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It's been a few years since we last heard from Big Boss Man – but it's been well worth the wait, as these guys know how to cook up a mod groove better than just about anyone else! Winner's got a sound that takes us back to the swinginest days of London in the 60s – Hammond wailing over some snapping mod rhythms – sometimes instrumental, sometimes topped off by slightly psychedelic vocals that expand the sound even more. In the past few years, these guys have really grown a heck of a lot – and have managed to pick up some Latin influences that sit nicely alongside their straighter inspirations from jazz, soul, R&B, and 60s mod rock – making for an album of many surprises, and an expansive sound that's way more than just a quick retro-styled groove! Titles include "Kelvin Stardust", "Fall In Fall Out", "Complicated Lady", "Reach Out", "Oh My Gawd", "Boogaloo", "Fever Special", "Everybody Boogaloo", "The Hawk", and "Got It So Bad".

It's been a few years since we last heard from Big Boss Man – but it's been well worth the wait, as these guys know how to cook up a mod groove better than just about anyone else! Winner's got a sound that takes us back to the swinginest days of London in the 60s – Hammond wailing over some snapping mod rhythms – sometimes instrumental, sometimes topped off by slightly psychedelic vocals that expand the sound even more. In the past few years, these guys have really grown a heck of a lot – and have managed to pick up some Latin influences that sit nicely alongside their straighter inspirations from jazz, soul, R&B, and 60s mod rock – making for an album of many surprises, and an expansive sound that's way more than just a quick retro-styled groove! Titles include "Kelvin Stardust", "Fall In Fall Out", "Complicated Lady", "Reach Out", "Oh My Gawd", "Boogaloo", "Fever Special", "Everybody Boogaloo", "The Hawk", and "Got It So Bad".

Rare trash from the legendary Twin Cities combo – two really smoking tracks that show the Trashmen at their best! Both tracks are previously unreleased, and presented beautifully by the package – and the version of "Big Boss Man" is a cooker!

Bill Black and his classic combo – but with a sound that's a lot more Stax Records than usual! The grooves are gritty right from the get-go – no surprise, given that the back cover notes begin with an anecdotal definition of funk – one that Black and his group clearly seem to have read, given that they start the album with a mighty drumbreak! The set's still got that saxy Bill Black sound, but the organ is a lot more deeply burning, and the drums have a nice sort of punch too – maybe more Mar-Keys than MGs, but still mighty darn nice. Titles include "Turn On Your Love Light", "The Horse", "Philly Dog", "Big Boss Man", "Red Light", "Bright Lights Big City", and "Shoo Bee Doo Be Doo Da Day".

A weird little record from Bill Cosby – a set that's not as all-out funky as some of his other vocal albums, but still pretty nice overall! The style here is more bluesy than soul-based, but production is still by Fred Smith, of 103rd Street Rhythm Band fame – and the album has a sense of grit that's a lot stronger than you might guess. Many of the tunes are covers from an older R&B era, and Cosby takes them with an approach that's a bit tongue-in-cheek at times – kind of garbling the lyrics and muddying up the sound, even though we know he can sing a bit more clearly from other records! There's certainly a few tracks that have a nice gritty soul sound, and titles include the great "Little Ole Man" which is basically Bill doing a skit over the "Uptight" rhythm – plus "Bright Lights Big City", "Big Boss Man", "Hush Hush", "Baby What You Want Me To Do", "Mojo Workout", "Doncha Know", and "Place In The Sun".

One of the groovier soundtracks that Mike Curb ever recorded – a light batch of easy numbers with some electric bass and/or guitar at the bottom – tripping with a bit more punch than you might expect, and floating with some really wonderful instrumental touches at times! In a way, this is almost an easy version of Curb's biker/soundtrack albums – a bit cheesy, a bit hip, and featuring a few vocal numbers. Titles include "His Name", "The Big Bounce", "Once In A Lifetime", "The Boss Man", "Little Pickle", and "Throwing Rocks".

Mod mod 60s jazz – and 12 tight-as-can-be instrumentals from London's Dave Davani combo! Dave's a Hammond player with a great mix of soul jazz and R&B in his grooves – very much the best sort of instrumental work you might expect from London in the swinging 60s – a great blend of American influences and UK mod styles. The rest of the group includes guitar, bass, and drums – plus a bit of vocals and Latin percussion from Beryl Wayne. The groove here is clearly a precursor to the James Taylor Quartet, and the overall sound is better than some of the more famous groups from the time – such as the combos of Brian Auger or Graham Bond. Titles inlcude "Big Boss Man", "Working Out", "Funky Mama", "Sack O Woe", and "Pig Foots".

Damn soulful work from Erma Franklin – the lesser-known sister of Aretha and Carolyn Franklin, working here on 60s sides cut for the Epic and Shout labels! Most of the material here was only issued as singles back in the day – so the set's an essential full-length overview of Franklin's great work during this time – a few well-known singles, such as the original version of "Piece Of My Heart", mixed with lots of lesser-known gems – making for a deep soul extravaganza all the way through! There's more cuts here than on other sets on Erma from the past – a total of 26 tracks in all – supported by notes and label scans too – and titles that include "Big Boss Man", "Piece Of My Heart", "Don't Wait Too Long", "Never Again", "Detour Ahead", "Pledging My Love", "Don't Blame Me", "Hello Again", "I'm Just Not Ready For Love", "Don't Catch The Dog's Bone", "Open Up Your Soul", "I'm Just Not Ready For Love", "Have You Ever Had The Blues", "Love Is Blind", "Abracadabra", "Never Let Me Go", "Dear Momma", and "Each Night I Cry".

A motherlode of mid-to-late 60s Killer – 5 whole albums for Smash Records – I'm On Fire, Return Of Rock, Memphis Beat, Soul My Way and Together (with Linda Gail Lewis) – in a 2CD set! The heart of the collection are the records Jerry Lee cut for Smash from '65-'67 – and they're classic to us, but actually quite overlooked in the canon – with some blistering takes on Memphis rock, soul and boogie woogie – great records that didn't sell a ton of copies at the time, leading up to his stellar run as a country music star. It also includes '69's I'm On Fire compilation of singles from the earlier 60s, and his decent country duets album with sister Linda Gail Lewis. 58 songs and almost 2 1/2 hours of vintage Jerry Lee Lewis! Includes "Memphis Beat", "I'm On Fire", "This Must Be The Place", "Hit The Road Jack", "Flip, Flop And Fly", "Baby, Hold Me Close", "Sexy Ways", "Mathilda", "Sticks And Stones", "Big Boss Man", "The Urge", "Shotgun Man", "I Bet You're Gonna Like It", "Secret Places", "Jackson", "We Live In Two Different Worlds" and many more!

A stunner! High Plains Drifter collects material from the mighty Lee Perry during the crucially creative and fertile period between 1968 & 1973 – in which he founded the Upsetter imprint and had some chart success. It was such a productive period, resulting in hundreds of singles and a number of albums, that a whole bunch of incredible music made during it has been pretty badly overlooked over the years! This set on the always great Pressure Sounds puts together 20 of those – many of them simmering with quite a funky sound! Killer organ grooves and smoking rhythms highlight numbers by Val Bennett, The Mellowtones, The Ethiopians, Junior Byles and, of course, the amazing Upsetters! Glen Adams and Winston Wright handle those organs, sax by Tommy McCook, bass by Aston Barrett, trumpet by Bobby Ellis and other legendary instrumentalists, plus Lee Perry on percussion and production. Includes "Val Blows In" by Val Bennett & The Upsetters, "Boss" by Count Sticky & The Upsetters, "High Plains Drifter", "The Man With No Name" and "Amigo" by The Upsetters, "It's Growing" by Busty Brown & The Upsetters, "What's Wrong With You" by The Bleechers, "He Don't Love You" by The Silvertones, "Awake" by The Ethiopians, "A Big Joke" by Lee Perry & The Upsetters, "Rockfort Psychedelion" by Count Sticky & The Upsetters, "Iniquity Workers" by The Faithful Brothers, "Rip Up Festival '71" by Junior Byles & Righteous Upsetters and more.

A stunner! High Plains Drifter collects material from the mighty Lee Perry during the crucially creative and fertile period between 1968 & 1973 – in which he founded the Upsetter imprint and had some chart success. It was such a productive period, resulting in hundreds of singles and a number of albums, that a whole bunch of incredible music made during it has been pretty badly overlooked over the years! This set on the always great Pressure Sounds puts together 20 of those – many of them simmering with quite a funky sound! Killer organ grooves and smoking rhythms highlight numbers by Val Bennett, The Mellowtones, The Ethiopians, Junior Byles and, of course, the amazing Upsetters! Glen Adams and Winston Wright handle those organs, sax by Tommy McCook, bass by Aston Barrett, trumpet by Bobby Ellis and other legendary instrumentalists, plus Lee Perry on percussion and production. Includes "Val Blows In" by Val Bennett & The Upsetters, "Boss" by Count Sticky & The Upsetters, "High Plains Drifter", "The Man With No Name" and "Amigo" by The Upsetters, "It's Growing" by Busty Brown & The Upsetters, "What's Wrong With You" by The Bleechers, "He Don't Love You" by The Silvertones, "Awake" by The Ethiopians, "A Big Joke" by Lee Perry & The Upsetters, "Rockfort Psychedelion" by Count Sticky & The Upsetters, "Iniquity Workers" by The Faithful Brothers, "Rip Up Festival '71" by Junior Byles & Righteous Upsetters and more.

Seminal work from the legendary Jimmy Reed – spare and bluesy numbers that were some of the best work coming out of Chicago at the time! There's a snapping quality to the rhythms here that was a keen inspiration to generations of better-known artists – and in a way, it's amazing to go back to these originals to hear how spare and earthy Jimmy's original recordings were. Titles include "Big Boss Man", "Found Love", "Meet Me", "Hush Hush", "I'm Nervous", "Going By The River (parts 1 & 2)", and "Come Love".

A stunner from Jimmy Smith – and quite possibly one of his greatest records for Verve! The set has Jimmy working with arranger Oliver Nelson – in a setting that's got big band backings, but done in a style that's cool enough to cut through all the BS of similar sessions. There's no hoke at all – just a lean and soulful approach that has Nelson serving up a powerhouse jazzy groove underneath – and Jimmy soloing madly over the top! The album's filled with great tunes too – including a fab cover of "Mission Impossible", the original "Big Boss Man", a version of Richard Evans' "Burning Spear", and great takes on "Valley Of The Dolls" and "The Gentle Rain". Great stuff throughout!

The big beat here is plenty darn funky – but in some really weird and wonderful ways too – thanks to the genius talents of the mighty Alan Moorehouse, the legendary British maestro featured on this rare sound library album for KPM! Moorehouse is even more compelling than some of his funky contemporaries on the sound library scene – because he's not only got a great way of cooking up a short, simple, soulful groove – but he also puts the instruments together in really unusual ways, often to create sounds that veer past their simple origins, to make the grooves sound even greater! This album's a sound library masterpiece all the way through – the kind of set that makes you realize why this under-exposed genre of music is regarded so highly by modern beatheads – thanks to Moorehouse's use of organ, keyboards, funky drums, and a fair bit of acoustic guitar – quite unusual for a KPM set, but all the more compelling. Titles inlcude "Boss Man", "Soul Skimmer", "Pop Pastime", "That's Nice", "West Coastin", "Angelic Gas", "Expo In Tokyo", "Rock It Again", "Rockin Boogie", and "Pop Mandolin".

A collection that Milestone issued in 1973 that includes tracks from three of Byrd's early 60s Bossa Nova records – Latin Impressions, Bossa Nova Pelos Passaros and Once More/Charlie Byrd's Bossa Nova. Byrd and his unamplified guitar are joined by Keter Betts on bass and Bill Reichenbach on drums and Latin percussion; other players are also featured. The tracks are mainly composed by the big names of Bossa Nova – Jobim, Powell, Caymmi, Lyra – but there are several Byrd originals as well such as "Socegadamente (Softly)", "Cancao De Nimar Para Carol", "Three Note Samba", and "Ela Me Deixou". Other tracks include "Samba Triste", "Desafinado", "Saudade Da Bahia", "Carnaval" and many others.

A pair of classics from guitarist Charlie Byrd – back to back on a single CD! First up is Latin Impressions, a set that's more Brazilian than Cuban – and maybe a bit Spanish, too – given the strong use of acoustic guitar from Charlie Byrd! The set's got a laidback, open feel – and Byrd's guitar work is mighty deft, yet without all the frills and flowers of some of the more dramatic, emotive players of the time – a great illustration of the huge shift that the early bossa guitar recordings had at a global level. Byrd was one of the first big American proponents of bossa, and you can definitely hear that influence at work here – amidst additional guitar from Gene Byrd, bass from Keter Betts, and drums from Bill Reichenbach. A few tunes feature Charlie on solo guitar with no backing – and titles include "O Pato", "Homage A Villa Lobos", "Bogota", "Vals", "Samba De Uma Nota So", "Amor Flamengo", and "Azul Tiple". Bossa Nova Pelos Passaros is a landmark, as guitarist Charlie Byrd was one of the first American players to record bossa nova tunes – but although his work with Stan Getz has always been well-documented, some of the titles under his own name can be quite hard to come by. This is one of the best ones that Charlie cut on his own – and it features tight guitar work in a mode that's similar to that used by Baden Powell on his early bossa recordings, augmented by trio rhythms – plus some occasional larger backings by Walter Raim, and some extended group settings that feature Charlie Hampton on alto, Earl Swope on trombone, and Willie Rodriguez on percussion. Tracks include "Ho Ba La La", "Samba Triste", "Yvone", "O Barquinho", "Un Abraco Do Bonfa", and "O Passaro".

Mod mod 60s jazz – and 20 tight-as-can-be instrumentals from London's Dave Davani combo! Dave's a Hammond player with a great mix of soul jazz and R&B in his grooves – very much the best sort of instrumental work you might expect from London in the swinging 60s – a great blend of American influences and UK mod styles. The rest of the group includes guitar, bass, and drums – plus a bit of vocals and Latin percussion from Beryl Wayne. The groove here is clearly a precursor to the James Taylor Quartet, and the overall sound is better than some of the more famous groups from the time – such as the combos of Brian Auger or Graham Bond. The set features tracks from Dave's Parlophone album, a few other singles, and even 4 previously unissued tracks from the same time – with titles that inlcude "Big Bossa Man", "Working Out", "Funky Mama", "Sack O Woe", "Boot Leg", "Harlem Waltz", and "Pig Foots".

One of those records that no home should be without – not only a pivotal album in the growth of bossa nova in the 60s – but a set that also really helped set the career of tenorist Stan Getz on fire! The real credit here might almost go to guitarist Charlie Byrd – as Byrd was a big early proponent of bossa nova rhythms, and had already been experimenting with them on his records of the time – yet also gets a key extra "umph" here in the presence of Stan's tenor – a bold, rich, soulful sound that really helps give the music a lot of direction – in ways that still resonate strongly all these many years later! Getz is completely sublime – a master of tone and timing throughout – and perfectly fit to these tunes. Rhythms are mostly from Byrd's trio, augmented with some extra percussion – and titles include the classic "Desafinado", plus "E Luxo So", "Samba Dees Days", "Samba Triste", "O Pato", "Samba De Uma Nota So", and "Baia". This is the Verve master edition with 20-bit remastering, bonus track, new liner notes, photographs, cover art & more.

A pair of bossa classics – back to back on a single CD! The first Jazz Samba set is one of those records that no home should be without – not only a pivotal album in the growth of bossa nova in the 60s – but a set that also really helped set the career of tenorist Stan Getz on fire! The real credit here might almost go to guitarist Charlie Byrd – as Byrd was a big early proponent of bossa nova rhythms, and had already been experimenting with them on his records of the time – yet also gets a key extra "umph" here in the presence of Stan's tenor – a bold, rich, soulful sound that really helps give the music a lot of direction – in ways that still resonate strongly all these many years later! Getz is completely sublime – a master of tone and timing throughout – and perfectly fit to these tunes. Rhythms are mostly from Byrd's trio, augmented with some extra percussion – and titles include the classic "Desafinado", plus "E Luxo So", "Samba Dees Days", "Samba Triste", "O Pato", "Samba De Uma Nota So", and "Baia". Jazz Samba Encore is hardly an "encore" of the first Stan Getz Jazz Samba album – as this set's got a slightly different feel, and lots of great elements that make it really unique! This time around, Brazilian musician Luiz Bonfa is on guitar – already a skilled proponent of the bossa by the time of the record, and arguably one of the few who really got it going back home in Rio. Stan's tenor sounds wonderful – as carefully and soufully blown as on the first set, but also with some new colors and tones too. Bonfa's wife Maria Toledo sings a bit on the record – hinting at Stan's work to come with Astrud Gilberto (this album was cut right before the Getz/Gilberto collaboration) – and the record also features added work on piano and guitar from the great Antonio Carlos Jobim – more than enough proof that the album's got a pure bossa pedigree! Titles include "Menina Flor", "Ebony Samba", "Saudade Vem Correndo", "Sambalero", "Samba De Duas Notas", and "Mania De Maria".

Classic Quincy Jones from the 60s – a pair of records that really show why his jazz skills were unlike anyone else! Quincy Jones Plays Hip Hits is a very groovy record that was done with a feel that's somewhere in between his Big Band Bossa album and his best 60s soundtrack work! The format is simple – Quincy picks a sweet batch of jazz semi-hits from the early 60s, plays them with a nice mix of soul jazz arrangements, and works with a great ensemble filled with wonderful players – including Roland Kirk, Budd Johnson, Seldon Powell, James Moody, and Jerome Richardson on reeds; Lalo Schifrin and Patti Brown on piano, Jim Hall on guitar, Clark Terry on trumpet, and Melba Liston on trombone – plus lots of great percussion at the bottom, helping bring some Latin energy to the grooves at points. Tunes are familiar, but all given a great Quincy Jones twist – and titles include "Gravy Waltz", "Jive Samba", "Walk On The Wild Side", "Bossa Nova USA", and "Watermelon Man". Golden Boy is a sweet bridge between Quincy's big band recordings and his groovier soundtrack work of the mid 60s – as the record combines straight jazzy grooving with some of the cooler elements of Quincy's soundtrack scores, like stepping strings, wordless voices, and a breathy mellow groove that floats across the disc in a wonderful way! Aiding Quincy in the album are a host of top-line jazz players – including Eddie Lockjaw Davis, Jerome Richardson, and Phil Woods on saxes – plus Freddie Hubbard on trumpet, Al Grey on trombone, and Jim Hall on guitar! Although titled after the show Golden Boy, only a few cuts here are from that musical – and the rest include Quincy Jones originals and some cool covers, given the Q twist. Titles include "Seaweed", "The Witching Hour", "Hard Day's Night", "The Sidewinder", and "Theme From Golden Boy", done in 2 versions, both great!

One of the grooviest albums ever recorded by guitarist Barney Kessel – a sweet reworking of Henry Mancini's fabulous music for Breakfast At Tiffanys! The set's got a warm feel and more than a bit of bossa nova inspiration – similar to some of the other Kessel and Shorty Rogers projects for Reprise at the time – and the group features some wicked reed work from Bud Shank and Paul Horn, both of whom add some great color to the set – and make it way more than just another trio date from Kessel! The whole thing's wonderful – filled with favorites from the Mancini songbook – titles that include "Something For Cat", "Sally's Tomato", "Mr Yunioshi", "The Big Blowout", "Hub Caps & Tail Lights", "Breakfast At Tiffany's", "Latin Golightly", "Loose Caboose", and "Moon River Cha Cha".

A Brit easy gem from the great Les Reed – one of the massive talents working in England's instrumental scene during the 60s, and an arranger who's got a hipper flair for a tune than most! Les does a great job here with a set of sunny groovers – mostly standards, including a few with a sparkly bossa finish. There's a slight bit of electricity in the instrumentation, and the record has a groove that's as free as the cover's photo of a big jet! Titles inlcude "Sway", "Poinciana", "Spanish Harlem", "A Man & A Woman", "Copacabana Girl", "Meditation", "Quiet Nights", and "Our Day Will Come".

Rose Royce in perfect hit mode – blending older styles of harmony soul and rolling funk with some of the late 70s better advances in production. Norman Whitfield's really pushing himself here, and if he only did one thing on this planet, we'd give him a big award for his wonderful work on "Love Don't Live Here Anymore" – clearly the album (and possibly the band's) standout cut, and a masterpiece of spacey soul that still shocks us today with its greatness. Other tracks include "I'm In Love", "That's What's Wrong With Me", "Let Me Be The First To Know", and "First Come, First Serve".

The funkiest version we've ever heard of this great Bruce Lee soundtrack – one that brings together all the sweet instrumental moments by Peter Thomas, with sound that's much better than any other reissue! While previous versions have taken the music along with the dialogue, this gem of a set does a great job of isolating all the instrumental grooves – finally showcasing Thomas' excellent funky backings for Lee's onscreen antics, and also throwing in some sweet mellower moments that haven't appeared on other soundtrack releases too! The package is great, too – with English and German notes on the film and music, plus cool images too – finally telling the whole story behind one of the grooviest martial arts soundtracks ever. 20 tracks in all – including "The Amulet", "Hard Drugs", "Girl Loves Cheng Li", "Mukuri", "Big Boss Theme", "Big Boss & His Gang", "Blood & Dead Friends", and "EKG".

Beautiful bossa from the vaults of Brazil's Elenco Records – warm, breezy treasures from the heart of the 60s with numbers by legendary singers and groups such as Edo Lobo, Quarteto Me Cy, Nara Leao, Baden Powell, MPB-4 and more! The independent Elenco label was founded in Rio in 1963 and aimed to bring the biggest names in bossa together under one roof. The label not only succeeded in that effort, but the artists brought out some of their best performances! Soul Jazz not only puts together essential material – compiled by Stuart Baker, who also contributes the exceptional sleeve notes – they manage to outdo themselves, which is honestly an incredible thing, considering that every compilation they put out is filled with treasures. The booklet features Baker's notes, some photos of the artists, and some original Elenco album cover art – the latter of which is nicely paid tribute to with Soul Jazz's own packaging for the set. 23 tracks in all: "Resolucao" by Edu Lobo w/Tamba Trio, "Consolocao" by Baden Powell, "O Canto De Ossanha" by Quarteto Em Cy, "Zanzibar" by Edu Lobo, "Maria Moita" by Nara Leo, "Enquanto A Tristesse Nao Vem" by Sergio Ricardo, "Negro" by Lucio Alves, "Sentinela" by MPB-4 and more.

An amazing document of a short-lived, but really incredible genre – the 50s mix of R&B and Latin-inspired rhythms – particularly the heavy piano of a mambo-styled groove! The sound seems an unlikely mix, but it's one that you've no doubt heard on a few famous Atlantic Records singles from the time – taken up here by a host of much more obscure artists, who really know how to make the rhythms leap along with the grooves! The approach has definite echoes of New Orleans R&B, particularly in its use of the piano in heavy comping lines – but there's also a much wider sound going on too, especially in the way the percussion often drives the tunes in really unusual ways. The album's overflowing with amazing tracks – and titles include "Salty Dog" by Marvin Phillips, "Big Joe Mambo" by Fay Simmons, "Mambo Mexicana" by Gerald Wilson, "Snake Charmer" by Mad Man Jones, "Boppin With The Mambo" by The Sultans, "Honeydripper Mambo" by Alfredito, "A Dream" by Billy Red Love, "Pu Chun Ga" by Elene Madera, "Cozy & Bossa" by Cozy Cole, "Shrinking Up Fast" by Camille Howard, "Take A Chance On Me" by Annisteen Allen, "Eee Ooo Voodoo" by Red Callender, and "Down To The Bottom" by Larry Dale.

Groovy, moddish, magnificent and sunny girl pop from The Land Of The Rising Sun – pummeling drums, jumping arrangements and groovy vocals from the mid-to-late 60s Japanese scene! This is fantastic stuff, any kitch or novelty appeal you might be expecting is kind of muted by the exceptional quality and excellent performances – but it is flat out fun! As the title states, strains of pop, beat & bossa – plus mod & psychedelic fuzz – and the vocals girl group vocals are bright, rocking, playful or sultry or innocent depending on the groove! 25 tracks in all: "Black Room by Jun Mayuzumi, Sharock No 1" by Mie Nakao, "Nagisa No Tenshi" by Mieko Hirota, "Hatsu Koi No Letter" by Miki Obata, "Bazazz Tengoku" by The Cupids, "Aeba Suki Suki" by Margaret With Bunnys, "Nukui Aitsu" by Mika Nohira, "Kiiro No Sekai" by J Girls and more.

Groovy, moddish, magnificent and sunny girl pop from The Land Of The Rising Sun – pummeling drums, jumping arrangements and groovy vocals from the mid-to-late 60s Japanese scene! This is fantastic stuff, any kitch or novelty appeal you might be expecting is kind of muted by the exceptional quality and excellent performances – but it is flat out fun! As the title states, strains of pop, beat & bossa – plus mod & psychedelic fuzz – and the vocals girl group vocals are bright, rocking, playful or sultry or innocent depending on the groove! 25 tracks in all: "Black Room by Jun Mayuzumi, Sharock No 1" by Mie Nakao, "Nagisa No Tenshi" by Mieko Hirota, "Hatsu Koi No Letter" by Miki Obata, "Bazazz Tengoku" by The Cupids, "Aeba Suki Suki" by Margaret With Bunnys, "Nukui Aitsu" by Mika Nohira, "Kiiro No Sekai" by J Girls and more.

A wonderfully offbeat strain of European pop from the 60s – rare recordings from the Catalonian area, that weird space in Spain that's also linked to southern France and the Mediterranean islands as well! There's a really playful feel to most of these numbers – and although many cuts are remakes of big Anglo hits, they've been re-fitted with new language, and some plenty cool arrangements that often make the music sound even groovier than in the original versions! In terms of spirit, we'd definitely compare a lot of this work to the best mid 60s pop coming from Paris – the groovy goodies of the "yeh yeh" generation – although in the end, the music's also very much it's own thing as well. Titles include "Cap A Futbol" by Guillermina Motta, "Yeh Yeh" by Tony, "Es Una Dona" by Nuri, "Febre" by Guillem D'Efak, "El Meu Trastet" by Santi Sans, "Soc Molt Poca Cosa" by Jacinta, "Amor" by Jordi Teijon, "Desafinat" by Grau Carol, and "El Cinemascop" by Llorenc Torres.

A wonderfully offbeat strain of European pop from the 60s – rare recordings from the Catalonian area, that weird space in Spain that's also linked to southern France and the Mediterranean islands as well! There's a really playful feel to most of these numbers – and although many cuts are remakes of big Anglo hits, they've been re-fitted with new language, and some plenty cool arrangements that often make the music sound even groovier than in the original versions! In terms of spirit, we'd definitely compare a lot of this work to the best mid 60s pop coming from Paris – the groovy goodies of the "yeh yeh" generation – although in the end, the music's also very much it's own thing as well. Titles include "Cap A Futbol" by Guillermina Motta, "Yeh Yeh" by Tony, "Es Una Dona" by Nuri, "Febre" by Guillem D'Efak, "El Meu Trastet" by Santi Sans, "Soc Molt Poca Cosa" by Jacinta, "Amor" by Jordi Teijon, "Desafinat" by Grau Carol, and "El Cinemascop" by Llorenc Torres.

An overlooked gem from the Verve bossa years – a session that features the sweet tenor sax work of Stan Getz, alongside some swinging bossa arrangements from the great Gary McFarland! Given the strength of Gary's own work for Verve at the time, it's no surprise that he's a perfect accompanist for Getz on the session – working with just the right amount of space to let Stan stand out from the pack, and really creating a great blend of Brazilian rhythms and some of the modder 60s styles at Verve. Gary contributed a number of originals to the session too – and titles include "Bim Bom", "Manlancolico", "Balanco No Samba", "Noite Triste", "Chega De Saudade", and "Manha De Carnival".

An unusual package of Quincy Jones albums – featuring variations on two American records, presented here in offbeat German versions of the 60s! First up is Songs For Pussycats, kind of a mix of Quincy Jones' Pussycat album for Mercury with some tracks from other records too – all done in that wicked mix of jazz, soundtrack, and popular themes that Quincy virtually helped invent back in the 60s! The album's got plenty of great groovers that take a popular tune and kind of turn it on its ear – takes on tracks like "What's New Pussycat", "Take Five", "Mack The Knife", "Sermonette", "Mr Lucky", and "Cast Your Fate To The Wind" – all of which are souped-up by Quincy, and done in a rhythmic style that takes them past familiar versions you might know. Quincy In Rio is a set that seems to be the famous Big Band Bossa Nova album at the start, but which also features tracks from other 60s albums too – showing a whole new fresh side to Quincy's genius in a jazz bossa mode! Arrangements are very lively, with lots of great percussion underneath the soaring big band charts – and titles include "Bossa Nova USA", "Desafinado", "Jive Samba", "Baia", "The Gentle Rain", "Non-Stop To Brazil", "Samba De Una Nota So", and "I Love You & Don't Forget It".

A beautiful bit of funky jazz – and one of the unsung gems in the early 70s Flying Dutchman catalog! Oliver Nelson leads a number of different groups that are filled with funky electric players – like Mike Wofford, Lonnie Liston Smith, and Denis Budimir – and the record's filled with cool moog, arp, and keyboard grooves that are unlike anything you'll find on any other of Nelson's albums. Some cuts are more big band oriented, but the best ones are nice and funky. Titles include "Skull Session", "125th And 7th Ave", "Flight For Freedom", "Baja Bossa", and "Dumpy Mama".

A Hammond organ double-header – two Verve classics from Jimmy Smith, back to back on a single CD! First up is Bashin – one of Jimmy Smith's biggest albums of the 60s – and a classic Verve pairing of his lean Hammond organ solos with the fuller, hard-swinging arrangements of Oliver Nelson! Nelson is working here at the height of his powers – backing Smith with a large group, but in a way that only seems to free him up to solo even more – pushing the tunes with an undeniable power from the all-star band, as Jimmy takes off on flights of soulful fancy over the top! Side two features some more stripped-down solo work – in the manner of Jimmy's later Blue Note sides – and the set includes the hit single "Walk On The Wild Side", plus the tracks "Bashin", "Step Right Up", and "Beggar For The Blues". Hobo Flats is another mighty pairing of Jimmy Smith and Oliver Nelson – one that has the heavy Hammond of Smith set up in some sparkling jazz backdrops from Nelson! The sound here has some bluesy undercurrents, as you might guess from the title – but Oliver's charts keep things hip throughout, and ensure that the record stays far from any 60s cliches in the music – and always keeps one ear out for the sharper edges that always makes Nelson's arrangements a great match for Smith. The horns are full at times, but Jimmy's organ bursts right out over the top – gliding along a great groove with a really inherent sense of rhythm. Titles include a shimmering bossa take on "Meditation", plus "Hobo Flats", "Walk Right In", "I Can't Stop Loving You", and "The Preacher".

A true jazz treasure from the 60s – as if you couldn't guess that already from the cover! The album's a really rare one from trumpeter and reedman Idrees Sulieman – a player who shone strongly on Prestige Records in the late 50s – then made the trip overseas, where he became a key member of the Clarke Boland Big Band! The set sparkles with some of the best energy of some of Idrees' contemporaries in that ensemble, especially some of the smaller combo offshoots of the CBBB – and, no surprise, it features some great work from saxophonist Sahib Shihab – another ex-pat who followed similar lines as Sulieman! Even more unusual, though, are the album's two vocal tracks from Jamila Sulieman – a great singer we'd never heard from before – and who brings in these deep blue tones on her pair of performances – almost in the way female vocals might be used on a Charles Mingus album from the time. Other numbers are soaringly instrumental – and half the album features a large group with Shihab on baritone sax, Bernt Rosengren on tenor, and alto sax from Sulieman – who then switches to trumpet for the album's remaining small group tracks. Titles include "Blues For Emanon", "The Camel", "Dawud's Bossa Nova", "I'll Remember April", "Sad & Strange", and "Long For The Blues".

Joe Turner returns to his roots, and lays down a fairly straight set of bluesy tunes from the old days of the Kansas City scene – done with a small jazz combo that includes work by Joe Newman, Lawrence Brown, Pete Brown, and Pete Johnson! After the raw hard R&B of Joe's bigger hit sides for Atlantic, the album's a compelling change – a reminder that Turner had roots that went much deeper than his rock and roll fame – and a depth of delivery that would keep his career strong, long after some of his 50s R&B contemporaries faded! The mix of modes – R&B and jazz – is a bit like some of the later Ray Charles albums on Atlantic – and tracks include "Low Down Dog", "Roll Em Pete", "Cherry Red", "How Long Blues", and "Morning Glories".

A rare bit of early bossa jazz from the US – an obscure 1959 session by Charlie Byrd, and one that predates most of his more famous work on Riverside, Columbia, and Verve! The session's a bit different than most of Charlie's lighter bossa recordings – in that it features his acoustic guitar work over bigger band backings from Woody Herman – done in modes that borrow a sense of sound and space from bossa nova, but which also share plenty of modern jazz touches as well. Arrangers for the record are Sid Feller and Ralph Burns – the latter of whom does a tremendous job with his 4-part "Summer Sequence" – a tone-based Kenton-esque suite that's a real standout part of the record, even if it's not as bossa-styled as some of the other work. Other tunes are all originals by Charlie – and include "Bamba Samba", "Love Song Ballad", "Prelude A Cha Cha", and "Original #2".

A massive tribute to the overlooked John Danser – a force on the New York scene for decades – but an artist whose genius is only finally getting its due! Danser's 70s groovers have been causing ripples with crate diggers for years – but this set stretches back to show the full picture of the mighty man – and includes some brilliant numbers that blend hardbop and Latin jazz, others which have a groovy sort of soundtrack feel, and some of the more classic Danser modes – which come across in a funky big band style that's mighty nice! Notes are all in Japanese, so we can't tell you much about the dates or players – but the grooves alone are more than worth the price of admission, and have a soulful brilliance that speaks volumes on their own. Titles include "Burnito", "The Wanderer", "Bossana", "The Alcove", "Moods", "Mucho Loco", "Istanbul Express", and "Have Axe Will Swing".

Two great albums from a time when Maynard Ferguson was really hitting his stride – back to back on one CD! New Sounds is a really nice set, and very much in the best spirit of the excellent early 60s albums that Maynard cut for Roulette! As with those, there's some great players working in the group – a lineup that includes Willie Maiden on tenor sax, Dusko Goykovich (horribly misspelled in the notes) on trumpet, Ronnie Cuber on Baritone, and Lanny Morgan on alto – all of whom get to step out in short but soulful solos that make the tracks bristle with more excitement than you'd think. And as with other Cameo jazz sides from the time, Rufus Jones is on drums – bringing in a nice little punch to the tracks that kicks them up in just the right sort of way. Titles include the originals "Bossa Nova De Funk", "Maine Bone", and "At The Sound Of The Trumpet" – plus a version of "Watermelon Man", and the bonus track "The Song Is You". Come Blow Your Horn is a surprisingly nice album of big band material from Maynard – recorded at a time when he was just getting his start as a big name, and still handling some hip enough players to make the groove swing! One track claims to have a "Dusan Goykovich" as a soloist – who we can only imagine to be our man Dusko Goykovich – and the record has plenty other nice solos by Lanny Morgan. Arrangements are by Don Sebesky, Al Cohn, Willie Maiden, and Oliver Nelson – and tracks include "Groove", "Whisper Not", "Blues For A Four String Guitar", "New Hope", and "Naked City Theme".

A beautiful bit of funky jazz – and one of the unsung gems in the early 70s Flying Dutchman catalog! Oliver Nelson leads a number of different groups that are filled with funky electric players – like Mike Wofford, Lonnie Liston Smith, and Denis Budimir – and the record's filled with cool moog, arp, and keyboard grooves that are unlike anything you'll find on any other of Nelson's albums. Some cuts are more big band oriented, but the best ones are nice and funky. Titles include "Skull Session", "125th And 7th Ave", "Flight For Freedom", "Baja Bossa", and "Dumpy Mama".

An amazing document of a short-lived, but really incredible genre – the 50s mix of R&B and Latin-inspired rhythms – particularly the heavy piano of a mambo-styled groove! The sound seems an unlikely mix, but it's one that you've no doubt heard on a few famous Atlantic Records singles from the time – taken up here by a host of much more obscure artists, who really know how to make the rhythms leap along with the grooves! The approach has definite echoes of New Orleans R&B, particularly in its use of the piano in heavy comping lines – but there's also a much wider sound going on too, especially in the way the percussion often drives the tunes in really unusual ways. The album's overflowing with amazing tracks – and titles include "Salty Dog" by Marvin Phillips, "Big Joe Mambo" by Fay Simmons, "Mambo Mexicana" by Gerald Wilson, "Snake Charmer" by Mad Man Jones, "Boppin With The Mambo" by The Sultans, "Honeydripper Mambo" by Alfredito, "A Dream" by Billy Red Love, "Pu Chun Ga" by Elene Madera, "Cozy & Bossa" by Cozy Cole, "Shrinking Up Fast" by Camille Howard, "Take A Chance On Me" by Annisteen Allen, "Eee Ooo Voodoo" by Red Callender, and "Down To The Bottom" by Larry Dale.

A great mix of jazz, bossa, and other European grooves from the 60s and 70s – a smashing compilation of rare tracks, very much like others in this series! There's not much of a structure to the collection, but the cuts are all mighty nice – a really well-selected batch of numbers that includes "Conversations" by Silhouettes, "Sombre Guitar" by Danser's Inferno, "Claudia" by Panema Leblon, "Autumn Leaves" by Milt Jackson, "Jive Samba" by Jon Hendricks, "Here We Are Falling In Love" by Meta Roos, "Le Coeur Qui Jazze" by France Gall, "Exotica" by Walter Kubiczec, "Uela Uela" by Charly Antonlini, and "Sunshine Superman" by Big Jim Sullivan.

A true jazz treasure from the 60s – as if you couldn't guess that already from the cover! The album's a really rare one from trumpeter and reedman Idrees Sulieman – a player who shone strongly on Prestige Records in the late 50s – then made the trip overseas, where he became a key member of the Clarke Boland Big Band! The set sparkles with some of the best energy of some of Idrees' contemporaries in that ensemble, especially some of the smaller combo offshoots of the CBBB – and, no surprise, it features some great work from saxophonist Sahib Shihab – another ex-pat who followed similar lines as Sulieman! Even more unusual, though, are the album's two vocal tracks from Jamila Sulieman – a great singer we'd never heard from before – and who brings in these deep blue tones on her pair of performances – almost in the way female vocals might be used on a Charles Mingus album from the time. Other numbers are soaringly instrumental – and half the album features a large group with Shihab on baritone sax, Bernt Rosengren on tenor, and alto sax from Sulieman – who then switches to trumpet for the album's remaining small group tracks. Titles include "Blues For Emanon", "The Camel", "Dawud's Bossa Nova", "I'll Remember April", "Sad & Strange", and "Long For The Blues".

One of the dreamiest sets of sound library tunes we've ever heard – a sampling of work from the De Wolfe Sound Library, with a sound that's different than most other compilations of this type! While most sound library compilations focus on the funkier or beat-heavy tracks, this great little gem goes for the groovy and jazzy numbers – and picks the best of De Wolfe's light and breezy output, including some killer bossa and soundtrack-type cuts. There's a really jazz feel to the whole set – no surprise, as many of the talents were actual recording jazz players themselves, simply working in the studio for De Wolfe in order to bring in a little extra cash. The whole thing's great – really overflowing with great numbers that will show you that the sound library scene is still wonderfully under-tapped! Titles include "Gentle Soul", "Sandy", and "Dazzle" by Roger Webb; "Red Spanish Onions" by David Goykovich, "Boat Race" by Ludovic Decosne, "Holiday Job" by Simon Haseley, "Big Incentive" by Reg Tilsley, and "Up & Away" by P Kass.

One of Quincy Jones' best for Mercury Records in the 60s – a very groovy record that was done with a feel that's somewhere in between his Big Band Bossa album and his best 60s soundtrack work! The format is simple – Quincy picks a sweet batch of jazz semi-hits from the early 60s, plays them with a nice mix of soul jazz arrangements, and works with a great ensemble filled with wonderful players – including Roland Kirk, Budd Johnson, Seldon Powell, James Moody, and Jerome Richardson on reeds; Lalo Schifrin and Patti Brown on piano, Jim Hall on guitar, Clark Terry on trumpet, and Melba Liston on trombone – plus lots of great percussion at the bottom, helping bring some Latin energy to the grooves at points. Tunes are familiar, but all given a great Quincy Jones twist – and titles include "Gravy Waltz", "Jive Samba", "Walk On The Wild Side", "Bossa Nova USA", and "Watermelon Man".

One of the dreamiest sets of sound library tunes we've ever heard – a sampling of work from the De Wolfe Sound Library, with a sound that's different than most other compilations of this type! While most sound library compilations focus on the funkier or beat-heavy tracks, this great little gem goes for the groovy and jazzy numbers – and picks the best of De Wolfe's light and breezy output, including some killer bossa and soundtrack-type cuts. There's a really jazz feel to the whole set – no surprise, as many of the talents were actual recording jazz players themselves, simply working in the studio for De Wolfe in order to bring in a little extra cash. The whole thing's great – really overflowing with great numbers that will show you that the sound library scene is still wonderfully under-tapped! Titles include "Gentle Soul", "Sandy", and "Dazzle" by Roger Webb; "Red Spanish Onions" by David Goykovich, "Boat Race" by Ludovic Decosne, "Holiday Job" by Simon Haseley, "Big Incentive" by Reg Tilsley, and "Up & Away" by P Kass.

Snowboy returns with another batch of grooves in the Hi Hat series – the first volume we've heard under that name in awhile – and while the sound is still great, the format here is a bit different than before! The style this time around is heavily jazzy – and pulled from records that are even more obscure than those used on previous volumes – mostly relatively recent recordings from the past decade or so, but those which were ignored the first time around – making the music here seem even more fresh! Most of the numbers are titles that were buried in more conventional records, but which stand out as modern jazz dance tracks – keeping the spirit of modal, hardbop, and Latin-styled jazz grooves alive and well on the dancefloor – as testified by the album's photos from Snowboy's Hi Hat club night! Titles include "Sunny Day (live)" by Jon Lucien, "Speed Trap" by Peter King, "If I Perish" by Terrell Stafford, "Our Man In Havana" by Cubana Bop, "Seven Steps To Heaven" by World Saxophone Quartet, "Caribbean Fire Dance" by Bobby Sanabria & Ascension, "Blue Bossa" by McCoy Tyner Latin Big Band, and "Fical Mal Com Deus" by Airto.