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Massive Caribbean funk from the 70s – a killer collection of grooves from the legendary Blue Rhythm Combo! The sound here is way more US-funky than you might expect – as BRC really drew heavily from American acts of the time, especially on the rhythmic tip – which is always mighty heavy on the basslines, and filled with the kind of snapping drums that have made the group a favorite with crate diggers over the years! In fact, we'd dare say that most of these tracks feel more like east coast indie funk from the classic years – with only a hint of island elements to show the group's Barbados origins – modes that you might find in the grooves of a group like Beginning Of The End at the same time. This 7" package is ultra-cool – 6 of the best BRC tracks in a slipcover with full notes – titles that include "I'm Too Old", "BRC's Groove", "Take The Funky Feeling", "Sister Jeanie", and "Get Down".

A pair of records from the legendary Art Farmer & Benny Golson Jazztet! Here & Now is one of the most magical records ever from this legendary group – a set that swings as hard and soulfully as some of their previous sessions, yet also has a sharper, more modern vibe as well! Of course, this latter aspect is no surprise – once you realize that a young Grachan Moncur is on trombone – adding his hip horn to the wonderful frontline of Benny Golson on tenor and Art Farmer on trumpet and flugelhorn. And given that the rhythm group also features Harold Mabern on piano, you can bet there's a freshness here that can't be beat – a sound and energy that's kept this one at the top of our stack for many many years. Mabern and Moncur contribute two of the best tracks – "Richie's Dilemma" and "Sonny's Back" – and other titles include "Whisper Not", "Tonk", "Rue Prevail", and "Ruby My Dear". Another Git Together is a rare later date, recorded after their more famous albums for Chess! The lineup here is a bit unusual – in that a young Grachan Moncur III is in the combo on trombone – really adding some deep, soulful tones to the music – in ways that are very different than his famous Blue Note performances – but which really shape the sound of the music here wonderfully! Harold Mabern's on piano – again bringing in a different feel to this record for the group, with some lyrical undercurrents that are beautiful – and the rest of the lineup features Roy McCurdy on drums and Herb Lewis on bass – in addition to the sublime trumpet of Art Farmer and tenor of Benny Golson. Titles include one of the best versions of "Along Came Betty" that we've ever heard – plus the tracks "Domino", "Another Git Together", "Reggie", and "Space Station.

An amazing album by the great guitarist Eddie Fisher – and completely unlike his later funk records! Eddie plays stripped down jazz with a small combo that includes organ by Robert Selby, bass by Paul Jackson, and some rhythm guitar by Phil Westmoreland – and the twin-guitar approach creates this super-dope style that's light years ahead of its time, with a sophistication that points the way to later mid 70s work on labels like CTI and Kudu! Eddie's guitar work is an incredible exercise in spareness and soulfulness – best heard on the fantastic "Third Cup", a long drawn-out jazz stepper that's got to be heard to be believed. The cut's been a favorite on the Chicago jazz stepper's scene for years – and it alone is worth the price of the album. However, the record features some other wonderful stuff – like a sublime version of "Shadow Of Your Smile" that runs for a bubbling 12 minutes – plus the originals "Shut Up", "Scorched Earth", and "Two By Two".

A fantastic mid 60s album from Grant Green – but one that never got its due originally, because it was unreleased at the time – and didn't come out until a Japanese version in the late 70s! Despite that oddly long gap, Matador is truly one Grant's best ever records – a really inventive session that goes way past his standard soul jazz roots – and which really shows the guitarist stretching out towards future styles of jazz! The session's a spare quartet date – with Green's guitar playing modal grooves over rhythm by by his incredible combo – with Bob Cranshaw on bass, Elvin Jones on drums and the incomparable McCoy Tyner on piano – blocking out bold changes that really drive the record strongly. Cuts are long, and there's a freewheeling quality to the material that's only ever matched by some of the Grant Green/Larry Young sessions from the same time – especially the Street Of Dreams Record. Titles include "Matador", "Bedouin", Green Jeans", and a killer version of "My Favorite Things", done in a very Coltrane-esque style.

A fantastic mid 60s album from Grant Green – but one that never got its due originally, because it was unreleased at the time – and didn't come out until a Japanese version in the late 70s! Despite that oddly long gap, Matador is truly one Grant's best ever records – a really inventive session that goes way past his standard soul jazz roots – and which really shows the guitarist stretching out towards future styles of jazz! The session's a spare quartet date – with Green's guitar playing modal grooves over rhythm by by his incredible combo – with Bob Cranshaw on bass, Elvin Jones on drums and the incomparable McCoy Tyner on piano – blocking out bold changes that really drive the record strongly. Cuts are long, and there's a freewheeling quality to the material that's only ever matched by some of the Grant Green/Larry Young sessions from the same time – especially the Street Of Dreams Record. Titles include "Matador", "Bedouin", Green Jeans", and a killer version of "My Favorite Things", done in a very Coltrane-esque style.

The return of The Heavy – the UK funky soul and rock combo who put out a couple of catchy records before unexpectedly delivering an advert/sporting event smash hit with their "How You Like Me Know" single! The Heavy have been at it for a few albums now, serving up a punchier, brasher brand of funk-rock-soul than most of their contemporaries – and their still doing just that! They're as eclectic as ever, too, with slick modern takes on old school rhythm & blue along with the kind of anthemic funk pop that made "How You Like Me Know" so inescapable. Includes "Can't Play Dead", "Curse Me Good", "The Big Bad Wolf", "Be Mine", "Same Ol'", "Just My Luck", "Don't Say Nothing", "Blood Dirt Love Stop", "The Lonesome Road" and more.

The return of The Heavy – the UK funky soul and rock combo who put out a couple of catchy records before unexpectedly delivering an advert/sporting event smash hit with their "How You Like Me Know" single! The Heavy have been at it for a few albums now, serving up a punchier, brasher brand of funk-rock-soul than most of their contemporaries – and their still doing just that! They're as eclectic as ever, too, with slick modern takes on old school rhythm & blue along with the kind of anthemic funk pop that made "How You Like Me Know" so inescapable. Includes "Can't Play Dead", "Curse Me Good", "The Big Bad Wolf", "Be Mine", "Same Ol'", "Just My Luck", "Don't Say Nothing", "Blood Dirt Love Stop", "The Lonesome Road" and more. Vinyl version includes the bonus instrumentals LP!

Easily the most hard-hitting of Blue Note's 2LP Lighthouse Live series from the early 70s – and a record that really lets Elvin Jones and his group stretch out and play! The setting is a perfect one for Jones – given the boundless energy already present on his studio sessions for Blue Note at the time – really fierce work that goes beyond even his classic Coltrane performances – pushing the limits in a sweet blend of rhythm and reeds! The group here is Elvin's razor-edge combo from the early 70s – the one that features Gene Perla on fat funky bass, and both Steve Grossman and Dave Liebman playing choppy reeds along with the grooves – really amazing hornmen at this point in their career, blowing here with interplay that's simply fantastic! Jones' leadership both draws from his years with Coltrane, yet also takes the music to key new levels – increasing the energy without blowing the top off, and creating a vivid new groove that so many others would try to cop later in the 70s – but never do this well. Titles include "Sambra", "The Children, Save The Children", "My Ship", "New Breed", "Sweet Mama", and a version of Donald Byrd's "Fancy Free". And hey, Rick Holmes is the announcer!

Easily the most hard-hitting of Blue Note's 2LP Lighthouse Live series from the early 70s – and a record that really lets Elvin Jones and his group stretch out and play! The setting is a perfect one for Jones – given the boundless energy already present on his studio sessions for Blue Note at the time – really fierce work that goes beyond even his classic Coltrane performances – pushing the limits in a sweet blend of rhythm and reeds! The group here is Elvin's razor-edge combo from the early 70s – the one that features Gene Perla on fat funky bass, and both Steve Grossman and Dave Liebman playing choppy reeds along with the grooves – really amazing hornmen at this point in their career, blowing here with interplay that's simply fantastic! Jones' leadership both draws from his years with Coltrane, yet also takes the music to key new levels – increasing the energy without blowing the top off, and creating a vivid new groove that so many others would try to cop later in the 70s – but never do this well. Titles on this first volume include "Fancy Free", "Sambra", and "The Children Save The Children".

This is the kind of reissue we like to see! Funky pianist Gene Harris had spent most of the 60s playing in a standard trio format with his group The Three Sounds – but by the time of this live set, the group was evolving into a monster jazz funk combo, and Harris was getting beautifully heavy handed in his approach to rhythm. This live set was recorded by Blue Note in 1970, but for some reason it was left unreleased until a few years ago – a decision that's really a mystery when you hear how funky some of the tracks are! Black Jazz bassist Henry Franklin is part of Harris' combo at the time, and the drummer is the nice tight Carl Burnett. The set includes some excellent versions of Monk Higgins tracks like "Funky Pullett" and "Sittin' Duck" – and Higgins also produced the whole thing for Blue Note. Very nice, and another great session we're glad was dug out of the vaults!

A great album from Willis Jackson – a real sleeper, and with a very groovy feel! Willis smokes with an organ combo that has Butch Cornell at the keys, and which also features Vince Corrao on guitar and Franklyn Robinson on trumpet. The tracks are a mix of originals and Beatles covers (believe it or not!), and Willis is in that playful mid-60s mode, where he's working with so much profiency on the tenor that he can take some groovy chances on the solos. The rhythm's got a great Cadet soul jazz vibe to it – and the album fits nicely with some of Jack McDuff's work on the same label. Titles include "Yesterday", "Hard Day's Night", "Goose Pimples", and "Doin' The Mudcat".

Easily the most hard-hitting of Blue Note's 2LP Lighthouse Live series from the early 70s – and a record that really lets Elvin Jones and his group stretch out and play! The setting is a perfect one for Jones – given the boundless energy already present on his studio sessions for Blue Note at the time – really fierce work that goes beyond even his classic Coltrane performances – pushing the limits in a sweet blend of rhythm and reeds! The group here is Elvin's razor-edge combo from the early 70s – the one that features Gene Perla on fat funky bass, and both Steve Grossman and Dave Liebman playing choppy reeds along with the grooves – really amazing hornmen at this point in their career, blowing here with interplay that's simply fantastic! Jones' leadership both draws from his years with Coltrane, yet also takes the music to key new levels – increasing the energy without blowing the top off, and creating a vivid new groove that so many others would try to cop later in the 70s – but never do this well. Titles on this second volume include "New Breed", "My Ship", and "Sweet Mama".

Tropical funk, hazy rhythms, and simmering Afro funk & soul from the Caribbean – a killer collection put together by Hugo Mendez– fantastic stuff from Barbados, St Lucia, Jamaica, Trinidad, St Vincent and beyond! Tropical Funk Experience does a great job of pulling together the a diverse set of funky sounds – with lots of funk that carries both JBs and Afro funk styles, harder grooving and more tripped out sounds, and reggae – with tropical versions of funky standards, and even more numbers that are totally fresh to our ears. Titles include "Spouge Explosion", "Let Me Get Stoned" by Boo & The Tru Tones, "Take The Funky Feeling" by Blue Rhythm Combo, "Cissy Strut" De Boys En Dem, "Fugitive Dub" by Skatalites, "Basa Bongo" by Yoruba Singers, "Smokey Feeling" by The Organization"," New Bag" by The Exciters, "Jive Samba" by Llans Thelwell And The Celestials and more.

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

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

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

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

A rare later album from 50s guitar giant Mickey Baker – recorded overseas, and with a different vibe than his legendary R&B work – including some nice funky moments too! The album's not really jazz, and it's hardly rock at all – and instead is more of a bluesy effort with slight undercurrents of funk – some modern touches provided by the tight rhythms of bassist Alex Sanders and his combo – who provide a nice backdrop for Baker's sharp lines on guitar! Mickey's picked up a few modern tones over the years, but still has plenty of grit in his grooves – and titles include "Pop Off", "Prelude", "Ouagadougou", "Sophie", "Wag Your Tail", "Shadadabah", and "Alexander's Funk Time".

The earliest work we've ever heard from tenorist Nat Birchall – a player who's really blown our minds with his recent albums from the UK! This set's from the late 90s, and already has Birchall really finding his voice – a freewheeling approach to tenor that's unlike most of his contemporaries, and definitely steeped in strong influences from the spiritual jazz generation! Yet while recent records have Nat in a more meditative mode, the sound here is almost more explosive – with echoes of 60s avant in the mix, amidst some bold rhythmic impulses from the group – almost with a quality that reminds us of some of those brilliant moments when an American soloist would combine with a European combo in the heady 60s scene. In addition to Birchall's tenor, the group also features John Hulme on trumpet and flugelhorn, Richard Wetherall on piano, Dave Tompkins on bass, and Danny Ward on drums – and titles include "Redemption", "Helix Nebula", "Unity Blues", "Passion Dance", and "Ism Schism".

A lost treasure – never-issued material from the legendary Blue Notes combo – and a set that really helps fill some space in their all-too-small recorded catalog! The set captures the group at the end of the 70s, working in their most openly-creative mode – a style that partly shows their strong roots in the South African jazz scene of the 60s, but which also really opens up with some of the freer modes of the following decade – hitting a mix of modes that's not unlike some of the AACM at their best, although often with a lot more intensity, too! The group at this point is a quartet – with Chris McGregor on piano, Johnny Dyani on bass, Louis Moholo on drums, and Dudu Pukwana on some especially amazing alto sax – blown with such righteous force, we might well say that his instrument is center stage on the record – were it not for the wonderfully complex rhythms from the other three group members too! Tracks are long, and filled with righteous soul – and titles inlcude "Ithi Gui", "Mange", "Lonta Uyagula", "Lakutshonga Ilanga", "The Bride", and "Funk Dem Dudu".

A classic set that goes "slam" from the very first note – and which helped to set the pace for countless ensemble funk acts to come! Brass Construction had a wonderful sound that was the best-realized version of the east coast indie club combos of the mid 70s – funky at the bottom, but polished at the top, in a style that was equally appreciated by fans of disco and more classic funky soul! The "brass" in their title was certainly strongly supported – as the group used a brace of horns on the top of the mix, smoothly gliding over the choppier rhythms at the bottom. And while there's certainly some vocals on the set, they often take second stage to the tight instrumentation of the group! The set includes the classic "Movin" – virtually a blueprint for mainstream funk at the time – plus the tracks "Changin", "Love", "Talkin", "Dance", and "Peekin".

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

Nice funky 70s instrumentals, composed by Alan Tew, and performed by the group Bullet – a hip electric combo with a tight sound library feel. The overall style reminds us of Lalo Schifrin or Quincy Jones cop show work from the early 70s – with some tasty keyboards, plenty of riffing, and tight fast rhythmic tunes. The original's rare as hen's teeth, and the record is some of Tew's finest Brit easy work from the time. Titles include "Contract Man", "Killer HIll", "The Heist", "GBH", "Blue Panther", "The Spic", "Funky Bear", and "The Peterman".

One of the first great moments from this legendary 60s ensemble – a brilliant pairing of American and European players – heard here in one of their pre-MPS sessions! Group founder Gigi Campi is well-placed at the helm – as both producer and supervisor – giving the ensemble the vital energy that made them different from so many other groups of previous years – a quality that almost has them hitting like a small combo, especially on the breakout solo moments on the set. Players include Benny Bailey and Idrees Sulieman on trumpets, Sahib Shihab and Derek Humble on reeds, and Fats Sadi on vibes – not to mention core rhythms from Francy Boland on piano, Jimmy Woode on bass, and Kenny Clarke on drums. The group's inventive style of writing and arranging is already in place – and titles include "Long Note Blues", "Speedy Reeds", "Sonor", and "Om Mani Padme Hum".

Classic stuff from the man who brought the Exotica sound to the mainstream! We hardly need to tell you about these albums – as they're virtually the blueprint for countless exotica albums to come, a mixture of 50s easy listening, strange tropical rhythms, and odd little sound effects! Denny's playing with his original combo of Arthur Lyman, Augie Colon, and John Cramer – in a mixture of piano, percussion, vibes, and lots of bird calls! Tracks include "Stone God", "Island Of Dreams", "Escales", "When First I Love", "Bacoa", "Ebb Tide", "Rush Hour In Hong Kong", "Singing Bamboos", "Jungle Flower", "Busy Port", "Lotus Land", and his hit recording of "Quiet Village".

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".

An obscure bit of soulful rock from the early 70s – produced and arranged by Chi-soul maestro Willie Henderson – whose efforts really give the record a groove! At some level, Even Stevens are sort of a jazz/rock combo – with traces of Chicago or Blood Sweat & Tears – mixing blue-eyed vocals with a nice sense of rhythms and horn-heavy arrangements over the top. But there's also a more stripped-down sound to their music too – more of a small combo mode, especially in the way that congas and basslines really take over some of the tunes – and push more of a Henderson funky agenda. Titles include Willie's original "Music I Can Feel" – plus "Three Is A Crowd", "French Toast", "MLG", "She's A Friend", "Do What You Got To Do", and "The Woman She Say", which has some great funky flute!

One of the best records ever cut by funky sax man Joe Farrell! The album's got a stripped down, choppy groove – virtually the blueprint for later 70s funk of this type, and played perfectly by Farrell and a very hip quartet lineup! Players include Joe on soprano and tenor sax, Herbie Hancock on keyboards, Stanley Clarke on bass, and Jack DeJohnette on drums – playing with a very angular sense of rhythm that really dives the record! The record's got a tight combo sound that's far more energetic than most CTI jazz from the time – and titles include the great cut "Great Gorge", which has a tight modal sample groove, plus "Times Lie", "Bass Folk Song", and "Moon Germs".

A killer set of R&B-loving rock & roll instros from Peter Jay & The Jaywalkers! The Jaywalkers arrived at the tail end of the greatest wave of popularity for this kinda instrumental combo – but there unique combo! Rumbing rhythms, searing guitars and honking horns – familiar tools of the trade – but they build their own sound out of it! There too rockin' to really flaunt the R&B, but they're also more enamored of rhythm & blues than the surf or twangier school. Cool stuff outta the Joe Meek scene. Includes "Can-Can '62", "Redskins", "Totem Pole", "Poet And Peasant", "Kansas City", "If You Love Me", "You Girl", "Where Did Our Love Go", "Tonight You're Gonna Fall In Love", "What's Eas For Two Is So Hard For One", "Before The Beginning", "Solitaire" and more. 18 in all.

A landmark album of funky genius – and one of the first times a batch of funky 45s had ever been so tightly sewn into a full LP! By the time of this album's release, Kool & The Gang were already underground legends – cutting it up in small clubs around the east and midwest, and working hard to push their excellent early singles on the De-Lite label – the kind of indie funky 45s that went on to shape the sound of a generation to come! This album brings together a number of those singles – really great little tracks that you can't really ever find on wax, and which have the group's perfect blend of bass/drum rhythms, choppy guitar, and hard-blaring horns – a massive groove that's still tighter here than any of the countless combos the record went onto inspire. The LP's a non-stop jam all the way through, with funk so pure it could be considered the blueprint for a generation – and titles include "Give It Up", "Raw Hamburger", "Kool's Back Again", "Breeze & Soul", "Sea of Tranquility", and "Kool & The Gang".

The rare early 70s record from Lagger Blues Machine – a Belgian combo with some hazy, psychedelic blues in the guitars – but the group's actually more of a psych-prog machine! There's a heavy atmosphere on par with some of the much more internationally-revered groups of the era – from Soft Machine to King Crimson – but Lagger Blues Machine stands up pretty strongly with the best of them! They deal in both fuzzed-out riffs and nimble guitar solos, some eerily melodic flute, organ and lumbering rhythms – with slow-building grooves and unpredictable changes. Great stuff! Includes "Symphonie 1 Ere Partie", "Darknessly", "Tanit", "Symphonie 2 Eme Partie" and "Born To Be Alone On A White Desert Island".

Hard soulful grooves from an obscure little combo – that of west coast pianist Johnny Louis, working here on a set that's clearly designed to challenge the 60s fame of the Ramsey Louis Trio! The record's got a very similar approach – highly rhythmic, very soulful piano lines that are heavy on the left hand – which fits perfectly with the album's jumping grooves – handled by a bassist and drummer who are definitely not as fluid as Eldee Young and Redd Holt – but who more than make up for that fact with a lot of drive and enthusiasm! Titles include "Cherry Pie", "Big Talk", "The Lunch Bunch", "Blues For Me", "Lonesome Me", "You Know I Love You", and "Rock Me Baby".

Tight funky instrumentals from Brother Jack McDuff – an Atlantic groover that's probably closer to his late 60s gems for Cadet Records than it is his earlier work for Prestige! The solos are shorter, but they're packed nicely around the rhythms – played by a combo that features a young Melvin Sparks on some mighty nice guitar – plus Leo Johnson on tenor and Ray Appleton on drums! The groove is tight and choppy, with little bits of funk, and McDuff's usual sense of humor and warmth – and for the record, Jack wrote loads of original tracks, including "Mush Melon", "Snap Back Jack", "Strolling Blues", and "Do It Now".

Heavy funk from Jimmy McGriff – a monster set of grooves that ranks with his best of the late 60s! The tracks are short and sock-hard – Jimmy wailing on Hammond, over rhythms that have plenty of sharp edges, and lots of nice drum work – all recorded in a mode that's a heck of a lot rawer than some of his other records! The album brings together all the rough power of Jimmy's years at Sue Records with the funkier grooves of his 70s work – and features a killer combo that includes tenor from Fats Theus, alto from Danny Turner, trumpet from Blue Mitchell, guitar from Thornel Schwartz, and drums from both Mel Lewis and Grady Tate. Titles include "The Worm", "Blue Juice", "Lock It Up", "Think", "Heavyweight", and "Girl Talk".

Sweet jazzy grooves from this hip Italian duo – Enzo & Gianni Lo Greco, who've also recorded as Quintetto Lo Greco for Schema Records! The sound here is definitely in a Schema groove – lots of jazzy instrumentation on piano, sax, trumpet, and trombone – very much in the best 60s Italian jazz mode, but kicked up just a bit with some rhythms aimed at the dancefloor – never too over the top, and all acoustic all the way through – a club jazz groove that's perfect for anyone who also digs work on labels like DejaVu or Ricky Tick! There's a bit of vocals on the record – sung by guests Alice Ricciardi, Felix, Katharine Ruestow, Roxie Ray, and Dionne Charles – and titles include "Sam Blues", "Feelin Good", "Don't Cry", "Much More", "Broken Rose", "Iperbole", "Please Don't Go", "Sweet Love", "Changes", and "Goodbye".

A beautiful double-length package of work from drummer Louis Moholo – a 2CD set that features one record from recent years, and a key classic from the 70s! Spirits Rejoice is one of the strongest 70s statements from ex-Blue Notes drummer Moholo – recorded in the company of fellow expatriots and UK avant jazzers that include Johnny Dyani, Evan Parker, Kenny Wheeler, Nick Evans, Radu Malfatti, and Harry Miller. The album shifts easily between strongly rhythmic passages that show Moholo's roots in the South African jazz scene, and other, freer sections that also illustrate his importance in the European avant scene of the 70s – and overall, the record's got a beautifully soulful quality that guides it well through all of these moments. Titles include "Wedding Hymn", "Khanya Apho Ukhona", "Ithi Gqi", "Amaxesha Osizi", and "You Ain't Gonna Know Me". That record is followed here by 1995's Bra Louis Bra Tebs – a session with a similar style, especially in its use of African-inspired rhythms – but one that also features a different lineup, and some great use of vocals! Francine Luce sings on a number of the album's best tracks – in a style that's almost an avant-tuned approach to vocalese, and which seems to carry echoes of Norma Winstone – a voice that's dreamy one minute, challenging the next – and often used as a key instrument in the combo's lineup of tenor, alto, trumpet, piano, bass, and drums. Titles include "Utshaka", "Maybe Of Cause", "Moegoe", "Sonke", and "Lakutshona Ilanga".

Heavy funk from our friends at Colemine – great stuff from Cali combo Monophonics plus a different, but just as great psych funk styled cut by Destruments! "Like Yesterday" is solid as can be, a hard-hitting number with walloping drums, punchy horns, and powerhouse vocals – a track that starts out like it's going to slow cookin' jam highlighted by bluesy soul guitar, but it heats up quickly! "Freedom" by Destruments is an atmospheric gem that's not too easy to describe – which is a good thing! The beat and rhythm are stable, with densely atmospheric horns and spacey flourishes. A cool split single that demonstrates the far-reaching creative capabilities of the contemporary funk scene!

An oft-overlooked and surprisingly soulful session on Atlantic – a sublime pairing of the talents of trumpeter Jimmy Owens and pianist Kenny Barron! The set's got a groove that's pretty unique – not really Blue Note or Prestige – but not like other Atlantic Records jazz as well – almost more like some of the more soulful sides that would emerge in the early 70s! The combo is great – and also features Benny Maupin on reeds and Freddy Waits on drums – and the tracks are all longish, with interwoven modal grooves that show off the best of Barron's rhythmic approach to the piano – nicely punctuated by Owens' fiercely blown solos. The whole thing's incredibly fresh – one of those jazz albums that you'll hear on the radio, and turn it up, thinking "What the heck is that? I must own that record!" Titles include "You Had Better Listen", "Gichi", and "Carolina John".

An oft-overlooked and surprisingly soulful session on Atlantic – a sublime pairing of the talents of trumpeter Jimmy Owens and pianist Kenny Barron! The set's got a groove that's pretty unique – not really Blue Note or Prestige – but not like other Atlantic Records jazz as well – almost more like some of the more soulful sides that would emerge in the early 70s! The combo is great – and also features Benny Maupin on reeds and Freddy Waits on drums – and the tracks are all longish, with interwoven modal grooves that show off the best of Barron's rhythmic approach to the piano – nicely punctuated by Owens' fiercely blown solos. The whole thing's incredibly fresh – one of those jazz albums that you'll hear on the radio, and turn it up, thinking "What the heck is that? I must own that record!" Titles include "You Had Better Listen", "Gichi", and "Carolina John".

A fantastic full length set from Quasimode – the Japanese club jazz combo who first blew our minds with their single for Raw Fusion! Hearing them here in a full LP, the sound is even better than before – a range of jazzy changes and tight instrumental work that reminds us of Blue Note or Prestige in their mid 60s prime – with a wonderful blend of soul jazz and hardbop styles running through the mix, plus a fair bit of rolling modal rhythms aimed at the sound of the contemporary scene! Tunes are mostly upbeat throughout – and build from percussion, piano, bass, and drums – topped off by additional tenor, trumpet, soprano, and vibes on some numbers – and also featuring a bit of Fender Rhodes as well. The album features the group's great version of Tubby Hayes' "Down In The Village", plus the original tracks "Oneself Likeness", "Feelin Green", "Skelton Coast", "Ipe Amarelo", "Lucky Luciano", "Giant Black Shadow", and "1000 Days For Spirit".

One of the few Blue Note albums with a bossa groove – and a great one too! The record features soulful tenor star Ike Quebec blowing in front of Brazilian-styled rhythms laid out by a combo that includes Kenny Burrell on guitar, and a duo of Latin percussionists! Willie Bobo plays drums on the session, and the cuts have a short groovy feel, with a sax-heavy lead, in a similar style to Stan Getz's bossa work on Verve – but much more soulful overall, and with a nicely rougher feel on the rhythms. Really great stuff, and with titles that include "Loie", "Goin Home", "Favela", "Blue Samba", and "Shu Shu". CD also features 3 bonus alternate takes – of "Loie", "Shu Shu", and "Favela".

One of the greatest albums to ever sum up the genius of Lou Rawls in the 60s – a brilliant live set put together with the talents of David Axelrod! The record perfectly captures the easy-going soul of Rawls in the early years – a natural approach to his music that made him one of the best singers of his genre at the time, and which comes out especially strong in the album's upbeat monologues, which are often delivered by Lou with musical accompaniment, then leap strongly into the lyrics of a tune. Backing is by a small jazzy combo that includes Herb Ellis on guitar and the great rhythm team of Jimmy Bond on bass and Earl Palmer on drums – both of whom bring a nice little groove to most of the album's numbers. Titles include "Street Corner Hustler's Blues/World Of Trouble", "Southside Blues/Tobacco Road", "The Shadow of Your Smile", "In The Evening When The Sun Goes Down", "I Got It Bad And That Ain't Good", and "The Girl From Ipanema".

A landmark bit of indie funk from the 70s – one of the few records cut by Detroit keyboardist Eddie Russ, and easily the best! The album features Russ going to town on electric piano – working with a hip combo called The Mixed Bag, which features some wicked work on flute and soprano sax by Larry Nozero – and a vibe that's a lot more laidback than standard funk, or even more mainstream jazz funk too – a sweet open groove that's mighty nice all the way through! The album's really a showcase for Nozero and Russ' solos – trading back and forth effortlessly over long tunes that roll along in a sweet electric-tinged groove – long vamping rhythms that really seem to drive both players onto new heights. Titles include Russ' classic "The Lope Song", a great version of "Hill Where The Lord Hides", and the tracks "Shamading", "Watergate Blues", and "All But Blind".

Double-length brilliance from the mighty Sahib Shihab – a set that collects a number of killer 60s sessions with members of the Clarke Boland Big Band – all of them great! The small combo work here is amazing – hard-hitting modal jazz that matches, if not tops the best MPS/Saba sounds of the time – all produced to perfection with a really sharp edge, and a cutting approach to jazz that's gone onto inspired countless others in the current scene – including artists on Schema and Ricky-Tick Records, as well as most Japanese club jazz combos! But long before any of those cats started copping his groove, Sahib Shihab had it all totally together – a great ear for his own amazing solos on baritone and flute, and a way of hooking up with players like Francy Boland on piano, Fats Sadi on vibes, Benny Bailey on trumpet, Jimmy Woode on bass, and Kenny Clarke on drums. All players here were Shihab's partners in the Clarke Boland Big Band, and they use these small combo sessions to explore some great new ideas – stripped-down groovers that are heavy on rhythm, and really allow full expression from all the players involved. Titles include "Companionship", "Om Mani Padme Hum", "Bohemia After Dark", "Serenata", "Yah Yah Blues", "Balafon", "Talk Some Yak-ee Dak", "The Turk's Bolero", "CT + CB", "Jay Jay", "Stoned Ghosts", "Just Give Me Time", and "Dijdar".

An incredible album – one of our favorite Blue Notes ever! Despite the fact that the album's a spare quartet session, the record is one of Wayne Shorter's richest – and features his gutsy young tenor soloing insanely with a rhythmically intense combo that includes Herbie Hancock, Reggie Workman, and Joe Chambers. Workman's bass is especially strong, and it underpins the cuts with a throbbing pulse that takes them past any simple hardbop conventions. Every cut's a winner – and this is one album we reach for time and time again over the years! Titles include "Adam's Apple", "El Gaucho", "Footprints", and "Teru".

An incredible album – one of our favorite Blue Notes ever! Despite the fact that the album's a spare quartet session, the record is one of Wayne Shorter's richest – and features his gutsy young tenor soloing insanely with a rhythmically intense combo that includes Herbie Hancock, Reggie Workman, and Joe Chambers. Workman's bass is especially strong, and it underpins the cuts with a throbbing pulse that takes them past any simple hardbop conventions. Every cut's a winner – and this is one album we reach for time and time again over the years! Titles include "Adam's Apple", "El Gaucho", "Footprints", and "Teru" – plus, the CD reissue contains an extra bonus cut, "The Collector".

Easily Lonnie Smith's biggest hit for Blue Note – a key record in defining the sound of late 60s soul jazz! Lonnie's working here with an all-star group that includes Melvin Sparks, Lee Morgan, and David Fathead Newman – and the core combo is expanded by some additional Latin percussion (including work by Pucho on timbales!), which really makes the tunes groove nicely! Tracks are long, with complicated rhythms – and soulful yet sophisticated solos to match – and titles include the seminal "Son Of Ice Bag", a great cover of "Think", and the tracks "Slouchin", "Call Of The Wild", and "Three Blind Mice".

The long-overdue debut album by The Underwolves – one of London's hippest combos, working in a unique territory that lies somewhere in between the realms of NuSoul, drum n bass, and the jazzy grooving that you'd expect to find on Compost Records. The set's way more than just a batch of dance tracks – as the lyrical interplay and spiritualism of the tracks takes the material to the next level, showing the group to be a strong underground soul collective with the potential of already-established acts like Attica Blues, with whom they share a sense of exploration in the worlds of dub and hip hop rhythms, or Silent Poets, with whom they share a sense of wonder, beauty, and poetry in their subject matter. There's a freshness to the set that's undeniable – and which means that you'll probably be hearing the album, and hearing from the group, for a long time to come! Titles include "Shaken", "Thin", "Prema Redentor", "Unexpected Days", "Stay Awhile", "Under Your Sky", and "Bird Song".

One of those classic 50s sessions in which a bunch of Count Basie players split off from the bigger group and do some great small combo work on their own! The album is leader-less in its billing – but only because all the players are so well tuned to each other, and have such a simpatico relationship that there's no need for egos to drive the record. Tracks are longish and more open than any Basie setting – and players include Frank Wess on flute and tenor, Kenny Burrell on solo guitar, Freddie Green on rhythm guitar, and Joe Newman on trumpet. Wess' solos are often out in the lead, but Burrell and Newman also get in some nice licks – and titles include "Pin Up", "Playboy", "Miss Blues", and "Blues For A Playmate".

The best in modern jazz in Japan in the mid 50s – a smoking little record that features two different groups! Side one really cooks – thanks to work from Akira Miyazawa on tenor, Sadao Watanabe on alto, and Masao Yagi on piano – all great players who are really at the top of their game here – crackling with tight rhythms in energy that rivals the best Prestige or Blue Note hardbop of the time! The combo play versions of "Confirmation", "I'll Remember April", "East Of The Sun", and "Memories Of You". Side two features a different, larger group – an ensemble that's almost got a west coast feel at times, or maybe a groove that's like some of the best RCA ensemble sessions of the mid 50s. Players include Konosuke Saijo, Takeyasu Mori, Tadayuki Harada, and Tatsuro Watanabe – and titles include "Don't Be That Way", "Snafu", "Strictly Bass", and "The Things We Did Last Summer".

A compilation of Ghana music like we've never seen before – and straight up beautifully put together by Soundway – 70s sounds that fused regional traditions with boundary free soul, rhythm & blues, and rock! Ghana in the 1970s was in a transition from a more prosperous, and less militarily tenuous culture, and the music at the time is really wonderful. This collection of obscure album tracks and singles from the time feature many smaller combo groups, rather than large scale dance bands, with highlife jazz & soul, guitar and percussion based Afrobeat, and Ghana traditions fused with international styles wonderfully. Fantastic stuff that sits proudly up there with the great Nigeria Special sister series from Soundway! The vinyl box set version has 2 tracks on on the CD version or digital download, and 2 more tracks previously only available on the CD version of the Ghana Soundz compilation: 37 tracks on 5 LPs, plus a 12 page booklet with rare photos and history: "Kai Wawa" by The Mercury Dance Band, "Din Ya Sugri" by Cristy Azuma & Upper International, "Nya Asem Hwe" by City Boys Band, "Edinya Benya" by Hedzoleh Soundz, "Odo Mmera" by Pa Steele's African Brothers, "Wompe Masem" by African Brothers International Band, "Akampanye" by The Sweet Talks, "You Can Go" by Bokoor Band, "Owuo" by Sawaaba Soundz, "Sisi Mbon" by Honny & The Bees Band and more.

Left coast rhythm & blues from Kent "Boogaloo" Harris & his inner circle of LA family & friends – late 50s & 60s treasures from Boogaloo & His Gallant Crew, The Francettes, The Harris Sisters, Eddie Bridges, Fay Ross, The Lon-Genes, The Valquons and many more! Harris was the songwriter, label head, record shop keeper and sometimes singer at the center of a vibrant scene – which indeed included family members as well as friends. His sisters performed and recorded as The Harris Sisters, Marcene "Dimples" Harris stepping out as a headliner, plus many more excellent associated acts over the years. It's got some jumping late 50s style R&B and more grandly orchestrated numbers, though still rooted in rhythm. 25 tracks in all, including a handful of previously unreleased gems – though even the biggest movers here have been overlooked for far too long! Titles include "Big Fat Lie" by Boogaloo & His Gallant Crew, "Long Lean Lanky Juke Box" by Dimples Harris & here Combo, "Double Locks" by Johnny Gosey, "So Far Away" by Rooty Poots, "Our Love Is Like The Sea" by The Lon-Genes, "Don't Just Stand There" by Cry Baby Curtis, "You Ain't Right' by Faye Ross and more.

A treasure trove of 50s and 60s music from Puerto Rico – and a killer compilation centered around the pioneering work of percussionist Rafael Cortijo and singer Ismael Rivera! Essentially, this a blueprint for the global salsa, tropical and Latin scenes to come – and it's invigorating, tightly grooving and wonderful stuff all the way! Wall-to-wall Afro and West Indian-indebted percussion and rhythms, with tight horns and incredible vocals. It's filled pioneering work, but this is hardly a history listen – it's a fun set, and a sprawling one at that! Includes "Cortaron a Elena" by Cortijo (as Canario & Su Grupo con Raful), "En Orbita" by Baltazar Carrero, "Habla Cuembre" by Los Caballeros Del Ritmo, "El Plenero" by Mon Rivera Y Su Orquesta, "Dejalo Que Suba" by by Cortijo (as Canario & Su Grupo con Raful), "Belinda" by Chivirico, "Cucala" by Cortijo Y Su Combo con Ismael Rivera, "Ron Con Coco" by Mon Rivera Y Su Orquesta and more. 30 tracks on 2CDs.

Bawdy beer joint stompers, raucous and rumbling proto rock rhythms and perfectly produced numbers from the hillbilly branch of Columbia Records in the 50s! These tales of hard livin' (and drinkin'), heart breakin' and train hoppin' by forgotten hillbilly combos and crooners – plus a handful of legends treasured to this day – will sound terrific until the end of time, thanks to the first wave freshness of the era's vintage – as well as the impeccable recording quality Columbia could provide. Great stuff from Rocky Porter, Rose Maddox (and The Maddox Brothers), Ray Price, Little Jimmy Dickins, "Freddie Hart, Jack Rhodes & His Lone Star Buddies, Bobby Lord and more. A whoppin' 32 tracks in all: "The World Is A Monster" by Rocky Porter, "All I Can Do Is Cry" by Johnny Bond, "No Parking Here" by Jimmy Littleton, "Buddy's Boogie" by The Country Boys, "When The Sun Goes Down" by Rose Maddox, "Red Hot Mama And An Ice Cold Beer" by Smiley Maxedon, "Me And My Big Loud Mouth" by Little Jimmy Dickens, "Much Too Young To Die" by Ray Price and many more.

We love Marian Montgomery – and she's a heck of a great singer with a really unusual sound! In an early 60s work of sultry vixens, Marian's got a harder-swinging groove that's almost in a Ray Charles mode – clearly inspired by 50s R&B, but done with enough of a jazz flourish to expand out the sound nicely. Plus, she's got a really rhythmic approach to her work, no matter what the tune – which makes for an uncanny ability to turn even a sleeper into a surprising swinger. Here, it also helps that Dick Hyman's handling the arrangements – playing organ and piano himself on the record, and working with a small combo that includes Kenny Burrell, Joe Newman, Milt Hinton, and Willie Rodriguez. The whole thing's plenty great – and titles include "Breezin Along With The Breeze", "When Sunny Gets Blue", "My Buddy", "The Exciting Mister Fitch", "Deed I Do", and "All By Myself".

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

A 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".

Unreleased genius from Lee Morgan – a key session from the later years of his too-short life, but one that wasn't issued until nearly a decade after his death! The sound here is completely sublime – a mix of the best later Morgan modes – soulful, lyrical, and modal – played by a sextet lineup that features unique guitar work from George Benson! Benson's presence on a date like this is a bit unusual, and his instrument really brings a lot to the record in terms of color and tone – shadings that are much more sensitive than some of his better-known 60s work in organ combos. Other players include Bennie Maupin on tenor, John Hicks on piano, Reggie Workman on bass, and Billy Higgins on drums – the last two of whom provide the sort of near-perfect rhythmic accompaniment for Morgan's musical vision! Titles are great, and include Cal Massey's "Taru What's Wrong With You", Hicks' "Avotcja One", and Morgan's "Dee Lawd" – plus "Durem" and "Get Yourself Together".

One of the rarest funky records of all time – the hard-to-find second album by Beginning Of The End! This West Indian combo hit it big with their first album on Alston, but this second set, for some strange reason, never really got distributed – which is a damn shame, because it's every bit as funky as their first! The uniquely choppy rhythms of the group's first album are every bit as great here as on the first set – and if anything, the band's instrumentation is even better, especially on the guitar, which is wickedly tight, and played with a super-dope flanged-out approach on the solos. Vocals are great too, maybe even more soulful than before, especially on the album's few midtempo cuts – and the album's a must-have for any fan of the group's funky sound! Titles include "That's What I Get", "Super Woman", "Bluestrain", "Jump In The Water", "Falling Apart At The Seams", and "Trip To Nowhere".

A trio of albums from Chase – one of the hippest jazz rock combos of the 70s! The self-titled Chase album first burned onto the market in 1971 – and it's a great distillation of a groove that was bubbling around in various other segments at the time – some of the tighter big band rhythms of the late 60s, as you might find in the work of Maynard Ferguson or Woody Herman – mixed with the hipper rhythms from the rockish underground, particularly in the work of Blood Sweat & Tears or Chicago. Chase is a fair bit jazzier than both of those groups – as they often put the horns more upfront than the vocals – although most numbers do have some sort of vocals as well. Instrumentation is heavy on trumpets – which come together in blasting, blaring groove, even despite the smaller size of the combo – and Phil Porter lays down some great keyboard lines that really help some of the best tracks cook nicely. Titles include "Handbags & Gladrags", "Livin In Heat", "Open Up Wide", "Hello Groceries", "Boys & Girls Together", and "Invitation To A River". Ennea is a jazz rock classic that still sounds pretty darn tasty today – forged on the heels of Chicago and Blood Sweat & Tears, but with a sound that's leaner and meaner! The group's led by trumpeter Bill Chase – hence their name – and features lead vocals by GG Shinn and Terry Richards, both in a style that's got the same blue-eyed jazz soul overtones as that used by the groups mentioned above. The real strength of the tracks, though, is their jazzy backings – horn-heavy, as you'd expect, and hitting some great riffs and licks on the album's side-long title "suite", which features many instrumental passages. Titles include "Hades", "Aphrodite (parts 1 & 2)", "Zeus", "Poseidon", "Cronus", "It Won't Be Long", "I Can Feel It", and "Night". Pure Music is the third album from the mighty Chase – and proof that the group was still going strong even after their groundbreaking debut! The grooves here are almost tighter than before – a bit more complicated instrumentally, with some of the trumpets backed off a bit, to leave more room for great lines on guitar and keyboards. There's still some vocals on the record, but they seem a bit more on the backburner than before – and titles include "Close Up Tight", "Twinkles", "Weird Song #1", "Run Back To Mama", and "Bochawa".

One of the best albums ever in Verve's classic set of recordings from the 1957 Newport Jazz Festival – a set that captures the Dizzy Gillespie group of the decade in top live formation! The ensemble here is plenty hip – with a young Lee Morgan joining Dizzy on trumpet, and a host of other great players who include Melba Liston and Al Grey on trombones, Benny Golson and Billy Mitchell on saxes, and rhythm from the trio of Wynton Kelly on piano, Paul West on bass, and Charlie Persip on drums! Although big, the band often had the sharper groove of a small combo – and even when hitting some older moments from Gillespie's earlier years, they still kept a modern edge in their approach – thanks to arrangements by AK Salim, Tadd Dameron, Benny Golson, Quincy Jones, and Dizzy himself. Titles include "School Days", "I Remember Clifford", "Manteca", "Dizzy's Blues", "Cool Breeze", and "Doodlin".

Overlooked gems from this key reedman on the Brit modern scene of the 60s – two rare albums in a single package! First up is Movement – one of the most obscure albums recorded by Joe Harriott – leading light of the British avant scene in the 60s – and one of the best, too! The album features Harriott working with a quintet that includes Shake Keane on trumpet, Pat Smythe on piano, Bobby Orr on drums, and Coleridge Goode on bass – playing in territory that's somewhat in the neighborhood of his Abstract and Free Form albums, but also a bit more inside, with more of a focus on swinging, hard-hitting jazz. The rhythms are often quite tight and soulful, and although the album's touched with lots of angular moments – both in the solos and backings – the overall sound is wonderfully grooving and tremendously captivating! The album's got that perfect blend of modern, modal, and soul that make the best Brit jazz albums from the mid 60s so wonderful – and the set list includes original tunes such as "Movement", "Spaces", "Blues On Blues", "Revival", "Beams", and "Count Twelve". High Spirits is pretty unique – a set of takes on tunes that come from a musical show, but recast strongly as soulful sides for the Harriott combo! Pianist Pat Smythe re-arranged all tracks in the set – and really gives them a new sort of energy – opening them up for lots of solo work on his own piano, plus alto from Harriott, and some beautiful trumpet lines from the great Shake Keane – a player who always sounds great next to Joe. The rest of the group features Coleridge Goode on bass and Bobby Orr on drums – and titles include "Home Sweet Heaven", "Something Tells Me", "Go Into Your Trance", "I Know Your Heart", and "Was She Prettier Than I".

A brilliant return from the Hot 8 Brass Band – a New Orleans combo who take tradition into some great funky new territory! As you'd guess from their name, the instrumentation is heavy on brass – played with a gritty, soulful edge – in the way you'd find during some street performance in a corner far from the mainstream Quarter – sometimes accompanied by ensemble vocals, and almost always driven by these great rhythms at the bottom – more than funky enough to set even the heaviest horns on fire with their energy. Titles include "Bingo Bango", "Fine Tuner", "Steamin Blues", "Can't Hide From The Truth", "New Orleans (After The City)", and a nice remake of The Specials' "Ghost Town".

Incredible work from the Jazz Crusaders – a brilliant album of longer tracks that has them working at their soulful, sophisticated best! The record's great proof that the Crusaders had a depth that many rarely gave them credit here – as they're working here in a complicated set of rhythms, tones, colors, and patterns that easily matches some of the best Blue Note mid 60s work by Hank Mobley or Lee Morgan! All tracks are recorded live, and in very long takes that show the combo effortlessly setting up the rhythms – then stepping out with extended solos that are surprisingly exploratory and modern-sounding. Titles include "Trance Dance", "Summer Madness", "Young Rabbits", and "Freedom Sound".

Hard soulful grooves from an obscure little combo – that of west coast pianist Johnny Louis, working here on a set that's clearly designed to challenge the 60s fame of the Ramsey Louis Trio! The record's got a very similar approach – highly rhythmic, very soulful piano lines that are heavy on the left hand – which fits perfectly with the album's jumping grooves – handled by a bassist and drummer who are definitely not as fluid as Eldee Young and Redd Holt – but who more than make up for that fact with a lot of drive and enthusiasm! Titles include "Cherry Pie", "Big Talk", "The Lunch Bunch", "Blues For Me", "Lonesome Me", "You Know I Love You", and "Rock Me Baby".

A pretty darn important album for Wes – as it was his first session with the sort of larger arrangements that would later make him huge! Although Montgomery was mostly recording for Riverside in small combos, this session has him playing in front of larger backings by Jimmy Jones – not as sublime as later work by Don Sebesky or Gil Evans, but done in a way that definitely shows that Wes can do a lot with the guitar when freed from the need to stick with the rhythm strongly. Titles include "All The Way", "Pretty Blue", "Somewhere", "God Bless The Child", "Tune Up", and "Baubles Bangles & Beads".

Unreleased genius from Lee Morgan – a key session from the later years of his too-short life, but one that wasn't issued until nearly a decade after his death! The sound here is completely sublime – a mix of the best later Morgan modes – soulful, lyrical, and modal – played by a sextet lineup that features unique guitar work from George Benson! Benson's presence on a date like this is a bit unusual, and his instrument really brings a lot to the record in terms of color and tone – shadings that are much more sensitive than some of his better-known 60s work in organ combos. Other players include Bennie Maupin on tenor, John Hicks on piano, Reggie Workman on bass, and Billy Higgins on drums – the last two of whom provide the sort of near-perfect rhythmic accompaniment for Morgan's musical vision! Titles are great, and include Cal Massey's "Taru What's Wrong With You", Hicks' "Avotcja One", and Morgan's "Dee Lawd" – plus "Durem" and "Get Yourself Together".

Unreleased genius from Lee Morgan – a key session from the later years of his too-short life, but one that wasn't issued until nearly a decade after his death! The sound here is completely sublime – a mix of the best later Morgan modes – soulful, lyrical, and modal – played by a sextet lineup that features unique guitar work from George Benson! Benson's presence on a date like this is a bit unusual, and his instrument really brings a lot to the record in terms of color and tone – shadings that are much more sensitive than some of his better-known 60s work in organ combos. Other players include Bennie Maupin on tenor, John Hicks on piano, Reggie Workman on bass, and Billy Higgins on drums – the last two of whom provide the sort of near-perfect rhythmic accompaniment for Morgan's musical vision! Titles are great, and include Cal Massey's "Taru What's Wrong With You", Hicks' "Avotcja One", and Morgan's "Dee Lawd" – plus "Durem" and "Get Yourself Together".

A stone classic from New Orleans reedman Pony Poindexter – a set that's steeped in tradition, but also has a groovy feel too – and a date that features Pony on both alto and soprano sax! The latter instrument is especially nice, played with echoes of earlier Crescent City modes, but updated strongly with more of a modal 60s energy – almost a Coltrane-like inspiration, but in very different ways than Trane might offer up. Other players on the date are great too – and include Booker Ervin's tenor at is soulful 60s best, plus Gildo Mahones on piano, George Tucker on bass, and Jimmy Smith on drums – all working with some very unusual rhythms that really make the set stand out from other Prestige dates of the time! Titles include "Happy Strut", "Gumbo Filet", "Front O Town", "Back O Town", "French Market", and "Creole Girl". But almost even better, the set also features 8 more bonus tracks – all previously unissued! Three are from the sessions for Gumbo – but the rest are from an unusual 1963 date that features the tenor of Booker Ervin with the organ of Larry Young and drums of Jerry Thomas – a really cool small combo group in the vein of Young's early Prestige work. Additional titles include "Wade In The Water", "Autumn Leaves", "Old Folks", "You Don't Know What Love Is", "Absotively Posalutely", and "Blue & Sentimental".

A beautiful, beautiful record from Horace Silver – one of his great 70s experiments for Blue Note – and a set that has him working in the same "jazz with voices" mode explored by Max Roach and Donald Byrd in earlier years! The core of the set is focused around the great work of Silver's combo – with Tom Harrell on trumpet, Bob Berg on tenor, Ron Carter on bass, and Al Foster on drums – a wonderfully cohesive unit that arcs and turns with all these sweet little shifts – keeping up with the creative rhythms directed from Silver, while cascading through a beautiful range of tones and colors as well! The vocals follow suit beautifully – directed by Alan Copeland, but with a much more soulful approach than his 60s material – bursting forth with this warmth and sense of tone that really matches the instrumentation. Titles include "I Will Always Love You", "Out Of The Night", "Incentive", "New York Lament", "Mood For Maude", and "All In Time".

Great late 70s work from Jimmy Smith – two albums back to back on a single CD! One of our favorite later albums from organist Jimmy Smith – and a set that cooks heavily in a wicked blend of jazz, funk, and soul! The style's a bit like the groove that Johnny Hammond hit during his Gears period – arranged by Eugene McDaniels and Alan Silvestri, with an approach that's somewhere between Larry Mizell and Skip Scarborough – tight grooves, bits of vocals, yet plenty of room for Smith's keyboard solos to take off over the top! Players include Herbie Hancock on piano, Alan Silvestri on guitar, and Lenny White on drums – but the main star is Jimmy – who's grooving massively over the top of the album, with soaring solos that are some of his best work from the late 70s. Our favorite track on here is a masterful take of "Can't Hide Love", but there's a lot of other nice funky tracks like "Slippery Hips", "My Place In Space", and "Give Up the Booty". Unfinished Business is mighty soulful business from the great Jimmy Smith – a set for Mercury Records that updates his sound slightly, yet also hits some classic Hammond lines too! Jimmy plays a bit of acoustic piano and keyboards in addition to his classic organ – and works here in a setting that's tightly arranged, yet mostly small combo – with work from Ray Crawford on guitar, Nolan Phillips on tenor and flute, and added percussion from Buck Clarke and Stephanie Spruill. Rhythms step along nicely in kind of a 70s take on 60s soul jazz modes – leaving lots of room for Jimmy to open up on his solos – but there's also a few other more ambitious moments, including a great take on "Serpentine Fire" arranged by Ronnie Foster – and a warmly wonderful "Stevie" – which is a suite of tracks dedicated to Stevie Wonder. Other titles include "8 Counts For Rita", "Blues For Charlie", "Until It's Time For You To Go", and "Norristown PA".

Two MPS gems from this unusual 70s ensemble – back to back on the same CD! Chasin The Bird features classic bop modes, updated strongly for the 70s – and played by a hip group of older players who really know how to cook! Supersax is led by Med Flory on alto, who also did the arrangements – and works here with great reed help from Warne Marsh and Jay Migliori on tenor, Joe Lopes on alto, and Jack Nimitz on baritone – plus soaring sounds from Conte Candoli and Blue Mitchell on trumpets, Frank Rosolino on trombone, and Lou Levy on piano – all of whom really help the reed players find their groove! Charts are large, as is the ensemble, but there's a nice sense of individual personalities too – even when all the saxophonists are taking a solo together at once. Titles include "Shaw Nuff", "Drifting On A Reed", "Oop Bop Sh'Bam", "Now's The Time", and "The Song Is You". Dynamite is a looser, more free-swinging album than usual for Supersax – one that still has the group working with some key contributions from west coast jazz luminaries, but in a vibe that's almost more small combo than larger ensemble! The tracks here include a fair bit of Bud Powell and Charlie Parker numbers, but the arrangements are mighty fresh – open, and swinging with some hipper 70s touches, thanks to rhythms from a trio that features Lou Levy on piano, Fred Atwood on bass, and John Dentz on drums – players that are never locked into a strict bop mode. As with other Supersax albums, there's a brace of reed players working together at the front – Lanny Morgan on alto, Jack Nimitz on baritone, and both Jay Migliori and Don Menza on tenors – coming together as one voice on the solos, and getting some key help from Conte Candoli on trumpet and Frank Rosolino on trombone. Titles include "The Fruit", "Bambu", "Blues For Alice", "Tempus Fugit", "Parker's Mood", and a surprising, but great take on Antonio Carlos Jobim's "Wave".

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

60s cookers from Dizzy Gillespie – back to back on a single CD! New Wave is a lost bossa jazz classic from Dizzy Gillespie – recorded at a time when Lalo Schifrin was working in his combo! The record's got a cool, laidback kind of groove – one that's miles away from Gillespie's earlier bop work, and which shows him opening up his rhythmic conception strongly in the 60s. Rhythms are percolated by the piano of Schifrin, guitar of Bola Sete, bass of Chris White, and some well-chosen added percussion work – and the overall groove is one of the best American takes on the bossa jazz sound of the time, delivered with wonderful horn work from Dizzy on trumpet, Leo Wright on flute and alto, and Charlie Ventura on tenor! Even familiar tunes are transformed by the sound – and titles include "In A Shanty In Old Shanty Town", "Careless Love", "Taboo", "One Note Samba", "Pergunte Ao Joao", and "Chega de Saudade". On The French Riviera isn't really French, but actually a killer batch of Latiny tinged tracks from Dizzy & Co – with with great arrangements by Lalo Schifrin! There's a wonderful 10 minute version of "Chega De Saudade", done as "No More Blues" to start it out, and it's got a great loping Latin vibe, in the manner of Dizzy's best sides from the 60s. Lalo's on piano, and the great Leo Wright is on flute and alto, with Tzigane Elek Bacsik on guitar, Chris White on bass, Ruby Collins on drums and Pepitoo Riestria on percussion. Other nice ones include "Long Long Summer", "Desafinado", and "Pau De Arara". A great album, and one not to pass up!

A landmark album of funky genius – and one of the first times a batch of funky 45s had ever been so tightly sewn into a full LP! By the time of this album's release, Kool & The Gang were already underground legends – cutting it up in small clubs around the east and midwest, and working hard to push their excellent early singles on the De-Lite label – the kind of indie funky 45s that went on to shape the sound of a generation to come! This album brings together a number of those singles – really great little tracks that you can't really ever find on wax, and which have the group's perfect blend of bass/drum rhythms, choppy guitar, and hard-blaring horns – a massive groove that's still tighter here than any of the countless combos the record went onto inspire. The LP's a non-stop jam all the way through, with funk so pure it could be considered the blueprint for a generation – and titles include "Give It Up", "Raw Hamburger", "Kool's Back Again", "Breeze & Soul", "Sea of Tranquility", and "Kool & The Gang". 2012 remaster – with much better sound than the 90s CD version.

The 2 rare early 70s records from Lagger Blues Machine – Tanit and earlier Tanit Live together on CD! The group is a Belgian combo with some hazy, psychedelic blues in the guitars – but they're actually more of a psych-prog machine! There's a heavy atmosphere on par with some of the much more internationally-revered groups of the era – from Soft Machine to King Crimson – but Lagger Blues Machine stands up pretty strongly with the best of them! They deal in both fuzzed-out riffs and nimble guitar solos, some eerily melodic flute, organ and lumbering rhythms – with slow-building grooves and unpredictable changes. Great stuff! Includes "Symphonie 1 Ere Partie", "Darknessly", "Tanit", "Symphonie 2 Eme Partie" and "Born To Be Alone On A White Desert Island". The live album was actually recorded a couple years before the release of their studio album Tanit – and they're all the more raucous in a concert setting! There's a raw intensity and some fast playing here that's invigorating – the frenetic drums and manic guitars are incredible – but it doesn't overshadow the creative spirit or musical dexterity of the later studio album. 4 long-ish songs that show a heavier side of the group in a formative period! "Test About A Rehabilitating Personality", "Ode", "Mistake" and "Firedance".

A great Latin boogaloo set from Ray Lugo & his Boogaloo Destroyers – fulfilling Lugo's longtime ambition of modern take a the mix of Latin soul, rhythm & blues and more that were so inspiring to Lugo's childhood in NYC! Lugo is a veteran of the modern Afro Funk scene – having cut his teeth the the excellent Kokolo group – so the Boogaloo Destroyers isn't all that surprising of a stylistic leftturn, as all we've heard from Lugo suggest a depth of understand of myriad soulful styles. Here they cover classics by Mongo Santamaria, Hector Rivera, Roberto Valentin and others. Includes "Soy El Rey", "Swingy Boogaloo", "Combo", "At The Party", "Me And You Baby (Picao Y Tostao)", the excellent original cut "Lugo's Boogaloo", "My Shingaling", "El Bantu" and more.

Tight funky instrumentals from Brother Jack McDuff – an Atlantic groover that's probably closer to his late 60s gems for Cadet Records than it is his earlier work for Prestige! The solos are shorter, but they're packed nicely around the rhythms – played by a combo that features a young Melvin Sparks on some mighty nice guitar – plus Leo Johnson on tenor and Ray Appleton on drums! The groove is tight and choppy, with little bits of funk, and McDuff's usual sense of humor and warmth – and for the record, Jack wrote loads of original tracks, including "Mush Melon", "Snap Back Jack", "Strolling Blues", and "Do It Now".

A landmark bit of indie funk from the 70s – one of the few records cut by Detroit keyboardist Eddie Russ, and easily the best! The album features Russ going to town on electric piano – working with a hip combo called The Mixed Bag, which features some wicked work on flute and soprano sax by Larry Nozero – and a vibe that's a lot more laidback than standard funk, or even more mainstream jazz funk too – a sweet open groove that's mighty nice all the way through! The album's really a showcase for Nozero and Russ' solos – trading back and forth effortlessly over long tunes that roll along in a sweet electric-tinged groove – long vamping rhythms that really seem to drive both players onto new heights. Titles include Russ' classic "The Lope Song", a great version of "Hill Where The Lord Hides", and the tracks "Shamading", "Watergate Blues", and "All But Blind".

The great early double album from Tom Waits – getting into full on charismatic drunken bluesy poet mode – essentially working live in the studio, and embracing his wit and way with a sly monologue as brilliantly as he'd done to this point. Brilliant vintage waits and a loose, yet nicely rhythmic backing combo. Titles include "Better Off Without A Wife", "Emotional Weather Report", "On A Foggy Night", "Eggs & Sausage", "Spare Parts", "Big Joe & Phantom 309", and "Putnam County".

2 classic 50s sessions – on a 2LP 80s set! On the first self-titled abum, Prez plays nice easy-going solos with a combo that includes Jessie Drakes on trumpet, Gildo Mahones on piano, John Ore on bass, and Connie Kaye on drums. The style of the tracks is in a warm mellow tone, which fits perfectly with Young's sweet sweet solo style. Tracks include "Another Mambo", "Somebody Loves Me", "Rose Room", and "Kiss Me Again". Next is the Pres & Sweets album – a classic Verve pairing of two of its greatest soloists, Lester Young and Harry Sweets Edison – both recorded here in a laidback, easily-swinging session that allows both players to shine equally! Young's tenor is always a welcome addition to any set of this nature, and Edison's playing here in a gentler, relaxed mode that's a wonderful fit to the easygoing groove laid down by the rhythm section of Herb Ellis, Ray Brown, and Buddy Rich. Titles include "Mean To Me", "That's All", "She's Funny That Way", and "Red Boy Blues".

Excellent lost funky work from Italy! The Barigozzi Group were one of these obscure little combos that churned out tight funky tracks for bigger outfits – very much in the style of I Gres, Marc 4, or some of the other great Italian groups that are being discovered lately. Their strength was a great keyboard sound, augmented by some wonderfully produced guitars, nicely flanged or wah-wahed, and some excellent drums, played in a nice tight stiffly rhythmic style. This package includes a whopping 21 cuts pulled from 3 lost alubms – all wrapped up in a wonderful looking cover that's one of the nicest Easy Tempo have dropped on us to date! Titles include "Tarzan Dance", "Blue Hairs", "Silver Legs", "Ivory Breast", "Black Heart", "Theme For Aretha", "Hong Kong Wind", and "Message From the Jungle". Great stuff!

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

Two slices of work from Dutch vocalist Ann Burton – one of the hippest jazz singers on the European scene of the 60s and 70s, although not as well known over here as some of her other overseas contemporaries! The first half of the CD features vintage live work from 1962 - material that has Burton's vocals with the Flamingo Combo – a group with piano, guitar, bass, and bongos – all of which make for a spare sound that's a nice change from the usual piano trio mode, leaving lots of room for Ann's vocals. Titles include "Bag's Groove", "Close Your Eyes", "Fly Me To The Moon", and "Let's Get Away From It All". The second half of the CD is of more recent vintage, but equally great – studio sides from 1988, recorded with the Rob Agerbeek trio. Agerbeek's group is really wonderful here – quite unusual in their mix of piano, bass, and vibes – which is sometimes augmented with trumpet from Ack Van Rooyen – and often using rhythmic approaches that really open up the tunes nicely, taking them far past simple renditions of familiar standards. Titles include "Afterthoughts", "Again", "Nice & Easy", "I Didn't Know What Time It Was", and "I Won't Dance".

A beautiful little album from Lee Konitz – one that seems to have even more sensitivity than usual, thanks to the presence of a string quartet! The sound here is quite unusual – a mix of small combo jazz with slight added strings – in a way that's hardly like any "with strings" jazz recording of previous decades, and which instead has the added instruments nicely ingrained in the overall feel of the set. Given that the arrangements here are done by Axel Hagen, the guitarist in the group, there's often a rhythmic quality to the string work – supported by Hagen's own guitar, which is a bit like Billy Bauer at times – setting the stage nicely for Lee's always-sharp work on alto and soprano sax, plus tenor and flute from Marco Kegel. Titles include "Lee's April", "Darn That Dream", "Movin Around", "Stardust", and "Jonquil".

Genius work from this lesser-known British combo of the late 50s – a group that actually features some of the best players on the London scene at the time! Drummer Tony Crombie leads the combo, and also handles the arrangements – but the real shining stars are the reedmen – Tubby Hayes, who plays tenor, alto, and flute, plus a bit of vibes – and Alan Branscombe, who handles tenor and alto, plus some piano as well! The quartet lineup ensures that there's plenty of space for these horn players to really do their thing – and since some tracks only have drum and bass, while others have more piano than drums, there's a really loose rhythmic feel to the whole thing – quite nice, and much more relaxed than the usual Crombie-led session. Consider the record a lost gem in the Tubby Hayes cannon – and then marvel at all the other great bits its got to offer too! Titles include "London Lament", "Cheekie Chappie", "The Baron's Blues", "Slick Riff", "Wait & See", "Big Ben Bounce", and "Lakeland".

A killer set from an amazing quintet made up of some of the best players to ever grace the Blue Note label! Horace Parlan leads a tight tight tight combo that includes Grant Green on guitar and Booker Ervin on tenor sax – and the three of them fit together beautifully, with a dark moody edge that's unlike anything we can think of – loads of sharp, downturning notes, deeply soulful solo moments, and this raw sound that's totally great! Ervin's tone is razor-sharp, Green's guitar is unbelievably precise, and Parlan keeps on laying out these beautiful blocky chords that have a deeply resonant bottom – supported wonderfully by rhythms from Al Harewood on drums and George Tucker on bass. Tracks include "The Book's Beat", "The Other Part Of Town", "Fugee", and "Up & Down". CD contains a bonus alternate of "Fugee".

An incredible album – one of our favorite Blue Notes ever! Despite the fact that the album's a spare quartet session, the record is one of Wayne Shorter's richest – and features his gutsy young tenor soloing insanely with a rhythmically intense combo that includes Herbie Hancock, Reggie Workman, and Joe Chambers. Workman's bass is especially strong, and it underpins the cuts with a throbbing pulse that takes them past any simple hardbop conventions. Every cut's a winner – and this is one album we reach for time and time again over the years! Titles include "Adam's Apple", "El Gaucho", "Footprints", and "Teru" – plus, the CD reissue contains an extra bonus cut, "The Collector".

Ramsey Lewis move over – because this cooking Japanese trio from the 60s has a mightily soulful groove – one that's more than enough to give Ramsey's classic combo a run for their money! Pianist Kazuo Yashiro hits the keys harder than ever here – working with a wickedly soulful punch, and getting sublime backing from Masanaga Harada on electric bass and Jimmy Takeuchi on drums – both rhythm players with more than a bit of funk in their bag – as you'll hear on some of the most explosive cuts on the record! The use of electric bass, and overall range of styles, is a bit like the second Lewis trio – with Cleveland Eaton and Maurice White – yet there's also some really unique elements to the record that make it way more than a copycat of American modes. Titles include "Black Nag", "Favela", "Love For Sale", "Marionette Blues", and "Lady Madonna".