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A pivotal session from the late 60s – one that has Jackie pulling things back a bit from his "new thing" period, and turning towards the spiritual soulful groove that would characterize his early 70s work! The album bristles with excitement – still very much informed by a knowledge of the space explored during Jackie's avant years, but never quite willing to go to that space – especially if it means sacrificing the soulful swing of the set! The group's filled with young soulful modernists – including Woody Shaw, Lamont Johnson, Scott Holt, and Jack DeJohnette – and Jackie himself seems to be working out a whole new phase of his career with each new track – showing that even when he was at his "new thing" best, he was still ready to move on! Tremendous stuff, and one of our favorite Blue Notes from the time – and one of the most soulful too! Titles include "Floogeh", "Message From Trane", "Toyland", and "Boo Ann's Grind".

A greatest hits two-fer – made even greater with the addition of 27 bonus tracks! First up is Invictus' Greatest Hits – heavy soul from the house of Holland-Dozier-Holland – some of the best bits from their Invictus powerhouse label of the early 70s – definitely a scene-setting imprint at the time! Invictus had some of the deepest grooves ever recorded by the trio – heavy, rumbling bottom sounds – soaring vocal passages – and production that took the Motown lessons of the late 60s to a whole new level. The package is overflowing with gems – and titles include "Crumbs Off The Table" by The Glass House, "Band Of Gold" and "Bring The Boys Home" by Freda Payne, "Give Me Just A Little More Time" and "Everything's Tuesday" by The Chairmen Of The Board, "You've Got To Crawl" and "She's Not Just Another Woman" by The 8th Day, and "I Had It All" by The Barrino Brothers. Hot Wax Greatest Hits is a great collection of some of the best numbers from the Hot Wax label of the early 70s – second generation Detroit soul that really set the standard for the 70s! The tunes here were massive back in the day – blasting out of juke boxes, car radios, and a fair bit of home stereos too – all for good reason, given the care and balance the Holland-Dozier-Holland team brought to their work in the studio, and their ears for selecting singers to handle the work. Titles include "Want Ads" and "Stick Up" by Honey Cone, "Somebody's Been Sleepin" and "Too Many Cooks" by 100 Proof Aged In Soul, "Westbound #9" and "Mind Body & Soul" by Flaming Ember, "Woman's Love Rights" by Laura Lee "Women's Love Rights", and "Frightened Girl" by Silent Majority. 2CD set also features 27 bonus tracks that include "Somebody's Gonna Hurt You" by Lee Charles, "Colors Of My Love" by The Silent Majority, "Love Machine" by The Politicians, "Touch Me" by Eloise Laws, "Hey There Lonely Girl" by Ty Hunter, "Wanting You" by Earl English, "That's Love" by The Hi-Lites, "Can't Get Enough Of You" by Tyrone Edwards, "I Need It Just As Bad As You" by Laura Lee, "VIP" by Scherrie Payne, "Guess I'm Gonna Cry" by New York Port Authority, "Something New About You" by Silent Majority, and "You Too Me From A World Outside" by Lee Charles.

They're not kidding with the name of this group – because the set's a masterpiece of 70s Afro Funk – totally great all the way through! The combo has African origins, but they're recording here in London – which makes for a really wonderful criss-crossing of cultural modes – the same sort of heavy, dark-tinged groups you'd hear from Cymande or Demon Fuzz – both of whom are a great comparison to the sound of this group! Bass is very heavy in the mix – not dubby, but really rumbling right from the start of each tune – and helping to set up the complicated percussion patterns, fuzzy guitar bits, and nicely trippy vocals – all of which are recorded in just the right way to make the sum of the elements sound like way more than the parts. Titles include "Afro Funk", "Tei Egwu", "Hot Love", "Farewell To Ibusa", and "Try & Try".

The one and only album by this righteous funky combo from Ohio! Although Brute Force were an American group of the late 60s, they've got a sound that brings in traces of the African rhythms that were bubbling under at the time – similar to some of the best London groups of the post-colonial years, like Cymande, Demon Fuzz, or Asiko. There's often a jagged and jazzy style on the bottom of the grooves, topped with brighter horn flourishes, and combined with a vocal approach that has some slight folksy touches – very hip, progressive, and as righteous as you'd expect from the cover! Sonny Sharrock sits in on some tracks, and the titles include "Some Kind Of Approval", "Doubt", "Ye Le Wa", "Do It Right Now", "The Deacon", and "Monster".

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".

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 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".

What can we say? This is one of the greatest albums of all time – and it's made even better through the addition of a bunch of previously unissued tracks! The record's got a sound that's completely unique – as crack LA garage punk rock meets Hollywood baroque production, and the result is an amazing bit of loud guitar noise backed by strings and horns, all graced by the godlike vocals of the great Arthur Lee. Forever Changes is a milestone in rock – an incredibly bleak document about insanity, escape, and the coming revolution that never happened. Think of all the best moments of Wild In The Streets, Zabriske Point, and Invocation of My Demon Brother rolled into one – and you'll only have a tiny slice of the picture! A record that will haunt us until the day we die – filled with incredible songs like "Alone Again Or", "Old Man", "Red Telephone", and "Maybe The People Would Be The Times Or Between Clark & Hilldale".

A compelling combination of Brazilian forro and jazz, with a touch of American roots thrown in for good measure – all served up in a style that's pretty darn unique! Bold accordion lines are at the lead on most numbers – much more Brazilian than any sort of US or European use of the instrument, and peppered with a nice degree of percussion to create snapping rhythms that move things forward nicely. Yet there's also a bit of fiddle too, mixed with some of the vocals that underscore a much more American approach to songwriting – partly from the themes, and partly from the English language of the tracks. A few of the tunes definitely push this roots agenda a bit more strongly, and emphasize guitar more as well – yet there's also some great cavaquinho work on the album to balance out the Brazilian elements. Titles include "Toco O Sino", "Demon Chopper", "Sun Song", "Drag Me Down", "Horse Eat Corn", and "The Way I Love You".

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."

The second album from Mombasa – and possibly even better than the first! The group have really come into their own by the time of this date – mixing together jazz and African roots with a sound that's unlike anyone else we can think of – quite unique in its approach to rhythms, sounds, and solos! The grooves aren't really the Afro Funk you might expect – and instead, they're based on a headier brew of basslines and percussion, one that's somewhere in a space between Boscoe, The Pharoahs, and Demon Fuzz – but with a sound that's ultimately different than both. The trombone of Lou Blackburn carries the lead on most tracks – snaking out wonderfully over the grooves, with a quality that's amazingly soulful, and which almost has him standing head to head with Fred Wesley as a 70s innovator on his instrument. Other members of the group include Doug Lucas on trumpet, Bob Reed on percussion, Alan Tatham on drums, and Don Ridgeway on electric bass – the last of whom really does a great job shaping the sound of the tunes. Titles include "Yenyeri", "Holz II", "Nomoli", "African Hustle", and "Al Rahman".

Early work from a group who later grew into the famous Ikenga Super Stars Of Africa – recording here in London with a great raw sound – and an unusual mix of modes that's part Afro Funk, part something else entirely! The set's got that unique post-colonial vibe of some of the other great London recordings of the early 70s – such as work by Cymande or Demon Fuzz, both of whom have some dubby similarities to the Nkengas work on this set – possibly because the whole thing was served up for the Orbitone Records label – usually a home to sounds from Jamaica! There's a nice use of echo that really abstracts the basslines and percussion – although the grooves themselves are still more straightforward than any from Kingston at the time – and definitely echo the Nigerian roots of the group. Tracks have a lot of cool little funky corners and sharp edges that really set them apart – and titles include "London Special", "Ndu Bu Isi", "Anyi Bundi Igbo", "Jungle Beat", "Anyi Buofu", and "Ube Frank Special".

Sublime 70s work from Kenny Barron – a record that really has him stretching out strongly from his roots in the 60s, and sounding almost even more inventive than on some of his later material as well! Kenny's playing a fair bit of keyboards on the set – showing a wonderful sensitivity for electric modes, in ways that are quite different than some of his contemporaries – very cool, and often spacey, but in really unique sort of ways! Acoustic piano figures into the mix as well – and is layered beautifully along contributions from group members who include Bob Cranshaw on bass, Freddy Waits on drums, Warren Smith on vibes, and Richard Landrum on percussion – a hornless but very full sounding group. The set includes the great groover "Swamp Demon" and the very well-sampled "Sunset", plus "Al-Kifha", "Delores St SF", and "Dawn".

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".

A pivotal record for Jackie McLean – a set that still has some of the spirit and lineup of his "new thing" years, but which also takes on a more spiritual vibe as well – clearly pointing the direction towards McLean's music in the 70s! The album's one of those unusual Blue Notes that was recorded in the 60s, but wasn't issued until many years later – but given the date and the sound, we'd put this one right alongside Jackie's Demon Dance album. The group features excellent trombone from Grachan Moncur, plus Lamont Johnson on piano, Scotty Holt on bass, and Billy Higgins on drums – and titles include "Slow Poke", "Hipnosis", "The Breakout", and "Back Home".

Rare Bacharach galore – an assortment of under-reissued tracks all penned by the mighty Burt – most of which are from the heyday of 60s uptown soul! Despite the 1952 in the date range on the title, almost all the tunes here are from the mid 60s – that time when Bacharach was writing new tunes like a demon, and getting most of them recorded by a range of great talents on the New York scene. Singers are a good mix of soul, pop, rock, and vocal artists – and although the material was done for a variety of different labels, there's a relatively unified feel – thanks to that snapping syncopation that Burt always brought to work like this. CD features 26 titles in all – including "How About" by Della Reese, "Third Window From The Right" by Dean Barlow, "I Wake Up Crying" by Del Shannon, "I Looked For You" by Charlie Gracie, "That's Not The Answer" by Vi Velasco, "More Time To Be With You" by Brook Benton, "Three Friends" by The Turbans, "Move It On The Backbeat" by Burt & The Backbeats, "You're Telling Our Secrets" by Dee Clark, "Thirty Miles Of Railroad Track" by The Hammond Brothers, "The Story Of My Life" by Big Al Downing, "Made In Paris" by Trini Lopez, "Rain From The Skies" by Adam Wade, and "True Love Never Runs Smooth" by Don & Juan.

Early work from a group who later grew into the famous Ikenga Super Stars Of Africa – recording here in London with a great raw sound – and an unusual mix of modes that's part Afro Funk, part something else entirely! The set's got that unique post-colonial vibe of some of the other great London recordings of the early 70s – such as work by Cymande or Demon Fuzz, both of whom have some dubby similarities to the Nkengas work on this set – possibly because the whole thing was served up for the Orbitone Records label – usually a home to sounds from Jamaica! There's a nice use of echo that really abstracts the basslines and percussion – although the grooves themselves are still more straightforward than any from Kingston at the time – and definitely echo the Nigerian roots of the group. Tracks have a lot of cool little funky corners and sharp edges that really set them apart – and titles include "London Special", "Ndu Bu Isi", "Anyi Bundi Igbo", "Jungle Beat", "Anyi Buofu", and "Ube Frank Special".

The first, and arguably the best, of John Zorn's Naked City albums. The sound is extremely intense, and represents a blinding blend of influences, most of which Zorn had been showcasing in more easy going settings on previous albums. The core group includes Bill Frisell, Wayne Horvitz, Fred Frith, and Joey Baron – plus a guest appearance by Yamatsuka Eye. Hard to find on vinyl, and with the titles "Demon Sanctuary", "Speedball", "James Bond Theme", "Ingenous Ejaculation", "I Want To Live", and "Latin Quarter".

They're not kidding with the name of this group – because the set's a masterpiece of 70s Afro Funk – totally great all the way through! The combo has African origins, but they're recording here in London – which makes for a really wonderful criss-crossing of cultural modes – the same sort of heavy, dark-tinged groups you'd hear from Cymande or Demon Fuzz – both of whom are a great comparison to the sound of this group! Bass is very heavy in the mix – not dubby, but really rumbling right from the start of each tune – and helping to set up the complicated percussion patterns, fuzzy guitar bits, and nicely trippy vocals – all of which are recorded in just the right way to make the sum of the elements sound like way more than the parts. Titles include "Afro Funk", "Tei Egwu", "Hot Love", "Farewell To Ibusa", and "Try & Try".

Things definitely get plenty deep on this jazz trip – a great run through the 70s catalog of Muse Records, and one that's filled with some incredible bits that we'd rank right up there with the best work of the time on labels like Black Jazz or Strata East! Muse always had a way of really letting its artists do their thing – and you'll heard that clearly on some of the best cuts here – numbers that offer up surprisingly vibrant sides of the artists included, usually with some righteous undertones. Titles include Eddie Jefferson's rendering of "Freedom Jazz Dance" (and a very crazy one at that), Charles Earland's excellent stormer "Murilley", Kenny Barron's "Swamp Demon", Walter Bishop Jr's "Soul Village", Joao Donato's "Night Tripper", "Old Man Moses" by Grant Green, and three nice ones by Carlos Garnett – "Good Shepherd", "Banks Of The Nile", and "Taurus Woman", from the classic Black Love LP.

They're not kidding with the name of this group – because the set's a masterpiece of 70s Afro Funk – totally great all the way through! The combo has African origins, but they're recording here in London – which makes for a really wonderful criss-crossing of cultural modes – the same sort of heavy, dark-tinged groups you'd hear from Cymande or Demon Fuzz – both of whom are a great comparison to the sound of this group! Bass is very heavy in the mix – not dubby, but really rumbling right from the start of each tune – and helping to set up the complicated percussion patterns, fuzzy guitar bits, and nicely trippy vocals – all of which are recorded in just the right way to make the sum of the elements sound like way more than the parts. Titles include "Afro Funk", "Tei Egwu", "Hot Love", "Farewell To Ibusa", and "Try & Try".

A rare non-Sun Ra session from bassist Ronnie Boykins! Boykins was one of Ra's most long-term players – a key part of the Arkestra for many years – but on this album, he hits a totally different sound –and one that's somewhat spiritual as well! The group's got a great sax-heavy sound that comes from a trio of reedmen – Monty Waters, Joe Ferguson, and James Vass – handling alto, tenor, soprano, and flute between them – often in a tight line at the head, then breaking out into some wonderfully personal solos – played with such feeling that almost makes us think that Boykins was a much more sensitive musician than he ever got the chance to be with Sun Ra. The tunes have a really beautiful sense of structure and soul – and the reedmen explode beautifully with their work, alongside a remaining lineup that features Daoud Haroom on trombone, Art Lewis on percussion, and George Avaloz on congas. Titles include "Tipping On Heels", "The Third I", "The Will Come, Is Now", "Starlight At The Wonder Inn", and "Demon's Dance".

What can we say? This is one of the greatest albums of all time! The record's got a sound that's completely unique – as crack LA garage punk rock meets Hollywood baroque production, and the result is an amazing bit of loud guitar noise backed by strings and horns, all graced by the godlike vocals of the great Arthur Lee. Forever Changes is a milestone in rock – an incredibly bleak document about insanity, escape, and the coming revolution that never happened. Think of all the best moments of Wild In The Streets, Zabriske Point, and Invocation of My Demon Brother rolled into one – and you'll only have a tiny slice of the picture! A record that will haunt us until the day we die – filled with incredible songs like "Alone Again Or", "Old Man", "Daily Planet", "Red Telephone", and "Maybe The People Would Be The Times Or Between Clark & Hilldale".

A cornucopia of wigged out grooves from the Pye & Dawn vaults – late 60s & early 70s psych, panoramic pop, and trippy prog from Donovan, The Bystanders, Blonde On Blonde, Status Quo, Atomic Rooster, Jonesy and many more on 3CDs! All of the tunes were released from 1967 to 1975, so you get a pretty heady mix of prime psychedelic pop era and later numbers that took that sense of adventure to harder grooving, or more complicated realms. Comes with a cool little booklet of notes, too. Nearly 50 tracks on 4CDs: "Season Of The Witch" and more by Donovan, "Paradise Flat" and "Someone's Learning" by Status Quo, "Ride With Captain Max" by Blonde On Blonde, "It Is As It Must Be" by Man, "I Put A Spell On You" by Demon Fuzz, "Decision" by Fruup, "No Alternative" by Jonesy, "Hard Labour" by Noir and many more.

A reworked version of rhythms from Tony Allen – put together by a trio of European percussionist/producers with a very sharp sound! The core energy of Allen is definitely heard throughout – that style of being funky, yet offbeat too – which Tony's definitely explored even more strongly in recent years. Yet the contributions of the trio also really focus the groove too – almost creating tracks that are tighter and more rhythm heavy than before – without as much instrumental interplay over the top, almost as if they're break tracks, but from an Afro Funk perspective! Titles include "Demon Nights", "Deeper", "Africa Walk", "Mister Cool T", "After Hours Jump", "Long Ride", "African Heat", "Bag Of Breaks", and "Ikeja Roads".

A pair of soulful gems from tenorist Gene Ammons – back to back on a single CD! The Soulful Moods is beautiful beautiful work from tenorist Gene Ammons – and an album that really demonstrates that during the 60s, one of Ammons' strongest suits was his work with a mellow tune or ballad! The tracks here are wonderfully laidback, but never sleepy – very soulful, and solidly put together in that Ammons-made gentle-blown way – using just a few notes to send the message out with a powerful punch, without ever overdoing things the way that a few of his tenor contemporaries might be tempted to do! The group's a great fit too – with the lovely Patti Brown on piano, plus bass from George Duvivier and bass from Ed Shaughnessy – and titles include "Two Different Worlds", "Skylark", "Three Little Words", "Street Of Dreams", and "You'd Be So Nice To Come Home To". The second album is Nice & Cool, but not in a west coast way – and instead a set that's got Gene Ammons working some wonderfully soulful magic on a set of gentle ballads! The set's got a brilliant late nite sort of feel – one of those tenor albums that seems to sound even better in the space past midnight – as the warm glow from Ammons' horn seems to sparkle even more strongly in the dark – standing out with that stark, spare approach that always makes his ballad work so special – and unlike just about anyone else. The group here is nice and cool too – with Richard Wyands on piano, Doug Watkins on bass, and JC Heard on drums – and titles include "Someone To Watch Over Me", "I Remember You", "Willow Weep For Me", and "Till There Was You".

A great live date from Batacumbele – a double-length album that really lets the group open up, stretch out, and do their thing! Given that Batacumbele's all about complicating the percussion patterns of their rhythms, the album's live, extended jams are perfect for demonstrating their best musical skills – a rich array of sounds on congas, timbales, bata, bongos, and other percussion instruments – providing the core grooves for instrumentation on keyboards, trumpets, tenor, and trombone! Most tracks have some sort of vocals, but the focus is often mostly on the instrumentation – and titles include "May Day", "Elegua", "Muevete", "La Tia", "Danzonete", "Calabo Y Bambu", "Hot Blood", and "Batacumbele Te Saluda".

We've always been a fan of the Beatnuts, or later Ghetto Professionals production, but none of their recordings as the Beatnuts are better than this first EP. Includes "Reign of the Tec" (with the Grand Puba sample), "No Equal", "World's Famous", "Psycho Dwarf." 6 full-length tracks plus 5 interludes.

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".

Ahhh. . . Nice! Wonderful intelligent, spiritual rhymes, full of Islamic prayer references, blunt antagonist rhymes, a battle with the ugliest of inner demons and broken artist poverty all hugged by catchy bouncing hook filled choruses. And all the production is handled by Ant, a true autuer akin to Pete Rock, now becoming more comfortable with his art with each release: tight organ loops, snapping drums, bright horns and nice upright basslines. "Soulful" is the key adjective here. Tracks include "Star Quality", "Pay Them Back", "Shadows On The Sun", "Forest Whitiker", "Room With A View", "Back Stage Pacin", "Missing Teeth", "Dorian", "Soul Whisper", "Champion", "Prince Charming", and more! Side F to this triple vinyl set has 4 added instrumental versions!

A cool little set from pianist Barbara Carroll – a player who got her start in the New York scene of the 50s, and served up some excellent work in later years – but who also comes across surprisingly well in this overlooked 70s session for Blue Note! The album's not nearly as electric as others on the label at the time – and instead, Carroll really demonstrates her warm touch on acoustic piano – working with just a bit of bass from Chuck Domanico and drums from Colin Bailey – but often driving the rhythms herself, with her own fluid work on piano! The set also features guest guitar from Dennis Budimir on one track – and titles include "Baubles Bangles & Beads", "Blues For Artie", "At Seventeen", "In Some Other World", and "It Never Entered My Mind".

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

Ronnie Cuber's an overlooked monster in jazz – a hell of a player, and has been for decades – and one of the last few cats who can really handle a baritone sax! Cuber was late in a legacy of baritonists that included Pepper Adams, Sahib Shihab, Cecil Payne, and Lars Gullin – a youngster when all those players were getting old, but more than able to swing with the lean energy that made the 50s baritone sax players as important as the giants on tenor! Here, Cuber really demonstrates that legacy strongly – picking up the giant horn and handling it with effortless ease – producing these beautifully-blown solo lines that are nice and long, and filled with imagination – in the company of a combo that features Kenny Drew Jr on piano, Ruben Rodriguez on bass, and Ben Perowsky on drums. The recent date is a great reminder that Cuber can still cook heavily – and titles include "Passion Fruit", "Coco B", "Perpetuating The Myth", "Tell Me A Bedtime Story", and "Arroz Con Pollo".

The packaging and presentation almost set a new low for the Chicago Stepper's scene – but the DVD is pretty interesting – almost like being a fly on the wall, looking at this scene from a priviledged position! The whole thing starts with a group discussion – talking about older dances among some junior and senior steppers – then moves into some dance demonstrations of the slides "Double D", "El Stop", "Chuck Baby", "Odyssey" and "Freaky in the Club".

Incredible work from one of the most important Ethiopian artists of the 70s – a smoking set of vintage recordings from Alemayehu Eshete – some of them plenty darn funky too! As you'd guess from his picture on the cover, guitar is Eshete's main instrument – used in these twangy modes over more exotic Ethiopian instrumentation, and a perfect accompaniment to his richly-inflected vocals – sung with a sense of soul than goes way beyond language, and which will draw you in right away! The music here is really amazing – and the cuts, which are pulled from Ethiopiques CD volumes, really demonstrate the lasting power of work from this generation of the Ethio scene – served up here on tracks that include "Tenageri", "Hode Fera", "Tequr Gessela", "Kenoru Lebetchahe", "Ambassel", and "Tesegenedaye".

A great early demonstration of the bold talents as a leader from trumpeter Maynard Ferguson – heard here in a loose, open-ended performance that's more of a jam session than anything else! The style's almost similar to the Clifford Brown jam dates for Emarcy from the same time – two long tracks that are driven by well-crafted rhythms – and which really soar with open solo work from Ferguson on trumpet, Bud Shank on alto, Bob Cooper on tenor, and Bob Gordon on baritone. The work is nicely boppish and a fair bit more open than most of the players were getting at the time – and Maynard himself is often back a far bit to let everyone get in some good solo space! Each track lasts a side – and titles include "Night Letter" and "Somebody Loves Me".

Solo Burton Greene – beautifully recorded – in ways that have his already-wonderful lines on piano echoing out in the performance space, and almost folding back on themselves in waves of sound! Given Greene's striking touch on the keyboard – sharp, yet always melodic, which we really love – this presence of "room" really illuminates the record – and makes each statement seem even more forceful, and a more personal utterance that really sends the whole thing home. The whole thing's as tuneful as it is creative – a wonderful demonstration of Burton's talents in these later years – and titles include "Elevation", "Greene Mansions", "Freebop The 4th", "Space Is Still The Place", "Get Through It", "Little Song", and "Tree".

One of the great ones from the young Terumasa Hino – a beautiful quartet session that really demonstrates his strength as a soloist on the trumpet! As you might guess from the title, there's a nice sense of melancholy to the record – a blueness that's carried off wonderfully by Hino on his solos – stepping out over a lineup that includes Yuji Ohno on piano, Motohiko Hino on drums, and Kunimitsu Inaba on bass. Tracks are long, and his imagination is quite rich – and this mellower side of Hino isn't always showcased this well. The set includes his beautiful original composition "Alone Alone & Alone", plus the tunes "Soulful" and "Downswing" – and a great modal take on "Summertime", with a beautiful measured solo by Hino.

Cali funk revivalists The Incredible Say Whats! pay tribute to a rare late 60s treasure by Leon Haywood's group The Soul Machine – covering both sides of funky 45 from 1968! Each demonstrates real love for the original versions, ably replicating the vibe, without mimicking it – a tricky thing to pull off, but the fresh funky life breathed into these too little heard gems is, well. . .kinda incredible! "Twitchie Feet" is built around a stable, funky drummer and wicked guitar and bass sound, nicely cooking organ and really great use of a solid horn section – that latter element may be even a bit more prominent than the version that inspired it! "Bag Of Goodies" is, natch, another goodie – again with some great use of jazz funk organs, guitar and horns. Recorded in San Francisco with vintage mic & amps, giving it the wholly classic vibe the group was shooting for. Direct hit!

Ben E King in a few different modes – all of them great, and a great demonstration of the continuing strengths he brought to his work at Atlantic Records in the 70s! The album features the work of three different production forces – Lamont Dozier, who serves up some sweet warm grooves that further King's great move to modern soul at the time; the team of Jim Stewart and Bettye Crutcher, who add in some deeper Stax-styled roots; and underground club genius Patrick Adams, who really makes some magic on one number! King holds strong in all these settings, and really rises to the top throughout – on titles that include "Wonder Woman", "Let Me Live In Your Life", "I See The Light", "Fly Away", "Fifty Years", "Spoiled", "Sweet Rhapsody", and "Dark Storm On The Horizon".

Blistering funk rock and raw, tightly grooving psych soul from small town Victoria, TX – trailblazing material from Kool & Together. This is an amazing anthology from Heavy Light/Light In The Attic that pulls together material from private press 45s the group put in the early-to-mid 70s and previously unreleased tracks recorded by Texas music legend Huey P Meaux. There's a raw soul, funky drums & percussion core to Kool & Together's style that's really great! Singer Tyrone Sanders doubles as the group's conga player, which is a great touch! There's a demonstrable level of gritty psych soul and rock in the mix, too – wah wah guitar, in particular – but they're much more into a tight, heady groove than the kind of lumbering heft and solo-heavy styles of other Hendrix disciples. It's a family band – the earliest tracks on the set feature Charles Sanders Sr on vocals, with Charles Jr on guitar, Tyrone on conga and Joe Sanders on drums – with the boys trading lead vocals and instrumentation on other later recordings, along with additional players. A great discovery from Heavy Light Records! 19 tracks in all: "Sittin' On A Hot Red Stove", "I Know", "If You Can", "Wino Man", "Magic Words", "Peace Is At Hand", "Better Days", "Fly So High", "Electronic Funk", "Reaching Out", "Hooked On Life", "Blow It Out Your Mind", "Get Your Feet Off The Ground" and more, plus 4 demos: "Escapism Beat", "Hot Pants", "Nassau Beat" and "Wino Man".

Sublime solo work from Steve Lacy – a perfect demonstration of the great leap forward he took on the soprano sax in the early 70s – documented beautifully on overseas recordings like this! The core of the set features material recorded in Avignon in 1972 – with Lacy using his instrument in wonderfully expressive ways – not just "free" or "out", but really melodic and lyrical at points too – a side that doesn't always show up in some of his more aggressive solo performances, but which really comes through on tracks like "Cloudy", "The Stations", "Josephine", "Original New Duck", and "Weal". CD features four more previously unissued tracks from these same sessions, then more great solo work from 1974 in Berlin – again never issued before – a whopping 9 bonus tracks in all, with titles that include "The Owl", "The Dumps", "The New Moon", "Dome", and "Holding".

A partial tribute to the music of Max Roach – particularly that crucial moment of righteous Civil Rights energy during his Freedom Now period – handled here with great sensitivity by the trio of Joe McPhee on tenor, soprano sax, and clarinet, Lisle Ellis on bass, and Paul Plimley on drums! Some of the tunes are Roach numbers from the late 50s and early 60s – those haunting, soul-searching tunes that formed the blueprint for progressive jazz expression for years to come – and other numbers are originals by members of the group, but in a very similar spirit. All work is handled in a spacious, contemplative mode that's much more the voice of the trio members than that of Roach – which is quite fitting, as these meditations on freedom are offered more as a reflection of changes since the Civil Rights era – and demonstrate that greatly with their execution. Titles include "Mendacity", "Driva Man", "Lift Every Voice & Sing", "Singing With A Sword In My Hand", "Garvey's Ghost", and "Roost".

A stunner! Moolah's Woe Ye Demons Possessed is a spacious, sometimes spooky experimental rock record from the mid 70s –with a loose, post psychedelic blend of drums, keyboards, electronics and all around loosely hypnotic atmoshere that's in some ways reminiscent of what was happening on the German avant rock landscape at the time – but it's actually the private press work of a New York duo! Krautrock-evocative elements aside, there's a strange, cosmic and spiritual vibe at play here that's really unlike anything else we can think of. It's mostly instrumental, with some Eastern mystic-inpired vocals here and there. The vibe gets heavier and dronier as it goes along, making this a really cool, slow-building trip! Includes "Crystal Waters", "Terror Is Real", "Courage", "The Hard Hit", "Mirrors" and "Redemption".

The most spiritual album from Nostalgia 77 in years – a real return to some of the modes he was exploring with his octet a few years ago – especially some of the more jazz-based styles that really made those records sparkle! The album's all instrumental – quite a change from the previous highly vocal record from Nostalgia 77 – and instrumentation is a very righteous blend of the leader's bass, plus reeds, trumpet, percussion, and lots of Hammond and Fender Rhodes – used in these mellow-flowing styles that really further the exploratory style of the music. As before, Riaan Vosloo's got a really expressive style to his writing – rich colors that are completely sublime in the hands of the group – on titles that include "Algernon", "Zippy Slipper", "Angels & Demons At Play", "Sunrise In Mexico", and "The Taxidermist".

A trio of well-matched players – really stretching out on some long improvised passages! The album's a live one – a concert performance at London's Vortex – and features two very long sets that really demonstrate the mature improvising talents of the trio – boldly blown tenor and soprano sax from Evan Parker, incredibly complicated work on bass from Barry Guy, and electrifying percussion from Paul Lytton! There's definitely an FMP vibe to the playing, yet the overall feel is looser and more London, too – if we can say that – and together, the tracks offer up nearly 80 minutes of music in all.

A tremendous discovery in soul music – previously unreleased demos from the legendary Dan Penn – one of the key songwriters in the Fame Studios/Muscle Shoals scene of the 60s! Dan's tunes had an undeniable impact on southern soul for decades to come – yet Penn hardly issued any singles himself – just sang on these in-house recordings as a way of demonstrating the strength of his songs! Yet Penn's vocals are amazing – as raspy and soulful as any of the big names who recorded his work – and backed here by superb Fame support by the core combo of Spooner Oldham on piano and organ, Jimmy Johnson on guitar, and Roger Hawkins on drums. Oldham co-wrote most of the tunes with Penn, and really gives them a slow-burning, all-soul feel with his keyboard lines – and although demo recordings, the production here is every bit as great as commercially-released material from Fame – making the collection sparkle like the lost album (or albums!) that Dan Penn never had at the time. Titles include "Keep On Talking", "Feed The Flame", "Strangest Feeling", "I Do", "It Tears Me Up", "Uptight Good Woman", "Far From The Maddening Crowd", "The Puppet", "Long Ago", "Slippin Around With You", and "Do Something".

Production by Mr Walt and Rich Blak of the Beatminerz.

The seminal first album from the SOS Band – a record that really showcases the new sound of soul for the 80s, yet still holds onto all the best elements of the previous decade too! These guys have a great ear for groovers – well-demonstrated by the play they got on the dancefloor – yet they've also got a deeper sense of soul than some of their club contemporaries as well – heard not just on the ensemble vocals for the upbeat tracks, but especially on some of the album's great mellow steppers too! It's these laidback cuts that have always kept the album strong for us – showing that SOS are way more than just another fast funk band, and can really go deep, and stay with it for the long haul. Fred Wesley helped a bit on the arrangements – and titles include "Take Your Time", "Love Won't Wait For Love", "SOS (Dit Dit Dit Dash Dash Dash Dit Dit Dit)", "Take Love Where You Find It", and "Open Letter". Great new version – book-style cover, detailed notes, and bonus tracks that include "SOS (edit)", "SOS (special disco mix)", "Take Your Time (parts 1 & 2)", "Take Your Time (long version)", and "What's Wrong With Our Love Affair (edit)".

A beautiful project from the contemporary underground scene in LA – a record that shares lots of energy and musicians with recordings by Build An Ark and Life Force Trio! Dexter Story's the main force behind the record, but the set's a strongly collaborative effort – and features keyboards from Mark De Clive-Lowe, flute from Derf Reklaw, strings from Mighel Atwood-Ferguson, vocals from Dwight Trible, and key studio work from Carlos Nino! Story's vocals and overall conception are wonderful – soaring and soulful, with some slight cosmic touches that give the record a bit more crackle than related projects – a sound that's still steeped in spiritual jazz elements, yet which also really opens up as the set rolls on. There's a wonderful sense of variety to the tracks – due to the shifting lineup – but the overall feel is still very cohesive, and an amazing demonstration of Story's bold musical vision. Titles include "Seasons", "Into The Hour", "Love Force Trio (part 1)", "Underway", "Water Bearer", "Paddle Boat", "Bloop Drip", "Gyre Song", "As Is", "God Sun", and "Suijin".

A beautiful project from the contemporary underground scene in LA – a record that shares lots of energy and musicians with recordings by Build An Ark and Life Force Trio! Dexter Story's the main force behind the record, but the set's a strongly collaborative effort – and features keyboards from Mark De Clive-Lowe, flute from Derf Reklaw, strings from Mighel Atwood-Ferguson, vocals from Dwight Trible, and key studio work from Carlos Nino! Story's vocals and overall conception are wonderful – soaring and soulful, with some slight cosmic touches that give the record a bit more crackle than related projects – a sound that's still steeped in spiritual jazz elements, yet which also really opens up as the set rolls on. There's a wonderful sense of variety to the tracks – due to the shifting lineup – but the overall feel is still very cohesive, and an amazing demonstration of Story's bold musical vision. Titles include "Seasons", "Into The Hour", "Love Force Trio (part 1)", "Underway", "Water Bearer", "Paddle Boat", "Bloop Drip", "Gyre Song", "As Is", "God Sun", and "Suijin".

A seminal early recording from one of our favorite reed players ever! In the late 1950s, the young Frank Strozier came up to Chicago from Memphis, along with his longtime friend, pianist Harold Mabern. The two of them both settled nicely in the city's MJT+3 combo, where they proceeded to recorde some incredible hardbop sessions for Vee Jay. During that same time, Strozier began to emerge as a strong soloist and a competent leader in his own right, and Vee Jay gave him a much-needed crack at this debut album. The session's a perfect showcase for Strozier's lyrical beauty, and given the quality of the work, it's a wonder he was never more famous. The group's a quintet, and Strozier's ably teamed with Booker Little, Wynton Kelly, Paul Chambers, and Jimmy Cobb. Titles include "WK Blues", "Waltz Of The Demons", "Runnin", and "Off Shore".

Beautiful sounds from reedman John Surman – played solo, but on a variety of different instruments – all in tones and textures that aptly demonstrate that Surman's style is as sonic as it is musical! The record does a great job of avoiding some of the colder elements that sometimes hold back Surman in such a setting – and really recreates that special warmth when he hit some of his moodier, more spacious modes in the 70s – spun out here on soprano, tenor, and baritone sax – plus alto, bass, and contrabass clarinets – as well as harmonica and synthesizer too! Most tracks are shortish, but very evocative – with titles that include "Glass Flower", "Whistman's Wood", "Saltash Bells", "Sailing Westwards", "The Crooked Inn", and "Dark Reflections".

Beautiful solo work from Horace Tapscott – a record that's a bit gentler than some of his other sessions for Nimbus – very stretched out and moody, and with a wonderfully contemplative feel overall! There's a bit of echo in the recording quality here – so that even when Tapscott's notes are spare, they still ring out with a good sense of presence – stating their case simply, but with great effectiveness – as Horace makes his way through a set of original tracks, plus a few well-chosen numbers by other jazz artists. Titles include "Nica's Dream", "Vigilance", "Straight Street", "Sabroso", "Full House", "A Call For All Demons", and "For Patrice".

The team of Clark Terry & Bob Brookmeyer shouldn't work so well together – but although Terry's always been an optimist, and Brookmeyer's had a history as a modernist, the pair cut some great records together! This set's one of the best of a short run the Terry/Brookmeyer group cut for Mainstream in the mid 60s – a quintet session with Hank Jones on piano, Bob Cranshaw on bass, and Dave Bailey on drums – all players creative enough to match the playful spirit of the leaders, muting their rhythms one minute, and grooving them up the next! The mix of Terry's flugelhorn and Brookmeyer's trombone is especially great – a breathy approach to the horn parts that still swings hard, but with a fluid grace that's more pulsating than punctuating. Titles include a great version of Gary McFarland's "Milo's Other Samba", Jimmy Heath's "Gingerbread Boy", and the titles "Haig & Haig", "My Gal", "Naptown", and "Morning Mist".

Head-nodding, truth-telling soulful hip hop from underground Chi producer/MC Thaione Davis – who we actually hadnt heard much from in the previous couple of years – so it's good to have him back! Even though it's been a minute since he's checked in with us, this is actually Thaione's 9th album. He's not only a long-running independent hip hop Chi presence, he's also one of our most consistently high quality players – he gets better and better! He's sharp enough of a lyricist and wise enough of a producer to make music that's built to stand the test of time – skirting trends in favor of truth and soul. Most cats don't do it like this anymore. Good to have you back, Thaione! Includes "Conflict Resolution", "Control", "Hold Me Down", "Galaxie's A Problem" feat 80's Babies, "The Joys Of Life & Pain" with Race of Primeridian, "2 Finger Peace Sign" with Adad, "Everything is Everything", "Anythingthatbenefit", "Hypnotize", "Demonstrating Literature", "8 Bit Analysis" and more – plus the CD only bonus track "No Reciprocal".

Incredible late work from the great West African dance band Vis-A-Vis – a brilliant set from 1977 that demonstrates good and well why the band were so greatly in demand both live and in the studio! The group had spent quite a bit of time backing the great Ghanaian singer K. Frimpong in the mid-to-late 70s, sometimes billed as the Cubano Fiestas, but as you're hear on this great set, they're just as great out on their own. They show a pretty amazing range – with a raw, yet dexterous African funk sound on some numbers and the entwining melodies of high life on others. The 12-piece group features a trio of vocalists led by "Superstar" Isaac Yeboah, plus Anthony Yeboah and Ayim Bediako, with Sammy Cropper on guitar, Slim Mau on bass, drummer Gybson "Shaolin Kung-Fu" Papra, George Asante on conga, Tonny Dozis on keys and synth, Kofi Abrokwaa on tenor sax, Paul Winter on trumpet, Daniel Asare on maracas and Alex Jubin on cowbells. Includes "Obi Agye Me Dofo", "Kankyema", "Gyae Su", "Gladys Mmbobor" and "Susan Suo".

Ever wonder how we get our records so clean at Dusty Groove? Well, it's because we've been using this amazing machine for years, and we'll swear by it always as the best way to clean up those old albums you find while diggin' through the crates. The long-tested VPI system is in place with record dealers, collectors, and audiophiles everywhere – and it's even used by the Smithsonian Institute for the albums they have in their archive! The process is simple, but extremely effective: the record is bathed in a special fluid, scrubbed by a special brush to loosen all dirt and debris, and then the whole thing's vacuumed up to remove the fluid dirt and all! We know the machine's a bit pricey, and we balked a bit when we bought our first one. Now, though, we own 3 of them, and we think every penny was very well spent. We can't recommend the machine highly enough, and if you ever need a demonstration, just look at one of the very clean records you've bought from us! (The shipping price will be a bit more than usual, and we'll give you a quote when you order, but at least you won't have to pay sales tax on the whole thing.)

This is the heavy-duty version of the other record cleaning machine that we carry. The process is the same as the other one: the record is bathed in a special fluid, scrubbed by a special brush to loosen all dirt and debris, and then the whole thing's vacuumed up to remove the fluid dirt and all! The difference, though, is that this one's got a more powerful motor, a special cooling fan, and it applies fluid and scrubs the records automatically, and in 2 directions. (These differences don't make much difference if you're just doing records on an irregular basis, but if you clean a lot every day, like us, they're very important.) We can't recommend the machine highly enough, and if you ever need a demonstration, just look at one of the very clean records you've bought from us! (The shipping price will be a bit more than usual, and we'll give you a quote when you order, but at least you won't have to pay sales tax on the whole thing.)

A beautiful little solo session from the late Mal Waldron – recorded in Paris in 1972, and featuring (as you'd guess from the title) Mal stretching out wonderfully on a well-tuned Steinway! The mood of the set is softer and more introspective than some of Waldron's other work from the time – no less inventive, but with a quality that's warmly lyrical and extremely tuneful throughout – a great demonstration of Waldron's growing confidence as a solo artist at the time – yet expressed with a thoughtfulness that makes the album one of his real standouts in this mode. Tracks are all originals – and titles include "Paris Reunited", "For Eric Satie", "One For Bud", and "Portrait Of A Bullfighter".

An early 60s Columbia classic from Johnny Williams – a rare album of stereo-heavy instrumentals done in a style that's quite similar to the RCA Stereo Action series of the time – with lots of unusual instrumentation, and a wide-ranging sound that leaps back and forth from speaker to speaker! There's plenty of jazzy interplay in the music – similar to Williams' 60s soundtrack work – and the large array of woodwind, brass, and rhythm players includes west coast jazzmen like Pete Candoli, Shelly Manne, Jimmy Rowles, Larry Bunker, and others. Titles include "The Varsity Drag", "Fascinatin Rhythm", "Johnny One Note", "An Occasional Man", "Sunny Disposish", "Buckle Down Winsocki", and "My Heart Belongs To Daddy".

Powerful early work from Iannis Xenakis – and possibly the greatest demonstration of the concept of electro-acoustic you could hope to find! The mixture of sounds, shapes, and textures here is pure Xenakis – definitely at a level that's similar to some of his contemporaries on the European electronic scene of the time – but with a raw power, and almost organic sense of disturbance that's gone onto have a huge influence on years of musicians in many different scenes. Titles include "Orient Occident", "Bohar", "Concret PH", and "Diamorphoses".

A really unique little record – and a wonderful cross-section of the Japanese scene at the start of the 70s! The album features work by three trios – hence the title – some avant, some straight, and all if it pretty great! First up are the Yosuke Yamashita trio – who really step outside on the tracks "Dore" and "Morkurin Gugan" – material that really demonstrates the sharp, free-thinking sound of the group. Next is work from a trio led by Itaru Oki, with some really bold trumpet lines – stretching out and carving great space over relatively open, free territory – on titles "Flying Into Space" and "Conversation With Water". The trio of Yuji Ono follows, grooving soulfully on some tracks instrumentally, joined by vocals from Kimiko Kasai on a few others – titles that include "Kenny's Mood", "Get Out Of Town", and "Autumn Leaves". Then, the best work of all – two long vocal tracks that feature Kasai singing hip and wordlessly, with combined backing from the groups of Oki and Ono – titles that include "Black Shadow Woman" and "Theme Of The Unknown People".

A superior second volume of tropical cumbia from Vampi Soul – and a more expansive set than the first one, too! The vast majority the the great stuff here comes from the psych and immediate post-psych years– and it has the tripped-out sounds to show for it – but those are anchored nicely, by feverish percussion and tight tropical rhythms. Beyond that are some some great wah wah guitar, trippy organs, Moog and synth grooves – for a really great sound! This volume is also pretty heavy with instrumentals, but there's some standout vocal tunes, too – with numbers by Los Destellos, Compay Quinto, Los Yungas, Grupo Celeste, Juaneco Y Su Combo, Los Demonios Del Mantaro, Los Ecos, Los Beta 5, Los Orientales De Paramonga and many more. Comes with a nice little booklet of photos, with notes in both Spanish and English. 34 tracks on 2CDs: "Mi Choza, Mi Chacra Y Mi Mujer" by Manzanita, "Boogaloo Del Perro" by Los Destellos, "Baila Flaquita Baila" by Los Ecos, "Illimana" by Los 5 Palomiullas, "Recordando A Fachin" by Juaneco Y Su Combo, "Sin Exito" by Grupo Celeste, "Selva, Selva" by Juanaco Y Su Combo, "Colegiala" by Los Ilusionistas, "El Panadero" by Los Beta 5, "Peti Pan" by Los Demonios Del Mantaro and many more.

A superior second volume of tropical cumbia from Vampi Soul – and a more expansive set than the first one, too! The vast majority the the great stuff here comes from the psych and immediate post-psych years– and it has the tripped-out sounds to show for it – but those are anchored nicely, by feverish percussion and tight tropical rhythms. Beyond that are some some great wah wah guitar, trippy organs, Moog and synth grooves – for a really great sound! This volume is also pretty heavy with instrumentals, but there's some standout vocal tunes, too – with numbers by Los Destellos, Compay Quinto, Los Yungas, Grupo Celeste, Juaneco Y Su Combo, Los Demonios Del Mantaro, Los Ecos, Los Beta 5, Los Orientales De Paramonga and many more. Comes with a nice little booklet of photos, with notes in both Spanish and English. 34 tracks including "Mi Choza, Mi Chacra Y Mi Mujer" by Manzanita, "Boogaloo Del Perro" by Los Destellos, "Baila Flaquita Baila" by Los Ecos, "Illimana" by Los 5 Palomiullas, "Recordando A Fachin" by Juaneco Y Su Combo, "Sin Exito" by Grupo Celeste, "Selva, Selva" by Juanaco Y Su Combo, "Colegiala" by Los Ilusionistas, "El Panadero" by Los Beta 5, "Peti Pan" by Los Demonios Del Mantaro and many more.

A treasure trove of funk and soul from one heck of a great little label – Columbus, Ohio's short-lived Capsoul imprint – only around for 5 years in the 70s, but home to a great flurry of indie singles! We first caught onto the label's brilliance with their funky classics "Hot Grits" by Elijah & The Ebonies and "Sock It To Em Soul Brother" by Bill Moss – but as this set wonderfully demonstrates, the label's got a heck of a lot more to offer – and all of it great! The label's brilliance has been masterfully unearthed by the crate-digging team at Numero Records – who've brought together 20 of the best Capsoul singles in a beautiful package that really tells the story of the tiny imprint, getting at the details and struggles that faced independent soul in the marketplace of the 70s. Way more than just a set of old singles, the set's a rich document of indie soul in one of the near-forgotten corners of the Midwest – filled with great tunes that may well have you booking the next flight you can find to Columbus! Titles include "Sock It To Em Soul Brother" by Bill Moss, "Pure Soul" by Elijah & The Ebonies, "Without Love" by Ronnie Taylor, "You're All I Need To Make It" by Johnson, Hawkins, Tatum, & Durr, "Hot Grits" by Elijah & The Ebonies, "Too Far Gone" by Four Mints, "I Want To Be Ready" by Kook Blues, "Go On Fool" by Marion Black, and "Number One" by Bill Moss. Updated version features new mastering and additional notes – plus the bonus track "All I Need To Make It" by The Capsoul Group.

A very different side of the sound of Fania Records – tracks that draw heavily from the club and disco rhythms of the New York scene of the 70s, but serve up the music with a sweet little Latin twist! The set really illustrates the evolution of Latin Soul from the 60s – showing a generation of artists who were equally willing to draw from the styles of their African-American contemporaries on the scene, but in different ways than the Latin artists of a decade before! Most tracks still have a fair bit of Latin percussion in the mix (it's no secret that Latin rhythms were a big influence on 70s disco) – and the selection of cuts is really wonderful – way past the obvious, and in ways that are different than other collections of this nature, including the Nuyorica classics on Soul Jazz. Titles include "Waterbed" by LTG Exchange, "Dance Dance Dance" by Orquesta Novel, "To Be With You" by Jimmy Sabater, "Good Times" by Charanga 76, "Salsa" by Louie Ramirez, "Mambo Rock" by Seguida, "Afro Hustle" by Lou Perez, "Call Me" by Joe Bataan, "Es Un Demonio Ella" by Fausto Rey/Larry Harlow, "My Love Supreme" by Milton Hamilton Crystalized, "Wata Wasuri" by Tito Puente, and "Johnny's No Good" by WRLC.

A great take on the sound of Philadelphia International – a double-length set of re-edits of Philly gems from years back – but all done in ways that are completely respectful to the originals! The approach here is wonderful – as warm and soulful as the Philly grooves from back in the day – but often extended and reworked slightly – the way you might have heard on a vintage 12" promo – which is even more impressive once you consider that some of these tracks never came out in that format! The choice of tracks is totally right on the money – and a great demonstration of that old school edit mode that never tried to mess with the track at all – just increase the pleasure it brought to the dancefloor – and the set features 21 very long tracks, including "Satisfaction Guaranteed (Morning Star re-edit)" by Harold Melvin & The Blue Notes, "Only The Strong Survive (J*Ski re-edit)" by Billy Paul, "Free Love (Victor Rosado re-edit)" by Jean Carn, "Life On Mars (DJ Mila re-edit)" by Dexter Wansel, "Ain't No Stoppin Us Now (The Noodleman re-work)" by McFadden & Whitehead, "Nights Over Egypt (Womack & TOT re-edit) by The Jones Girls, "Strategy (Touchsoul re-edit)" by Archie Bell & The Drells, "Let The Dollar Circulate (Scratch N Sniff's ext re-reub)" by Billy Paul, "Darlin Darlin Baby (Deep & Disco re-work)" by The O'Jays, and "Be For Real (Tim McAllister re-edit)" by Harold Melvin & The Blue Notes.

A great counterpart to the first volume of rare 60s Hungarian jazz from Cosmic Sounds – as this one has more of a 70s focus, and an overall sound that's more concentrated in funk! During the 70s, the Hungarian scene picked up a lot of the heavier fusion influences from the rest of Europe at the time – but in a way that often had rock groups hitting a lot more jazzy overtones too, playing instrumentally and jamming nicely on some of the funkiest tracks on their albums. The cuts on this set really get at that sort of groove very well – and demonstrate the surprising amount of funky material that was coming out of Hungary at the time – work that was often driven by a more progressive jazz influence, but which came out stepping with a really in the pocket groove to rival the best American fusion work of the time! CD features 11 tracks in all – including the sublime modal groover "Bamba" by Dimenzio, plus "Ole" by Andor Kovacs, "Kemenysepro" by Kis Rakfogo, "Blue Light" by Bergendy, "Green Wave" by Aldar Pege, "K 14" by Csaba Deseo Quintet, "Stroll In Debrecen" by Debrecen Jazz Group, "Jaguars Humming Birds & Amazons" by Mini, and "Tropusi Laz" by Panta Rhei.

A great counterpart to the first volume of rare 60s Hungarian jazz from Cosmic Sounds – as this one has more of a 70s focus, and an overall sound that's more concentrated in funk! During the 70s, the Hungarian scene picked up a lot of the heavier fusion influences from the rest of Europe at the time – but in a way that often had rock groups hitting a lot more jazzy overtones too, playing instrumentally and jamming nicely on some of the funkiest tracks on their albums. The cuts on this set really get at that sort of groove very well – and demonstrate the surprising amount of funky material that was coming out of Hungary at the time – work that was often driven by a more progressive jazz influence, but which came out stepping with a really in the pocket groove to rival the best American fusion work of the time! LP features 9 tracks in all – including the sublime modal groover "Bamba" by Dimenzio, plus "Ole" by Andor Kovacs, "Kemenysepro" by Kis Rakfogo, "Blue Light" by Bergendy, "Green Wave" by Aldar Pege, "K 14" by Csaba Deseo Quintet, "Stroll In Debrecen" by Debrecen Jazz Group, "Jaguars Humming Birds & Amazons" by Mini, and "Tropusi Laz" by Panta Rhei.

The sounds of the sixties – but way more than you might expect! There's definitely a few hits here, but most of the tracks are more unusual numbers too – presented here in a unique British twist on the 60s that not only includes some tracks that played big there, but not over here – and a whole host of collectable numbers that have come to represent the decade in some folks' eyes – even if the tunes only hit bigger fame in more recent years! So what does all that mean? It means you get a rich blend of rock, soul, and vocal numbers – both from the US and UK, in styles that run from mod to swinging to soulful to trippy! 46 tracks in all – including "We're In This Thing Together" by The Carrolls, "My Conversation" by The Uniques, "Night Life" by Willie Nelson, "You Can't Do That" by Nilsson, "No Matter What Sign You Are" by Diana Ross & The Supremes, "I Close My Eyes & Count To Ten" by Dusty Springfiel, "Sukiyaki" by Kyo Sakamoto, "That Means A Lot" by PJ Proby, "Hole In My Shoe" by Traffic, "Super Girl" by Graham Bonney, "Move In A Little Closer" by Harmony Grass, "Run Baby Run" by The Newbeats, "I Can't Wait Until I See My Baby" by Justine Washington, "No Need To Explain" by Flamma Sherman, "Some Other Guy" by Richie Barrett, "Head Over Heels" by Mike Rabin & The Demons, and "I'm A Lover Not A Fighter" by The Brand.

The soundtrack to Soundtrack For A Revolution – a film that chronicles the sounds of the Civil Rights era – new recordings by a diverse, reverent roster of artists that ably demonstrate how deeply these songs continue to resonate! Includes legendary spiritual soul and folk songs by Angie Stone, The Roots, Vivian Green, Anthony Hamilton with The Blind Boys Of Alabama, Mary Mary, John Legend and Joss Stone and Wyclef Jean. Each brings earnest passion to the performances, many in a fairly raw and urgent mode. Includes "We Shall Not Be Moved" by Mary Mary, "Here's To The State Of Mississippi" by Wyclef, "Will The Circle Be Unbroken" by Richie Havens, "Wade In The Water" by Angie Stone. "Oh Freedom" by Vivian Green, "Ain't Gonna Let Nobody Turn Me Around" by The Roots and more.

The dopest six songs off the Streetfighter soundtrack. As far as we know, the only unedited version of LL Cool J's banger "Life As...", plus an early track from Golden Staters Ahmad/Ras Kas/Saafir "Come Widdit". Also includes Nas "One On One", Pharcyde "Pandemonium" and BUMS "It's A Street Fight".

The legendary first EP! We've always been a fan of the Beatnuts, or later Ghetto Professionals production, but none of their recordings as the Beatnuts are better than this first EP. Includes "Reign of the Tec" (with the Grand Puba sample), "No Equal", "World's Famous" and "Psycho Dwarf." 6 full-length tracks plus 5 interludes.

Nat Adderley demonstrates that he can be as funky as brother Cannonball in this nice set of short groovers recorded for CTI from the late 60s! The record is one of Nat's few funky ones, and he's got some nice backing by Joe Zawinul, Grady Tate, Ron Carter, and Jerome Richardson. Cuts have the tightly arranged style of the early CTI sessions – with Nat's solos bouncing over the top, and some nice tight grooving underneath. Titles include "Early Minor", "You Baby", "Denise", "Electric Eel", "Hang On In", and "Halftime".

The hot sh*t: 2 cuts from the now classic Beatnuts debut EP "Intoxicated Demons".

A real departure for saxophonist David Boykin – an album of solo material, performed on soprano sax and Bb Clarinet – in a style that recalls the most experimental work of Roscoe Mitchell, and which also has ties to the solo recordings of Evan Parker and Steve Lacy! Boykin's really concerned with sound in space on the album – and blows with a freely creative vibe that surpasses even his best earlier work. The tunes start out slow, and spare, but then unfold as the album goes on – and demonstrate some incredible tone and control that we never expected from Boykin! Originally part of a live performance with a dancer, but more than compelling enough on its own – and with tracks that include "Transfixed", "And Amazement", "Of Wonder", "With A Gaze", and "Upon The Beloved".

A beautiful pairing of horns – the compressed trombone and trumpet sounds of Bob Brookmeyer and Tom Harrell – coming together here in a record that's one of the real standouts from Brookmeyer's 70s years, and a key demonstration of the young powers that would really make Harrell shine in later decades! The players have a way of blowing that's almost a great 70s update of 50s modern modes – a clear thought to the way they'd work together, but with a more fluid, soulful energy too. Rhythm is just the right kind of easygoing to make the whole thing gell wonderfully – and titles include "Shadow Box", "Marchons", "On A Theme Of Debussy", "Water's Edge", "Upper Manhattan Medical Group", and "Passages".

Pure genius from Ray Bryant – the kind of a record that few other players could ever hope to cut, and a fantastic demonstration of Ray's extremely soulful approach to the trio format! Bryant's working here with Bill Lee on bass and Mickey Roker on drums – in a triple-burning setting that has all players contributing equally to the groove – and often working strongly to create a great sense of counterpoint in the rhythms. Roker's drums are magically playful throughout – snapping and skipping along the top of the snare in a way that only furthers the rhythmic agenda of Bryant's piano. And Lee's bass has a laidback and mellow delight – one that rings out alongside the keys of the piano, and fleshes them out with some additional depth and color. The title track is a brilliant reading of "Con Alma", and the set also features Bryant's famous tune "Cubano Chant" – as well as the titles "Autumn Leaves", "Milestones", "Ill Wind", and "C Jam Blues".

Clarence Carter's first few years of Fame Studios singles – simply put, some of very best southern soul of this or any other period – both sides of each single Clarence cut with Rick Hall at Fame from 1966-1973! Recorded at the vaunted Muscle Shoals studio during the peak years of the facility and Clarence's career – what more can we say? The production and arrangements by Hall personify the sound and style of the southern soul era – and Clarence's capability to truly emote, as well as demonstrate a sly wit and unique personality – ultimately transcending all trends at the time! Absolutely essential material and it sounds as great as ever – with mastering direct from the Fame masters tapes too. Includes "Tell Daddy", "I Stayed Away Too Long", "Thread The Needle", "Too Weak To Fight", "Let Me Comfort You", "Back Door Santa", "Doin' Our Thing", "Take It Off Him And Put It On Me", "The Few Troubles I've Had", "I Can't Leave Your Love Alone", "Funky Fever", "Snatching It Back", "Devil Woman" and more.

Tenors can't get any more conclaved than this – as the record brings together 4 players on the instrument in a great match from 2 of the best sides of 50s jazz! John Coltrane and Hank Mobley represent the more open, soulful side of the spectrum – and Al Cohn and Zoot Sims the tighter, more smartly arranged aspect. Together, the quartet of horns work in an open-ended blowing mode with rhythm by Red Garland, Paul Chambers, and Art Taylor – in a way that almost makes the set a "Coltrane plus" album for Prestige – one that has the structure of some of the best Trane/Garland sides for the label, but which blows in some other horns with different voicings. If you ever needed a record to demonstrate the subtler shadings of genius within 50s modern jazz, yet still convince you that it could also be relaxed and spontaneous, this record may well be the one. Titles include 2 standards – "Just You, Just Me" and "How Deep Is The Ocean" – plus 2 Mobley originals – "Tenor Conclave" and "Bob's Boys".

Partly solo work, partly duet material – hence the title – and a rich demonstration of the continued greatness of Lol Coxhill into the 90s! Coxhill never fails to amaze us – and his work here on both soprano and sopranino saxophone goes way past the obvious – always inventive in its phrasing, and able to come up with sounds and shapes we've never heard from any other player – not just blowing for blowing's sake, but a really sensitive, conscious, and sometimes witty approach to the process – great enough on its own, but even more amazing on the duo tracks on the set. These include one totally cool number that has hurdy-gurdy from Stevie Wishart, who also plays violin on two more numbers – and another track with cello and live electronics from Marcio Mattos. All titles previously unissued – and titles include "First Rare Duet", "Third Rare Duet", "A Rare Sopranino Solo", "The Festival Solo", "A Little Bit More", and "Les Folies D'Ossette".

One of those great records where Paulinho Da Viola wonderfully demonstrates why he's so different than some of his contemporaries – a samba singer at heart, but also a poet with a depth that goes way beyond the usual! The tunes here have a simple sort of start, but often unfold with a surprising charm that gets to us – way beyond the boundaries of language – that sort of feeling we get when we listen to some of Chico Buarque's classic recordings, and are pulled in deep, just because the songs are so great! Not all tunes are originals – although most of the best certainly are – and titles include "So O Tempo", "Rumo Dos Ventos", "Amor Ingrato", "Nos Ols Folioes", "Brancas E Pretas", and "Meu Violao".

A well-done love letter to the record store – pitched in the title as a vanishing breed, but well-demonstrated by the film as alive and well! The documentary takes a look at industry shifts that had led to a lot of closures of record stores, but also features a pretty celebratory look at the new independent spirit in record retailing, now that most of the giants are gone. Filmed from a British perspective, but pretty universal overall – with great appearances by Paul Weller, Billy Bragg, Norman Cook, Johnny Marr, and others. 124 minutes, with lots of bonus features!

One of Bill Evans' landmark sessions with the young bassist Scott LaFaro – a player who made key contributions on every record he touched, then left this earth far too soon in his career! The live session's a perfect demonstration of the way that the Evans trio format not only re-worked the use of the piano in jazz, but also the bass and drums as well – as LaFaro's deeply evocative playing is paired with the equally fresh drum work of Paul Motian – heard here at his youthful early best, before some of his contributions to jazz had become cliche in the hands of other players. The session was caught live at the Village Vanguard on the night of June 25, 1961 – and titles include longish takes on "Solar", "Jade Visions", "Gloria's Step", and "Alice In Wonderland".

One of the greatest moments ever from west coast bassman Henry Franklin – a set of soaring, spiritual power – and a key demonstration of his rich energy as a leader! Franklin heads a wicked lineup here – playing both Fender and acoustic bass amidst other players who include Bill Henderson on electric piano, Charles Owens on tenor and soprano sax, Oscar Brashear on trumpet, Kenny Climax on guitar, and Michael Carvin on drums – all coming together with a mix of spiritual vibes and soulful undercurrents, in ways that almost give the record a Strata East sort of vibe! The whole thing is certainly one of the most memorable sessions on the Black Jazz label – and titles include "Outbreak", "Little Miss Laurie", "Theme For Jojo", and "Plastic Creek Stomp".

Mindblowing music from Bobbi Humprhey – a set cut during her legendary early 70s run for Blue Note – but a live session with a very different vibe than her studio work! The tracks are all long and very spontaneous – not nearly as tied to larger arrangements as some of Bobbi's other work – and a great demonstration that, when really let loose, Humphrey could be one hell of a spiritual jazz player! The group is nice and tight – a righteous batch of players who really help realize Bobbi's vision for the record – with Kevin Toney on Fender Rhodes, Henry Franklin on bass, Barney Perry on guitar, and Keith Kilgo on drums – players who hit a groove that's tight, but really leave lots of room for long solos – almost making the record feel like an outing for the Black Jazz or Strata East labels! Titles include a version of Alphonse Mouzon's "Virtue", plus "Sad Bag", "Sugar", and "Ain't No Sunshine".

A pretty cool record – even if it is mostly a "hi fi" sampler from RCA. The record demonstrates the full range of RCA's Living Stereo method – and it's got Ken Nordine narrating his way through a host of tracks from the label. As is typical with this sort of thing, about half of the music is classical – but there's also some nice numbers in the easy mode by Skitch Henderson, Ralph Flanagan, Lena Horne, and Jerome Hines. The best part is still Ken Nordine, though!

Definite demonic sounds from Piero Piccioni – one of the darkest soundtracks we've ever heard from the legendary Italian film composer – and a real standout from the rest of his work of the 60s! There's some very oddly-tuned instrumentation on the set – weird organ that's not entirely pipe organ, yet hardly Hammond either – often played in these long, twisted notes mixed with very offbeat and abstract percussion – all in ways that seem to reference the world of Xenakis and Stockhausen, yet which have a bit more of a cinematic focus here too. A few tunes are a bit more conventional, but still plenty darn tense – and titles include 14 tracks from the unreleased album, and 3 more long numbers from the film score!

A killer early session from Sun Ra! Ra plays organ and electric piano, and the band includes Gilmore, Pat Patrick, Marshall Allen, Ronnie Boykins, Art Hoyle, Phil Cohran, and Julian Priester. The group's also got an electric bass, which gives the tracks a nice bottom, and a good spooky feel. Nothing's too out, but the record's got a great off-kilter sound, and lots of original tracks like "Between Two Worlds", "Tiny Pyramids", "Music From the World Tomorrow", and "Angels And Demons At Play".

Sun Ra's first album as a leader – originally issued on the Transition label, but presented here in its better-known incarnation by Delmark Records! Even at this early point, Ra had a sound unlike any of his contemporaries – large group and modern, but not in a way that showed any similarities to work going on in New York or LA – a voice that was all his own, and already quite boldly stated, even in these early years! The format might be somewhat familiar – an ensemble with horns and rhythm – but the overall execution really starts to open up as the album moves on – with odd phrasings, timings, and unusual moments that live up to all the promise you might expect from Ra. Even Mingus and some of his better-known contemporaries weren't heading in these directions in the mid 50s – and the record is a proud showcase of the freedoms that players were often accorded in the less-trafficked Chicago scene of the time. Horns include Art Hoyle & Dave Young on trumpets, John Gilmore on tenor sax, Pat Patrick on baritone, Julian Priester on trombone, and James Scales on alto sax – and rhythm includes Jim Herndon on tympani, Robert Barry on drums, Wilbur Green on electric bass, and a young Richard Evans on acoustic bass! Titles include "Brainville", "Call For All Demons", "Transition", "Lullaby For Realville", "Street Named Hell", "New Horizons", "Fall Off The Long", "Possession", and "Future".

The seminal first album from the SOS Band – a record that really showcases the new sound of soul for the 80s, yet still holds onto all the best elements of the previous decade too! These guys have a great ear for groovers – well-demonstrated by the play they got on the dancefloor – yet they've also got a deeper sense of soul than some of their club contemporaries as well – heard not just on the ensemble vocals for the upbeat tracks, but especially on some of the album's great mellow steppers too! It's these laidback cuts that have always kept the album strong for us – showing that SOS are way more than just another fast funk band, and can really go deep, and stay with it for the long haul. Fred Wesley helped a bit on the arrangements – and titles include "Take Your Time", "Love Won't Wait For Love", "SOS (Dit Dit Dit Dash Dash Dash Dit Dit Dit)", "Take Love Where You Find It", and "Open Letter".

A (sadly) posthumous release from Amy Winehouse – a voice we loved for a couple good years before knowing how troubled she was in real life and now lament the loss of – and this set, largely put together by producer Salaam Remi turned out surprisingly well! It'd be pretty easy to bow to cynicism, but for our money, there's more than enough strong stuff here. It features production by Remi, plus Mark Ronson on a couple tracks, and it's a mix of styles that ably demonstrate Amy's depth as an interpreter. There's some great, kinda late night jazzy soul numbers, classic level 60s R&B and thoroughly modern hip hop soul – all with strong vocal performances from Amy. Includes "Our Day Will Come", "Between The Cheats", "Tears Dry (Original Version)", "Will You Still Love Me Tomorrow (2011)", "Like Smoke" feat Nas (and some eerily timely lyricism, as of this album's release date), "Valerie ('68 Version)", "Half Time", "The Girl From Ipanema", "Half Time", "Body & Soul" with Tony Bennett, "A Song For You" and more.