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The rare self-titled set from the Bobby Boyd Congress – a killer combo with roots in early 70s Long Island, but relocated to France to make this killer set! The group is lead by tenor sax player and lead vocalist Boyd – although this set is heavy with instrumental passages. We're loving the way they mix brass heavy funk with lumbering psych steeped organ and fuzzed out guitar grooves. They even sneak in a laidback or jam, too – bringing a pretty versatile approach to this album! Titles include "Straight Ahead", "In A Toy Garden", "I'm Undecided", "Train", "It's Good To See Your Face Again", "Dig Deep In Your Soul" and "Bright Flowers".

The rare second album from Bobby Boyd – a set that's even more soulful than his first, and which is filled with funky gems! Boyd's vocals are wonderful – tight, but with an earnest quality that almost pushes him more towards a Bill Withers vibe than some of the other funky singers of the time – a great change next to the tight combo instrumentation of the record. Tunes are almost all upbeat and funky – and the mixture of Boyd's warmth with the sharp grooves really makes for a rich sound overall – a record that should have, could have been huge – were it issued at the time – but which is finally seeing the light of day now, in this well-done full length production from Vadim! Titles include "Ain't What You Know", "Why Are You Cryin", "Good Woman", "Girl I Can Feel Ya", "On This Side Of Town", and "Let Bygones By Bygones" – plus the instrumental "The Happy Hooker", produced by Harvey Fuqua, and which seems to actually be the Nite Liters' song/version, oddly tucked into this album!

An incredible collection of work from vibist Bobby Hutcherson – some of his most righteous recordings ever, spread out over the span of 5 albums recorded for Blue Note in the mid 70s – one of which was only ever issued in Japan! The work here has Bobby taking off nicely from his years with Harold Land – and although the set includes two albums with Land, the excellent Cirrus from 1974, and the Japanese-only Inner Glow, the remaining albums feature a range of different players – including Manny Boyd on soprano and tenor sax, George Cables on piano, Larry Nash on electric Piano, Hadley Caliman on reeds, and Freddie Hubbard on trumpet. As with the better-known recordings with Land, the style here is flowing and open – an approach that starts in modal rhythms, and which moves into some of the more soaring, spacious modes shared by Bobby's contemporaries on the indie soul jazz scene – especially artists on labels like Black Jazz and Strata East. The albums here are all amazing – never too slick, and beautifully balanced, with a sense of focus that still makes Hutcherson one of the greatest vibists working at this point in his career. 3CD set features the albums Cirrus, Inner Glow, Waiting, The View From The Inside, and Knucklebean – featuring a whopping 30 tracks in all!

Beautiful late Blue Note work from vibist Bobby Hutcherson – laidback, warm, electric, and with a mixture of CTI funk and some of the more lyrical soul jazz work of his years with Harold Land! Part of the credit for the set should go to George Cables – who plays both acoustic and electric keys on the record, and who gives the album a sweetly dancing feel that really warms things up wonderfully – a great mix of vibes and keyboards that's wonderful throughout! But all other players are wonderful too –including drummer Eddie Marshall, bassist James Leary, and horn players Freddie Hubbard, Hadley Caliman, and Manny Boyd. Titles include a great remake of "Little B's Poem", the mellow groover "Why Not", and the cuts "Til Then", "Knucklebean", and "So Far So Good".

Sweet 70s grooves from Bobby Hutcherson – an overlooked mid 70s gem for Blue Note – done in a style that's a bit more laidback than some of his other work for the label! The group here is similar to that used on the Waiting album – and Emmanuel Boyd turns in some great tenor and soprano sax, really underscoring the deeper sounds of Bobby's vibes. But this time around, there's also lots of sweet keyboards from Larry Nash – who plays Fender Rhodes with some warmer elements that unlock a great mellow side of Hutcherson's playing – almost giving the record a Roy Ayers vibe at times! Titles include "Later Even", "Same Shame", "Love Can Be Many Things", and "Song For Annie".

Soaring, spiritual jazz from Bobby Hutcherson – one of his soulful, modal killers for Blue Note in the 70s – and a record that's done in a style that's very similar to Bobby's work with Harold Land! This time around, Emanuel Boyd is on deck on tenor, flute, and soprano sax – blowing with a wonderfully warm sound that fits the mood of Hutcherson's vibes perfectly – lots of sharp changes and edges, yet never too many to get in the way of the overall groove. Other players include the mighty George Cables on piano, Eddie Marshall on drums, and Kenneth Nash on percussion – adding in a little extra to underscore the spiritual elements of the tunes. All tracks are great – and titles include "Prime Thought", "Roses Poses", "Waiting", "Don't Be Afraid", and "Hangin' Out".

Righteous Bobby Hutcherson from the 70s – one of his last albums recorded in the company of reedman Harold Land – and one of his greatest too! There's a wonderful mix of modes going on here – modal jazz meets California sun, blending a sense of spiritualism with some of the warmth that Hutcherson was increasingly discovering in his music – especially on the album's use of marimbas, which are surprisingly great next to Bobby's vibes! In addition to work from Land on tenor and flute, the set also has the great Woody Shaw on trumpet – plus Bill Henderson on Fender Rhodes, Emanuel Boyd on tenor, Ray Drummond on bass, Larry Hancock on drums, and Kenneth Nash on percussion – a rhythm player who really helps give the record some hip Strata East-like touches. Titles include a sublime reading of Shaw's "Rosewood" – plus "Zuri Dance", "Wrong Or Right", "Even Later", and "Cirrus".

An oft-overlooked gem from 70s Blue Note – and a great little record that's especially nice for the Bobby Hutcherson material! As you'd guess from the title, there's a larger orchestra working with the artists here – and in Hutcherson's case, this creates the same sort of soulful, sophisticated feel as his excellent Conception The Gift Of Love album – vibes mixed with strings, underscored by hip rhythms, and coming off as a wonderful extension of Bobby's earlier 70s work. His group features Manny Boyd on tenor and soprano, and George Cables on piano – and arrangements are by Dale Oehler, on tracks that include "Now", "Slow Change", and "Hello To The Wind" – all numbers co-penned with Eugene McDaniels, but done here as instrumentals. Carmen McRae sounds great in the setting too – similar to her other excellent Blue Note sides of the mid 70s – with Bill Holman arrangements on tunes that include "With One More Look At You", "Star Eyes", "The Man I Love", and "Sunday". Earl Klugh rounds things out with his own sweet guitar, plus keyboards from Onaje Allen Gumbs – set to Dick Hazard arrangements of "Angelina", "The Shadow Of Your Smile", and "Cabo Frio".

A sterling collection of soul tunes compiled by legendary UK DJ Richard Searling – heavy on sweet symphonic soul numbers from the 70s and tightly crafted groovers from the 80s! Searling has a deep affinity for mellow soul nuggets with lightly soaring horns, grooved out vocals and keys. It's all well in tune with the Expansion standard of a genuine soul presentation – with little regard for passing trends and straight up love for soul music from the 60s through the 80s! 17 tracks in all: "You'll Never Get My Love" by Mike Jemison, "Fly Now Pay Later" by the Intrigues, "Why Are You Crying" by Bobby Boyd, "Just What I Had In Mind" by Gary Taylor, "After Hours" by Charlie Mitchell, "Let Yourself Go" by Friends Of Distinction, "You Hit My Love" by Hari Paris, "I Just Found Out" by Freddie Hughes & The Chevelles, "Inside My Love" by Memphis, "Expect A Miracle" by Gina Foster and more!