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A record with a really timeless feel, and a great mix of classic and contemporary – rootsy Ghanaian instrumentation, modern production, and just a touch of electronics – all wrapped up in a mix that's mighty nice – and one that's a lot more earthy than you might expect! Bola's not exactly in Konono territory, but his approach isn't that far off, either – as there's a core element to the music that relies strongly on older traditions – and an execution that just makes slight use of contemporary electronics – often used very sparely, just to underscore the key aspects of the music – in ways that almost make the acoustic elements sound even more fragile and crisp! The set's hardly a remix-type project, and has a gritty appeal that goes way beyond any of the too-sweetly recorded sessions of recent years – almost more in an Analogue Africa mode overall. Titles include "Yine Mmema", "Abayetidu Ma", "Hoyenbesa Nini", "Makamiba", and "Burilbunbol Suma".

A killer set of grooves recorded live by this legendary Brazilian guitarist – and a record of his that we've always sold extremely well over the years! The setting is a stripped down stage at the Monterey Jazz Festival – where Sete grooves in an open-ended fashion with only bass and drums behind him. The best track on here is "Soul Samba", a nice little groover with good drumming by Paulinho (Magalhaes) – and the LP also features an extended medley of tracks from Black Orpheus, plus an original called "Flamenco". Nice and jazzy, with a good tight bossa groove.

A record with a really timeless feel, and a great mix of classic and contemporary – rootsy Ghanaian instrumentation, modern production, and just a touch of electronics – all wrapped up in a mix that's mighty nice – and one that's a lot more earthy than you might expect! Bola's not exactly in Konono territory, but his approach isn't that far off, either – as there's a core element to the music that relies strongly on older traditions – and an execution that just makes slight use of contemporary electronics – often used very sparely, just to underscore the key aspects of the music – in ways that almost make the acoustic elements sound even more fragile and crisp! The set's hardly a remix-type project, and has a gritty appeal that goes way beyond any of the too-sweetly recorded sessions of recent years – almost more in an Analogue Africa mode overall. Titles include "Yine Mmema", "Abayetidu Ma", "Hoyenbesa Nini", "Makamiba", and "Burilbunbol Suma".

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!

The sound of global soul in the 21st Century – and an amazing set from the soon-to-be legendary Seu Jorge! Jorge's possibly best known for his appearances in films over the past few years – like The Life Aquatic or City Of God – but take it from us, he's one of the greatest living artists working in modern music – and has a sound, sense, and charm that will knock down barriers and boundaries all over the world! Unlike previous efforts, this album's incredibly spare – done in a style that often just features Jorge's vocals next to acoustic guitar, percussion, cavaquinho, and a bit of light keys. But that doesn't mean that the record's a sleeper – because it's got an incredibly full sound – an energy and excitement that pulses from the very first note, and which is carried off almost entirely by Seu Jorge himself! Even on the sparer, mellower tunes, the vocals have a power that's simply tremendous – transcendent of language, and reaching out in this really magical way. Titles include the sublime groover "Tive Razao", plus "Chatterton", "Mania De Peitao", "So Gonca", "Bem Querer", "Bola De Meia", and "Fiore De La Citta". Plus, the US pressing has 2 bonus remixes – "Mania De Peitao (jamais plus jamais mix)" and "Tive Razao (voltair mix)" – both quite nice, and not "dance" at all, but really just extrapolations of the original tunes!

Essential work from the African scene of the 70s – a collection of tracks that goes way beyond the more familiar grooves of Fela Kuti and Manu Dibango! The set may well be the deepest so far we've heard from the always-amazing Soundway Records – a package that digs into a wealth of under-heard music from early 70s Nigeria, all of it beyond simple stylistic definitions and overplayed world music cliches! Many of the grooves here are wonderfully unique – odd fusions of styles that include highlife, jazz, soul, Afrobeat, and other regional influences – sifted and shaken together, and spilled out in the studio with a really fresh sort of feel. Rhythms are at the core of most numbers here, but even those are often unfamiliar – skittish, soulful, and often somewhat playful – and the other instrumentation on the tracks is great too, and often resonates with some of the odd sounds and tunings we love in work on the Ethiopiques series. 2CD set features 26 tracks that include "Okwuke Na Nchekwube" by Celestine Ukwu & His Philosophers National, "Nekwaha Semi Colon" by The Semi Colon, "Osalobua Rekpama" by Sir Victor Owaifo & His Melody Maestros, "Onwu Ama Dike" by St Augustine & His Rovers Dance Band, "Feso Jaiye" by The Sahara All Stars Of Jos, "To Whom It May Concern" by Tunji Oyelana & The Benders, "Akula Owu Onyeara" by The Funkees, "Koma Mosi" by The Harbours Band, "Belema" by Opotopo, "Asiko Mi Ni" by Nigerian Police Force Band, "Alabeke" by Dan Satch & His Atomic 8 Dance Band, "Blak Sound" by Leo Fadaka & The Heroes, "Arraino" by Popular Cooper & His All Beats Band, "Ugali" by Tony Benson Sextet, "Akpaisong" by Etubom Rex Williams & His Nigerian Allstars, "Eguae Oba" by Osayomore Joseph & The Creative 7, "Torri Wowo" by Godwin Ezike & The Ambassadors, "Buroda Mase" by Bola Johnson & His Easy Life Top Beats, "I Want A Break Thru" by The Hykkers, and "Eguae Oba" by Osayomore Joseph & The Creative 7.

Essential work from the African scene of the 70s – a collection of tracks that goes way beyond the more familiar grooves of Fela Kuti and Manu Dibango! The set may well be the deepest so far we've heard from the always-amazing Soundway Records – a package that digs into a wealth of under-heard music from early 70s Nigeria, all of it beyond simple stylistic definitions and overplayed world music cliches! Many of the grooves here are wonderfully unique – odd fusions of styles that include highlife, jazz, soul, Afrobeat, and other regional influences – sifted and shaken together, and spilled out in the studio with a really fresh sort of feel. Rhythms are at the core of most numbers here, but even those are often unfamiliar – skittish, soulful, and often somewhat playful – and the other instrumentation on the tracks is great too, and often resonates with some of the odd sounds and tunings we love in work on the Ethiopiques series. Vinyl part 2 features 14 tracks that include "Belema" by Opotopo, "Asiko Mi Ni" by Nigerian Police Force Band, "Alabeke" by Dan Satch & His Atomic 8 Dance Band, "Blak Sound" by Leo Fadaka & The Heroes, "Arraino" by Popular Cooper & His All Beats Band, "Ugali" by Tony Benson Sextet, "Akpaisong" by Etubom Rex Williams & His Nigerian Allstars, "Eguae Oba" by Osayomore Joseph & The Creative 7, "Torri Wowo" by Godwin Ezike & The Ambassadors, "Buroda Mase" by Bola Johnson & His Easy Life Top Beats, "I Want A Break Thru" by The Hykkers, and "Eguae Oba" by Osayomore Joseph & The Creative 7.

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".

Samba, jazz, and bossa – the three best aspects of Elis Regina's classic work – all pulled together in one lovely package that's very heavy on the grooves! If you've ever dipped into some of Regina's mellower or more emotive work and wondered where the grooves were, this is the set to check out – because it's filled with great tracks from the late 60s and early 70s that really kick things up – lots of driving percussion at the bottom of the tracks, jazzy instrumentation in the middle, and Elis' wonderful vocals soaring to the skies over the top! The set's a great introduction to the best side of her work for a newcomer, but also a great reminder of her genius for the rest of us – and the 2CD collection features a total of 28 tracks that include "Upa Neguinho", "Watch What Happens", "Voi Deitar E Rolar", "Ou Bola Ou Bulica", "Madalena", "Bala Com Bala", "Bicho Do Mato", "Samba Em Paz", "Alo Alo Tai Carmen Miranda", "Amor Ate O Fim", and "Aquele Abraco".

A wonderful gem from Emilio Santiago – soaring and hip all the way through! After some of his earlier funkier work, this may well be the best full album ever cut by Santiago – thanks to some warm jazzy arrangements from the likes of Antonio Adolfo and Meirelles, both of whom really make the set sparkle with a warm electric piano groove! Emilio's vocals are great – soulful and sophisticated at once, perfectly fitting with the light jazzy changes of the tracks, giving them the right dose of honest emotion. Titles include "Rola Bola", "Recado", "Logo Agora", "Caridade", "Bufete E Cascudo", "Trocando Em Muidos", and "Quase Sempre".

A killer follow-up to the earlier Nigeria 70 compilation on Strut Records – a second set that digs even deeper than before, and one that shows a huge range of Nigerian grooves from the 70s! The styles here go way beyond familiar Afro Funk – and the rhythms here are often quite complicated – rootsy at times, modern at others – and served up in a blend of acoustic and electric instrumentation that dances together wonderfully! Most numbers have vocals, but those are often delivered as rhythmically as the instrumentation – and the package is filled with under-reissued gems that make the package an essential addition to any collection of global grooves. As with other sets on the newly-revived Strut label, there's full notes on the music and track-by-track details – all supporting a set list of 16 titles that includes "Everybody Likes Something Good" by Ify Jerry Krusade, "Yabis" by Sir Shina Peters & His International Stars, "Onyame" by Ashanti Afrika Jah, "Ezuku Buzo" by Bola Johnson & His Eazy Life Top Beats, "African Dialects" by Peter King, "You Are My Heart" by Rex Williams, "Hot Tears" by The Immortals, "Dododo (Ekassa No 1)" by Sir Victor Uwaifo & His Melody Maestros, "Happy Survival" by Ifeanyi Eddie Okwedy & His Maymores Dance Band, "Tug Of War" by The Faces, "Ire Africa" by Chief Checker, and "Eddie Quansa" by Peacocks Guitar Band.

Looking for funky Brazilian grooves? You'd have a hard time doing better than this tasty little set – 20 slices of rare soul, funk, and jazzy tunes from the Brazilian scene of the 70s – all hand-picked by Patrick "Da Lata" Forge! The set's a tremendous introduction to the wealth of great music from this time – and brings together a number of cuts that have crossed over big on the global groove scene inspired by Forge and Gilles Peterson, plus a number of other tracks that are lesser-known but equally great as the rest! Grooves often mix together electric and acoustic sounds, traditional and modern instrumentation, and feature arrangements that offer a whole new approach to rhythm than you'd hear in American work from the same stretch – a really amazing sound that's presented perfectly here! Titles include "Garra" by Marcos Valle, "Bola De Meia Bola De Gude" by 14 Bis, "Tudo Que Voce Podia Ser" by Simone, "Maita" by Doris Monteiro, "Baoba" by Claudia, "Nereci" by Djavan, "No Baixo Do Sepateiro" by Meirelles, "Embalo Diferente" by Os Devaneios, "Que Bandeira" by Evinha, "Aquelas Coisas Todas" by Toninho Horta, "Algo No Ar" by Marcelo, "Banana" by Joyce, and "Trem Da Central" by Claudio Jorge.

Here's where it started getting weird for Bolan & T Rex – with strange bits of soul and other elements in the shiny, spacey veneer! Includes "Venus Loon", "Sound Pit", "Galaxy", "Change", "Teenage Dream", "Interstellar Soul", "The Meathawk Immaculate", "Nameless Wildness", "Liquid Gang", "The Leopards Featuring Gerdenia & The Mighty Slug" and more.

A hard slammer from the Clarke-Boland Big Band – recorded when the band was burning up the road in Europe, taking great players and audiences in one fell swoop, coming up with some of the strongest straight jazz of their generation! The album features stunning solos all around by an all-star mix of American and European players that includes Benny Bailey, Johnny Griffin, Tony Coe, Dave Pike, Sahib Shihab, and Ronnie Scott – all coming together with incredibly fluidity, yet also breaking out for some massive solos on their own! Arrangements are by Boland – tight, right, and outta site – and titles include "Let's Face The Music & Dance", "High School Cadets", "By Strauss", "Gloria", "Sweet & Lovely", "Get Out Of Town", and "I'm All Smiles".

One of the greatest long-form albums from the Clarke Boland Big Band – a sophisticated suite that not only shows off the writing ability of Francy Boland, but also demonstrates the group's ability to swing like a mofo, even when things are serious! The album's a jazz suite written by Boland, and dedicated to the great prisons of England – where Johnny Griffin was once kept "At Her Majesty's Pleasure", due to non-payment of some income tax. The experience of Griffin led Boland to explore the idea of the British penal system with a number of powerful emotional themes, and the result of this writing is one of the CBBB's best albums of the late 60s – filled with rich colors and tones that go far beyond the earlier modes of the group, but without some of the too-complicated elements that sometimes show up in later suites. A good part of the album's success comes from the strength of the soloists – players who include Johnny Griffin and Ronnie Scott on tenor, Tony Coe on clarinet, Sahib Shihab on flute and soprano, Kenny Wheeler and Benny Bailey on trumpets, and Ake Persson and Nat Peck on trombones. Titles include "Pentonville", "Wormwood Scrubs", "Doing Time", "Broadmoor", and "Going Straight".

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".

Great early genius from the Clarke Boland Big Band – proof that Kenny and Francy were onto something great, right from the start! The album really has the group hitting the heights of their MPS years – stretching out way past earlier big band modes, into the hip mix of rhythms and soulful solos that made the ensemble unlike any other group in the 60s – a really groundbreaking approach to their music, delivered by a range of top-shelf players! Arrangements are by Boland, who also plays piano – and other group members include Benny Bailey and Jimmy Deuchar on trumpets, Derek Humble on alto sax, Carl Drewo and Zoot Sims on tenor, Sahib Shihab on baritone sax and flute, and Ake Persson on trombone – plus rhythm from the rock-solid duo of Jimmy Woode on bass and Kenny Clarke on drums. Titles include the Latin-tinged "Los Bravos", and more great originals by Boland – including "Volutes", "The Styx", "Charon's Ferry", and "Box 703 Washington DC" – plus versions of "Gloria" and "Last Train From Overbrook".

One of the greatest records ever by this hip jazz ensemble – and one of their most unique! The record has the band grooving hard through two incredible suites of Latin music – Gary McFarland's "Latin Kaleidoscope" and Francy Boland's "Cuban Fever" – each of which takes up a side of the record, both driving the band to new solo heights with a very hip edge! Players include the usual cream of the crop of European jazz residents – like Sahib Shihab, Dusko Goykovich, Jimmy Deuchar, Phil Woods, Tony Coe, and Benny Bailey – and the tracks include "Uno Graso De Areia", "A Rosa Negra", "Olhos Negros", "Cara Bruja", and "Fiebre Cuban". Wonderful all the way through – and always a treasure! One of the shining jewels in the crown of MPS – and a Gilles P classic all the way through!

One of the greatest records ever by this hip jazz ensemble – and one of their most unique! The record has the band grooving hard through two incredible suites of Latin music – Gary McFarland's "Latin Kaleidoscope" and Francy Boland's "Cuban Fever" – each of which takes up a side of the record, both driving the band to new solo heights with a very hip edge! Players include the usual cream of the crop of European jazz residents – like Sahib Shihab, Dusko Goykovich, Jimmy Deuchar, Phil Woods, Tony Coe, and Benny Bailey – and the tracks include "Uno Graso De Areia", "A Rosa Negra", "Olhos Negros", "Cara Bruja", and "Fiebre Cuban". Wonderful all the way through – and always a treasure! One of the shining jewels in the crown of MPS – and a Gilles P classic all the way through!

A seminal session from one of the greatest large groups ever! This one captures the Clarke-Boland ensemble at the peak of their creativity – swinging hard in that tight firey way that was virtually their trademark during the late 60s. The players are a top-shelf mix of European and American jazz legends – coming together without ego, without attitude, and having a hell of a time working through groundbreaking arrangements from leader Francy Boland. Soloists include Sahib Shihab, Tony Coe, Dusko Goykovich, Ronnie Scott, Jimmy Woode, and Benny Bailey – and the tracks are all short, but swing like a mofo, with plenty of solo action in the mix. Titles include "Love For Sale", "November Girl", "All Through The Night", "Lullaby Of The Leaves", and "Bei Dir War Es Immer So Schon".

The hard wailing trumpet of Maynard Ferguson gets a perfect showcase on this obscure MPS session from the 60s – a record that offers up a nice bridge between his earlier albums on Roulette, and his more famous funk sides for Columbia! The sound here is mostly acoustic, but definitely hard-grooving – in ways that are similar to other MPS big band projects of the period, such as records by Gustav Brom, or the Clarke Boland Big Band! Like the latter, there's a great ensemble working with Maynard here – and even though he's the main soloist, the sense of the larger ensemble always helps shape the sound nicely. Deiter Reith plays piano on the date – and arrangements are by Slide Hampton, Don Sebesky, Bill Holman, Willie Maiden, and Mike Abene – on cuts that include a great reading of Slide Hampton's "Got The Spirit", plus the tracks "Knarf", "Ole", "Dancing Nitely", and "Whisper Not".

This is a fantastic album! French pianist Raymond Fol leads a group that includes American and European players of the Clarke-Boland Big Band mode, like Johnny Griffin, Jimmy Woode, and Fats Sadi, plus American Art Taylor on drums – and he's come up with a swinging take on Vivaldi's Four Seasons that's one of the hippest French jazz sides we've heard from the 60s! Forget the source of the material, because Fol lets the players really go loose on the solos – which means you'll hear great vibes from Sadi, searing tenor from Griffin, and some excellent work on piano and celeste from Fol himself, all set to tight rhythm accompaniment that makes the tracks swing harder than you'd ever expect. A real treat, kind of a swinging jazz suite, ala the best MPS work of the Clarke-Boland Big Band!

Lost European jazz recordings from the vaults of producer Gigi Campi – and a stellar batch of non-US material with Johnny Griffin at the lead – working in the company of Clarke/Boland compatriots who include Benny Bailey, Sahib Shihab, Jimmy Woode, Idrees Sulieman, and Milt Jackson! Despite the "Bags" in the title, Milt's only on a few tracks – but that's fine with us, because Johnny Griffin is the main attraction – and the material is good small group sides with Griff soloing and trading lines with players like Sulieman and Bailey, or with some of the other players on their own. The recordings are different than the usual breed of Johnny Griffin European recordings – most of which have him soloing with a piano quartet on extended tracks. On this release, most of the tracks are short, hard, and very nicely swinging with a good hard bop groove – as with the best of Griffin's Riverside and Blue Note recordings. Kenny Clarke's on drums on nearly all the material, and he pulls out his bop chops to drive Griff's hard solos as fast as he can. The set's a great batch of work, with excellent notes and photos, and some great playing all around. Cuts include "Gamal Sady 'n Em", "Foot Patting", "Lady Heavy Bottom's Waltz", "Blues For K", "Muvaffak's Pad", "The Girl & The Turk", and "Gyson's Bag". 16 cuts in all, and none of them are from the Griffin/Davis LP on MPS (just in case you thought to ask!)

A rare European gem from Johnny Griffin – recorded in quartet formation with backing from the rhythm trio of the Clarke Boland Big Band! Johnny was working with the trio in the bigger group at the time, but he gets plenty of space to state his case here – stretching out on hard-bitten, almost-modern solos that are some of his most adventurous to date on record – supported strongly on the album's longish tracks by Francy Boland on piano, Jimmy Woode on bass, and Kenny Clarke on drums! There's a quality to Griffin's tone that's incredible – urgent, edgey, but never too far out – completely in command of itself, and able to run free, but without wasting at note at all – unlike some of his over-stretched European solos of later years. The set features beautiful long readings of Boland's "Night Lady" and "Old Stuff", plus Griffin's "Scrabble", and versions of "Summertime", "All The Things You Are", and "Little Man You've Had A Busy Day".

Great stuff – the US issue of some very rare tracks that were recorded for MPS in Germany under the leadership of either Carmell Jones or Nathan Davis. One group on the record features Davis and Jones, along with a rhythm section of Francy Boland, Kenny Clarke, and Jimmy Woode. They swing very very hard, and keep in a tight groove on tracks like "Carmell's Black Forest Waltz", "The Hip Walk", and "That Kaycee Thing". The other group is a little bit more swing-based, and features Jones, Pony Poindexter, Leo Wright, Fritz Pauer, and some guest vocals by Annie Ross. They do a long version of "Twisted", with great solos, plus a less-stellar version of "Jumpin At The Woodside". Very hard swingin' jazz, and one of the best MPS/Saba recordings of American players in Europe!

A pretty odd little record from Gloria Jones – a great soul singer back in the 60s when she was pounding out the hard northern numbers, but not so great here, where she's in an odd style that mixes disco with a hard soul approach, and just doesn't work. The "Reunited" in the title refers to Gloria and Ed Cobb – her producer on earlier records, and the force behind this effort. Gloria had previously spent time working in the group T Rex and was married to the late Marc Bolan – and she dedicates the painful number "Sixty Minutes Of Making Love" to their time together. Features a remake of Gloria's original hit "Tainted Love", plus "Body Heat", "The Touch Of Venus", and "I'm Going To Run Away With Him Tonight".

A trio of classics from the Thad Jones/Mel Lewis Orchestra! First up is the initial Presenting album – great music by one of the hippest large American ensembles of the late 60s – almost a US equivalent to the groovy sound of the Clark Boland Big Band over in Europe! Trumpeter Thad Jones and drummer Mel Lewis had already made some great music together on their own – but once they came together in a record like this, they really found a great new direction for their energy – a bold musical force that's strong enough to also encompass the rich talents of players who include Pepper Adams on baritone sax, Joe Farrell on tenor, Jerome Richardson on soprano sax, Richard Williams on trumpet, Bob Brookmeyer and Tom McIntosh on trombones, Hank Jones on piano, and Richard Davis on bass! The sound is full, but never overwhelming – and like the Clark Boland group, this one has a great way of breaking open to allow key soloists to have some great space on their own – a modern approach, and one that still never has the band losing its groove. Titles include "ABC Blues", "Mean What You Say", "Three & One", and "Once Around". The next album was recorded live in the Thad Jones/Mel Lewis home turf at the Village Vanguard! The group at this point was a freshly-created outfit filled with some of the best large group jazz soloists of the time – players that included Jerome Richardson, Joe Farrell, Eddie Daniels, Pepper Adams, Richard Williams, and Bob Brookmeyer – not to mention Jones and Lewis themselves! The style here is very much in the mode that the Clarke Boland Band was crafting in Europe during the same period – a redefinition of the larger jazz group, in a way that allowed it to swing with the dynamic energy and soul of some of the smaller combos of the 60s. And while the Jones/Lewis group had many years over which to hone their craft, they've never sounded better than on these initial recordings – as you'll hear on tracks that include "Samba Con Getchu", "A That's Freedom", "Bachafillen", and "Little Pixie". On the last album in the set, Ruth Brown joins the big band of Thad Jones and Mel Lewis – in a set that's a real standout in the career of all three artists! Thad and Mel already have a pretty great groove going at this point – a large ensemble approach to jazz, yet one that's swingingly soulful – very much on a par with some of Gerald Wilson's hip work of the same time at time. And adding in Ruth Brown's vocals is a great choice – as she not only needs a great showcase like this for her amazing voice, but also because she really helps unlock a soulful sort of energy that the group always had in their instrumental music. The approach is a bit like some of Etta Jones' best 60s recordings – a nice shift for Brown – and titles include "Black Coffee", "Fine Brown Frame", "You Won't Let Go", "Trouble In Mind", and "Be Anything (But Be Mine)".

A smoking descarga session from the 60s – one of the best albums ever by percussionist Kako! The album explodes with wonderful jazzy playing, and features 4 very long tracks that are stuffed with great solo work on piano and sax – bubbling over in heavy percussive excitement, with the best Latin jam session feel of the 60s! Tracks include "Descarga En Puerto Rico", "Abaniguito", "La Tombola", and "El Pollo" – and the whole thing's stormin' – a must-have album in any book!

One of the most haunting Morricone soundtracks ever – and one of the grooviest too! The album's a perfect blend of our two favorite styles of Morricone work – that of the floating female vocal over a gentle groove, and the darker, tenser side of his music. The main "Verushka" theme is one of his most beautiful – a variation of female vocals with a gentle edge, in the tradition of classic soundtracks like La Donna Invisible or Le Photo Proibite. This theme shifts from mood to mood over the course of the LP, occasionally giving way to some more atonal passages and other more jazz-based tunes – more of which are included here than on the original release, thanks to an expanded reissue job by Right Tempo! In fact, the whole thing's bubbling over with great music – one of the best Morricone reissues we've ever stocked – done with great sound and a huge array of extra tracks! Titles include a number of takes on the "Verushka" theme, plus "Astratto", "La Bambola", "Le Fotografie", "Magia", "La Spiaggia", and "Dopo L'Intervista".

A lively band of young British players, packed into a large group with a tight swinging sound that evokes some of the better continental bands of the sort at the time – like the Clarke-Boland Ensemble, the Johnny Dankworth group, and even bits of Mike Westbrook's early work. The set list is a nice group of lesser-known titles – like "Who-Wray?", "Full House", "Spaghetti Junction", "Marianne", "Eleven Plus", and "Legs Eleven". Orchestra directed by Bill Ashton, and the set was recorded at London Weekend Television in 1975. And if it sounds drippy, give it a chance – as there's more than a few nice cuts here that feel like they're lifted off a compliation like Jazz Biznezz, or some of those other hip European sets!

The third and best album yet from Sao Paulo Underground – formed by Chicago scene veteran and sonic adventurer Rob Mazurek – with a sound that's informed by the rhythms and creatively boundless possibilities of Tropicalia era Brazil and well beyond, along with the cosmic spirit of other Mazurek projects such as the Exploding Star Orchestra. This is hypnotic, attention seizing work that pushes boundaries and challenges tradition while still respecting it – it's never less than fully engrossing and pulls you right in, but it also skirts convention on just about every level. Mazurek's on coronet and electronics that fracture and fuzz out the atmosphere, creating some really dynamic interplay with instrumentation. Mauricio Takara is on cavaquinho, drums and percussion, Guilherme Granado on keys, loops, samples and percussion and Richard Ribeiro on drums. A pair of excellent tracks feature fellow modern greats with roots in the Chicago underground – vibes player Jason Adasiewicz and drummer John Herndon on "Just Lovin'" and "Six Six Eight" – the latter also featuring bass player Matthew Lux. The entire album is no less impressive, though! Titles include "Jagoda's Dream", "Pigeon", "Carambola", "Colibri", "Lado Leste", and "Rio Negro".

A legendary album from saxophonist Sahib Shihab – a record that's gone onto become the birth of all things modal and club jazz in the current scene! Shihab always sounded great, no matter what the setting, but there was definitely something magical going on with this session – a one-of-a-kind energy that made his baritone and flute work sound incredibly soulful, searching, and searing – set up with a tight small combo that includes Francy Boland on piano, Fats Sadi on vibes, Jimmy Woode on bass, and Kenny Clarke on drums – a hip slice of the Clarke Boland Big Band that works beautifully together! Every tune here is wonderful, and you're bound to recognized a few covered or sampled classics over the years – on cuts that include "Seeds", "Peter's Waltz", "Who'll Buy My Dream", "Another Samba", "Jay Jay", "Uma Fita De Tres Cores", and "Mauve".

A fantastic early record by Sahib Shihab – a motherlode of modal jazz grooves, cut during the early days of the Clarke-Boland Big Band! The record features a core group of players from that ensemble – including Shihab on alto, baritone, and flute, plus Francy Boland on piano, Jimmy Woode on bass, Ake Persson on trombone, Francy Boland on piano, Joe Harris on bongos, and Kenny Clarke on drums – all coming together here with a groove that's really groundbreaking – a style that's sweet and soulful, but rhythmically revolutionary too! The tracks are all long and grooving – with the kind of dancing jazz tone that you'd expect from the Saba/MPS label during the mid 60s – a big change from the Argo label that originally issued the record. But that's no surprise, either, as the session was actually recorded in Europe by Gigi Campi – the man behind the CBBB albums on MPS – with a feel that's quite similar to other Shihab classics, like Companionship or Seeds. The whole thing's great – one of Shihab's most wonderful records, and totally worth owning – and titles include "Lillemor", "Please Don't Leave Me", "Waltz For Seth", and "Herr Fixit".

One of the greatest soundtracks we've ever heard from Piero Umiliani – an incredibly groovy record from the very first note! The score's got a fantastic mix of groovy scoring, jazzy bits, and cool little vocals – spare organ lines that set the tune on most numbers, stepping basslines to set the rhythms, and scatting lyrics from I Cantori Moderni – a group who make the act of counting to 5 sound incredibly cool! The feel is quite similar to Umiliani's sublime Sweden Heaven & Hell soundtrack (and at one point, you even can hear the guy with the funny voice from "Mah Na Mah Na") – and the music is exactly the kind of wonderful stuff that first got us digging Italian film scores so many years ago. This great reissue adds a bunch of previously unreleased tracks to the original – a whopping 34 tracks in all – 14 from the original album, plus 3 stereo bonus cuts, and another 17 mono tunes. Titles include a few versions of the main theme, plus "Titoli Coda", "Luna Di Piero Agosto", "Bambola Omicida", "Interludio Azzurro", "Cinque Bambole", and "Danza Jazz Moon".

A rare bossa session by Wanderly – recorded early in his career in Brazil, and issued here in the US by World Pacific. It's as tight a batch of bossa organ grooves as any of Wanderley's best albums from the 60's – and he's playing with a larger lineup than usual, which adds a lot to the sound, and the group's got Bolao on sax and flute, and Heraldo Do Monte on guitar. All the cuts have Wanderley's trademark firey organ sound, and the titles include "Samba In Japan", "Sad Samba", "Samba Da Minha Terra", "Samba Novo", and "Samba De Bossa". Nice stuff, and a very groovy album of bossa organ!

Rare funk from the same Minneapolis scene that gave the world Prince – a legendary indie set from the end of the 70s, put together by Lewis brothers Pierre and Andre! Despite their French names, the duo have a mighty American groove on the set – a wicked approach to funk that's very much in the best ensemble mode of the period – but leaner too, given the smaller lineup, and relatively sparse production – which makes most of the record bristle like some rare boogie 45! Vocals are by the brothers, plus female singer Barbara Bolar, and later Prince-mate Sonny Thompson – and Prince himself even adds in some slight magic to one cut on the set. Titles include "Dynamic Duo", "Got To Be Something", "Get Up", "Higher", "Feel Good To Ya", and "Mr G". (And for the record, the group's name on the cover was originally the Lewis Conection – but our spell checker has the title listed with the regular spelling!)

Great work by this legendary hard swinging band – an early 60s American album issued on Atlantic Records, in the years before the Clark Boland Band's legendary run on MPS! Despite the early date, the album's got all the core elements of the band's sound in place – soaring rhythms, sharp-edged frontlines, and some great solo work by players who include Benny Bailey, Derek Humble, Jimmy Woode, Shahib Shihab, Idrees Sulieman, and Fats Sadi – coming together in a brilliant trans-Atlantic meeting of jazz talents! Tracks include "Long Note Blues", "Speedy Reeds", "Sonor", and "Om Mani Padme Hum".

A fantastic bit of lost vocal jazz from the 60s – sung by Finnish vocalist Carola, an artist we'd rank right up there with Monica Zetterlund, Karin Krog, and some of our favorite European singers from the time! Like Monica and Karin, Carola sings mostly in English and has a very groovy approach – one that's partially inspired by American jazz singers of the 50s, but which is also very much in the spirit of the modal jazz and Saba scene going down in Europe at the time! Carola's singing here with hip backing from the trio of pianist Heikki Sarmanto, who also brings in some wonderful guest work on flute and tenor sax by Esa Pethman. The set includes a killer original called "The Flame" – written by Esa and Carola, and swinging with a modal style that's totally great – and which makes the track take on a very sweet jazz dance feel! The set also features a great version of the Clarke/Boland tune "Just Give Me Time", another original called "The Poem", and wonderful takes on "Detour Ahead", "So Long Big Time", "Work Song", "Lonely Woman", and "Sunrise Sunset".

Great early genius from the Clarke Boland Big Band – proof that Kenny and Francy were onto something great, right from the start! The album really has the group hitting the heights of their MPS years – stretching out way past earlier big band modes, into the hip mix of rhythms and soulful solos that made the ensemble unlike any other group in the 60s – a really groundbreaking approach to their music, delivered by a range of top-shelf players! Arrangements are by Boland, who also plays piano – and other group members include Benny Bailey and Jimmy Deuchar on trumpets, Derek Humble on alto sax, Carl Drewo and Zoot Sims on tenor, Sahib Shihab on baritone sax and flute, and Ake Persson on trombone – plus rhythm from the rock-solid duo of Jimmy Woode on bass and Kenny Clarke on drums. Titles include the Latin-tinged "Los Bravos", and more great originals by Boland – including "Volutes", "The Styx", "Charon's Ferry", and "Box 703 Washington DC" – plus versions of "Gloria" and "Last Train From Overbrook".

A cheap package, but some rare live work by the Clarke Boland group – with Sahib Shihab on flute and baritone, Fats Sadi on vibes and vocals, Joe Harris on percussion, Francy Boland on piano, and Kenny Clarke on drums! Titles include "Night Lady", "Ya Ya Blues", "Jay Jay", and "The Top".

A groovy dream come true – the complete studio recordings of German bandleader Peter Herbolzheimer – easily one of the funkiest European talents of the 70s! Although Herbolzheimer's got a clunky name, his sound is incredibly fluid and tight – a large group approach to funk that rivals some of the best American work of his time – including classics from Lalo Schifrin, Johnny Pate, and other key maestros of the blacksploitation era. Peter's got a way of taking a large group of players and really making them groove – a sound that's kind of an electrified extension of the styles first laid out at MPS by the Clarke-Boland Big Band, but served up with a hipper, funkier 70s approach to rhythm. Like the CBBB, Herbholzheimer's groups often feature American players – such as Art Farmer on trumpet or Herb Geller on saxes – alongside more familiar MPS talents like Dusko Goykovich on trumpet, Dieter Reith on organ, Ferdinand Povel on flute, Jiggs Whigham on trombone, and Sigi Schwab on guitar – joined by the legendary Sabu Martinez on a few of the best sessions here! The 4CD set is a massive discovery in music – as it features not only Herbholzheimer's Rhythm & Brass albums for MPS and Polydor, but also records under the group names Certain Lions & Tigers and The Galactic Light Orchestra. The package features a whopping 8 albums in all – Soul Condor, Time Travellers Galaxis, Waitaminute, Wide Open, Hip Walk, Touchdown, and I Hear Voices – most of which have never been reissued before – a whopping 61 long funky jazz tracks!

Rare funk from the same Minneapolis scene that gave the world Prince – a legendary indie set from the end of the 70s, put together by Lewis brothers Pierre and Andre! Despite their French names, the duo have a mighty American groove on the set – a wicked approach to funk that's very much in the best ensemble mode of the period – but leaner too, given the smaller lineup, and relatively sparse production – which makes most of the record bristle like some rare boogie 45! Vocals are by the brothers, plus female singer Barbara Bolar, and later Prince-mate Sonny Thompson – and Prince himself even adds in some slight magic to one cut on the set. Titles include "Dynamic Duo", "Got To Be Something", "Get Up", "Higher", "Feel Good To Ya", and "Mr G". (And for the record, the group's name on the cover was originally the Lewis Conection – but our spell checker has the title listed with the regular spelling!)

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

T Rex's phenomenal second album since moving into a heavier glam mode, following the great Electric Warrior LP – still standing firmly as one of the best purely rocking, trashy fun rock & roll albums of the 70s! Marc Bolan's roots on spacier psyche folk melodies sort of float over beefier, fuzzier, sleazier hooks – a facet of the T Rex sound that always set them apart from the pack of more rote guitar rock guys & gals, and this peak material. Includes the eternal "Metal Guru" & "Telegram Sam", more classics like the title track, "Mystic Lady", "Baby Boomerang", "Ballrooms Of Mars", "Main Man" and more.

Near-peak material from T Rex – the still great Tanx – with the hard-charging heaviness, swaggery Bolan charisma and all around blazing rock & roll onslaught as crushing as ever! Includes "Tenement Lady", "Rapis", "Born To Boogie", "Life Is Strange", "Shock Rock", "Electric Slim & The Factory Hen", "Mister Mister", "The Street & Babe Shadow" and "Left Hand Luke".

Near-peak material from T Rex – the still great Tanx – with the hard-charging heaviness, swaggery Bolan charisma and all around blazing rock & roll onslaught as crushing as ever! Includes "Tenement Lady", "Rapis", "Born To Boogie", "Life Is Strange", "Shock Rock", "Electric Slim & The Factory Hen", "Mister Mister", "The Street & Babe Shadow" and "Left Hand Luke".

A hip Afro Funk combo from Brazil – and one who burn just as strongly as some of the other best groups on the global scene! The percussion here is especially great – super-tight, and wrapped up with these infectious basslines that already hook us in before the horns, guitar, and keyboards get going – a rhythmic intensity that really makes the whole album sparkle! Production is mighty nice too – never too clean or contemporary, yet also not going for a funk band style either – just right in the middle, in a way that sounds tremendous. All tracks are nice and long – and titles include "Eru", "Malunguinho", "Obatala", "Emi Yaba", and "Afrodisiaco".

An essential batch of music – four overlooked gems from the German Ego label of the late 70s – one of which is a stone classic that we've treasured for decades! All albums here are incredible – but our absolute favorite is Benny Bailey's Serenade To A Planet – a set that we think is one of the greatest jazz records ever! By the time of this 1976 release, trumpeter Benny Bailey had already had quite a history – working with Quincy Jones in his early years, and recording for MPS with the likes of Nathan Davis and the Clark Boland Big Band, as well as some of the best other players in Europe. This set's Benny's masterpiece – a soulful batch of tunes that feels like it was lifted from the catalog of Strata East, but which is played by a quintet that features Europeans Ferdinand Povel on tenor, Joe Haider on piano, and Isla Eckinger on bass – as well as American Kenny Clarke on drums. The vibe is perfect – and the group's harmoniously searching with a strong modal groove on nearly every track. Titles include "Aquarian Moods", "Neptunis", "Little B", and "The Kicker". East Of Isar is something of a follow-up to that date – done by Bailey with tenorist Sal Nistico – in a wonderful group that also includes Joe Haider on piano, Isla Eckinger on bass, and Billie Brooks on drums! The Haider/Eckinger team are known from other Bailey sessions in Europe – all of which are fantastic – and they perform extremely well here, too. Tracks are long, with a wonderfully searching quality – and titles include "Blues For Trane", "Joyful Sadness", and "East Of Isar". Then, the set steps into Just For Fun – another great album with a very similar groove – thanks to rhythm from Joe Haider on piano, Gunter Lenz on bass, and Joe Nay on drums. The group's backing up tenorist Sal Nistico – usually a sleepy talent, but a sparkling one on this session, thanks to a lively lyrical rhythm section, and some great compositions by Joe Haider. The whole thing sparkles with the kind of imagination and energy that keeps you tracking down sessions on MPS and other European labels – and with tracks like "Beautiful Black Casanova", "Do Not Make Circles", and "7787", you won't be disappointed in this one! And last by not least is After A Long Time – from trumpeter Dusko Goykovich – a rare gem that's in a similar format to Benny Bailey's classic Serenade To A Planet! Dusko stretches out beautifully on the record – in a group that features Joe Haider on piano, Roman Schwaller on tenor, Isla Eckinger on bass, and Alvin Queen on drums. Titles include "Emotionally", "After A Long Time", "Summit", "Mountain Witch", and "The Hunt Is On".

A beautiful set of duets from 60s samba stars Elizeth Cardoso and Ciro Monteiro – released in collaboration with the Bossaudade TV show! The sound here is light and lively – with backing from Caculinha and his combo, who mix together acoustic samba rhythms with a nice touch of electric organ – for a sound that's got some nice Walter Wanderley elements, but still retains a strong samba groove, with plenty of choppy bandolim in the arrangements. Elizeth and Ciro duet on a number of tracks – including a few longer "pout-pourri" medleys, and they each sing a few numbers on their own as well. Titles include "Melancolia", "Franqueza", "Beija-Me", "Se Acaso Voce Chegasse", and "Tem Que Rebolar".

A rare gem from the Clarke Boland Big Band – and one of the group's few vocal sessions ever! The album's a really unique one – recorded in the UK in 1970, and featuring singer Carmen McCrae joining the group for a fresh and unusual batch of tracks – most of them originals written for the session! The CBBB is in fine fine form throughout – hard-swinging with an impossibly tight sound, and featuring solo work by Tony Coe, Sahib Shihab, and Billy Mitchell. But even more surprising is Carmen – really opening up on the record, thanks to the fresh, new material – and hitting dark moods that perfectly fit the November Girl title of the session! Titles include "Just Give Me Time", "A Handful Of Soul", "Dear Death", "My Kinda World", and "November Girl".

One of the rarest Johnny Griffin albums ever – a set recorded as a side project when Griff was working with the Clarke Boland Big Band – in a lineup that features some of the best members from that great ensemble! The style's a bit more laidback and soulful than other CBBB projects – more in the mode of Johnny's roots in Chicago during the 50s, but still inflected with some of the sharper touches he picked up during his 60s years in Europe. Other players here are all wonderful – and include Benny Bailey on trumpet, Sahib Shihab on baritone sax, Ake Persson on trombone, Francy Boland on piano, Jimmy Woode on bass, and both Kenny Clarke and Kenny Clare on drums – seemingly playing together on some tracks, which creates a nicely skittish rhythm in the set! Titles include "The Turk's Bolero", "Deep Eight", "A Handful Of Soul", "Foot Patting", and "Lady Heavy Bottom's Waltz".

Johnny Pacheco's working here with vocalist Luis Angel Silva Nava – also known as "Melon", hence the title and cover! The album's a crackling batch of straight samba from the 70s – played by a sharp little group with Sonny Bravo on piano, Luiz Perico Ortiz on trumpet, Luis Mangual on bongos, Charlie Rodriguez on tres, and Pacheco himself on both flute and percussion – both of which are handled with a slightly classic vibe. Production is nice and clean – like the best Vaya dates from the time – and the album does a great job of balancing Latin roots with the more youthful energy of the 70s New York scene. Titles include "Don Toribio Carambola", "Compay Anton", "Solo Estoy", "Vera Cruz", "Jicamo y Salsa", and "Nuestra Cita".

A legendary album from saxophonist Sahib Shihab – a record that's gone onto become the birth of all things modal and club jazz in the current scene! Shihab always sounded great, no matter what the setting, but there was definitely something magical going on with this session – a one-of-a-kind energy that made his baritone and flute work sound incredibly soulful, searching, and searing – set up with a tight small combo that includes Francy Boland on piano, Fats Sadi on vibes, Jimmy Woode on bass, and Kenny Clarke on drums – a hip slice of the Clarke Boland Big Band that works beautifully together! Every tune here is wonderful, and you're bound to recognized a few covered or sampled classics over the years – on cuts that include "Seeds", "Peter's Waltz", "Who'll Buy My Dream", "Another Samba", "Jay Jay", "Uma Fita De Tres Cores", and "Mauve".

The early 70s glam masterpiece from T Rex – setting the standard for the sounds to come – and pop landmark status aside, it's probably the best album Bolan, Mickey Finn and the group ever cut! On Electric Warrior, T Rex resurrects the primitive spirit of the seediest rock of their predecessors, with a sound that's loud and anthemic. They hide sax, fluegelhorn and classical-styled strings under loud guitars, making this some of prettiest sleaze of the 70s! Classic! This limited 6X7 inch box set version essentially turns this classic album into a jukebox – and features the B-Side bonus track "Raw Rump". Includes the classics "Jeepster", "Bang A Gong (Get It On)", "Life's A Gas", "Monolith", "Planet Queen, "Girl" and more.

Rare tracks by the Clarke-Boland Sextet – a small group offshoot of the funky Big Band that was led by Kenny Clarke and Francy Boland – and which featured some of the key soloists in the group! The lineup here includes Sahib Shihab on flute, Fats Sadi on vibes and bongos, Joe Harris on percussion, and Jimmy Woode on bass – plus Clarke and Boland on drums and piano, respectively – a wonderful group that has an incredible sense of rhythm, and comes up with loads of wonderful modal numbers throughout! The vibe is wonderful – and the collection's a great look at this unusual combo – filled with fire and soul – and proof that in the jazz world, at least, great things can happen when global boundaries are crossed. Titles include "Con Alma", "Invitation", "Sconsolato", "Lilemor", "Just Give Me Time", "Love Hungry", "Ensadinado", and "Man From Potter's Crossing".

One of the hippest albums ever from the team of Kenny Clarke and Francy Boland – a unique small combo session that's even groovier than their famous big band work! The setting is wonderful – Clarke on drums, Boland on piano, and a sextet lineup that includes Sahib Shihab on flute, Fats Sadi on vibes, Jimmy Woode on bass, and Joe Harris on percussion – all players who know each other well, and groove together as one amazing unit on the set! The tunes here are lyrical and lively, modal and moving, and still some of the freshest jazz cut on the European scene of the 60s – music that's having a huge impact these days in the club jazz underground. Shihab's flute work is sublime, especially next to Sadi's vibes – and Harris' added percussion gives a number of the cuts a bit of a Latin kick that's totally great! There's a bit of vocals on the set, and titles include "Ebony Samba", "Tin Tin Deo", "Potter's Crossing", "Wives & Lovers", "Ensadinado", "Lorraine", "Day By Day", "Love Hungry", and "Please Don't Leave".

Stellar work from trumpeter Dusko Goykovich – an artist we first grew to love from his 60s recordings, but one who's still sounding great year after year! The classic title and cover image for this one are very well fitting – as the sound of the record reminds us of some of Dusko's playing with larger ensembles in earlier years – particularly his work on the Eastern European scene in the early 70s. Dusko handled most of the arrangements for the set, and he's blowing here with a larger group that steps out in very tight formation – but which also has a Clark-Boland appreciation of solo space, and of the way that a well-done rhythm can really move along a larger ensemble of horns. The legendary Peter King plays alto on the set – and gets in a few nice solos – and as you might imagine, our favorite tunes are the originals by Dusko – well-written numbers that groove like some of his classics, and which include "Yugo Blues", "Balkan Blue", and "Handful Of Soul".

A great CD that brings together 2 rare albums by Yugoslavian trumpter Dusko Goykovich! The International Jazz Octet album features Goykovich leading an all-star group that includes players that would later become partners in the Clarke Boland Big Band – like Kenny Clarke, Francy Boland, Karl Drewo, and Derek Humble! Francy Boland handled the arrangements – and in a way, this one sounds a lot like some of the classic MPS work of the CBBB from the 60s. There's a nice hard groove on most tracks, with sweet soloing by Dusko on the ballads – and titles include "To Je Sve (That's All", "La Campimania", "Doo Doosh", and "Mr. X". Belgrade Blues is a rare 1966 session that features Goykovich leading a sextet comprised of musicians who were playing in Woody Herman's mid 60s group – Nat Pierce, Ronnie Zito, Sal Nistico, Carl Fontana, and Mike Moore – and on this open-ended hardbop set, the group are given a lot more room to solo than they might on some of Herman's albums from the time. The solos of Nistico are especially great – well-crafted, and sharply edged in a way that matches Goykovich's firey trumpet work. Titles include "Wee", "Belgrade Blues", and "Be My Love".

Amazing live work from this legendary MPS group – electric funk mixed with plenty of horns – all in a hard-grooving big band style that nobody else could match at the time! Peter Herbolzheimer may not be a household name on this side of the Atlantic, but back in the day he was one of the coolest cats working in the European scene – and on records like this, he shows an amazing talent for blending electric grooves and soulful horn solos – all in a blend that takes the Clark Boland Band ethos to a new 70s generation! Rhythms come from a group that features two electric pianos, and a bit of organ – by Dieter Reith and Horst Muhlbrandt – guitar from Peter Catherine, electric bass from Gunter Lenz, and congas from Sabu Martinez – and the horns are even heavier – with alto and flute from Ferdinand Povel, trombone from Ake Persson and Jiggs Whigham, and trumpets from Kenny Wheeler, Art Farmer, Ack Van Rooyen, and Palle Mikkelborg! Tunes are nice and tight, and plenty darn funky – and titles include a tasty take on Weldon Irvine's "Mr. Clean", plus the tracks "Hoops", "Scenes", and "Don't Speak Now".

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".

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

21 greatest hits from this popular Brazilian singer – including many numbers reissued on CD for the first time in years! The style of the tunes ranges from raw and honest to somewhat overproduced and poppy – but given the bargain price, you'll get more than a few of Fagner's best tunes, making the CD a good place to start with his work. Titles include "Traduzir-Se", "Sinal Fechado", "Quem Viver Chorara", "Cebola Cortada", "Oros", "Viajante", "Reizado", and "As Rosas Nao Falam".