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A wonderful set by the enigmatic Charles Bell – a 60s modernist, but one with a great sense of soul! The album definitely lives up to its title, and has a fresh approach to the medium – a style that has some of the Modern Jazz Quartet influence in its structure, yet which also shares some more complex rhythmic ideas from the Ornette Coleman camp – mixed with a straighter hardbop vibe as well! The blend is quite compelling – and in addition to Bell's work on piano, the set also features Bill Smith on guitar, Ron Carter on bass, and Allan Blairman on drums. Titles include "Satan Said", "Django", "Portrait Of Aunt Mary", "Theme", and "Bass Line".

An overlooked late 60s treasure on Blue Note – one of the few new groups to work on the label at the time, and an up-and-coming modern combo from Detroit! The album's quite unique for a number of reasons – not just because the group was a little-known new signing to the label, but also because the work is quite far-reaching at times – some of the most free-thinking jazz recorded for Blue Note during the time, with a sense of boldness that almost stretches back to Jackie McLean's first few records of the new thing years, or a sense of lyrical invention that's a bit like Wayne Shorter when he made a shift towards the outside. Some numbers are awash in fast colors and changes, while others are a bit more in the pocket, with echoes of soul jazz – but the whole thing's incredibly fresh and free, a wonderful little record that only gets better and better over the years! The group features pianist Kenny Cox as the leader, plus Charles Moore on trumpet, Leon Henderson on tenor, Ron Brooks on bass, and Danny Spencer on drums. Titles include "Mystique", "You", "Trance Dance", "Eclipse", and "Number Four".

The first new music in years from Nigerian singer Bongos Ikwue – backed by musicians from Nigeria, the UK and US working together as Double X – and the record has the diverse and accessible vibe to show for it! Highlife, American soul, reggae and global folk inform the material – with warm vocals by Bongos and guests. He sings in English and Idoma from track-to-track and it's the kind of record that blends a lot of different styles into a wonderfully cohesive whole! Includes "Kongo Soldier", "Agbambo", "Wulu Wulu", "Obide", "How Long", "City Woman", "Tell My Girl", "Ouno", "Inale", "Igbankpa", "Cock Crow At Dawn (Sax Version)" and more.

A wonderful wonderful set from Barney Kessel – bossa-inflected jazz, and a wonderful setting for Barney to hit some very groovy lines on electric guitar! The group on the date is part of the strength of the record – with Conte Candoli on trumpet, Emil Richards on vibes, Paul Horn on flute, and Victor Feldman on piano – with loads of great percussion and guitar interplay on the set, plus some excellent use of flute and vibes – all of which makes for the sort of session that really translates the Brazilian groove into the best sort of sound the LA scene was cutting at the time! Nice, light, and dancing rhythms – and titles that include "Love", "Days Of Wine & Roses", "Latin Dance #1", "Lady Byrd", and "One Note Samba".

One of Sonny's brilliant west coast sessions for Contemporary – records that shouldn't sparkle as much as they do, but which actually stand with his best work of the 50s! Sonny's blowing in front of a session of "leaders" that includes Hampton Hawes, Barney Kessel, Leroy Vinnegar, Shelly Manne, and Victor Feldman, who plays vibes on one track. Sonny's the real leader here, though – as his bold, proud tenor tone really takes front seat, carving lines that never get tired, bringing a sparkle into tunes like "You", "How High The Moon", "I've Found A New Baby", "The Song Is You", and "I've Told Ev'ry Little Star". Heck, even with songs like those, the album should be weak – but there's an undeniable magic that really makes it great! CD features 3 bonus tracks!

A surprising late folk entry in the Elektra Records catalog – recorded in the early 70s, and with some sublime production from the great Gary Usher! The sound is definitely contemporary folk, as promised in the title – but there's more of a singer/songwriter sensibility too – more mature songs than straighter folk, made even more so by Usher's production – and harmonies on some of the vocals that almost recall the post-folk world over at Atlantic. Steve Melshenker and Steve Cowan wrote the album, and do most of the vocals – and both play acoustic guitar too – alongside piano, flute, dobro, bass, and cello, which makes for a warm acoustic sound. Titles include "The Ship", "The Order", "The Man", "The Calm", "The Storm", "The Return", and "The Reason".

A groovy 60s session from vibist Cal Tjader – and an excellent little Latin set, with a mixture of bossa nova and Latin jazz that goes way beyond the promise of the title! The great Clare Fischer arranged the set – and if you know his work with Cal, you know that he's got a wonderful approach to jazz that works perfectly with Tjader's unique phrasing – a spacious sensibility, and a great sense of timing – one that always ensures the tunes sparkle with a sweetly stepping groove. Fischer plays piano on the record – and other players include Laurindo Almeida on guitar, Paul Horn on reeds, Johnny Rae on timbales, and Milt Holland on percussion. Titles include "Choro E Batuque", "Nao Diga Nada", "Elizete", "Imagen", "Vai Querer", and "Que Tristeza".

Contemporary guitar, circa 1966 – an amazing document of the acoustic innovations going on at the time – served up in a really free-thinking batch of tracks! The music here isn't really straight folk, and definitely isn't acoustic rock or blues either – and instead really represents the forefront of the acoustic underground headed up by John Fahey and the Takoma Records scene – music that's had an undeniable impact on the sounds of the past few decades – and which sounds as fresh today as when it was released 50 years ago! Most tracks are relatively long, with amazing phrasing, tone, and timing that really sets them apart from the pack – stone gems that include two "Raga" numbers by Max Ochs, "The Fahey Sampler" by John Fahey, "Water Verses" and "Children's Dance" by Harry Taussig, "The Thousand Incarnations Of The Rose" by Robbie Basho, and "Old Man Walking Blues" by Bukka White.

Funky disco re-edits/reworks compiled by Russian DJ Kirill Sergeev, aka Saint Petersburg Disco Spin Club! The set pulls together tracks by other club soul, deep house and funk spinning producers on the contemporary Russian scene – including Lesca, Arsenii, Simple Symetry, Quick Soviet Cuts and others! Soulful dancefloor ready grooves from beginning to end – in a 2CD set – one unmixed and the other contiuously mixed. CD 1 (unmixed) includes "Let's Love" by Lesca, "Bennie's Deal" by Lay-Far, "Doesn't Really Matter" by Simple Symmetry, "Romeo 'N' Juliet" by Beard In Dust, "Be Good To Me Baby" by Lipelis & Sasha Lipsky, "Jozefino" by Quick Soviet Cuts and more, including 2 bonus tracks: "Can't You See Me (Dub Mix)" by Saint Petersburg Disco Spin Club" and "Sandworms" by Arsenii. CD2 is a contiuous mix of the material from the CD1 and more!

Relatively recent soul tracks, but mostly with a classic feel – given that many of the tracks on the set were cut by artists who broke big in the 60s and 70s! The package is a really unique collection – titles from the past decade or two, recorded by older soul artists in a mode that mixes vintage styles with more contemporary production – yet all in ways that are light years from the mainstream R&B you'd hear on the charts! The set's great proof that a great voice never dies, and it also includes a few younger artists who definitely draw inspiration from the older crowd too – and many of the cuts are from the recent Motorcity recordings, showing a real UK love of classic Detroit styles. Titles include "Soul Searching" by Barbara Randolph, "Don't Wait Around" by The Elgins, "No Need To Explain" by GC Cameron, "Back In Circulation (metropolitan soul mix)" by Sweet James Epps, "Crying Shame" by Lynda Laurence, "Love Still Lives In My Heart" by The Originals, "Prime Time Lover" by Linda Griner, "Too Great A Price To Pay" by Bettye Lavette, "My World Will Never Be The Same" by Gina Foster, "Got To Win You Back" by The Contours, "I've Seen The Light" by JJ Barnes, and "Hurt The One You Love" by David Ruffin.

Souvenirs and memories – music that's mostly of more recent vintage, but which features a host of artists you'll know from way way back! The music here is mostly from the end of the 80s and start of the 90s – despite the wider date range in the title – and most tracks feature older Detroit soul singers, making a fresh stake with some slightly contemporary styles, at least for that time – yet still mostly sticking to the classic modes that made them so great in the first place! The approach is that used heavily by the Motorcity label at the time – and offers a great new showcase for talents that were sadly overlooked at the time. Titles include "Wholeheartedly" by Ronnie McNeir, "Surrender" by Bettye Lavette, "Man Up In The Sky" by Johnny Bristol, "Separation" by Pat Lewis, "Memories & Souvenirs" by Freda Payne, "Romantic Number" by Billy Griffin, "Real True Loving" by Edwin Starr, "Moment Of Weakness" by Syreeta, "All Over The World" by Chuck Jackson, and "Standing Still" by The Monitors.

An overlooked late 60s treasure on Blue Note – 2 rare albums by Kenny Cox & The Contemporary Jazz Quintet – one of the few new groups to work on the label at the time, and an up-and-coming modern combo from Detroit! The first album's quite unique for a number of reasons – not just because the group was a little-known new signing to the label, but also because the work is quite far-reaching at times – some of the most free-thinking jazz recorded for Blue Note during the time, with a sense of boldness that almost stretches back to Jackie McLean's first few records of the new thing years, or a sense of lyrical invention that's a bit like Wayne Shorter when he made a shift towards the outside. Some numbers are awash in fast colors and changes, while others are a bit more in the pocket, with echoes of soul jazz – but the whole thing's incredibly fresh and free, a wonderful little record that only gets better and better over the years! The group features pianist Kenny Cox as the leader, plus Charles Moore on trumpet, Leon Henderson on tenor, Ron Brooks on bass, and Danny Spencer on drums. Titles include "Mystique", "You", "Trance Dance", "Eclipse", and "Number Four". The CD also features the group's second Blue Note album, Multidirection – a session of work that builds strongly on the colors and changes explored by Miles Davis earlier in the 60s, but which takes things off into a whole new direction! (A Multidirection?) The horns on the record have incredible interplay – trumpet by Charles Moore and tenor from Leon Henderson, playing together with a sense of dexterity that may even beat the team of Davis and Wayne Shorter – angular one moment, softly lyrical the next, and always in pursuit of fresh tones and righteous sounds. Kenny Cox's piano is great too – an exercise in understatement at times – getting as much done with one note as other players would with five – as he slowly guides the group along, and grounds their freer expressions with a good sense of humanity. Titles include "What Other One", "Gravity Point", "Spellbound", "Snuck In", and "Sojourn".

Incredible work from one of the greatest groups of the New York avant scene of the 60s – the legendary New York Contemporary Five, a combo that features Archie Shepp on tenor, John Tchicai on alto, Don Cherry on cornet, Don Moore on bass, and JC Moses on drums! This 1963 recording, originally done in Copenhagen, is one of the group's most lasting statements – a bold, bracing bit of jazz that seems to pick up energy from Ornette Coleman's dimming flame, prefacing Albert Ayler inferno to come, wrapped up with some of the sensitivity of Eric Dolphy in his final years – a record that rivals the best that any of those three players had to offer. Shepp's got an intensity that almost blows away his Impulse sides, and Tchicai has hardly ever sounded better – and even Cherry seems to be unlocking a whole new side of his spirit in the process of the recording! Titles include "Mick", "The Funeral", "When Will The Blues Leave", "Crepescule With Nellie", "OC", and "Cisum".

Incredible work from one of the greatest groups of the New York avant scene of the 60s – the legendary New York Contemporary Five, a combo that features Archie Shepp on tenor, John Tchicai on alto, Don Cherry on cornet, Don Moore on bass, and JC Moses on drums! This 1963 recording, originally done in Copenhagen, is one of the group's most lasting statements – a bold, bracing bit of jazz that seems to pick up energy from Ornette Coleman's dimming flame, prefacing Albert Ayler inferno to come, wrapped up with some of the sensitivity of Eric Dolphy in his final years – a record that rivals the best that any of those three players had to offer. Shepp's got an intensity that almost blows away his Impulse sides, and Tchicai has hardly ever sounded better – and even Cherry seems to be unlocking a whole new side of his spirit in the process of the recording! This set features titles that include "Mick", "The Funeral", "When Will The Blues Leave", "Crepescule With Nellie", "OC", and "Consequences", "Wo Wo", "Trio", and "Emotions".

But this album, if only for one track! The album's a collection of tunes by jazz guitarists – put together by Guitar Player magazine, and featuring rare tunes by a variety of different players. Our standout favorite is Lee Ritenour's version of "Valdez In The Country" – the great Donny Hathaway funk instrumental, handled here with a very different approach than the original! Other tracks range from straight jazz to swing to bossa – and titles include "Contrary-ness" and "Two For The Blues" by Barney Kessel & Herb Ellis, "Allison II" and "Django" by Joe Pass, "Guitar Player" and "Counting My Tears" by BB King, "Spain" and "Toronto Under the Sign Of Capricorn" by Larry Coryell, and "Lament In Tremolo Form" and "Feelings" by Laurindo Almeida.

Incredible work from one of the greatest groups of the New York avant scene of the 60s – the legendary New York Contemporary Five, a combo that features Archie Shepp on tenor, John Tchicai on alto, Don Cherry on cornet, Don Moore on bass, and JC Moses on drums! This 1963 recording, originally done in Copenhagen, is one of the group's most lasting statements – a bold, bracing bit of jazz that seems to pick up energy from Ornette Coleman's dimming flame, prefacing Albert Ayler inferno to come, wrapped up with some of the sensitivity of Eric Dolphy in his final years – a record that rivals the best that any of those three players had to offer. Shepp's got an intensity that almost blows away his Impulse sides, and Tchicai has hardly ever sounded better – and even Cherry seems to be unlocking a whole new side of his spirit in the process of the recording! This set features titles that include "Mick", "The Funeral", "When Will The Blues Leave", "Crepescule With Nellie", "OC", and "Consequences", "Wo Wo", "Trio", and "Emotions".

An overlooked late 60s treasure on Blue Note – 2 rare albums by Kenny Cox & The Contemporary Jazz Quintet – one of the few new groups to work on the label at the time, and an up-and-coming modern combo from Detroit! The first album's quite unique for a number of reasons – not just because the group was a little-known new signing to the label, but also because the work is quite far-reaching at times – some of the most free-thinking jazz recorded for Blue Note during the time, with a sense of boldness that almost stretches back to Jackie McLean's first few records of the new thing years, or a sense of lyrical invention that's a bit like Wayne Shorter when he made a shift towards the outside. Some numbers are awash in fast colors and changes, while others are a bit more in the pocket, with echoes of soul jazz – but the whole thing's incredibly fresh and free, a wonderful little record that only gets better and better over the years! The group features pianist Kenny Cox as the leader, plus Charles Moore on trumpet, Leon Henderson on tenor, Ron Brooks on bass, and Danny Spencer on drums. Titles include "Mystique", "You", "Trance Dance", "Eclipse", and "Number Four". The CD also features the group's second Blue Note album, Multidirection – a session of work that builds strongly on the colors and changes explored by Miles Davis earlier in the 60s, but which takes things off into a whole new direction! (A Multidirection?) The horns on the record have incredible interplay – trumpet by Charles Moore and tenor from Leon Henderson, playing together with a sense of dexterity that may even beat the team of Davis and Wayne Shorter – angular one moment, softly lyrical the next, and always in pursuit of fresh tones and righteous sounds. Kenny Cox's piano is great too – an exercise in understatement at times – getting as much done with one note as other players would with five – as he slowly guides the group along, and grounds their freer expressions with a good sense of humanity. Titles include "What Other One", "Gravity Point", "Spellbound", "Snuck In", and "Sojourn".

The soul underground of today – proof that there's still some amazingly deep music being made in the 21st Century, as long as you know where to look! The groups here are all contemporary, but they work strongly in the sounds of the 60s and 70s – the best funk and soul modes from that classic generation, put together faithfully, but with a fresh approach too – given the youthful energy that most of these artists bring to their recordings! There's just a few contemporary touches here and there, but overall most of the production and instrumentation is very much in the best vintage mode – on these cuts pulled from hard to find imports and rare 7" single releases of the past few years. But hardly just take our word for it – there's plenty to please your ears the moment you jump into the set – cuts that include "You What" by The Andy Tolman Cartel, "Poker Nights Theme" by The Delicious Allstars, "Shaft In Africa" by The Mighty Showstoppers, "Put Leg To Road" by Ariya Astrobeat Arkestra, "Mr G" by Jessica Lauren Four, "Cockroach Grind" by The Haggis Horns, "Kekfeny" by The Qualitons, "Cramp Your Style" by The Killer Meters, "Cascade" by Renegades Of Jazz, "Hey Girl" by Jo Stance, and "Something's Gotta Give" by Nick Van Gelder.

A key early entry in the "jazz meets Broadway" genre – and a record that was so successful, it went onto inspire countless imitations! Shelly Manne's working here in a lightly playful trio setting – alongside Andre Previn on piano and Leroy Vinnegar on bass, in a reading of tunes originally composed for the musical My Fair Lady. Given Manne's talent for unusual rhythms and melodic percussion, the session's got a bit of a whimsical edge that takes it way past the core compositions that most listeners already knew – into a realm that allows for much great improvisation and play with the melodies. Previn's nicely restrained on the keys, and Vinnegar adds in a good sense of bottom to the set – and titles include "Get Me To The Church On Time", "I Could Have Dance All Night", "Ascot Gavotte", "Show Me", and "With A Little Bit Of Luck".

Buddy Collette's definitely a man of many parts here – and many talents too, considering the reedwork on the set! Buddy plays alto, tenor, clarinet, and flute – using the horns with wonderful invention that really showcases his unique style of the time – that mix of modern and playful modes you'd hear in the Chico Hamilton group when Collette was around! The album features a few different groups, too – with players who include Gerald Wilson on trumpet, Ernie Freeman or Gerald Wiggins on piano, Red Callender on bass, and Larry Bunker on drums. Titles include "Ruby", "Cycle", "Cheryl Ann", "Jazz City Blues", "Zan", and "Jungle Pipe".

One of Farmer's best sessions of the 70s – recorded in a mode that's a bit freer than usual, with a group that includes Hampton Hawes, Ray Brown, and either Steve Ellington or Shelly Manne on drums. Art Pepper sits in on 4 of the album's 6 tracks – and it's his tone and edgieness that really opens things up, casting Farmer's work on flugelhorn in a light that's darker than usual, filled with shadows that haven't crept into his playing for years, creating a depth to the record that really keeps us listening. Titles include "Downwind", "Namely You", "What Am I Here For?", and "Will You Still Be Mine?"

An excellent album recorded during the height of Benny Golson's powers as an arranger and tenor soloist! Benny leads two groups – a quintet and a nontet – both of which feature players that include Art Farmer, Wynton Kelly, Sahib Shihab, Gigi Gryce, and Paul Chambers – working with arrangements by Golson and Gryce that are very much in the spirit of Benny's classic The Modern Touch album – with a similar blend of tight conception and soulfully confident solo work! Titles include sharp arrangements of many Golson originals – like "Step Lightly", "Whisper Not", "Blues It", and "Just By Myself" – plus a good reading of Gryce's "Capri".

Hampton Hawes isn't exactly the first pianist we think of when it comes to bluesy lines in his music – but there's definitely a blue-tinged undercurrent to most of the work in this set – a well-chosen batch of tracks from Hamp's early years as a leader on Contemporary Records! The album features work in a variety of settings – with players who include Red Mitchell, Ray Brown, or Scott LaFaro on bass – Shelly Manne, Chuck Thompson, or Frank Butler on drums – and some occasional work by Harold Land on tenor sax, and either Jim Hall or Barney Kessel on guitar. Titles include "Blues The Most", "Hamp's Blues", "Hip", "Soul Sign Eight", "The Sermon", "For Real", "Hampton's Pulpit", "Takin Care", "Up Blues", and "Blues For Jacque".

Maybe the title's a bit overly-optimistic – but with a record like this, you can certainly imagine a world in which everybody does like Hampton Hawes! The record's the third in a legendary early run for the Contemporary label – trio material that broke Hawes out of the box and firmly put his rich talents on the keys at the top of the list of the best players in jazz. The sound's an amazing blend of jazz idioms at the time – with some of the flourishes of the Peterson or Jamal crowd, but often a tighter, almost rootsier bottom in the rhythms – a touch of the LA soul jazz sound, showing up here quite early! The trio features Red Mitchell on bass and Chuck Thompson on drums – and tracks are short, but showcase the open sound that Hawes was developing at the time. Titles include "Night In Tunisia", "Body & Soul", "Lover Come Back To Me", and the Hawes originals "The Sermon" and "Coolin The Blues".

One of those classic Contemporary albums of LA jazz – where all the players are big names, and where the gang of them is goofing around on the front, looking happier than any New York jazzmen could ever be! Hamp's, joined by Barney Kessel, Red Mitchell, and Shelly Manne – all of whom are playing golf on the cover, hence the punned title. Tracks are pretty nice LA bop material, and include "Yardbird Suite", "Up Blues", "Bow Jest", and "Like Someone In Love".

With Monk Montgomery on bass and Steve Ellington on drums – and titles that include "Ill Wind", "St Thomas", "Vierd Blues", "Secret Love", "Blue Skies", and "GK Blues".

One of Hampton Hawes' last sessions for Contemporary Records – a wonderful little date that's filled with the bright tones and bold confidence that marked Hamp's piano work in later years! The style here is simple, but effective – and Hawes has a way of ringing out the notes without overdoing his thing – a balance that was never present in his earlier work, and which made him a more and more compelling player as the years went on. Titles include "Morning", "Blue In Green", "Sunny", "Soul Sign Eight", and "Killing Me Softly".

'Leaping brilliance on the keys from a young Hampton Hawes – a player who makes this record bristle with excitement from the very first note! The format is simple, but the presentation here is breathtaking – a rock-solid trio performance that shows why Hawes was one of the greatest talents on the keys to come out of the west coast in the 50s – one with the fluidity of some of the better-known crossover players of the era, but the harder edge and sharper notes of the boppers, plus just a touch of nascent soul jazz in the rhythms. Backing is by Red Mitchell on bass and Chuck Thompson on drums – and titles include "Hamps Blues", "Carioca", "What Is This Thing Called Love", "Blues The Most", "Easy Living" and "All The Things You Are".

The darkly brooding image of Hampton Hawes on the front cover of this one is a real standout in the mostly-sweet cover lineup of the Contemporary label – but it's also a great indication of the sound of the record, which is something different than most of its contemporaries! Hawes is working here at his top-shelf early best – stepping around the keys of the piano with a sense of grace and spaciousness – but also a hard-hitting, highly rhythmic mode on the left – a bit soul jazz at times, mixing earthy elements with the sweeter, lyrical moments in his solos. Rhythm is by the team of Red Mitchell and Chuck Thompson – and titles include "Yesterdays", "Blues For Jacque", Stella By Starlight", "Steeplechase", "Round Midnight", "Autumn In New York" and "Section Blues".

Bobby Hutcherson breaks it down in two different ways – solo on the first half of the record, and in a quartet on the rest! The set begins in a very spare way – Bobby playing vibes, marimba, xylophone, and bells – often a bit overdubbed, so that although alone, Hutcherson fills the tracks with a rich palette of sound – glowingly rhythmic lines that ring out with plenty of soul, and showcase a really under-tapped side of Bobby's talents! Remaining tracks are equally great, but in a totally different way – played by a righteous lineup that includes McCoy Tyner on piano, Herbie Lewis on bass, and Billy Higgins on drums – really working together beautifully in ways that make the album feel like a lost 70s soul jazz set. Forget Hutcherson's slick look on the cover – because this album's drenched in open, honest, acoustic feeling – a rich tapestry of sound and emotion, on tracks that include "Gotcha", "The Ice Cream Man", "For You Mom & Dad", "Messina", "My Foolish Heart", and "La Alhambra".

It's late in the career of Jackie & Roy, but the pair haven't faltered a bit! This set's a tight little straight ahead session with a larger group that includes Conte Candoli, Bill Watrous, Bill Perkins, and Bob Cooper, all of whom give the best tracks a swinging west coast groove. Titles include "Am I Blue", "Bogie", "As Time Goes By", "Sleigh Ride In July", "Never In A Single Year", "Full Circle", and "Line For Lyons".

A key moment in the west coast harbop scene – and one of the greatest early records from saxophonist Harold Land! The group's a really striking one – with the unique Dupree Bolton on trumpet, a great player that we really only know from this set – plus Herbie Lewis on bass, Frank Butler on drums, and the great Elmo Hope on piano! Hope's piano really gives the set an edgey finish that seems to bring out even more dark tones in Land's horn than usual – and another aspect of the session that's worth noting is its early production by David Axelrod – who really seems to have an ear for making all the elements gell together perfectly. There's a really free-thinking sound here that makes the album stand out from other LA work of the time – and titles include "The Fox", "Sims-A-Plenty", "One Down", and "One Second, Please".

Shelly picks up on a very successful format for his trio of the late 50s – begun with the My Fair Lady album, and followed through with this one – a batch of jazz-based readings of tracks from the hit Broadway musical based on the comic strip Lil Abner. Apart from that bit of history, and the goofy cover, which has Manne dressed as Abner, the overall feel is straight trio work in Shelly's most popular mode of the time – with Andre Previn on the ivories and Leroy Vinnegar on bass. Titles include "Matrimonial Stomp", "Jubilation T Cornpone", "Oh Happy Day", "Namely You", "Past My Prime", and "Progress Is The Root Of All Evil".

A 12" LP that brings together 2 different earlier 10" sessions by Manne – groundbreaking work in a freer mode than most of what was going on in LA during the mid 50s! Side one features material from The Three – a 10" session that featured Manne on drums, Shorty Rogers on trumpet, and Jimmy Giuffre on tenor, clarinet, and baritone. The trio work their way – bass and piano-less – through tunes that include "Pas De Trois", "Flip", "Abstract No 1", and "Steeplechase". Side two features material from The Two – an even freer session, with Manne on drums and Russ Freeman on piano – no other accompaniment, and sounding quite revolutionary for the time! Titles include "Billie's Bounce", "The Sound Effects Manne", "Everything Happens To Me", and "Speak Easy".

Howard McGhee and his trumpet team up with pianist Phineas Newborn, bassist Leroy Vinnegar and Shelley Manne on drums for this great early 60s session. The record features the McGhee original "Demon Chase" and two Teddy Edwards songs, "Sunset Eyes" and his salute to McGhee "Maggie's Back in Town." McGhee himself pays tribute to one of his favorite trumpet players, Clifford Brown by doing Brown's "Brownie Speaks." Other titles include "Softly, As in a Morning Sunrise," "Willow Weep for Me" and "Summertime."

One of Art Pepper's classic recordings, in which he plays with a spare quartet backing by Miles Davis' rhythm section at the time – Paul Chambers, Red Garland, and Philly Joe Jones. An essential "east meets west" jazz recording, with Art at the top of his game, playing in a unique setting for the first and only time (it's said that Art didn't even know of the date until the morning of the session). Pepper is one of the few alto players to really establish his own voice on the horn, without aping Bird, and his emotive playing really shines here. A definitive version of "Straight Life" is on this album, along with "Waltz Me Blues", "You'd Be So Nice To Come Home To". and "Star Eyes".

One of our favorite albums ever by Art Pepper – even if it isn't a proper album! The set features material recorded in the late 50s, pulled together to form an album in the early 70s – and overall, it's some of the best Art Pepper work on record we can think of. Pepper plays beautifully on 4 tracks with tenorist Warne Marsh, and the rest of the cuts features equally great accompaniment from the likes of Jimmy Bond, Dolo Coker, Philly Joe Jones, and Red Garland. The material on the album is far fresher than most of Pepper's so-called "classic" sessions, and it shows the edge and creativity of his alto playing in a way that few other albums ever do. We really recommend this one if you've ever been disappointed by another Pepper album – because there's a sharpness here that really comes through. Titles include "All the Things You Are", "What's New", "Autumn Leaves", and "The Man I Love".

A goofy title and cover – but a really unique session of two-piano jazz, recorded with Russ Freeman and Andre Previn on the keys, plus only the drums of Shelly Manne to provide additional support! The sound is really great – and Previn's especially wonderful here, really stretching out to meet the harder style of Freeman. Both players also seem really inspired by Manne's drum work – and in a way, it almost feels like Shelly's directing the piano from the drum kit, especially on the more uptempo numbers. The notes do a very detailed job of breaking down the piano work, so that you can figure out who's soloing when – and titles include "Who's On First", "In The Cellar Blues", "Called On Account Of Rain", "Fungo", "Safe At Home", and "Double Play". Baseball, anyone?

A classic of spiritual jazz! The album is one of the few rare pairings of Sonny Simmons and Prince Lasha from the 60s – and it's arguably the greatest album they ever cut! The set was recorded for the Contemporary label in LA, but it's far far different than the cool jazz that was the label's stock in trade during most of the 50s – done instead with a pulsating spiritual feel that really takes off as the album progresses! The lineup features the twin-reed frontline of Lasha on flute and Simmons on alto, plus an amazing rhythm section that includes 2 bass players (Gary Peacock and Mark Procter), who really give the tunes a pulsating feel overall – plus drums by Gene Stone. Titles include the famous groover "Congo Call", plus the tracks "AY", "Lost Generation", "Red's Mood", and "Green & Gold".

Another standout set from Howard Rumsey's Lighthouse All Stars – the kind of group who should have been a gimmicky way to promote his nightclub, but who actually managed to cut some of the best LA records of the time! The lineup here features Rumsey on bass, Bud Shank on alto, Bob Cooper on tenor, Conte Candoli on trumpet, Claude Williamson on piano, Stan Levey on drums, and either Frank Rosolino or Stu Williamson on trombone – depending on the track – and as before, there's a great focus on the solo talents of each member, so that even in this larger group setting, each number features a strong contribution by a particular player. Arrangements are great, and titles include "Who's Sleepy", "Isn't It Romantic", "Mad At The World", "Long Ago & Far Away", "Sad Sack", and "Dickie's Dream".

A seminal session of LA hardbop – featuring a great group that includes Gerald Wilson, Jack Sheldon, Harold Land, Frank Butler, and pianist Carl Perkins, the unique talent who had a strange way of playing the keys (sideways!), and who died shortly after the recording of this set. As the title might imply, the album's dedicated to Perkins – and titles include "Nica's Dream", "Pink Lady","Carl's Blues", and "Larue".

Pre-Atlantic work from Ornette Coleman – one of his first recorded statements in jazz – and one of his boldest! At some level, the complete Coleman sound isn't entirely in place here – as there's a bit of a trace of hardbop in the mix – not entirely, but just a bit. But at another level, the record's still way darn bolder than just about anything coming out of LA at the time – proof that amidst all the cool jazz ruminations of the 50s, there was a second wave of modernism about to explode! The group here features Don Cherry on trumpet, Walter Norris on piano, Don Payne on bass, and Billy Higgins on drums – and while the core harmelodic rhythmic approach isn't always in place, it's more than made up for by some surprisingly free energy. Titles include "Invisible", "The Blessing", "Alpha", and "The Sphinx".

Beautiful 60s work from Hampton Hawes – a set from the middle of the decade, a period when he wasn't recorded all that often – but one not issued by Contemporary until his American revival in the 70s! The group's got a wickedly fluid feel – not just Hamp's always-amazing piano, but also great drums from Donald Bailey and some especially great bass from Red Mitchell – really hitting those rounded, warm tones that would flower even more boldly during his time overseas. The sound is great – almost more of a Saba/MPS piano set than the usual Contemporary bag – and titles include "I'm All Smiles", "Searchin", "The Shadow Of Your Smile", "Spring Is Here", and "Manha De Carnaval".

An odd choice for material, but a surprisingly nice record – and just the kind of session needed to break Barney Kessel out of some of his too-familiar trio modes of the 50s! The record here features jazz takes on tunes from the opera Carmen – in case you didn't figure that out from the title – all adapted by Barney himself, on charts that feature Buddy Collette on flute, Ray Linn on trumpet, Victor Feldman on vibes, and Andre Previn on piano – a lineup that helps keep things creative and playful without sounding too gimmicky. Titles include "Free As A Bird", "If You Dig Me", "A Pad On The Edge Of Town", "The Gypsy's Hip", and "Carmen's Cool".

Classic session of LA hardbop, featuring the great tenorist Harold Land, and a rhythm section comprised of Carl Perkins, Leroy Vinnegar, and Frank Butler. The group's joined by Swedish trumpeter Rolf Ericson, who fits in nicely with this soulful little combo. The set includes 3 great originals by Land – "Smack Up", "Lydia's Lament", and "Delerium" – plus "Nieta", by Elmo Hope.

An excellent double-length set – one of Woody Shaw's greatest albums, and a majestic batch of spiritual soul jazz numbers – recorded with an all-star lineup that includes Gary Bartz, Benny Maupin, George Cables, Ron Carter, and Lenny White. Shaw is in top form, and the set is tight, hard, and very much in the pocket – yet still also has an free-flowing introspective side to it, in the mode of some of the best work on Strata East from the same time. If you dig the early work of Gary Bartz, or some of Shaw's more soul jazz outings of the early 70s – you'll definitely dig this one – and the double-length nature of the record gives all players plenty of room to do their thing! All the tracks are long, and the set list includes "Deed For Dolphy", "Boo Ann's Grand", and "New World".

The only album we've ever seen from singer Helyne Stewart – a great west coast set from the start of the 60s, done with a nice dose of soul in the mix! Stewart's got a really lovely voice – a lot more class and poise than you might expect from the slightly gospel-oriented image on the cover – and she swings wonderfully with a set of players that includes Teddy Edwards on tenor, Jack Sheldon on trumpet, Frank Rosolino on trombone, and Art Pepper on alto – all great horn players who slide in at key points to help inflect the tunes with their own touches too. Bassists are Jimmy Bond and Leroy Vinnegar, both of whom bring up the bottom nicely, even at mellow moments – and titles include "My Silent Love", "The Man I Love", "Why Don't You Do Right", "Love Is Here To Stay", "This Can't Be Love", "Besame Mucho", and "Easy To Love".

Arguably one of the best 50s jazz sessions on west coast powerhouse label Contemporary – superbly recorded, and done in a format that really breaks from the format of a lot of LA jazz at the time! The whole thing's incredibly relaxed – really allowing for a lot of space to hear the playing of leader/bassist Leroy Vinnegar, and making for some great small group interplay between musicians that include Victor Feldman on vibes, Gerald Wilson on trumpet, Teddy Edwards on tenor, and Carl Wilson on piano. Tracks are longish, with great arrangements (some by Feldman), and titles include "Walk On", "Would You Like To Take A Walk", "Walkin", and "Walkin By The River".

Pre-Atlantic work from Ornette Coleman – one of his first recorded statements in jazz – and one of his boldest! At some level, the complete Coleman sound isn't entirely in place here – as there's a bit of a trace of hardbop in the mix – not entirely, but just a bit. But at another level, the record's still way darn bolder than just about anything coming out of LA at the time – proof that amidst all the cool jazz ruminations of the 50s, there was a second wave of modernism about to explode! The group here features Don Cherry on trumpet, Walter Norris on piano, Don Payne on bass, and Billy Higgins on drums – and while the core harmelodic rhythmic approach isn't always in place, it's more than made up for by some surprisingly free energy. Titles include "Invisible", "The Blessing", "Alpha", and "The Sphinx".

Excellent set of LA hardbop tracks by the great tenor player Teddy Edwards, with a group that includes Joe Castro, Leroy Vinnegar, and Billy Higgins. Edwards' tone is fantastic, and the tracks give him a chance to show off his soloing talent in a way that he didn't always reach on other recordings. Tracks include "Blues In G", "You Name it", "Higgins' Hideaway", and "The Sermon".

A noteworthy session from pianist Hampton Hawes – a rare quartet session from the 50s (at a time when Hawes was mostly working in trios) – and also a three volume set of releases, all recorded in the space of a single night! The album is truly an All Night Session – as the material here was recorded during the night of November 12 and early morning hours of November 13, 1956 – with an unusual group that features Hawes on piano, Red Mitchell on bass, Bruz Freeman on drums, and Jim Hall on guitar! Hall's ringing tones are a perfect partner for Hawes' light approach to the keys – and the relaxed, extended nature of the recording has both players really opening up on some of the album's longish tracks. 2CD set features all 3 volumes of the recording – a total of 17 tracks that includes "Jordu", "Groovin High", "Takin Care", "Hampton's Pulpit", "I'll Remember April", "I Should Care", "Woody'N You", "Two Bass Hit", "Will You Still Be Mine", "April In Paris", "Blue 'N Boogie", "Blues #4", "Blues #3", and "Do Nothin Till You Hear From Me".

A great set by Hampton Hawes – really one of his best ever records, and for a number of reasons! First up, Harold Land's playing tenor on the record, opening it up a lot more than some of Hamp's regular trio sides. Secondly, the bassist on the set is Scott LaFaro, the challenging modernist from Chicago who played such great work with Ornette and Sonny Rollins, and who gives the session a fresher tone than some of Hawes' other recordings. Lastly, the tracks are longish, giving both Land and LaFaro plenty of room to roam, making for a much more adventurous record overall. Titles include "Hip", "Crazeology", "I Love You", and "Numbers Game".

Excellent later work from Frank Morgan – the legendary LA altoist who first burned brightly in the bop generation, then came back to make really rich recordings like this! The set's got Frank in some really great company – a hip sextet that features Joe Henderson on tenor, Bobby Hutcherson on vibes, Mulgrew Miller on piano, Ron Carter on bass, and Al Foster on drums – a sweet modern jazz lineup that ensures that the record's filled with sharp changes and deep colors – arguably a lot more so than some of Morgan's later revival sessions – with a vibe that's much more like some of Hutcherson or Henderson's best from the 80s. Titles include "Old Bowl New Grits", "Starting Over", "Reflections", "OK", and "Black Narcissus". CD features a bonus track – "Caravan".

A classic bit of avant garde work from the west coast scene of the late 60s – one of a small number of important "out" records from that part of the country at the time, standing in bold contrast to work from the more-vocal New York scene! The set was put together by Huey "Sonny" Simmons – and has a loosely collective feel that's almost spiritual, but which has a lot more edges than the usual soul jazz session of its type. Simmons is clearly inspired by the free work of the ESP crowd, but he also takes that sound in a whole new direction – working with a group that includes his frequent collaborator, trumpeter Barbara Donald, plus Cecil McBee, Lonnie Liston Smith, Clifford Jarvis, and Richard Davis. All titles are long, and tracks include "New Newk", "E=MC2", "Healing Rays", "Burning Spirits", and "Things & Beings".

A lost treasure – finally brought back to light! The album features previously unissued material by the team of Art Pepper and Warne Marsh – tracks recorded back in 1956 for Contemporary records, but only issued many years later as part of the Complete Contemporary project for Pepper's work. Why these dates never made it to wax is a real mystery to us – because the pairing of Pepper's alto and Marsh's tenor is perhaps even greater than the more famous team of Marsh & Konitz – and the sound here is completely wonderful – fluid, modern, and exceptionally poised – yet never without soul! CD includes a few master and original takes of some numbers – and titles include "All The Things You Are", "Tickle Toe", "Warnin", "Stompin At The Savoy", "What's New", "Avalon", and "I Can't Believe That You're In Love With Me".

Beautiful late work from Art Pepper – and a set that definitely lives up to the samba promised in its name! The groove here is a bit more fluid than usual for Art at this time in his career – and that's saying a lot, given the open-ended style of his Galaxy and Contemporary work – and in a way, it's the rhythm section that really seems to drive the record – George Cables on piano, Michael Formanek on bass, and Eddie Marshall on drums – really stretching out on the album's long, live tracks to give Pepper plenty of dancing rhythms underneath his alto lines. The set features two great Brazilian-tinged groovers – "Samba Mom Mom" and a version of "Blue Bossa" – plus "Art Meets Mr Beautiful" and "Here's That Rainy Day".

Andre Previn's got some very hip pals here – drummer Shelly Manne and bassist Red Mitchell – both frequent partners during the late 50s, especially on this classic run of jazz-Broadway records for Contemporary! The spirit here is very much like that of the famous My Fair Lady date made by the trio – a strong extrapolation of familiar tunes from a hit show – taken way out into instrumental jazz territory – with less thought of the core melody, and more focus on the tunes use as vehicles for jazz improvisation. Previn's piano has hardly sounded better – and more creative, both in tone and timing – an inspiration that certainly comes from Manne's inventive drum work – and titles include "Aunt Alicia's March", "I Remember It Well", "The Parisians", "She Is Not Thinking Of Me", "Thank Heaven For Little Girls", and "A Toujours".

A goofy title and cover – but a really unique session of two-piano jazz, recorded with Russ Freeman and Andre Previn on the keys, plus only the drums of Shelly Manne to provide additional support! The sound is really great – and Previn's especially wonderful here, really stretching out to meet the harder style of Freeman. Both players also seem really inspired by Manne's drum work – and in a way, it almost feels like Shelly's directing the piano from the drum kit, especially on the more uptempo numbers. The notes do a very detailed job of breaking down the piano work, so that you can figure out who's soloing when – and titles include "Who's On First", "In The Cellar Blues", "Called On Account Of Rain", "Fungo", "Safe At Home", and "Double Play". Baseball, anyone?

A classic set that brings the east coast tenor of Sonny Rollins into contact with a west coast rhythm section of Ray Brown and Shelly Manne! Despite Rollins' silly look on the cover, and the album's overall "western" theme, the session's a brilliant one – right up there with Sonny's strongest trio sides of the late 50s, and a key link in a string of excellent recordings for Blue Note, Prestige, and Riverside! The lack of a piano really opens up the style of the set – letting Sonny explore freely on his solos, while Brown's bass and Manne's drums do more than enough to keep the rhythms going on their own. Solos aren't as "out" as on the Village Vanguard sessions, but certainly every bit as inspired – and titles include "I'm An Old Cowhand", "Solitude", "Come, Gone", "Way Out West", and "Wagon Wheels". CD features 3 bonus tracks!

With Ben Webster on tenor, Frank Rosolino on trombone, and Barney Kessel on guitar. Titles include "Blues My Naughty Sweetie Gives To Me", "Blue Lou", "A Walkin Thing", and "Old Fashioned Love".

Mid 80s soul from Detroit's Colonel Abrams – One of the first artists to take the then burgeoning house sound into the mainstream – paired up with nicely grooving modern soul vibe! Includes the his "Trapped" and "I'm Not Gonna Let", with those bright and bumping synth melodies and relentless house influenced beats underneath vocals and songwriting that helped get it over with the chart ready contemporary soul scene – plus the solid ballad "Never Change", "Over & Over", "Speculation", "The Truth", "Table For Two" and more. This CD version includes 4 bonus tracks: 12" mixes of "Trapped", "I'm Not Gonna Let You", "The Truth" and "Over And Over" – plus the non album track "Music Is The Answer".

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

An album that definitely lives up to its title – as congolero Francisco Aguabella comes on hard, hitting strong throughout – and serving up a wicked blend of Latin, funk, and soul! The mid 70s set is a standout recording from Aguabella – done after he left the group Malo, and one of the best west coast takes on the modes that scene was changing up from New York at the time – really transforming the sound of contemporary Latin with a trans-genre vibe that was easily some of the most revolutionary music of the period. Rhythms are acoustic, but there's a nice dose of electric energy too, thanks to some sweet keyboards. Some cuts have English vocals, others are instrumental – and titles include "Hitting Hard", "I Wanna Know", "Cisco", "Image of a Star" and a nice version of Edu Lobo's "Casa Forte".

A contemporary take on the sounds of mid-Century – a very cool batch of tracks that leans heavily on 50s exotica, 60s electronica, and lots of other odd bits – all filtered together in cool production with a really playful feel! The set's somewhere between some of the older retro sounds on the Irma La Douce label, and some of the colder work in recent years by groups who've been inspired by Italian crime and horror soundtracks – although Akron's work is a bit warmer overall. Titles include "Rabbits In Orbit", "A Glimpse Of Hell", "Frog War Chant", "Robot Grind", "Memory Hole", and "Picabu".

Amalia's future soul full length debut for Tokyo Dawn! On Art Slave, Amalia does a pretty amazing job of showing off a broad range of inspiration, but delivering a record that's fresh and uniquely her own. She's one of more expressive contemporary soul vocalists on the international scene – with a voice that can deliver catchy soul hooks and spacey funk wierdness with equal brilliance – and her range is incredible, too! The production on this set is pretty heavy with spacey electro funk – and titles include "Art Slave", "Welcome To Me", "4 U", "All The Funk I Need", "Bonafide", "Psychoanalyze", "Stop Please", "Zebra Butt-A-Fly", "Luxurious (Ad Bourke Remix)", "Freeze That!", "I'm The Woman" and more.

Not Afrobeat, but Astrobeat – a unique hybrid of older funk modes and contemporary cosmic touches – all served up beautifully by Ariya! The album definitely echoes older modes from the Ethiopian scene of the 70s – particularly the chugging rhythms and tightly vamping instrumentation that you might know from the work of Fela or Tony Allen – but there's also some more 21st Century elements on the keyboards, which have a crackling bit of electricity that goes beyond the usual electric piano used back in the day – and which really helps give the record a different feel. Don't get us wrong – because nothing here is too slick, overproduced, or remix-heavy – the music is definitely Afro Funk at the core, just inflected in some really sweet ways – and served up mostly instrumental, on cuts that include "Blood In The Water", "Turncoat", "Future Ancestors", "New Frontiers", "Towards Other Worlds", and "Old Ground".

A contemporary set, but one that sparkles with all the best brilliance of the 70s scene in Brazil – and that includes such heady company as Marcos Valle, Azymuth, and Joao Donato! As with all those artists at the time, Lucas Arruda has a groove that's strongly based on Fender Rhodes – warm keys that are underscored with some great acoustic percussion that gives the whole thing an earthy core at the bottom, and a vibe that's quite different than any American fusion of the time! The music is completely sublime throughout – very jazzy in its inflections, but also with a more freewheeling approach – as you'd hear on classic keys from Jose Roberto Bertrami. The set's got a bit of vocals, but really focuses on the keyboards – and titles include "Physis", "Rio Afternoon", "Batuque", "Alma Nova", "Sambadi", "Carnival", and a sweet cover of "Who's That Lady".

A contemporary set, but one that sparkles with all the best brilliance of the 70s scene in Brazil – and that includes such heady company as Marcos Valle, Azymuth, and Joao Donato! As with all those artists at the time, Lucas Arruda has a groove that's strongly based on Fender Rhodes – warm keys that are underscored with some great acoustic percussion that gives the whole thing an earthy core at the bottom, and a vibe that's quite different than any American fusion of the time! The music is completely sublime throughout – very jazzy in its inflections, but also with a more freewheeling approach – as you'd hear on classic keys from Jose Roberto Bertrami. The set's got a bit of vocals, but really focuses on the keyboards – and titles include "Physis", "Rio Afternoon", "Batuque", "Alma Nova", "Sambadi", "Carnival", and a sweet cover of "Who's That Lady".

A stunner of a solo acoustic folk guitar record from Daniel Bachman – one that rivals some of the great archival releases on Tompkins Square – though this one was recorded in 2012, and Bachman is a young player just a couple years into his twenties! Raw, string-buzzing immediacy and dexterous playing from young Bachman – and it's incredibly engaging stuff, too! He's also one of the relatively few contemporary folk instrumentalists – along with with Nashville's William Tyler – who truly evoke the spirit of trailblazers like Fahey and Basho for us. Includes "Copperhead", "Seven Pines", "Sun Over Old Rag", "Long Nights I", "Mount Olive Chohoke", "With Signs Following" and '218 To Caledon".

A great little record that really lives up to the Wonderland in the title – as it's a really rich place for vocalist Bajka to open up and do her thing – stretching out wonderfully here, after some key previous work on singles and remix projects! Bajka's got a voice that's instantly recognizable – almost a 21st Century Billie Holiday approach – with nice raspy edges, and a mix of sadness and warmth that really goes past other contemporary singers on records like this! Backings are great too – handled with plenty of righteous jazz touches at times, thanks to work from Jerker Kluge, who you'll know as the leader and bassist in Deep Jazz. Every bit as hip as we could have hoped for – and titles include "The Hunting", "The Barrister's Dream", "The Baker's Tale", "The Vanishing", and "The Landing".

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

A brilliant new vision for the legendary Banda Black Rio – the pioneering samba, soul and funk combo that broke so much ground in the 70s and remain vital to this day – led here by William Magalhaes, in a mode that celebrates decades of the best Brazilian music, while fearlessly moving it forward! William's father Oberdan Magalhaes was a driving force behind the original Banda Black Rio, and we couldn't really imagine a more appropriate new vision for the group than his son's. William wrote or co-wrote each track and he sings, plays keys and synth, guitar, bass, drums and more. The expansive group brings a depth of percussion, horns, strings and vocals – delivering timeless and dexterous jazzy Brazilian funk and dancefloor soul. The guest list includes classic and contemporary greats like Seu Jorge, Elza Soares, Marcio Local, Caetano Veloso, Gilberto Gil and others! Includes "Louis Lane" with Seu Jorge & Mano Brown, "Super Nova Samba Funk (9 No Samba)", "America Do Sul", "Isabela" feat Elza Soares and Cesar Camargo Mariano, "Samba Nova", "Quem Vem La" feat Marcio Local, "Deixa Estar" feat Aleh, "Lindos Olhos" feat Seu Jorge and Don Pixote, "Paname" feat Pyroman, "Final Feliz", "Irere" feat Gilberto Gil, "Aos Pes Do Redentor" feat Caetano Veloso and more. 16 tracks on the CD version.

Spacey fingerstyle guitar meanderings from Robbie Basho – a contemporary of John Fahey who helped create the genre of tripped out, open tuning excursions! This album was recorded after Basho's early work for the Takoma label, and it's got a bit less Native American imagery than before – replaced with more of a sense of Eastern mysticism for inspiration that also features some vocals alongside the guitar! Titles include "Venus In Cancer", "Eagle Sails The Blue Diamond Waters", "Kowaka D'Amour", "Song For The Queen", "Cathedrals Et Fleur De Lis" and "Wine Song (Sweet Wine Of Love)".

A mixing of modes – although basically music that has a bouncy Batida touch on all tracks! "Ncongo J'Ami" is an older groove, remixed by Batida – and given a jumpy finish that's mighty nice – almost a 70s African vibe, filtered through contemporary Columbia – with just a few twists and turns along the way! The group's own "Yumbala" is reworked by AJ Holmes in an equally bouncy version – one that's got plenty of great basslines that move things along!

Great contemporary sounds from Brazil – a collaboration between Nina Becker and Marcelo Callado – done with a really playfully creative feel! Nina's sung recently with Orquesta Imperial, and Marcelo's the drummer in Caetano Veloso's recent group – and the record definitely has echoes of both of those worlds – very creative songwriting, thoughtful interplay between acoustic and electric instrumentation, and a freshly crispy sensibility on the production – which keeps a gentle edge to most of the tunes. Titles include "Cade Voce", "Blues", "Futuro", "Nuvem", "Packing To Leave", and "Essa Menina".

Wonderful early work from Madeline Bell – a great singer with a sound that's equal parts American soul and British 60s female pop! The recordings on the set are from Madeline's earliest years in the UK – long before she achieved greater fame on crossover rock recordings, at a time when she was just stepping off an early career in gospel, where she'd crafted some great recordings on Vee Jay with Alex Bradford. The sound of the album is wonderful – arranged to production by Arthur Greenslade, and produced by Johnny Franz with the same pop genius he brought to Philips work by Scott Walker and Dusty Springfield. The CD features the full tracks from the Poppin album, plus a number of contemporary singles – for a total of 20 tracks that include "Picture Me Gone", "Beat The Clock", "Can't Get Used To Losing You", "Didn't Want To Have To Do It", "Soul Time", "I'm Gonna Make You Love Me", and "You Won't See Me".

George Benson more than earns the title on this one – given that most of the tracks feature backings from the Count Basie Orchestra under the direction of Frank Foster – a great ensemble who really help keep things soulful throughout! Despite the date of the set, the feel here is a bit more classic than most of Benson's work from the time – as the group bring a full acoustic soul to the record – a swelling, swaying brace of horns that seems to push George's vocals a bit more than usual – past that simply sweet style that was the usual Benson bag. There's a range and depth here that's really surprising – a quality that goes past the hokey title, which might make you expect less from the record – and although there's a few brief moments that get slightly contemporary, these pass quickly in favor of a classic groove. Titles include "On Green Dolphin Street", "Without A Song", "Ready Now That You Are", "Basie's Bag", "Skylark", and "How Do You Keep The Music Playing".

Seminal Chicago sounds from cornetist Josh Berman – and a record that's not just a key example of his talents, but of the whole energy of the Windy City scene as well! There's a nice gag in the "His Gang" on the cover of the record – but it's also somewhat well put, too – as Berman's definitely got ears for the old-time sounds such a name might imply – yet always has ways of making those older modes come out with freshly modern energy! The balance is amazing – and really shows Josh's ear for trad jazz, mixed with his contemporary avant expressions – a pan-historical jazz mode that's hardly ever been handled this well – except maybe by Jaki Byard at a few moments. At some level, the instrumentation reads like an old trad band – cornet, clarinet, trombone, bass clarinet – but the sounds here are definitely 21st Century – played by a great "gang" that includes Guillermo Gregorio on clarinet, Jeb Bishop on trombone, Jason Stein on bass clarinet, Keefe Jackson on tenor, Jason Adasiewicz on vibes, Josh Abrams on bass, and Frank Rosaly on drums. Berman's arrangements are wonderful – very offbeat, but swinging too – and titles include "Sugar", "Mobile & Blues", "Liza", "Cloudy", "One Train May Hide Another", and "Jada".

Compelling work by this Chicago combo – a really unique ensemble led by a trombonist with a wide range of skills! Big James claims James Brown as a big inspiration, but he also came of age in the Chicago blues scene – which is where his horn-heavy combo has mostly found a home, playing their own Windy City variant of rootsy funk! There's definitely a blues bent to the music, but the sound is quite different than most other contemporary groups on the scene, too – not just because James' trombone is firmly in the lead, but also because the group have a great ear for strong funk and deep soul roots too. Titles include a cover of the P-Funk gem "Qualified 2 Satisfy" – plus original tunes "Da Coldest Man I Ever Knew", "Low Down Dirty Blues", "Never Loved Any 1 Like U", "A Happy Fool", and "Da Best Love I Never Had".

Amazing work from acoustic guitarist Don Bikoff – a 60s contemporary of John Fahey and Robbie Basho, but much more obscure than either of those legendary players! Yet Bikoff's got a very similar vibe – a style that's rooted in folk, but has broken way way past the genre – amazing acoustic guitar explorations that are filled with tones and timings that so many other players wouldn't discover until the 70s – yet still never be able to deliver with a freshness like this! The album's completely mesmerizing from the start – almost like the hypnotic air of Sandy Bull, without the hypnotic pyrotechnics – served up simply and sparely, in a way that leaves us breathless. Titles include "Today Has No Tomorrow", "Rindler's Metamorphosis", "The Ellipses Of Your Mind", "Bathing Prohibited In The River Styx", and "Riverside Park Blues".

Amazing work from acoustic guitarist Don Bikoff – a 60s contemporary of John Fahey and Robbie Basho, but much more obscure than either of those legendary players! Yet Bikoff's got a very similar vibe – a style that's rooted in folk, but has broken way way past the genre – amazing acoustic guitar explorations that are filled with tones and timings that so many other players wouldn't discover until the 70s – yet still never be able to deliver with a freshness like this! The album's completely mesmerizing from the start – almost like the hypnotic air of Sandy Bull, without the hypnotic pyrotechnics – served up simply and sparely, in a way that leaves us breathless. Titles include "Today Has No Tomorrow", "Rindler's Metamorphosis", "The Ellipses Of Your Mind", "Bathing Prohibited In The River Styx", and "Riverside Park Blues".

A jazz funk masterpiece, and THE record by the legendary Don Blackman – the only one issued under his own name for many many years, and a famous little set that's been sampled endlessly over the years, and for good reason! The vibe here is one that's barely been matched again – a blend of 70s fusion, bassy funk, and even tighter riffing – all put together with a greater depth and sense of soul than most other records of its type. Blackman's a GRP contemporary of Bernard Wright, Tom Browne, and Weldon Irvine – and there's bits of all their sound in the work here, but somehow Don does it even better – hitting these grooves, notes, and lines that seem to fall from the heavens – and which still stand as some of the hippest music of his generation. A record to file proudly next to your copies of Ramp and James Mason – and like those gems, the kind of record that only happens once in an artists career! Titles include "You Ain't Hip", "Yabba Dabba Do", "Heart's Desire", "Deaf Hook Up Connection", "Never Miss A Thing", and "Holding You Loving You", and "Since You Been Away So Long".

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".

The best album so far from this up-and-coming Colombian group – a great mix of rootsy elements and more electronic production – served up in the forward-reaching style we've come to love in recent projects from the Soundway label! Bomba Estereo are easily one of the most contemporary groups to hit the imprint of late – and they've got no trouble at all moving between upbeat, soulful styles and more earthy levels of instrumentation – all fused together with the kind of warmth and joy we might expect in some of the older productions from Luaka Bop, but with a bit more edge too. Titles include "Bosque", "Bailar Conmigo", "Pa Respirar", "Mozo", "Pajaros", "Pure Love", and "Caribbean Power".

The best album so far from this up-and-coming Colombian group – a great mix of rootsy elements and more electronic production – served up in the forward-reaching style we've come to love in recent projects from the Soundway label! Bomba Estereo are easily one of the most contemporary groups to hit the imprint of late – and they've got no trouble at all moving between upbeat, soulful styles and more earthy levels of instrumentation – all fused together with the kind of warmth and joy we might expect in some of the older productions from Luaka Bop, but with a bit more edge too. Titles include "Bosque", "Bailar Conmigo", "Pa Respirar", "Mozo", "Pajaros", "Pure Love", and "Caribbean Power".

A long-overdue debut from Onita Boone – a singer who's worked in the background with many others, but who finally gets her time in the limelight! Onita's got a great way with a lyric – and most of the tunes on the set feature original words by the lady herself – deep and mature, and served up with this strong sense of flow that really sends the tunes home. Production is relatively stripped-down, too – although has a few classic elements percolating amidst more contemporary modes – maybe a bit more on the album's few well-chosen covers. Onita hails from the US, but gets a big push here from Universal Germany – which means that this one might oddly fall under the radar for audiences back home. Titles include "Who's Crying Now", "I Know", "I'll Carry You", "Ain't Nobody", "Joined", "I Don't Wanna", "Let The Funk Come Out", "25 To Life", and "Pay".

David Bowie's grabbing the cover of Heroes for this surprisingly great album – using the old cover art, then marking it over – in ways that definitely give a hint at the sound underneath! The style's darker and edgier than we've heard Bowie in years – kind of in "Joe The Lion" territory at times – given the fuzzy use of guitar, and raspy touches on the vocals and other instrumentation – almost as if the whole thing's got the same sort of back to basics approach that David found during his years in Berlin. Yet overall, there's more sweet moments too – some surprisingly warm tunes that, while not like contemporary pop hits, may well help remind the world that the Bowie star can still shine brightly in the right setting. Titles include "Dirty Boys", "The Next Day", "If You Can See Me", "Boss Of Me", "Dancing Out In Space", "Love Is Lost", and "Valentines Day". Deluxe CD version features three bonus tracks – "So She", "Plan", and "I'll Take You There".

David Bowie's grabbing the cover of Heroes for this surprisingly great album – using the old cover art, then marking it over – in ways that definitely give a hint at the sound underneath! The style's darker and edgier than we've heard Bowie in years – kind of in "Joe The Lion" territory at times – given the fuzzy use of guitar, and raspy touches on the vocals and other instrumentation – almost as if the whole thing's got the same sort of back to basics approach that David found during his years in Berlin. Yet overall, there's more sweet moments too – some surprisingly warm tunes that, while not like contemporary pop hits, may well help remind the world that the Bowie star can still shine brightly in the right setting. Titles include "Dirty Boys", "The Next Day", "If You Can See Me", "Boss Of Me", "Dancing Out In Space", "Love Is Lost", and "Valentines Day".

A landmark album from Boyz II Men – and a set that shows that the classic harmony style was alive and well into the 90s! Although the production and rhythms here are somewhat contemporary, the vocals have a classic approach all the way through – maturing masculine soul styles that are totally great, and which have aged beautifully over the years – way past the chart-reaching cliches of other groups of the time, and well deserving of attention as a great later Motown moment! Most production is by Dallas Austin – who structured the album beautifully into "adagio" and "allegro" sections – and titles include "Please Don't Go", "Lonely Heart", "Little Things", "Motownphilly", "Under Pressure", "Sympin", "It's So Hard To Say Goodbye To Yesterday", and "Uhh Ahh".

Pure wonderfulness from Charles Bradley – two killer cuts that really sum up his contemporary genius! "Strictly Reserved" has this slow funk groove that's nice and sinister – a stepping guitar riff that really sets up the groove right from the start – topped with these incredibly soulful vocals from Charles, and peppered with just the right dose of horns! "Let Love Stand A Chance" is a killer too – mellower, and a bit more deep soul – with a burning feel that almost blows away the best James Brown ballads of the King Records years!

Damn amazing work from Charles Bradley – an instant soul classic for all generations, as you'll hear from the very first note! Not only are Bradley's vocals incredible – the kind of once-in-a-long-time approach he brought to his debut – but the backings and production are completely sublime too – magical music from the Menahan Street Band, who sound here like some lost combo from 60s Memphis, but without any of the hoke that reference might imply – instead that really unique approach that you'd only find on one of your few favorite vintage soul albums – maybe Bobby Taylor & The Vancouvers, or Jesse James on his 60s album for 20th Century! Yet the sound here isn't just vintage for vintage sake, either – as there's an intensity that's very present, contemporary, and urgent – a sound that doesn't die – and which just gets better and better with each new listen. Tremendous stuff – even from the Daptone universe we've been loving for years and years – with titles that include "Strictly Reserved For You", "You Put The Flame On It", "Dusty Blue", "Love Bug Blues", "Hurricane", "Through The Storm", "Confusion", and "Where Do We Go From Here".