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Two great soul sides from Eddie & Ernie – heavy hitting work that's really beyond compare! "Bullets" was recorded in 1972, but never issued at the time – and is a tightly funky number with a really romping groove – one that seems to make the duo's vocals cook even more than usual, sending their message home with this really great blast of horns! "In These Very Tender Moments" is from five years earlier – a mellower cut, but one that still has this great slow funk groove – kind of a slo-mo drum part that makes for a very hip kick up from the bottom!

Post-Motown magic from the team of Holland-Dozier-Holland – a killer collection of their initial work for the Invictus label, including some of Lamont Dozier's greatest solo material! The set is smoking all the way through – a real high-point in 70s soul, with cuts that have gone onto be underground classics over the years – the kind of music we started Dusty Groove just to help promote! Lamont's vocals are tremendous, and even the instrumental tracks cook brilliantly too – thanks to a sharp punch that the trio never had this well back at Motown – kind of a 70s refinement of their previous groove, with a sound that's completely sublime all the way through. Titles include "Can't Get Enough", "New Breed Kinda Woman", "I'm So Glad", "Super Woman", "Where Did We Go Wrong", "Lady By Day", "Don't Leave Me Starving For Your Love (parts 1 & 2)", and both vocal and instrumental versions of the killer "Don't Leave Me".

Wow! A storming collection of funk and hard grooving soul from the furiously productive period between the late 60s & early 70s – incredible material spun out by NYC labels Scepter, Wand, Dynamo & Musicor – deep stuff, too, with names that we simply don't see often enough these kinds of releases! Dynamic Grooves is just that – with killer numbers by favorites of funk collectors, but relatively (and sadly) obscure figures when it comes to mainstream knowledge all these years later – along with a few bonafide legends. Great funky soul songs by Billy Clark & The Maskman, Warren Lee, Betty Moorer, The Endeavors, Allen Toussaint, Raw Meat, Chuck Jackson, The Soul Brothers, The Backyard Heavies and more! 21 tracks in all: "Soul Party Pt 1" by Billy Clark & The Mask Man, "It's My Thing" by Betty Moorer, "Ain't That Peculiar" by George Tindley, "Chitlin' Strut" by Backyard Heavies, "She's My Meat" by Harmon Bethea, "Horsing Around" by The Soul Brothers, "Fever In The Funk House" by General Cook and more.

We never stopped ourselves to ask what "stonking" means – but with tunes this great, who cares! The set's the third in a really great batch of Northern Soul compilations from EMI UK – featuring rare tracks pulled from EMI-owned labels like Capitol, Liberty, and other companies that don't necessarily jump to mind when thinking "classic soul" – but who cut some really great singles back in the 60s! The set's a real treasure trove – and features tons of tracks we'd never heard before. Titles include "Kissin Her & Cryin For You" by The Checkmates, "River Of Tears" by Barbara Banks, "I Feel Good" by Bettye Lavette, "One Day Love" by Tommy Dodson, "60 Minutes Of Your Love" by Homer Banks, "Good Little You" by Joey Dee, "I Hurt On The Other Side" by Jerry Cook, "In The Same Old Way" by Scotty Williams, "Turn Around Baby" by Lena & The Deltanettes, "My Heart Is In Danger" by Alder Ray, "She Blew A Good Thing" by Donald Height, "It's A Sad Thing" by Ray Pollard, "Why Did You Do It To Me" by The Thieves, and "I Can't Do It" by Eddie & Ernie.

A very groovy collection that offers a whole new take on the Spaghetti Western soundtrack genre! The set moves past the moody instrumentals of the western, and focuses on the vocal tracks that were usually featured as the main themes – recorded in Italy, but almost always sung in English! Given the time of the recordings, the tunes have a really mod sort of feel – western-themed, to be sure, but often recorded with some groovy 60s touches that go along nicely with the driving lyrics of the songs. Plus, since most of these tracks were almost lost amidst the larger, more serious side of the soundtracks, it's pretty darn cool that they're collected here together – making for one song-heavy batch of western groovers that we really love! Titles include "Can Be Done" by Luis Bacalov, "Don't Lose Control" by Guido & Maurizio De Angelis with Gene Roman, "Bunny" by Greenfield & Cook, "Ringo Come To Fight" by Bruno Nicolai, "Just A Coward" by F Bixio & V Lombardi, "Etronato Sabata" by Marcello Giombini, "Killer Adios" by Claudio Tallino, and "Lo Chiamvano King" by Luis Bacalov.

Peter Bernstein really makes things kick here – thanks to a hip quartet that features Richard Wyands on piano, John Webber on bass, and Jimmy Cobb on drums! With a rhythm section like that, the session better cook – and it does so nicely, in the open freedom of the Smalls Live setting – with some long tracks that are awash in extended, exploratory solos from Bernstein – really showing off his skills on the guitar in a way you don't always get on some of his solo sessions, often with a nice raspy edge that reminds us of Kenny Burrell at his best from years back. Titles include the originals "Vida Blue" and "Sideburns" – plus "Say Little Mama Say", "Love Walked In", and "Stairway To The Stars".

Two MPS gems from this unusual 70s ensemble – back to back on the same CD! Chasin The Bird features classic bop modes, updated strongly for the 70s – and played by a hip group of older players who really know how to cook! Supersax is led by Med Flory on alto, who also did the arrangements – and works here with great reed help from Warne Marsh and Jay Migliori on tenor, Joe Lopes on alto, and Jack Nimitz on baritone – plus soaring sounds from Conte Candoli and Blue Mitchell on trumpets, Frank Rosolino on trombone, and Lou Levy on piano – all of whom really help the reed players find their groove! Charts are large, as is the ensemble, but there's a nice sense of individual personalities too – even when all the saxophonists are taking a solo together at once. Titles include "Shaw Nuff", "Drifting On A Reed", "Oop Bop Sh'Bam", "Now's The Time", and "The Song Is You". Dynamite is a looser, more free-swinging album than usual for Supersax – one that still has the group working with some key contributions from west coast jazz luminaries, but in a vibe that's almost more small combo than larger ensemble! The tracks here include a fair bit of Bud Powell and Charlie Parker numbers, but the arrangements are mighty fresh – open, and swinging with some hipper 70s touches, thanks to rhythms from a trio that features Lou Levy on piano, Fred Atwood on bass, and John Dentz on drums – players that are never locked into a strict bop mode. As with other Supersax albums, there's a brace of reed players working together at the front – Lanny Morgan on alto, Jack Nimitz on baritone, and both Jay Migliori and Don Menza on tenors – coming together as one voice on the solos, and getting some key help from Conte Candoli on trumpet and Frank Rosolino on trombone. Titles include "The Fruit", "Bambu", "Blues For Alice", "Tempus Fugit", "Parker's Mood", and a surprising, but great take on Antonio Carlos Jobim's "Wave".

Funky soul from Witchita, Kansas – an unlikely locale, but home to some really great music – courtesy of the Smart brothers, and their ultra-hip club! This wonderful entry in the Eccentric Soul series from Numero really brings that lost scene to life – telling the tale of the brothers, their club, and some of the wickedly funky artists that graced their stage – a host of obscure groups, singers, and instrumentalists who really made Kansas cook, back in the day! The groove here is plenty darn hard – as raw as some of the best funky 45s you might find from points north, warmed up with occasional southern soul elements – and always produced with rough-and-ready vibe that gets to the heart of the grit right away. The set comes with a beautiful 28 page booklet – filled with vintage photos, in support of the Smart story, told by Dante Carfagna and Rob Sevier – but even without this added feature, the CD itself would be wonderful – essential listening for fans of all things funky! Titles include "Herbie's Bag" by John Smart's Band, "Mercy Baby" by Tim Jacob, "Dedicated To You" by Hard Road, "Let Me Be Your Christmas Toy" by Chocolate Snow, "Smart" by Smart Brothers, "I Was Made To Love Her" by Theron & Darrell, "I'm Not Ashamed" by Baby Neal & The Smart Brothers, "Everybody Needs Somebody" by LT & The Soulful Dynamics, "Don't Hate Let's Communicate" by Kenneth Carr with John Smart's Band, "It's Your Love" by Theron & Darrell, and "Let It Be" by Chocolate Snow.

A massive collection of ska instrumentals – all the real deal from the initial 60s start of the genre – and all pulled from the legendary Top Deck catalog! There's a crisp, raw edge to these tracks that nobody else was able to ever match again – a sinister vibe that comes from the bold production style, cool compressed rhythms, and soulful sax and trumpet solos that really make these numbers cook! Given that the set's all instrumental, the vibe here is a lot different than most ska revival work too – almost more in a 60s soul instrumental mode – with great traces to the inspiration of the genre. Titles include "Shot In The Dark" and "Determination" by Roland Alphonso, "China Town" and "China Clipper" by The Skatalites, "Scattered Lights" and "Red Is Danger" by Tommy McCook, "Warlock" by Jackie Mittoo, "Love In The Afternoon" by Don Drummond, "Live Wire" by Lyn Taitt & Jackie Mittoo, "Yogi Man" and "Red Is Danger" by Johnny Moore, "Shock Resistance" by Baba Brooks, "Lawless Street" by King Sporty & The Skatalites, and "Ti Pi Tin" by Raymond Harper.

A much-needed look at the funky Miami scene of the late 60s and early 70s – the new powerhouse of southern soul, after the slowdown in the scenes in Memphis and Muscle Shoals! The Miami sound was harder, tighter, rawer, and faster than that of other southern outlets – based around a really strong ability to pick up a little riff, cook it up nicely, and create the perfect backdrop for sock-soul vocals. By the mid 70s, Miami was topping the charts with disco tunes that sprung out of this energy – but the tracks on this set are all heavy-hitters from the pre-disco years – kickass funky tunes that burn like a box full of rare funky 45s! Titles include "You Got To Be A Man" and "The Spanish Flyer" by Frank Williams & The Rocketeers, "Do It To Me One More Time" and "Somebody Done Took My Baby & Gone" by Joey Gilmore, "Cadillac Annie" by Clarence Reid, "You Got To Be A Man" and "A Woman Will Do Wrong" by Helene Smith, "Funky Cat", "Save Me", and "Fantasy World" by James Knight & The Butlers, "Funky Me" by Timmy Thomas, "Funkadelic Sound" by Little Beaver, "Don't Make The Good Girls Go Bad" by Della Humphrey, "I Get Lifted" by George McCrae, and "Cramp Your Style" by All The People.

Diverse beatcraft from a pioneer of beathead culture – the never predictable, still vital DJ Vadim! Spacey keys, funky bass, atmospheric synth and top notch turntable skills are, as always, the main tools of Vadim's trade – but the cross-cultural, globe-spanning styles he manages to cook up are as impressive as ever on Don't Be Scared. Glitchy funk and soul from around the world, echoey dancehall and more float in and out, with some sampled bits of vocal as well as some great guest singers on the mic. Another win for Vadim and BBE! Includes "Hide N' Seek", "Lemon Haze", "I'm Feeling U" with Gregory Blackman, "This DJ" feat J-Man, "Set Them Free" feat Sabira Jade, "Leader" with Yarah Bravo, "Vah Vaow" feat Heidi Vogel, "Take My Time" with Jazz Bailey and "Closed Eyes" feat Yarah Bravo, Pugs Atomz and Jazz Bailey.

A much-needed look at the funky Miami scene of the late 60s and early 70s – the new powerhouse of southern soul, after the slowdown in the scenes in Memphis and Muscle Shoals! The Miami sound was harder, tighter, rawer, and faster than that of other southern outlets – based around a really strong ability to pick up a little riff, cook it up nicely, and create the perfect backdrop for sock-soul vocals. By the mid 70s, Miami was topping the charts with disco tunes that sprung out of this energy – but the tracks on this set are all heavy-hitters from the pre-disco years – kickass funky tunes that burn like a box full of rare funky 45s! Titles include "You Got To Be A Man" and "The Spanish Flyer" by Frank Williams & The Rocketeers, "Do It To Me One More Time" and "Somebody Done Took My Baby & Gone" by Joey Gilmore, "Cadillac Annie" by Clarence Reid, "You Got To Be A Man" and "A Woman Will Do Wrong" by Helene Smith, "Funky Cat", "Save Me", and "Fantasy World" by James Knight & The Butlers, "Funky Me" by Timmy Thomas, "Funkadelic Sound" by Little Beaver, "Don't Make The Good Girls Go Bad" by Della Humphrey, "I Get Lifted" by George McCrae, and "Cramp Your Style" by All The People.

A wonderful album from the team of Toshiko Akioshi and Charlie Mariano – a set that was only ever issued in Japan, and which we like a fair bit more than their better-known US album for Candid! The group here is the same as that one – with Charlie Mariano on alto sax, Toshiko Akioshi on piano, Eugene Chirico on bass, and Albert Heath on drums – but the sound is a lot more focused, and often a bit more swinging – with some especially great emphasis on Mariano's magnificent tone – nicely rough-edged at this point in his career, but still strongly inside – with none of the overindulgence of later years. Charlie cuts through the tunes brilliantly – and Toshiko's got a great mix of bop and modern tones in her piano work. And even though the first half of the set list is tunes from West Side Story, the quartet make them cook like you've never heard before – really taking off with a new sort of energy that's totally great! Titles include "Tonight", "America", "Cool", "Plaisir D'Amour", "Malaguena", and "Oleo".

A massive amount of early work by The Animals – brought together in one overstuffed package with some unreleased tracks as well! The group here have a great rough sound – much more bluesy than in later years, which turns out to be a perfect setting for the young Eric Burdon – whose vocals soar out wonderfully over a mix of original tunes and remakes of American classics by folks like Ray Charles, John Lee Hooker, Sam Cooke, Bo Diddley, and others! Producer Mickie Most really knows how to keep the right sort of edge on the tunes – lots of raw power in the instrumentation, especially the Hammond and guitar – and a stark, dark quality to Eric's vocals that went onto become the stuff of legend. Package features 40 tracks in all – with titles that include "I Believe To My Soul", "Don't Let Me Be Misunderstood", "Club A Go Go", "For Miss Caulker", "Feel", "Boom Boom", "Don't Want Much", "It's My Life", "House Of The Rising Sun", "We've Gotta Get Out Of This Place", and "I'm Gonna Change The World".

An early 70s killer from Ray – recorded right in the same era as most of his best albums! The feel here is strongly in the salsa mode – as Ray steps effortlessly from the Latin Soul era into a whole new decade of musical magic. And like the best of his 60s work, Ray's salsa cooks at a level that's far hotter than most of his contemporaries – with lots and lots of incredibly tight percussion, impeccable instrumentation, and even a more soulful approach to the vocals than usual. The album's got a short Latin soul groover called "Together", which has tight bass and a very catchy lyric; an extended Latin jazz version of "Tin Tin Deo", with some incredible piano that goes way way out over the groove; and plenty of other great Latin numbers, like "Invitacion Al Son", "Vive Y Vacila", "De Donde Vengo", and "Hipocresia y Falsedad".

It's been a few years since we last heard from Big Boss Man – but it's been well worth the wait, as these guys know how to cook up a mod groove better than just about anyone else! Winner's got a sound that takes us back to the swinginest days of London in the 60s – Hammond wailing over some snapping mod rhythms – sometimes instrumental, sometimes topped off by slightly psychedelic vocals that expand the sound even more. In the past few years, these guys have really grown a heck of a lot – and have managed to pick up some Latin influences that sit nicely alongside their straighter inspirations from jazz, soul, R&B, and 60s mod rock – making for an album of many surprises, and an expansive sound that's way more than just a quick retro-styled groove! Titles include "Kelvin Stardust", "Fall In Fall Out", "Complicated Lady", "Reach Out", "Oh My Gawd", "Boogaloo", "Fever Special", "Everybody Boogaloo", "The Hawk", and "Got It So Bad".

James Brown cooking it live – recorded (as the cover says) "live at home in Augusta, Georgia with his bad self"! The groove here is a nice extension of earlier Apollo modes – one that shows the increasing funkiness of the James Brown Band, captured with a raw power that few other groups could match! The set list is awash in some of James' new funky classics – and titles include a 10 minute long version of "Sex Machine", plus other groovers like "I Got the Feeling", "Mother Popcorn", "Licking Stick", and a great version of "I Don't Want Nobody to Give Me Nothing".

An incredible album from Donald Byrd – hard, funky, and with more of an edge than most of his other Blue Note work! The sound on the album's incredibly sinister – really concerned with downward chord turns in moody rhythms – played with a real sense of soul by a frontline that features Byrd, Hank Mobley, and Sonny Red. Cedar Walton drives most of the tunes with hypnotic lines on piano – and the rest of the rhythm's cooked up by Walter Booker on bass and Billy Higgins on drums. Includes the massively hard funky title cut, "Blackjack", plus "Beale Street", "Loki", and some other nice groovers. Red and Mobley are amazing, and Byrd's solos are some of his cleanest and leanest of the 60s!

A landmark album by Donald Byrd – the first one where he really started to click with jazz-funk producer Larry Mizell! Mizell and Byrd had worked together previously on the Black Byrd album – a soaring bit of futuristic jazz funk that took Byrd's career to a whole new level – but this album's the one where they really began to make the formula cook, blending together tight funky rhythms, spacey keyboards, soulful vocals, and some of Donald's best solo work of the 70s! The whole thing's a masterpiece, and all tracks sparkle – including "Lansana's Priestess", "Witch Hunt", and "Street Lady", one of the funkiest tracks ever on Blue Note. A haunting record with a beautiful spacey groove, and one of the best-ever albums on Blue Note!

A landmark album by Donald Byrd – the first one where he really started to click with jazz-funk producer Larry Mizell! Mizell and Byrd had worked together previously on the Black Byrd album – a soaring bit of futuristic jazz funk that took Byrd's career to a whole new level – but this album's the one where they really began to make the formula cook, blending together tight funky rhythms, spacey keyboards, soulful vocals, and some of Donald's best solo work of the 70s! The whole thing's a masterpiece, and all tracks sparkle – including "Lansana's Priestess", "Witch Hunt", and "Street Lady", one of the funkiest tracks ever on Blue Note. A haunting record with a beautiful spacey groove, and one of the best-ever albums on Blue Note!

Killer Cuban sounds from Cachao – a set that's definitely done with the "feeling" promised in the title! Jazz is at the core of the set – lots of great instrumental interplay between piano and percussion, tres and trumpet, and bass, of course – guiding the whole thing along strongly from the bottom, and really ensuring that the instrumental modes of the set keep on cooking throughout! There's really very little vocals, and the recording quality has a great sharp edge – way better than some of Cachao's bigger recordings from later years. Titles include "Marta", "La Floresta", "Juan Pescao", "Descarga General", "Y Tu Que Has Hecho", "El Nino Toca El Tres", "La Bayamesa", "A Buscar Camarones", and "Rendencion".

Raw, original instrumental funk from The Cactus Channel – who are coming straight outta Melbourne – and they're barely outta high school! It's kind of stunning that a group as youthful as this one is delivering such a finely-honed set of rave-up funk! It's largely done in the 70s action soundtrack and psych funk modes – recorded to analog for an authentic feel – with heavy drums, solid guitar and bass, a five piece horn section and lots of organ. There's some slower-cooking groovers, too, leaving space for some sharp solos. We really need to visit Australia and study whatever it is down there that's inspiring such a wealth of modern funk! Includes "Emanuel Ciccolini", "The Colour Of Don Don", "Budokan", "Tom Has Ideas", "Level Up", "Boss Cat", "Jungle Run", "Under The Birdcage" and "Hot Teeth".

Raw, original instrumental funk from The Cactus Channel – who are coming straight outta Melbourne – and they're barely outta high school! It's kind of stunning that a group as youthful as this one is delivering such a finely-honed set of rave-up funk! It's largely done in the 70s action soundtrack and psych funk modes – recorded to analog for an authentic feel – with heavy drums, solid guitar and bass, a five piece horn section and lots of organ. There's some slower-cooking groovers, too, leaving space for some sharp solos. We really need to visit Australia and study whatever it is down there that's inspiring such a wealth of modern funk! Includes "Emanuel Ciccolini", "The Colour Of Don Don", "Budokan", "Tom Has Ideas", "Level Up", "Boss Cat", "Jungle Run", "Under The Birdcage" and "Hot Teeth".

Two rare albums from these Duke Ellington sidemen – both recorded in New York with production from Stanley Dance! Rock Me Gently offers up some rare work as a leader from baritone saxophonist Harry Carney – working here in a swinging smaller group of players from the larger Ellington ensemble – including Paul Gonsalves on tenor, Willie Cook and Ray Nance on trumpets, Booty Wood on trombone, and Rollins Griffith on piano. The set's got a very different feel than the usual Ellingtonian outing like this – as it features songs and arrangements from Kenny Graham – the inventive British leader of the 50s who really knew how to work some fresh sounds from players like these. There's definitely a London modern vibe going on – and tracks include "Mabulala", "Five O'Clock Drag", "Tree Of Hope", "Blues For Blokes", "Baby Blue", and "Rock Me Gently". Two From Duke focuses on the solo talents of two key tenorists – Harold Ashby and Paul Gonsalves, sometimes heard together, sometimes on tunes that just feature Ashby. The set's got a wonderfully warm, laidback small combo feel – very different than the usual Ellington-ish setting you'd usually hear the players on their own – and the groups feature piano from either Jimmy Jones or Sir Charles Thompson, and some tracks also have a bit of trumpet from Ray Nance. Titles include "Backstairs", "Jeep's Blues", "Swallowing The Blues", "My Buddy", and "Oh Shucks".

A wonderful combination of music and sound effects – very similar to some of the bigger label work from artists like Jack Fascinato or Dean Elliott over at Capitol Records in the late 50s, but an even more sonically-sensitive session done for the smaller Cook imprint! Jimmy Carroll leads an assortment of vibes, bells, harps, toys, percussion, and other odd instruments – all in a weird and playful mix of melodies that almost come across like mini-cartoons in sound! There's not much in the way of larger or conventional instrumentation – which makes Jimmy's work even different than bigger label experiments like this – and the recording quality from Cook really makes all the odd sounds come through with great clarity!

An amazing pairing of talents! Funk vocal giant Ricky Calloway works here with backing from The Dap Kings – recording in the Daptone studios, with production from Kenny Dope! All the cooks on board definitely don't spoil the broth – and instead, the cut may well be the sort of number we've been waiting to hear for years from Ricky! "I'm In Love" is presented here with parts 3 and 4 – which we don't think were on any previous singles – and is a stone monster too!

Volume 2 of Lockjaw's classic early Cookbook sessions – cut for Prestige in a key transitional moment, when Lock was trying to break past the R&B roots of earlier years, and emerge as a more sophisticated jazz soloist, capable of carrying an idea way past the short format of singles and jukebox sides. The sessions provide a perfect format for such an effort – as the tracks are long and open-ended, and match Eddie with a great quintet that includes Shirley Scott on organ and Jerome Richardon on flute. Includes the classic "The Rev", plus "Stardust", "Skillet", and "The Broilers".

From the title, to the cover, to the gritty grooves way down in the wax – this has got to be one of the funkiest Blue Note albums ever – a real landmark from the legendary Lou Donaldson! The set kicks off with a hard and heavy groove from the very first note – thanks to some super-tight drumming by a young Idris Muhammad – still billed under his birth name of Leo Morris on the sleeve, but already hitting the kit with that snapping post-Popcorn style that would revolutionize funky jazz in years to come! Donaldson's plenty smoking himself on electrified alto sax – played with that great mix of flatness and echo that you'd hear in Eddie Harris' albums of the same time – and the rest of the lineup is equally cooking, with Melvin Sparks on guitar, Charles Earland on organ, and Ed Williams blasting away on funky trumpet! Titles include killer remakes of "It's Your Thing" and "Who's Making Love" – plus Donaldson originals "Hot Dog" and "Turtle Walk" – all nice and long, and with a really raw sound!

Stone cooking hardbop – done with all the sharp edges of a New York session, even though the material was recorded live in Rio! The setting is an unusual one – a State Department tour of American jazz musicians – but a lineup that moves way past some of the overly-mainstream "ambassadors" out there – given that the players include Kenny Dorham on trumpet, Zoot Sims and Al Cohn on tenors, Curtis Fuller on trombone, Herbie Mann on flute, and even Ahmed Abdul-Malik on oud! Tracks are nice and long – very much in a jam session mode on the best numbers, but mixed with some well-played mellower moments too – and titles include "Wee Dot", "Red Door", "Autumn Leaves", and the haunting original "Ismaaa", which has a great Eastern feel, thanks to the oud!

Funky cockroach! This one's a great remake of "La Cucaracha" – taking the tune into hip disco territory, and cooking it up with some nice east side LA grooves! The tune's an instrumental, done with some dope club grooves and nice horns riffing over the top – much better than you'd think!

One of the greatest harmony groups to ever come from Jamaica – a killer quartet who fused together American soul styles with sweet reggae rhythms – all to create a groove that really helped push forward the sounds of Kingston! This collection of classic work by The Ethiopians is completely sublime throughout – numbers that step along slowly, with a great head-nodding groove – and vocals that echo out wonderfully with a collaborative, spontaneous quality you don't always get in reggae work of this vintage. Instrumentation is by a lineup of greats recorded at Treasure Isle and Wirl – including Tommy McCook on tenor, Winston Wright on Hammond, and Sly & Robbie on rhythms. Titles include "Train To Skaville (Original Version)", "Guilty Conscience", "Hurry On", "Reggae Hit The Town", "The Selah", "Ethiopean National Anthem", "Need Someone", "Slave Call", "Everything Crash", "Love Jah", and "Obeah Book". CD features a few bonus tracks not on the LP.

An overlooked US date from 1970 – a set that Dexter Gordon recorded during a quick stop home from his time abroad – really cooking away in the Prestige studios with a great little rhythm section, in ways that are quite different than his better-known European work of the time! The title cut's a groover that definitely matches the promise of its name – a slinky soul jazz number driven along nicely by a rhythm trio that features Tommy Flanagan on piano, Larry Ridley on bass, and Alan Dawson on drums. The group keep things interesting on other cuts too – even when Gordon's dominating with the kind of inventive solo lines he was forging in Europe – and most tracks are longish, with plenty of room for action. Titles include "The Panther", "Valse Robin", "Mrs Miniver", and "The Blues Walk".

Grant's First Stand – and a mighty one at that! The set was recorded when Green was a guitarist fresh on the scene – showing up in New York from St Louis, where he'd been discovered by Lou Donaldson and brought to Blue Note with great acclaim! For this first date, Green's heard in really stripped-down company – just Hammond from Baby Face Willette and drums from Ben Dixon – a spare trio setting that makes for a madly cooking little record, and one without some of the smoother edges of Greens' later years! The set's as raw and soulful as Willette's own Blue Note classics – and is very much in the side of the spectrum that Donaldson was bringing to the label at a time – a much-needed dose of new energy from the Prestige Records side of the tracks. Every track's a winner – and titles include "Blues For Willarene", "Baby's Minor Lope", "Miss Ann's Tempo", and "A Wee Bit O Green".

Conrad Herwig really has a way of making other players cook – a special sort of something that comes through in both his rich vision for the music, and his strong inspiration as a soloist too! This album's key testament to that quality in Herwig's music – as it has all players sounding really a cut above – and soaring with Conrad's trombone in a marvelous batch of original tunes with a really fresh feel! The rhythm section grooves right from the start – often with some modal energy at its core, giving the record the feel of some lost European jazz set from the 70s at points – yet definitely holding onto its own spirit amidst all of Herwig's original compositions. Piano from Orrin Evans is a key part of the album's success – but the set also features great work from Ralph Bowen on tenor, Kenny Davis on bass, Donald Edwards on drums, and Herwig himself on trombone. Titles include "Traceless Moon", "The Sun Within", "Morning Shade", "Thorn Witness", "Free Action Reaction", and "The Voice Through The Door".

The first ever retrospective of the late 60s & early 70s work of singer Willie Hobbs – a great mix of uptempo southern soul, slow cooking groovers, tender ballads and more – and Hobbs nails it on all fronts! Most of the singles were cut for Nashville labels– including Silver Fox, Seventy Seven, Sound Plus and others – with top notch production and song selections, when added to Willie's exceptional vocals, adds up to excellence that rivals the best soul of the period made anywhere. It includes some great stuff recorded at Fame in Muscle Shoals, with that sound well represented, plus a bunch of stellar Nashille recordings that range from gospel-tinged soul to funky beaters! 22 tracks: "Yes, My Goodness Yes", "The Game Of Love", "Where The Sweetness Lies", "Where Did I Go Wrong", "Do Your Own Thing", "Big Legged Woman", "Mr. Lovemaker", "Why Me", "Judge Of Hearts", "At The Dark End Of The Street", "(Please) Don't Let Me Done", "Why Does It Hurt So Bad", "Somebody Love Me" and more..

Lightnin Hopkins at his best – a set that rings out with all his bold electric tones on the guitar, yet which also has the moody, stripped-down feel of a blues recording from a few decades before! The electricity really does a lot to deepen the tone – both in the echo from Hopkins' guitar, and in the way his vocals stretch out in the same space! There's no other backing at all – which makes for a moody feel, and a quality that lives up to the "folk" in the title – yet Lightnin also gives the whole thing a crackling sort of energy that's also very much in the best postwar blues mode. Titles include "Sick Feelin Blues", "Blues For My Cookie", "My Baby's Gone", "Lightnin's Special", "Nothin But The Blues", and "Don't Think Cause You're Pretty".

A great little live set from King Curtis – cut in his local turf of Harlem, with a very loose sort of feel and nice gritty groove – which lets both King and his combo get even freer and funkier than usual! There's an edge here you don't usually get on the studio work from Curtis – or at least the material you'd find on other 60s albums from the same stretch – which often just featured sax instrumental reworkings of pop hits. Instead, this cooker has King's horn working in a cool combo with keyboards from Paul Griffin and guitar from Cornell Dupree – really all coming together as a tight funk act, and more in the mode that you'd find on some of King's overlooked b-sides from his Atco singles. Titles include "Philly Dog", "Tough Talk", "Soul Theme", "Something On Your Mind", and "Pots & Pans".

A sweet collection of early work by Little Beaver – including a number of singles done for the Cat and Saadia label, a few of which predate his famous albums for TK! The Beaver sound here is rough and soulful – often a bit funky, thanks to some especially nice guitar, and really cooking with that harder and heavier sound that first touched the Miami soul scene before the hit years of the mid 70s came in and cleaned things up! Tracks are mostly short, but deeply personal – and the material here all dates from the years 1970 through 1973. Titles include "Funkadelic Sound", "Everybody Has Some Dues To Pay", "Does Anybody Care", "Momma Forgot To Tell Me", "That's How It Is", "Miami Girl", and "I'm A Man Just Like You".

The US debut of Manfred Mann – and a heck of a record to introduce the group to the American market! These guys have a mod cooking style right from the start – still with a bit of Brit Invasion jangle in the guitar at points, but much more pointed towards the bluesy currents of the London scene that was really coming into play. Instrumentation includes harmonica from Paul Jones, Hammond from Manfred Mann, and guitar, alto, and flute from the legendary Mike Vickers – on tunes that include "Untie Me", "Without You", "Bring It To Jerome", "Sack O Woe", and the classic "Do Wah Diddy Diddy".

One of only two albums cut by the Four Souls group of drummer Lenny McBrowne – a really cooking combo that should have gotten greater exposure back in the day! The west coast group were clearly one of the hippest acts working on their scene at the time – as they've got a unique blend of soul jazz and modernism – one that cooks with Jazz Crusaders-like energy at points, but also has some sharper edges too – a bit in the vein of the wonderful JFK Quintet from the DC scene. Players in the group include Terry Trotter on piano, Don Sleet on trumpet, Daniel Jackson on sax, and Herbie Lewis on bass. Jackson's a real standout in the group – a player with a great edge and real sense of feeling, and one we'd love to hear more of. Titles include "Soul Sisters", "Invitation", "Dearly Beloved", "Lazinka's Tune", "Cerise", and "McBrowne's Galaxy".

A landmark album from the Miami soul scene of the 70s – the record that put Gwen McCrae on the map, and showed to the world that the TK sound was about to dominate the charts! There's a really unique groove to the set – part older southern soul, part percolated electric modes – that funky groove that Little Beaver, Timmy Thomas, and some of Gwen's TK contemporaries had been cooking up at the time. Both Beaver and Thomas are working on the sessions – as are Willie Clark, Latimore, and George Perry – and even the backup vocals are hip – with help from George McCrae, Betty Wright, and KC of Sunshine Band fame. But throughout it all, Gwen's the real star – singing with an impeccable vocal approach that's full of soul, yet never overdone – heard to amazing effect on the classic track "90% Of Me" – and other gems that include "For Your Love", "He Keeps Something Groovy Going On", "It Keeps On Raining", "He Don't Ever Lose His Groove", "Move Me Baby", and "Let Them Talk". Also features the classic "Rockin Chair" – added to the self-titled Gwen McCrae album from 1974, and retitled here to get the hit on an album!

One of the most soulful sets ever recorded by the Buddy Miles Group – a really searing set of live performances from 1971, often done in a way that has the band stretching out and jamming heavily! The core group seems a bit bigger than usual – with a lineup that includes guitar and organ alongside some heavier tenor, alto, trumpet, and trombone. The horns come on strong, but are offset by lots of searing guitar from Charlie Karp – and Buddy, as usual, is a real monster on the drum kit. There's plenty of instrumental moments here that cook with funky soul intensity – and titles include "Wrap It Up", "Joe Tex", "Take It Off Him & Put It On Me", "Down By The River", "Place Over There", "The Segment", and "Them Changes".

An early 80s cooker from Stephanie Mills – not exactly "without mercy", as you might guess from the title – but instead a great slow burner that really does a great job of opening up her voice! Mills moves here in a perfect space between the late disco years and commercial 80s pop – a groove that's warm and mature, and just right for pushing Mills past some of the styles of earlier years – but also without falling into any sort of "adult contemporary" cliches! Stephanie's sound is wonderful – that crisp, distinct style that is already great on a bold number, but somehow takes on even more personality on understated tracks like these – probably thanks in part to the careful instrumental balance served up by David Wolfert's arrangements. Titles include "My Body", "Pilot Error", "Do You Love Him", "How Come U Don't Call Me Anymore", "Never Get Enough Of You", and "Eternal Love". CD features two bonus tracks – "Pilot Error (club mix)" and "Hold Me Close To You".

A rare non-Blue Note late 50s session that features Hank Mobley and Lee Morgan – and a stone cooker that feels like some of the best Jazz Messengers dates of the time! There's a chance that the session was possibly cut "under duress", like a number of other jazz albums on Roulette during the period – but that doesn't stop it from being a full-on, open-fire groover – lots of long tracks done in perfect hardbop formation! In addition to Mobley's tenor and Morgan's trumpet, the combo also features Curtis Fuller on trombone, Billy Root on additional tenor, Ray Bryant on piano, Tommy Bryant on bass, and Specs Wright on drums. The album features four long blowing tunes – "Walkin", "All The Things You Are", "Bag's Groove", and "There Will Never Be Another You".

A funky session headed up by wayward P-Funkster Jerome Brailey – a cooking little record with a quality that's right up there with some of the other George Clinton projects of the time! George didn't have anything to do with this one – at least not from what we can tell from the notes – but the set's got that percolated groove that P-Funk virtually invented – a nice sense of syncopation that brings in a good roller skating feel to some of the cuts. Titles include the killer "Semi-First Class Seat" – plus "Reality", "One On One", "Will It Be Tomorrow", and "Don't Bust the Groove".

Oliver Cheatham sounds wonderful here – in that best bouncy style that made him a big favorite on the dancefloors in the early 80s – a groove that's still pretty darn great all these years later! The set features key songwriting help from Al Hudson and Kevin McCord, both of whom help enforce the One Way style of grooving here – nicely punched-up club tracks filled with plenty of hooks, mixed with the odd mellower number to show that the album's a solid soul effort all the way through – and not just some dance tracks cooked up in the studio! Cheatham's vocals are great – better than we remember – and titles include "Everybody Wants To Be The Boss", "I Want Your Love I Need Your Love", "Boogie Stomp", "Don't Take Your Love Away", and "I Gave Myself To You".

Sublime southern soul from The Ovations – a group with a really unique approach to their music! Unlike other southern groups of the time, The Ovations had a somewhat sweet style overall – one that was informed by their great love of the older music of Sam Cooke, and turned onto a hipper, more 70s-styled Memphis groove overall! Lead vocalist Louis Williams has a style that's as equally charming as Cooke, although with his own great touches overall – and the backings on some of the cuts add in a nice southern soul component, although still with the same sort of polish that Cooke might have appreciated. CD features 21 tracks in all – including their rare album for MGM, plus other singles for the Sounds Of Memphis and XL labels – as well as 6 previously unissued tunes, and one rare single for Chess! The package is a long-overdue tribute to this wonderful group, and titles include "Hooked On A Feeling", "One In A Million", "Touching Me", "So Nice To Be Loved By You", "I Can't Believe It's Over", "Having A Party", "Don't Say You Love Me", "I'm In Love", "Pure Natural Love", "Sweet Thing", "I Care For You", "Till I Find Some Way", "Hangin On", "You're My Little Girl", and "Gotta Get Free".

A stunner! High Plains Drifter collects material from the mighty Lee Perry during the crucially creative and fertile period between 1968 & 1973 – in which he founded the Upsetter imprint and had some chart success. It was such a productive period, resulting in hundreds of singles and a number of albums, that a whole bunch of incredible music made during it has been pretty badly overlooked over the years! This set on the always great Pressure Sounds puts together 20 of those – many of them simmering with quite a funky sound! Killer organ grooves and smoking rhythms highlight numbers by Val Bennett, The Mellowtones, The Ethiopians, Junior Byles and, of course, the amazing Upsetters! Glen Adams and Winston Wright handle those organs, sax by Tommy McCook, bass by Aston Barrett, trumpet by Bobby Ellis and other legendary instrumentalists, plus Lee Perry on percussion and production. Includes "Val Blows In" by Val Bennett & The Upsetters, "Boss" by Count Sticky & The Upsetters, "High Plains Drifter", "The Man With No Name" and "Amigo" by The Upsetters, "It's Growing" by Busty Brown & The Upsetters, "What's Wrong With You" by The Bleechers, "He Don't Love You" by The Silvertones, "Awake" by The Ethiopians, "A Big Joke" by Lee Perry & The Upsetters, "Rockfort Psychedelion" by Count Sticky & The Upsetters, "Iniquity Workers" by The Faithful Brothers, "Rip Up Festival '71" by Junior Byles & Righteous Upsetters and more.

A stunner! High Plains Drifter collects material from the mighty Lee Perry during the crucially creative and fertile period between 1968 & 1973 – in which he founded the Upsetter imprint and had some chart success. It was such a productive period, resulting in hundreds of singles and a number of albums, that a whole bunch of incredible music made during it has been pretty badly overlooked over the years! This set on the always great Pressure Sounds puts together 20 of those – many of them simmering with quite a funky sound! Killer organ grooves and smoking rhythms highlight numbers by Val Bennett, The Mellowtones, The Ethiopians, Junior Byles and, of course, the amazing Upsetters! Glen Adams and Winston Wright handle those organs, sax by Tommy McCook, bass by Aston Barrett, trumpet by Bobby Ellis and other legendary instrumentalists, plus Lee Perry on percussion and production. Includes "Val Blows In" by Val Bennett & The Upsetters, "Boss" by Count Sticky & The Upsetters, "High Plains Drifter", "The Man With No Name" and "Amigo" by The Upsetters, "It's Growing" by Busty Brown & The Upsetters, "What's Wrong With You" by The Bleechers, "He Don't Love You" by The Silvertones, "Awake" by The Ethiopians, "A Big Joke" by Lee Perry & The Upsetters, "Rockfort Psychedelion" by Count Sticky & The Upsetters, "Iniquity Workers" by The Faithful Brothers, "Rip Up Festival '71" by Junior Byles & Righteous Upsetters and more.

Heavy dubs from a fairly unsung producer Phil Pratt – a set recorded at Channel One at the end of the 70s/start of the 80s –backed by the mighty rhythms of Sly & Robbie and other key figures in some of the greatest Jamaican music! This is some of the most adventurous dub we can think of from that time, yet it doesn't go too far off the experimental deep end – with acres of infectious echo and some tripped out atmosherics. Ron Brian is on guitar, Bobby Kalphat & Ansel Collins on keys, Tommy McCook & Herman Marquis on horns. Includes "Dial-M-For Murder", "Danger UBX", "Stinger", "Beware Of This Rass Dub", "Chase A Crooked Shadow", "Don't Watch My Size", "Walking Razor", "Wonder Woman Dub", "Bad Boy Dub" and "Jam Up".

An excellent organ-heavy session from drummer Alvin Queen – one of the hippest cats working in the soul jazz underground, and a player who never fails to deliver great music over the years! This set's even more of a cooker than some of Queen's other recent albums – and features Mike LeDonne at the heavy Hamond organ, alongside a quintet lineup that includes Jesse Davis on alto sax and Terelle Stafford on trumpet. Queen's drumming is full and heavy – a majestically powerful force that sets all numbers into a bold little groove, and which pushes the organ/sax/trumpet frontline with an energy that's never hokey – and never just a recap of older organ jazz modes. There's a soaring feel here that's like the hippest organ-based records cut for Muse at the end of the 70s – but also with a bit of something else going on as well – and titles include "Shirley's Song", "Old Folks", "Nutville", "Mellow Soul", "There's Blues Everywhere", "Contemplation", "Queen's Beat", and "I Ain't Lookin At You".

One of the greatest albums of all time – a masterpiece of moody soul, spacey vocals, and jazzy vibes – all produced by the legendary Roy Ayers! Ramp take their name from the anagram Roy Ayers Musical Productions – and in a way, the group's the summation of all the genius that Roy had been cooking up on his own albums of the 70s – served up at an even higher level than before! The group boasts a unique two-female vocal style – sung together in a mode that had been used on Roy's own albums, but never this fully – all supported by some complex jazzy instrumentation, very heavy on the vibes and keyboards! Nearly every cut is fantastic – and the album has a strange off-kilter vibe that's totally amazing, and which has captivated soul fans for years – a blend of mellow and upbeat, complicated and straightforward that's totally great. Titles include the massive cut "Daylight", sampled famously over the years, plus "American Promise", "Come Into Knowledge", "I Just Love You", and the band's great cover of "Everybody Loves the Sunshine", done in a way that's strangely both similar and different than Roy's own version!

Mongo cooks mightily – working here at the Montreux Jazz Fest in 1971, with a soaring group that's even more spiritual than any of his records in the 60s! There's definitely a dose of Latin Soul in the mix, but there's a fiercer, more righteous quality to the album too – thanks to the presence of players like Carter Jefferson on tenor and flute, Roger Glenn on vlute and vibes, and Ray Maldonando on trumpet – soloists who really know how to soar at the right moments. The percussion's a bit more rootsy too – showing Santamaria's concern with classic Afro-Cuban sounds at the time – and alongside Mongo's congas, you'll also hear percussion from Steve Berrios and Armando Pereza. Marty Sheller handles the arrangements – and titles include "Come Candela", "Climax", "Disappear", "Marty's Tune", "I Wanna Know", and "Cloud Nine".

Gil Scott Heron's first album for Arista – very much in the mellow soul jazz work of his legendary album on Strata East! The record features some wonderfully moody jazz backing that really marks a shift in Gil's style – never going too far over the top, but hitting a sweet groove that really lets him open up as a singer even more than before! There's plenty of warm electric piano on the album, couched in those wonderfully soulful phrases that Gil and Brian Jackson could cook up so effortlessly at the time – and tracks include the fantastic cut "Winter In America", plus "The Liberation Song (Red, Black And Green)", "Ain't No Such Thing As Superman" "We Beg Your Pardon", "Alluswe" and "Western Sunrise".

Killer early work from Horace Silver – and a rare non-Blue Note session from the 50s! The album's Horace's only date for Columbia, and it's got a feel that's similar to some of the Jazz Messengers' hardbop recordings for the label at the time – cooking with a soulful intensity at the bottom, yet taking off with some tremendously well-carved solos on the top! The group's an all-star ensemble that includes some of the best harbop players of the time – Hank Mobley on tenor sax, Donald Byrd and Joe Gordon on trumpet, Doug Watkins on bass, and Kenny Clarke and Art Taylor on drums – all grooving together with Horace as if they'd been backing him up for years. Titles include great originals "Silver's Beat", "Shoutin' Out", and "Hank's Tune – plus versions of "I'll Know" and "The Night Has A Thousand Eyes".

One of the few live recordings ever done by Horace Silver during his Blue Note years – a real surprise, considering what a crowd pleaser he was at the time! The set catches Horace working with that great quintet that graced most of his best early Blue Notes – with Blue Mitchell on trumpet, Junior Cook on tenor, Gene Taylor on bass, and the always-amazing Roy Brooks on drums. The groove is tight tight tight, and the live set crackles with the same sort of energy as the live sessions by the Jazz Messengers on Blue Note – rolling soul jazz, but with a bit of a lyrical touch to flesh things out. Because of the live setting, tracks are a bit longer than the usual Silver session – which makes for freer soloing, and a bit of a rougher edge that keeps things lively throughout. Titles include "The Gringo", "Filthy McNasty", and "Doin' The Thing".

Sublime Hammond from Johnny Smith – a pair of early albums for Riverside, back to back on a single CD! Black Coffee is one of Johnny Hammond's first albums – and a cooking little live set that really has the organist working with some early raw power! The group's a trio, but they seem to burn differently than some of the other organ combos of the time – maybe with that fluid sensibility that Johnny brought to his keys, and which would later open up in even more famous ways. The core group features Eddie McFadden on guitar and Leo Stevens on drums – but they're joined by Seldon Powell on tenor for more than half the album, who really opens things up with his tremendous playing – and shows at an early state that Johnny Hammond always knows the right way to use a horn player. Titles include "Monterey Theme", "Far Away Places", "I Remember Clifford", "He's A Real Gone Guy", and "Rufus Toofus". Mr Wonderful is a record that definitely lives up to its title – reminding us not only that Johnny Hammond Smith is one hell of an organist, but also a great leader with a really unique feel for a groove! The set's noteworthy not just for Johnny's own work on Hammond, but also for the presence of a young Houston Person – blowing tenor here in a way that's breathtaking right from the start – a bold, soulful tone that's a perfect fit for the group – which also includes trumpet from Johnny Williams and guitar from Eddie McFadden. The set includes a lot of tasty originals by Johnny – like "Cyra", "Lambert's Lounge", "Departure", and "Opus 2" – and already shows the way that Hammond was complicating his groove from that of other players of the time!

A classic indie cooker from Sugar Billy – a bit funky, a bit clubby – and a really great batch of grooves done in a pre-disco mode! The tracks are all pretty darn upbeat – somewhat warmer than the funk of Fatback or Kool & The Gang, but still with a nicely rough-edged feel overall – one that mixes snapping rhythms with Billy's slightly raspy vocals – all in a groove that's somewhat unique, and which is almost a hybrid of southern soul modes and some of the indie styles bubbling out of the New York scene in the early 70s. Arrangements are by Jimmy Roach, who definitely helps the group groove – and a young Marcus Belgrave is actually in the group on Trumpet! Titles include the classic "Super Duper Love (parts 1 & 2)", plus "Treat Me Like You Don't Know Me", "Love Bug", "Sugar Pie", "Too Much Too Soon", and "Believe In Me". CD also features a great bonus track – the single-only "Freak & You Shall Find", presented in the long version!

The Supremes take on the classy Copa nightclub – and really bring down the house with a stunning mix of warmth, charm, and soul – especially on this incredible expanded edition from Hip-O Select! The original album is perhaps one of the "livest" of Motown live albums from the time – done in a spread-out style that features a lot more songs than some of their other live records, really giving the full scope of the show at the club. Plus, there's lots of crowd noise, bits of speaking from the girls, and an overall approach that's fluid and natural – very much a concert on record! The folks at Motown and Hip-O Select clearly have the deep love and respect for set that it deserves – they really go all out here! Disc 1 kicks off with the original stereo LP tracklist, including "The Boy From Ipanema", "Put On A Happy Face", "I Am Woman", "Baby Love", their wonderful Sam Cooke medley, "Queen Of The House", and "Back In My Arms Again", "You're Nobody 'Til Somebody Loves You" and more. Those are followed by 10 bonus tracks: alternate mono mixes of standouts from the original album, plus some that were left out, including "Nothing But Heartaches" and "Enjoy Yourself (It's Later Than You Think)". As great as the original album is, and as fully formed as it feels, it's not the compete show – and that's what you get on Disc 2 – all 21 tracks (more if you count the medley) and 61 minutes of it. Beautiful packaging and detailed booklet, too!

Fantastic early work from pianist Bobby Timmons album – a set that shows all the brilliant young genius that marked his playing at the time! Although only a trio session, the album grooves with the best sort of vibe that you'd find in Bobby's recordings with Art Blakey or Cannonball Adderley – probably because of the excellent rhythm accompaniment by Sam Jones and Jimmy Cobb, who really make the album cook with a tremendous amount of energy! The set list is virtually the Bobby Timmons songbook, and includes classics like "This Here", "Dat Dere", "Moanin", and others – all done in lively soul jazz trio versions different than the famous renditions you probably already know!

An excellent album of funky electric jazz – and possibly the best one that Phil Woods cut with his European group! The quartet's a very hip group that's way hipper than its clunky name – with Gordon Beck on electric piano and organ, Daniel Humair on percussion and drums, and Henri Texier on bass, flute, and African percussion – all instrumentalists who dip heavily into the deep bag of their mighty talents for the date, helping to push Phil's music into some very cool new territory! The album cooks a lot harder than Woods' previous MGM date with the Rhythm Machine group in Europe – and has a really freewheeling vibe, and a sound that's almost outside at points. All tracks are long, with a modal electric approach that's very nice – and funky in the best parts – and titles include "Chromatic Banana", "Ultimate Choice", "The Last Page", and "The Day When The World".

A crucial Yabby You set, dug up by the crew at Blood & Fire – this set contains the whole of the Yabby You & Michael Prophet "Vocal and Dub" album, plus 8 extra tracks taken mostly from hard to get 45s. We've always loved Yabby You, and his dub collaborations with King Tubby have yielded some of the fattest rhythms around. Tubby's in full effect here, along with his disciple Prince Jammy, and the band's a killer too, with Santa Davis, Chinna Smith, Ansel Collins and a great horn section: Tommy McCook, Bobby Ellis and Vin Gordon. 18 tracks: "Zambia", "Steppin' High", "Mount Zion Version", "Heads A Roll Dub", "Rock With Me Dub", "Conscious Man Dub" & "Warn Them Jah Dub".

Rarities from the mighty Yabby You – with some remarkably strong, though little heard rootsy dub from Yabby and his extended brethren – including some recently discovered bits! The title Deeper Roots works on dual fronts. It's got pretty rare material, discovered by the always deep diggers at Pressure Sounds – but the material has deeper spiritual resonance, too – with a nice Rasta vibe running throughout! Yabby is joined by King Tubby, Barrington Spence, the rarely recorded Prince Pampidoo, King Manuel, The Prophets and others. Includes "Valley Of Joeasaphat" and "Joeasaphat Rock" with Smith & The Prophets, "Don't Touch I Dread" with Barington Spence", "Tutch Dub" with Prophet All Stars, "Dip Them Bedward" with Prince Pampidoo, "Dub Them Bedward" with Prophet All Stars, "Forward On The Track" with King Miguel, "Caymamas Rock" with King Miguel & The Prophets, "Cleo's Dub" with Hot City Allstars and more. Also includes some exclusive dub plate mixes with King Tubby – featuring Tommy McCook, The Prophets and others! 19 tracks in all!

Diverse dancefloor funk – Volume 1 in the Afrodisia Club series – featuring an international roster of modern funk combos including Diplomats Of Solid Sound, Brother Soul, JC Brooks & The Uptown Sound, Hi-Fly Orchestra, Port Angels, New Mastersounds and more! Great stuff all around, from neo classic funky soul, mod funk, modern DJ tooled hip hop funk, straight up raw small combo cookers and more. 13 tracks in all: "If You're Wrong (I Don't Want To Be Right)" by Diplomats Of Solid Sound Featuring The Diplomettes, "Cookies" by Brother Soul, "Angel Food Pt 1" by Port Angels, "Soupy" by Maggie Thrett, "Don't Stop" by Patrick & Eugene, "Crosstown Traffic" by Hi-Fly Orchestra, "Thirty Three (Ju Ju Orchestra remix)" by New Mastersounds, "Soul Burger" by Soulful Torino Orchestra and more.

The best in modern jazz in Japan in the mid 50s – a smoking little record that features two different groups! Side one really cooks – thanks to work from Akira Miyazawa on tenor, Sadao Watanabe on alto, and Masao Yagi on piano – all great players who are really at the top of their game here – crackling with tight rhythms in energy that rivals the best Prestige or Blue Note hardbop of the time! The combo play versions of "Confirmation", "I'll Remember April", "East Of The Sun", and "Memories Of You". Side two features a different, larger group – an ensemble that's almost got a west coast feel at times, or maybe a groove that's like some of the best RCA ensemble sessions of the mid 50s. Players include Konosuke Saijo, Takeyasu Mori, Tadayuki Harada, and Tatsuro Watanabe – and titles include "Don't Be That Way", "Snafu", "Strictly Bass", and "The Things We Did Last Summer".

The blueprint of a generation – a set that brings together a huge amount of rare singles from the start of the 60s – most of which helped form the groove for years to come! The set's got a great early soul feel – tracks that show a genre still in formation – as bits of R&B, vocal jazz, blues, and other styles are pulled together in the new groove of the time – not yet as upbeat as the Northern Soul you'd know from a few years later – but definitely cooking with a similar sort of energy. There's plenty of numbers here to appeal to a mambo soul crowd – and titles include "You Ain't So Such A Much" by Blanche Thomas, "Feelin Kind A Lonesome" by Willie J Charles, "She Knocks Me Out" by Harold Burrage, "My Heart's On Fire" by Billy Bland, "Good Enough" by Bobby Guy, "He's The One That Rings My Bell" by Sherri Taylor, "I Think I Love You" by Helen Troy, "Little Annie" by Anna Bell Caesar, and "You Don't Have To Go" by Sam Myers.

A tasty sampling of tracks from a label that's really starting to get our attention! Dome started out quite a few years back as one of the few strong UK indie soul labels, but early releases didn't grab us nearly as much as some of their excellent recent work – a range of tracks pulled from hard-to-find sources all over the globe, all unified in a real commitment to underground Neo Soul styles! The set features 17 tracks in all, with titles that include "Now You Know" by India T, "Can't Wait" by Kelli Sae, "If You Want My Love" by Incognito, "Keep On Blessing Me" by Donald Lawrence & The Tri-City Singers, "Hey Young World" by Andreus, "The Real Thing" by Avani, "Something Special" by Donna Gardier, "It's Over" by Sinclair, "Sad Days (acoustic)" by Angela Johnson, "Wherever Love Is Found" by Richard Darbyshire, "Nostalgia (VRS rmx)" by Hil St Soul, and "Stories" by Full Flava with Carleen Anderson.

Cooking Kingston sounds from the 60s – a heady helping of work from the under-documented Caltone label – an early imprint whose quality level was right up there with Studio One! Caltone was a smaller operation, but managed to issue sides by some of the best on the scene at the time – and did so in a way that often created a nice sense of variety, given the looser setup of the company. Most of the grooves here are in a rock-solid rocksteady mode – with plenty of echoes of American 60s soul – and although the instrumentation is great throughout, the sublime vocals on some cuts are really what make the package crackle! Titles include "Killer Joe" by Tommy McCook & The Supersonics, "Making Love" by Devon & The Tartans, "Hold Your Love" by The Cool Cats, "Hear Them Say" by Eric Monty Morris, "Gypsy" by The Emotions with Lynn Taitt Band, "The Journey" by The Uniques, "Return Home" by Alva Lewis, "I'll Never Try" by The Clarendonians, "Why Wipe The Smile From Your Face" by The Kingstonians, "Listen To The Music" by Lloyd & The Groovers, and "You Are The One" by King Rocky & The Willos.

A sweet little set of 70s dubs – recorded at Channel 1, Harry J's, Randy's and King Tubbys in the heart of the dub era – with dubby takes on classic cuts by Barry Brown, Horace Andy, Don Carlos and others. The rhythms were laid down by the cream of the crop, too – Santa Davis, Sly Dunbar, Robby Shakespeare, Chinna Smith, Tommy McCook, Deadley Headley, Bobby Ellis, Sculla Sims and others. Includes "Why Fight The Dub", "Conversation Dub", "A Better Version", "Care Free Dub", "Step Inna Dub Style", "Creation Of Dub", "My Brethren In Dub", "A Wicked Dub", "Rub This Dub", "The Jehovah Version" and more. 2 CD bonus tracks: "Invasion Dub" and "A Lonely Dub".

One of the coolest collections ever put out by The Numero Group – and that's saying a lot, given the hipness of the label! Downriver Revival chronicles the story of a unique studio in Michigan – Double U Sound, a custom recording spot that captured a wonderful range of soul, funk, gospel, and other sounds from the local community – beautifully presented here in a full 2LP set, plus a bonus DVD that features the near-complete 200 song archive of the studio! The DVD's really unique – so we'll talk about it first: Done with an interactive menu that lets you literally comb through the boxes of tapes in the Double U vault – selecting each reel recorded by the studio, and sampling the rich array of wonderful sounds from this untapped Michigan scene – a huge amount of music, far more than you'd ever find on a 2LP compilation. The DVD also features a documentary on the studio and Downriver Revial project – and that alone would be worth the price of admission – but the 2LP set then features 24 key numbers pulled from the vaults – tracks that were either issued on rare 45s, or never issued at all – and which represent a wonderful array of soulful sounds that definitely lives up to the Numero standard! Titles include "There's A Light" by Shirley Ann Lee, "Take Care Of Us" by The Revelations, "Untitled Jam" by Bobby Cook & The Explosions, "Foot Stumping (alt)" by Organics, "While You Were Gone" by Combinations, "Heaven" by Deliverance Echoes, "Untitled" by Burgess Band, "Round N Round" by Junior Mays Group, and "Walk With Me" by Calvin Cooke.

A great introduction to the amazing hardbop work recorded by Blue Note in the late 50s and 1960s – served up as a massive 2CD set filled with some of the label's most cooking classics! The sound here is always tight, right, and to the point – a key illustration of the care and focus that Blue Note brought to the studio when recording jazz work of this nature, which always helped them get the best work out of all players on the session. The 19 track collection is beautifully packaged with full notes and album cover images for each track – and a set of music that goes way past the hits, to feature real gems that include "The African Queen" by Horace Silver, "After The Rain" by Duke Pearson, "No Room For Squares" by Hank Mobley, "Mosaic" by Art Blakey, "Nite Flite" by Lee Morgan, "Footprints" by Wayne Shorter, "Easterly Winds" by Jack Wilson, "A Little Busy" by Art Blakey, "The Black Disciple" by Donald Byrd, "Una Muy Bonita" by Bobby Hutcherson, "Hootnan" by Jackie McLean, and "Hobo Joe" by Johhny Coles.

A cool collection of cookers from the legendary Studio One Records – pulled together here in a collection that bears the Ironsides name of one of its sub-labels, as a great indication of some of the obscure tracks included within! The collection features loads of gems from the earliest years of Studio One – a mix of rocksteady and early reggae cuts that have that wonderfully rootsy feel that was the label's calling card – a way of laying down instrumentation and vocals with a bottom-heavy sound that filters everything together beautifully – and comes out with a wickedly seductive groove. The set's overflowing with cuts we'd never heard before – and titles include "Three Mile Skank" by Lone Ranger, "Rasta Don't Stop No One" by The Stingers, "Nanny's Corner" by Don Drummond, "Danger In Your Eyes" by The Paragons, "Mother & Child" by Fabian Cooke, "Mark My Word" by Marcia Griffiths, "Another Night" by The Soul Sister, "I'm still Waiting" by Cornel Campbell, and "Jamrec Dub" by Pablove Black.

A totally cool little compilation – kind of the sonic equivalent of a night at the drive-in movies! The package digs through some really raunchy exploitation rock of the 60s – gritty garage tracks, freaky exotic numbers, and other rough-edged gems – then mixes the music with rare horror film trailers and movie dialogue from the time – creating a combination that's totally out of this world! There's a creepy feel to the whole thing – an edgey sensibility that goes way beyond the novelty mode you might expect – and which really gets at the eerie undercurrent that lingered in the farther reaches of film production during these glory days. The collection was first cooked up two decades ago, but it's just as powerful today – a must for any fan of the Norton, Kicks, Svengoolie, or Roctober side of the spectrum! Titles include "Shook Out Of Shape" by Carol Kay & The Stone Tones, "You Is A Rat Pfink" by Ron Haydock & The Boppers, "Twist Fever" by Arch Hall & The Archers, "The Lemon Grove Kids" by Don Snyder & Pee Wee Flyn, "The Bird's The Word" by Rocky Roberts & The Airedales, "She Devils Instrumental" by R Lewis Band, and lots more great stuff – including trailers from Girls From SIN, Maniacs Are Loose, Thrill Killers, Strange Rampage, Hypnovista, and lots more weird movies!

A pair of great albums – brought together in one super-heavy package! First up is the legendary East Of Underground record – an uber-obscure LP recorded in 1971 by a group of US Army servicemen at the Armed Forces Network studios in Frankfurt, Germany – originally used as a recruiting tool during the Vietnam war! Given the strength of the set, we wouldn't be surprised if plenty of folks signed up for a tour of duty after hearing it – as the set cooks like some of the best American funk from the indie 45 world at the time. The production is nice and dark – with an echoey quality that makes us guess the album was a live recording – done by American servicemen with the feel of some backroom funk show from the Indy or Ohio scene of the 70s. Some of the tracks are familiar numbers from American hits – but redone here with a nicely gritty feel – and titles include the awesome medley "Bet'Ya Never Lose My Love California Dreamer" – plus "Higher", "Smiling Faces", "Hell Below", "Getting Over", "Popcorn/Santana", "I Love You", "Java Girl", and "Walk On By". The set also includes the Soap album – a very similar record with a mix of rock and soul, done with the same sort of US Army-endorsed approach – and some great raw production that really makes the album sparkle! Many tunes are covers, but they're played here with a gritty live energy – so that even the rock tunes feel a bit funky at times – given a really odd edge. Titles include weird versions of "Uncle Albert", "Ticket To Ride", "Southern Man", "I Just Want To Celebrate", "Get Together", and "Walk Away".

One of Jackie McLean's earliest dates as a leader – a stone cooker that already shows an edge that sets him apart from other artists! The feel here is similar to McLean's albums for Prestige at the same time – a mixture of bop and some of the modernist themes that often surfaced in McLean's work, played in a seductively laidback manner, but with a razor-sharp intensity overall! Players include Donald Byrd on trumpet, Mal Waldron on piano, and Doug Watkins on bass – just the right sort of lineup to match the dark intensity of Jackie's music. Titles include "Mood Malody", "Lover Man", "Blue Doll", "It's You Or No One", and a key early take of "Little Melonae".

A rare non-Blue Note late 50s session that features Hank Mobley and Lee Morgan – and a stone cooker that feels like some of the best Jazz Messengers dates of the time! There's a chance that the session was possibly cut "under duress", like a number of other jazz albums on Roulette during the period – but that doesn't stop it from being a full-on, open-fire groover – lots of long tracks done in perfect hardbop formation! In addition to Mobley's tenor and Morgan's trumpet, the combo also features Curtis Fuller on trombone, Billy Root on additional tenor, Ray Bryant on piano, Tommy Bryant on bass, and Specs Wright on drums. The album features four long blowing tunes – "Jamph", "Nutville", "Wee", and "It's You Or No One".

Surprisingly firey work from pianist Claude Williamson – arguably the better of his albums for Bethlehem, and a real cooker that shows a tremendous command of the keys! Claude's working here with a tight trio that includes Don Prell on bass and Chuck Flores on drums – often leading out the tunes on his own with a bold introduction, then quickly getting some strong support on rhythm. Williamson may well be strongly inspired by Flores' free-flowing energy and ability to melodically create on percussion – as Chuck's presence on the session is nice and strong – never too bold, and always in the pocket! Titles include "I'll Remember April", "June Bug", "Jersey Bounce", "Blue Notoriety", "Have You Met Miss Jones", and "Embraceable You".

James Brown cooking it live – recorded (as the cover says) "live at home in Augusta, Georgia with his bad self"! The groove here is a nice extension of earlier Apollo modes – one that shows the increasing funkiness of the James Brown Band, captured with a raw power that few other groups could match! The set list is awash in some of James' new funky classics – and titles include a 10 minute long version of "Sex Machine", plus other groovers like "I Got the Feeling", "Mother Popcorn", "Licking Stick", and a great version of "I Don't Want Nobody to Give Me Nothing".

A landmark album by Donald Byrd – the first one where he really started to click with jazz-funk producer Larry Mizell! Mizell and Byrd had worked together previously on the Black Byrd album – a soaring bit of futuristic jazz funk that took Byrd's career to a whole new level – but this album's the one where they really began to make the formula cook, blending together tight funky rhythms, spacey keyboards, soulful vocals, and some of Donald's best solo work of the 70s! The whole thing's a masterpiece, and all tracks sparkle – including "Lansana's Priestess", "Witch Hunt", and "Street Lady", one of the funkiest tracks ever on Blue Note. A haunting record with a beautiful spacey groove, and one of the best-ever albums on Blue Note!

A trio of albums from Chase – one of the hippest jazz rock combos of the 70s! The self-titled Chase album first burned onto the market in 1971 – and it's a great distillation of a groove that was bubbling around in various other segments at the time – some of the tighter big band rhythms of the late 60s, as you might find in the work of Maynard Ferguson or Woody Herman – mixed with the hipper rhythms from the rockish underground, particularly in the work of Blood Sweat & Tears or Chicago. Chase is a fair bit jazzier than both of those groups – as they often put the horns more upfront than the vocals – although most numbers do have some sort of vocals as well. Instrumentation is heavy on trumpets – which come together in blasting, blaring groove, even despite the smaller size of the combo – and Phil Porter lays down some great keyboard lines that really help some of the best tracks cook nicely. Titles include "Handbags & Gladrags", "Livin In Heat", "Open Up Wide", "Hello Groceries", "Boys & Girls Together", and "Invitation To A River". Ennea is a jazz rock classic that still sounds pretty darn tasty today – forged on the heels of Chicago and Blood Sweat & Tears, but with a sound that's leaner and meaner! The group's led by trumpeter Bill Chase – hence their name – and features lead vocals by GG Shinn and Terry Richards, both in a style that's got the same blue-eyed jazz soul overtones as that used by the groups mentioned above. The real strength of the tracks, though, is their jazzy backings – horn-heavy, as you'd expect, and hitting some great riffs and licks on the album's side-long title "suite", which features many instrumental passages. Titles include "Hades", "Aphrodite (parts 1 & 2)", "Zeus", "Poseidon", "Cronus", "It Won't Be Long", "I Can Feel It", and "Night". Pure Music is the third album from the mighty Chase – and proof that the group was still going strong even after their groundbreaking debut! The grooves here are almost tighter than before – a bit more complicated instrumentally, with some of the trumpets backed off a bit, to leave more room for great lines on guitar and keyboards. There's still some vocals on the record, but they seem a bit more on the backburner than before – and titles include "Close Up Tight", "Twinkles", "Weird Song #1", "Run Back To Mama", and "Bochawa".

Hard-slamming genius from pianist Sonny Clark – one of his greatest albums for Blue Note, and a real cooker that's served up with an all-star group! Clark's vision has never been tighter or fuller than on this album – save, perhaps, for the magnificent Cool Struttin – and his command as a leader is impeccable, effortlessly shaping the horns of Donald Byrd, Curtis Fuller, and John Coltrane to realize his unique vision in music. Rhythm is by Paul Chambers on bass and Art Taylor on drums – and titles include classics like "News for Lulu" and "Sonny's Crib", plus smoking renditions of "Speak Low" and "With a Song in My Heart".

Eddie Lockjaw Davis swings way out here – working in that cool cooking mode from the 50s, with organist Shirley Scott a very important partner on the date! The group's got a larger sound than usual – thanks to the addition of trombonist Steve Pullman – a player we don't know much, but who shifts the groove nicely away from some of Davis' more staid cookbook albums. Rhythm is by George Duvivier on bass and Arthur Edgehill on drums – and titles include "Bahia", "Foxy", "Bingo Domingo", and "Can't Get Out Of This Mood".

The title's no lie – because the album is one of the shining jewels of Lou Donaldson's legendary funk years for Blue Note – that second period when he returned to the label at the end of the 60s, and really helped redefine the sound of soul jazz at the time! The format here is very much the same as other Donaldson classics from the time – like Hot Dog or Possum Head – in that the tracks are long, open, and plenty darn grooving – locked in some funky rhythms that feature Idris Muhammad on some very heavy drums! Other players are great too – and include Blue Mitchell on trumpet, Melvin Sparks on guitar, and Lonnie Smith on Hammond – all cooking things up nicely on tracks that include "West Indian Daddy", "Donkey Walk", "Everything I Do Gonh Be Funky", and "Hamp's Hump".

Excellent stuff – a record that we love it to death, and listen to all the time! Woody Herman's band meets the soulful arrangements of Richard Evans, and the whole thing cooks nicely in the Chess studios in Chicago. The result is a tasty blend of soulful big band tracks, with a strident groove that Woody never duplicated, and with the kind of baroque arrangements that Evans was bringing to some of the best soul work on Cadet at the time. Donny Hathaway plays organ, and the group does a killer version of his own "Flying Easy". Other titles include "The Hut", "Sex Machine", and "It's Your Thing" – but it's all great!

BB King live at the Cook County Jail in Chicago – and given the amount of great live shows going on in the institution during the early 70s, the jail must have been one hell of a place to be incarcerated! This classic features BB King entertaining the prisoners with a wickedly sharp blues set – done, like most prison live shows, with an edge that's often missing from more conventional concerts – plenty gritty, both on the vocals and guitar, with a sound the Chicago audience must have loved! Titles include "How Blue Can You Get", "Worry Worry", "Sweet Sixteen", "The Thrill Is Gone", "Please Accept My Love", and "Every Day I Have The Blues".

Mike LeDonne's the groover, but the whole group makes the record swing – thanks to a quartet lineup that features Eric Alexander on tenor, Peter Bernstein on guitar, and Joe Farnsworth on drums! The set cooks with that classic New Jersey soul jazz vibe that Savant's strongly carried forward after the demise of Muse Records – a kind of no-nonsense, back-to-basics groove that few labels get as right as this – plenty of room for Mike to stretch out on hard-riffing Hammond, as Alexander blows some beautiful notes, Bernstein comps along a fantastic rhythm, and Farnsworth proves once again he's one of the most rock-solid drummers around. Titles include "Blues For McCoy", "Rock With You", "Little Mary", "Bopsolete", "The Groover", "Sunday In New York", and "I'm Gonna Make You Love Me".

No waiting here – as Little Milton's guitar is plenty sweet throughout – making the album a key cooker from his classic years on Stax! The album's an essential effort in the shift between grittier urban blues and some of the tighter, more warmed up sounds that played big in the 70s – hardly a commercial move at all, but a nice step up to a new maturity in the genre, which King definitely helped to forge. Tracks include the uptempo funked up numbers "It's Amazing" and "Woman You Don't Have To Be So Cold" – and Milton does a sort of take off on Isaac Hayes with the longer "That's How Strong Love Is" on side 2 which opens with a lengthy monologue and is filled it out by more lush string laden production and backing vocals from the Soul Children. Other tracks include "What It Is", "Little Blue Bird", and "The Thrill Is Gone".

Gritty gritty gritty! This live set of soul jazz tracks was recorded in Chicago's Cook County Jail on Friday the 13th, 1972 – and we can hardly think of a darker place to record a soul jazz album! Side one features the aptly-named "Freedom Suite", an extended groover played by Jimmy McGriff, and a 2-guitar group that includes George Freeman and Odonel Levy – and side two has Lucky Thompson playing tenor and soprano sax, in a soulful group with Cedar Walton on electric piano, on the tracks "Green Dolphin Street" and "Everything Happens To Me". A pretty incredible event to be recorded – trust us, we drive by the prison a fair bit on the way to work!

A very appropriate title for a very cooking little album – one of Lee Morgan's first efforts as a leader, cut back during his first years of late 50s fame! The style here is a bit less Morgan-esque than some of Lee's later 60s classics – but the record is rock-solid throughout, and proof that Morgan was every bit as great a leader in a hardbop session as Hank Mobley or some of the other emerging heavyweights at Blue Note! The strength of the group really helps keep the fire stoked on the set – and Bobby Timmons turns in some amazing piano work alongside a lineup that includes Pepper Adams on baritone sax, Paul Chambers on bass, and Philly Joe Jones on drums. The Adams presence gives the record a bit of the feel of some of Pepper's sessions with Donald Byrd – but the sparkling, soaring sound of Morgan makes the record way more than just a copycat set. Titles include "New-Ma", "Night In Tunisia", "Lover Man", "Just One Of Those Things", and "Heavy Dipper".

A very appropriate title for a very cooking little album – one of Lee Morgan's first efforts as a leader, cut back during his first years of late 50s fame! The style here is a bit less Morgan-esque than some of Lee's later 60s classics – but the record is rock-solid throughout, and proof that Morgan was every bit as great a leader in a hardbop session as Hank Mobley or some of the other emerging heavyweights at Blue Note! The strength of the group really helps keep the fire stoked on the set – and Bobby Timmons turns in some amazing piano work alongside a lineup that includes Pepper Adams on baritone sax, Paul Chambers on bass, and Philly Joe Jones on drums. The Adams presence gives the record a bit of the feel of some of Pepper's sessions with Donald Byrd – but the sparkling, soaring sound of Morgan makes the record way more than just a copycat set. Titles include "New-Ma", "Night In Tunisia", "Lover Man", "Just One Of Those Things", and "Heavy Dipper". CD features one bonus track – an alternate take of "Just One Of Those Things".

A cool 70s groover from Tony Pabon and La Protesta – a set that promises "Pura Salsa – Pura Disco" – and which manages to deliver both with equal force! Side one is the salsa set – a stone cooker that shows why La Protesta were one of the hippest acts going in the 70s – topped with vocals from Pabon and Junior Santiago, and a groove that's mostly warm, jazzy, and acoustic. Side two is the disco one – and features two instrumentals alongside the vocal numbers, done with that hip Latin hustle mode of the time! Backings are fuller – arranged by Todd Anderson, Skee Farnsworth, and Fred Weinberg – with full strings at points, bits of guitar and keyboards, and a nice undercurrent of funk in the mix too. Salsa numbers include "Querida", "Fango", and "Jardineiro" – and disco numbers include "SST", "Frenesi", "Burn", and "Friend".

A heck of a cool group – with a really wonderful sound! The Peddlers were a late 60s British trio, with a sound that's part soul, part jazz, part supper-club vocals – all done with a clean, clear, hard-grooving approach – and strong instrumentation that often includes a heavy dose of Hammond organ! A big chunk of the work on this album has a gently funky sound that really takes it miles from its original roots – as familiar numbers get transformed into nicely party-rocking tunes with a very hip groove – making for a few tracks that have nice breaks, and others that cook with a nice mod little sound! Keith Mansfield's helping the trio get their groove on here – and titles include their classic break take on "On A Clear Day", plus "Nobody Likes Me", "I'm A Boy In Love", "Comin Home Baby", "Just A Pretty Song", "Prime Of My Life", and "Lost Continent".

One of the greatest albums of all time – a masterpiece of moody soul, spacey vocals, and jazzy vibes – all produced by the legendary Roy Ayers! Ramp take their name from the anagram Roy Ayers Musical Productions – and in a way, the group's the summation of all the genius that Roy had been cooking up on his own albums of the 70s – served up at an even higher level than before! The group boasts a unique two-female vocal style – sung together in a mode that had been used on Roy's own albums, but never this fully – all supported by some complex jazzy instrumentation, very heavy on the vibes and keyboards! Nearly every cut is fantastic – and the album has a strange off-kilter vibe that's totally amazing, and which has captivated soul fans for years – a blend of mellow and upbeat, complicated and straightforward that's totally great. Titles include the massive cut "Daylight", sampled famously over the years, plus "American Promise", "Come Into Knowledge", "I Just Love You", and the band's great cover of "Everybody Loves the Sunshine", done in a way that's strangely both similar and different than Roy's own version!

Don't let the title fool you, as the album's hardly an "etcetera" – not some run-on work from Wayne Shorter, but a real lost cooker from his 60s Blue Note years! The record's got a very sharp-edged quartet sound – a bit modern and edgey at times, with sharp tenor lines from Shorter, piano from Herbie Hancock, bass from Cecil McBee, and drums from Joe Chambers. Wayne recorded the date in 1965, but the material wasn't issued by Blue Note until 15 years later – a delay that somehow made the whole thing even more of a gem, especially at a time when Shorter wasn't blowing this strongly on record. Tracks include four originals "Toy Tune", "Penelope", "Etcetera", and "Barracudas" – plus the Gil Evans number "Barracudas (General Assembly)".

Proof that at his start, Jimmy Smith had a greatness that knew no bounds – as the album's one of a few that Blue Note recorded in the late 50s, but never issued until many years later – even though they had already released so many amazing records from this period! The set has Jimmy really cooking away – playing live at Small's Paradise, in a group that has Lou Donaldson's alto on just about every track, and tenor from Tina Brooks on most of the others too. Tunes are tighter and shorter than on the more jam session albums, which makes for a nice change – and titles include "Groovin At Smalls", "Dark Eyes", "Cool Blues", and "A Night In Tunisia" – which begins with an announcement from Babs Gonzales! 8 tracks in all – 4 more than on the 1980 album – with better sound than before as well!

Classic work from Jimmy Smith – a smokin' quartet session from the early 60's, one that sports a rare appearance by Percy France on tenor on most of the tracks! France has a great raw sound that gives the session a nice little edge – and the rest of the group features Kenny Burrell on guitar, Donald Bailey on drums, and Jimmy himself, wailing away on the Hammond! Titles include "Sugar Hill", "I Got A Woman", "Motoring Along", "Gracie", and "Messin Around". CD features 5 previously unissued bonus tracks!

A wealth of unreleased tracks recorded by Jimmy Smith for Blue Note in the late 50s – most of them short, with a feel that's like his 45rpm work for the label! The sound here is prime early Smith – that totally cooking Hammond sound he had back in the day – mostly set up here in a trio with Kenny Burrell on guitar and Donald Bailey on drums – with guest tenor on a track each by Stanley Turrentine and the obscure Percy France! The tenors are quite welcome when they appear, but the trio material is plenty smoking too – and titles include "Since I Fell For You", "Apostrophe", "Ruby", "September Song", and "Little Blue Girl". CD features bonus alternates of "Since I Fell For You" and "Motorin Along".

Two organ/sax cookers back to back – both featuring Don Patterson and Sonny Stitt! First up is the wonderful album Brothers 4 – a mighty pairing of organist Patterson and saxman Stitt – one of Don's grooviest late 60s outings, thanks to an excellent sound from all players involved! Stitt plays Varitone sax on the date, which gives his horn a cool electric feel that really sounds wonderful next to Don's work on Hammond – and Grant Green's also in the group, serving up some great single-line solos that are almost more in his early 60s style than his Blue Note work from this same period. The group's rounded out by Don's regular drummer Billy James – a wonderful player with a great ear for unusual rhythms! Tracks are nice and long – and titles include "Walk On By", "Creepin Home", and "Brothers 4". Donny Brook is a massively funky new groove from organist Don Patterson – done with a sound that's a great link between his early soul jazz years and the funkier Prestige sound to come! The group here is a rock-solid quartet – Sonny Stitt on Varitone tenor, plus a bit of alto sax – as well as Grant Green on guitar and Billy James on drums. The rhythms are great – often with a slight undercurrent of funk in the mix – and Grant lets loose beautifully on his guitar with that soaring, skipping sort of groove he picked up nicely near the end of the 60s. Patterson's Hammond is sgreat as always, and all tracks are nice and long – with plenty of solo room for everyone! Titles include "Mud Turtle", "Good Bait", "St Thomas", "Starry Night", and "Donny Brook".

Arguably THE classic Cal Tjader album of the 60s – a landmark album that crossed over equally into Latin, jazz, and mainstream audiences – and a stone cooker that's filled with smoking little grooves! The set's probably best known for its title track "Soul Sauce" – one of the biggest jazz hits of the 60s, and a catchy groover that was built around a riff from Dizzy Gillespie, but which also featured a groovier 60s sound, thanks to Cal's use of vibes. The whole album follows in similar format – and features great work by a core combo that includes Armando Pereza on congas, Lonnie Hewitt on piano, and Johnny Rae on drums. Titles include "Soul Sauce" – also known as "Guacha Guaro" – plus the tracks "Joao", "Leyete", "Maramoor", and a killer reading of "Afro Blue" that features guest appearances by Donald Byrd, Jimmy Heath, and Kenny Burrell.