All Categories — All Formats  

Blue Magic getting a bit bolder than before – adding in some heavier funk that takes them past the mellow moments of their earliest years – yet still serving up some great harmonies in the process! The change is a subtle one – heard on some of the album's more hard-grooving tracks, which also bring in some full arrangements that echo the trippy feel of the cover – yet which still always respect that slight heartbreaking undercurrent of the group's great vocals, thanks to arrangements from Bobby Eli! Just about every moment from Blue Magic is totally great, and this album is no exception – with titles that include "Freak N Stein", "Mother Funk", "To Get Love", "See The Bedroom", "Summer Snow", "Making Love To A Memory", and "Spark Of Love".

A dozen tracks from one of the greatest east coast harmony groups of the 70s! Blue Magic came onto the scene a bit later than some of their other hit making geographical neighbors – like The Stylistics or The Moments – but their sound was pure 70s harmony all the way, and the group had a wonderful talent for mellow ballads and more driving uptempo numbers. You'll get a bit of both on this set – all with classic Philly production by either Norman Harris or Bobby Eli. Titles include "Sideshow", "Spell", "What's Come Over Me", "Three Ring Circus", "Welcome To The Club", "Chasing Rainbows", "Summer Snow", and "Just Don't Want To Be Lonely".

A crucial album for the jazz guitar in the 80s – the debut effort of Stanley Jordan, and a set that exploded with a very fresh sound! Jordan has a really unique way of handling his instrument – playing up and down the fret board with both hands – in ways that are often so lyrically compelling and musically complicated that Blue Note had to package the album with a "warning" that there were no overdubs or production tricks on the set – as you might find from other contemporary players on labels like ECM! Instead, Stanley's got a sound that's surprisingly warm and personal – and which, in a way, is recorded with a style that echoes the legend of his initial discovery by the label, while playing in the subway. Titles include "A Child Is Born", "Fundance", "Angel", "The Lady In My Life", "Round Midnight", and "Eleanor Rigby".

A trio of Blue Note albums from guitarist Stanley Jordan! First up is Magic Touch – a crucial album for the jazz guitar in the 80s – the debut effort of Stanley Jordan, and a set that exploded with a very fresh sound! Jordan has a really unique way of handling his instrument – playing up and down the fret board with both hands – in ways that are often so lyrically compelling and musically complicated that Blue Note had to package the album with a "warning" that there were no overdubs or production tricks on the set – as you might find from other contemporary players on labels like ECM! Instead, Stanley's got a sound that's surprisingly warm and personal – and which, in a way, is recorded with a style that echoes the legend of his initial discovery by the label, while playing in the subway. Titles include "A Child Is Born", "Fundance", "Angel", "The Lady In My Life", "Round Midnight", and "Eleanor Rigby". On Standards Vol 1, guitarist Stanley Jordan takes on a set of standards – not just older tunes from the American songbook, but also some gorovy soul and pop numbers as well! Jordan plays solo throughout – in that open, lyrical style that we loved on his debut – and titles include "Sunny", "The Sound Of Silence", "Send One Your Love", "Moon River", "Guitar Man", and "My Favorite Things". Flying Home features Stanley Jordan in a new sort of soulful setting – one that takes his guitar from the previous solo setting of initial Blue Note albums, and gives it a fuller and smoother groove overall! The production and arrangements are by Preston Glass – a master of smooth jazz in these early years, and one of the few who could still keep things deeply soulful, even while adding in some more mainstream elements – in this case just the right touches to help get Jordan's guitar across to the same 80s audience that was digging cats like Earl Klugh or Bob James. Glass plays a fair bit of keyboards in the set – and titles include "Tropical Storm", "Can't Sit Down", "The Music's Gonna Change", "Flying Home", "The Time Is Now", and "Brooklyn At Midnight".

A massive 2-fer from The Chi-Lites – 2 amazing post-Brunswick records on a single CD! Happy Being Lonely is beautiful beautiful work from The Chi-Lites – and a record that we might even say tops the best of their late Brunswick book! Despite the move from that label to Mercury, the group have a sound here that's still wonderfully fragile and harmony-focused – especially on the mellower cuts, which crackle with a sense of humanity that so many other harmony groups were losing at the time. But even the more upbeat tunes are great too – rolling along on some spacious arrangements by Tom Tom Washington, and showing that Chicago could come up with grooves to rival the sound of Philly! Titles include the great ballad "Love Can Be Hazardous", the Sam Dees number "Vanishing Love", and the titles "Don't Blame The World", "Message To The World", "Let Your Love Fall Like Rain", and "I Turn Away". The other album on the set is great too – and Fantastic Chi-Lites is right, because the group's still going strong even after their hit years on Brunswick – stepping forth with a sweet harmony sound that nicely fits the Philly arrangements they get on this set! There's a maturity here that gets past the fragile soul of earlier sets, and which has the group moving into a warmly adult mode that's a perfect shift from their more familiar hits. Includes the classic club groover "My First Mistake" – a stunning track that recalls the best work of groups like Blue Magic or Double Exposure – and other tracks include "I've Got Love On My Mind", "If I Had A Girl", "Who's In Love With Me", "Let's Touch", and "Love At Its Best".

A harder-edged set than before from Corduroy – a record that's still heavily steeped in the 60s territory of previous releases, but one with a bit more of a mod feel overall! There's lots of heavy Hammond and guitar in the mix, and the vocals have a warm appeal too – kind of a blue-eyed soul take on mod London modes – served up here with a sound that's arguably tighter and more soulful than lots of current work of this nature! Corduroy was always a group that never fully got its due – and with records like this under their belt, they were easily one of the hippest acts on the Acid Jazz imprint at the time. Titles include "Don't Wait For Monday", "Practice What You Preach", "Magic Carpet", "January Woman", "Mini", "Motorhead", "Along The Rooftops", "End Of The Rainbow", and "Red Mercury".

A harder-edged set than before from Corduroy – a record that's still heavily steeped in the 60s territory of previous releases, but one with a bit more of a mod feel overall! There's lots of heavy Hammond and guitar in the mix, and the vocals have a warm appeal too – kind of a blue-eyed soul take on mod London modes – served up here with a sound that's arguably tighter and more soulful than lots of current work of this nature! Corduroy was always a group that never fully got its due – and with records like this under their belt, they were easily one of the hippest acts on the Acid Jazz imprint at the time. Titles include "Don't Wait For Monday", "Practice What You Preach", "Magic Carpet", "January Woman", "Mini", "Motorhead", "Along The Rooftops", "End Of The Rainbow", and "Red Mercury".

Four classic albums by this hip UK group – all with rare bonus tracks too! First up is the wonderful Dad Man Cat – our favorite record by one of the best funk records to ever come out of England! On this great debut album, Corduroy are a tight funky combo, with an organ and clavinet mod sound that still holds up damn well over the years. Their songwriting is great, and the groove on the set push way past the stock acid jazz riffing of the early 90s. Best example of this is "Skirt Alert", a cut that begins with an amazing drum break, then grooves into a Brazilian-inflected funk number, in the manner of Earth Wind & Fire's use of the idiom. Other tracks include "Chowdown", "How To Steal The World", "Electric Soup", "Money Is", and "Six Plus One". CD also features six bonus demo tracks! High Havoc is a real shift for Corduroy, who are opening their sound a lot here from earlier releases – showing that the group was way more than just one of London's many retro funk combos at the beginning of the 90s. The set includes the sublime track "Something In My Eye", a breezy bossa number that would almost put Brasil 66 to shame, and which we can guarantee will have you hitting the repeat button on your CD player again and again! Other tracks include "The Corduroy Orgasm Club", "Breakfast In Love", "Nobody Move", "Very Yeah", "Clearing Up Music", "Lovely Lonely & Loaded", and "The Frighteners". CD features 9 more bonus tracks – some previously unreleased! Next is Out Of Here – a record that's still heavily steeped in the 60s territory of previous releases, but one with a bit more of a mod feel overall! There's lots of heavy Hammond and guitar in the mix, and the vocals have a warm appeal too – kind of a blue-eyed soul take on mod London modes – served up here with a sound that's arguably tighter and more soulful than lots of current work of this nature! Corduroy was always a group that never fully got its due – and with records like this under their belt, they were easily one of the hippest acts on the Acid Jazz imprint at the time. Titles include "Don't Wait For Monday", "Practice What You Preach", "Magic Carpet", "January Woman", "Mini", "Motorhead", "Along The Rooftops", "End Of The Rainbow", and "Red Mercury". CD features 7 more bonus tracks – a number of unissued demos! Last up is Quattro – Live In Japan 1994 – a great little live set from Corduroy – recorded late in their career, but with the stripped down funky feel of their best early work! The album was recorded in Japan – but the groove is pure London jazz funk all the way, with a tight mix of keyboards and riffing guitars, electrically grooving in a very soulful way. Includes versions of "Skirt Alert", "Something In My Eye", "Mini", "Money is", "London, England", "Electric Soup", "E Type", "The Frighteners", and "Chow Down".

The rare second set from First Class – and a set that's every bit as heavenly as the first! The album's a great slice of later New Jersey soul – still very much in the mode started by groups like The Moments or Whatnauts, but showing a stronger Philly influence on the groovers – which are mixed in here with gentler, mellower cuts that really show the group's great harmony talents! Although never as big as contemporaries like Blue Magic, First Class have a great approach that really holds on strong throughout the set – working here with production from George Kerr, Donnie Elbert, and Tommy Keith – all of whom know how to get the sound right for the feel of the tunes. Titles include "Give Me Lend Me", "Let's Make Love", "Coming Back To You", "Lucky Me", "Hypnotized", and "Going Out Of My Head". CD features four bonus tracks too – "It's Never Too Late", "Beginning Of The End", and "Don't Know What You're Doing" in both stereo and mono versions.

Flashlight is a sweet little disco combo – one who are working here with prime Philly maestros Norman Harris, Ron Kersey, Arnold Coley, and Bobby Eli – all of whom give the group's tracks a warmly soulful quality, and a sound that's more in the mode of early/mid 70s vocal groups like Blue Magic or Impact, than it is some of the Philly ensembles at the end of the decade. Titles include "I Can Be (Everything You Want Me To Be", "Beginner's Luck", "Thank You Baby", "Every Little Beat Of My Heart", and "Don't Feel Nothing (Til You Hear From Me)".

A decade of Kim Fowley produced, arranged and recorded madness – proto garage, sleazy surf styled rumbles, pulpy vocal pop, and fuzzy tunes galore – some credited to Kim Fowley and more savage tunes from Bruce & Jerry, Renegades, Mo And Jo, Blue Bells, Althea And The Memories and more! It's fantastic stuff, some never before issued, and rare singles for labels and imprints like Kimco, Alsand, Arwin and American International. Seedy rockers galore! Includes "I Saw Her First" by Bruce & Jerry (Bruce Johnson, later Beach Boy), "Late Late Show" by Patterns, "Big Fat Alaskan" by Donnie And The Outcasts, "The Rebel" by Players, "Daybreaker" by Kim And The Skippers, "Music Is The Magic" by Kim Fowley, "Surf Pigs" by Kim Fowley And Mars Bonfire and more. 16 tracks in all.

A pretty great little album by the multi-reed player Ralph Gari – and obscure New York talent that we've only ever heard on this one side cut for Mercury during the 50s. The focus here is on Gari's great reed work within a small combo – and he plays alto, clarinet, flute, and oboe on the album's tracks. His alto work is fairly heavily featured, which is great, because he's a tight angular player in the Boston soul mode of artists like Dick Johnson or Charlie Mariano. Backing is by a piano trio on each side, and titles include "Kali", "Fourth Dimension", "Happy Daze", "That Old Black Magic", and "The Way You Look Tonight". Great stuff, and kind of like some of the excellent Hal McKusick albums from the same time!

One of our favorite Dexter Gordon Blue Notes – a beautiful quartet recording that unites Dex with two other Americans in exile – Bud Powell and Kenny Clarke! The group's completed by French bassist Pierre Michelot, and includes a great take of "Scrapple from the Apple", plus excellent readings of "Stairway to the Stars" and "Night in Tunisia". The format is simple, but the sound is magic – classic Dexter Gordon in a tight Blue Note mode!

One of our favorite Dexter Gordon Blue Notes – a beautiful quartet recording that unites Dex with two other Americans in exile – Bud Powell and Kenny Clarke! The group's completed by French bassist Pierre Michelot, and includes a great take of "Scrapple from the Apple", plus excellent readings of "Stairway to the Stars" and "Night in Tunisia". The format is simple, but the sound is magic – classic Dexter Gordon in a tight Blue Note mode!

One of our favorite albums ever from guitarist Grant Green – an amazingly stretched-out session that's served up with a good deal of modal jazz in the rhythms – and a date that features killer work from Larry Young on organ and Bobby Hutcherson on vibes! The pair join Green in a quartet that also includes Elvin Jones on drums – who provides a loose, fluid approach to rhythm that really sets the tone for the date – a flowing vibe that folds together the organ, guitar, and vibes beautifully – with an incomparable floating vibe that's pure magic! All tracks are long and very open – and titles include "Street Of Dreams", "Somewhere In The Night", and "Lazy Afternoon".

A sweet 70s set from Jackie & Roy – just the kind of record that shows that their genius kept on growing and growing as the years went on! The album's a nice change from the fuller, freer sound of the pair's earlier 70s sides on CTI – but it's also not the straighter jazz of the 50s and 60s either – kind of a wonderful fusion of both eras, brought together in a really groovy way! Instrumentation is small combo throughout – piano from Roy, plus vibes, bass, and drums – all used in a sweetly swinging sort of way to match the melodic quality of the pair's vocals. Titles are a really well-selected batch of numbers – and include "Tiny Told Me", "Good & Rich", "The Runaround", "Born To Be Blue", "Waltz For Dana", "Cheerful Little Earful", and "Magic To Do".

A sweet 70s set from Jackie & Roy – just the kind of record that shows that their genius kept on growing and growing as the years went on! The album's a nice change from the fuller, freer sound of the pair's earlier 70s sides on CTI – but it's also not the straighter jazz of the 50s and 60s either – kind of a wonderful fusion of both eras, brought together in a really groovy way! Instrumentation is small combo throughout – piano from Roy, plus vibes, bass, and drums – all used in a sweetly swinging sort of way to match the melodic quality of the pair's vocals. Titles are a really well-selected batch of numbers – and include "Tiny Told Me", "Good & Rich", "The Runaround", "Born To Be Blue", "Waltz For Dana", "Cheerful Little Earful", and "Magic To Do".

A brilliant second set from Jose James – and that's saying a lot, given that his debut was already a classic in our book! The sound here is a little more full, and a little more confident – a magical blend of James' raspy vocals with some jazz and funk-inflected rhythms – never overdone, and all put together with the kind of poise and depth that's made Jose an artist to watch since his very first single! There's a positive, progressive vibe to the whole record – the kind of excitement we only feel grabbing us once in a blue moon – and the sound is expanded a bit from the laidback combo of the first record, thanks to production help from Flying Lotus, Mitsu The Beats, and others. But James' vocals are always center stage in the mix, no matter what the setting – and titles include "Lay You Down", "Touch", "Promise In Love", "Warrior", "Made For Love", "Code", "Save Your Love For Me", "Detroit Loveletter", and "Beauty".

A kind of twisted, but totally groovy collection of oddball pop & rock from Rodd Keith, aka Rod Rogers – the king of the song poem – a collection of mostly small combo singles recorded between 1963 & 1974! On top of being the go to guy for folks to have someone turn their often terrible poetry and lyrics into real life records, Rodd & his groups recorded all kinds of organ steeped, totally catchy tunes with far out hallucinogenic lyrics. The singing ranges from pop combo harmonies to loungey crooning, and the Rodd's work on organ & piano rolls with a little bit of blue eyed funk to more of an austere pop & rock groove – and the songs are just weird enough to still work as glorious pop tunes. Really cool stuff from an ultimately tragic character, who left far too few recordings with his personal brand of strangeness! Includes tunes credited to Rodd Keith, Rodd Keith & The Raindrops, Rod Rogers & The Singing Strings and other combos. 26 tracks including "Lettuce & Lace", "You Only Wnat To Hurt Me", "Saucers In The Sky", "My Living Doll", "Don't Be A Dope", "Magic In Her Eyes", "Merry Go Down", "Ravens", "Next Time", "Ship For Home" and much more.

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

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

A wonderful little package – way more than just a collection of soundtrack work by Italian maestro Riz Ortolani – and instead, a fully-fleshed look at his long career – with vocal, instrumental, and even some jazz titles too! The 4CD set comes in a book-styled package – with some great images from Ortolani's career in the middle, and notes in Italian – and the CDs break things up beautifully, to offer a rich look at the music in ways we hardly would have expected – showing lots of aspects of Riz's career we've never heard on CD! CD 1 features famous film themes – including "Sweet Dreams", "Africa Addion", "Yellow Rolls Royce", "The Great Dreamer", and many others. CD 2 features vocal and instrumental interpretations of Ortolani's compositions – with tracks by Jack Jones, Dizzy Gillespie, Fabio Boltro, Aretha Franklin, Shirley Bassey, Erroll Garner, Johnny Mathis, Julie London, Matt Monro, and others. CD 3 is titled Unforgettable Love – and features loads of sweet 60s instrumentals, all with a soundtracky sort of feel – including "Magic Man", "Una Casa A Roma", "Lui Lui Lui", "My Blue", "Un Amore Cosi Tenero", "Easy Life", "Til Love Touches Your Life", and "True Confession". And CD 4 is the most striking of all – some rare jazz tracks swung strongly by Ortolani, most of them larger ensemble numbers – with titles that include "The Cold Nose", "St Francisco Railways", "Miami Beach", "Free Dixie", "Please Another Ball", "The Day Of Anger", and "Unna Sull'Altra".

The most righteous album ever from Kellee Patterson – her first record, and a set that's way different from her more soul-based sides of later years! The album's got Patterson working in a wonderfully soulful approach to jazz – a style that's not unlike the earliest work by Dee Dee Bridgewater, especially her seminal Afro Blue album – and which mixes Kellee's unique vocals with some very hip backings that are right in the best Black Jazz mode! Instrumentation is from a loose jazz combo, and the tunes are a mix of jazzy numbers and a few tighter tracks – a really rich array of sounds that comes together beautifully in the hands of producer Gene Russell. Titles include a stellar version of Herbie Hancock's "Maiden Voyage", a great take on the Flip Nunez number "See You Later", and the tracks "Soul Daddy", "Be All Your Own", "Magic Wand Of Love", "You", and "Look At The Child".

Gregory Porter's a hip little singer – just the sort we love to discover in jazz, and the type that only comes around once in a blue moon! Like Jon Hendricks, Mark Murphy, or Kurt Elling – all perfect references for Porter's style – Greg has a wonderful way of coming up with his own lyrics for a tune – making him way more than just a singer of standards, and instead a richly expressive voice that has every bit to offer as you might get from a jazz instrumentalist! The arrangements are great, too – handled by Porter with help from pianist Chip Crawford and producer Kamau Kenyatta – bold, soulful, and soaring on the best tracks – all in beautiful declaration of Gregory's rich power and presence. Titles include a great version of Wayne Shorter's "Black Nile", and the original tracks "1960 What", "Lonely One", "Water", "Pretty", "Illusion", and "Magic Cup".

The first really major album from Rare Earth – issued on their own self-named subsidiary of Motown! The set's a perfect blend of the rich undercurrents of the heady Detroit scene of the late 60s – at one level a tripped-out rock record with styles that almost hint at MC5, at another level a batch of blue-eyed funky soul, with keen appreciation for the grooves coming out of the headier end of the Motor City indie spectrum! There's lots of tripped-out guitar work on the set – reminiscent of contemporary work by Dennis Coffey and George Clinton – mixed with a Mitch Ryder, R&B-inspired vocal style that actually comes across pretty darn well. Added to this is the group's flat-out ability to jam – showcased best in the side-long title cut "Get Ready" – a massive jammer which runs for nearly 22 minutes, and takes up all of side two! Other tracks include "Train To Nowhere", "Magic Key", "Tobacco Road", and "In Bed".

Early 60s magic from Horace Silver – working here at the height of his youthful powers! The album's a perfect example of the sound that Silver created while at Blue Note – a lyrically melodic approach to soul jazz, but one that was able to open up the rhythms past stock riffs and gimmicks – and grow into a magnificent sound that never failed to excite! The group on the set is perfect – with Junior Cook on tenor, Blue Mitchell on trumpet, Gene Taylor on bass, and the incredible Roy Brooks on drums – and the tunes sparkle with wit, warmth, and imagination throughout! Titles include "Where You At", "Without You", "Horace-Scope", "Nica's Dream", "Strollin", and "Yeah!".

About as classic as you can get for The Spinners – and one of the group's marvelous 70s collaborations with the mighty Thom Bell! Before hooking up with Philly, The Spinners were already a wonderful vocal group – but here, in the hands of Bell, they hit a sound that's completely sublime – a mix of well-crafted harmonies and well-directed backings – soaring one minute, gently fragile the next – all delivered with the same sort of charm that you might expect from Blue Magic or The Stylistics at their best. Like those groups, The Spinners here manage a depth that goes way beyond simple hitmaking soul – as you'll hear on the album's wonderful assortment of tracks that include "Mighty Love", "He'll Never Love You Like I Do", "Love Don't Love Nobody", "Ain't No Price On Happiness", "Since I Been Gone", and "I'm Glad You Walked Into My Life". CD also features 4 bonus tracks – "I Wish I Could Sleep", "I Just Gotta Make It Happen", "Mr Big Man", and "You Sure Are Nasty".

A rare and unusual chapter in mid 60s Blue Note – the debut of tenorist Tyrone Washington, an up-and-coming talent from the hip New Jersey scene of the time! Washington's name may not have lasted long in the jazz annals, but at this important point in his career, he's working with a young Woody Shaw – also part of the Jersey scene – and together, the pair really make the album cook – stretching out with a soulful, spiritual sound that really points the way towards the indie scene of the 70s! Shaw's voice is a big part of the record, but Tyrone's still definitely in command – blowing his tenor with these quick flurries of notes that are somewhere in the Coltrane school, yet arguably moving already past him too – kind of a post-Coltrane vibe in the year before the great one passed away. Washington also wrote all of the album's 6 tracks – really fresh numbers that burn with intensity, and make the album as creatively inventive as some of the best Jackie McLean Blue Note sides from the time. In addition to Woody Shaw's trumpet, other players include James Spaulding on alto and flute, Kenny Barron on piano, Reggie Workman on bass, and Joe Chambers on drums – a very hip lineup who really make magic on cuts that include "Yearning For Love", "Ethos", "Soul Dance", "Positive Path", and "Song Of Peace".

A rare and unusual chapter in mid 60s Blue Note – the debut of tenorist Tyrone Washington, an up-and-coming talent from the hip New Jersey scene of the time! Washington's name may not have lasted long in the jazz annals, but at this important point in his career, he's working with a young Woody Shaw – also part of the Jersey scene – and together, the pair really make the album cook – stretching out with a soulful, spiritual sound that really points the way towards the indie scene of the 70s! Shaw's voice is a big part of the record, but Tyrone's still definitely in command – blowing his tenor with these quick flurries of notes that are somewhere in the Coltrane school, yet arguably moving already past him too – kind of a post-Coltrane vibe in the year before the great one passed away. Washington also wrote all of the album's 6 tracks – really fresh numbers that burn with intensity, and make the album as creatively inventive as some of the best Jackie McLean Blue Note sides from the time. In addition to Woody Shaw's trumpet, other players include James Spaulding on alto and flute, Kenny Barron on piano, Reggie Workman on bass, and Joe Chambers on drums – a very hip lineup who really make magic on cuts that include "Yearning For Love", "Ethos", "Soul Dance", "Positive Path", and "Song Of Peace".

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.

An amazing document of the wide wide reach of Earth Wind & Fire at the end of the 70s – that joyous, righteous spirit that not only flowed through their own music, but seemed to touch most of the soul and jazz world as well! The set's a much-needed look at the way that energy from EWF flowed out to so many other folks too – as the group's tunes were frequently covered, its members frequently worked with other artists, and Maurice White frequently lent his production talents to others in the studio! The package is overflowing with greatness from the great ones – a killers set of tracks that include "Got To Find My Way" by Pockets, "Tequila Mockingbird" by Dee Dee Bridgewater, "Let's Get Together" by Paulinho DaCosta, "City Lights" by Valerie Carter, "Ancient Source" by Caldera, "Answer To My Prayer" by Alton McClain & Destiny, "Let Love Groove Me" by Syliva St James, "The Boy I Left Behind" by Deniece Williams, "Glow Love" by Mighty Clouds Of Joy, "And I Do" by Abraham Laboriel, "I Waited" by Blue Magic, "Dream Come True" by Stargard, and "Theme For Relana" by Gene Harris.

A landmark first album from drummer Norman Connors – a spiritual jazz masterpiece that builds wonderfully on the post-Coltrane tradition! Norman is years away from his smoother soul recordings at this point, and coming out of a righteous jazz background that included work with Marion Brown and Archie Shepp. For this initial set, Norman's in incredible company – working with players that include Herbie Hancock on both electric and acoustic keys, plus Eddie Henderson on trumpet, Gary Bartz and Carlos Garnett on saxes, Stanley Clarke on bass, and Billy Hart and Airto on percussion – plus a chorus of vocalists on the album's mighty title cut! Tracks are all long, spiritual, and freely exploratory – but never in a style that goes too far outside, or that forgets the joy and love that can spring forth in a forward-thinking session like this one! Titles include "Dance Of Magic", "Give The Drummer Some", "Morning Change", and "Blue".

Plenty of Impact from this great Philly group – a soaring quartet who harmonize with some great Bobby Eli arrangements – at a level that shines as strongly as the best 70s work by Blue Magic or The Spinners! Impact never broke the big time as strongly, but they're a great group in the best 70s Philly mode – rooted in an older harmony style, but able to really take off with some sweet Sigma Sound styles – the sort of balance that few other groups managed to handle this well. The quartet features Damon Harris, who sang with the Temptations after Eddie Kendricks left in 1971 – and the group is a re-formation of The Young Vandals, who recorded briefly on T-Neck before Harris left for the Temps. Titles include "Happy Man", "Give A Broken Heart A Break", "Love Attack", "It Only Happens In the Movies", and "Winning Combination".

The Brazilian side of Blue Note Records – a double-length collection that mostly features bossa-inspired numbers from the 60s, but also includes a few gems from more recent years too! Unlike Verve or Impulse, Blue Note rarely went straight into bossa nova – and instead, the label's artists often came at the music from a different direction – using bossa themes and inspiration, mixed with their own hard bop impulses – and often served up in a really unique groove in the end! This package is a great illustration of that special magic – tracks that go way past the usual, and which still sound amazingly fresh and visionary all these many years later. Titles include "Wave" by Stanley Turrentine, "Blue Bossa" by Joe Henderson, "Sandalia Dela" by Duke Pearson, "Book's Bossa" by Donald Byrd, "Rio" by Lee Morgan, "Recado Bossa Nova" by Hank Mobley, "Swingin The Samba" by Horace Silver, "Back Down To The Tropics" by Charlie Rouse, "Love For Sale" by Dexter Gordon, "Latona" by John Patton, "O Amor Em Paz" by Cannonball Adderley, "Manha De Carnaval" by Ron Carter, "Waters Of March" by Cassandra Wilson, and "Triste" by Dianne Reeves.

One of the greatest Art Blakey albums from the days when the Jazz Messengers lineup included Lee Morgan, Wayne Shorter, and Bobby Timmons! The whole set's a perfect example of the blend of lyricism and fire that Blakey and this group could craft – from the magical poetry of their interpretation of "Like Someone In Love", to the wealth of original tunes like "Noise In The Attic", "Giantis", "Johnny's Blue", and "Sleeping Dancer Sleep On" – all of which went onto be the blueprint for the sound of the second wave of hardbop at Blue Note! Pure magic – and one of the greats!

Not everyone digs the later Captain and crew, but the early 80s efforts have finally gotten their just props after all these years – and we'll we'll come right out and say that this second to last album before Don Van Vliet hung up the music for painting has always sounded great to us! The Magic Band is incredible as always – with Jeff Morris Tepper, Drumbo French and Eric Drew Feldman's antics under the Captain's idiosyncratic vocalese. With "Hot Head", "Ashtray Heart", "A Carrot Is As Close As A Rabbit Gets To A Diamond", "Run Paint Run Run", "Sue Egypt", "Brickbats", "Dirty Blue Gene", "Best Batch Yet", "Telephone", "Flavor Bud Living", "Sherriff Of Hong Kong" and "Making Love To A Vampire With A Monkey On My Knee".

Prog takes a deep look at the long history Rush – featuring new interviews with Geddy, Alex and Neal! Prog the magazine always takes a pretty liberal, and non-elitist approach to what they classify as progressive rock – and we dig that! This issue covers Spock's Beard, The Flaming Lips, Kevin Ayers, The Magic Band, Family, Cosmograf, Roger Hodgson, Bitches Brew-era Miles Davis and more. The free CD is titled The Spirit Of Radial – with tracks by Spock's Beard, Motorpsycho, Hedvig Mollestad Trio, Nine Stones Close, Blue Cartoon, Vienna Circle, Grand General and many more.

One of our favorite Bobby Hutcherson albums ever – and a magical session filled with electric Latin vibes! The album's quite a different one for Bobby at the time – as it has him working with some larger arrangements, in a soulful west coast groove that's almost got the feel of a hip 70s soundtrack. Bobby's vibes are nicely set up against Fender Rhodes on most tracks – and the group's got some added Latin percussion that really opens up the rhythms. The whole thing's totally wonderful – brimming over with sun and soul, the kind of magic record that will never be made again! Tracks include "Camel Rise", "Yuyo", "Montara", "La Malanga", "Little Angel", and "Love Song".

Plenty of Impact from this great Philly group – a soaring quartet who harmonize with some great Bobby Eli arrangements – at a level that shines as strongly as the best 70s work by Blue Magic or The Spinners! Impact never broke the big time as strongly, but they're a great group in the best 70s Philly mode – rooted in an older harmony style, but able to really take off with some sweet Sigma Sound styles – the sort of balance that few other groups managed to handle this well. The quartet features Damon Harris, who sang with the Temptations after Eddie Kendricks left in 1971 – and the group is a re-formation of The Young Vandals, who recorded briefly on T-Neck before Harris left for the Temps. Titles include "Happy Man", "Give A Broken Heart A Break", "Love Attack", "It Only Happens In the Movies", and "Winning Combination".

George Jones in one of his most classic periods – singles he cut with producer Pappy Daily for United Artists from the early-to-mid 60s – and some of the greatest barroom laments and rave up honky tonk treasures ever! Producer Pappy Daily frames the inherent sorrow, boozy slur and sly pug attitude of The Possum's voice with near-perfect backing of solid waltz patterns, laid down by session legends like Pig Robbins, Grady Martin and Billy Strange – along with effective, ghostly choruses by The Jordanaires. Classics and relatively forgotten gems alike – including "The Race Is On", "She Thinks I Still Care", "Magic Valley", "Big Fool Of The Year", "My Tears Are Overdue", "Your Heart Turned Left (And I Was On The Right)", "Brown To Blue", "Wrong Number", "Least Of All", "World's Worst Lover", "A Good Old Fashioned Cry" and many more. 32 in all!

Ramsey and the classic trio with Eldee Young and Red Holt – grooving away on a pot luck batch of tunes that includes material from a wide wide variety of sources, all turned into soul jazz magic by the boys! Believe it or not, Ramsey takes tunes like "Andaluza", "Arrividerci Roma", "Loch Lomond", "Nature Boy", and "Sheandoah", and arranges them with a hiply swinging style that makes you forget what they ever sounded like in the first place. Throw in some originals – like "We Blue It Again", "Look A Here", and "Swamp Girl" – and you've got pretty nice batch of tracks!

Some of the greatest work ever by The Main Ingredient – a selection of their singles for RCA records from the late 60s and early 70s – but one that goes way past just the hits, in order to fully trace the evolution of their heavenly vocal style! The trio started out as an already-great harmony act in the late 60s – a group who were even sweeter and more soaring than some of their contemporaries – making them perfectly placed to move into some of the more righteous harmony modes of the 70s – including some surprising turns towards more righteous, political material. The 22 track package is the greatest we've ever seen on the group – 15 pages of deeply detailed notes, in true Ace/Kent mode – plus singles that include three by The Insiders, "I'm Better Off Without You", "If You Had A Heart", and "I'm Just A Man" – as well as Main Ingredient singles that include "Black Seeds Keep On Growing", "California My Way", "Magic Shoes", "Everybody Plays The Fool", "You've Got To Take It If You Want It", "Girl Blue", "Happiness Is Just Around The Bend", "I Was Born To Lose You", "Brotherly Love", "You've Been My Inspiration", "I'm So Proud", "Spinning Around", "I'm Leaving This Time", "Rolling Down A Mountainside", "The Gold Old Days", and "Shame On The World".

A key recording from one of our favorite tenor talents of the 80s – the amazing Ralph Moore, a player who really carries on a strong legacy from the 60s work of Hank Mobley! Like Mobley, Moore's got a very rich-voiced sound that's steeped in tradition, but which is also never afraid to take chances too – a way of handling the tenor that few of his contemporaries could match, which is probably why Ralph's presence really upped the ante on so many dates at the time as a sideman. He's even better as a leader, though, and this standout set for Landmark is a real gem – a record filled with freely creative energy throughout, and a never-ending sense of soul – as Moore's tenor is set up nicely in a core group with Benny Green on piano, Peter Washington on bass, and Kenny Washington on drums – the latter of whom brings some of the same magic to this set that Billy Higgins did to Blue Note in the 60s. Terence Blanchard plays trumpet on 4 of the album's tracks – and titles include "Punjab", "Freeway", "Enigma", "Blues For John", "One Second Please", and "Episode From A Village Dance". Also includes the CD-only bonus track "Morning Star".

Well known for the title track, a stepper's classic, this album preserves Don's low down gritty blues style (he played on Prestige sides led by Booker Ervin and Sonny Stitt). The trio lineup featured on this album gives Don the room to sretch out, driving the grooves to their limit. Tracks include "Little Duck", "It's Magic", "Trick Bag", and "Work Song".

The always-great team of Jim Rotondi and Eric Alexander bring their special magic to the European scene – working here in a Hammond quartet that came from Jim's teaching work overseas – in a date that may well be one of the most cooking we've heard from both players in years! Rotondi's trumpet has this bold sound that's mighty nice – more deeply soulful here in the setting of Renato Chicco's Hammond lines – and trading beautifully back and forth with Alexander's tenor, in a soulful spirit that's wonderful all the way through! Tracks are quite long, and the album's kind of a wonderful blend of the tightness that Alexander and Rotondi have crafted in studio sessions in recent years, with the burning energy that Eric first had when working in the group of Charles Earland. The set sports some great original tunes – and titles include "Summit Meeting", "Higher Calling", "Blue Moon", "The Loop", and "Amsterdam After Dark".

The fourth album from Roxy Music – and quite possibly the best to date! The album has the group moving strongly past the Eno years, into a tighter framework that still contains many of the darker themes of earlier records. Ferry's lead vocals are incredibly majestic – rising to heights to match the European greats of years past who were his inspiration – and the group's tight blend of reeds, guitar, and moody keyboards gives the whole album an off-kilter sense of instrumentation that really sets it apart from the pack. There's an artfulness here that's never overdone, and the whole thing comes together with a magic that's impossible to describe, but which is Roxy at their best. Titles include "Out Of The Blue", "The Thrill Of It All", "Three & Nine", "Triptych", "Casanova", and "Prairie Rose".

About as classic as you can get for The Spinners – and one of the group's marvelous 70s collaborations with the mighty Thom Bell! Before hooking up with Philly, The Spinners were already a wonderful vocal group – but here, in the hands of Bell, they hit a sound that's completely sublime – a mix of well-crafted harmonies and well-directed backings – soaring one minute, gently fragile the next – all delivered with the same sort of charm that you might expect from Blue Magic or The Stylistics at their best. Like those groups, The Spinners here manage a depth that goes way beyond simple hitmaking soul – as you'll hear on the album's wonderful assortment of tracks that include "Mighty Love", "He'll Never Love You Like I Do", "Love Don't Love Nobody", "Ain't No Price On Happiness", "Since I Been Gone", and "I'm Glad You Walked Into My Life".

Pure piano magic from Bobby Timmons – a pair of great albums from his years at Riverside Records! First up is Sweet & Soulful Sounds – a wonderful mellow trio session from Bobby – done with a spare, relaxed approach that's a nice contrast to the recordings he was making for Prestige around the same time – but which still has the same deep, soulful approach to the piano that makes those records so great! Half a dozen trio numbers with Sam Jones and Roy McCurdy are rounded out with two piano solos, "God Bless The Child" and "Spring Can Really Hang You Up The Most" – both of which present Bobby in an especially introspective mode, one you don't hear that often on record! Remaining trio tunes include "The Sweetest Sounds", "Turn Left", "You'd Be So Nice To Come Home To", "Another Live One", "Alone Together", and "Why Was I Born". Born To Be Blue is one of Bobby Timmons' most obscure trio sessions from the early years – recorded at the tail end of the Riverside years, which is probably why the album disappeared so quickly! The set's in a similar format to some of Bobby's other records for Riverside – a trio set with either Sam Jones or Ron Carter on bass, and Connie Kay on drums – but it's different in that Bobby's a bit more introspective – "blue", if you will – working in less of the gutbucket soul jazz mode than before, and really hitting some lyrical magic on the keys! The album includes the original tunes "Know Not One", "Often Annie", and "The Sit In" – plus a great reading of Tom McIntosh's "With Malice Towards None".

A silly title, but a great selection of grooves – and a record that features a few really nice clubby soul tracks from the Atlantic catalog – making a rare appearance on LP! Most of the work has a prime mid 70s Philly groove – no surprise, since Tom Moulton put together the set, and remixed a few of the tracks at Sigma sound – taking grooves from the New York, Miami, and Muscle Shoals scenes – and making them sit nicely next to homegrown Philly tracks! Titles include the funky break classic "Getting Uptown (To Get Down)" by United 8, "I Can Understand It" by The Valentinos, "This World" by Sweet Inspirations, "Look Me Up" by Blue Magic, "Mama Never Told Me" by Sister Sledge, "Time" by Jackie Moore, "You Call Me Back" by Clyde Brown", "Look Me Up" by Blue Magic, and "Got To Get You Back" by Sons Of Robin Stone.

A mighty pairing of talents – one of the greatest DJs in the world and one of the hippest jazz labels – served up in a mindblowing mix of music that's way more than just another compilation! When DJ Muro puts together a set, he doesn't just choose the songs – he works hard to find the best ways to present them, and often creates a mix that unlocks hidden corners of sound – with a sensitivity for instrumental passages that few others can touch! His talents here really bring a new sort of light to the legendary Black Jazz catalog – making the music sparkle anew as each tune slides effortlessly into the next – often linked in ways we never would have expected. Titles include "BK" and "Aunt Lovey" by Calvin Keys, "Get Down" by Gene Russell, "Keena" by Cleveland Eaton, "Diswa" and "The Highest Pleasure" by Rudolph Johnson, "March On" and "Slinky" by The Awakening, "Blue Lights" and "Beauty & The Electric Tub" by Henry Franklin, "Soul Village" by Walter Bishop, "Magic Wand Of Love" and "See You Later" by Kellee Patterson, and "Higher Ground" by Doug Carn.

The underground of Chicago explodes in the mainstream – as Rhino offers the world a dozen soul tunes lifted from the city's hot steppers scene of the past 10 years. (Never mind the fact that by the time this one came out from Rhino, the stepping scene in the city was not what it had been years before!) Forget the packaging of the material, though, and focus on the fact that the set's just a great batch of mellow soul tracks – including "Be Thankful For What You Got" by William DeVaughn, "The Fruit Song" by Jeannie Reynolds, "This Feeling's Killing Me" by The Jones Girls, "Staten Island Groove" by Down To The Bone", "Teach Me (Something About Love)" by Blue Magic, "Mr Smooth" by Michael Franks, "Key To The World" by LJ Reynolds, "Life In The Country" by The Ebonys, "Soft & Easy" by The Blackbyrds, and "In & Out Of Love" by Patti Austin.

One of the all-time classic Blue Note albums – from the hip looking cover, right down to the excellent hardbop in the grooves! Pianist Sonny Clark leads an incredible lineup that includes Art Farmer on trumpet, Jackie McLean on alto, Paul Chambers on bass, and Philly Joe Jones on drums – all coming together with some magic in the studio, crafting a sound that forever put Blue Note on the map! Tracks are long, open-ended, and almost effortlessly soulful – and titles include Clark's classics "Cool Struttin" and "Blue Minor", plus versions of "Sippin At Bells" and "Deep Night".

2 trumpets, 2 tenors, and a heck of a lot of open-ended blowing session magic! The format for this one's incredibly loose – as might be guessed by the "leaderless" nature of the record – but the session's a great example of the Prestige blowing session mode at its best – as it brings together unlikely groupmates, and really lets them feel each other out in the studio. On tenor, John Coltrane's deeper sound is matched with lightness of Bobby Jaspar's tone – and on trumpet, blowing session regular Webster Lewis and Idrees Sulieman show their talents at working strongly in a less-fettered format. The rest of the group includes Kenny Burrell on guitar, Mal Waldron on piano, Paul Chambers on bass, and Art Taylor on drums – and the album's 4 tracks are all nice and long – and include "Interplay", "Anatomy", "Light Blue", & "Soul Eyes".

Light and tippling magic from pianist Kenny Drew – working here in trio formation with Philly Joe Jones on drums and Paul Chambers on bass, and getting a nice degree of freedom in this early Riverside session! There's a "newness" here that continues the inroads Kenny made on his first few sides for Blue Note – a piano style that's respectful of 50s mainstream, but finds its own space without falling into too-boppish modes or easy modern traps. The set features a great reading of Kenny's classic "Weird-O", as well as his great "Blues For Nica" – and other tunes include "Caravan", "Ruby My Dear", "When You Wish Upon A Star", "Taking A Chance On Love", and "Come Rain Or Come Shine".

Genius, pure genius! This album's possibly the most perfectly realized set by the team of Bobby Hutcherson and Harold Land – who work here with an electric bass player and a bit of electric piano, hitting territory that's slightly funky, but which is also still touched by the modal spiritualism of some of their earlier work together. The album has an approach that we've not heard on other sides from the time – in that it takes its time to build the grooves up slowly, layering element over element as the songs unfurl, crafting some killer numbers that make the album incredibly strong as a whole. Includes the classics "Ummh" and "Goin' Down South", which have been made famous over the years, thanks to the magic of sampling technology – plus the tracks "Jazz", "Night In Barcelona", and "Procession".

Sweet Philly soul from Tony Strong – a singer who's worked with some of the greatest Philly groups over the years – including The Ebonys, Perfections, Blue Magic, and Intruders! This contemporary set features production by Butch Ingram, in a style that's almost an 80s modern take on older Philly male vocal modes – with Strong firmly in the lead, but supporting harmonies on most tracks that really recall the best sort of Intruders style – although in ways that you would have heard if the group had gone on recording past their 70s albums and singles. Other members of the Ingram Family round out the backing group – and titles include some new tracks, and some older remakes – cuts that include "Wind It", "Friends No More", "It Ain't Over", "Voyage To Atlantis", "United", "Never Gonna Give You Up", "Together", "When You Coming Home", and "I'll Always Love My Mama".

Rare solo piano work from the great Joe Albany – heard here in a beautifully unfettered setting! There's a fluid sort of magic here – that special quality that Albany was always cited for in his piano work, but which unfortunately was tragically under-recorded over the years. Most tunes are quite short, and have an echoey quality that's quite striking – a sense of room and space that comes from the recording, and which seems to fold back the sound and make Albany's moves on the keys even more striking. Titles include "Bluebird", "Slow Blues In F", "How Deep Is The Ocean", "Jitterbug Waltz", "Old Old Friends", "Woody N You", and "For Heaven's Sake".

Von Freeman the way we like to hear him – live! Although Von's recorded output has been quite low until recent years, the fantastic tenorist has been playing around Chicago for the past 50 years – working in regular gigs that are still some of the best shows you could ever hope to catch in this city. The CD features tracks from two of Von's regular haunts – shows at the Green Mill and New Apartment Lounge – both of which have him working with strong regular players, in a very comfortable lineup that really lets him open up and show the kind of magic that only he can craft in this sort of setting. One track is also recorded at the Chicago Cultural Center, Jason Moran plays piano on two others – and titles include "If I Should Lose You", "Ski Wee", "Darn That Dream", "Blue Bossa", and "I Like The Sunrise".

The most righteous album ever from Kellee Patterson – her first record, and a set that's way different from her more soul-based sides of later years! The album's got Patterson working in a wonderfully soulful approach to jazz – a style that's not unlike the earliest work by Dee Dee Bridgewater, especially her seminal Afro Blue album – and which mixes Kellee's unique vocals with some very hip backings that are right in the best Black Jazz mode! Instrumentation is from a loose jazz combo, and the tunes are a mix of jazzy numbers and a few tighter tracks – a really rich array of sounds that comes together beautifully in the hands of producer Gene Russell. Titles include a stellar version of Herbie Hancock's "Maiden Voyage", a great take on the Flip Nunez number "See You Later", and the tracks "Soul Daddy", "Be All Your Own", "Magic Wand Of Love", "You", and "Look At The Child".

Jazzanova did such a great job on Blue Note Trip Vol 4, the label decided to have them back for one more journey – and this time around, they've expanded the range of their groove even more than before! In addition to the classic jazz from Blue Note that Jazzanova spun the last time, this collection also features a fair bit of soul, funk, and more – including some unusual bits from left field, all woven into a wonderful tapestry of music! A few of the tracks are even of recent origin, but they sit very nicely next to the older numbers – all stepping around in a spacious approach to the groove that shows that even when they're not making their own music, Jazzanova have ears to help expand other folks' tunes as well! Titles include "Warning (part 1)" by David Axelrod, "Three Is The Magic Number" by Bob Dorough, "Trying Hard To Look Inside" by The Waters, "Dedicated" by Digable Planets, "It's Just The Way I Feel" by Gene Dunlap, "Dindi" by Janet Lawson, "State Of Mind" by Raul Midon, "Chant" by Robert Glasper, "Sanfona" by Egberto Gismonti, "Hey Hey" by Andrew Hill, "Save The Children" by Marlena Shaw, "Open The Door" by Betty Carter, "Hurt So Bad" by Grant Green, "Montara (Madlib rmx)" by Bobby Hutcherson, "This Is Not America (interlude)" by David Bowie & Pat Metheny, "Secret Rendezvous" by Rene & Angela, "Mt Airy Groove" by Pieces Of A Dream, "Light Of The Universe" by Sun, and "I Love You" by Taste Of Honey.

Connie's sounding a lot groovier here than in earlier years – thanks to a hip set of tunes from Burt Bacharach, arranged to perfection by the great Claus Ogerman! Claus really gets the right sort of groove down for the record – one that still keeps the airiness of Burt's writing in place, yet which also helps control the emotion of Connie's vocal style, which could otherwise dominate the tunes a bit too much and blow them to pieces. The combination is still a potentially toxic one, but it comes off nicely overall – especially on numbers that are slightly more from the fringes of the Bacharach cannon. Titles include "Trains And Boats And Planes", "Wanting Things", "Walk On By", "Make It Easy On Yourself", "Magic Moments/Blue On Blue", "I Say A Little Prayer", and "Promises Promises".

A real breakout album for Earl Klugh – the kind of record that got him on the a-list of fusion players for the rest of the 70s! The title here is especially well-chosen – as the tunes have a gently colorful feel that's never too slick, despite the tighter setting of the album – with light arrangements by Dave Grusin that still leave Earl plenty of space to work his subtle magic on the strings of the guitar. Titles include "Keep Your Eye On The Sparrow", "Summer Song", "Dance With Me", "Dr Macumba", "Long Ago & Far Away", and "Cabo Frio".

Augustus Pablo dubbing it up in the 70s – prime rhythms recorded at Treasure Isle with the legendary players one would expect – with that inimitable melodica style and echoey atmosphere to spare! Players include Drumbago, Lynn Taitt, Gladstone Anderson, Lester Sterling, Tommy McCook and Winston Wright – who laid down the rhythms at Duke Reid's iconic studio, while Mr Pablo does his thing over it all in his masterful style. Includes "Rockers Magic", "Pablo On The Scene", "Treasured Vision", "Smoke Signal", "Blue Time", "Shepherd's Delight", "Eastern Dub", "Bright Light Version" and more.

An incendiary collection of mid-to-late 60s material from The Attack – a proponent of the same UK scene that spawned The Creation and The Who – and influenced later firebrands like The Buzzcocks and other punk era greats! About Time includes the group's Decca singles, rare radio sessions, and previously unreleased records – some with a slight bluesy guitar tinge, but nearly all of them heavy and driving – way ahead of their time! Tracks include "Any More Than I Do", "Feel Like Flying", "Created by Clive", "Try It", "Go Your Way", "Strange House", "Freedom For You", "Hi Ho Silver Lining", "Magic In The Air (aka Watch With Mother)", and "We Don't Know". 15 tracks in all – and slightly different than the Cherry Red version.

Bessie Smith by LaVern Baker – a great blend of modes that really comes off great! Instead of sounding like a throwback blues album, the set comes across with a nice degree of contemporary class – thanks in part to a jazzy presentation that's a bit different than some of Baker's other music of the time – and which sports reeds from Sahib Shihab, tenor from Paul Quinichette, trumpet from Buck Clayton, and trombone from Jimmy Cleveland! Baker's voice is in fine form in this comfortable setting – and really works magic with tracks that include "After You've Gone", "Preaching The Blues", "Empty Bed Blues", "Back Water Blues", and "Gimme A Pigfoot".

A wonderfully trippy record from The Beatles – filled with songs that have become classics, even though the initial package was designed for a movie that was one heck of a mess! The set's incredibly strong throughout – filled with some of the new post-Peppers ideas explored by the group, yet also with some catchier numbers too – great sing-songy tracks that undoubtedly were a big mainstream influence to the world of late 60s psych! Titles include "Blue Jay Way", "The Fool On The Hill", "Flying", "Strawberry Fields Forever", "Penny Lane", and "Baby You're A Rich Man".

A wonderfully trippy record from The Beatles – filled with songs that have become classics, even though the initial package was designed for a movie that was one heck of a mess! The set's incredibly strong throughout – filled with some of the new post-Peppers ideas explored by the group, yet also with some catchier numbers too – great sing-songy tracks that undoubtedly were a big mainstream influence to the world of late 60s psych! Titles include "Blue Jay Way", "The Fool On The Hill", "Flying", "Strawberry Fields Forever", "Penny Lane", and "Baby You're A Rich Man".

3 lost vocal gems from 50s Paris! The set pulls together some rare eps on the Barclay and Fontana labels – all the picture of Left Bank hip! The first 8 tracks are by Harold Nicholas – singing in French and English with a swinging combo on tunes that include "Que Reste-t-il De Nos Amours?", "That Old Black Magic", "Teach Me Tonight", and "Smoke Gets In Your Eyes" – in a style that's similar to early work by Claude Nougaro, but perhaps a bit more mellow. The next 4 tracks feature June Richmond singing with a hip group arranged by Quincy Jones – and featuring work by Billy Byers, Roger Guerin, Kenny Clarke, and Henri Renaud. Tracks on that set include "Sleep", "Everybody's Doing It", and "I've Gotta Right To Sing The Blues". The last two tracks are rare gems by Andy Bey and his sisters Salome and Geraldine – performing in the style of their classic Andy & The Bey Sisters albums in the US, and recorded in 1959, quite early in their career! Their two tracks are wonderful – and feature the trio grooving soulfully on the tunes "Smooth Sailin" and "Scoubidou".

Way more than just a greatest hits album from Solomon Burke – as the set's the only album appearance of most of his key early singles – making the whole thing pack the same punch as his other full-length records for Atlantic! Plus, given that although Burke's music was great, it never got the same radio play as some of his bigger contemporaries – these aren't really hits, so much as seminal 60s soul tunes that went onto form the blueprint for countless other acts to come – both in the north and the south! Burke really draws on his deep gospel roots here – and knocks it out of the park with every number – killer material that we'd take any day against even a pile of his albums from later years. Every track's a winner – and titles include "Down In The Valley", "Cry To Me", "Just Out Of Reach", "Keep The Magic Working", "Looking For My Baby", "How Many Times", "Baby", and "Be Bop Grandma".

Tremendous horn interplay from the team of Al Cohn and Zoot Sims – and a record that may well be one of the best illustrations of their famous magic together in the 50s! The record's got a way of focusing energy, yet letting each player state themselves clearly and cleanly – almost a perfect small group variation of the larger jazz modes of a generation before – carried out here by Cohn and Sims with a great balance of tone and timing, modernism and swing! There's an excellent rhythm group on the date – Mose Allison on piano, Teddy Kotick on bass, and Nick Stabulus on drums – who almost bring in a slightly soulful undercurrent, which works especially well on Sims' solo moments. Tracks include "Two Funky People", "Just You Just Me", "The Wailing Boat", "You're A Lucky Guy", "Brandy & Beer", and "Chasing The Blues".

Tremendous horn interplay from the team of Al Cohn and Zoot Sims – and a record that may well be one of the best illustrations of their famous magic together in the 50s! The record's got a way of focusing energy, yet letting each player state themselves clearly and cleanly – almost a perfect small group variation of the larger jazz modes of a generation before – carried out here by Cohn and Sims with a great balance of tone and timing, modernism and swing! There's an excellent rhythm group on the date – Mose Allison on piano, Teddy Kotick on bass, and Nick Stabulus on drums – who almost bring in a slightly soulful undercurrent, which works especially well on Sims' solo moments. Tracks include "Two Funky People", "Just You Just Me", "The Wailing Boat", "You're A Lucky Guy", "Brandy & Beer", and "Chasing The Blues".

Early bossa magic from Deodato – cut years before his electric fusion albums in the 70s! This little gem shows Deodato to be quite the arranger – working in a small combo mode that mixes percussion, guitars, and horns with his own sweet piano and organ licks – grooving in a gentler, sparer sort of way than on his albums with the Os Catedraticos ensemble – and going for a really warm and wonderful sound! The album's got a feel that's different than a lot of other bossa albums from the time – at one level, a bit more sophisticated on the rhythms, but at another level, done with a style that's cleaner and more down to earth than the larger backings on other Brazilian sides. Tracks include "Samblues", "Nuvens", "Encanto Triste", "So Tinha De Ser Come Voce", and "Deus Brasileiro".

A great set of archival DJ Shadow instros from the early-to-mid 90s – from back when his primary means of production was the Akai MPC sampler – along with his endless arsenal of vinyl and limitless creative inspiration! This is formative, but essential material for fans of classic Shadow. It's a superior follow up to the 4 Track Era compilation, and a solid blueprint for his very best work to come! This is all previously unreleased, and it was produced from 1992 to 1996 – which is the period that beat heads and leftfield hip hop production historians outta know culminated in the release of the classic Endtroducing album. That said, this is not a set of Endtroducing leftovers – it's strong, original and legacy-building instrumental work from a crucial period – assembled by the man himself! 24 tracks on the CD. Includes "Intropy (Original Version)", "Vee In Detroit", "Alright", "Don't Try It", "Falling Up", "Aye", "Britty But Magic", "Atmospheric Disturbances", "Quickstep", "Freddi's Popcorn", "From The Old School", "Mystical With Solo", "Fast Rap Fanfare" and more.

Sweet 70s grooving from Brazilian singer Eva – a bit of soul, a bit of easy, all styled together nicely by orchestrations from the magical maestro Gaya! Gaya's work here is similar to his best backings for other artists in the Blue Brazil generation – a mix of American pop, post-bossa instrumentation, and in this case, some very slight electric touches – kind of hipping up the tunes a bit with some nice keyboards! The album's got a really nice version of "Moon River" that skips along at a nice pace – plus some great originals that offer a strong update to the sound of other Brazilian pop/post-bossa singers, like Doris Monteiro or Claudette Soares. Titles include "O Homem Do Tempo", "Vinte Leguas", "Na Baixa Do Sapateiro", "Olha Eu Aqui Oh Oh Oh", "Talisma", and Sonho Lindo".

Sweet and subtle genius from two of the most understated players in jazz – a really great little record that makes the best of the CTI sound without tricking up the players too much! Art and Jim play in a quintet with vibes by Mike Mainieri – in a style that eschews the electric funk of other CTI records, but has a nice sense of space, sound, and rhythm overall. Tracks are quite long, and the two leaders effortlessly craft notes that magically hang in space with an airily soulful feel. Titles include wonderfully reworked versions of "Whisper Not", "A Child Is Born", and "Pavane For A Dead Princess".

A funky keyboard treasure – a smoking organ and Fender Rhodes session that is one of the greatest Blue Note albums by Ronnie Foster! Foster plays organ on the set, next to electric piano by Ernie Hayes – and the pair stir up the sound wonderfully as they glide over grooves, soaring on twin keyboard lines that really make for a magical sound! A few tracks get hard and funky, and others have that superdope laidback feel that made all of Foster's early work so great – especially for the Quest-era sample crowd. The album's got some really great 70s soul covers, mixed with a few tasty originals – and titles include "Backstabbers", "Lisa's Love", "Superwoman", "Alone Again (Naturally)", "Sweet Revival", "Some Neck", "Inot", and "It's Just Gotta Be That Way".

Lovely 60s girl pop from Lesley Gore – the sweet, soaring, brightly sunny Magic Colors album – released in full for the first time ever – and with a huge assortment of bonus tracks, too! Magic Colors should have come out on Mercury in 1967, but it wasn't to be. Well, better late than never, right? It's fluffy, but fun – with sweet vocals by Leslie and with arrangements by Bob Crewe, Jack Nitzsche, Gamble & Huff, Thom Bell and others. The album tracks include "It's A Happening World", "Magic Colors", "Brink Of Disaster", "I'm Fallin' Down", "To Sir With Love" and more. Includes a whopping 15 bonus singles: "Summer And Sandy", "Small Talk", "I Can't Make It Without You", "Summer Symphony", "One By One", "Wedding Bell Blues" and more. 25 tracks in all!

Killer work from Chico Hamilton – and a key batch of sides recorded between his 50s quintet sessions for Pacific Jazz and his later modal magic at Impulse! The work here was originally done for the Navy Swings series of radio shows – and features a Chico with the group that included Charles Lloyd on flute, tenor, and alto sax, Gabor Szabo on guitar, George Bohannon on trombone, and Albert Stinson on bass. The lack of piano and presence of trombone makes for a really unique feel to the group – one that's almost got extra bass at moments, thanks to the work of Bohannon – and which allows for some especially creative flourishes from Lloyd on sax – clearly opening up here, even at an early date. Tracks are short, but extremely creative throughout – and the 16 track set is filled with great originals by Lloyd that include "Vulture", "A Rose For Booker", "Transfusion", "Tales", "CL Blues", "One For Joan", "Homeward", and "Sun Yen Sen".

Although Lionel Hampton's always best remembered for his storming swing days in the early 40s, we love him on records like this one – an easy open-ended straight jazz session from the 50s, with lots of room for soloing in a much more jazz-oriented vein than you'll hear on Hamp's early records. The group's a small all-star combo that features Roy Brown, Buddy Rich, and Oscar Peterson next to Hamp's vibes – and the set list includes long takes of "Midnight Sun", "That Old Black Magic", and "Blues For Norman".

A great little solo set from Gene Harris – and a perfect example of that magical time after he'd left the Three Sounds, but hadn't yet hit the more standard styles of later years – a period when Harris was really experimenting with a wide range of keyboards and sounds! The set has arranger Jerry Peters weighing in – bringing some of his own quirky touches into play with Gene's wonderful work on keyboards – which includes plenty of Fender Rhodes and moog, as well as other keys of the time too. Funky titles include "Koko & Lee Rose", "Funky Business", "Rushin Roulette", "HRD (Boogie)", and "Gettin Down Country" – and the set's got a great mellow moody soul track called "Prayer 76", with a bit of a Roy Ayers feel.

The Jimi Hendrix Experience at their most classic! Tripped out bluesy cosmic rock ferocity and great songs, too – firing on all cylinders here on the middle record of their ultra epic three LP series of unimpeachable greatness. Titles include "EXP", "Up From The Skies", "Spanish Castle Magic", "Castles Made Of Sand", "She's So Fine", "One Rainy Wish", "Bold As Love" and more.

The Jimi Hendrix Experience at their most classic! Tripped out bluesy cosmic rock ferocity and great songs, too – firing on all cylinders here on the middle record of their ultra epic three LP series of unimpeachable greatness. Titles include "EXP", "Up From The Skies", "Spanish Castle Magic", "Castles Made Of Sand", "She's So Fine", "One Rainy Wish", "Bold As Love" and more.

One of the greatest albums ever from the mighty Al Hibbler – a record that's filled with subtle power and deeper soul – and which really has Al working at the height of his vocal talents! Although Hibbler recorded often before this in the 50s, this session seems to have a specially magic feel – the kind of album in which all elements gel together perfectly – almost to Al's career what Two Steps From The Blues was to Bobby Bland. And like that other classic, there's a mix here of jazz and blues that's really unique – instantly timeless, and still quite powerful today. Titles include "Tell Me", "Travelin Light", "Dedicated To You", "You Will Be Mine", "Song Of The Wanderer", "If I Knew You Were There", and "The Blues Came Falling Down".

A great early album from Japanese pianist Takehiro Honda – one of the key jazz talents of Japan in the 70s, and a wonderfully lyrical keyboardist with a style that's right up there with the best American players of the 60s. Unlike later albums, which have Honda grooving with a bit more of an electric vibe, this one's a straight acoustic session – with Honda magically soloing out on relaxed versions of standards like "Round Midnight", "When Sunny Gets Blue", "Secret Love", and "Softly, As In A Morning Sunrise". The album's arranged with that wonderful spacey feel you get on some of these classic Japanese trio sets from the 70s – with impeccable sound throughout!

Vibes and orchestrations – a combination that makes for one of the coolest Bobby Hutcherson albums of the 70s – a really magical set that expands the sound of Bobby's work in ways we wouldn't have expected! The style is similar to that used with Grant Green and Lou Donaldson at the time on Blue Note – a style that's clearly trying for the more sophisticated sounds of CTI, and which beautifully balances the modes of presentation – so that there's still plenty of soulful moments and slyly funky bits alongside the strings and woodwinds in the orchestrations – proof that a record like this can be really brilliant if scored properly! Some moments get a bit modern and dark – almost in a William S Fischer kind of way – and titles include the great track "Rain Every Thursday", which begins with an excellent break – plus "The Folks Who Live On The Hill", "Sophisticated Ladies", "When You're Near", "Shirl", and "Lush Life".

A brilliant collaboration between vibist Bobby Hutcherson and reedman Harold Land – the first Blue Note album to feature the talents of the pair together, and a stone classic from the very first note! Hutcherson had already been making big waves for the label with his earlier sides – some avant, some soulful, all great – but adding Land's magical tenor and flute to the mix really opens his sound up a lot, and unlocks a lyrical quality in Bobby's music that really points the way to his flourishing years in the 70s! Yet all is not totally sweet – as both Land and Hutcherson maintain an edginess on the record that makes it more of a progression from the "new thing" years than a break – and pianist Chick Corea is on hand, moving through a very similar path in his own music too. Other players include Reggie Johnson on bass and Joe Chambers on drums – and the tracks are nice and long, with that free-wheeling soulful sound that Land seemed to nicely bring to Hutcherson's playing. Titles include "Herzog", "Same Shame", "Maxtrix", "Total Eclipse", and "Pompeian".

One of the greatest small group sessions of the 50s by tenorist Illinois Jacquet – and a record that really lets you hear his development as a musician at the time! Jacquet was always a standout on his instrument – especially in some of the larger group recordings that won him acclaim in the 40s. Yet the player heard here is much more mature, and even more confident – yet in ways that actually have him doing less – really finding his sense of timing and tone, and moving out magically in a hip Verve combo with Roy Eldridge on trumpet, Jimmy Jones on piano, Herb Ellis on guitar, Ray Brown on bass, and Jo Jones on drums. Titles include "Las Vegas Blues", "Have You Met Miss Jones", "Lullaby Of The Leaves", and "Achtung".

Magical early work from Ahmad Jamal – a scintillating blend of piano, percussion, and bass – with a sound that was incredibly fresh at the time, and which still sounds pretty much so to our ears! The album crackles with imagination and rhythm – really hitting on all burners without burning itself out – and showing that even in these early days, Jamal's approach was one that could be as striking as it was mellow. Bass is by the incredible Israel Crosby, and drums are by Vernell Fournier – and tracks include "Taboo", "The Girl Next Door", "Should I", "Secret Love", and "Squatty Roo".

Not the Hello Dolly album you might guess from the title, but instead a wonderfully groovy batch of tracks from pianist Pete Jolly – an album done with great larger arrangements from Dick Hazard and Dick Grove, and a tight vibe that makes the set one of Pete's grooviest albums ever! Pete's incredibly fluid on the keys of the piano – hitting with a hard punch on the left hand to really underscore the snapping rhythms of the tunes, but flying free on the right with these lyrical lines that are simply beautiful – really on a par with the best 60s work from Vince Guaraldi, and the kind of record that should have more folks talking about Jolly's genius. The core group features Howard Roberts on guitar, Chuck Berghofer on bass, and Nick Martinez on drums – and Jolly's one hell of a pianist in this sort of setting – and it always seems that when he's got a big group behind him, he really lets loose with some great solos, freed from the rhythm of the tracks so that he can skate over the top of the songs in a magical way! Tracks include "Hard Day's Night", "People", "Moment Of Truth", "First Of May", "Blues Two Ways", and "The Grass Is Greener".

Not the Hello Dolly album you might guess from the title, but instead a wonderfully groovy batch of tracks from pianist Pete Jolly – an album done with great larger arrangements from Dick Hazard and Dick Grove, and a tight vibe that makes the set one of Pete's grooviest albums ever! Pete's incredibly fluid on the keys of the piano – hitting with a hard punch on the left hand to really underscore the snapping rhythms of the tunes, but flying free on the right with these lyrical lines that are simply beautiful – really on a par with the best 60s work from Vince Guaraldi, and the kind of record that should have more folks talking about Jolly's genius. The core group features Howard Roberts on guitar, Chuck Berghofer on bass, and Nick Martinez on drums – and Jolly's one hell of a pianist in this sort of setting – and it always seems that when he's got a big group behind him, he really lets loose with some great solos, freed from the rhythm of the tracks so that he can skate over the top of the songs in a magical way! Tracks include "Hard Day's Night", "People", "Moment Of Truth", "First Of May", "Blues Two Ways", and "The Grass Is Greener".

Sure, they were one hit wonders – but oh what a hit! We totally love the title track "Dancing In The Moonlight" – a magical number that begins with this excellent electric piano riff, then rolls into some totally captivating blue eyed soul lyrics that really send the whole thing over the top! Raspy lyrics, hippie soul, and a wonderful tune that's always tops in our book! The rest of the album's not bad either – and has a similar soulful feel.

A lost treasure – one of the few albums ever cut by this fantastic Latin Jazz ensemble, an ultra-hip group led by congolero Juan Amalbert, with a modal vibes/piano groove that's simply wonderful! The combo were one of the hippest early 60s Latin acts – and took equal part inspiration from the New York Latin and the east coast soul jazz set, forging a groove that was different than many other Latin groups – with a free blend of styles that created a magically dancing sound. A few tracks on the album feature some guest alto work by Bobby Capers – and titles include "Ain't Dat Right", "Blue Moon", "April Afternoon", "Polly's Delight", and a great cover of "Summertime".

A killer set of percussion-heavy Latin jazz tracks – one that brings together two different generations of Latin Jazz, working here in a stripped-down groove that's totally wonderful! The album's a real stunner from the legendary late 70s run of the Latin Percussion label – the imprint started to showcase the kinds of music that best fit its wide line of instruments – played here by an amazing lineup that includes Tito Puente on timbales and vibes, Patato Valdez on congas and shekere, Eddie Martinez on piano and Fender Rhodes, Johnny Rodriguez Jr on bongo and guiro, Steve Berrios on drums, and Rene Lopez on trumpet. Rhythms are at the core of each tune – and many numbers start out in the spare style of the label's drum solo records, then warm things up with a bit of added instrumentation. There's just a bit of vocals at a few points – sung by Nancy O'Neill & Jeanette Rodriguez – and titles include "Bernie's Tune", "Latin Funk", "Tito & Patato", "The Opener", "Afro Mood", "Talking Skins", and "Martinez Blues".

Amazing work from the New York underground of the late 60s – an album that's as magical as its title implies! Latin definitely goes psychedelic on this one – burning through a cloud of smoke with a brilliant blend of soul, jazz, and the hipper rhythms of the Spanish Harlem scene at the time. Many lyrics are in English, and the groove is a punchy blend of Latin Soul, boogaloo, and shing-a-ling styles – plus a storming descarga number to cap off the end of the set! Titles include "Descarga Lebron", "Mary Mary", "My Cool Boogaloo", "Mala Suerte", "Mi Mambo", "Tall Tale", and an original tune called "Summertime Blues" that's very different than the more famous hit!

Rough-edged blues from the west side of Chicago – a stone classic from the mighty Magic Sam – a player who was taken from us all too soon! On the west side, they mix plenty of soul in with their blues – and you can definitely hear that on this stone smoker – a record that has roots in the same scene as Syl Johnson, whose modes definitely creep into the groove at times! Sam's combo here is mighty nice – with Eddie Shaw on tenor, Lafayette Leake on piano, and Mighty Joe Young on guitar – and titles include "Stop You're Hurting Me", "Easy Baby", "What Have I Done Wrong", "It's All Your Fault", "You Belong To Me", "You Don't Love Me Baby", and "San Jose".

A classic bit of indie blues from the Chicago scene – featuring some great players from the second generation after Chess Records stopped picking up the younger local talents! Magic Sam leads the group on vocals and guitar, and he's working here with Mighty Joe Young on guitar, Odie Payne on drums, and Mack Thompson on bass – all to craft a set of rough and ready blues tunes that would have played well on both sides of the tracks at the time. Titles include "That's All I Need", "All Of Your Love", "I Don't Want No Woman", "Mama Mama Talk To Your Daughter", and "Lookin Good", a nice instrumental!

Late work by tenor giant Hank Mobley, and one of the rarest Blue Note albums from the late 60's! The session's a great one – recorded in Paris, with a swinging sextet that includes Philly Joe Jones, Dizzy Reece (!), and Slide Hampton – all coming together magically with Mobley to craft a set of long tracks that have some impeccable grooves and a really hard edge. The set's from a rare period when Blue Note was shining at the end of the 60s with an offbeat genius – and is a record that we'd rank right up there with The Phantom by Duke Pearson and Slow Drag by Donald Byrd, both excellent examples of the style we're talking about. Mobley is incredible, and wrote all the tunes on the set – with titles that include "The Flip", "Feelin' Folksy", and "Snappin' Out". The last truly brilliant album from Mobley!

One of our favorite Lee Morgan albums – and one of his least known! Recorded in the crucial last 5 years of his life, this album is a sparkling mix of hard bop, soul jazz, and slight bits of modernism – that magical mix that Lee was hitting as he reached farther and farther with his music – an amazing legacy in jazz that has us loving every Morgan session from 1965 onward! Lee's playing in very comfortable territory, with a group that includes Bennie Maupin on tenor, Cedar Walton on piano, Reggie Workman on bass, and Billy Higgins on drums – but that doesn't mean that the proceedings are relaxed at all, because the interplay between the players is flawless, and they use their familiarity as a great springboard to soar off into rich new territory. Lee wrote all the tunes on the record – like "Caramba", "Suicide City", and "Soulita". An excellent record throughout, and one that we'd never part with!

An excellent compilation of some of Morricone's best mellow tunes from the 70s – a record that brings together such haunting themes as "Chi Mai", "Verushka", "Poesia Di Una Donna", and "Ninna Nanna In Blue" – all of which have that magical floating feel that makes his 70s work so great – isolated instruments and wordless vocals coming together in otherworldly delight! The flipside also features the extended (18 minutes) "Les Deux Saisons De La Vie" – a really beautiful longer suite with great orchestrations and vocals.

A treasure trove of rare funk – a massive package that not only includes the legendary Inspiration Information album by Shuggie Otis, but which also adds in four bonus tracks to that classic – plus a full other album of unreleased vintage work! Shuggie Otis is the son of Johnny Otis – the LA R&B maestro who was moving heavily into funk at the end of the 60s – and he has this tripped out, super-dope guitar style that he played to strong effect on Johnny's albums of the late 60s and early 70s, and on his first two solo albums, which were kind of bluesy in tone. But for Inspiration Information, he shocked the world by moving into a stripped-down mode that pairs his guitar with spare drum machine rhythms, flanged-out deeply soulful vocals, and one of the most laidback conceptions of funk you'll ever hear. The album's a landmark – one of those gems that's unlike anything else you can think of, but which will redefine your concept of what you want in a record for years to come. Every track's a winner – and the whole thing's a perfectly unified batch of tunes that includes instant classics like "Inspiration Information", "Island Letter", "Aht Uh Mi Hed", "XL 30", and "Rainy Day" – plus unreleased bonus tracks "Miss Pretty", "Magic", "Things We Like To Do", and "Castle Top Jam". Then – as if that's not enough – the set features incredible rare material from Shuggie – 14 more tracks as the Wings Of Love album, mostly recorded in the late 70s post-Inspiration years, plus a few tracks from later vintage too! The sound is great – the kind of extra bits we've been wanting to hear from Otis for many many years – finally unleashed from the vaults, and showing a style that really echoes the groove that others had copied from him – like The Brothers Johnson and some later contemporaries. There's plenty of great lost nuggets on Wings – and titles include "Trying To Get Close To You", "Give Me Something Good", "Wings Of Love", "Give Me A Chance", "Fireball Of Love", "Fawn", "If You'd Be Mine", "Black Belt Sheriff", and "Destination You".