessie's Blues".

A sweet live set from Dave Brubeck's early years on Columbia Records – recorded in New York, but with all the calculated cool and modern tones Brubeck first forged in the San Francisco scene of the 50s! Paul Desmond's on board on alto sax – really getting a lot of space to stretch out on the album's extended performances, with a haunting, floating tone that really sends us. Remaining members include Bob Bates on bass, and Joe Dodge on drums – and tracks include "Lover", "Love Walked In", "The Duke", "Little Girl Blue", and "Fare Thee Well Annabelle".

The Dave Brubeck Quartet goes to college – a pretty good place for the combo, considering how many fans they had on campus in the 50s! The sound here is never too academic for the setting, though – just the same sort of Brubeck groove first forged in the small clubs in San Francisco – played beautifully by an incarnation of the quartet that includes Paul Desmond on alto sax, Bob Bates on bass, and Joe Dodge on drums. The long, bluesy "Balcony Rock" is a real gem, with some standout work by Desmond that reminds us that he could be a great improvisor in an extended format – and other tracks include "Out Of Nowhere, "Le Souk", "The Song Is You", "Don't Worry Bout Me", and "Take The A Train".

Like Dave Brubeck's legendary Time Out set? Try this one – a great record that takes off from the concept of the first, but which goes in some very fresh new directions – using the same great group with Paul Desmond on alto, Eugene Wright on bass, and Joe Morello on drums! Dave's still working out some nutty time signatures here – but apart from the science, the thing that really makes the record cook is Desmond's alto – icy, edgey, floating, and always a treat – almost even more amazing in the space of some of these offbeat numbers. Titles include "Maori Blues", "Far More Drums", "Bluetee", "Far More Blue", and "It's A Raggy Waltz".

Like Dave Brubeck's legendary Time Out set? Try this one – a great record that takes off from the concept of the first, but which goes in some very fresh new directions – using the same great group with Paul Desmond on alto, Eugene Wright on bass, and Joe Morello on drums! Dave's still working out some nutty time signatures here – but apart from the science, the thing that really makes the record cook is Desmond's alto – icy, edgey, floating, and always a treat – almost even more amazing in the space of some of these offbeat numbers. Titles include "Maori Blues", "Far More Drums", "Bluetee", "Far More Blue", and "It's A Raggy Waltz".

One of the lesser-known sets in Dave Brubeck's classic "time" series for Columbia – even more inventive than Time Out! Paul Desmond plays alto – and titles include "Travellin Blues", "He Done Her Wrong", "Cassandra", "40 Days", "Time In", and "Lost Waltz".

Excellent mid 70s duet jazz from pianist Dave Brubeck & alto Paul Desmond! Duets 1975 is a nicely laidback work from the duo – playing here with no other accompaniment, in a spare set of material that's incredibly fragile and intimate – and all the better for that. The move is a real change from the pair's more famous sides of the late 50s and early 60s – and with no drums and bass to get in the way, they drift around warmly, working together and apart as old friends with a great deal of sympathy for each other. Titles include "Koto Song", "Blue Dove", "Stardust", "Alice In Wonderland", and "Summer Song".

The last-ever live performance of the legendary Dave Brubeck Quartet with Paul Desmond – recorded in 1967, but issued here for the first time ever! The group was the stuff of legend in the 50s and 60s – Dave's incredible approach to piano and time signatures, supported by amazing rhythm progressions from bassist Eugene Wright and drummer Joe Morello – topped by some completely sublime work on alto sax by the mighty Paul Desmond! Throughout the 60s, the group really expanded their sound wonderfully – through a set of richly exploratory albums for Columbia Records, taking their core approach into a wide range of new styles and formats that really made for some beautiful music. Here, they deliver a stellar swan song – working in a live performance that brings back a few classics, and also shows some of the new territory they'd taken too – all recorded beautifully, at a level that makes the record a perfect pairing with their studio albums for Columbia – almost as if the label had been holding back a gem after all these years. Titles include "For Drummers Only", "La Paloma Azul", "Three To Get Ready", "Someday My Prince Will Come", "I'm In A Dancing Mood", "Set My People Free", "Take Five", and "You Go To My Head".

Morton Feldman pays great tribute to Samuel Beckett here – with music full of dark shadows and lonely shapes, almost a perfect soundtrack for any of Beckett's works on stage! The instrumentation here is all a bit muted – played by the Ensemble Modern, but not credited individually – a choice in the liner notes that might have to do with the nature of the music – which is often murky and a bit obtuse, but which has a cohesion and slight sense of narrative amidst the mist! There appears to be a bit of piano – recorded with a lot of echo – plus some horns – all swirling together and building slowly in true Feldman fashion.

An ebullient groover from British arranger Mike Gibbs – quite possibly his funkiest album ever, and a great little session recorded live at Ronnie Scotts during a week's residency in 1972! As with other albums from the time, Gibbs is working here with a brilliant array of players who include some of the leading lights of the British jazz rock scene of the period – a lineup that includes Chris Spedding on guitar, Frank Ricotti on vibes, Chris Pyne on trombone, Kenny Wheeler and Harry Becket on trumpets, Ray Warleigh on sax and flute, and Alan Skidmore on soprano and tenor sax – all coming together in a blend of acoustic and electric elements that bristles with fresh imagination, free-thinking solos, and some nicely grooving rhythms. Tracks are all long, and titles include the Gibbs originals "So Long Gone", "Three", "Nowhere", and "Just A Head" – plus versions of "Sing Me Softly Of The Blues", "Grow Your Own", "Country Roads", and "Mother Of The Dead Man".

A sweet trio album from pianist Mathias Landaeus – based around classic Swedish Holiday tunes, but handled instrumentally – which means that you can enjoy the album all year long! The record's way different than an American jazz Christmas album – partly because of the relatively unfamiliar tunes, but also because of the gently expressive style that Landaeus brings to his readings – piano lines that are pointed, yet somewhat softly sensitive too – and guided nicely by the bass of Kristian Lind and drums of Jonas Holgersson. There's almost a Brubeck vibe in the album at times – and titles include "Ja Se Det Snoar", "Hej Tomtegtubbar", "Staffan Var En Stalledrang", "Hosianna Davids Son", and "Nu Ar Det Jul Igen".

Amazing music from Chris McGregor and his legendary Brotherhood Of Breath ensemble – easily one of the most exciting forces in British jazz in the 70s, and one fo the few who was still sounding their best in the latter half of the decade! McGregor's got as much bite and burn here as with his famous earlier combo, The Blue Notes – and the lineup here boasts ex-members of that group – Dudu Pukwana on alto, Johnny Dyani on bass, and Louis Moholo on drums – all joining together perfectly with McGregor's long-spun piano lines. The ensemble also features other key British players – Mike Osborne on alto, Evan Parker on tenor, Harry Beckett and Mark Charig on trumpets, and Radu Malfatti on trombone – creating this bold horn section that stretches to the skies on waves of soul! Two lengthy pieces "Sunrise On The Sun" and "Kwaholo" bookend the shorter piece "Sonia". CD features three more tracks not on the original album – "TBS", "Andromeda", and "You Ain't Gonna Know Me Cos You Think You Know Me".

The second Stax album from Mel & Tim – and even better than the first! Although the pair are probably best known for their soaring soul singles at the end of the 60s, by the time of this 1973 record, they'd matured wonderfully – hitting some deeper, more heartfelt modes that are mighty nice – and a perfect fit for the sophisticated level of production that Stax was putting down at the time! There's still some slight sweet soul undercurrents – but with an overall presentation that's much more Memphis than New York, the sound is nice and deep – lots of Muscle Shoals instrumentation that includes keyboards from Barry Beckett, guitar grooves from Jimmy Johnson, and some perfectly balanced rhythms that keep things on the downlow throughout! Titles include the break-heavy version of "Yes We Can Can", plus "Keep The Faith", "Making Love Is My Thing", "Forever In a Day", "That's The Way I Want To Live My Life", "Same Folk", and "Oh How I Love You".

Ahhh, good ol' Mel & Tim – possibly our favorite soul duo ever, and a really dynamic pair that carve some great new territory away from the path set by Sam & Dave! The album's a bit of a comeback for the duo, as you'd guess from the title – even though it was only recorded a few years after their initial work for the Bamboo label. There's a stylistic shift that marks a second chapter in the Mel & Tim groove – as they move away from the New York uptown sound, and go for more of a gritty southern sound – thanks to help from producer/arrangers Barry Beckett and Roger Hawkins. The set list is filled with loads of great southern soul tunes – penned by composers who include Phillip Mitchell, Isaac Hayes, Dan Penn, and Homer Banks – on the titles "Heaven Knows", "Wrap It Up", "Don't Mess With My Money My Honey Or My Woman", "Carry Me", and a great cover of "I'm Your Puppet". CD reissue includes the bonus tracks "Forever In A Day", "It's Those Little Things That Count", "The Same Folk", and "Yes We Can-Can".

Of course it's about time for Joe – because as Dave Brubeck's drummer, he was constantly caught in recording sessions that were all about unusual rhythms and timings in jazz! This set's actually a bit looser and freer than some of the Brubeck ones – more straight jazz, recorded with a larger group arranged by Phil Woods and Manny Albam – with standout solo work by Phil on alto sax and Gary Burton on vibes. The sound is a nice extension of the larger group RCA sessions of the 50s – and titles include "Time After Time", "Summertime", "Every Time", "It's About Time", and "Fatha Time".

Music that really made the career of drummer Paul Motian – work that firmly established his power as a leader in the 70s, and showed the world that he had a huge range of music to offer beyond his initial fame with Bill Evans! Motian works here both on percussion and a standard drum kit – often in ways that intertwine rhythmic and melodic elements, in the freer structures that ECM helped unleash in the 70s – modes that often show a spiritual side to Paul's music that would have been unexpected a decade before – wrapped up in the company of some fresh young talents from the underground! Players on the dates include Keith Jarrett on piano, Leroy Jenkins on violin, Becky Friend on flute, Charles Brackeen on tenor and soprano sax, Joe Lovano on tenor, Bill Frisell on guitar, Billy Drewes on alto and tenor, David Izenzon and Charlie Haden on bass, and Sam Brown on guitar – and the 6 CD set features the full albums Conception Vessel, Tribute, Dance, Le Voyage, Psalm, and It Should've Happened A Long Time Ago.

Clearly riding on the success of the Memphis Horns' LPs of the mid 70s – but not a bad bunch of funky tracks! The famous horn section from Muscle Shoals takes the helm – or is at least taken to the helm by Barry Beckett, who played keyboards, produced, and arranged the LP. The tracks have a nice smooth funk sound – with some vocals, and a lot of tight electric instrumentation and some good funky clavinet riffs! Titles include "Born To Get Down", which has a nice keyboard break in the middle, plus "Bump De Bump Yo Boogie", "Give It To Me", "Open Up Your Heart", and "Break Down".

Maybe the greatest record so far from this ultra-hip Brazilian group – a set that has the range of singers and musicians coming together wonderfully – in a really rich sound that's way more than the sum of its already-great parts! The album features vocals by Moreno Veloso, Nina Becker, Thalma De Freitas, and others – and features lots of hip instrumentation from Kassin, Domenico, Wilson Das Neves, and many others – a list of players large enough to be the orchestra promised in the title – but moving with a groove that's tight enough to match the work of Kassin or Moreno on other records! Many tunes echo older bossa, samba, and MPB elements, yet the style is pretty fresh as well – aware of the past, but not just rehashing it – thanks to a very inventive presentation overall. Titles include "Cair Na Folia", "Fala Chorando", "Moleculas", "Tamancas Do Caterete", "A Saudade E Que Me Consola", "Mocoto Em Tijuana", and "Apaixonado".

Classic level NYC hip hop from Oxygen – featuring Dr Becket and a Emskee of Good Peoples – on a timeless 45 from the hungry Boro Records! "Process" has a solid funky beat and some jazzy soul keys in the mix – with production by Freqnik & WDRE that bears the influence of the jazzy soul beats of classic east coast hip hop – the kind that'll sound fresh forever – and quite refreshing in the here-and-now post-millenium underground! "Guillotine" is just as great – on a rawer funky sample tip.

There's no knocking Wilson Pickett here – as his funky groove is still right on the money, set up in some sweet Muscle Shoals arrangements, at a level that's right up there with his first recordings for Atlantic Records! Production is by Brad Shapiro and Dave Crawford, who bring in a few slight 70s southern soul touches – but overall, the whole thing's got all the raw, heavy-grooving energy you'd expect from The Wicked Pickett on Atlantic. Some cuts slide into each other nicely – which makes for an album that's really unified – and Dennis Coffey plays some great guitar on the set, alongside keyboards from Crawford and Barry Beckett, drums from Roger Hawkins, and percussion from Jack Ashford. Titles include "Don't Knock My Love (parts 1 & 2)", "Fire & Water", "Call My Name I'll Be There", "Hot Love", "A Mighty Long Way", and "You Can't Judge A Book By Its Cover".

The Staple Singers are cooking on all burners at this point – and it's hard to stop them with that much power – a soaring, searing sort of energy that definitely earns them a place in the sky! The set's a totally strong batch of gospelly soul tracks – produced by Al Bell with that great early 70s Stax deep soul sound – at a point that's still without the sort of cliche that might hold back material of this type in later years. Instrumentation is by Clayton Ivey on Hammond, Barry Beckett on keyboards, and Jimmy Johnson and Eddie Hinton on guitar – and titles include "Getting Too Big For Your Britches", "Today Was Tomorrow Yesterday", "Something Ain't Right", "My Main Man", "Blood Pressure", "Who Made The Man", "Back Road Into Town", and "If It Ain't One Thing It's Another". CD features 4 bonus tracks – "Oh La De Da", "I Like The Things About You", "Respect Yourself", and "I'll Take You There".

A near-perfect album from the great John Surman – recorded at the crossroads of the British jazz scene as it stepped into the 70s, and done with a fullness and focus that Surman hardly matched again! As with some of the other Deram sessions of the time, the album's overflowing with great players from the cream of the British new wave of jazz – including Barre Phillips on bass, Tony Oxley on drums, Alan Skidmore on tenor, Harry Beckett on trumpet, and John Taylor on piano – but despite strong work from the entire ensemble, Surman's work on baritone, soprano, and bass clarinet are a tremendous highlight here – poised between some of Eric Dolphy's most inventive modes on the instruments, and some of the greater changes to come in the European free scene of the 70s! There's a cohesiveness here that's really wonderful – a sound that's never too free, nor too overindulgent – but also not as tightly arranged as on work by some of Surman's contemporaries. Titles include "Caractacus", "Galata Bridge", "Premonition", and the long suite "Event".

An essential lost bit of British jazz – and the first record ever released by avant reed player John Surman! The album's an interesting mix of styles, with a split that runs right down the middle. The first 4 tracks on the record reflect a distinct Carribean style, and are a good indication of the strong West Indian influence on the British jazz tradition. Surman's playing pretty straight on those tracks, and he's joined by Mike Osborne on alto, Harry Miller on bass, and Russell Henderson on piano. The other 3 tracks on the album comprise one long suite, and the style is a much better indication of Surman's avant garde leanings, and of the larger ensemble style of the Brit jazz scene of the late 60's. He plays on those with Dave Holland, Kenny Wheeler, Harry Beckett, Paul Rutherford, and others – and the titles include "Incantation", "Episode", and "Dance".

Wonderful soul by one of the best female groups of the 60s! The Sweet Inspirations work here in a southern-tinged style similar to their classic backing work for Aretha Franklin – a sound that was already great behind Aretha, but which is even better here on its own – warm, spiritual, and brimming with soul – at a level that few other girl groups could ever take this deep! Arif Mardin did the arrangements, and brings in just the sort of warm, mature touches to push the music into the sublime – territory that had hardly been explored in this way before – at least not in the secular world – but which would go onto influence a generation. Backing is by a small group with Eddie Hinton on guitar, Barry Beckett on organ, and Roger Hawkins on drums – and titles include "But You Know I Love You", "Don't Go", "Always David", "Every Day Will Be Like a Holiday", "Chained", and "Crying in the Rain".

The soundtrack to the rare 135 Grand Street New York, 1979 – a film documenting the post punk No Wave NYC scene which would last pretty well into the early 80s, but caught here in its ascendance – performances by Theoretical Girls, UT, A Band, Rhys Chatham, The Static, Steve Piccolo, Chinese Puzzle, Morales, Jill Kroesen and Youth In Asia! The film is made up of director Ericka Beckman's Super 8MM footage of acts performing in a downtown loft. The CD soundtrack includes material from the film and some bonus tracks on in the film, and titles include "Glazened Eyes" by Theoretical Girls, "Sharp's Loose" by UT, "Sand And Sea" and "Mirror, Mirror" by A Band, "Gay Girl In A Gay Bar" by Morales, "Talking Heads (Pt 1)" and "Amnesia" by Youth In Asia, "Superior Genes" by Steve Piccolo, plus bonus material by Chinese Puzzle, Kill Kroesen, The Static, Theoretical Girls and Steve Piccolo. 16 tracks in all.

A sprawling set that commemorates the Reggae Golden Jubilee– one that's beautifully put together by VP – and featuring 100 pivotal tracks from the early 60s to the late 00s! Selector Mr. Seaga does a pretty terrific job on the tracklist – which focuses as much on tracks that proved to be among the most trailblazing as it does on big hits. It touches on the styles and subgenres from throughout reggae's history – from ska, to rocksteady, reggae, dub, deejay, dancehall and beyond – with bellwether material by Theophilus Beckford, Higgs & Wilson, Skatalites, U-Roy, Peter Tosh, Jimmy Cliff, Yellowman, Third World, Dennis Brown, Maxi Priest, Sugar Minott, Beres Hammond, Sizzla, Shaggy and many, many more. "Dumplins" by Byron Lee & The Dragonaires, "They Got To Go" by Prince Buster, "Bring Home" by Justin Hines & The Dominoes, "Rough And Tough" by Stranger Cole, "Hypocrite" by The Heptones, "Occupation" by Don Drummond & The Skatalites, "Wear You To The Ball" by U-Roy & The Paragons, "The A Fi Get A Beatin'" by Peter Tosh, "Police And Thieves" by Junior Murvin, "Right Time" by Mighty Diamonds, "Uptown Ranking" by Althea & Donna, "Over Me" by Yellowman, "Pass The Dutchie" by Musical Youth, "Try Jah Love" by Third World, "Wild World" by Maxie Priest, "One Blood" by Junior Reid, "Murder She Wrote" by Chaka Demus & Pliers, "Putting Up Resistance", by Beres Hammond, "You Don't Love Me (No No No)" by Dawn Penn, "Untold Stories" by Buju Banton, "Black Woman And Child" by Sizzla, "Gimme The Light" by Sean Paul, "Pon De River, Pon De Bank" by Elephant Man, "Welcome To Jamrock" by Damian "Jr Gong" Marley, "The Harder They Come" by Jimmy Cliff and more.

Massive – and more rare club singles than we might have hoped for in a single package! The set's proof that there's still plenty to dig for in the 12" scene of the late 70s and early 80s – as it features a huge amount of rare grooves we've never heard before – most of them perfectly balanced between boogie, disco, and funky soul modes – and often produced with the sort of raw touches that we'd usually find on the P&P family of labels! There's definitely an east coast vibe running strong in the set – but the collection also features nice contributions from points west, too – including a few especially nice club tracks from the Detroit scene that have been lost to the shifting sands of time for years. The notes feature some surprising details on each number – proving that compiler DJ Red Greg really knows his stuff – and about half of the cuts are presented in sensitive edits that do great things to expand the groove, while still respecting the structure of the original tune. Titles include "Love Explosion" by Donnell Pitman, "Music Madness" by Beckie Bell, "Get On Up" by Free Spirit, "Search For Tomorrow" by Chain Reaction, "Love Me For Real" by Rim & Kasa, "You Don't Want My Love" by KIC, "Fear" by Arthur King, "Right Size" by Miss Misty, "So Much To Talk About" by New Love Ltd & Interstate 95, "Crazy" by Carl Marshall & The SDs, "Booty Shaker" by Star Quad, "Rainbows" by Del Richardson, "Can You Dig It" by Lafayette Street, "Why Do I Love You" by Andy Crown, and "Feeling Freeky" by The Vandales.

The Staple Singers are cooking on all burners at this point – and it's hard to stop them with that much power – a soaring, searing sort of energy that definitely earns them a place in the sky! The set's a totally strong batch of gospelly soul tracks – produced by Al Bell with that great early 70s Stax deep soul sound – at a point that's still without the sort of cliche that might hold back material of this type in later years. Instrumentation is by Clayton Ivey on Hammond, Barry Beckett on keyboards, and Jimmy Johnson and Eddie Hinton on guitar – and titles include "Getting Too Big For Your Britches", "Today Was Tomorrow Yesterday", "Something Ain't Right", "My Main Man", "Blood Pressure", "Who Made The Man", "Back Road Into Town", and "If It Ain't One Thing It's Another".

Way more than just a gimmicky bossa nova session – and a surprisingly great showcase for the inventive rhythms of the Brubeck group, and the sensitive alto work of Paul Desmond! The record's got a really different feel than some of Dave's other work for Columbia – in that the modernism is put slightly on the back burner – letting drummer Joe Morello snap out with some lightly gliding percussion that's a bit more straight ahead than usual, and which offers a unique take on the bossa groove. Paul Desmond's the real star of the set, though – and his alto steps out here with the best gentle presence of his later work for RCA and A&M – beautifully blown throughout, and with a tone that most other players would die for! Titles include "Bossa Nova USA", "Coracao Sensivel", "Theme For June", "Lamento", and "Cantiga Nova Swing".

Easily the crowning moment of genius for the legendary Dave Brubeck Quartet – the moment when all things came together magically, and the group somehow elevated themselves to a whole new level in jazz! At the time of the set, Brubeck, Paul Desmond, and the rest had already been making plenty of waves with their creative yet swinging approaches to modern jazz – heard on a number of successful albums for Fantasy and Columbia in the 50s. But with this record, they really knocked one out of the park – blending Desmond's cool alto, Brubeck's unusual piano phrasing, Joe Morello's melodic drum work, and Eugene Wright's pulsating bass into a waltzing, almost modal groove that crossed over to many camps at the time! The classics "Take Five" and "Blue Rondo Ala Turk" were both hits on their own – but all titles are great, and include "Kathy's Waltz", "Strange Medow Lark", "Everybody's Jumpin", and "Pick Up Sticks". Like Dave Brubeck's legendary Time Out set? Try this one – a great record that takes off from the concept of the first, but which goes in some very fresh new directions – using the same great group with Paul Desmond on alto, Eugene Wright on bass, and Joe Morello on drums! Dave's still working out some nutty time signatures here – but apart from the science, the thing that really makes the record cook is Desmond's alto – icy, edgey, floating, and always a treat – almost even more amazing in the space of some of these offbeat numbers. Titles include "Maori Blues", "Far More Drums", "Bluetee", "Far More Blue", and "It's A Raggy Waltz".

Seminal work from British reedman Elton Dean – two classic Ogun albums back to back on a single CD! First up is Happy Daze – a set that's got a lot more complicated class than you might expect from the title – really wonderful large ensemble arrangements penned by Dean, and definitely in the spirit that he claimed made the group the heir to Keith Tippett's previous group of the late 60s! The music here is all nicely inside, and pretty darn soulful – swinging and stepping with a bit more of a groove than some of the other Ogun Records work of the time – really back to that hip point at the end of the 60s, when British jazz groups stretched out in their spirit, but never got too avant in their style – a perfect blend that Dean really recreates here, with help from players who include Alan Skidmore on tenor, Harry Beckett on trumpet, Mark Charig on trumpet and tenor horn, Nick Evans and Radu Malfatti on trombones, Keith Tippett on piano, Harry Miller on bass, and Louis Moholo on drums. Titles include "Nicrotto", "Seven For Lee", "Sweet FA", and "Three For All". On Oh For The Edge, there's definitely an edge to the music – but one that's a bit different than that of some of Elton Dean's contemporaries in the 70s British scene! Dean brings a lot more swing and soul to this record than you might expect – working with a large group, but never letting the players get totally outside – which is a real change from some of the more freely improvising UK ensembles of the period. Dean's own work on alto and saxello are totally great – as are the core rhythms of the group, which come from Keith Tippett on piano, Harry Miller on bass, and Louis Moholo on drums. But we're also plenty happy to hear Alan Skidmore on tenor, Harry Beckett and Mark Charig on trumpets, and Nick Evans on trombone. The recording has a very good "roomy" sound to it that gives it a darker edge than some of the other Ogun recordings from the time – and tracks include "Fall In Free", "Dance", "Friday Night Blues", and "Prayer For Jesus".

The first big Paul Desmond solo album of the 60s – and a standout set that's very much in the tradition of his best work on RCA! This rare side was cut for Warner Brothers during a time when they were taking a brief dip into jazz – and it's a rarely-heard set that features Jim Hall on guitar, Connie Kay on drums, and Percy Heath on bass, all backing up Paul with a spare "after hours" sound that's a marked change from his tightly woven work with Brubeck. Desmond's alto is full of possibilities here – working wonders with familiar tunes like "Greensleeves", "You Go To My Head", "Time After Time", and "East Of The Sun" – as well as with the John Lewis modern number "2 Degrees East, 3 Degrees West".

A very nice 70s session from Dave Brubeck's famous alto player. If you don't know the record, it works surprisingly well – as Desmond's icy cool alto is brought into play with the wam production sound of CTI, and the moody backing of Bob James, Gabor Szabo, Ron Carter, and Jack DeJohnette. Titles include "Was A Sunny Day", "Take Ten", "Music For A While", and of course, "Skylark".

A previously unissued performance by the Brotherhood Of Breath – recorded at a time when the group was at the height of their early powers! Some of the styles here are in the straighter, South African-inspired jazz of pianist Chris McGregor's roots – but other tracks get far more experimental, and show the new ideas and levels of expression that some of the players were adopting at the time – a great criss-crossing of cultural modes as the London jazz scene absorbed ex-colonial artists from South Africa and the West Indies. The lineup here includes Dudu Puckwana and Mike Osborne on altos, Alan Skidmore and Gary Windo on tenor, Harry Beckett and Marc Charig on trumpet, Nick Evans and Malcolm Griffiths on trombone, Harry Miller on bass, and Louis Moholo on drums – all coming together with a sense of magical creativity that we'd reserve for a rare few groups – like the Sun Ra Arkestra! Titles include "Nick Tete", "Restless", "Do It", "Eclipse At Dawn", "The Bride", and "Funky Boots March".

Classic material by McGregor, recorded in the post-Blue Notes years, but featuring old bandmates Dudu Pukwana, Mongezi Feza, and Louis Moholo. The group also includes some great Brit avant players – like Evan Parker, Radu Malfatti, Harry Miller, and Harry Beckett – and the whole performance was recorded live in Switzerland in 1974. The music is a mix of free out playing, yet still has traces of McGregor's roots in the South African jazz scene. Titles include "Tungis' Song", "The Serpents Kindly Eye", "Ismite Is Might", and "Kongi's Theme".

Superb work from Steely Dan – and a record that really shows them hitting perfection in the studio! The core sound of this one's jazzier than before – with some great help on instrumentation from Victor Feldman, Lanny Morgan, Bill Perkins, and other west coast jazzers – all helping the group sound great on some of the tightest tracks ever written by the team of Becker and Fagan! Ecstasy is definitely in reach with the sound of this set – a sublime effort all the way through that really set a whole new standard in 70s rock! Includes classics like "Bodhisattva", "Your Gold Teeth", "My Old School", and "Show Biz Kids".

One of the most creative albums ever from UK composer Neil Ardley – and that's saying a lot, given the complexity of his other work! The set's got a wonderful blend of jazz arrangements and some freer passages – scored by Ardley with some of his most sensitive, most beautiful music ever – almost as if the whole thing's an extended soundtrack for a passage in time – or at least a sonic journey that's filled with some wonderful twists and turns! There's definitely some jazz/rock elements in the music, but the main focus is jazz – and Ardley has that same strong sense of large charts and forward-moving rhythms that you'd find in the best early work of Mike Westbrook, particularly his albums for Deram. Players are a very familiar, and very top-shelf batch of British musicians – including Barbara Thompson, Dick Heckstall-Smith, and Don Rendell on reeds; Harry Beckett and Henry Lowther on trumpets; Derek Wadsworth on trombone, Frank Rocotti on vibes, and Stan Tracey on both piano and celeste. Ardley plays prepared piano, and Ivor Cutler makes a great guest appearance on one track – reciting "The Dong With A Luminous Nose" – and Norma Winstone sings on "Will You Walk A Little Faster". The title track – "A Symphony Of Amaranths" – is dedicated to Duke Ellington and Gil Evans – with a feel that more than lives up to both! CD features the bonus track "National Anthem & Tango".

A full LP that combines early work by Dave Brubeck – pulled together from a few 10" LPs, and packaged in a nice cartoony cover. The record features the work of his octet – a group that gives a rare opportunity to hear Brubeck in a large group setting, and one that also features work by Cal Tjader on drums (!), plus Dick Collins and Paul Desmond on their usual instruments. Titles include "The Prisoner's Song", "Prelude", "IPCA", "Fugue On Bop Themes", "Schizophrenic Scherzo", "Playland At The Beach", and "Serenade Suite".

An overlooked gem in the Dave Brubeck Columbia catalog – and a very hip set of "Eastern" tinged tracks! The album's theme is obvious from the title – as Dave pens a set of tracks reflecting his experiences on recent visits to Japan – but the sound and the style moves way past the simple approach that might have been used, into territory that has the exotic feel of early 60s work by Yusef Lateef, Horace Silver, and some of the other hardbop-exotics around at the time. Of course, a big factor in the success of the record is the crisp and willowy alto of Paul Desmond – working here to create snakey lines that really support the mood of the tracks. Titles include "Osaka Blues", "Koto Song", "Zen is When", "Tokyo Traffic", and "Toki's Theme".

A completely beautiful version of the 50s jazz classic recordings by the Dave Brubeck Trio! Comes in high quality, textured sleeve with that reproduces the original release's cover art – and comes on transluscent red colored vinyl.

A sweet pairing of Brubeck and Mulligan – on titles that include "Broke Blues", "Journey", "Cross Ties", "Blues Roots", and "Moving Out".

A rare meeting of 2 modern talents from the 50s – joined together in one unique performance from the Newport Jazz Festival in 1971! The baritone sax of Gerry Mulligan's a nice contrast to the usual Brubeck alto of Paul Desmond – long-departed from Dave's combo by this time, but referenced strongly by Gerry in his fluid lines for the set, almost a solo culmination here of previous recorded duets with Desmond in earlier years. Tracks are all quite longish, and given that Dave's group here features Jack Six on bass and Alan Dawson on drums, there's a quality to the session that's a fait bit more rhythmic than before – pulsating strongly with forceful lines on Brubeck's piano, and an overall feel that's much more freewheeling than you'd expect! Album features 3 long tunes – "Blues For Newport", "Open The Gates", and "Take Five".

Ahh, the glory days of the Native Tongues. Remember a time when dropping knowledge and keeping rumps bumpin' weren't mutually exclusive? This sophomore LP from the J Beez is a smorgasbord of funky breaks, jazzy samples and lyrical niceness from the golden era of hip hop. An unimpeachable hip hop classic that stands as one of our favorite records of the era. Disc one features the original album, which includes "Doin Our Own Dang", "J Beez Comin Through", "What U Waitin' 4", "Beyond This World", "Acknowledge Your Own History", "Sunshine", "Beeds On A String", "Done By The Forces Of Nature", "Kool Accordin 2 A Jungle Brother" and "Tribe Vibes". Disc two features an assortment of remixes, 12" edits and more classic and rare titles, one-time vinyl exclusives – most on CD for the first time! Also includes some unreleased Janatte Beckman photos from back in the day.

Oliver Nelson's follow-up to his classic Blues & The Abstract Truth session for Impulse – and like that one, a tremendous little album – filled with deep tones and wonderful colors in sound! The group here's a bit larger than before – an ensemble that includes Phil Woods on alto, Ben Webster on tenor, Thad Jones on trumpet, Pepper Adams on baritone, Roger Kellaway on piano, Richard Davis on bass, and Grady Tate on drums. The album includes some superb original compositions by Nelson – just the kind of overlooked jazz numbers that make the set great – and as with most of his arrangements from the time, there's a perfect balance between group force and intimate solo space! Titles include "The Critic's Choice", "Blues & The Abstract Truth", "One For Bob", and 2 versions of Dave Brubeck's "Theme From Mr. Broadway".

Superb work from Steely Dan – and a record that really shows them hitting perfection in the studio! The core sound of this one's jazzier than before – with some great help on instrumentation from Victor Feldman, Lanny Morgan, Bill Perkins, and other west coast jazzers – all helping the group sound great on some of the tightest tracks ever written by the team of Becker and Fagan! Ecstasy is definitely in reach with the sound of this set – a sublime effort all the way through that really set a whole new standard in 70s rock! Includes classics like "Bodhisattva", "Your Gold Teeth", "My Old School", and "Show Biz Kids".

Rare work from the San Francisco scene of the 50s – issued here on the Crown label, who usually just focused on the sounds of LA! As usual with Crown, the notes are a bit vague – but we can say that the set features some sparkling material that really matches the Fantasy Records 50s best of all players – although with a vibe that's slightly more rough around the edges – but we mean that in a good way! The set begins with a long take on Brubeck's haunting "At A Perfume Counter" – almost more of a showcase for the alto of Paul Desmond, which takes some turns and twists that are simply breathtaking – and which will have you raising your love of his talents another notch – if that's possible at all. Next is Desmond as a leader in the haunting "Purple Moon" – a number with a bottom bassy intensity that's a perfect foil for Paul's raspy alto in the lead. Last up is Cal Tjader on "Jazz Latino" – a number that's got a cool blend of vibes, piano, and guitar!

Magical music from the team of Donald Fagan and Walter Becker – one of those records that seems to state its existence in simple, straightforward terms – but which is also filled with undeniably complex moments! There's a definite echo of older jazz here – heard famously in the Horace Silver riff stolen for "Rikki Don't Lose That Number", or the Duke Ellington cover of "East St Louis Toodle-oo" – as well as in the group's own "Parker's Band" – one of the strangest songs you'll ever hear about Bird! Yet there's also a lot more going on too – complicated changes and timings, oblique lyrics, and a warmly produced sound that really sparkles on tracks like "Any Major Dude Will Tell You", "Monkey In Your Soul", "With A Gun", "Pretzel Logic", "Night By Night", and "Charlie Freak".

Massive – and more rare club singles than we might have hoped for in a single package! The set's proof that there's still plenty to dig for in the 12" scene of the late 70s and early 80s – as it features a huge amount of rare grooves we've never heard before – most of them perfectly balanced between boogie, disco, and funky soul modes – and often produced with the sort of raw touches that we'd usually find on the P&P family of labels! There's definitely an east coast vibe running strong in the set – but the collection also features nice contributions from points west, too – including a few especially nice club tracks from the Detroit scene that have been lost to the shifting sands of time for years. The notes feature some surprising details on each number – proving that compiler DJ Red Greg really knows his stuff – and about half of the cuts are presented in sensitive edits that do great things to expand the groove, while still respecting the structure of the original tune. 12 tracks on the 2LP version: "Love Explosion" by Donnell Pitman, "Music Madness (DJ Red Greg Edit)" by Beckie Bell, "Search For Tomorrow" by Chain Reaction, "Love Me For Real (DJ Red Greg Edit)" by Rim & Kasa, "You Don't Want My Love" by KIC, "Right Size (DJ Red Greg Edit)" by Miss Misty, "Rainbows (Jazz Mix)" by Del Richardson, "Can You Dig It" by Lafayette Street, "Why Do I Love You (DJ Red Greg Edit)" by Andy Crown and more.

Words of wisdom from I Roy served over a steady backdrop of rhythms and heavy bass groove. The bass carries through a pretty heavy rumble on these numbers, paired so very nicely with I Roy's voice – which is charismatic and soulful, with some gritty growls when the words beckon for that approach. This Clocktower collection of includes "Satta", "Alright", "Tea Pot", "Never Go Wrong" "Roots Man Time", "African Talk", "Hypocrite Backout", "Musical Injection", "Don't Touch I Man Locks", "Crisis Time", "Equality And Justice", "What About The Half", "Jah Jah Our Savior", "Never Go Wrong" and more. 14 in all.

Ghetto, maybe, but it's most certainly prime era ska! Ghetto Ska is a stellar compilation of tracks from vaults of the Wirl & Federal Studios – backed by the Skatalites and featuring numbers by Theophilus Beckford, Frank Cosmo, Lloyd Clarke and others. The vocals are soulful and the shuffle rhythm in full effect here – heavy with numbers fronted by T Beckford. Includes "Don't Have A Ticket Don't Worry", "Seven Long Years" and more by T Beckford, "Come On My People" and "Brother Nathan" by Daniel Johnson, "Love Me Or Leave Me" by Lloyd Clarke, "On Your Knees" by Frank Cosmo, "Now You're Gone" by Shenley & Annette, "Streets Of Glory" by Basil Gabiddon and more.