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Brilliant 60s pop from the team of Tommy Boyce & Bobby Hart – best known for their key early songwriting work for The Monkees, but a heck of a great duo on their own! Boyce & Hart have a sparkly, sunshiney sound that's very much a part of The Monkees generation – a beautiful post-folk, post-surf blend of styles, and one that's served up with all the warmth and charm that made The Monkees so great – yet also with some cool twists and turns that make a record like this so great – the kind of chance-taking that A&M sometimes allowed its artists to take at the time! Backings are super-groovy – arranged by Artie Butler and Don McGinis – and titles include "I Wonder What She's Doing Tonite", "Teardrop City", "I Wanna Be Free", "The Countess", "Population", and "Two For The Price Of One" – a great cover of a Larry Williams & Johnny Watson soul tune! Features bonus mono single tunes – "The Ambushers", "Love Every Day", "Where Angels Go Trouble Follows", and "I Wanna Be Free".

One of Eric Dolphy's lasting classics – and possibly the ultimate album of "new thing" jazz from the mid 60s! The record's got an even sharper edge than previous Dolphy recordings for Prestige – a really unique combination of instrumentation that includes Freddie Hubbard on trumpet, Bobby Hutcherson on vibes, Richard Davis on bass, and Tony Williams on drums – plus Dolphy on alto sax, flute, and bass clarinet. Although Dolphy's reed playing is as amazing as you'd expect, the real surprise here is Hutcherson, whose vibes ring out with this cold harsh tone that give a perfect edge to the set – bold and metallic, quite different than any work on vibes from previous players. Despite a large number of later recordings, Hutcherson almost never hit this sound again – except perhaps on a few Jackie McLean recordings – and it's his playing that gives the set such a unique sound. Titles include "Straight Up & Down", "Gazzelloni", "Hat & Bread", "Out To Lunch" and "Something Sweet Something Tender".

One of Eric Dolphy's lasting classics – and possibly the ultimate album of "new thing" jazz from the mid 60s! The record's got an even sharper edge than previous Dolphy recordings for Prestige – a really unique combination of instrumentation that includes Freddie Hubbard on trumpet, Bobby Hutcherson on vibes, Richard Davis on bass, and Tony Williams on drums – plus Dolphy on alto sax, flute, and bass clarinet. Although Dolphy's reed playing is as amazing as you'd expect, the real surprise here is Hutcherson, whose vibes ring out with this cold harsh tone that give a perfect edge to the set – bold and metallic, quite different than any work on vibes from previous players. Despite a large number of later recordings, Hutcherson almost never hit this sound again – except perhaps on a few Jackie McLean recordings – and it's his playing that gives the set such a unique sound. Titles include "Straight Up & Down", "Gazzelloni", "Hat & Bread", "Out To Lunch" and "Something Sweet Something Tender".

A variety of groups, some with Dex on tenor. Other players include Bobby Hutcherson on vibes, Freddie Hubbard on trumpet, Wayne Shorter on soprano sax, Cedar Walton and Herbie Hancock on piano, and Billy Higgins and Tony Williams on drums. Titles include "Berangere's Nightmare 2", "Tivoli", "Society Red", "Round Midnight", "It's Only A Paper Moon", and "Call Sheet Blues".

A landmark concert from the mid 80s – one held to honor the resurrection of the Blue Note label, featuring a wealth of some of the best players for the label – from the 80s back to the 50s bebop years. This first volume in the 4 LP series features centered around Herbie Hancock and Bobby Hutcherson, with appearances by Freddie Hubbard, Joe Henderson, Ron Carter, Tony Williams and James Newton. Side one features the group nicely stretching out on a quintet take of "Canteloupe Island" and a sextet reading of "Record A Me", and side two has a quintet take of "Little B's Poem", a trio take of "Bouquet" and a quartet take of "Hat & Beard".

One of Bobby Hutcherson's most important albums ever – and an essential piece of "new thing" jazz that ranks up there with such key Blue note sessions of the genre as Tony Williams' album Life Time, Dolphy's Out To Lunch, and Jackie McLean's One Step Beyond! Hutcherson's sound on the vibes is amazing – metallic, yet melodic – in a sublime blend of the modern and the soulful, all wrapped up in tones and colors that few other players have ever managed to get from the instrument! All the other players on the session really rise to the occasion too – and the album features tremendous work from Sam Rivers, Freddie Hubbard, Andrew Hill, and Joe Chambers. Titles include "Ghetto Lights", "Catta", "Les Noirs Marchent" and "Idle While".

A dream come true for all of us who ever loved the incredible songs of Kris Kristofferson at the peak of his craft – his late 60s and early 70s publishing demos – never before released versions of some of his best songs ever in the raw, unvarnished mode we always longed for! It's amazing stuff, including many tracks that would go on to be Kristofferson standards – numbers that got a little too clean and glossy on some of his own LPs and as recorded by others, which is what makes this compilation such a revelation. A genuine coup for our friends at Light In The Attic and a presentation of some of our favorite songs of the era by anyone – done raw and real, the way we always wanted to hear them! The set's produced by Mark Linn, who is responsible for the excellent Karen Dalton archival releases on the Delmore label, and he does similarly great work for Kris. It includes an excellent booklet with reminiscences by Dennis Hopper and Merle Haggard, full lyrics and notes from Kristofferson – plus rare photos and liner notes by Michael Simmons. Includes "Me And Bobby McGee", "Please Don't Tell Me How The Story Ends", "Smile At Me Again", "Border Lord", "Just The Other Side Of Nowhere", "Slow Down", "If You Don't Like Hank Williams", "When I Loved Her", "Billy Dee", "Getting By, High And Strange" and more. 16 tracks in all.

Great stuff – one of Flora Purim's more R&B-sounding albums from the 70s, produced by George Duke with an appreciation for Flora's Brazilian jazz roots, but with a smoother sound that's in keeping with Duke's own work of the time! The combination is pretty sweet – a professional culmination of the mixture of fusion and Brazilian jazz that had been happening in the San Francisco scene during most of the 70s, and featuring many of the musicians who had helped make that groove so strong. Players include Airto, Sheila Escovedo, Joe Farrell, Ronnie Foster, Bobby Lyle, and Larry Williams – and tracks include "Niura Is Coming Back", "From The Lonely Afternoon", "Freeway Jam", "Beijo Partido", "Corine", and "Love Lock".

Sweet electric soul from Carol Williams – a rich voice from the disco generation, served up here with some great Philly club arrangements from Vince Montana! The groove is great, right from the get-go – thanks to rhythm from the team of Bobby Eli, Norman Harris, and Ronnie Baker – and Carol's vocals slide in strongly with a style that echoes soul styles from a few years before – and reminds us at this great point, the singer wasn't always subservient to the grooves on the cuts! Vince Montana plays a bit of vibes on the record – and titles include "Rattlesnake", "Just Feel", "My Time Of Need", "This Time May Be The Last Time", "Love Is You", and "Come Back". Bonus tracks include "Love Is You (unreleased Tom Moulton 12" version)", "More (original 12" version)", "Come Back (original 12" version)", and "More (single version)".

A brilliant session of modernist hardbop – one of the few records ever cut as a leader by trumpeter Richard Williams! Williams was a key part of the Charles Mingus group for a few years – and his soulful approach ranks with Ted Curson as some of the most compelling underground trumpet work of the early 60s. The set features Williams in a great group – with Leo Wright on alto, Reggie Workman on bass, Richard Wyands on piano, and Bobby Thomas on drums – and they're playing material that isn't too far out, but which does have significantly modern tendencies. Williams solos are fantastic, and the album is proof that he was one of the 60s great under-recognized talents! Titles include "Ferris Wheel", "Blues In A Quandry", "Raucous Notes", and "Renita's Bounce".

A funk and soul treasure trove – wicked rare work from the legendary Brunswick label – most of it only issued on 45s back in the 60s and early 70s, and not reissued on CD! The package is a stunner – a real surprise that shows us there's plenty to dig for at Brunswick when you get past the hits – some wonderful Windy City soul from the late 60s, and gritty New York cuts that balance things out nicely too – and which definitely show a harder-edged side of Brunswick than you'd guess from the label's better-known tracks. There's some great obscurities here – the kind of cuts that we'd normally only find on rare 45s – like "It's Gonna Be Good" by Johnny Jones & The King Casuals, "Baby It's Time" by Marshall & The Chi-Lites, "Just A Little Misunderstanding" by Johnny Williams, "You Are" by Bobby Reed, "I Want Something To Remember You By" by Marvin Smith, "How Can You Say Goodbye" by Sidney Joe Qualls, "Once You Fall In Love" by Eddie McLoyd, "Karate Boogaloo" by The Emperors, and "Talk A Little Louder" by Wales Wallace – plus rare Brunswick material by folks you'd normally associate with other labels – like "Sweet Temptation" by Isaac Hayes, "Easy Evil" by Walter Jackson, "Since You've Been Gone" by Major Lance, and "Try Some Of Mine" by Little Richard.

A profoundly funky Message – a smoking set of early 70s funky jazz & heavy soul from the Mainstream Records vaults – a diverse set of incredible recordings from the label that may be fairly sprawling in style, yet holds together thanks to shared funky urgency! It's filled with Bob Shad productions for his stellar Mainstream roster, which at the time included a host of far reaching jazz veterans, soulful chanteuses, and killer funky combos – including Afrique, Blue Mitchell, Sarah Vaughn, Alice Clark, Charles Kynard and many more! The session players reads like a heavyweight jazz title card itself, with Don Pullen, Stanley Clarke, George Cables, Joe Sample, Victor Feldman and more. The set features a very well chosen 18 tracks, with solid notes on each by Dean Rudand. Titles include "House Of Rising Funk" by Chubukos, "Soul Makossa" by Afrique, "The Message" by Blue Mitchell, "Funky Butt" by The Delegates", "Never Did I Stop Loving You" by Alice Clark, "I Want You Back" by Bobby Shad & The Bad Men, "Grits Ain't Groceries" by Maxine Weldon, "The Spirit" by Curtis Fuller", "Bacon Butt Fat" by Charles Williams and more.

One of the funkiest New Orleans collections we've ever heard – thanks to massive work from compilers Andy Smith and Dean Rudland! There's an approach here that gets right past the obvious, and goes right for the jugular – the deepest veins of Crescent City funk, served up with rhythms that are harder and heavier than those you'd hear in some of the bigger hits from the scene! Forget the overdone cliches you might expect, and dig the massively funky tunes throughout – work that's ever bit as great and gritty as the grooves you'd hear in a Jazzman collection of rare funky 45s. And while some of the artist names are familiar, most are represented by more obscure work – titles that include "Sinner Girl" by Benny Spellman, "Mean Man" by Betty Harris, "Boogaloo Mardi Gras" by Bobby Williams, "La La Man" by Oliver Morgan, "What You Gonna Do" by Eddie Bo, "All I Want Is You" by Zila Mays, "Undivided Love" by Eskew Reeder, "The Book" by Eldridge Holmes, "Being Without You" by Maurice Williams, "Son Of A Slave" by Larry Darnell, "Brotherman Sister Ann" by Clemon Smith, "Funky Soul" by Dave Batiste & The Gladiators, and "Miniskirts & Soul" by Chris Kenner.

An amazing tribute to one of the best soul songwriters in the 70s – the mighty Phillip Mitchell, a key force in mixing together deep soul roots with more sophisticated styles for the time! Mitchell's got this mighty positive way of putting over a tune – lyrics that still hold onto the emotion of the past, yet also come through things with a forward-thinking style too – one that really helps get past obvious cliches, and which always seems to make a Mitchell-penned track stand out as the real gem on an album of 70s soul! Many of the artists here are from a southern soul background – no surprise, as Mitchell made most of his magic south of the Mason/Dixon line – and the set really brings together a great number of artists, and really shows the deep reach that Mitchell had at the time. Titles include "Hitch Hiking To Heartbreak Road" by Bobo Mr Soul, "Something New To Do" by Bobby Sheen, "Carry Me" by Ernie Shelby, "I Don't Do This" by Sidney Joe Qualls, "Free For All" by Mel & Tim, "Come Through Me" by Garland Green, "Here I Am Again" by Candi Staton, "You Made Me What I Am" by Erma Coffee, "Gonna Have A Murder On Your Hands" by JJ Williams, "Archie's In Love" by Archie Bell & The Drells, "Leftovers" by Millie Jackson, "How Can I Go On Without You" by Corey Blake, and "That's The Way I Wanna Live My Life" by Tommie Lee.

A pretty sweet compilation of Lloyd Campbell productions form the mid 70s on through the 80s – cuts made for the Jamaica's Spiderman label – featuring numbers by The Itals, Joy White, Junior Delgado The Terrors, Ronnie Davis, Freddie McGregor, Mallory Williams, Lone Ranger, Yellow Man and more! The earlier numbers have rootsier riddims and the later ones have a bit of an 80s drum machine vibe – but all have a love of soulful sounds at the core! 19 tracks in all: "Ina Disa Time" by The Itals, "Riot" by Bobby Ellis, "Over Me" by Yellow Man, "Promise Land" by Frankie Paul, 'Tribal War" by Lone Ranger, "Won't You Come Home" by Ronnie Davis, "Play Days" by Junior Delgado, "Only A Smile" by Gregory Isaacs and more.

An album that collects a number of groovy tunes by Dionne – some from movies she starred in, some from soundtracks she recorded, and others from films that she never had a hand in at all! Arrangements are by Burt Barcharach, Pat Williams, Garry Sherman, and Bobby Scott – and titles include "Slaves", "The April Fools", "A House Is Not A Home", "The Look Of Love", "Alfie", and "Valley Of the Dolls".

One of the last records that Booker Ervin ever recorded, and one of the best! There's a depth of tone and conception here that goes far beyond even Ervin's already-great albums for Prestige – a mix of modernism and soulful expression that really points the way towards jazz expression in the 70s – although sadly, Booker was to leave the planet before getting a chance to stretch out in that era. All 6 tracks on the album are originals – and they sparkle with the imagination found on some of the most top-shelf Blue Notes of the time – work by Lee Morgan, Hank Mobley, or Wayne Shorter – played by a group that includes the amazing Richard Williams on trumpet (almost worth the price of the record alone), Bobby Few on piano, Lenny McBrowne on drums, and the little-known Cevera Jefferies on bass. Loads of dark edges, searing solos, and plenty of free flights into the sky – on titles that include "The In Between", "Tyra", "The Muse", "Mour", "Sweet Pea", and "Largo".

One of Bobby Hutcherson's most important albums ever – and an essential piece of "new thing" jazz that ranks up there with such key Blue note sessions of the genre as Tony Williams' album Life Time, Dolphy's Out To Lunch, and Jackie McLean's One Step Beyond! Hutcherson's sound on the vibes is amazing – metallic, yet melodic – in a sublime blend of the modern and the soulful, all wrapped up in tones and colors that few other players have ever managed to get from the instrument! All the other players on the session really rise to the occasion too – and the album features tremendous work from Sam Rivers, Freddie Hubbard, Andrew Hill, and Joe Chambers. Titles include "Ghetto Lights", "Catta", and "Idle While". CD also features the bonus track "Jasper" – not on the original LP!

A subtle gem from Bobby Hutcherson's wonderful years on Landmark Records – a point when he was really getting back to basics, and cutting some great straight work that almost hearkened back to his 60s gems on Blue Note! The set's recorded live at the Village Vanguard – and Bobby swings soulfully in a great quartet with Kenny Barron on piano, Buster Williams on bass, and Al Foster on drums. Hutcherson's playing both vibes and marimba – and the scope of his playing here has both grown from earlier years, awash with tones, colors, and light – which Barron and Williams are only happy to fill in more deeply. Titles include "I Wanna Stand Over There", "Little Niles", "Estate", "Well You Needn't", and "Young & Foolish".

An amazing album – simply groundbreaking, and a key turn for Jackie McLean! The record features a group of hip young players – including a very young Tony Williams, plus Grachan Moncur III, Bobby Hutcherson, and Eddie Kahn – all playing in a spare contemplative modernist mode that would soon become known as "new thing" jazz. The four tracks on the album – "Frankenstein", "Ghost Town", "Blue Rondo", and "Saturday & Sunday" – are extremely stark, and even Hutcherson's often-warm vibes sound harsh and metallic, especially next to McLean's razor-sharp tone. The record's a real treasure – and never too out to be unenjoyable by fans of McLean's more inside work. Extremely compelling – and we sure wish they were making them like this again! Also includes a bonus alternate of "Saturday & Sunday".

With Wallace Roney on trumpet, Donald Harrison on alto, Bobby Hutcherson on vibes, and Mulgrew Miller on piano!

Some of the earliest work ever recorded by the mighty Memphis-based Goldwax Records – material that shows the roots of the label's famous deep soul style, and a wide variety of other modes as well! From the start, it's clear that the ears at Goldwax really knew what they were doing – as even the more pop-oriented recordings here have something very different – a care and quality that makes digging through the label's catalog on a single-by-single basis just as great as doing the same with work from Stax/Volt! As with that company, you can first hear Goldwax getting their start in a few different styles – some of which were issued on other labels at the time – then settling into a classic mode pretty quickly, that massive Memphis soul style that easily made Goldwax one of the most important southern soul imprints of the 60s. The package features a whopping 58 tracks in all, plus full notes too – both a and b-sides of early singles, with titles that include "Toddlin" by Gene Bowlegs Miller, "It's Wonderful To Be In Love" by The Ovations, "I Can't Make It" by James Carr, "Arabian Jerk" by The Merits, "I Can't Fight This Much Longer" by Eddie Bond, "That's How Strong My Love Is" by OV Wright, "Our Last Quarrel"by Bobby McDowell, "Will I Ever Be Free" by Jeb Stewart, "The Day The World Cried (parts 1 & 2)" by Oboe, "A Thousand Vows" by Bobby McDowell, "Spoonful" by The Playboy Five, "Rhythm Marie" by Phillip & The Faithfuls, "Country Style" by Dorothy Williams, "Have You Seen Jean" by Al Vance, "Lover's Crime" by Spencer Wiggins, and "My Motor Bike Balked" by The Lamars.

An amazing look at the music of Leon Ware – one of our favorite soul artists of the 70s! Leon's got a warmly mellow style that's totally great – heard most famously in collaboration with Marvin Gaye on the classic I Want You album, but equally noteworthy on Leon's own records – and on a host of other projects he's done with top-shelf soul artists over the years! A good number of those projects are collected here – the cream of the crop of Ware-associated cuts from the 70s and early 80s – tunes penned, produced, arranged, or even featuring Leon himself – all brought together here in a really wonderful little collection. Each track is a treasure, and the whole thing is a sublime mellow soul masterpiece – filled with musical moments that sound even better in the company of each other – pulled from other records, and rewoven here in a new tapestry that stands as a rich tribute to Ware's mighty talents. Titles include "Everywhere Inside Me" by Norman Connors, "I Don't Know" by Syreeta, "You Do The Right Things" by Al Wilson, "Point Of View" by Rockie Robbins, "No Tricks" by Chuck Jackson, "I Can't Keep Holding Back" by Shadow, "Trust Your Heart (ext 12" mix)" by Bobby Womack, "Just Don't Make It Hurt" by Krystol, "I Came To Love You" by Booker T, "I Can Dream" by Themal Jones, "You Make Me Wanna Love Again" by Vesta Williams, "I Know It's You" by Donny Hathaway, "Can You Feel What I'm Saying" by Minnie Riperton, "Looking Up To You" by Michael Wycoff, "Thank You Early Bird" by Jerry Butler, and the tracks "What's Your World" and "Girl Girl Girl" by Leon Ware himself!

The Steppin Muzak series goes strongly back to the 70s with this volume – throwing in a few cuts from later years, but mostly sticking with the great 70s mellow moments that first got us interested in the Chicago steppers scene many years back! There's some warm, wonderful moments here – including a number of cuts not easy to find on CD – and titles include "If It Takes All Night" by Soul Train Gang, "Countryside" by Fat Larry's Band, "Candy" by The Four Tops, "You're The One" by Ray Simpson, "I Found My Rainbow" by Touch Of Class, "Never Knew Love Like This Before" by Charles Earland, "Mutha's Love" by Bobby Franklin, "You Only Live Once" by Changing Tymes, "I Love The Way You Love" by Individuals, "Crazy About Your Love" by Robert Thomas, "Baby Take It Off" by Lenny Williams, and "Her Seedy Life" by Blue Zone UK.

A subtle gem from Bobby Hutcherson's wonderful years on Landmark Records – a point when he was really getting back to basics, and cutting some great straight work that almost hearkened back to his 60s gems on Blue Note! The set's recorded live at the Village Vanguard – and Bobby swings soulfully in a great quartet with Kenny Barron on piano, Buster Williams on bass, and Al Foster on drums. Hutcherson's playing both vibes and marimba – and the scope of his playing here has both grown from earlier years, awash with tones, colors, and light – which Barron and Williams are only happy to fill in more deeply. Titles include "I Wanna Stand Over There", "Little Niles", "Estate", "Well You Needn't", and "Young & Foolish". Includes CD only bonus track "Young & Foolish".

Another blistering treasure trove of Canadian reggae! You heard us right, this batch of deep and heavy roots comes all the way from Toronto, and though it may be geographically isolated from the Caribbean, the vibes are deeply rooted foundation rock, not unlike some of the other astoundingly great material the folks at Light In The Attic have reissued. Jerry Brown's Summer Records imprint churned out no small number of tremendous reggae cuts, as this excellent compilation documents, working with West Indian ex-pats, visiting luminaries and local talent, too! The tracks run the gamut from bright and crisp to murky smoked out but it's all unbelievably great and will open your eyes to a whole new scene in the same way that the refreshing Jamaica Toronto set did! 15 tracks in all, including "Love Makes The World Go Round", "Warrior" and "Jah Jah Live Forever" by Johnny Osbourne, "Sufferer" and "Awakening" by Earth, Roots & Water, "Run Them A Run" by Willi Williams, "Reach My Destiny" by Noel Ellis, "Dreadlock Lady" by Jerry Brown, "Come Together" by Bobby Gaynair and Earth, Roots & Water, and "Mankind" by Adrian Homer Miller and Earth, Roots & Water. Plus as a bonus, there's a DVD layer on the CD, with 20 minutes of excellent archival footage of Jerry Brown and his artists in the studio and at the dance!

Landmark material – one of Grachan Moncur's two classic albums for Blue Note, and a session that ranks as one of the best examples of the "new thing" moment in 60s jazz! Grachan's leading a sextet here that includes a number of players that he cut his teeth with in Jackie McLean's great mid 60's group, including McLean himself, Bobby Hutcherson, and a young Tony Williams. Lee Morgan joins in on trumpet – playing with a surprisingly modern tone for the time – and the group works their way through 4 stunning Moncur compositions – "Air Raid", "Evolution", "The Coaster", and "Monk In Wonderland". It's hard to describe the power of these recordings – but thankfully, we don't have to, as one listen to the album will blow you away!

Landmark material – one of Grachan Moncur's two classic albums for Blue Note, and a session that ranks as one of the best examples of the "new thing" moment in 60s jazz! Grachan's leading a sextet here that includes a number of players that he cut his teeth with in Jackie McLean's great mid 60's group, including McLean himself, Bobby Hutcherson, and a young Tony Williams. Lee Morgan joins in on trumpet – playing with a surprisingly modern tone for the time – and the group works their way through 4 stunning Moncur compositions – "Air Raid", "Evolution", "The Coaster", and "Monk In Wonderland". It's hard to describe the power of these recordings – but thankfully, we don't have to, as one listen to the album will blow you away!

Andy Williams like you've never heard him before – singing jazz, and doing a hell of a job of it, too! Sure, Andy was known as a mainstream singer from his TV show of the 60s – but he could also work well in a jazz mode, too – especially with great small combo backing like this! Those trademark Williams vocals really stretch out in this great setting – with combo backing from Hank Jones on piano, Mundell Lowe or Barry Galbraith on guitar, Eddie Safranski on bass, and Bobby Rosengarden on drums – all on rare material recorded for radio shows for The National Guard – all caught in the studio, with excellent clarity. Tunes are relatively short, and Andy takes off beautifully with the jazzy inspiration of the group – on a set of 26 tracks that include "You Are My Lucky Star", "Easy To Love", "An Old Piano Plays The Blues", "Stars Fell On Alabama", "Spring Is Here", "Do Do Do", "Young At Heart", and "You'd Be So Nice To Come Home To".

A lost funky organ groover – and a rare one too! Bobby Forrester may not look like a funky cat, but this set grooves like some of the best early 70s work by Jack McDuff, Jimmy McGriff, and Groove Holmes – hitting hard with some really funky tracks that have made the album a must-have with collectors for years. The sound here is really great and nicely stripped down – Bobby grooving on Hammond with drums by Johnny Kirkwood and guitar by Elijah Williams Jr – all coming together in a totally solid sound that has plenty of funky riffs, nice drums, and soaring organ lines! Includes the classic groover "Uncle Funky", a great cover of "Sanford & Son Theme", and the cuts "Blues For Razz", "Don't Misunderstand", and "Funky Fly".

An amazing debut from the John Carter/Bobby Bradford New Art Jazz Ensemble – one of the most powerful voices in jazz on the west coast at the end of the 60s! In a way, the quartet's sound is a culmination of the underground changes that had been bubbling under during most of the 60s on the LA scene – new ways of conceiving jazz after Ornette and Dolphy had first set the scene on fire at the start of the decade, but styles that weren't receiving nearly the exposure as some of the better-known avant work on the Chicago, New York, or European scenes. The style here definitely owes something of a legacy to Ornette in the way it reconceives rhythm and melody – and a bit to Dolphy in its freewheeling, free-thinking work on clarinet, flute, and alto by John Carter. Bobby Bradford's bracing trumpet lines really give the album a tremendous punch – and the rest of the group features Tom Williamson on bass and Bruz Freeman (brother of George and Von!) on drums. Titles include "Seeking", "The Village Dancers", "Sticks & Stones", "In The Vineyard", "Karen On Monday", and "Song For The Unsung".

Spectacular work from one of the most groundbreaking groups of its time – the legendary John Carter/Bobby Bradford Quartet – simply the hippest thing going in the LA scene of the late 60s! The group includes Carter on alto and tenor, Bradford on trumpet, Tom Williamson on bass, and Bruzz Freeman (brother of Von and George!) on drums! Tracks are long and free, yet also fragile and intimate – with an almost painterly sense of beauty and emotion that stands in stark contrast to much of the avant work of the time coming out of the east coast. Titles include "Domino", "Abstractions For Three Lovers", "Woman", and "The Second Set".

Spectacular work from one of the most groundbreaking groups of its time – the legendary John Carter/Bobby Bradford Quartet – simply the hippest thing going in the LA scene of the late 60s! The group includes Carter on alto and tenor, Bradford on trumpet, Tom Williamson on bass, and Bruzz Freeman (brother of Von and George!) on drums! Tracks are long and free, yet also fragile and intimate – with an almost painterly sense of beauty and emotion that stands in stark contrast to much of the avant work of the time coming out of the east coast. Titles include "Domino", "Abstractions For Three Lovers", "Woman", and "The Second Set".