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Lots of extra goodies, in keeping with the usual De La 12" format!

The epic second De La Soul album – a slightly deeper record than the upbeat 3 Feet High And Rising, but to us it's just as irrefutably classic – and among the best hip hop full lengths ever! The trio is still working with Prince Paul, so despite the cover image and declaration of the end of the Daisy age, there's no shortage of humor and bouncing good time hip hop – if a turn tougher. To put it simply, this is one of the many reasons we look a the early 90s as the salad days of hip hop. With "Oodles Of O's", Talkin' Bout Hey Love", "A Roller Skating Jam Named Saturdays", "Millie Pulled A Pistol On Santa", "Ring Ring Ring (Ha Ha Hey)", "Keepin' The Faith", "Bitties In The BK Lounge", "Pass The Plugs" and, as was the style at the time, loads of funny skits.

One of the best compilations of 70s soul you'll ever buy – a treasure trove of tracks from mid 70s Atlantic and Warner Brothers Records – all recorded in the mighty soul capitol of Philly! The set does a great job of combining hit singles with a load of lesser-known Philly gems – tunes recorded as singles or obscure album tracks by artists who were working in the same Sigma scene as the bigger acts on Atlantic, but who never managed to crack the charts as much. The whole thing's great – a smooth-grooving midtempo batch of tracks that never fails to please – and honestly, if we had to dig through thousands of old records to produce such a set, we're not sure we could do a better job! Titles include "One More Time" by Dianne Steinberg, "Let's Get Together Now" by The Aristocrats, "Love Won't Let Me Wait" and "Loving You Is Mellow" by Major Harris, "Kiss My Love Goodbye" by Bettye Swann, "Welcome To The Club" by Blue Magic, "That's Where I'm Coming From" by True Reflection, "Save Your Love For Me" by Vivian Reed, "You Call Me Back" by Clyde Brown, ""I Got A Feeling" by First Choice, "Gonna Make You Mine" by Anglo Saxon Brown, "Got To Get You Together Now" by Sons Of Robin Stone, "Can We Come Together" by The Trammps, and "Once You Hit The Road" by Dionne Warwick.

Mindblowing – and like a dream come true! This is undeniably one of the most important records ever in hip hop – and now, it's lovingly reissued (on both CD and LP), with a quality level that pushes it over the top! The sound is great, the package is wonderful, and the music sounds even fresher than ever! All the cuts are here – "Me, Myself & I", "3 Is the Magic Number", "Plug Tunin", "Say No Go", "Tread Water", "Eye Know", "Buddy", and soooooo much more! LP is reissued as double vinyl – making it sound a heck of a lot better than the overly-compressed original vinyl, which could never handle all the music on the album!

Daft Punk get the placement they deserve – given the fame of their latest and greatest – and the mighty De La Soul take their place on the other side of the cover! The issue features articles on both acts – as well as bits in Nile Rodgers, Teddy Riley, Slum Village, Gino Soccio, Meshell Ndegeocello, Wajeed, Jack Bruce, Ava Luna, Lady, and Blkkathy. Phew! That's a heck of a lot in one super-tight publication – but as always, Wax Poetics pulls it off at a level that nobody else can touch.

Their most consistent batch in years! It's been a little difficult to tell at times over the past few years if De La Soul has been trying harder to please their critics, or simply finally being true to themselves by expelling all traces of the perceived hippy-isms of their earlier work. The answer is probably somewhere in between, but leaning towards their autonomy. They've been a new group all together since Stakes Is High, and Bionix is certainly their best work since, with the Wu Tang-like piano driven beat of the title track, the catchy soul of "Baby Phat" and "Simply", both of which should be nice club hits, and more than a few subtle nods to the Prince Paul years, especially on the "Simply Havin" interlude. "What We Do (For Love)" makes great use of a Slick Rick guest spot – complete with the horny fanfare. Cee-Lo shows up on "Held Down", and B-Real appears on "Peer Pressure" – both of which suggest that De La spent a little time in Stankonia last year. Other tracks include "Watch Out", "Special", "The Sauce", "Pawn Star", "It's American", and "Trying People".

The first post-Tommy Boy De La Soul album – and it's a winner! We've been on board with De La throughout their long career – anyone with open ears must know that even their spottiest records (and this is NOT one of those) feature at least a handful of treasure tracks. Grind Date is easily the best later De La Soul album, and brevity is as key to the album as the group's proven longevity. 12 tracks, 49 minutes, no skits. Two songs in you'll find the stellar "Verbal Clap", one of J Dilla's finest productions ever, with precise on beat rhymes by De La. Other highlights include "He Comes" with Ghostface, a soulful track that would sound just as great on Ghost's Supreme Clientele. Is Grind Date the new sound for the mid 00s? Will it blaze trails and be co-opted by the next hot producers? Are the lyrics as solid as they could be? Probably not in each scenario, but that's not the point – these guys are consummate musicians, molding their rhyme schemes to the tracks with focus and precision. Most critics will say this is De La's best album since Stakes Is High. We'll say it's better! Featuring production by Dave West, J Dilla, Madlib and 9th Wonder – plus guest appearances by Yummy, Ghostface, Carl Thomas, MF Doom, Common and others. Other tracks include "The Future", "Much More" feat Yummy, "The Grind Date", "Shopping Bags", "Days Of Our Lives" with Common, "Come On Down", "Rock Co. Kane Flow" featuring MF Doom and more.

2 De La Soul tracks, produced by Jay Dee! "Shoomp" has a blunt synth blip feel, with Jay Dee making nice use of a Tom Tom Club beat. It all plays along very well with guest Sean Paul's dancehall calling. "Much More" has a soft and soulful guest spot by Yummie, and the track recalls the "Baby Phat" single quite a bit. Two nice ones from De La – showing that they still have some skills to share, and that they're still going strong despite some highs and lows since the Stakes Is High days.

Great 3-sided single that features two regular sides, plus a third side "hidden" amidst the grooves of the second side. Loads of great stuff, including "Brain Washed Follower" and "Ain't Hip to Be Labeled a Hippy". The kind of 12 inch single that makes collecting them worth while!

A great little set from salsa legend Sammy Ayala – an original member of the 50s born Cortijo Y Su Combo orchestra of Puerto Rico – singing warmly and wonderfully on this excellent self-titled set on the Candela label! An all star roster of modern producers and players indebted to Sammy and his style contribute – include Quantic, Nicodemus, Truth & Soul combo Bronx River Parkway, Mo'Horizons and others – but this feels like the work of an old school master, as it should. Timeless stuff and a worthy effort by all! Titles include "Otra Vez", "Invitacion Al Salon", "Corazon" feat Bronx River Parkway, "El La San Sebastian" feat Mo'Horizons, "Huellas De La Ilusion" and more.

Killer stuff all around! This album's a monster – one of Ray's greatest, with the same sort of Latin Soul groove heard famously on his classic Acid LP. The record has Ray cutting across many genres – blending Latin, soul, jazz, and a slight bit of funk – all into a set of grooves that never stops pleasing, and which will make you start digging through the Latin racks like mad, just to find another LP this great! Titles include "Hard Hands", "Abidjan", "Got to Have You", "New York Soul", and the fantastic track "Love Beads", which has a cool rolling piano line that sounds like a great De La Soul sample. It's a great track, and makes the entire album worth the price!

An insanely wonderful bit of Latin funk! The groove is super heavy, and falls somewhere in between NuYorican soul and Chicano Power rock – with a sound that's pretty close to Black Sugar, but a little bit more psychedelic, due to the heavy guitars and keyboards in the grooves. Hard congas take the lead on most of the tracks – especially the cut "Chapumbambe", which starts with a nice break! Other tracks include "Tema De Bwana", "Motemba", "La Patada", and the massive Latin soul cut "Lolita".

An insanely wonderful bit of Latin funk! The groove is super heavy, and falls somewhere in between NuYorican soul and Chicano Power rock – with a sound that's pretty close to Black Sugar, but a little bit more psychedelic, due to the heavy guitars and keyboards in the grooves. Hard congas take the lead on most of the tracks – especially the cut "Chapumbambe", which starts with a nice breakbeat. Other tracks include "Tema De Bwana", "Motemba", "La Patada", and the massive Latin soul cut "Lolita".

Possibly the greatest album ever from Angel Canales – a 70s salsa classic through and through, and one with great links between the New York scene and Canales' Puerto Rican roots! The tunes are wonderfully heartfelt throughout – sung with a youthful sense of soul that's far different than some of the more emotive modes of previous generations of Latin singers – in a way that really scored big with the younger generation at the time, and which makes Canales one of the key forces helping to change the sound of the music in the 70s. Instrumentation is nice and tight – acoustic small combo work with two trombones, trumpet, baritone sax, flute, piano, bass, and percussion – under musical direction by Juan Torres. Titles include "Lejos De Ti", "Perico Macona", "La Hiedra", "Sol De Mi Vida", "Sabor Los Rumberos Nuevos", and "El Cantante Y La Orquesta".

3rd album by the man who put Chicago on the map as a hip hop center. 2 albums strong, and with a lot of guest appearances by folks like De La Soul, Q-Tip, Chantay Savage, Erykah Badu, and Cee-Lo. No I.D. produced most of this, and a few tracks were done by Doug Infinite. Includes "1 '2 Many", "Reminding Me Of Sef", "My City", "Real Nigga Quotes" and "Retrospect For Life".

3rd LP by the man who put Chicago on the map as a hip hop center. 2 LPs strong, and with a lot of guest appearances by folks like De La Soul, Q-Tip, Chantay Savage, Erykah Badu, and Cee-Lo. No I.D. produced most of this, and a few tracks were done by Doug Infinite. Includes "1 '2 Many", "Reminding Me Of Sef", "My City", "Real Nigga Quotes" and "Retrospect For Life".

Monumental Afro Soul from El Rego Et Ses Commandos – El Rego's best recordings from the late 60s to early 70s – a beautifully done compilation put together by Daptone and Frank Gossner, the deep digging West African music expert behind Voodoo Funk! Theophile Do-Rego is a legend in his native Benin, essentially credited as the godfather of Benin funk – but to date, he hasn't been celebrated around the world nearly as famously as the superstars of African music hailing from Nigeria and Ghana. That's something that can change really quickly if enough people pick up this truly great compilation of pioneering recordings. Singer El Rego and his excellent, diversely capable band – sax and flute by Baboni Oudou, sax by Michel Diogo, guitar by Oscar De Souza, trumpet by Emmanuel Ganssounou, guitar by Roger Coffi, tumba by Marcelin Kpohonon, additional vocals by Christian Agueh, and bass by band leader Paul Hounnou – take a tighter approach to funky soul. Just a couple tracks on this set roll past the 4 minute mark – which gives it a tighter soul sound, along with some Benin blues and some riveting JB-indebted vocal affections. We owe Voodoo Funk and Daptone big for putting this together! Includes "Feeling You Got", "Zon Dede", "E Nan Mian Duku", "Dkobime", "Dis-Moi Oui", "Djobime", "Hessa" (the centerpiece of the album, 3 minutes of Afro Soul perfection. . .the whole set is great, but this track is unforgettable), "Kpon Fi La", "Do Do Baya", "Vive Le Renouveau", "Achuta", "Cholera" and "Ke Amon-Gbetchea".

Unreleased genius from the vaults of ECM – a double-length live set from the Magico trio of Jan Garbarek on reeds, Egberto Gismonti on guitar and piano, and Charlie Haden on bass! The trio have a wonderfully balanced sound – completely evocative and filled with soul – spacious, yet never sleepy – as the voice of each individual player is given plenty of room for expression, but also comes together in this rich new sound that's a great illustration of ECM at its finest. Garbarek's tenor and soprano sax seem to have a deeper sense of soul than usual in this setting, Gismonti's guitar lines are especially warm and personal, and the bass of Haden always shines in a format like this. Titles include "Folk Song", "Spor", "Carta De Amor", "Two Folk Songs", "Palhaco", "Branquinho", and "La Pasionaria".

The third great album in the trilogy that includes Off The Wall and Thriller – and a set that still has Michael Jackson running strong at the height of his solo powers! Quincy Jones is still at the helm, and Michael more than proves that he can still come up with a pop tune without going too far over the top – catchy, compelling numbers that played well all over the world of pop – but which still hang onto just a little part of his soul roots too! That balance is a key factor to the success of this set – a record that helped re-ignite interest in Jackson's music, and introduce him to a whole new generation – while still keeping most of the older fans plenty pleased too. Titles include "Just Good Friends", "Smooth Criminal", "Bad", "Another Part Of Me", "Man In The Mirror", and "Speed Demon". 2CD version is filled with great bonus material – a huge amount of tracks that include "Free", "Song Groove", "I'm So Blue", "Don't Be Messin Round", "Streetwalker", "Fly Away", "Price Of Fame", "Todo Mi Amor Eres Tu", "Je Ne Vieux Pas La Fin De Nous", "Bad (Afrojack rmx)", "Speed Demon (Nero rmx)", and "Bad (Afrojack club)".

The third great album in the trilogy that includes Off The Wall and Thriller – and a set that still has Michael Jackson running strong at the height of his solo powers! Quincy Jones is still at the helm, and Michael more than proves that he can still come up with a pop tune without going too far over the top – catchy, compelling numbers that played well all over the world of pop – but which still hang onto just a little part of his soul roots too! That balance is a key factor to the success of this set – a record that helped re-ignite interest in Jackson's music, and introduce him to a whole new generation – while still keeping most of the older fans plenty pleased too. Titles include "Just Good Friends", "Smooth Criminal", "Bad", "Another Part Of Me", "Man In The Mirror", and "Speed Demon". Second CD is filled with great bonus material – a huge amount of tracks that include "Free", "Song Groove", "I'm So Blue", "Don't Be Messin Round", "Streetwalker", "Fly Away", "Price Of Fame", "Toto Mi Amor Eres Tu", "Je Ne Vieux Pas La Fin De Nous", "Bad (Afrojack rmx)", "Speed Demon (Nero rmx)", and "Bad Afrojack club)". Also features the CD and DVD of Michael Jackson's massive performance at Wembley Stadium in 1988 – part of the Bad world tour,a nd filled with great performances!

The third great album in the trilogy that includes Off The Wall and Thriller – and a set that still has Michael Jackson running strong at the height of his solo powers! Quincy Jones is still at the helm, and Michael more than proves that he can still come up with a pop tune without going too far over the top – catchy, compelling numbers that played well all over the world of pop – but which still hang onto just a little part of his soul roots too! That balance is a key factor to the success of this set – a record that helped re-ignite interest in Jackson's music, and introduce him to a whole new generation – while still keeping most of the older fans plenty pleased too. Titles include "Just Good Friends", "Smooth Criminal", "Bad", "Another Part Of Me", "Man In The Mirror", and "Speed Demon". 3LP version is filled with great bonus material – a huge amount of tracks that include "Free", "Song Groove", "I'm So Blue", "Don't Be Messin Round", "Streetwalker", "Fly Away", "Price Of Fame", "Todo Mi Amor Eres Tu", "Je Ne Vieux Pas La Fin De Nous", "Bad (Afrojack rmx)", "Speed Demon (Nero rmx)", and "Bad (Afrojack club)".

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!

Rare grooves from the tiny Quadriga sound library – an album that's split between European maestros Heinz Kiessling and Peter Jacques – but which is more than funky enough for two full records! Side one features great work from Kiessling – tunes that bubble along with a funky early 70s soundtrack style – sweet keyboards, tight horns, and rhythms that always get things moving, even when the arrangements are full and large – making for a great sound throughout, and one that will have you going way past the usual cop/crime modes. Peter Jacques follows up on side two, with sounds that are even groovier – work that's both funky and playful, with lots of cool twists and turns, odd vocal refrains, offbeat keyboards, and more! Kiessling cuts include "Alleyway", "Porterhouse", "Creme De La Creme", "Drift", "Ornamente", and "Russel Square" – and Jacques tracks include "Cool Pants", "Soul Food", "Mayfair", "Lovers", and "You Are There".

A beautiful little record from Hector Lavoe – one deepens his sound and emotion, but manages to do so without going into any schmaltzy territory! Some tracks here are full-on groovers, and others are mellower – but even these have a depth of feeling that really commands our attention – a style that's perhaps almost a re-emergence of a new Latin soul aesthetic in the mid 80s – one that's certainly far more Latin than soul, but a new level of expression that's filled with feeling, and which really puts things on the line. Jose Madera, Isidro Infante and Luis Ramirez share arranging credits and Johnny Pacheco directed the recording – with a groove that's somewhere in the trombone-led style of Hector's work with Willie Colon, but which also has some rootsier elements in the guiro and guitar used on the set. Players include Joe Torres on piano, Milton Cardona on percussion, and Lewis Kahn on trombone – and tracks include "De Que Tamano", "Don Fulano De Tal", "La Fama", "Cancer", and "Porque No Puedo Ser Feliz".

A sweet mix of Spanish and Cuban styles – as Pedrito Martinez takes on some older flamenco tunes, but in ways that have a really old school Havana sort of sound! Pedrito's vocals are served up with plenty of soul – and backed with tight guitar from Nino Josele, whose dexterity on the strings is amazing, yet always respects the place of the singer too. The legendary Alfredo De La Fe adds in plenty of violin lines to the mix – and the core sound of the record is heavy on percussion and the sorts of handclaps that really move things along in an organic, human sort of way. Titles include "Solo Vivo Pa Quererte", "Volando Voy", "Homenaje A Camaron", "Gitana Te Quiero", "No Naqueres Na De Mi", and "Yo Vivo Enamorao".

A box set edition of the 90s classic by The Pharcyde – the group's high water mark – and one of the greatest hip hop albums of the era! Along with Del and the Souls Of Mischief, Pharcyde were one of the few west coast units to achieve any kind of widespread popularity using the uniquely loopy, funhouse vibe of De La Soul, Black Sheep and Tribe Called Quest in their lighter moments. The original album tracks include the classics "Passing Me By", "Soul Flower", "Ya Mama", "I'm That Type Of Ni@*a", "Officer", "4 Better Or 4 Worse", "Return Of The B-Boys", and lots more. This box set edition featuring the original album, full instrumentals, remixes & more on 3CDs – plus detailed liner notes & vintage photos – in a great-looking little box! Disc 2 features the full instrumentals. Disc 3 – Remixes/B-Cydes – includes "Pork", "Soul Flower (Remix) (Brand New Heavies Version)", "Ya Mama (Matt Dike Remix)", "Ya Mama (Kenny Dope Remix)", "Other Fish (LA Jay Remix)", "Passin' Me By (Fly As A Pie Mix)" and more.

The early 90s classic by The Pharcyde – the group's high water mark – and one of the greatest hip hop albums of the era! Along with Del and the Souls Of Mischief, Pharcyde were one of the few West Coast units to achieve any kind of widespread popularity using the uniquely loopy, funhouse kinda of vibe of De La Soul, Black Sheep and Tribe Called Quest in their lighter moments. This has always been a tough one to find on wax, particularly in the high quality 2 LP incarnation, so we're thrilled to see this one back on the market! Features the classics "Passing Me By", "Soul Flower", "Ya Mama", "I'm That Type Of Ni@*a", "Officer", "4 Better Or 4 Worse", "Return Of The B-Boys", and lots more!

Some of the tightest funky 70s jamming ever – a lost gem from Ray & His Musical Court, a group that perfectly fuses JB/Horny Horns funk with beat-heavy Afro-Cuban groove! Ray and the group are one of the more obscure funky combos of the era, and it's a damn shame, because the group's tight-as-can-be amalgam of JB's style horn riffing and thumping Afro-Cuban percussion is some of the absolute best of its kind. This group seriously smokes any of the current funk bands on the road! On these sessions Ray wrote, produced, played "organ flute" and provided some vocals in a large group that includes three trumpets, bass clarinet, sax, two drummers, congas, electric bass, and a line of mostly Spanish vocalists. Amazing 70s super funk with a very proud Latin edge – and featuring tracks that include "Sunny", "Soul Freedom", "Cookie Crumbs", "De Eso Nada Monada", "Lo Sabia", "Venimos Acabando", "La Pena", and "La Senorita Lola".

Trumpeter Louis Smith made only two records for Blue Note, but both of them are great! This set's arguably his most famous – because of a rare uncredited appearance by Cannonball Adderley, working here under the "nom de date" of "Buckshot La Funke" – and blowing with a power that beats most of his other Mercury sessions of the late 50s! But the real credit here should go to Louis Smith – who's got a sense of power and command that should have made him one of THE trumpeters of the 50s – an emerging young talent to stand alongside Lee Morgan, Nat Adderley, and other post-Fats Navarro/Clifford Brown talents on the instrument. Smith sparkles throughout with a mix of soul and modernism we really love – and an earthy way of blowing the horn that doesn't always reach its goals, but which draws even more energy from its ability to try! The rhythm section on the album's also very tight – with Art Taylor on drums, Doug Watkins on bass, and either Tommy Flanagan or Duke Jordan on piano – and tracks include "Ande", "Brill's Blues", "South Side", and "Val's Blues".

The Staple Singers are cooking on all burners at this point – and it's hard to stop them with that much power – a soaring, searing sort of energy that definitely earns them a place in the sky! The set's a totally strong batch of gospelly soul tracks – produced by Al Bell with that great early 70s Stax deep soul sound – at a point that's still without the sort of cliche that might hold back material of this type in later years. Instrumentation is by Clayton Ivey on Hammond, Barry Beckett on keyboards, and Jimmy Johnson and Eddie Hinton on guitar – and titles include "Getting Too Big For Your Britches", "Today Was Tomorrow Yesterday", "Something Ain't Right", "My Main Man", "Blood Pressure", "Who Made The Man", "Back Road Into Town", and "If It Ain't One Thing It's Another". CD features 4 bonus tracks – "Oh La De Da", "I Like The Things About You", "Respect Yourself", and "I'll Take You There".

A damn strong 3-track 7-inch EP Versis & Bagir-Ba – the former on the mic and the latter laying down the beats – on 3 tracks that are reminiscient of the classic craft of Tribe Called Quest, Stakes Is High era De La Soul! Charismatic rhymes, prominent funky beats and sunny keys in mix. 3 solid tracks: "Barista", "Amanita" and extra soul jazz-inspired "Naima".

One of the coolest African collections we've seen in years – a beautiful assortment of untapped grooves from the 70s, put together with a massive booklet that sets a whole new standard in packaging! The grooves here are different from other Afro Funk collections of the time – definitely more in the raw and psychedelic territory promised by the title, and filled with hard-edged vocals that surely know how to scream! There's still plenty of funk in the rhythms, but the execution is often quite unusual – less directly influenced by American soul, and very much off in its own direction. Lots of choppy guitar, too – and the set comes with a massive 42 page booklet filled with full color images and loads of notes. Titles include "Gbeti Madjro" by Orchestre Poly-Rhythmo De Cotonou, "Mi Ma Kpe Dji" by Picoby Band D'Aborney, "Mi Kple Dogbekpo" by Lokonon Andre & Les Volcans, "Oya Ka Jojo" by Les Volcans De La Capital, "Ou C'Est Lui Ou C'Est Moi" by Vincent Ahehehinnou, "Wait For Me" by Roger Damawuzan, "Leki Santchi" by Napo De Mi Amor Et Ses Black Devils, "Ye Nan Lon An" by Orchestre Super Jheevs Des Paillotes, and "Houiou Djin Nan Zon Aklumon" by Discafric Band.

A far reaching triple platter of Afro Colombian grooves from the late 60s & 70s – propulsive percussion, bursts of brass, hot and heavy Afro Latin funk & soul, with some surprisingly heady and otherworldly sounds permeating some of material – all culled from the vaults of Colombia's Discos Fuentes label! Afrosound Of Colombia Vol 1 is one of best compilations yet from Vampi Soul – shining a much needed light on Discos Fuentes, but on top of that it's simply a great collection of funky Afro Latin sounds you may not have heard before! The numbers cover a lot of territory – salsa, cumbia, boogaloo, tropical funk, and chicha recordings abound – but the shared elements of killer percussion and feverish vibes overall make for a cohesive flow throughout. Excellent! 43 tracks on 3LPs plus excellent liner notes, photos and artwork. Titles include "El Abanico" By Wganda Kenya, "Cumbia De Sal" by Cumbia En Moog", "Caliventura" by Afrosound, " El Ascensor" by Los Corraleros De Majagual, "La Negra Celina" by Los Golden Boys, "El Caminante" by Fruko Y Sus Tesos, "Nostalgia Campesina" by Rodolfo Con Los Idolos, "Rosalia" by Wganda Kenya, " Salsa Boogaloo" by Sexteto Miramar and much more!

Beautifully spiritual jazz from the post-Coltrane generation – a wealth of righteous grooves from the early 70s – brought together in one mighty collection! If you dig the work of Pharoah Sanders, Alice Coltrane, and other giants on Impulse Records, this is a great way to dig even deeper – and hear the way their late 60s legacy inspired other musicians to new heights in their own music – sounds that hit a new level of freedom in jazz, yet which are still filled with enough swing and soul to avoid some of the more avant modes of the free jazz scene! If that description sounds a bit obtuse, then just plug into the collection, and let the music do its thing – as it's got a very powerful vibe throughout – the kind of inspirational, socially conscious work that flourished best during the 70s – and which is finally getting its due all these many years later. The package is new territory for Ace/BGP, but they've done a great job as usual – picking key tracks from the era, and coming up with detailed notes on each of the long tracks. Titles include "Free Angela" by Bayete, "Bridge Into The New Age" by Azar Lawrence, "Tress Cun De O La" by Joe Henderson, "Ebony Queen" by McCoy Tyner, "Peace" by Idris Muhammad, "Mother Of The Future" by Norman Connors, "Brown Warm & Wintry" by Jack DeJohnette, "I've Known Rivers" by Gary Bartz, and "Fire" by Joe Henderson & Alice Coltrane.

Mad music from the Argentine scene of the 70s – tracks so great, we're counting our cash for a record-digging trip to Buenos Aires! The tunes here are way funkier than you might expect – numbers that often have Spanish language lyrics, but which feature instrumentation that's clearly influence by the American funk and soul scene of the time – plus a bit of psych as well, given some of the trippier touches on a few of the songs! Most numbers are from the very start of the 70s – and the vibe is almost like previous psych and garage combos hitting a more soulful mode – turning their riffing guitar, heavy drums, and sweet keyboards towards some very funky themes. Titles include "Buenos Aires Soul" by Jumbo, "El Club De Los Vampiros" by Banana, "Aprendiendo A Bailar Push & Pull" by Antoine Y La Push & Pull Band, "Crash Boing" by Clan Equis, "Bim Bam Bum" by Buchanan, "El Ruido Continua" by The Satanic Girls, "Nina Piel De Arena" by Mandinga, and "Un Hombre De Hielo" by Hielo.

Vintage Argentinian tangos and more by Trio De Cajon – plus contempary club-ready adaptations by many of the finer club soul and downtempo producers, remixers and dance music collectives from around the world – including Mo' Horizons, Mark Farina, Up, Bustle & Out, Flevans, Vigilante, Argenis Brito and more! The double CD package does a great job of presenting the more traditional sounds of Argentina and Uruguay with The Trio De Cajon originals – as well as some great contemporary interpretations. Disc one is the originals – and the titles include "Malena", Carnaval De Mi Barrio", "Mariposita", "Afiches", "Viva Jujay", "Juan Del Monte" and more. Disc 2 is the remixes: with "Viva Jujay" by Stimming, "Carnaval De Santiago" by Mo'Horizons, "Mariposita (GLA mix)" by Mark Farina, "Milonga Sentimental" by Jonny Drop, "Carnaval De Mi Barrio" by Adriano Konialidis, "Viva Jujay" by Flevans, "La Arenosa" by Argenis Brito (Senor Coconut), "Milonga Sentimental" by Jonny Drop and more. 27 tracks on 2CDs.

Remixes of 60s Argentinian tango grooves by Trio De Cajon – as adapted by some of the finer club soul and downtempo producers, remixers and dance music collectives from around the world – including Mo' Horizons, Mark Farina, Orb, Up, Bustle & Out, Flevans, Fede Lijt, Vigilante, Argenis Brito, Adriano Konialidis and more! 16 tracks stretched nicely over 3LPs: "Viva Jujay" by Stimming, "Carnaval De Santiago" by Mo'Horizons, "Mariposita (GLA mix)" by Mark Farina, "Milonga Sentimental" by Jonny Drop, "The Juan Del Monte Story In Three Parts" by The Orb Vs Gaudi, "Carnaval De Mi Barrio" by Adriano Konialidis, "Viva Jujay" by Flevans, "La Arenosa" by Fede Lijt, "Milonga Sentimental" by Jonny Drop and more.

A Guido Crepax cover, and a batch of amazing soundtrack grooves – all wrapped up wonderfully as the 9th installment in the all-great Easy Tempo series! The sound here is superb – a blend of jazzy, bossa, and slightly funky numbers – all played with plenty of soul, and served up with a sound that easily shows why Italy was one of the hippest music scenes in the world at the end of the 60s. Instrumentation includes snakey sax, slinky keyboards, rumbling percussion, and more – all arranged with plenty of amazing twists and turns that go far beyond any expectations you might have from American cinema of the time! Highlights include a live version of Piero Piccioni's "Colpo Rovente"; work by the swinging vocal group I Cantori Moderni on both "La Ragazza Dalla Dalla Pelle Di Luna" by Piero Umiliani and "L'Uomo Dagli Occhi Di Ghiaccio" by Pepo De Luca & I Marc 4; a Gak Sato edit of "Death Dies" by Goblin; an extended take on "Dancing For You" by Armando Trovajoli; and the sweet cut "Hard Times" by Piero Umiliani. 20 tracks in all – and wonderful throughout!

A killer batch of boogaloo material – but not from the usual sources! Although boogaloo is a genre normally associated with the New York scene at the end of the 60s, the music here all hails from Peru and represents a great new sound – music inspired by the Nuyorican originals, but which often take things into whole new directions! The Peruvian approach to boogaloo is a bit looser than the New York one – a bit more open and free, and often heavily touched by jazz music as well, resulting in a sound that's also got plenty of hard-jamming descarga elements too! Given the racial makeup of the Peruvian scene, there's a bit less soul influence going on too – lyrics are more often in Spanish, and less inspired by the Harlem sound – but the overall rhythms still share plenty with the Latin soul styles of New York, and provide a great foil for some of the jazzy instrumentation. This package is a massive discovery in music – one that goes way beyond some of the few Peruvian Latin titles from the time that have been reissued – and it's overflowing with amazing work that's totally new to our ears! Titles include "Vives Boogaloo" by Charlie Palomares, "Baby Boogaloo" by Nilo Espinosa, "Hilton's Descarga" by Los Hilton's, "El Pito" by Alfredo Linares, "Guayaba" by La Sonora De Lucho Macedo, "Que Rico Sabor" by Al Valdes, "Ensueno" by Mario Allison Y Su Combo, "Yo Traigo Boogaloo" by Alfredo Linares, "Juan Jose" by Nico Estrada, "Do The Boogaloo" by Nilo Espinosa, "Guajira" by Al Valdes, "El Diablo" by S Montez Y Sus Guantanameros, and "Clap Your Hands" by Tito Chicoma.

A spicy mix of Latin styles from the Peruvian scene of the late 60s – a wonderfully mixed up batch of modes that goes way beyond the more familiar grooves of the New York scene! The work here is a bit like some of the most inventive styles from Colombia and Panama at the same time – music that definitely gets an inspiration from up north, but then really grooves away in its own direction – changing up rhythms, instrumentation, and production styles – all with lots of groovy twists and turns that really keep things interesting! The track selection is great – with a strong focus on upbeat, lively numbers – and (dare we say it?) this volume may well be the best so far in the Gozalo series – filled with lots of stuff we've never heard before, and beautifully packaged with some great images from the original records too. Titles include "Bailando Boogaloo" by El Combo De Pepe, "Volando" by Coco Lagos, "Gozalo" by Al Veldez, "Macedo's Boogaloo" by La Sonora De Lucho Macedo, "Boogaloo Girl" by Alfredo Linares Y Su Sonora, "Shake Baby" by Los Hiltons, "Que Sera" by Compay Quinto, "Sabor Tropical" by Alfredo Linares, "El Negro Bembon" by Nico Estrada, "Me Quedo Con El Shing-a-Ling" by Bossa 70, "Me Voy A Morir" by Silvestre Montez, "Louie Louie" by Mario Allison, "Mr Trumpet Man" by Tito Chicoma, "Mulata A Go Go" by Sonora Lucho Macedo, and "Oye Mi Descarga" by Carlos Munoz.

A spicy mix of Latin styles from the Peruvian scene of the late 60s – a wonderfully mixed up batch of modes that goes way beyond the more familiar grooves of the New York scene! The work here is a bit like some of the most inventive styles from Colombia and Panama at the same time – music that definitely gets an inspiration from up north, but then really grooves away in its own direction – changing up rhythms, instrumentation, and production styles – all with lots of groovy twists and turns that really keep things interesting! The track selection is great – with a strong focus on upbeat, lively numbers – and (dare we say it?) this volume may well be the best so far in the Gozalo series – filled with lots of stuff we've never heard before. Titles include "Bailando Boogaloo" by El Combo De Pepe, "Volando" by Coco Lagos, "Gozalo" by Al Veldez, "Macedo's Boogaloo" by La Sonora De Lucho Macedo, "Boogaloo Girl" by Alfredo Linares Y Su Sonora, "Shake Baby" by Los Hiltons, "Que Sera" by Compay Quinto, "Sabor Tropical" by Alfredo Linares, "El Negro Bembon" by Nico Estrada, "Me Quedo Con El Shing-a-Ling" by Bossa 70, "Me Voy A Morir" by Silvestre Montez, "Louie Louie" by Mario Allison, "Mr Trumpet Man" by Tito Chicoma, "Mulata A Go Go" by Sonora Lucho Macedo, and "Oye Mi Descarga" by Carlos Munoz.

Excellent lost funk tracks from the French studio scene of the 70s! We've never seen any of these on the original vinyl – and just about every cut is culled from a rare French jazz, soundtrack, or instrumental LP! There's a whopping 17 tracks in all, and the groove ranges from Blacksploitation funky to breakbeat moog to De Wolfe groovy – with lots of other grooves in between. Cuts include "Slag Machine" by Patrick Abrial, "Happy Smith" by Michel Gonet, "Exciting Mrs. Brown" by April Orchestra, "Coulc Ah!" by Francois Rolland, "Generique" by Philippe Sarde, "Aerospatial" by Janko Nilovic, "Afro-Disiac" by Bernard Estardy, and "Kiss This" by Claude Denjean. Lots more grooviness, and a very nice package that's filled with cuts we've never heard before!

Double LP collection from 1987-88. Public Enemy "Don't Believe The Hype", EPMD "Strictly Business" (club mix), De La Soul "Plug Tunin", Rob Base & DJ E-Z Rock "It Takes Two", Kool Moe Dee "Wild Wild West" (extended remix), Salt-N-Pepa "Push It" (remix), Run DMC "Run's House", and five more.

An overview of some of the hippest Mexican rock of the early 70s – put together as a tribute to the country's first rock festival in 1971! Most of the work here is pretty hard edged – tunes with very tight guitars and a slightly bluesy undercurrent – kind of a Mexican equivalent of the Cream/Led Zeppelin/Deep Purple era of the UK – with a fair bit of English language lyrics on most tunes. A few of the rhythms are nicely tight, and almost funky at points – and some of the groups bring in some added horns, which creates almost a jazz rock vibe – especially on work by The Soul Masters, who are clearly our favorites here! The Soul Masters cuts show a dose of James Brown influence too – with some really romping rhythms and super tight horns on tracks that include "New Man", "Jenny My Love", "Libertad", and "I Feel I'm Losing You". Other groups and titles include "Di Por Que" and "Tal Vez" by The Love Army, "Roaming" and "Everyday Face" by La Fachada De Piedra, and "Buscando Alrededor" by Free Minds.

Funky breaks from the Stax Records – the legendary Memphis label that's had as much of an influence on the sound of hip hop as any northern company! The set brings together 19 tracks that are immediately recognizable for their use in modern hip hop – all heavy funk numbers with a solid southern groove – filled to the brim with burning horns, searing guitars, rumbling bass, and heavy funky drums! Tracks on the set have been sampled over the years by the likes of Wu Tang, Brand Nubian, Dilated Peoples, De La Soul, and others – but they also stand out equally well as funky tunes on their own, whether or not you've got an ear for who used them later. Great funky southern soul all the way through – with tracks that include "Our Generation" by Ernie Hines, "Black" by The Mar-Keys, "Tramp (inst)" by Otis & Carla Band, "Make This Young Lady Mine" by The Mad Lads, "The Devil Is Dope" by The Dramatics, "In The Hole" by The Bar-Kays, "I'll Play The Blues For You (part 1)" by Albert King, "Soul Girl" by Jeanne & The Darlings, "Itch & Scratch (part 2)" by Rufus Thomas, "Drumbeat" by Jim Ingram, "Crop Dustin" by Steve Cropper, "After Laughter" by Wendy Rene, "Memphis Sunrise" by The Bar-Kays, "Girl I Love You" by The Temprees, and "As Long As I've Got You" by The Charmels.

Funky Latin breaks and very groovy grooves – the kind of record that you hear for only a second, and say "oh yeah, this is the stuff!" Coke were an obscure Florida combo who mixed together Latin, funk, and soul – served up in a crossover style that's halfway between the sound of the NuYorican generation and the heavier hitters of LA's Chicano funk scene! Instrumentation includes organ, guitar, and trumpets – and vocals are delivered in a brown eyed soul style that burns nicely with the heavier grooves of the group. But best of all is the drummer, who really kicks it large on the kit – and creates some really nice funky numbers on the set! Includes the break classic "Na Na", plus the tunes "Got To Touch Your Face", "Te Amo Mas", "Quiero Decirte", "Bang Bang", "Bun Bun Bun", "You Turn Me On", and "Que Seria De Mi". A really great album – with a totally unique sound!

2-fer CD compiling the first two Detroit Emeralds LPs recorded for Westbound. Although lesser-known than their other Westbound labelmates, the Detroit Emeralds were an excellent Detroit soul group with a funky sound, and they sold loads of records in local markets where they were getting lots of airplay. These two albums feature a number of their hits, plus other great LP material, and the tracklist includes "Do Me Right", "Lee", "You Want It You Got It", "What You Gonna Do About It", and their groovy "Baby Let Me Take You In My Arms", sampled by De La Soul. This CD also includes a rare bonus radio spot!

The one and only album we've ever seen from this ultra-hip Latin Soul combo – an outfit that has a sweet swinging sound, soulful lead vocals, and some nicely tripped-out guitar! The style here is a bit different than some of the other New York groups of the time – as these guys bring the focus more on the guitar than on the piano, or horns – and go for a style that's clearly influenced as much by rock and soul of the time as it is by the general changes on the Latin scene. The groove changes up often over the course of the album – making for a record that's got a really unique feel, and a sound that stays fresh throughout – moving way beyond boogaloo and shing-a-ling into some really tripped-out territory! Titles include "Electric Latin Soul", "Everybody's Got Soul", "Guajira Sicodelica", "Chango", "Yo te Quiero", "Borinquen", "Nena", "El Son De La Loma", "Campesino", and "Santa Isabel De Las Lajas".

An undisputed classic! The funky grooves of this early 80s single by Taana make it our favorite by her – and it's a non-stop killer that's served up here in a 9 and 6 minute version. Used as the sample for "Buddy" by De La Soul, and for a whole bunch of other tracks too!

A great bit of smooth funky fusion from this Japanese trumpeter, done in a soulful New York groove that we really approve of! The record was cut with arrangements and keyboard work from Leon Pendarvis, who did a lot of good uptempo soul in the 70s, and Harry Whitaker, who'd worked on some of Roy Ayers' best records – and the sound is kind of similar to Ayers' albums at the time, with a jazz base, slick production, and vocals on a number of tunes. Titles include "Send Me Your Feelings", "Samba De La Cruz", "Hino's Reggae", "City Connection", and "Blue Smiles".

One of Sergio Mendes' most electric outings from the 70s – a tasty mixture of LA fusion, Brazilian rhythms, and the group's unique twin female vocal lead! The mix of sounds is wonderful – and makes for a really solid album that shows how much soul Sergio had soaked up in the decade he'd spent in as part of the LA musical scene. There's still a strong Brazilian element to the record – thanks to musicians who include Oscar Castro Neves, Claudio Slon, Paulinho Da Costa, Hermeto Pascoal, and Raul De Souza – but most of the lyrics are in English, and the tunes themselves have a blend of R&B and fusion that's plenty sunny and plenty soulful! Titles include "It's So Obvious I Love You", "Sunny Day", "Emorio", "Cut That Out", "It's Up To You", and the tasty instrumental "Shakara".

These guys just keep getting better and better – and this time around, they've got such a tight groove, it's hard not to compare the group with some of the best of the 70s salsa generation! Rhythms are right on the money, and the instrumentation is completely sublime – very jazzy, with lots of rich inflections – yet also able to hone to the groove at all the right moments, especially on the trombone and trumpet parts that give the record so much soul! Vocals are strong, too – and the use of tenor sax at just the right points almost acts like a second "voice" for the record – furthering the richness of the whole set. Titles include "Me Repito", "La Sensacion", "Boda", "No Te Debo Nada", "Macacoa", "Olvidame", and "Lluvia Con Sol".

Classic work by one of the greatest gospel/soul groups ever! A very righteous vibe pervades, and the harmonies soar right out of church into the neighborhood – on tracks that include "Respect Yourself", "Heavy Makes You Happy", "Oh La De Da", "Long Walk To DC", "Touch A Hand, Make A Friend", "You're Gonna Make Me Cry", and "You've Got To Earn It".

An obscure later tune by The Whatnauts – issued years after their classics for All-Platinum in the early 70s – but proof that the group is always great, no matter what the setting! This tune's got a mean mean boogie groove – and was sampled to great fame by De La Soul in "Ring Ring Ring", but stands beautifully on is own. There's a rollerskating bounce to the track that's completely sublime – and the tune steps on and on and on without missing a beat! Not on any LP, either!

One of the coolest African collections we've seen in years – a beautiful assortment of untapped grooves from the 70s, put together with a massive booklet that sets a whole new standard in packaging! The grooves here are different from other Afro Funk collections of the time – definitely more in the raw and psychedelic territory promised by the title, and filled with hard-edged vocals that surely know how to scream! There's still plenty of funk in the rhythms, but the execution is often quite unusual – less directly influenced by American soul, and very much off in its own direction. Lots of choppy guitar, too – and the set comes with a massive 42 page booklet filled with full color images and loads of notes. Titles include "Gbeti Madjro" by Orchestre Poly-Rhythmo De Cotonou, "Mi Ma Kpe Dji" by Picoby Band D'Aborney, "Mi Kple Dogbekpo" by Lokonon Andre & Les Volcans, "Oya Ka Jojo" by Les Volcans De La Capital, "Ou C'Est Lui Ou C'Est Moi" by Vincent Ahehehinnou, "Wait For Me" by Roger Damawuzan, "Leki Santchi" by Napo De Mi Amor Et Ses Black Devils, "Ye Nan Lon An" by Orchestre Super Jheevs Des Paillotes, and "Houiou Djin Nan Zon Aklumon" by Discafric Band.

A far reaching triple platter of Afro Colombian grooves from the late 60s & 70s – propulsive percussion, bursts of brass, hot and heavy Afro Latin funk & soul, with some surprisingly heady and otherworldly sounds permeating some of material – all culled from the vaults of Colombia's Discos Fuentes label! Afrosound Of Colombia Vol 1 is one of best compilations yet from Vampi Soul – shining a much needed light on Discos Fuentes, but on top of that it's simply a great collection of funky Afro Latin sounds you may not have heard before! The numbers cover a lot of territory – salsa, cumbia, boogaloo, tropical funk, and chicha recordings abound – but the shared elements of killer percussion and feverish vibes overall make for a cohesive flow throughout. Excellent! 43 tracks on 2 CDs plus excellent liner notes, photos and artwork. Titles include "El Abanico" By Wganda Kenya, "Cumbia De Sal" by Cumbia En Moog", "Caliventura" by Afrosound, " El Ascensor" by Los Corraleros De Majagual, "La Negra Celina" by Los Golden Boys, "El Caminante" by Fruko Y Sus Tesos, "Nostalgia Campesina" by Rodolfo Con Los Idolos, "Rosalia" by Wganda Kenya, " Salsa Boogaloo" by Sexteto Miramar and much more!

A killer batch of boogaloo material – but not from the usual sources! Although boogaloo is a genre normally associated with the New York scene at the end of the 60s, the music here all hails from Peru and represents a great new sound – music inspired by the Nuyorican originals, but which often take things into whole new directions! The Peruvian approach to boogaloo is a bit looser than the New York one – a bit more open and free, and often heavily touched by jazz music as well, resulting in a sound that's also got plenty of hard-jamming descarga elements too! Given the racial makeup of the Peruvian scene, there's a bit less soul influence going on too – lyrics are more often in Spanish, and less inspired by the Harlem sound – but the overall rhythms still share plenty with the Latin soul styles of New York, and provide a great foil for some of the jazzy instrumentation. This package is a massive discovery in music – one that goes way beyond some of the few Peruvian Latin titles from the time that have been reissued – and it's overflowing with amazing work that's totally new to our ears! 2LP set features a whopping 26 tracks that include "Vives Boogaloo" by Charlie Palomares, "Baby Boogaloo" by Nilo Espinosa, "Hilton's Descarga" by Los Hilton's, "El Pito" by Alfredo Linares, "Guayaba" by La Sonora De Lucho Macedo, "Que Rico Sabor" by Al Valdes, "Ensueno" by Mario Allison Y Su Combo, "You Traigo Boogaloo" by Alfredo Linares, "Juan Jose" by Nico Estrada, "Do The Boogaloo" by Nilo Espinosa, "Guajira" by Al Valdes, "El Diablo" by S Montez Y Sus Guantanameros, and "Clap Your Hands" by Tito Chicoma.

A second amazing set of grooves from the Peruvian scene of the 60s – upbeat Latin sides that easily rival the greatness of work at the time from New York, Colombia, or Puerto Rico! The Peruvian approach is a bit different than the rest – often a hybrid of outside influences, recast slightly with some local flavor – in ways that make these tunes sound a fair bit different than 60s Latin on Fania or Tico – which makes for a very fresh sound throughout! Instrumentation includes trumpet, guitar, vibes, and plenty of percussion – often recorded with a sharp-edged quality that uses a bit of echo as well. The package features a whopping 28 tracks in all, plus full notes in Spanish and English – and titles include Humo" by La Sonora De Lucho Macedo, "El Diri Bop" by Tito Chicoma, "Las Guitarras Tropicales" by Silvestre Montez, "El Conductor" by Carlos Munoz, "Arroz Con Coco" by Pedro Miguel, "Boogaloo Del Perro" by Enrique Delgado, "Descargando" by Mario Allison, "Mulata Rumbera" by Compay Quinto, "Aqui" by Tito Chicoma, "Ciquita Bonita" by Luis Duran, "Dejen Bailar Al Loco" byMelochita, and "Guajira Boogaloo" by Coco Lagos.

The 4th volume of work to appear on the UK Sue Records label in the 60s – and quite possibly the most hard-hitting so far! This set follows strongly in the soul-based sound of volume 3 – and includes a range of key singles from American labels Sue, Okeh, Vee Jay, Fire, Enjoy, and Jamie – all issued by Sue UK in England during the mid 60s, with tremendous impact on mod, mainstream, and Northern Soul scenes! But even getting past the origin or issuing label of the music, the set's a really great one – with a hard-edged groove that mixes New York uptown with some more R&B-styled numbers – a great little all-legit collection that's presented with really great notes. Titles include "The Whip" by Alexander Jackson & The Turnkeys, "Warm & Tender Love" by Joe Haywood, "I'm Dedicating My Life" by Danny White, "Goin Home" by Rosco Gordon, "Round Midnight" by Jimmy McGriff, "Lenny Goofed" by The Naturals, "Lost In A Dream" by Buster Brown, "Pork Chops" by The Dorsets, "La De Da I Love You" by Inez & Charlie Foxx, "Good Time Tonight" by The Soul Sisters, "So Far Away" by Hank Jacobs, and "Stepping Stone" by The Anglos.

Amazing bossa jazz from Brazilian tenor saxophonist Juarez – a record that moves and grooves with an even harder edge than any American session of the type from the time – with lots of raw percussion that sounds really great next to the soulful tenor! The album's quite early in the years for bossa jazz – and has a wonderfully fluid, wonderfully clear sort of groove – one that's got piano, bass, drums, and loads of great percussion on the bottom – and these freewheeling tenor lines from Juarez that are filled with soul, swing, and imagination! There's way more here than just a soloist blowing lines over rhythms of familiar standards – and the set features titles that include "Julgamento", "Samba De Uma Nota So", "Suplica", "I'll Get By", "Al Di La", "Indiscretion", and "O Menino Desce O Morro".

Tripped-out funk from contemporary Colombia – played by a group who've clearly dug all the nation's rich legacy of groove-heavy music! The album's got a vintage feel at points – especially when the heavy drums are mixed with weirdly-distorted guitars – which almost have the feel of some of the chicha grooves from other scenes, but also share the sweet fuzzy sounds we love in vintage Colombian funk! The combo's clearly got a psychedelic streak to their leanings – given the way the whole thing comes together – and titles include "Champeta De La Corrupcion Y La Desagna", "Lambada De Oceania Africa & America", "Toma Tu Jabon Kapax", "Quiero Plata", and "Lgbtrago Y Mas Trago".

2 different albums from Tito Puente – nicely packaged here in a single set! On Broadway is not really a "Broadway" album, as you might guess from the title – although Tito and group do play a version of the soul hit "On Broadway" on the set – but a nicely-honed set with a strong Latin jazz groove, much more back to basics than some of Tito's work from the 70s. Players include Ray Gonzales, Jorge Dalto, Afredo De La Fe, and Jerry Gonzales – and tracks include versions of Freddie Hubbard's "First Light", Milton Nascimento's "Soul Song", and Toots Thieleman's "Bluesette" – as well as the originals "Jo Je Ti" and "TP's Especial". Mambo Diablo is a stone cooker from Tito Puente's great back to basics years of the 80s – a time when he was really moving towards the Latin jazz of his roots – working without any singers, or any contemporary gimmicks, and letting loose with tight combos and top-line jazz players! This set features Puente on vibes, timbales, and percussion – grooving nicely with the great Sonny Bravo on piano, whose bold lines definitely help shape the grooves – giving them plenty of New York 60s pulse, alongside work by Jimmy Frisuara on trumpet and trombone, Mario Rivera on soprano and tenor, and Ray Gonzalez on trumpet. Bobby Rodriguez handles bass, and Johnny "Dandy" Rodriguez brings in added percussion with congalero Jose Madara – and tracks include "Take Five", "Mambo Diablo", "Pick Yourself Up", "Eastern Joy Dance", "China", and "No Pienses Asi".

One of THE landmark hip hop albums – and the full length debut of great Tribe Called Quest! We hardly need to tell you about this classic – but it will always bear repeating. De La Soul might have kicked the door open on leftfield, anything goes artistry about a year or so earlier, but their friends and fellow Native Tongues Tribe's debut was a crucial reminder that the east coast was spinning out of one of the greatest creative growth spurts in hip hop history at the time. Pure excellence. Tracks include "Luck Of Lucien", "Footprints", "I Left My Wallet In El Segundo", "Bonita Applebaum", "Can I Kick It?", "Rhythm (Devoted To The Art Of Moving Butts)", "Mr Muhammad", "Description Of A Fool" andmore seminal, jazzy middle school tracks!

A long buried gem from the Wild Pitch years! The UMC's made fun, positive music with a sense of humor, while still maintaining a hip hop edge – built on jazzy, headnodding beatcraft. Along the lines of early K.M.D., Poor Righteous Teachers or De La Soul! Benchmark mid school genius with titles that include "One To Grow On", "Kraftworks", "Morals", "Blue Cheese", "Never Never Land", "Feelings", "Pass It On", "Woman Be Out", "Hey Here We Go" and "It's Gonna Last".

A fantastic set in Vampi Soul's Gozalo series of tropical grooves from Peru – cumbia, mambo, boogaloo and other of the late 60s sounds that work together masterfully, and lay the groundwork for international salsa and other Latin styles to come! Gozalo Vol 4 features numbers by Coco Lagos, Los Diablos Rojos, Chivirico Davila, Los Kintos, Pedro Miguel, El Combo De Pepe and other orquestas & leaders – a truly wonderful entry in one of our favorite series from our friends at Vampi Soul! Includes "Kintos Instrumental" by Los Kintos, "Saludo Maracaibo" by Pedro Miguel Y Sus Maracaibos, "Cumbayea" by Mario Allison Y Su Combo, "La Guarachera" by Nico Estrada Y Su Sonora, "Malambo" by Los Diablos Rojos, "La Charanga Del Espacio" by Carlos Pickling Y Orquesta, "Busco Una Chiquita" by Coco Lagos Y Sus Orates and many more. 28 tracks in all.

One of the most compelling combinations of global styles we've heard in awhile – a great second set from Belgian-Congolese artist Baloji! The set's got an unusual approach that's rooted in African instrumentation, run through European filters, and imbued with a bit of hip hop energy – particularly in Baloji's sharply-spoken lyrics – which are more bold messages than straight hip hop rhymes – especially set amidst some of the warmer, more flowing musical passages. The set features guest work from a wide range of talents – including Konono No.1, soukous stars Zaïko Langa Langa, American soul maverick Amp Fiddler, brass band Fanfare La Confiance, and the choir Choeur La Grace – all of whom leave their unique imprint on the set – creating a great sense of change as the music flows along. Titles include "Tshena Ndekela", "De L'Autre Cote De La Mere", "Genese 89", "Kesho", "Tout Ceci Ne Vous Rendra Pas Le Congo", "Nazongi Ndako", and "Karibu Ya Bintou".

Funky Latin breaks and very groovy grooves – the kind of record that you hear for only a second, and say "oh yeah, this is the stuff!" Coke were an obscure Florida combo who mixed together Latin, funk, and soul – served up in a crossover style that's halfway between the sound of the NuYorican generation and the heavier hitters of LA's Chicano funk scene! Instrumentation includes organ, guitar, and trumpets – and vocals are delivered in a brown eyed soul style that burns nicely with the heavier grooves of the group. But best of all is the drummer, who really kicks it large on the kit – and creates some really nice funky numbers on the set! Includes the break classic "Na Na", plus the tunes "Got To Touch Your Face", "Te Amo Mas", "Quiero Decirte", "Bang Bang", "Bun Bun Bun", "You Turn Me On", and "Que Seria De Mi". A really great album – with a totally unique sound!

The third set of hip hop jazz instrumentals from J Rawls & The Liquid Crystal Project – blending breezy 70s soul jazz inspired keys and horns with the head-nodding beat aesthetic of the most timeless hip hop – working as strongly on the jazzy side here, if not more so! Producer & DJ J Rawls once again works with fellow producer and keys player B Jazz along with drummer Rob Riley, Charles Cooper and Eddie Bayard on sax, plus guest trumpeter Pharez Whitted (the horns really bring some incredible depth). It's wonderful stuff! The electric keys lend a smoothed out finish, though still with a jazz funk vibe, while the bass, drums and beats carry a hip hop-reared insistence. Get it! Includes "Nematic Surprise", "A Tribute To De La", "Stand Up", "A Tribute To JC", "Friedrich And Otto", "Ghetto", "195", "A Tribute To Tribe", "The Equinox", "The Maier-Saupe Story", "Jazzy Bobby", "Where Is The Love", "Work" and more.

A fantastic set in Vampi Soul's Gozalo series of tropical grooves from Peru – cumbia, mambo, boogaloo and other of the late 60s sounds that work together masterfully, and lay the groundwork for international salsa and other Latin styles to come! Gozalo Vol 4 features numbers by Coco Lagos, Los Diablos Rojos, Chivirico Davila, Los Kintos, Pedro Miguel, El Combo De Pepe and other orquestas & leaders – a truly wonderful entry in one of our favorite series from our friends at Vampi Soul! Includes "Kintos Instrumental" by Los Kintos, "Saludo Maracaibo" by Pedro Miguel Y Sus Maracaibos, "Cumbayea" by Mario Allison Y Su Combo, "La Guarachera" by Nico Estrada Y Su Sonora, "Malambo" by Los Diablos Rojos, "La Charanga Del Espacio" by Carlos Pickling Y Orquesta, "Busco Una Chiquita" by Coco Lagos Y Sus Orates and many more. 28 tracks in all.

A rich look at the world of Vampi Soul – especially the expanded range of sounds the label's been handling in recent years! At their start, Vampi took the "Soul" in their name quite seriously – and mostly focused on funk and soul. But lately, they've really been opening things up – moving into a wide range of great grooves – mod 60s material, Afrobeat, global styles, psychedelia, and lots lots more – almost all of it still pretty darn upbeat and groovy – with great links to the earlier modes of the label. The set's a great way to sample the rich array of styles without buying individual titles on their own – as the collection features 20 titles that include "Trip" by Emma De Angelis, "Rocky Mountain Roundabout" by The Mohawks, "Dye Dye" by Segun Bucknor, "Dongoh" by Los Sidearals, "Bat Macumba" by Garotas Suecas, "El Jamaiquino" by El Gran Fellove, "Cumbia Pop" by Los Beltons, "La Bocachico" by Frente Cumbiero, and "Muntie" by The Ramblers International.

Sure, it was silly stuff when we were kids – but once De La Soul sampled "Three Is The Magic Number", this record became one of the most prized in our possession! And thanks to that hip hop reintroduction, we've really fallen in love with the music again over the years – partly because the tunes are all so groovy, and partly because we've really come to know the jazz-based work of composer Bob Dorough! At the time of this set, Dorough was coming off some great work in the 60s – his own rare recordings, music for Spanky & Our Gang, and others – all of which seems to inform these math-based tunes written for Saturday morning TV. The tunes are all pretty darn catchy, and often quite jazzy – and instrumentation often features some great electric piano nestled in alongside the vocals. Dorough sings the lion's share of the work for this album – although Grady Tate sings on two numbers, and Blossom Dearie on one more. Titles include the amazing "Three Is A Magic Number" – plus "Lucky Seven Sampson", "Little Twelve Toes", "Ready Or Not Here I Come", "I Got Six", "Naughty Number Nine", "Figure Eight", and "The Four Legged Zoo".

A really strong debut from Iomos Marad of the Family Tree/All Natural family! Fans of J-Live, Talib Kweli, Relativity-era Common and Stakes Is High-era De La Soul should find much to love here. Like the best of other records from the All Natural and Molemen teams, the production style is timeless hip hop; it's stable, thumping soul beats and scratches that provide a firm back end for out front rhymes that actually have something to say. Features production from the should-be-huge Dug Infinite, plus nice work from All Natural's Capital D, G (riot), UNI, Memo from the Molemen and others. 16 tracks including "I Stand Alone", "I Confess", "Anotha Late Night", "Show & Prove", "Tight", "The Steele", "Deep Rooted", "Elevate", "Wildstyle", "Appetite To Ride" featuring J-Live, "Free" with Chicago soul chanteusse Tanya Reed and more.

Sublime sounds from the always-amazing Ahmed Abdul-Malik – a jazz bassist at heart, but also a musician with a great ear for Eastern instrumentation as well! Ahmed cut a few key records at the end of the 50s and start of the 60s – and this spellbinding set may well be one of his strongest – a set that moves past some of the more gimmicky use of exotic instrumentation on other albums, and focuses on a jazzy core that really shines strongly on the album's long tracks! There's still a nice sense of the East on the record – thanks to Hamza Aldeen's oud – but the set also features great jazz solos from Seldon Powell on flute and tenor, and the great Ray Nance on both cornet and violin. Drummer Walter Perkins plays with a fluid style that's perfect for the date – and pianist Paul Neves has a lyrical approach to piano that works wonders for the groove. Titles include "Spellbound", "Never On Sunday", "Body & Soul", "Song Of Delilah", and "Cinema Blues".

Vintage work from this overlooked group from the New York scene of the 80s – an all-star lineup that features Ahmed Abdullah on trumpet, Marion Brown on alto sax, Billy Bang on violin, Sirone and Fred Hopkins on bass, and Andrew Cyrille on drums! The tracks are long, and there's a loose, open feel that recalls the loft jazz generation – but an overall sound that shows the new strength and focus that some of these players were really hitting at the time – that sharper vision that you'd get during the early years of Black Saint/Soul Note – yet presented here in a style that's much more spontaneous overall! Brown and Bang are especially nice – some of the sharpest corners of this sextet – and titles include a great reading of "Goodbye Porkpie Hate", plus "Joann's Green Satin Dress" and "Amanpondo".

A beautiful second record from Abiah – warmly wonderful material that's as sensitive as a singer/songwriter set, yet also has a deep sense of soul as well! Vocals and piano are wonderfully intertwined – in a mode that has the depth of jazz, yet the focus of soul music as well – often handled at a gentle pace, but with a flow that really holds us rapt throughout – with an acoustic vibe that's somewhere in a space between Bill Withers and Joan Armatrading. Abiah is an artist who previously recorded for Universal under his first name, Jeremiah – but he sounds even more wonderful here, and the shift to using his last name is definitely a good choice for this next chapter in his music. Titles include "This Time", "Goodbye", "Foolish Heart", "September", "Turn The Light On", and "Life As A Ballad".

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".

Some of our favorite albums ever from pianist Muhal Richard Abrams – an amazing run of eight records for the Black Saint/Soul Note label – rich in fresh colors, tones, and new musical ideas! There's a sensitivity to some of these records that you don't always get with Abrams – a personal feeling that brings in a much-needed warmth to his complex compositional forms – often in collaboration with other players on the Chicago scene, but also with a wider range of avant players, especially from New York – where Abrams would have a great influence in the 80s. The lineup of musicians here is wonderful – a virtual who's-who of the jazz left at the time, at least from an American perspective – with performances from George Lewis, Roscoe Mitchell, Amina Myers, Thurman Barker, Baikida Carroll, Andrew Cyrille, Craig Harris, Stanton Davis, Marty Erlich, Dick Griffin, Cecil Bridgewater, Fred Hopkins, Dierdre Murray, and so many others. The set features 8 full albums, each in a tiny LP-styled sleeve – and titles include Siphumonesty, Mama & Daddy, Blues Forever, Rejoicing With The Light, View From Within, Hearinga Suite, Blu Blu Blu, and Think All Focus One.

A wonderful album from Muhal – with all the soulful spiritualness of his best 70s work, more stripped down than later orchestrated efforts, and with a gentler more intimate approach than earlier work. The set is mostly solo piano – although Abrams also plays some occasional percussion – and features some wonderfully introspective playing, as free as that of Cecil Taylor or other 70s avant contemporaries, but always rhythmic, and never losing a sense of soul and meaning. Titles include "D Song", "String Song", and "Voice Song" – all long.

A tremendous step forward for the young Muhal Richard Abrams – a set that still shows his early roots in the AACM, but which also blossoms with some of his more serious compositional efforts to come! There's a sensitivity here that really stands out – even among Abrams' contemporaries – a striving for a wider range of expression – some as bold as before, some much more deeply personal and intimate. The tracks feature a shifting array of players – working alongside Abrams piano, and building up the sound in a number of different ways. Players include Wallace McMillan on flute and sax, Edwin Daugherty on sax, Richard Brown on sax, Emanuel Cranshaw on vibes, Rufus Reid on bass, and Steve McCall and Wilbur Campbell on drums. Ella Jackson provides vocals on "How Are You?" – and other titles include "Ballad For New Souls", "Things To Come From Those Now Gone", "In Retrospect", "Ballad For Old Souls", "1 & 4 Plus 2 & 7", and "March Of The Transients".

A tremendous step forward for the young Muhal Richard Abrams – a set that still shows his early roots in the AACM, but which also blossoms with some of his more serious compositional efforts to come! There's a sensitivity here that really stands out – even among Abrams' contemporaries – a striving for a wider range of expression – some as bold as before, some much more deeply personal and intimate. The tracks feature a shifting array of players – working alongside Abrams piano, and building up the sound in a number of different ways. Players include Wallace McMillan on flute and sax, Edwin Daugherty on sax, Richard Brown on sax, Emanuel Cranshaw on vibes, Rufus Reid on bass, and Steve McCall and Wilbur Campbell on drums. Ella Jackson provides vocals on "How Are You?" – and other titles include "Ballad For New Souls", "Things To Come From Those Now Gone", "In Retrospect", "Ballad For Old Souls", "1 & 4 Plus 2 & 7", and "March Of The Transients".

Great rootsy Cajun accordion – a version of the genre that's much grittier than any of the later versions that were spread more strongly through the mainstream – and definitely light years from the touristy sounds heard in more recent years! This set offers up a host of rare small label recordings from Nathan Abshire – a player who really handles his instrument with a personal touch – almost as raw and soulful as a harmonica in the hands of a blues musician, and often supported by rhythms that are pretty darn blue as well – although also with a definite Louisiana sound! The package features material with the Pine Grove Boys and Balfa Brothers group, plus others by Nathan on his own – and the set features 25 titles that include "Pine Grove Blues", "Offshore Blues", "Shamrock", "J'Etais Au Bal", "Choupique Two Step", "Partie A Grand Basile", and "Dying In Misery".

The cover's a bit cheesy, but the record's a great one – stunningly spiritual jazz from saxophonist Idris Ackamoor, and a set that really lives up to his soulful fame from the 70s! The record has a similar vibe to some of Ackamoor's recordings with The Pyramids – very well-crafted work that's filled with a rich spirit and lots of freely creative energy – often moved by rhythms that are warm and flowing, and recorded with a sound that's much more 70s than you'd guess from the date of the recording. Idris plays alto sax, and other group members include Art Hirahara on electric piano, Baba Duru on percussion, Destiny Muhammad on harp, and Fred Harris on drums. Some tracks have vocals – sung beautifully, in a really Strata East sort of way – and titles include "Our Voices", "Beckoning", "Libation Song", "Island Dance", "Move Towards The Light", and "Centurian".

Wonderful work from Idris Ackamoor – a great indie set that we'd rank right up there with some of his best recordings of the 70s! The group here is only a quartet, but there's a richness to the sound that's really amazing – a soaringly soulful style that often feels like Idris is working with a larger group – especially given the bold, righteous sound of the music! The rhythm trio is wonderful – Fred Harris on piano, Mark Anthony Williams on bass, and Al Marshall on drums – and Idris plays alto sax throughout, with a sharp edge and fluid tone that shows lots of growth since the 70s. Daria Nile and Rhodessa Jones sing on a few tracks – bringing a nice sort of Strata East vibe to the record – and titles include "Idrissa's Dream", "Topanga", "You", "A Child's Lament", "Spiritual Rebirth", and "A Prayer For Changing Times".

An excellent second album by Barbara Acklin – and a perfect demonstration of her really unique Chicago soul talents! Acklin's really at the cusp of two generations here – at one level still with some of the sweetness of the earlier style of 60s girl soul, but at another full of the power and pride that was really flowing into other artists of the 70s – a balance that's a great summation of the unique way that Chicago artists could play both ends of the spectrum, and come up with something really unique in the process! The album includes the great cut "Am I The Same Girl", a loping soul groover that was all set to be a big single for Barbara – but for some reason, Brunswick held the tape back, stripped off the vocals, put on some piano, and released it as the instrumental "Soulful Strut" by Young-Holt Unlimited at the same time! Yet we still dig Barbara's version better, though – nestled here alongside other great cuts that include "Seven Days of Night", "A Raggedy Ride", "Go With Love", "Mr Sunshine", "Until You Return", and "Where Would I Go".

Heavy dancefloor funk from ADC Band – grooving in a bass-heavy mode that almost seems like a mainstream take on P-Funk – but which also has some really great mellow soul elements on the mellower tunes! There's a great ensemble Detroit groove going on overall – and as an added bonus, soul jazz legend Marcus Belgrave plays trumpet on most of the tracks! Titles include "I Just Want To Hold You", "Stank Machine", "Midnite Creeper", "Talk That Stuff", "ADC Is Back", and "At The Party".

Wickedly hip work from Cannonball Adderley – and one of his real standout sessions for Capitol Records in the 60s! The set lives up to its "Africa" promise right from the very first note – and features a set of loud, proud tunes that really bring out the righteous sounds of this generation of new liberation – tunes that sparkle with lead alto and soprano sax from Cannon, but which really draw even more energy from the whole collective of musicians on the record – a hip lineup led by HB Barnum, who also did all the arrangements for the set! The result is a record that's unlike any of Adderley's other albums – from some of the evocative snakey lines on the top, to the hip mix of 60s Cali soul and African percussion on the bottom. And oh yeah, David Axelrod produced the whole thing too! Titles include "Gumba Gumba", "Up & At It", "Hamba Nami", "Ndolima", and "Lehadima".

A great lost chapter in the Cannonball/David Axelrod story! The record features Cannon's classic quintet performing some longer, more serious works with orchestral backing – and the sound is vaguely similar to some of Axelrod's "high concept" work for Capitol. The record features a recording of Axelrod's "Tensity" and William Fischer's "Experience In E", both conducted by Fischer, a hip modern soul-oriented arranger, with a sound that's not dissimilar to Axelrod. The last piece on the album is a nice long one by Lalo Schifrin, "Dialogues For Jazz Quintet & Orchestra", which is also conducted by him as well.

Fantastic work from the Cannonball Adderley Quintet – one of their greatest performances from the seminal early 60s years! The band at this time includes Cannon on alto, Nat on cornet, Victor Feldman on piano, Sam Jones on bass, and Louis Hayes on drums – and although Feldman's not as strong of a soul jazz player as Bobby Timmons or Joe Zawinul, both of whom also played with the group, his playing on this set is great, thanks to a really lively rhythm section! Includes an 11 minute version of "Sack O Woe", plus "Blue Daniel", "Azule Serape", and "Big P".

Fantastic work from the Cannonball Adderley Quintet – one of their greatest performances from the seminal early 60s years! The band at this time includes Cannon on alto, Nat on cornet, Victor Feldman on piano, Sam Jones on bass, and Louis Hayes on drums – and although Feldman's not as strong of a soul jazz player as Bobby Timmons or Joe Zawinul, both of whom also played with the group, his playing on this set is great, thanks to a really lively rhythm section! Includes an 11 minute version of "Sack O Woe", plus "Blue Daniel", "Azule Serape", and "Big P". CD also includes a bonus track – "Our Delight".

A hardbop classic from Cannonball Adderley – and one of his harder to find albums from the Riverside days! The set has Cannon playing without his usual group, in the context of an all-star batch of players that includes Wynton Kelly, Paul Chambers, and Jimmy Cobb – who he worked with in his time with Miles Davis – plus occasional guest rhythm work by Albert and Percy Heath. The set's strong and straight ahead – a good bridge between Cannon's early Mercury recordings, and his later albums for Riverside and Capitol – tightly crafted solos with a good deal of soul, Adderley holding down all the horn work on the record. Titles include "If This Isn't Love", "Serenata", "Poor Butterfly", "I Remember You", and "I've Told Ev'ry Little Star". CD also features 2 bonus alternate tracks!

An early album that features Adderley's beautifully edgey alto sliding nicely through a set of standards conducted by Richard Hayman. The album's not as strikingly emotive as other Verve "with strings"outings – such as the Charlie Parker & Strings sessions – but it is a great platform for the youthful Cannonball to do more than wail in a soul jazz kind of way, and it unlocks a much more thoughtful, introspective side of his playing not usually heard on record. A nice divergence from the usual – with titles that include "I Cover The Waterfront", "Two Sleepy People", "I'll Never Stop Loving You", and "Street Of Dreams".

An interesting early side by Cannonball that captures him before he'd really found his voice – and when the folks at Mercury still didn't really know what to do with him. The record's a tightly arranged set of tracks from Duke Ellington's musical "Jump For Joy" – with arrangements by Bill Russo, and small group playing that includes Emmett Berry, Bill Evans, Barry Gabraith, Jimmy Cobb, and a small string section. The sound's actually quite haunting – and Cannon's alto solos remind us more of some of the best "with strings" soloing heard on Verve in the early 50s than they do his later soul jazz classics on Riverside or Capitol. That's ok with us, though – because the session's still got a lot to offer in that respect, and Cannonball handles the solos wonderfully! Titles include "Bli Blip", "Just Squeeze Me", "Nothin", and "The Tune Of The Hickory Stick".

A swingin' Japanese concert by one of Cannonball's best groups from the 60's. Joe Zawinul's on piano, brother Nat's on cornet, Sam Jones is on bass, and Louis Hayes is on drums. But the real treat here is Yusef Lateef, who does some excellent reed work on tenor, flute, and oboe – and who's playing at this point with that great mix of soul jazz and out-sounds that he was cooking up at the time. There's some great long cuts, including an excellent 12 minute reading of Lateef's "Brother John", plus the title track, "Come Sunday", "Tengo Tango", "Easy To Love" and "The Weaver".

Sweet funky 70s work from Cannonball Adderley – a record that has him revisiting older tunes from his early soul jazz years – but in ways that give them a whole new electric vibe overall! The album's actually Cannonball's last full studio set, but it's also one of his greatest too – a very hip little record that features arrangements that are slightly bigger than before – almost a CTI sort of mode, with a similar CTI sense of space, sound, and timing! There's some great keyboards on the set – courtesy of George Duke and Mike Wolff – and other players include Nat Adderley on cornet, Airto on percussion, Sam Jones and Walter Booker on bass, and Louis Hayes and Roy McCurdy on drums. The keyboards lead off most numbers, but they're followed strongly by Cannon and Nat – both of whom open up wonderfully in the magical setting of the record! Titles include great new takes on "Sack O Woe", "Work Song", "Jive Samba", "74 Miles Away", "Walk Tall/Mercy Mercy Mercy", "Country Preacher", "Domination", and "This Here" – plus "Hi Fly" and "Hamba Nami".

Prime material from Cannonball and David Axelrod – and despite the biblical leanings of the title, the record is pretty darn funky! As they did for the Zodiac, Cannonball and Axelrod take a trip through a host of cultural milestones – stopping along the way to turn each one into a new pillar of soul, working with Rick Holmes, who narrates the set in the same way he did on the Zodiac albums. Brother Nat Adderley and George Duke are among the players in the album's very funky backing – and tracks include "Make Your Own Temple", "Amani", "Space Spiritual", "Eternal Walk", and "Gone". Oh for the days of the double LP concept jazz record!

One of the all-time great ones by Cannonball! This record captures him in the prime of his early soul jazz fame – working with an unbelievably heavy quintet that featured Bobby Timmons on piano (with Barry Harris sitting in on a few tracks), Sam Jones on bass, Louis Hayes on drums, and brother Nat Adderley on cornet. The quintet forged a sound that made them an immediate hit – and which had their tight, jagged, soul-drenched sound getting copied by everyone. The record features some amazing soul jazz standards – like Nat's original version of "Work Song", the first-ever record of Timmons' amazing "Dat Dere", Cannon's slinky "Them Dirty Blues", and the jaunty groover "Jeannine", a wonderful cut by Duke Pearson that never sounded better! The CD features alternates of "Work Song" and "Dat Dere" – for a total of 9 tracks in all!

A massive look at the mighty pairing of Cannonball Adderley and David Axelrod – a partnership that's way more than just jazz musician and producer! Axelrod's talents in the studio are many, but his greatest heights were possibly reached in collaboration with Cannonball – a relationship that spawned an amazing run of singles and albums that allowed the saxophonist to expand his music to amazing new levels, and touch audiences that few other jazz musicians could reach! Axelrod's sense of sound and timing are a perfect match for Cannonball's intrinsically funky approach to the saxophone – and no matter what the setting here, from big band to small combo, studio recordings to live date, high concept records to relaxed jazz sessions, there's an undeniable groove in the music that never lets up. The CD pulls together a very wide range of work from key Axelrod/Adderley Capitol recordings – and offers a double-length look at their pairing that's as soulful as it is essential. Titles include "The Black Messiah", "Space Spiritual", "Do Do Do", "Gone", "Ndolima", "Up & At It", "Hummin", "Make Your Own Temple", "Tensity", "Fun In The Church", "Khutsana", "Price You Got To Pay To Be Free", "Walk Tall", "Music You All", and "Dialogues For Jazz Quintet & Orchestra".

Bossa madness – and a really hard to find pressing of this album! Cannonball Adderley recorded this nice little groover in 1962, when American musicans were just getting on the bossa tip, and still keeping things pretty authentic. The record was cut in New York with Sergio Mendes' early Bossa Rio group – the legendary Brazilian jazz ensemble that featured Paulo Moura, Dom Um Romao, and Durval Ferreira. The mixture of tight bossa rhythms and Cannon's soulful sax is totally great – and it's only because the Riverside label was folding at the time that the record never got bigger fame. Includes the cuts "Joyce's Samba", "Clouds", "Minha Saudade", "Corcovado", "Batida Diferentes", and "Sambops".

A gem of a record from Nat Adderley – filled with short soulful groovers, and done with an upbeat vibe that rivals some of Cannonball's best of the 60s! Joe Zawinul handled the arrangements, so there's definitely a strong influence here from the Cannon group – and although the players shift a bit throughout the course of the set, there's a really unified feel – thanks to a top-shelf lineup that includes Seldon Powell on tenor and flute, Ernie Royal on trumpet, Benny Powell on bass trombone, and Willie Bobo on percussion! The set features all original material by Nat – with older gems and new favorites that include "Little Boy With The Sad Eyes", "Never Say Yes, "Jive Samba", "Stony Island", "Junkanoo", and "Work Song".

A strong showcase for young Nat Adderley's talents on cornet – and an album that's got a different feel that his work with his more famous brother's combo at the same time! The style here is simple – Nat blowing with 2 different quartets – one with Joe Zawinul on piano, Sam Jones on bass, and Louis Hayes on drums (all from Cannonball's group) – the other with the rhythm section of Wynton Kelly on piano, Paul Chambers on bass, and Philly Joe Jones on drums. Despite's Nat's reputation as a gutbuckety soul jazz player, he actually gets in some nicely lyrical licks in this set – blowing in a soulful modern style that almost recalls the work of Carmell Jones at times! Titles include "Chloe", "Images", "Scotch & Water", and "Naturally".