All Categories — LPs  

A really cool little album – recorded by Detroit vibist Jack Brokensha at the end of the 60s, working with a combo called the Baroqe-Adelics, whose instrumentation includes electric harpsichord and fuzzy guitar! The album's the kind of small label jazz side we treasure – and includes a mix of funky and groovy numbers with some straighter tracks that demonstrate Brokensha's vibes in a more conventional jazz context. Includes the great original groovers "Boogaloo", "Opus Barokus", "Twistrist", and "Priscilla" – plus versions of "My Favorite Things", "On Green Dolphin Street", and "Tast Of Honey".

Overlooked genius from Art Farmer – a less-remembered session from the early 80s, and one that features him in a hip quintet with the great Sahib Shihab! The feel here is as lyrical and laidback as some of Art's other work from the time, but the presence of Sahib on soprano and baritone brings a good sense of feeling to the record – one that almost sharper than usual for a Farmer session, and which seems to push the trumpeter more strongly than usual on the upbeat numbers. An added plus is the rhythm section – which features Kenny Drew on piano, Mads Vinding on bass, and Ed Thigpen on drums – all players who had plenty of time together on the Copehagen scene, and who work in an equally cohesive way here. Titles include "Arrival", "Blue Wail", "Context", "Back Door Beauty", and "Passport".

Don Gere's dusty, jangly soundtrack to the bikers and werewolves and satanists (oh my!) epic Werewolves On Wheels – a pretty great one with spare, post folk psych atmosphere, a little bit of groovy country rock, eerily percussive errata and choice soundbites from the flick! Finders Keepers has a knack for describing their great and obscure soundtrack and otherwise oddball discoveries that goes well beyond ours – they describe Don Gere as a "disjointed psych rock stoner" and the sound as "ritualistic commune country". We can't speak for Don's personality, but they pretty much nail the vibe! Most importantly, it works fine as trippy leftfield psychedelia and groovy country rock even without the crazy context of the movie – with a couple solid vocal tunes, fuzzed out instrumentals (particularly the "Ritual" tracks), sparer bits of tension and classic style B-movie biker elements. Includes "Werewolves On Wheels (Main Theme)", "Mount Shasta Home", "Ritual", "Ritual 2", "The Devil's Advocates", "One Foot In Heaven", "Burning Grass", "Tarot", "Tarot Trail", "Dust Bowl", "Ritual 3", "Werewolves On Wheels (End Theme)" and more.

A 70s 2-fer that combines 2 albums recorded for Cadet in the mid 60s – one issued under Nelson's name, the other under Lou Donaldson's, but both featuring arrangements by Nelson. The Nelson LP is a pretty darn nice session in which Nelson is the lead soloist with a large group that includes Phil Woods, Jerome Richardson, Patti Brown, and Art Hoyle. Nelson plays tenor throughout, and the band has a very tight swing, in keeping with Nelson's incredible arranging style on albums like those he cut with Jimmy Smith. Tracks include "Daylie's Double", "Laz-ie Kate", "Teenie's Blues", and "Three Plus One". The Lou Donaldson LP is one of Lou's more unique sides of the 60s – as the album features him as the main soloist over arrangements by a group headed up by Oliver Nelson. As has been ably demonstrated on many sides on labels like Verve, Impulse, and Capitol – there's no better talent than Nelson for taking a strong soulful player, and putting him into a context that will let him solo at his best, and not be overwhelmed by the band. There's some nice organ in the group, and titles include "Tippin In", "Back Talk", "Huffin N Puffin", and "Ignant Oit".

Great stuff by the grooviest artist ever to play a harp! Dorothy Ashby had a unique soul jazz harp sound, and although the instrument she used is probably more thought of in terms of bedtime lullabies, she actually makes it swing nicely, and with a soulful sound that draws back to traditions of African stringed instruments. Ashby was part of the same scene as Yusef Lateef, and like Lateef, she managed to use odd instrumentation in new contexts, to get a very unique jazz sound. This set's got harp and flute in the lead, and features the tracks "Pawky", "Charmaine", "Jollity", and "Back Talk". Also reissued with the original cover art!