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One of Leny Andrade's later albums – a mixture of jazz and bossa, with a sparkling modern edge, but still performed with small combo backing! There's electric keyboards on most of the cuts, dancing along with Leny's vocals in a breezy mode that's a bit like 80s work by Tania Maria on Concord – but not as smooth overall, with sort of a more traditional approach that's in keeping with Andrade's roots! Titles include "Pedro Brasil", "La Mentira/Tu Mi Delirio", "Viola Violar", "Angra", "Amigo Nao Tem Defeito", and "Eu Quero Ver".

Winning work from one of the greatest early forces in MPB – Dorival Caymmi, father not only to some key artists in Brazilian music, but also to a whole generation of artists inspired by his work! The set's less of the straight samba you might expect – as Caymmi brought a new sort of sophistication to the music – mixing its roots with some of the loftier sounds of the bossa generation – a sublime blend that's heard here in a batch of 14 classic tracks that include "Saudade Da Bahia", "Vatapa", "A Vizinha Do Lado", "Sao Salvador", "Maracangalha", "Eu Cheguei La", "Um Vestido De Bolero", "O Dengo Que A Nega Tem", and "O Que E Que A Baiana Tem".

One of many major label attempts to take Go Go to the national stage, sadly unsuccessful. At least this time they made an effort to capture the energy of Experience Unlimited's bumpin' live set, with one 20 minute side and another that clocks in at closer to 15 minutes of unstoppable Go Go funk, with banging percussion breaks, layered horns and rhythm and futuristic laser synth jabs punctuating the jams. The 2 side long pieces are "Live Medley – NY Comes To Boogie" and "Sho Nuff Bumpin In DC", plus you get "Theme From Escape From Go Go" tacked on as a bonus!

Like any Spike Lee soundtrack from the 80s, this one's a mix of many different styles – with some straight-out pop tracks, like EU's hit "Da Butt", or a number of throwaway 80s R&B tracks by lost groups. The best moments, as usual, are the jazzy ones – like Phyllis Hyman's sweet "Be One", Bill Lee's spiritual "Wake Up Suite", and Kenny Barron & Terence Blanchard's duet on "One Little Acorn".

Experience Unlimited provides the backing here, but the groove's modern soul with bit of hip hop creeping in – at times the track reminds us of Grandmaster Melle Mel's "Message", rather than Go Go, with some female vocals over top on the a-side.

A classic set of samba from Miltinho – done in a mix of lively styles and more romantic modes! Some tracks here are quite driving and upbeat, while others have a sadder, more emotive feel – a bit like Brazilian pop of the late 50s, but perhaps somewhat leaner overall – and in a way, this album is kind of a turning point in Miltinho's career – as he makes the shift towards some of the bossa-inspired styles he'd pick up more strongly in later years. Arrangements are by Ruben Perez and Nelsinho – and titles include "Caminho Perdido", "Samba Do Crioulo", "E Amanha", "Samba Sem Pim Pom", "Ze De Conceicao", "Serenata Da Chuva", "Faco Um Lelele", and "Cancao De Amor".

Classic work pulled from Joao Nogueira's excellent samba sides for EMI/Odeon in the 70s – warmly-crafted modern work, done with a nice hint of jazz in some of the arrangements! There's still plenty of rootsy percussion at the bottom of the grooves, and Joao's voice is wonderfully compelling – and the set features a total of 14 tracks that include "Sonho De Bamba", "Eu Hein Rosa", "Batendo A Porta", "Amor Do Malandro", "Um Gago Apaixonado", "Pimenta No Vatapa", and "Mineira".

A lovely little set that features classic samba material by the great Elizeth Cardoso! Elizeth is represented by a number of other reissue titles that have shown up over the years – and some of the tracks on this set do appear on other titles – but the overall package is very nice, with a focus on lively driving samba tunes, often done with a bit of a bossa tinge, a perfect style for Elizeth's lovely voice. The tracks are mostly from Elizeth's Odeon sides of the 60s, but there's also a few from the 70s – and the set features 14 titles that include "Naquela Mesa", "Consolacao", "Samba Triste", "Rosa De Ouro", "Deixa", "Barracao", "Ultima Forma", and "Malvadeza Durao".

The lovely Carol Saboya gets some great jazz-based backing here from Brazilian piano legend (and father) Antonio Adolfo – leading a small combo on this live date, and making Carol sound even better than usual! The set begins with Adolfo working through some instrumental passages, then Saboya slides in and warms the tunes up nicely with her great vocals – boldly soaring one minute, then dropping back into more intimate lyrics the next. Titles include "Bonita", "Canto De Ossanha", "Corrida De Jangada", "Sa Marina", "Milagre", "Insensatez", "O Cantador", "Voce E Eu", and "Passarim/Chovendo Na Roseira".

A monster bit of funk that's unlike anything else we can think of! Beginning Of The End hailed from The Bahamas, but don't hold that against them – because instead of being a Caribbean cliche, they took the best part of the island rhythms, and used them to forge an incredible approach to funk! They've got a choppy sound that's the result of some incredibly dexterous guitar, bass, and drums – and which you'll recognize instantly from their one-time hit "Funky Nassau", a killer funk track that never gets old, no matter how many bands cover it over the years! That gem kicks off the album, which then rolls into the monster funky "part 2", which is even better! Other titles are equally wonderful – and include "Come Down", "Surrey Ride", "Monkey Tamarind", and "In The Deep". Essential – and one that you'll be spinning for years!

Pure genius from a young Chico Buarque – simple, effective, straightforward tunes – and music athat has had a resonance in Brazil for many decades since! At one level, the sound here draws heavily from the samba recordings of previous years – but at another level, there's a greater level of sophistication that predates the growth of the MPB generation during the 70s – a sound that blends in some larger backings and airy production, all for a sound that's completely heavenly! Titles include "Noite Dos Mascarados", "A Televisao", "Fica", "Com Acucar, Com Afeto", "Logo Eu?", "Ano Novo", "Realejo", and "Um Chorinho".

An early record by Experience Unlimited – better known to most of the world as EU, the DC funk outfit that went onto become pretty big in the GoGo scene, and who scored big with the 80s party cut "Da Butt". This one's nothing like that stuff – and instead catches the group when they were part of a more spiritual scene, the same DC one that gave the world Oneness Of Juju. This album has the group very much in a mid 70s Earth Wind & Fire mode – jamming hard and free, with plenty of electric guitar riffing, funky keyboards, horns, and lots of percussion. Some tracks have vocals, and some are instrumentals – but the whole thing's an extremely unified album with a great overall vibe. Titles include "Functus", "Free Yourself", "Hey You", "It's All Imagination", and "Funk Consciousness".

A beautiful dreamy album that's quite different from the classic Getz/Gilberto collaboration – but which also shares much of that set's lyrical beauty! This album was recorded live, in 1964, when Stan Getz was playing with his quartet that included Gary Burton on vibes – an incredible lineup that made for some wonderfully moody sounds! The vibes/tenor approach was a high point in Getz's career – especially as the young Burton could create these beautiful washes of sound that were a perfect counterpoint to Getz's breathy playing. And although Astrud Gilberto is thrown into the mix here to give the album a bit of bossa appeal – vocals on 6 titles that include "Corovado", "Eu E Voce", "It Might As Well Be Spring", "One Note Samba", "Only Trust Your Heart", and "The Telephone Song" – there's also 4 more tracks that are all instrumental, and which show the Getz/Burton union in all of its glory! These tracks include "6 Nix Pix Flix", "The Singing Song", "Here's That Rainy Day", and "Summertime". And for reference, the rest of the group includes Gene Cherico on bass and Joe Hunt on drums – but on 3 tracks, Chuck Israels plays bass instead of Cherico, and on a few others, Helcio Milito plays drums instead of Hunt, and Kenny Burrell joins in on guitar.

One of the most heavenly albums ever recorded – a sublime post-60s session by Joao Gilberto, one with even more fluid grace than his original bossa nova classics! The setting here is extremely spare – Joao on vocals and acoustic guitar, backed by only a slight bit of percussion – and recorded with an sound that's incredibly clear and incredibly precise – so that each gentle note, each slight rasp of the guitar comes through beautifully – as do Joao's breathily personal vocals! There's a sense of poise and presence here that Gilberto hardly matched again – and that's saying a heck of a lot, given how great most of his other records already are. The whole thing's tremendous – a true treasure, and easily one of the top classics in Brazilian music from the 70s. Titles include a landmark version of "Aguas De Marco", plus "Undiu", "Falsa Baiana", "Avarandado", "Na Baixa Do Sapateiro", "Izaura", "E Preciso Perdoar", "Valsa", and "Eu Vim Da Bahia".

An incredible book for collectors of all things dancefloor – a Japanese-only discography of rare tracks from the late 70s onwards – filled with listings for hard to find records from around the globe! Despite the "House Music" in the title, the collection actually features a wide range of styles – from east coast disco in the late 70s, to regional house in the 80s, to later European tracks, and even a variety of current records that are great enough to be deemed instant classics! As with other books of this type, most of the text is in Japanese, but there's also individual listings that feature label scans, artists, titles, labels, and dates in English – information for 2000 different "club friendly" discs, all hand-picked by Japanese collectors! The book divides the music up into many key sections – including "Disco Classics", "Paradise Garage Classics", "Italo Disco", "Dance Rock", "Chicago House & Detroit Techno", "Masters At Work", "UK & EU House", "Disco Dub", "Progressive", "80s Revival", "Jazz House", and more – including some listings for "On The Border" recent tracks from Europe and Japan! 240 pages, softbound – with record images in black and white.

A beautifully done presentation of this classic early collaboration between Antonio Carlos Jobim and Vinicius De Moraes – the soundtrack for a stage musical that could easily be called the birth of bossa nova! The play was a precursor to the better-known film version – Black Orpheus – and as on that one, Jobim and Vinicius handled the music with a groundbreaking style that was unlike anything else in Brazilian music at the time! Many tunes begin with gentle guitar and feature male vocals – sung in a light and breezy style that has plenty of bossa elements, but which is also still slightly more formative too. A few tracks feature fuller orchestrations, and a sound that's a bit more samba – but still equally great, and inflected with a strongly modernist sensibility. The sound quality here is wonderful – remastering that's even clearer than the original record – and although the CD is a short one, that's only because the original release was a 10" LP! Titles include "Um Nome De Mulher", "Monologo De Orfeu", "Ouverture", "Mulher Sempre Mulher", "Eu E O Meu Amor", "Lamento No Morro", and "Se Todos Fossem Iguais A Voce".

A HUGE batch of samba-soul grooves from Seu Jorge! Jorge previously knocked around Brazil as a member of the late 90s pop group Farofa Carioca, but his first solo outing is a massive step forward into the upper echelon of the Brazilian scene! Like the best of his contemporaries, Jorge uses the rich history of samba and bossa as a springboard – but it's the pronounced contemporary qualities, such as production and mix work by Beastie Boys producer Mario Caldato – that push Carolina way over the top and make it much more than a genre exercise! The title track echoes the earlier work of Jorge Ben, who actually pens the reggae-inflected tune "Em Nagoya Eu Vi Eriko". The tracks "Mangueira" and "O Samba Tai" have the classic samba groove and crisp background vocals that would sound right in place on Tom Ze's Se O Caso E Chorar. "Hagua" has a deep reggae thump, and nearly everything here has kind of a 70s soul feel thanks to some bright, almost Kool & The Gang-like horn arrangements! The group includes Azymuth drummer Mamao, Paulinho Black on bass, Banda Black Rio's William Magalhaes on keyboards, and Josimar Monteiro on violin. Another great new solo artist on the Brazilian scene, and one that we expect amazing things from in the years to come!

Wonderful work from Ivan Lins – an album that recalls the sort of majesty that first made us fall in love with his music of the 70s – a sound that's complex, yet never overdone – just the right balance to work beautifully with Lins' rich vocals and well-penned songs! The Metropole Orchestra is a perfect fit for the session – as they never let their fullness overwhelm the intimacy of Ivan's presence on the record – balancing banks of strings and horns with his wonderful vocals, cascading together in ways that really open up the spirit of the tunes. Vince Mendoza directs the orchestra, and did most of the arrangements – and Lins has this expressive quality that's almost better than anything we remember in years – almost like he's a much younger singer overall, yet with all the wisdom of age in his voice. Titles include "Formigueiro", "Daquilo Que Eu Sei", "Art Of Survival", "Arlequim Desconhecido", "Lua Soberana", and "O Fado".

A rich look at the songs of Carlos Lyra – a collection pulled together from recordings of the 70s, 80s, and 90s – not just featuring Lyra's vocals, but also those of singers like Joyce, Elis Regina, Nara Leao, Flora Purim, and others! The classic bossa modes of Lyra are carried forth strongly into these later sides – an essence that's undeniably strong, and which seems to flourish wonderfully in the hands of these other vocalists – especially given that most of the backings are done with a musical style that's very true to Lyra's original intent! Titles include "Entrudo" by Elis Regina, "Voce E Eu" by Nara Leao, "Maria Moita" by Joyce, "Cartao De Visita" by Flora Purim, "Marcha Da Quarta Feira De Cinzas" by Maria Creuza, "Samba Do Carioca" by Miucha & Tom Jobim, "Coisa Mais Linda" by Gal Costa, "Maria Ninguem" by Rita Lee, and the tracks "Influencia Do Jazz", "Lobo Bobo", and "Se E Tarde Me Perdoa" by Lyra himself.

One of the best albums ever recorded by this Brazilian saxophone giant! This rare 1968 album features Moura working with a quartet that includes Wagner Tiso on piano, Luiz Carlos on bass, and Paschoal Meirelles on drums – gently grooving with a darker edge than usual, and a definite modernist bent. There's very little bossa in the grooves here – and instead, the set's more in the mode of a late 60s American soul jazz set, with a definite turn towards more righteous themes and melodic exploration. Tracks are still relatively short, but both Moura and Tiso pack a lot of creative energy into them. Titles include "Meu Lugar", "Razao", "Terra", "Feitico De Oracao", "Samarina", "Eu E A Briza", and "Aos Pes Da Santa Cruz".

A wonderful little album – sweet jazzy MPB from Roberto Nascimento, a lost record that we're very happy got reissued! We'll be honest and say that we didn't know anything about this one in the past – but we really enjoy the record for its warm grooves and gently soulful vocals. The overall sound is somewhere in the mode of Lo Borges, but there's some interesting, almost Joyce-like guitar overtones that give it a different feel than you might expect. Titles include "Lero Lero", "Se Eu Errei", "Tema De Vania", "Voltei", and "El Saltamontes".

Wonderful work from Os Ipanemas – the legendary Brazilian jazz combo who've been revived in recent years, thanks to the efforts of Far Out Records! This album may well be our favorite so far from the combo – as it seems to take their core rhythmic groove, and flesh it out even more – really pushing the jazzier aspect of their work with help from some key added players! Wilson Das Neves' percussion is as great as always – and the set also features guitar from Jose Carlos, trombone from Vitor Santos, keyboards from Jose Roberto Bertrami, and vocals on a few tracks by the lovely Aurea Martins. Arrangements are by Das Neves, Ivan Conti, and Jorge Heider, who also play on the record – and titles include "Lembrancas", "Eparrei", "Traz Um Presente Pra Mim", "Passa O Ponto", "Olhando Tres", "Festa Indigesta", and "Eu O".

One of the hardest rocking albums ever cut by Os Mutantes – a record that's got a slightly ironic take on rock and roll styles of the time – still performed with the sense of drama and humor that always made the band so great! Rita Lee and Arnaldo Baptista are still in the group at this point, and they're working amidst a heavy wave of guitars that echo out with a bit of keyboards and some rhythms that are chunky enough to almost be called funky at times, but sweet and dreamy at others – all produced with a flanged-out finish that makes the whole thing sound great! Titles include "Balada Do Louco", "Todo Mundo Pastou II", "Cantor De Mambo", "Dune Buggy", "Rua Augusta", and "Posso Perder Minha Mulher, Minha Mae, Desde Que Eu Tenha, O Rock and Roll".

An excellent early album! The record has loads of spare percussion and Brazilian instrumentation – with cuica, berimbau, and other unique sounds, all in a very spare setting, with slight touches of jazzy instrumentation. Arrangements are by Theo De Barros, who also plays organ and guitar on the record. Titles include "A Ova", "E Assim Que Eu Sou", "Berimba", "Maraca", and "Ponto De Cabloco Sete Flechas".

One of Baden Powell's grooviest albums ever – a brilliant blend of his bossa roots with the freer 70s grooves of MPS! The album follows the mode of some of his other European recordings, but is still a bit different – in that the overall sound is a bit freer than before, with tracks that really open up beautifully – including one or two that hit a nicely heavy groove! The lovely Janine De Walyene sings these wonderful wordless vocals on some of the album's best tracks – scatting heavily on the famous jazz dance number "Blues A Volante" – and drifting moodily behind the guitar on other numbers. Other instrumentation includes bass, drums, and a bit of Brazilian percussion – and titles include the classic "Blues A Volante", plus "Violao Vagabundo", "Canto", "Ate Eu", and "Conversacao Comigo Mesmo".

A pretty sweet album by Elis Regina – and one of the last she ever did! The arrangements have a bit more of an electric jazz sound than usual – but they actually give her voice a nice sound, and create some nice lush soulful tracks that have a very sweet sound. Cesar Mariano is still on keyboards, and as always, his work is extremely sympathetic to Elis' vocal style – with just the right balance of darkness and light to make things come out beautifully! Tracks include "Vento De Maio", which has some vocals by Lo Borges, plus "So Seus E Quem Sabe", "Aprendendo A Jogar", "Nova Estacao", and "Rebento". CD features 4 bonus tracks too – including "Tiro Ao Alvaro", "Se Eu Quiser Falar Com Deus", "Outro Cais", and "O Que Foi Feito Devera".

2 groovy guitar gems from Howard Roberts – back to back on one CD! Jaunty is a pretty darn great way to describe Roberts' great sound on these Capitol LPs – a little bit of funk, a bit of bossa, a bit of groovy, and very nice all-around. The first album has a very young Dave Grusin grooving away on organ, and Emil Richards contributes some nice percussive touches. Highlights include great versions of "A Man & A Woman", "So Nice (Summer Samba)", and "Music To Watch Girls By". Also features Marcos Valle's bossa groover "The Face I Love"! Guilty is another excellent album – one of Roberts' greatest, and also with great keyboard work from Dave Grusin. There's a slightly funky groove to the record that mixes with a bossa approach to rhythm, creating a wonderfully groovy sound that's unlike anything else we can think of. That set has loads of great numbers – including "Walk Tall", "O Barquinho", "Ode To Billie Joe", "Triste", "Voce E Eu", and "The Look Of Love".

The album's titled after one of the best Jair Rodriguez albums of the early 70s, but it features a contemporary live performance from Jair – one that shows he's still very much at the top of his game, all these many years later! Rodriguez sings on most numbers here, with a slightly aged quality that only seems to deepen the soul of his sound – and guests include Alcione, Jair Oliveira, Max De Castro, Luciana Mello, and Jorge Arago – who each appear on a track, then join Rodriguez for the finale. Titles include "Disparada", "Upa Nequinho", "Eu Sonhei Que Estavas Tao Linda", "O Conde", "E Hoje/Festa Para Um Rei Negro", "Majestade O Sabia", and "Cosinha Do Pai".

Mauro Senise plays the music of Dolores Duran and Sueli Costa – set to some really lovely arrangements from keyboardist Gilson Peranzzetta! Most tracks are instrumentals, and feature Senise on alto, flute, or soprano sax – but there are a bit of vocals on the record, sung by Olivia Hime on one track, and Duran on another – and most of the instrumentation is in a laidback, jazzy sort of style. Titles include "Sonho", "Jura Secreta", "Cao Sem Dono", "O Que E Que Eu Faco", "Medo De Amar 2", "Ideias Erradas", "How High The Moon", and "Nem Uma Lagrima".

Early early work from Bola Sete – one of the first recordings made by the Brazilian guitarist, done with mostly electric guitar, in a style that really sounds great! The backing is mostly spare percussion, and Bola grooves in modes that not only include samba and other Brazilian styles, but also a bit of American guitar modes as well – grooving in a way that really makes the strings dance! Titles include "Historia", "Minha Saudade", "Eu Preciso De Voce", "Ma Griffe", "Nao Manche O Meu Panama", "Senorita Luna", "Cade A Jane", and "Um Chorino Dos Nossos".

Classic work from Wilson Simonal – pulled together in support of a contemporary film, but a killer collection of Simonal's soulful grooves from many years back! The work here all comes from Wilson's legendary Odeon/EMI years – mostly from the late 60s, a time when he was one of the first Brazilian artists to draw heavily from American soul influences – working in a vein that's somewhat similar to the earliest samba/soul experiments of Jorge Ben – but with fuller backings, and a bit less samba overall. The grooves are all pretty darn swinging, with a snapping approach to rhythm that really holds up over the years – and titles include "Pais Tropical", "Tributo A Martin Luther King", "Vesti Azul", "Roda", "Balanco Zona Sul", "Esta Chegando A Hora", "Samba Do Mug", "Mamae Eu Quero", "Mamae Passou Acucar Em Mim", and "Carango".

Killer early work from Elza Soares – a superb little set of lively bossa tunes, all arranged by the great Astor Silva! The work's equal parts bossa and samba – with the rougher edges you might expect from Elza's other work of the 60s, and some of the phrasing that might be implied by the title – all making for a winning combination that cooks up the tunes in a style that's hardly matched by other female bossa sets from the time! Tracks include "O Samba Brasileiro", "Boato", "Beija Me", "O Bilhete", "As Polegadas Da Mulata", and "Eu Quero E Sorongar".

Sure, Caetano's mostly associated with the immediate post-bossa era – when he was breaking new trends in music with his Tropicalia work – but he's also a pretty great hand with an old bossa ditty, and the music is a perfect platform for his intimate vocals and guitar work. This tasty set takes a look at Veloso's strong talent with bossa material, by collecting 14 bossa tunes recorded over the past 25 years – most from recent dates, but some dating back as far as 1975. About half the material is live, and we're sure that some of it has appeared on other records, but there's also loads of tracks we don't recognize here, and the set works wonderfully as a whole. And sure, we're kind of suspicious at any attempt to try to sell Caetano to the outside market as a bossa artist – but the set's a real pleasure to hear anyway, so we'll keep our cackles down! Titles include "Samba De Verao", "Quando Eu Penso na Bahia", "Get Out Of Town", "Desde Que O Samba E Samba", "Oba La La/Bim Bom", "Samba E Amor", and "Chora Tua Tristeza".

A key post-Tropicalia moment in Brazilian music – a live set that brings together four of the strongest forces in 70s MPB – Caetano Veloso, Gilberto Gil, Gal Costa, and Maria Bethania – all strong survivors from the early years, working here in a richly creative style! Although recorded in the 70s, the concert has a very freewheeling 60s feel – almost hippie-esque at points, which is a big surprise considering the territory these artists were pursuing on their own recordings – with plenty of acoustic guitar, live percussion, and a really relaxed, friendly interplay on the lyrics of the tunes. The camera work is pretty wonderful – clear and focused on stage, and interspersed with snippets of backstage bits too – a tremendous document of the times, and proof that these four key artists were as creative as ever during the 70s! Titles include "Sao Joao Xango Menino", "Trecho O Seu Amor", "Quando", "Os Mais Doces Barbaros", "Passaro Proibido", "Chuck Berry Fields Forever", "O Seu Amor", "Fe Cega Faca Amolada", "Os Mais Doces Barbaros", "Eu Te Amo", "Um Indio", and "Esoterico". DVD also features 4 bonus tracks – "Tarasca Guidon", "Pe Quente Cabeca Fria", "Nos Por Exemplo", and "Eu E Ela Estavamos Ali Encostados Na Parede".

Incredible new work from Tom Ze – possibly his best since the 70s! The style of the album reminds us very much of his groundbreaking post-Tropicalia records – with a mixture of spare guitar, vocals, and percussion, all filtered and sifted into a mad mad blend that's completely beyond description. Ze's lost none of his edge on this recording – and the 14 tracks that make up the album are a perfect complement to any of his albums from the 70s. Titles include "Jimi Renda-Se", "Passagem De Som", "Medo De Mulher", "Conto De Fraldas", "Asa Branca", "Cafuas, Guetos E Santuarios", and "Sonhar". Plus, the CD comes with a "CD Auxilhar" that includes a bunch of extra material!

A great reworking of the classic Brazilian Beats series – one that features 32 tracks from the previous 6 volumes, all selected and remixed live by Phat Kev! The package is kind of a Brazilian mixtape overall – of the sort that were floating around a few years back in the underground, but done here in a tight, professional style that's seriously funky – blending older Brazilian beats with contemporary production modes, but always in a way that keeps the spirit of the originals intact! Kev doesn't do too much to the core tunes – but does have a way of stepping lively from one number to the next – and titles in the mix include "Eu Sou Mais Eu" by Anna Mazzotti, "O Journaleiro" by Toni Tornado, "La Lupita" by Nico Gomez, "A Festa" by Silvio Cesar, "Nao Aquento Voce" by Trio Esperanca, "Marcos" by Quarteto Uai, "Hot Pants Road" by Boogaloo Combo, "Carolina" by Seu Jorge, "Take Me Back To Piaui" by Juca Chaves, "Deus Me Faca Funky" by Skowa & Mafia, "Summertime" by Rosina De Valencia, "Carolina Carol Bela" by Jorge Ben & Toquinho, "Samblues" by Sambalanca Trio, and "Barumba" by Dom Salvador.

The always surprising, always funky, always great Brazilian Beats series goes one volume deeper! The far-reaching tendencies of Brazilian Beats never fails to impress, and nearly overwhelm. Number 5 keeps the contemporary club and dancefloor scheme well out front, with appearances by many of the gods and goddesses of Brazilian musical culture like Elis Regina and Mario Castro Neves on the set, younger innovators like Bossa Tres, and a slew of talents that introduce some really incredible breakbeat and hip hop influences! It takes a special track list to seamlessly string elements of bossa and samba with such seemingly disparate contemporary club sounds – but that's why we keep following these compilations, isn't it? 18 tracks in all: Tejo, Black Alien & Speed "Follow Me Follow Me (Sao Benitez Radio Edit)", Stereo Maracana "Freestyle Love", Jorge Ben Jr. "Take It Easy My Brother Charles", Edson Frederico "Bobeira", Marku Ribas "Zamba Ben", Marcelo D2 "A Maldicao Do Samba", Jackson Do Pandeiro "Eu Balanco (Beatfanatic Rework)", Bossa Tres "Imprevisto", Mario Castro Neves & Samba S.A. "Candomble", Elis Regina "Ye Mele", Jorge Ben "Xica Da Silva", Sasso "Tudo Bem" and MUCH more!

A hip take on one of the most brilliant Brazilian labels of the past few decades – London's legendary Far Out Records, home to some of the best bossa sounds on the planet – carefully compiled and mixed here by the mighty Gilles Peterson! Peterson's been a friend of the label since it's inception, and has always given the Far Out team some strong respect – so you can bet that his selection of work from the imprint goes far far beyond the obvious, and includes a fair bit of rare material, out of print gems, and other cool bits that you probably don't have in your collection, even if you're already a Far Out fan! The package features five totally exclusive tracks, too – mixed for Peterson by friends from the London scene – and a couple of vintage nuggets too, which helps give a lot of historical depth to this already classic-sounding mix. Peterson brings together a total of 12 tracks – often very acoustic, but with some key electric touches too – on cuts that include "Tudo Do Bom (Domu re-edit)" by Arthur Verocai, "Quem Sou Eu" by Krishnanda, "Uno Esta" by Alex Malheiros & Banda Utopia, "Joanna" by Jose Roberto Bertrami, "Obnoxious" by Jose Mauro, "Esta Tudo Ai" by Krishnanda, "Balinha" by Binario, "Melo Dos Dois Bicudos" by Azymuth, "Feijao Com Arroz (bass line mix)" by Joyce, and "Vagalume" by Democustico.

Bossa Nova singers from both sides of the equator – in a groovy collection of work recorded both in Brazil and the US! The set's a wonderfully done exploration of the true range of bossa talents in the 60s – and it features both stars from the Brazilian scene, plus other artists who managed to cross over to US audiences, and got a chance to record for labels like Verve and A&M – all presented without cliche, and without too many over-heard bossa standards – a really fresh set overall, and very much up to the high level we expect from the Jazzclub series! Titles include "Oba La La" by Jorge Ben, "Berimbau" by Nara Leao, "Mas Que Nada" by Luiz Henrique, "So Tinha De Ser Com Voce" by Elis Regina, "Fim De Noite" by Chico Feitosa, "Samba Da Pergunta" by Marcia, "Agua De Beber" by Quarteto Em Cy & Tamba Trio, "O Barquinho" by Lucio Alves, "Bim Bom" by Astrud Gilberto, "Bloco Do Eu Sozinho" by Joyce, "Reza" by Elis Regina & Tamba Trio, "The Face I Love" by Marcos Valle, and "Voce" by Dick Farney & Norma Bengell.

No Buena Vista here, as this social club's only focused on the Brazilian sound of the samba – served up in a host of recordings from the 70s onwards! The collection features some really wonderful material – tracks that are rootsy and personal enough to live up to the "social club" style promised in the name – and which feature music from the big samba revival of the 70s, up into more recent sides that still retain a relatively traditional feel overall. CD features 14 tracks that include "Na Hora Da Sede" by Zelia Duncan & Trio Mocoto, "Mel Na Boca" by Almir Guineto, "Com Que Roupa" by Zeca Pagodinho & Caetano Veloso, "Nao Deixe O Samba Morrer" by Alcione, "Louco" by Joao Nogueira, "Menina Mulher Da Pele Preta" by Jorge Ben Jor, "Sem Compromisso" by Chico Buarque, "Selecao De Pagodes" by Beth Carvalho & Zeca Pagodinho, "Eu Sambo Mesmo" by Roberto Sa, and "Ze Do Caroco" by Mariana Aydar & Leci Brandao.

Marcos Valle revisits a host of his older tunes – and re-presents the work in a quirky electronic mode! The album's less a remix album than it is a "remake" one – as Marcos is collaborating here with Marcio Menescal of Bossacucanova, in a groove that's quite similar to the sound of that group! As with some of Bossacucanova's best work, most of the tunes here are older ones either penned by Valle or made famous by him – recorded here with Fender Rhodes and vocals from Marcos, plenty of keyboards and rhythms from Marcio, and additional flutes from Renato Franco and extra vocals from Patricia Alvi. The sound's quite different than most of Valle's other recent recordings – a fair bit more abstract overall – and titles include "A Ra", "Samba De Verao", "Veio Veio Vai Vai", "Nova Bossa Nova", "Os Grilos", "Mentiras", and "O Que Eu Gosto De Voce".

Beautiful early duets from Caetano Veloso and Gal Costa – much more of a bossa-styled album than any of the late 60s Tropicalia albums from the pair! The set's got a really wonderful sort of feel – bossa at some level, but also with some of the gentle darkness that Caetano and Gal would bring to Brazilian popular music more strongly in the next few years – an approach that's somewhat subtle, but often somewhat different than albums of the generation on labels like Elenco or Forma. The orchestrations are somewhat full, but never too much so – and tracks include a fair bit of early original compositions by Caetano. Titles include "Candeias", "Zabele", "Um Dia", "Avarandado", "Maria Joana", "Onde Eu Nasci Passa Um Rio", "Coracao Vagabundo", and "Quem me Dera".

A nice little collection of work by one of Brazil's samba soul giants – with a selection of tunes that you don't always see on other collections! The focus here is on Jorge's post-Africa Brasil work – some of his more tightly produced work from the late 70s and early 80s, work that followed very much in the spirit of his mid 70s work for Philips, but which also pushed towards a straighter soul sound in some of the production. There's a total of 17 tracks in all – and the set's a great introduction to this period in Jorge's career, one that still had him grooving very strongly! Titles include "Eu Quero Ver A Rainha", "Minha Estrela E Do Oriente", "Olha A Pipa", "Ma Ma Ma Ma Mae", "Para Que Digladiar", "Berenice", "Senhora Dona Da Casa", and "A Banda Do Ze Pretinho".

Danilo Caymmi plays here with a host of "amigos" – including Dori Caymmi, Roberto Menescal, Alice Caymmi, Ze Ranato, and Fafa De Belem! The performance features 16 tracks in all – including "Rama De Nuvens", "Nossa Danca", "Fado", "Nada A Perder", "Pe Sem Cabeca", "O Bem E O Mal", "Chega De Tarde", "Toada A Toa", "Fiz Uma Viagem", "Nem Eu", and "Minha Juju". DVD also features a bonus "making of" feature too!

The genius of Antonio Carlos Jobim – captured on screen in a host of beautiful images! The DVD's the third in this great series directed by Roberto De Oliveira – and like the others, it blends together later concert footage, images of Brazil, and other more intimate performances – the last of which we like the best! The set's a beautiful visual testimony to the power of Jobim's music – handled here by none other than the maestro himself, with guest appearances by Chico Buarque, Ana Jobim, Leila Pinheiro, Caetano Veloso, Gal Costa, and Lenita Bruno. Titles include "Ligia", "Luiza", "Garota De Ipanema", "Wave", "Corcovado", "Surfboard", "Eu Te Amo", "Falando De Amor", "Voce Vai Ver", and "Retrato Em Branco E Preto".

Wonderful work from Ivan Lins – a warmly jazzy set that seems to deepen his sound even more than before! Lins is always great, but he sounds especially nice here – especially for his mature years – and in a way, there's a complicated sensibility to the record that shows not only a new depth in Ivan's songwriting, but also in his arrangements as well. At times, there's a feel that's not unlike some of Ed Motta's recent recordings – and at others, there's echoes of the Milton Nascimento generation, but done with a more contemporary sort of feel. Titles include "Daquilo Que Eu Sei", "Acaso", "Dandara", "Saudades De Casa", "Deus E Mais", "Amar Assim", and "Boa Nova".

A relatively heartfelt set from Leila Pinheiro – a set of songs written by Renato Russo and Legiao Urbana, mostly ballads and more gentle numbers – served up in a mode that has Leila at her most romantic! The backings are electric with a bit of acoustic guitar, but are usually pretty subdued – offering Pinheiro a chance to take the lead strongly on titles that include "Indios", "Hoje", "Angra Dos Reis", "O Teatro Dos Vampiros", "Perfeicao", "La Solitudine", "Eu Sei", "Ha Tempos", "Tempo Perdido", and "Metal Contra As Nuvens".

A pretty sweet album by Elis Regina – and one of the last she ever did! The arrangements have a bit more of an electric jazz sound than usual – but they actually give her voice a nice sound, and create some nice lush soulful tracks that have a very sweet sound. Cesar Mariano is still on keyboards, and as always, his work is extremely sympathetic to Elis' vocal style – with just the right balance of darkness and light to make things come out beautifully! Tracks include "Vento De Maio", which has some vocals by Lo Borges, plus "So Seus E Quem Sabe", "Aprendendo A Jogar", "Nova Estacao", and "Rebento". CD features 4 bonus tracks too – including "Tiro Ao Alvaro", "Se Eu Quiser Falar Com Deus", "Outro Cais", and "O Que Foi Feito Devera".

The first full album in years from the legendary Moacir Santos – and a beautiful little album that's filled with all the deep feeling and inventive arrangement of his older work! As the title might imply, the set borrows song structure and spirit from the Brazilian choro tradition – reworked here by Santos with his angular approach to rhythm and jazzy approach to instrumentation – so that the tunes slide warmly into one another, moving with a fluid, organic sense that we really like a lot. For the sessions, Santos pulled together a host of jazz and more traditional musicians – blending modes nicely to further enforce the creative spirit of the session, and mostly focusing on the instrumentation, but also occasionally offering a nice vocal as well. Titles are all originals, written over the course of Santos' lifetime – and titles include "Paraiso", "Outra Coisa", "Agora Eu Sei", "Ricaom", "Saudade De Jacques", "Cleonix", "Felipe", "Carroussel", and "Samba Diamante".

The fourth chapter in the amazing career of Caetano Veloso – and some of his most groundbreaking material ever! The past decade or two has been a really amazing time for Veloso – a return to more unusual, more experimental modes – after more straightforward work in the 80s and early 90s – and as you'll hear on this set, which starts a bit straight, then goes nicely into leftfield, Caetano is still one of the most compelling Brazilian artists you'll ever hope to find – a real genius with a decades-long legacy of creative expression – far richer, and far longer than any American artists of his stature we can think of! The package is great – and features 10 full albums, plus a bonus CD of rarities – almost worth the price of admission alone, since it's not available separately. The box set contains a 32 page booklet – and features the full albums Fina Estampa Ao Vivo, Livro, Prenda Minha, Ommagio A Federico E Giulietta, Noites Do Norte, Noites Do Norte Ao Vivo, Eu Nao Peco Descupla, A Foreign Sound, Ce, and Multio Show Ao Vivo.

One of the most compelling volumes in this great series so far – a fresh take on the funky sound of Brazilian Beats first explored in volume one – served up here by a whole new generation of Brazilian funk artists! The sound here easily jumps back between the past and the present – offering up older Brazilian funk classics from hard to find rarities – then grooving over to newer work from the current scene, clearly inspired by the best bits of the 60s and 70s! The result is simply wonderful – a genre-crossing, mind-expanding sound that's filled with lots of heavy percussion, soulful vocals, and rootsy organic touches! Titles include "Leaving For Calo Bassa" by Heavy Joker, "Riva (Gringo Jo Casa De Samba mix)" by Arakatuba, "No Tranco" by Siri, "Cotidiano (Buzzina rmx)" by Marcelinho Da Lua & Seu Jorge, "Um Dia Inteiro" by Electrosamba, "Flamengo" by Bebeto, "O Xamego De Ina" by Trio Mocoto, "Se Voce Quiser Mas Sem Bronquear" by Golden Boys, "Take It Easy My Brother Charles" by Som Tres, "Como Eu Te Quero" by Black Alien, "Agora Chega" by Super Som TA, and "Orientacao" by Tuze De Abreu. 19 tracks in all!

A bossa jazz session, but one with a different twist than usual! Franco Cerri plays acoustic guitar here, but his sound is a fair bit different than that of contemporaneous guitarists from Brazil – almost a bit earthier, with the rasp you might have heard from earlier European guitarists, particularly those of the Django generation. Yet despite that sound, Cerri's music here is very much in a 60s mode – sweetly grooving with great bossa rhythms from drummer Franco Tonani and bassist Giorgio Azzolini – in a combo that also features work from Nando Nebuloni on flute and Dino Piana on trombone. There's a breezy, jazzy feel to the whole set – with plenty of room for Cerri's solos – and titles include "Bossa Nova USA", "Desafinado", "Chega De Saudade", "Stringmi Forte I Polsi", "Sambalanco", "Perche Perche", "Samba Di Una Sola Nota", "Blues Bossa Nova", and "Voce E Eu".

One of the most heavenly albums ever recorded – a sublime post-60s session by Joao Gilberto, one with even more fluid grace than his original bossa nova classics! The setting here is extremely spare – Joao on vocals and acoustic guitar, backed by only a slight bit of percussion – and recorded with an sound that's incredibly clear and incredibly precise – so that each gentle note, each slight rasp of the guitar comes through beautifully – as do Joao's breathily personal vocals! There's a sense of poise and presence here that Gilberto hardly matched again – and that's saying a heck of a lot, given how great most of his other records already are. The whole thing's tremendous – a true treasure, and easily one of the top classics in Brazilian music from the 70s! Titles include a landmark version of "Aguas De Marco", plus "Undiu", "Falsa Baiana", "Avarandado", "Na Baixa Do Sapateiro", "Izaura", "E Preciso Perdoar", "Valsa", and "Eu Vim Da Bahia".

A HUGE batch of samba-soul grooves from Seu Jorge! Jorge previously knocked around Brazil as a member of the late 90s pop group Farofa Carioca, but his first solo outing is a massive step forward into the upper echelon of the Brazilian scene! Like the best of his contemporaries, Jorge uses the rich history of samba and bossa as a springboard – but it's the pronounced contemporary qualities, such as production and mix work by Beastie Boy producer Mario Caldato – that push Carolina way over the top and make it much more than a genre exercise! The title track echoes the earlier work of Jorge Ben, who actually pens the reggae-inflected tune "Em Nagoya Eu Vi Eriko", and the tracks "Mangueira" and "O Samba Tai" have the classic samba groove and crisp background vocals that would sound right in place on Tom Ze's Se O Caso E Chorar. "Hagua" has a deep reggae thump, and nearly everything here has kind of a 70s soul feel thanks to some bright, almost Kool & The Gang-like horn arrangements! The group includes Azymuth drummer Mamao, Paulinho Black on bass, Banda Black Rio's William Magalhaes on keyboards, and Josimar Monteiro on violin. Another great new solo artist from Brazil, and one that we expect amazing things from in the years to come!

2 early albums by Brazilian singer Angela Maria – both of them with a similar theme. Maria sings songs of the world, interpreting Latin material from a variety of sources – working with heavy orchestral backings that are augmented by percussion work, and recorded in a very cool echoey way to emphasize the drama of the material. Titles include "Tabu", "Vivere", "Eu Nao Disse", "Ate Breve", "Seus Olhos", "O Blihete", "Foi Deus", "Rio, Meu Amor", "O Arlequim De Toledo", "Amor De Carnaval", and "Cha Cha Cha Da Moca". 24 tracks in all.

Monica Salmaso heads up a beautiful tribute to the music of Chico Buarque – recorded live with some wonderful small combo backing from Pau Brasil! Although just a quintet, Pau Brasil really bring the right sort of majesty to these tunes – the kind of spacious tones and rich feelings that pushes Buarque's familiar compositions into great new territory – expanding the sounds out with the feel of other works of this nature on the Biscoito Fino label, but with some surprisingly subtle instrumentation overall. Nelson Ayres plays piano, and other instrumentation includes guitar, sax/flute, bass, and percussion – and Monica herself handles a handful of instruments, but mostly contributes her own lovely vocals to the record. Titles include "Logo Eu", "Construcao", "Voce Voce", "Olha Maria", "Flor Da Idade", "A Volta Do Malandro", "Suburbano Coracao", "Moda Do Paul Brasil", and "Beatriz".

One of the most compelling volumes in this great series so far – a fresh take on the funky sound of Brazilian Beats first explored in volume one – served up here by a whole new generation of Brazilian funk artists! The sound here easily jumps back between the past and the present – offering up older Brazilian funk classics from hard to find rarities – then grooving over to newer work from the current scene, clearly inspired by the best bits of the 60s and 70s! The result is simply wonderful – a genre-crossing, mind-expanding sound that's filled with lots of heavy percussion, soulful vocals, and rootsy organic touches! Titles include "Leaving For Calo Bassa" by Heavy Joker, "Riva (Gringo Jo Casa De Samba mix)" by Arakatuba, "No Tranco" by Siri, "Cotidiano (Buzzina rmx)" by Marcelinho Da Lua & Seu Jorge, "Um Dia Inteiro" by Electrosamba, "Flamengo" by Bebeto, "O Xamego De Ina" by Trio Mocoto, "Se Voce Quiser Mas Sem Bronquear" by Golden Boys, "Take It Easy My Brother Charles" by Som Tres, "Como Eu Te Quero" by Black Alien and "Agora Chega" by Super Som TA. 18 tracks in all!

A riveting batch of Sao Paulo avant noise and funky punk – from the No Wave early 80s and on through the decade – one of the most instantly exciting compilations on Soul Jazz in years! There's a richness to this previously somewhat buried scene that's not surprising, given all of the revolutionary music Brazil has produced over the past century or so, but it's incredible that the stylistic variety of post punk is deep as those of the UK or US in the decade! Many of the tracks skew to the No Wave, funk-steeped punk stuff that was born in NYC in the late 70s/early 80s, but there are also plenty of growling, hardcore-reverent guitar shrapnel, gutbuckety drums and percussion, piercing synths, and a healthy smattering Joy Division/Factory Records learned grooves! 18 tracks in all: "Inmigo" and "Panico" by As Mercenarias, "Sobre As Pernas" and "Eu Dirijo O Carro Bomba" by Akira S Et As Garotas Que Erraram, "Rock Europeu" by Fellini, "Jack Kerouac" by Gang 90, "For A Daqui" by Smack, "Ilha Urbana" by Muzak and more!

A wonderful concert from 1990, featuring Jobim performing the work of Vinicius De Moraes in an intimate small group setting. Jobim's on a grand piano, which gives the tracks a lot of depth and sorrow –a nd he's backed by Paulo Jobim on guitar, Danilo Caymmi on flute, Jacque Morelenbaum on cello, and Paula Morelenbaum on vocals. The album's a masterful blending of Jobim's bossa roots with the darkness and complication of his 70s work on albums like Maita Pere – and you'll hardly notice the fact that the material is live, because of the warmth and intimacy of the players. Jobim's voice is at its raspy best, and the album's got a lot more of an edge than most other recordings he made during his last years. Titles include "Valsa De Euridice", "Medo De Amar", "Poetica", "Soneto De Separacao", "Eu Nao Existo Sem Voce", "Modinha", and "Eu Sei Que Vou Te Amar".

A tribute to Ivan Lins – originally recorded for Brazilian TV, and featuring some guest work from Ivan himself! The show runs for about a quarter of an hour, and features some nicely varied interpretations of Lins' tunes – work that includes "Me Deixa Em Paz" and "Cartomante" by Veronica Ferriani, "O Amor E O Meu Pais" and "Bandeira Do Divino" by Ludica Musica, "A Noite" and "Comecar De Novo" by Paula Santoro, and "Daquilo Que Eu Sei", "Bilhete", "Iluminados", and "Desesperar Jamais" by Ivan Lins.

A funky fusion of post-millenium Brazilian club groove and contemporary hip hop from Marcelo D2! MD2 does a great job of demonstrating the all inclusive groove at the core of disparate musical elements. Almost every tune has a sound rooted in percussive samba, but the vibe stretches through programmed and organic beats, bass, keys and scratches – courtesy of Mixmaster Mike! The album was produced by "fourth Beastie" Mario Caldato – who really brings his hip hop pedigree to the sound in ways that he did not when he produced Seu Jorge's album! Seu Jorge makes a behind-the-scenes appearance on the album, as does Shabazz The Disciple. The raps are in Portuguese, the groove has nu samba feel, with traces of electro, house, and hip hop love that stretches from Sugarhill to Shaolin. Tracks include "Pra Posteridade", "Vai Vendo", "A Maldicao Do Samba", "Loadeando", "Qual E?", "Batucada", "Eu Tiro E Onda" and more!

Beautiful work from Italian saxophonist Enzo Scoppa – a player who's known for his work in the Modern Jazz Gang, and in the Santucci-Scoppa combo – but who sounds almost better here on his own as a leader! Enzo plays both tenor and soprano sax – all with a depth of soul and care of tone that makes the album sparkle as much as some of the best Blue Note work of the 60s, particularly some of Hank Mobley's most sophisticated sets. Scoppa's working here with a group that includes flugelhorn, piano, bass, and drums – and the arrangements are nicely loose, and let both horn players really stretch out and feel the tunes with their solos. The tenor tracks have a quality that's almost like Hank Mobley at his best – very deeply felt and expressive, yet also lightly gliding too – and titles include "East Of The Sun", "Five Hundred Miles", "Eu E Voce", "Blue Zone", and "This I Dig Of You".

The always surprising, always funky, always great Brazilian Beats series goes one volume deeper! The far-reaching tendencies of Brazilian Beats never fails to impress, and nearly overwhelm. Number 5 keeps the contemporary club and dancefloor scheme well out front, with appearances by many of the gods and goddesses of Brazilian musical culture like Elis Regina and Mario Castro Neves on the set, younger innovators like Bossa Tres, and a slew of talents that introduce some really incredible breakbeat and hip hop influences! It takes a special track list to seamlessly string elements of bossa and samba with such seemingly disparate contemporary club sounds – but that's why we keep following these compilations, isn't it? 18 tracks in all: Tejo, Black Alien & Speed "Follow Me Follow Me (Sao Benitez Radio Edit)", Stereo Maracana "Freestyle Love", Jorge Ben Jr. "Take It Easy My Brother Charles", Edson Frederico "Bobeira", Marku Ribas "Zamba Ben", Marcelo D2 "A Maldicao Do Samba", Jackson Do Pandeiro "Eu Balanco (Beatfanatic Rework)", Bossa Tres "Imprevisto", Mario Castro Neves & Samba S.A. "Candomble", Elis Regina "Ye Mele", Jorge Ben "Xica Da Silva", Sasso "Tudo Bem" and MUCH more!

A riveting batch of Sao Paulo avant noise and funky punk – from the No Wave early 80s and on through the decade – one of the most instantly exciting compilations on Soul Jazz in years! There's a richness to this previously somewhat buried scene that's not surprising, given all of the revolutionary music Brazil has produced over the past century or so, but it's incredible that the stylistic variety of post punk is deep as those of the UK or US in the decade! Many of the tracks skew to the No Wave, funk-steeped punk stuff that was born in NYC in the late 70s/early 80s, but there are also plenty of growling, hardcore-reverent guitar shrapnel, gutbuckety drums and percussion, piercing synths, and a healthy smattering Joy Division/Factory Records learned grooves! 18 tracks in all: "Inmigo" and "Panico" by As Mercenarias, "Sobre As Pernas" and "Eu Dirijo O Carro Bomba" by Akira S Et As Garotas Que Erraram, "Rock Europeu" by Fellini, "Jack Kerouac" by Gang 90, "For A Daqui" by Smack, "Ilha Urbana" by Muzak and more!

These days, it might be easy to forget just how dope a producer Dr. Dre was back in the pre-Chronic days. And here's two completely different tracks from Dre at his best. "Murder Rap" shows some Public Enemy influence, an uptempo track using the screeching synth sample from the Manix tv show theme, plus some vocal samples from Chuck D and Flava Flav. On "Another Execution", the tempo is completely slowed down in the 70 bpm range with a nice dragging bassline. And the lyrics are at up there with the best of west coast MC's before the gangsta style completely lost direction. The cover features Dre, Eazy E, D.O.C, Above the Law and other Ruthless artists in a police lineup.

A hip little live set from Cannonball – recorded at the end of the funky 60s, in Paris, with Joe Zawinul on keyboards, and in the same long electric tradition as his famous Country Preacher album! The tracks include some of the gems from the Capitol years – stretched out and served up with a great deal of soul, and mixed in with some older titles for a very well-rounded set. Zawinul's on keyboards, Nat Adderley is on cornet, Vic Gaskin's the bass player, and Roy McCurdy handles the drums. Titles include "Walk Tall", "Mercy Mercy Mercy", "The Blooz", "Experience In E", "The Work Song", and "Rufus Still Skinned".

Warmly swinging work from Dutch pianist Rob Agerbeek – one of those players who's never been huge on these shores, but who always manages to make waves in all the right places! The date's got a core groove that really holds up to some of Rob's recordings from years back – almost a European take on the soulful swing of the American scene of the 60s – recorded beautifully here, with help from Harry Emmery on bass and Ben Schroder on drums. Titles include "Tin Tin Deo", "Nuages", "Alone Together", "The Very Thought Of You", "Besame Mucho", and "Birk's Works".

A wonderful new album – one that takes us back to the early 70s sound of Hermeto, Airto, and Flora Purim! Hermeto Pascoal arrranged and produced the record, and it's based around the jazzy vocals of Brazilian singer Aleuda, who reminds us a bit of Flora in her early days, but with a tone that's a bit higher and sharper. The backing is performed by a crack group of Brazilian jazz and fusion players that includes Mauro Senise, Zeca Assumpcao, Robertinho Silva, and Hermeto himself – and the album feels like a rare lost session that might have been cut for Milestone during the heyday of the West Coast Latin scene of the mid 70s. Titles include "Ceara", "Oferenda", "Galope", "Jurema", "Passarinho", "Rede", and "Fofoca".

With David McMurray on soprano sax and flute, Racy Biggs on trumpet, Robin Eubanks on trombone, Steve Coleman on alto, and Tani Tabbal on drums.

One of the few sides led by drummer Altschul, during a period when he was associated with some of the heavier players in the European and American avant scenes! On his preceding Muse LP, Altschul had been joined by some of his cohorts in Circle – but here only bassist Dave Holland remains, working in a larger group filled out by like-minded progressive players who include Anthony Davis on piano, Arthur Blythe on alto, and Abdul Wadud on cello – as well younger side men like Peter Warren on cello and Ray Anderson on trombone. Side one relies heavily on Davis' input, with the lengthy "Crepescule: Suite For Monk" and "Chael" – while side two features Altchul's solo "Traps", the smaller setting of the title track "Another Time/Another Place", and the bass/cello Holland number "Pentacle".

Plenty of power here – a hip trio that features saxophonist Rodrigo Amado on tenor and baritone, alongside bold rhythms from Kent Kessler on bass and Paal Nilssen-Love on drums! Both Kent and Paal are players we know and love from other albums, and they definitely hold up to their previous promise here – propelling the tunes with a dynamic energy that's totally great – followed by Amado's well-crafted tenor lines, and some surprisingly nice moments on baritone too. Most tracks feel relatively free, but have an inherent sense of structure – at least through their sense of force – and titles include "Human Condition", "The Kiss", "Universe Unmasked", "Enigma Of The Arrival", "The Enchanted Room", and "Clouds & Shadows".

Gene Ammons has some pretty hip friends here – a roster of talent that includes guest appearances by hornmen Cannonball Adderley, Dexter Gordon, and Nat Adderley on one long jam number – plus Hampton Hawes on electric piano on the entire set! The work's done in a laidback, long-blowing way – more the Gene Ammons of earlier live dates than the revived funk hero of the early 70s Prestige years – but thanks to some nicely spacious keyboards from Hawes, the record's got a more modern sound than you might expect, and is a good bridge between 60s and 70s soul jazz modes. Titles include "New Sonny's Blues", "Treux Blue", "Sophisticated Lady", and "Yardbird Suite".

Gritty live work from twin tenor giants Gene Ammons and Dexter Gordon – recorded in an open-ended style that's a bit like some of Gordon's famous early work on the Central Avenue scene in LA, or Ammons' famous live "battles" with Sonny Stitt! The date was recorded in Chicago at the North Park Hotel – with sound that's a bit more "live" than some of the other Prestige sessions at the time – and an unusual lineup that features local players Jodie Christian and John Young on piano, Cleveland Eaton on bass, and Steve McCall on drums. The lovely Vi Redd makes a vocal appearance on the track "Lonesome Lover Blues" – and other titles include "The Chase", "Polka Dots & Moonbeams", and "The Happy Blues" – all nice and long!

A masterful set of recordings from Chicago soul chanteuse Ruby Andrews – tunes she cut for Zodiac Records between 1967 and 1973! Ruby could handle any soul style her producers threw her way, be it driving dancefloor stompers or pure torch balladry, but she had a way of infusing everything she did with a great sense of emotion. It's the same kind of emotive, deep soul sweep that was buried so heavily in Curtis Mayfield's recordings – perhaps it's the Chicago factor! Whatever the case, this is wonderful stuff – essential to anyone interested in the best late 60s/early 70s female soul! 28 tracks in all: "Uh! Uh! Boy, That's A No No", "Help Yourself (Lover)", "Whatever It Takes To Please You", "Tit For Tat", "Good N' Plenty", "Can You Get Away", "Let's Get A Groove Going On", "Just Loving You", "The Love I Need", "Come To Me", "Wonderful Night", "Away From The Crowd", "Didn't I Fool You", "You Ole Boo Boo You", "All The Way" and lots more.

Bebel Gilberto eat your heart out – Antena explored the same electric-bossa territory you did, nearly 20 years before your first big record! The group were a short-lived French outfit who were one of the shining jewels in the crown of the lovely label Les Disques Du Crepuscule during the early 80s – and were a real breath of fresh air in the post-punk years with their light and jazzy approach to the groove. As you'll hear in this set, Antena's style borrows a lot from the bossa, but also throws in some wonderful poppish touches – including jangly guitars recorded in a similar mode to some of the other French/European indie groups of the time, and a slight darkness in production that almost gives a Martin Hannett-like undercurrent to the whole set. The group's album Camino Del Sol has been lovingly reissued with a great set of notes, as well as a series of bonus tracks from an additional ep – making for a beautiful 14 track package that will really help you rediscover this nearly-lost group! Titles include "Sissexa", "To Climb The Cliff", "Camino Del Sol", "Bye Bye Papaye", "Noelle A Hawaii", "The Boy From Ipanema", "Seaside Weekend", "Frantz", and "Ingenuous".

Bebel Gilberto eat your heart out – Antena explored the same electric-bossa territory you did, nearly 20 years before your first big record! The group were a short-lived French outfit who were one of the shining jewels in the crown of the lovely label Les Disques Du Crepuscule during the early 80s – and were a real breath of fresh air in the post-punk years with their light and jazzy approach to the groove. As you'll hear in this set, Antena's style borrows a lot from the bossa, but also throws in some wonderful poppish touches – including jangly guitars recorded in a similar mode to some of the other French/European indie groups of the time, and a slight darkness in production that almost gives a Martin Hannett-like undercurrent to the whole set. The group's album Camino Del Sol has been lovingly reissued with a great set of notes, as well as a series of bonus tracks from an additional ep – making for a beautiful 14 track package that will really help you rediscover this nearly-lost group! Titles include "Sissexa", "To Climb The Cliff", "Camino Del Sol", "Bye Bye Papaye", "Noelle A Hawaii", "The Boy From Ipanema", "Seaside Weekend", "Frantz", and "Ingenuous".

French folksy work from the mid 60s – an artist who's clearly taking a cue from Bob Dylan, but definitely giving the music a sweet spin that's all his own! Antoine plays plenty of acoustic guitar, and a bit of harmonica too – and the fuller-arranged songs have a feel that's very much in the Freewheelin Dylan mode, with maybe just a touch of Rolling Stones – while the sparer numbers hit this cool mode that somehow sounds even more French – intimate and moody, with kind of a pre-1968 sort of chic. Titles include "La Loi De 1920", "Petite Fille Ne Crois Pas", "Qu'Est-Ce Qui Ne Tourne Pas Rond Chez Moi", "Autoroute Europeenne No 4", and "J'Ai Oublie La Nuit". CD features 2 bonus tracks – "Un Jour C'Est Longtemps Pour Nous Deux" and "Une Autre Autoroute".

Not much to say here – but the record was a pretty respectable batch of Euro disco that was licensed by Scepter for release in the US, during a period when they were having some luck with early disco sides of their own, and started digging around for similar material from other sources. Unfortunately, this one lacks the soulfulness of some of the east coast work that was Scepter's strongest suit at the time. Titles include "Do Me Right" and "Same Old Song", plus versions of "The Hustle", "Cochise", and "Band Of Gold".

Hard swinging big band material from Sweden – featuring the big band of Harry Arnold arranged by Quincy Jones. Quincy had been spending a lot of time in Sweden during the mid 50s – bringing with him a host of great players that would soon become big names on the European scene. Biggest of these is Benny Bailey, who plays some good solos here with a mostly-Swedish group that includes Arne Domnerus, Bengt Hallberb, Ake Persson, and Bengt-Arne Wallin. The style of the work, and its trans-Atlantic jazz orientation, is a direct precursor of later work by the Clarke-Boland Big Band – of whom Bailey was a big part. Titles all swing nicely, and tracks include "Doodlin", "Room 608", "Quincy's Home Again", "Brief Encounter", and "Meet Benny Bailey".

A rare treasure from the Art Ensemble Of Chicago – recorded as a supposed third album for Atlantic records in 1974, but unissued for years until the group released it on their own! The session is a live one, recorded at the Montreux Jazz Festival – and features the unique addition of Muhal Richard Abrams on piano, making for the group's first session ever with the instrument! Muhal's work nicely colors in the spare spaces on the set – giving a soaring, lyrical quality to a few of the numbers – and really standing in stark contrast to the freer solo work of the other players. At times, Abrams is playing these longer lines that almost have a McCoy Tyner sort of energy – directing the set with a tremendous searching vibe – and at other times, he joins the group in their sparer exploration of sound and space – in a mode that's similar to some of their Parisian recordings. Titles include "Sun Precondition One", "Kabalaba", "Kaba Song", "Mal's Delight", and "Improvization A2".

A rare treasure from the Art Ensemble Of Chicago – recorded as a supposed third album for Atlantic records in 1974, but unissued for years until the group released it on their own! The session is a live one, recorded at the Montreux Jazz Festival – and features the unique addition of Muhal Richard Abrams on piano, making for the group's first session ever with the instrument! Muhal's work nicely colors in the spare spaces on the set – giving a soaring, lyrical quality to a few of the numbers – and really standing in stark contrast to the freer solo work of the other players. At times, Abrams is playing these longer lines that almost have a McCoy Tyner sort of energy – directing the set with a tremendous searching vibe – and at other times, he joins the group in their sparer exploration of sound and space – in a mode that's similar to some of their Parisian recordings. Titles include "Sun Precondition One", "Kabalaba", "Kaba Song", "Mal's Delight", and "Improvization A2".

One of the best, and one of the rarest albums ever from The Artistics – one of the many great Chicago soul groups to cut albums for Brunswick during their soul glory years! The record's got that loping soul groove that was the stock in trade of The Chi-Lites, and it features production and many original songs by Eugene Record of that group. Harmonies are smooth, but with a rough undercurrent – as in the best work of The Four Tops from the same time. The title cut's a winner, and there's lots of other nice ones like "Walking Tall", "With These Hands", "Why Did She Have To Leave Me", "When I'm Not Around", "Yesterday's Girl", and "Price Of Love".

Groovy 12" mixes of neo throwback soul chanteuse Kylie Auldist! Includes Ashley Beedle's streetsoul edit of "In A Week, In A Day" plus the PTH Projects mix, plus Flevans and Hint remixes of One Goodbye. Modern soul with retro love by Kylie given a dancefloor bounce by stellar mixers!

Joyously romping grooves from Auteur Jazz – a combo who take the modal style of the 60s European scene, and infuse it with a few contemporary touches of their own! The group are a bit more open-ended than some of the other club jazz combos on the Ricky Tick label – willing to stretch out in some occasional exploratory modes or mellower moments, then step back with a hard-hitting groove to round things in place – often getting a surprisingly rich sound from their relatively small lineup, which is mostly based around reeds and piano from Antti Hynninen, but also features occasional other saxes, strings, keyboards, and percussion. Sara Sayaed sings on the tracks "Kill You Alive" and "Tomorrow Knows" – and other instrumental tracks include "Two Jaguars In Warsaw", "Marbles", "Who Struck John", "Gris Gris", "Uruguayo", and "Najgo".

A great set by a crack drummer! Jorge Autuori's got a great approach to the kit – tight and crackling, perfect for the bossa-based instrumentals on the set. He plays a lot like drummer Milton Banana, who was a contemporary of his in Brazil – and he utilizes the same piano/bass/drums lineup as Banana's famous trio. Tracks on the set are a mix of Brazilian tunes, and the album's got a lively bossa-grooving feel all the way through – with plenty of great drums! Titles include "Samba Com Molho", "O Caderninho", "Triste Madrugada", "Tem Mais Samba", "Ilusao Demais", "Tema De Nos Tres", and "Palmas No Portao".

One of Roy Ayers' greatest albums of the 70s – a set that tightens up the groove from previous Polydor productions, yet still keeps all the soul intact! The record picks up the style begun with the Mystic Voyage album, and pushes it to some slightly tighter territory – a more focused Roy Ayers sound that's totally great, and which makes the album sparkle wonderfully throughout! All aspects of Roy's talents are perfectly balanced here – his warm vocals and jazzy vibes, his uptempo grooves and mellower rhythms – played to perfection by a hip lineup of players that includes Philip Woo on electric piano, Justo Almario on tenor sax, and Steve Cobb on drums. Edwin Birdsong guests a bit on the record – bringing in a nice edge to a few tunes – the album's got a really unique dark undercurrent, even in smoother moments – that subtle Roy Ayers' approach that's always made him one of our all-time favorite artists. Titles include the wonderful jazz-tinged "Searching", a great midtempo stepper that we really love; the funky break track "The Memory", a righteous number that feels like work from earlier records; the clubby classic "One Sweet Love to Remember"; and the sweet instrumental "Vibrations", which has a mellow kickback feel! Other tunes include "Higher", "Domelo (Give It To Me)", "Baby I Need Your Love", and "Better Days".

One of Roy Ayers' greatest albums of the 70s – a set that tightens up the groove from previous Polydor productions, yet still keeps all the soul intact! The record picks up the style begun with the Mystic Voyage album, and pushes it to some slightly tighter territory – a more focused Roy Ayers sound that's totally great, and which makes the album sparkle wonderfully throughout! All aspects of Roy's talents are perfectly balanced here – his warm vocals and jazzy vibes, his uptempo grooves and mellower rhythms – played to perfection by a hip lineup of players that includes Philip Woo on electric piano, Justo Almario on tenor sax, and Steve Cobb on drums. Edwin Birdsong guests a bit on the record – bringing in a nice edge to a few tunes – the album's got a really unique dark undercurrent, even in smoother moments – that subtle Roy Ayers' approach that's always made him one of our all-time favorite artists. Titles include the wonderful jazz-tinged "Searching", a great midtempo stepper that we really love; the funky break track "The Memory", a righteous number that feels like work from earlier records; the clubby classic "One Sweet Love to Remember"; and the sweet instrumental "Vibrations", which has a mellow kickback feel! Other tunes include "Higher", "Domelo (Give It To Me)", "Baby I Need Your Love", and "Better Days".

One of Roy Ayers' greatest albums of the 70s – a set that tightens up the groove from previous Polydor productions, yet still keeps all the soul intact! The record picks up the style begun with the Mystic Voyage album, and pushes it to some slightly tighter territory – a more focused Roy Ayers sound that's totally great, and which makes the album sparkle wonderfully throughout! All aspects of Roy's talents are perfectly balanced here – his warm vocals and jazzy vibes, his uptempo grooves and mellower rhythms – played to perfection by a hip lineup of players that includes Philip Woo on electric piano, Justo Almario on tenor sax, and Steve Cobb on drums. Edwin Birdsong guests a bit on the record – bringing in a nice edge to a few tunes – the album's got a really unique dark undercurrent, even in smoother moments – that subtle Roy Ayers' approach that's always made him one of our all-time favorite artists. Titles include the wonderful jazz-tinged "Searching", a great midtempo stepper that we really love; the funky break track "The Memory", a righteous number that feels like work from earlier records; the clubby classic "One Sweet Love to Remember"; and the sweet instrumental "Vibrations", which has a mellow kickback feel! Other tunes include "Higher", "Domelo (Give It To Me)", "Baby I Need Your Love", and "Better Days".

A great little album from Roy Ayers – a very funky record that's almost all instrumental all the way through! The sound is a bit in the vein of Roy's Live At Montreux set – but funkier overall, thanks to some very heavy rhythms on the bottom – and an approach to the tunes that's short, tight, and very much on the money! In addition to Roy's great vibes, the set also features Harry Whitaker on electric piano, Jimmy Owens and Cecil Bridgewater on trumpets, Garnett Brown on trombone, and Dennis Davis on drums and percussion – all very hip players who really help Roy find the mix of jazz and funk he was going for at the time. Dee Dee Bridgewater sings a bit of vocals on the record, joining Roy on the sublime spiritual track "Love From The Sun" – but most other tracks on the album have a more instrumental approach. The record includes a great remake of Leroy Hutson's track "Giving Love", sung more famously by Voices of East Harlem, and it's also got a nice funky cover of the hit "Brother Louie" – plus the tracks "The Morning After", "Des Nude Soul", "Virgo Red", "Love From The Sun", and "I Am Your Mind".

A great little album from Roy Ayers – a very funky record that's almost all instrumental all the way through! The sound is a bit in the vein of Roy's Live At Montreux set – but funkier overall, thanks to some very heavy rhythms on the bottom – and an approach to the tunes that's short, tight, and very much on the money! In addition to Roy's great vibes, the set also features Harry Whitaker on electric piano, Jimmy Owens and Cecil Bridgewater on trumpets, Garnett Brown on trombone, and Dennis Davis on drums and percussion – all very hip players who really help Roy find the mix of jazz and funk he was going for at the time. Dee Dee Bridgewater sings a bit of vocals on the record, joining Roy on the sublime spiritual track "Love From The Sun" – but most other tracks on the album have a more instrumental approach. The record includes a great remake of Leroy Hutson's track "Giving Love", sung more famously by Voices of East Harlem, and it's also got a nice funky cover of the hit "Brother Louie" – plus the tracks "The Morning After", "Des Nude Soul", "Virgo Red", "Love From The Sun", and "I Am Your Mind".

One of the last records made by avant sax legend Albert Ayler – a really mind-expanding album that's unlike anything else he ever did! By the time of the record, Ayler had made a full round trip between the New York and European jazz scenes – leaving important influences wherever he went, and trying desperately to pick up new ones the further he moved on. Here, he's working in a style that's a bit like that of Archie Shepp at the time – still steeped in free jazz and new thing ideals, but infused with a free-thinking approach to the music that allows for bold new styles and sounds. In addition to his own stunning work on tenor, Ayler's also blowing bagpipes and vocalizing a bit next to singer Mary Maria, who does a great recitation on one track of the record. Rhythm is by the two-bass team of Stafford James and Bill Folwell, next to drums by Muhammad Ali – and the whole thing's capped off by guitarist Henry Vestine, who plays in modes that range from bluesy to free. At the time, this one was kind of dismissed as a messed-up mistake that occurred at the end of Ayler's too-short life – but honestly, over the years, this record really really opens itself to us more and more, and we have to say that we think it's one of his most groundbreaking albums! Titles include "Island Harvest", "Drudgery", "Oh Love Of Life", "Masonic Inborn (part 1)", and "A Man Is Like A Tree".

Tenor great Albert Ayler's rare second album – and a straight up thrilling early set that we see and hear all too rarely! The session features Ayler with Noah Howard on trumpet, Henry Grimes on bass and Sonny Murray on drums.and was recorded in New York in 1964, but originally (and for many years after) was issued only in Europe. Earle Henderson is a second bassist on the set's longest number, dueting with Grimes on "Witches And Devils", and Henderson is the lone bassist on on "Holy Holy" and "Saints". It's classic, essential mid 60s avant jazz from a true pioneer, with the lengthy, tense and energetic passages, as well as measured, superb sparer parts racked with tension.

A landmark recording – Albert Ayler's first album for the ESP label, and a record that hit the jazz world like a bullet! Spiritual Unity sets the stage for a format that would become huge in the European avant scene of the 70s, 80s, 90s, and even today – the sax-driven power-trio, tenor against bass and drums, working freely with less rhythmic constraints than before, searching for new sounds and new modes of expression, working through changes in a style first proposed by Sonny Rollins, but taken to new intensity by the New York underground of the 60s. That sound is summed up here perfectly by Ayler, Gary Peacock, and Sunny Murray – working together with an edgey brilliance, on classic tracks that include "Ghosts: First Variation", "Ghosts: Second Variation", "The Wizard", and "Spirits".

A beautifully remastered version of the first album by Azymuth – presented here with a full bonus CD of new remix tracks! The core album is one of the sweetest electric records to come from 70s Brazil – the fabulous first effort from the Azymuth trio, and work that's hardly been matched again! Although the group here have plenty of the warm keyboard touches of their more famous later work, they're also moving in territory that's a bit more abstract as well – using some noisier electronics amidst the smoother ones, to create a style that's somewhere between fusion, electric funk, and some of the more soaring Brazilian rhythms of the post-bossa years! The keyboards of Jose Roberto Bertrami are worth the price of admission alone – and include Fender Rhodes, Arp, and clavinet – plus bits of Hammond organ too! There's more than a few great breaks and samples on the set – and titles include "Brazil", "Caca De Conta", "Melo Dos Dois Bicudos", "Manha", "Periscopio", and "Montreal City". The second disc is just as great as the first – and features 11 great remixes, all by talents very sympathetic to the classic sound of the original – tracks that include "Wait For My Turn (Yam Who rmx)", "Linha Do Horizonte (Mr Beatnick rmx)", "Estrada Dos Deuses (Recloose rmx)", "Seems Like This (As One rmx)", "Periscopio (Marc Mac rmx)", "Morning (Peanut Butter Wolf rmx)", "Caca A Raposa (DJ Venom rmx)", and "Montreal City (Volcov rmx)".

A wonderful record from this enigmatic European guitarist – arguably his greatest ever, and a set that was never issued in the US! The tracks have a great soul jazz feel to them – with a focus on Bacsik's extremely unique tone, and his jagged way of working the strings with a rich palette of harmonic colors – almost the scope of tone that you'd get from Wes Montgomery in the 60s, but Elek's got a completely way of hitting the strings overall! The record features Bacsik in a group that includes Guy Pederson on bass and Daniel Humair on drums, plus some excellent occasional organ work by Maurice Vander – a great player whose sound really expands the vibe of the record. Titles include "Conception", "Loin Du Bresil", "La Saison Des Pluies", "Gemini", "Room 608", and "Goodbye". Wonderful sound – and a real lost gem of European jazz!

An incredible album from drummer Dave Bailey – a set that's almost better than his classic early 60s sets for Epic! Like those records, this one's a rock-solid session that's right up there with the best Blue Note work of the time – perfectly put together, with a sense of poise, balance, and soul that's even more amazing, given that the album was only issued on the short-lived Jazztime label. The lineup is killer too – with Frank Haynes on tenor, Grant Green on guitar, Ben Tucker on bass, and Billy Gardner on piano – and the presence of Green, Gardner, and Tucker really give the set a tight soul jazz groove. Green is great, and the album's equally noteworthy for his presence – and has actually been issued under his name over the years as well. Tracks include "One For Elena", "Reaching Out", "Our Miss Brooks", and "Baby, You Should Know It". Great stuff, and an album that will become one of your favorites! CD features 3 bonus alternate takes too.

Think American had the lockdown on keyboard funk during the 70s? Think again, because this rare Australian set features some killer electric piano and clavinet from Judy Bailey – easily one of the greatest jazz players of the 70s Aussie scene! The album features 4 long tracks – all original numbers that step along with grooves that match the best energy from CTI at its prime, but which also come across with a bit more roughness – which further enhances the funky quality. Instrumentation includes Judy's keyboards, bass, and drums – plus a mix of saxes and flute from Ken James, who often plays with a nice choppy edge that reminds us a bit of Joe Farrell. Tracks include the slow break number "Fall Down Dead", the breezy Latin tune "Toledo", the scatting vocal groover "Colours Of My Dreams", and the very spacious "Eleven Eight Song".