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Eric Alexander in a perfect setting – working here with a rock-solid group of familiar players who are perfect for his soulful tenor sound! The album's got a gentle, ballad-heavy approach – but even so, the groove is superb, and right in the pocket right from the start – with Harold Mabern on piano, John Webber on bass, and Joe Farnsworth on drums – a trio who've worked often with Alexander over the years, and really know the right sort of modes to bring out the fullest feeling in his horn! Eric himself just gets better and better with age – a player who was already great in the early years, but who seems to get an even deeper sense of feeling as he matures – doing more with less, and shading in some especially great sounds on the ballads in the set. Titles include "Dinner For One Please James", "I'm Glad There Is You", "Oh Girl", "Touching", "Gone Too Soon", and "September Of My Years".

2 rare soundtracks by French composer Eric Demarsan – 1978's Attention Les Enfants Regardent and 1983's L'Indiscretion – back-to-back! Attention Les Enfants Regardent kicks off with an ethereal choir overture, and from there rolls out some laidback, but moody tracks that steadily build tension as the soundtrack plays out. Nice use of harpsichord at the beginning and heavier use strings as it goes. Sweet! Titles include "Les Enfants Du Soleil", "Le Serment", "Strip-Tease", "La Mort De L'Ogre", "Le Diner", "Supermarche", "La Recontre" and more. "L'Indiscretion" has some similar attributes, but also cool, pared down fusiony touches – with echoey electric guitar, sultry sax, synth and some rumbling drums and bass grooves in particular. It's also got a nicely alliterative tracklist – including "Indiscretion", "Elimination", "Impulsion", "Premonition", "Interrogation", "Liberation", "Fascination" and more.

A relatively contemporary score from the great Eric Demarsan – who we love for his work in the 60s – yet a soundtrack that's also handled with the same sense of space and somberness he brought to his music for the films of Jean-Pierre Melville! Most numbers here have a slow-growing sort of energy – keyboards mixed with larger orchestrations, but often used in a relatively subtle way – and marked by some key tenor sax solos by Archie Shepp on some of the album's best tracks – used in ways that break out with a bit more free emotion than the rest of the score. Titles include "Piano Droit", "Pigalle By Night", "Alice Et Nadir", "Les Visions Troubles", "Les Belles Histoires", "Un Frere", and "Frissons Rouges".

Searing live work from Eric Dolphy – part of a series of recordings that set a whole new standard for live jazz recording! The record features Dolphy going even farther out than on his studio sides from the time – as the record features very long tracks performed by a crack group that includes Booker Little on trumpet, Mal Waldron on piano, Richard Davis on bass, and Ed Blackwell on drums. Despite the length of the tracks, Dolphy isn't as far out as on later European live recordings – but the performance is a great example of his inventiveness within a mainstream structure, and the modernist tendencies of both Waldron and Little shine very brightly in the set. The concert was one of Little's last (and greatest) recordings – sometimes billed as a "memorial", even though he was still alive when it was done – and titles on this volume include "Aggression" and "Like Someone In Love".

One of Eric Dolphy's lasting classics – and possibly the ultimate album of "new thing" jazz from the mid 60s! The record's got an even sharper edge than previous Dolphy recordings for Prestige – a really unique combination of instrumentation that includes Freddie Hubbard on trumpet, Bobby Hutcherson on vibes, Richard Davis on bass, and Tony Williams on drums – plus Dolphy on alto sax, flute, and bass clarinet. Although Dolphy's reed playing is as amazing as you'd expect, the real surprise here is Hutcherson, whose vibes ring out with this cold harsh tone that give a perfect edge to the set – bold and metallic, quite different than any work on vibes from previous players. Despite a large number of later recordings, Hutcherson almost never hit this sound again – except perhaps on a few Jackie McLean recordings – and it's his playing that gives the set such a unique sound. Titles include "Straight Up & Down", "Gazzelloni", "Hat & Bread", "Out To Lunch" and "Something Sweet Something Tender".

Eric Dolphy's first meeting in the studio with trumpeter Booker Little – a brilliant batch of modernism that's easily one of the hippest records Little ever worked on! The Dolphy heard here is Eric at his most inventive – sharp-edged and angular one minute, then spiritually lyrical the next – playing flute, bass clarinet, and alto sax equally well on the record – and somehow managing to get Little to share his inspiration perfectly on every number. Other players include Jaki Byard on piano, Ron Carter on bass, and Roy Haynes on drums – a rhythm team whose abilities are a big part of the success of the record – and titles include "Far Cry", "Mrs Parker Of KC", "Left Alone", "Ode To Charlie Parker", and "Miss Ann". CD features 1 bonus track.

Paid In Full, indeed. Eric B & Rakim's seminal album still pays off in so many ways, and it was such a vital link between the party rockin' style of the old school and the terse, hard-hitting beats and rhymes of what was then the new school, we can't even come up with the words for the praise it's due! If you don't respect this album, you don't know a damn thing. Includes the immortal "I Ain't No Joke", "Eric B Is In The Cut", "I Know You Got Soul", "Move The Crowd", "Paid in Full", "Chinese Arithmetic", and "Eric B. Is President" plus 2 bonus tracks: "As The Rhyme Goes On (radio)" and "Paid In Full (mini madness – Coldcut rmx)".

Sweet fusion from the great Eric Gale – two late 70s albums back to back on a single CD! Part Of You is part of Gale's great run for Columbia Records in the late 70s, and a set that's got a nicely grooving bottom – thanks to production from Ralph MacDonald, and arrangements from William Eaton! The groove's uptempo at times, but always in a jazz-funk mode – and mostly played with smaller group instrumentation at the core – including keyboards from Richard Tee, bass from Anthony Jackson, and drums from either Steve Gadd or Harvey Mason – both cats who can hold up a groove on a date like this. Titles include "Let Me Slip It To You", "Part Of You", "Trio", "Nezumi", and "Holding On To Love". Touch Of Silk is a classic set that has the guitar of Eric Gale produced by the legendary Allen Toussaint! The cross of talents is pretty compelling – and although the album's not a New Orleans funk outing, it definitely shares some of the more creative elements that you'd get from some of Toussaint's other side projects at the end of the 70s. A few numbers definitely have a bit more bump than you'd expect from a fsuion date like this – and Toussaint himself plays piano and moog on the record, and even sings a tiny bit. Robert Dabon plays Fender Rhodes – and titles include "You Got My Life In Your Hands", "War Paint", "Touch Of Silk", "Au Privave", "With You I'm Born Again", and "Once In A Smile".

2 Eric Kloss albums back to back on a single CD – both under-discovered, and both totally great! Sky Shadows is one of the late 60s killers for Prestige by reedman Kloss – sublime material that was every bit as great as some of the bigger-name work for the label, but never really got its due! Kloss is sharper and more focused here than in later years – starting with a hardbop groove, but really reaching out with some inventive sounds of his own, and some great changes from the group! The inventive ensemble features Pat Martino on guitar, Jaky Byard on piano, Bob Cranshaw on bass, and Jack DeJohnette on drums – and titles include "Sky Shadows", "January's Child", "The Girl With The Fall In Her Hair", and "In A Country Soul Garden". In The Land Of Giants is a crackling bit of modernist free play, with a very soulful edge – and the group includes Booker Ervin, Jaki Byard, Richard Davis, and Alan Dawson all joining Kloss as he hits his mid-period "exploratory" stage. His alto is super-crisp here, and although he's reaching out a bit more than on earlier albums, he never manages to lose the swing that made him sound so great right out of the box. Tracks include "So What", "When Two Lovers Touch", and "Sock It To Me Socrates".

An unusual album from Arthur Louis – and a set that features some surprising guest work from Eric Clapton on guitar! Louis has this raspy style that's not far from Clapton's – and the presence of the famous guitar definitely helps shape the sound of the record too – giving it a compressed but rocking style that's at the sharper edge of the British scene in the 70s. Things are never too slick, but they're tight enough to not be gritty either – a surprising balance that's a bit different than more commercial albums of this nature. Gene Chandler provides guest vocals on "The Dealer" – and other titles include "Knockin On Heaven's Door", "Plum", "Been On The Road Too Long", "Train 444", and "It Feels Good".

The album's got a great old style cover – and a wonderful groove to match – plenty of cosmic beats and spacey keyboards from Eric Lau, plus some other sweet touches as well! The set's more in a funk mode overall – and one that will definitely please fans of the spacier side of the 70s spectrum – almost a distillation of territory spanned by cats like Herbie Hancock or Ronnie Foster, but filtered into a 21st Century aesthetic too – so that the best bits come to the forefront, and really give the album a lean sort of crackle. Most of the record is instrumental, and titles include "Cruise Control", "Sometime", "Home Run", "PPG", "Warp", "Minnie", "Love Love Love", "What's Going Down", "Noma", "Give Light Give Love", and "Change".

A pair of 70s guitar classics from Eric Gale – back to back on a single CD! Ginseng Woman is a wonderfully strong effort from Gale – a player who'd done countless studio work on fusion sessions in the 70s, but who never really broke that strongly as a leader until this set! Gale's tone here is nicely compressed, but still has a warmth that comes from his use of a hollow-body – smooth enough to slide alongside the electric Bob James production, but with enough humanity to allow Gale's spirit to shine through nicely. Richard Tee plays organ on the set, some tracks have backing vocals, and the overall sound is sort of post-CTI, or Kudu-esque. Titles include "Red Ground", "Ginseng Woman", "Derabbit", "East End, West End", and "Sara Smile". Multiplication is a great late 70s fusion set from guitarist Gale working here with his CTI labelmate Bob James. In fact, except for the absence of Creed Taylor, this set is in many ways like a CTI session, with sidemen that include James, Steve Gadd and Anthony Jackson – and a full string and brass section, plus other players who you might not associate with that label, like Richard Tee, Alphonso Johnson and Ralph Macdonald. The groove is slightly mellow at times, almost like James' own work from the period – but which also shows a bit of a tight funk approach on the best cuts too. Titles include "Gypsy Jello", "Morning Glory", "Oh Mary Don't You Weep", "Thumper", and "Multiplication".

Classic set of European recordings – made by Dolphy in 1961, before the fateful 1964 European tour that would later claim his life. The group features Swedish piano giant Bent Axen, plus a rhythm section that includes Erik Moseholm on bass and Jorn Elniff on drums. Like most Dolphy recordings from the time, however, the main focus is on Dolphy himself, and the long tracks feature some beautiful extended solos on alto and flute. Tracks are long, and titles include "Hi Fly", "Oleo", and "Glad To Be Unhappy".

Eric Dolphy's first album ever as a leader – recorded almost immediately after his arrival on the New York scene! The sound here is already bolder and stronger than the Dolphy experiments on the west coast – sharp-edged and freely exploratory, in a way that pushes the playful lyricism of the Chico Hamilton years aside, and reaches out into the new territory hinted at by the title! The group is a quintet that features Freddie Hubbard on trumpet, Jaki Byard on piano, George Tucker on bass, and Roy Haynes on drums – and the overall sound is a beautiful mix of modernist hard bop and some of Dolphy's later freer styles. Dolphy plays his usual mix of alto, flute, and bass clarinet – and the tracks include "245", "Miss Toni", "Les", and "GW".

A rare EP from the Danish scene of the 60s – one of those European 7" records that seem to pack even more punch than some of their American counterparts of the time! The trio here is bristling with creative energy – led by bassist Erik Moseholm, driven by the drums of Peter Wissing, and topped with wonderful piano lines from Bent Axen – easily one of the sharpest modernists of the European scene of the period – delivering one of his most striking performances here on this short little 4 track EP! The tunes are short, but pack a tremendous punch throughout – and the record's a memorable one that will be a real treasure in your collection – with tracks that include "Hilsen Fra Bent", "Hilsen Fra Peter", "Hilsen Fra Erik", and "Til".

A real musical discovery – not just for the fact that the CD represents a previously-unreleased concert by Charlies Mingus – but also because the sounds and styles here offer up a version of Mingus that's almost more adventurous than some of his other albums of the time! The sextet features some key work by Eric Dolphy on alto sax, flute, and bass clarinet – but all other players are wonderful too, and include Johnny Coles on trumpet, Clifford Jordan on tenor, Jaki Byard on piano, and Dannie Richmond on bass – all coming together with a sense of power and presence that matches that of a group double their size! The long tracks on the set allow plenty of space for individual expression – some stretched-out solos that really push the limits of the music, sometimes going farther outside than we might expect – almost in the manner of some of Coltrane's important live dates of the same year. Titles include "ATFW You", "Fables Of Faubus", "Take The A Train", "Orange Was The Color Of Her Dress", "Meditations", "So Long Eric", "Jitterbug Waltz", and "When Irish Eyes Are Smiling".

Not to be confused with Coltrane's other Birdland album, issued on Impulse, with different titles – this one features 2 different live sets. One's from February of 1962, and features Tyner, Garrison, and Jones, with the addition of Eric Dolphy, on long readings of "Mr PC", "Miles Mode", and "My Favorite Things". The second live set is from June of the same year, also at Birdland, with the same group, minus Dolphy – on a long reading of "Body & Soul".

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".

A stone classic from Blood Sweat & Tears – and a record that went onto have a tremendous impact in jazz, rock, funk, and soul! The group's format is plenty darn famous – adding a lot of horns to hip riffing grooves – but despite countless plays on oldies stations over the years, this initial album still has a power that's undeniable – a way of putting the whole thing together that really uses the best elements of the late 60s studio – handled with sweet production from James William Guerico that rivals his best work for Chicago! Even the lead vocals by David Clayton Thomas hold up nicely – and the set includes the classics "Variations On A Theme By Eric Satie", "And When I Die", "Smiling Phases", "More & More", "Spinning Wheel", and "You've Made Me So Very Happy". CD features bonus live tracks – "More & More" and "Smiling Phases".

Mad music from the Bonzo Dog Doo Dah Band – a brilliant mix of dada energy and psychedelic production – served up in these five classic Liberty albums from the cusp of the 70s! Frontman Neil Innes later went on to a lot of projects with Eric Idle in later years – including the famous Rutles project – and the work here definitely has a Monty Python sense of humor, especially in the way it mixes the modern and the vintage with effortless ease – but in ways that seem to create a really unsettling blend of two different eras! There's a definite psych influence going on too – possibly the contribution of Vivian Stanshall – and the set features the full albums Gorilla, The Doughnut In Granny's Greenhouse, Tadpoles, Kenysham, and Let's Make Up & Be Friendly – plus a huge amount of "extra treats" – 8 more bonus tracks from later years and singles.

A really amazing little record – way more than usual for this sort of live recording – given that it features some very unique performances together by artists we've never heard on the same stage otherwise! The premise is simple, but wonderfully effective – in that the album brings together some of the leading lights of the Columbia/CBS jazz stable at the time – a massive lineup of talent from a few key generations in jazz, sounding surprisingly great hear together! All tracks are nice and long – and titles include a brilliant version of "Infant Eyes" by a quartet with Stan Getz on tenor and Bob James on piano; "Fried Bananas" with Dexter Gordon on tenor, Slide Hampton on trombone, Woody Shaw on trumpet, and George Duke on piano; "Bahama Mama" with Bob James on keyboards, Bobbi Humphrey on flute, Eric Gale and Steve Kahn on guitars, and Billy Cobham on drums – and the long jam session tracks "Montreux Summit", "Blues March", and "Andromeda" – which feature work from most of the players above, all working in one large group – plus added flute from Hubert Laws and Thijs Van Leer, percussion from Ralph Maconald, and bass from Alphonso Johnson.

A wonderful follow-up to the first Montreux Summit album – and like that classic, a groundbreaking assemblage of some of the best jazz musicians of the 70s! The format here is slightly different – with more of a focus on smaller groupings of musicians, but still with a really fresh ear for unusual combinations – especially with players you're not always likely to hear together – all stretching out on some sweet longer tracks. Tunes include a version of "Moontrane" with Woody Shaw on trumpet, Dexter Gordon on tenor, Slide Hampton on trombone, and George Duke on Fender Rhodes; "Two Part Invention" with Bob James on piano and Hubert Laws on flute; "Kanon For Flutes", with work by Bob Militello and Thijs Van Leer on flutes, alongside Bob James on Fender Rhodes, Eric Gale on guitar, and Peter Erskine on drums; "Red Top" with Dexter Gordon and Stan Getz on tenor, and Maynard Ferguson and Woody Shaw on trumpet; "Rites Of Darkness" with George Duke on Fender Rhodes, Bob James on keyboards, and Steve Kahn on guitar; "Be Cool" with James on Fender Rhodes, Duke on keyboards, Bobbi Humphrey and Hubert Laws on flute, and Eric Gale and Steve Kahn on guitar; and a sweet take on James' "Night Crawler" – with Stan Getz on tenor, Bobbi Humphrey and Hubert Laws on flute, Eric Gale and Steve Kahn on guitars, and Bob James himself on Fender Rhodes!

A killer hardbop session from the early 60s – one of Sonny Clark's later sides for Blue Note, and an album that features a great lineup of players that includes lesser-known Blue Note hornmen Charlie Rouse and Tommy Turrentine! The record crackles with the energy and imagination of Clark's best work for the label – leaping and loping along the grooves with a free-thinking approach to the tunes, and coming up with some exotically-tinged takes on the hardbop sound of the time – yet still allowing plenty of space for searing solo work. Ike Quebec joins the group on a few tracks as well, and titles include some of Clark's best compositions – like "Melody for C" and "Voodoo" – as well as the tracks "Eric Walks", "Midnight Mambo", and "Deep In A Dream".

A wonderful idea for a record – very unique, and with a style that makes for one of the freshest jazz vocal sets we've heard in years! The tunes here are all numbers penned by saxophonist Pepper Adams – a great change from overdone standards – and they've got some inventive lyrics penned by Barry Wallenstein, sung with a very vivid, jazzy flourish by Alexis Cole! The approach is wonderful – hardly what you'd expect from the usual jazz vocal set – and the instrumentation is also great too – a small combo, with twin tenors from Eric Alexander and Pat LaBarbera, both bringing in the kind of solo space and soulful inflections that Adams would have greatly appreciated. Titles include "Urban Dreams", "Julian", "Civilization & Its Discontents", "Lovers Of Their Time", and "Now In Our Lives".

Ravi Coltrane's first album for Blue Note – put together here with production help from Joe Lovano, who also plays a bit of guest tenor too! The album's got a really dark edge – and really works strongly in those edgier sides of the spectrum – those modes that Coltrane's developed best in the past decade or so – which are almost more saxophonic elements of a maturing Wayne Shorter than they are those of his famous father! Ravi's got a good sense of space between his notes – never bridging the gaps with flurries of sound, and instead making these bold statements that swing together nicely, with help from a lineup that includes Geri Allen and Luis Pedromo on piano, James Genus and Drew Gress on bass, and EJ Strickland and Eric Harland on drums. In addition to tenor from Lovano on two tracks, the set also features some guest trumpet from Ralph Alessi – on titles that include "The Change My Girl", "Spirit Fiction", "Klepto", "Roads Cross", "Cross Roads", "Yellow Cat", and "Check Out Time".

Don't pass this one up! Although lots of other albums by Eddie Lockjaw Davis are laidback quartet and quintet sessions, done in a soul jazz organ/tenor mode – this session features Eddie working with stunning bigger band backings, in a searingly soulful sound that's simply incredible! The leadoff track, "Trane Whistle", has Lockjaw really working new waves of sound into his tenor sax – screaming the horn in a way that you thought you'd never hear, and playing with tones that are a lot darker than usual! The set moves on from there in a nice batch of material that includes "Whole Nelson" and "Stolen Moments", two fantastic originals by Oliver Nelson, who also arranged the album – and takes a great deal of responsibility for the strength of the set. The record shows a whole new side of Davis' talents – one that was barely if ever recorded like this again – and which is made even better by the presence of freshly modern players that include Eric Dolphy, Richard Williams, Melba Liston, and Roy Haynes. Great stuff!

A quadruple-header of a set – four great albums together in one cool box! First up is the first album from the great Special Edition group of drummer Jack DeJohnette – a wickedly sharp record that's as equally tight on the reeds as it is on the drums! The album features brilliant work on tenor and bass clarinet from David Murray, and equally nice alto from Arthur Blythe – both criss-crossing and soaring out effortlessly in each others' company – amidst complex rhythmic impulses from DeJohnette on drums, and both bass and cello from Peter Warren. Jack also plays a bit of piano and melodica as well – and titles include "One For Eric", "Zoot Suite", "Central Park West", "India", and "Journey To The Twin Planet". On Tin Can Alley, the great Chico Freeman really shines with drummer Jack DeJohnette – lending his tenor, flute, and bass clarinet to the album – and helping make it a really reed-heavy affair! John Purcell's also in the frontline with Chico – playing alto, baritone, and flute – and in addition to Peter Warren's bass and cello, the album Jack DeJohnette also plays drums, congas, piano, and organ too! The range of instrumentation almost echoes some Chicago AACM roots at times – but with that tighter focus that musicians like Jack were bringing to their work at ECM – and titles include "Riff Raff", "The Gri Gri Man", "I Know", and "Pastel Rhapsody". Inflation Blues is a record that bristles with energy right from the start – spurred on by the creative rhythms that have always made Jack DeJohnette one of the most inventive drummers of his time! The group features a triple-threat lineup with Baikida Carroll on trumpet, Chico Freeman on tenor and soprano sax, and John Purcell on alto, baritone, flute, and clarinet – especially nice at points when the reedmen shift and turn with sharp edges learned from the earlier avant years, yet given a nice focus here under DeJohnette's leadership. Jack penned all original tunes for the set, and there's a depth to his writing that really marks a move forward – possibly some of his richest musical statements on record ever! Titles include "Ebony", "Inflation Blues", "Slowdown", and "The Islands". Album Album is a record that really dives deep with a rich mix of creative rhythms and inventive horn lines! The album still has Jack staying true to his more avant roots – working with tenor from David Murray, alto and soprano sax from John Purcell, baritone and tuba from Howard Johnson, and bass from Rufus Reid – a lineup that's a bit bigger than on other Special Edition albums, and which is used to fill in even more colors and deeper elements than before. Some of the tunes are wonderfully vivid in approach – and titles include "Festival", "Third World Anthem", "Zoot Suite", "Ahmad The Terrible", and "New Orleans Strut".

The "Angels" in the title are Hells Angels – as this is a pretty rough looking biker flick, pictured in a nice on the road image on the front cover! The music is actually a pretty diverse mix of rock songs by some lesser-known acts – the majority by hard-grooving group called East West Pipeline. Their tracks are pretty darn great – tight, fuzz guitar rockers with surprisingly sweet harmonies. Also includes cuts by Texas psych combo Fever Tree, Buffalo Springfield drummer Dewey Martin, Mark Eric and Rabbit Mackay. Titles include "Taking A Bath", "Angels Die Hard", "Something's Wrong", "Kern County Line", and "Questions" by East West Pipeline; "Death Is The Dancer" by Fever Tree; "Tendency To Be Free" by Rabbit MacKay; "I Want To Take You Higher" by Sylvanus; and "Indian Child" by Dewey Martin & The Medicine Ball.

The second album of heavy east coast funk and slow rolling rhymes from the brothers from Brentwood. Nice, fat trunk rattling production and Eric and Parrish's trademark back and forth rhymes keep this set fresh,even today. Loaded with classics: "So What Cha Sayin'", "Get the Bozack", "The Big Payback", "Please Listen to My Demo", "Snappin' Necks", and "You Had Too Much To Drink".

Foreign Exchange and friends get some remix love! As impressive and eclectic as Nicolay and Phonte are as the flagship FE duo – and given the depth of their excellent +FE Music catalog – you probably expected them to attract the crème of the crop of cosmic soul remixers, and that they do! Reworks features top shelf tracks by FE – plus tracks led by Deborah Bond, Zo!, Sy Smith, Jeanne Jolly, Vikter Duplaix, solo Phonte and others – and remixes/works by 4Hero, Nicolay, Tall Black Guy, James Poyser's and ?uestlove's Randy Watson Experience and others. Tracks include "So What If It Is", "The Last Fall (Focus. . .+FE Experience Remix)", "Fight For Love (Nicky Mendes And Brasil '66 Remix)", "If She Breaks Your Heart (Randy Watson Experience Remix)" feat Yahzarah and more by Foreign Exchange, plus "Games You Can't Win (Nicolay Remix)" by RJD2 feat Kenna, "Flight Of The Blackbyrd (4Hero Remix)" by Zo feat Phonte, "Electric Love (Nicolay Remix)" by Vikter Duplaix, "The Art Of You (Nicolay Remix)" by Sy Smith, "Love Songs" by Phonte feat Focus & Sy Smith, "This Could Be The Night (Tall Black Guy Remix)" by Zo feat Eric Roberson, Darien Brockington & Phonte, "Acslater (Nicolay Remix)" by The Hot At Nights and more. 21 tracks on 2CDs.

One of Aretha's undisputed classics – a seminal session that furthered her deep soul agenda with key backings from Arif Mardin and Tom Dowd! The Sweet Inspirations provide sublime backing vocals behind Franklin's maturing delivery of the lyrics – and the music is by an all-star group of players that includes Spooner Oldham, Bobby Womack, Jimmy Johnson, King Curtis, Tommy Cogbill, Roger Hawkins, and even Eric Clapton! Cuts include "You Make Me Feel Like A Natural Woman", "Chain Of Fools", "Money Won't Change You", "Come Back Baby", and "Ain't No Way". CD includes 4 bonus tracks "Chain of Fools (unedited version)", "(You Make Me Feel Like) A Natural Woman (mono single version)", "Since You've Never Been Gone (Sweet Sweet Baby) (mono single version)", and "Ain't No Way (mono single version)"!

A great little live set from Von Freeman – and one of his best albums! Like some of his rare few sides from the 70s, this one features Von in a relaxed setting – blowing as the main lead soloist in front of a piano trio recorded at the Dakota Bar & Grill in St Paul, Minnesota, in 1996. Unlike other sets, though, this one really shows the edge that Von can have when he's working at his best. Gone are the easily-blown standards that never really illustrate the genius of Von that's been an influence on decades of players – from Andrew Hill to Malachi Favors to Eric Alexander. Freeman's range on the tenor is incredible – taking in a wealth of influences that runs from Coleman Hawkins to Ben Webster to Coltrane and Wayne Shorter – and while the rhythm section is comprised of younger players from St Paul, Von's the real talent here, and has plenty of room to work. Titles include "Footprints", "Caravan", "Crazy She Calls me", "Blues For Sunnyland", and "Bye Bye Blackbird".

A cooking group effort from the Chris Greene Quartet – a great Chicago combo we've watched grow tremendously with each previous release – stepping out here in their first-ever live recording! Greene's got a soulfully sophisticated approach to his saxes that really belies his Windy City roots – with this great way of stretching out on the solos, yet still keeping things real – a bit like Eddie Harris at his best, with the depth of Eric Alexander on tenor,but with some deeper sounds too – which come through especially strong on the album's extended tracks. The rest of the group features electric piano, bass, and drums – and titles include the originals "Shore Up", "Future Emperor Of Evanston", "State", and "Three & Six" – plus a nice cover of "Blue Bossa".

Very interesting work from Chico Hamilton – one of his most compelling albums of the 50s! The three "faces" of Chico are as follows: his vocals, his solo percussion, and his quintet. Forget the vocals, because they're just OK (and Chico hardly embarked on a singing career after this one) – and focus on the percussion and quintet sides, because they're totally amazing! The percussion tracks have Chico playing solo, with a really haunting sound to them. There's not a lot of tricks, or pyrotechnics, and his work in this respect almost points the way to later recordings by Andrew Cyrille. The quintet sides are great, too – as this is the point at which Chico's got Eric Dolphy and Dennis Budimir in the group, both of whom draw a good edge on Chico's popular sound of a few years previous. Titles include "No Speak No English Man", "Miss Movement", "Trinkets", "Happy Little Dance", and "Newport News".

A bold return to Blue Note for pianist Andrew Hill – his first record for the label in over 15 years, and a record that echoes with the modern tones of Hill's legendary Blue Note run in the 60s! The sound here is a bit more starkly modern and obtuse – done with more of a sense of space than Hill's tenser 60s recordings, in a way that's almost a more contemplative reflection of the "new thing" ideal. All tracks are originals, and Andrew is working with a quintet that includes Charles Tolliver on trumpet, Greg Tardy on tenor and bass clarinet, John Hebert on bass, and Eric McPherson on drums. Hill and Tolliver seem to dominate the record, though – musing gently, but starkly on their respective instruments – on a set of tracks that includes "Malachi", "Time Lines", "Smooth", "Whitsuntide", and "For Emilio".

The complete early 70s sessions of Hotlegs – the group that hit the charts for brief moment thanks to the unforgettable, sparely drum-heavy, kinda Kinks-ian "Neanderthal Man" single – and later went on to shuffle the line-up a bit and reintroduce themselves as 10CC! We've heard and loved "Neanderthal Man", but it's with thanks to this stellar compilation that we're being hipped to the hook-laden, pop rock excellence their other '70-'71 recordings! Hotlegs is at its core the trio of Eric Stewart, Kevin Godley and Lol Creme – all soon-to-be 10CC (Graham Gouldman actually plays bass on one song, too) – and the eclectic soft rock genius of that group is indeed on display here, albeit at a formative level! Witty and catchy, yet restlessly creative songs from players who were really just getting started! Titles include "Neanderthal Man", "How Many Times", "Desperate Dan", "Um Wah, Um Woh", "Fly Way", "Run Baby Run", "The Loser", "Today", "Lady Sadie", "YOu Didn't Like It Because You Didn't Think Of It", "Neanderthal Man (Alternative US Mix)" and more.

A real standout in the early career of trumpeter Freddie Hubbard – a very unique session that has him working with some larger arrangements in the background – blowing these magical solos over the top, while still hitting a great edge with the rest of the musicians as well! There's a sound here that's unlike anything else we can think of – including other big band trumpet dates of the time – partly because the set features a fair bit of arrangements by Wayne Shorter – a very rare side of his talents, but one that's equally as soulful as his sublime small group albums of the time. The record has an undeniable depth right from the start – magical, mystical, and very soulful – with a group that includes Eric Dolphy and Wayne Shorter on saxes, Curtis Fuller on trombone, Cedar Walton on piano, and Reggie Workman on bass. Tracks include "Chocolate Shake", "Thermo", "Clarence's Place", and "Aries".

A smoking little set from DJ Kemit – done in that great old school mode we used to love – in which a hip producer gets vocal help from a range of key contemporary singers! Vocals here are from the best of the best – Eric Roberson, N'Dambi, Osunlade, Frank McComb, Lady Alma, Carl McIntosh, Choklate, and others – each of whom step in on a different track, and really help shade in the different flavors of the record! Kemit comes up with a different groove for each guest – often one that really helps show them at their best – and titles include "Digital Love", "You Don't Know", "Funky 8 Ball", "Inside Out", "Summers Night", "Spread Love", "Never Go Away", "Fortune Teller", and "I Was I Am".

A soul jazz treasure from the LA scene of the early 80s – a fantastic record that we'd rank with the best Strata East sides of the time! The group's led by alto saxophonist Dadisi Komolafe, and features vibes by Ricky Kelly, piano by Eric Tillman, bass by Roberto Miranda, and drums by Sunship Theus – all working together in a style that's infused with soulful, post-Coltrane exploratory energy, never going too far outside, and always staying true to the rhythmic pulse at its core. Kelly's vibes are really great – sparkling underneath solos by Komolafe that remind us a lot of Gary Bartz's earliest work – and titles include "Calvary", "Speak No Evil", and "Hassan's Walk".

Tremendous work from the legendary Prince Lasha – a rare UK-only date from 1966 – and one that has the reedman working away from more familiar contemporaries like Sonny Simmons and Eric Dolphy! The approach on this session is very unique – as Lasha includes harp with the instrumentation, played by David Snell in a style that's right up there with Dorothy Ashby's best jazz work. Pianist Stan Tracey is also on board – playing beautiful notes that have a sharp modern edge, while still falling on the inside of the spectrum – and Lasha himself is especially great – blowing plastic alto sax and wooden flute, both of which have a slightly offbeat sound – but one that's surprisingly warm, which makes the album one of his most sensitive and soulful sessions ever! The tunes are a mix of standards and originals – and there's a wonderful sense of balance here – sounds that are sometimes more inside than other records from Lasha, but which have a really Dolphy-like sense of expression – right at home amidst a wider history of jazz, yet also reaching for new ideas at the same time. Pure genius throughout, and a record that was never made available to audiences in the US. Titles include "Nuttin Out Jones", "Impressions Of Eric Dolphy", "Out Of Nowhere", "Just Friends", "Body & Soul", and "Everything Happens To Me".

A classic set from reedman Charles Lloyd – a set that really pushes forward all the experiments he'd begun in the Chico Hamilton group – and shows a bold move forward for rhythms in 60s jazz! The tracks are long, and spiral out wonderfully – but in ways that are different than those used by other creators of the time – like Eric Dolphy or John Coltrane. Even though leading the group on tenor and flute, Lloyd's got a real sense of rhythm to his playing – echoes of the Hamilton group – but set loose with a stellar quartet of younger players – including Keith Jarrett on piano, Cecil McBee on bass, and Jack DeJohnette on drums – all perfect choices for inventive music like this! The standout cut is the amazing "Sombrero Sam", a tight little groover that we never tire of – and one that has Jarrett sounding much more in the pocket than you'd ever imagine – and other tracks include "Dream Weaver", "Autumn Sequence", and "Bird Flight".

Funky breaking piano! Although Junior Mance has made some pretty mellow albums in his time, this is a great record of funky piano tracks – with a nice groove that puts it in a Three Sounds/Young Holt camp! The highlight of the record is the great "Well, I'll Be White Black", which starts with a great breakbeat – but there's a number of other great tracks, like "Thank You Falletin Me Be Mice Elf Again", "Spinning Wheel", and "Home Groovin". Players include Eric Gale, Chuck Rainey, and Billy Cobham – but Junior's piano is the hard, heavy star of the record!

A nice little take on the "city symphony" mode that was big in American music a few decades back – served up by the Wynton Marsalis Septet of the early 90s, with decidedly modern touches! The double-length album's a three-tiered affair – with part one standing out as Wynton's extended "Cityscape" – a tribute to New York, done in styles that range from mellow and contemplative, to more hustling and bustling, in true speed of the city. Next up is another suite of tracks titled "Transatlantic Echoes" – work that's still jazz-based, but with a nod to African roots in some of the percussion and phrasing. Last up is "Some Present Moments Of The Future" – the final suite of the album, and one that almost echoes some of the rootsier modes explored by Wynton in his southern trilogy of a few years before. Players include Wynton on trumpet, Todd Williams on tenor and soprano sax, Wes Anderson on alto, Wycliffe Gordon on trombone, Reginald Veal on bass, Herlin Riley on drums, and Eric Reed on piano – and the album also features some guest tenor from Herb Harris and a bit of piano by Marthaniel Roberts.

Key moments in the career of Charles Mingus – all recorded during the crucial years of 1964 and 1965, and featuring the first-time release of a fair bit of live material too! The set represents the first full presentation of recordings that have appeared piecemeal on a handful of obscure releases – self-released records from Mingus himself – Town Hall, My Favorite Quintet, and Music Written For Monterey – all really expanded here with the full recordings of the tracks, and unreleased titles provided from the original tapes! Mingus was really on fire during these years – severed from most of his bigger label associations, and freely working on some of his most inventive ideas with various smaller groups of players – all fresh young talents who were key interpreters of Charles' ideas – including Johnny Coles and Lonnie Hillyer on trumpet, Jimmy Owens on trumpet and flugelhorn, Charles McPherson on alto sax, Clifford Jordan on tenor, Jaki Byard on piano, Eric Dolphy on alto, flute, and bass clarinet. The stalwart Dannie Richmond is on drums, and the sides represent some of Dolphy's last, and most important recordings on the planet – recordings done at Town Hall and in Amsterdam in April of 1964 – in addition to live material at Monterey in 1964 and 1965, in Minneapolis in May of 1965. Tracks are all quite long – some pushing the half-hour timing – and as with the best live Mingus, there's variations here that go way past any studio readings – really incredible solo flights that are still beautifully integrated with the ideas of the main group. Titles include "So Long Eric", "Orange Was The Color Of Her Dress Then Blue Silk", "Mingus Piano Solo", "Bird Preamble", "Themeless Blues", "Copa City Titty", "A Lonely Day In Selma", "Cocktails For Two", "Praying With Eric", "Parkeriana", "ATFW", "Meditations On A Pair Of Wire Cutters", and "Meditations On Integration". 7CDs, limited edition, and with a great book of notes too!

An ultra-hip set from bassist Tyler Mitchell – a player who doesn't often record as a leader, but really makes his mark with this live performance from Smalls! Mitchell's group here is a great one – a really cohesive quintet with Josh Evans on trumpet, Abraham Burton on tenor, Spike Wilner on piano, and Eric McPherson on drums – all players who come together on the album's original compositions, and who have the inventiveness to keep things spontaneous and flowing on the very long tracks – all tunes that go well past a dozen or more minutes in length. Wilner's especially nice – bold, yet sensitive – and a great bridge between the leader and hornmen. Titles include "A Time Called Now", "La Tendresse", "Caton", "Taking It With Me", and "Taj's Theme".

An amazingly soulful set of folk tunes from the late 60s – the only album we've ever seen from singer Jerry Moore, and a real rarity from the ESP label! Moore's got a style that's somewhere between Terry Callier and Tim Buckley – earthy and acoustic one minute, but stepping out with some hipper rock-influenced touches the next – in a style that makes the album way more than just a conventional folk set. There's a strong political undercurrent to many of the tunes – and Moore is backed by a quartet that includes Eric Gale on electric guitar and Ralph McDonald on percussion. Titles include "Ballad Of Birmingham", "Drugged", "This Is My Time", "Let Go Reach Out", and "Anti Bellum Sermon".

Massive work from one of the funkiest drummers of all time – the legendary Bernard Pretty Purdie, stepping out here in a batch of instrumentals that may well be his greatest album ever! Bernard's drums are right up front in the mix – leading off all tunes with a full, funky, echoey sort of approach that's unlike anything else we can think of – and certainly different from any other late 60s albums of this type! The production is totally great – and has a way of pulling out some of the weirdest aspects of the music – which itself features guitar from Billy Butler and Eric Gale, bass from Bob Bushnell, tenor and flute from Seldon Powell, and organ and piano from Richard Tee – who also handled all the arrangements on the set! The centerpiece is the hit single "Funky Donkey", but just about every track's a groover in its own way – and titles include "Soul Drums", "Bill's Groove", "Jimmy's Back", "Testifyin", "Modern Jive", "Blow Your Lid", "Bee N Tee", and "Soul Bossa Nova". This new edition includes 8 bonus tracks, with a couple rare 45 tracks and more that have never been released – all soulful & funk – well paired with the Soul Drums album! Bonus tracks are in stereo, and include "Alexander's Rag Time Band", "Genuine John", "Soul Clappin", "If You Never Cried", "Stop" and "Time Is Tight". Also comes with a nice booklet with new liner notes, and choice quotes from Purdie's peers and those he influenced, from Galt MacDermot to Large Professor.

One of Wallace Roney's best sessions from the time – an album with a great sense of balance and fullness, and a tremendous tribute to Roney's strength as a leader on Muse Records! The album features equally great contributions from Antoine Roney on tenor – a player who balances out some of Wallace's boldness with a more languid feel at poitns – one that's further complemented by a rhythm section that includes Jacky Terrason on piano, Peter Washington on bass, and Eric Allen on drums. There's some great original compositions on the record – including "A Breath Of Seth Air", "Black People Suffering", "Melchizedek", "Lost", and "28 Rue Pigalle" – and the set also features a sprightly take on "Wives & Lovers".

A fantastic group of well-matched players – one we've heard together often on albums for other labels, but who really find a new sort of energy here in the Smalls Live series! Trumpeter Jim Rotondi's joined here by equal frontmen Eric Alexander on tenor, David Hazeltine on piano and Fender Rhodes, John Webber on bass, and Joe Farnsworth on drums – a quintet that's easily a five-pointed star, given all the sharp talents on deck! We're not sure if we've ever heard Hazeltine play Fender Rhodes before, and his use of the instrument on a few tracks is mighty nice – and as you might guess, Rotondi and Alexander really make some great use of the extended live tracks here to really open up on solos. Webber and Farnsworth are as swinging as we could have hoped for – and titles include "Twilight In Seville", "A Higher Calling", "You Know I Care", "Blues For All", and "Sunday In New York".

An interesting project from Elliott Sharp – a set that mixes his older downtown sounds with some surprising rootsy elements – all in a blend that really helps his music stretch out strongly! Sharp's guitar work is still incredible – whether arch and arty, or acoustic and bluesy – and the album features a mix of instrumental workouts and vocal numbers – with lyrics sung by Tracie Morris, Eric Mingus, and Joe Mardin. Hubert Sumlin plays some guest guitar, and Curtis Fowlkes adds a bit of trombone – and titles include "Fade To Noir", "This House Is For Sale", "Endless Path", "Banking Blues", "I Blame You", and "Off The Hook".

A really classic-styled set – as you might guess from the Art Blakey homage image on the front cover – a cracker of a session that features some great players from the contemporary Italian scene! There's a bold hardbop vibe to the whole thing – a mode that hangs right up there in the best Blue Note modern mode of the late 50s – no surprise, given the set list, which includes compositions by Sonny Clark, Art Pepper, Eric Dolphy, and Frank Rosolino! Things swing straight overall, but there's a really nice edge to the record – thanks to the work of horn players Danilo Pala on alto and Andy Gravish on trumpet – both musicians we've never really heard before, but who come together beautifully – especially Gravish, whose edgey alto would definitely make Dolphy proud. Other group members include Luca Mannutza on piano, Nicola Muresu on bass, and leader Vittorio Sicbaldi on drums – and titles include "Melody For C", "Candy", "Arrivin Soon", "Bijou The Poodle", "Sorino", "Sad Eyes", and "Blue Daniel".

A near-perfect album from the great John Surman – recorded at the crossroads of the British jazz scene as it stepped into the 70s, and done with a fullness and focus that Surman hardly matched again! As with some of the other Deram sessions of the time, the album's overflowing with great players from the cream of the British new wave of jazz – including Barre Phillips on bass, Tony Oxley on drums, Alan Skidmore on tenor, Harry Beckett on trumpet, and John Taylor on piano – but despite strong work from the entire ensemble, Surman's work on baritone, soprano, and bass clarinet are a tremendous highlight here – poised between some of Eric Dolphy's most inventive modes on the instruments, and some of the greater changes to come in the European free scene of the 70s! There's a cohesiveness here that's really wonderful – a sound that's never too free, nor too overindulgent – but also not as tightly arranged as on work by some of Surman's contemporaries. Titles include "Caractacus", "Galata Bridge", "Premonition", and the long suite "Event".

Bristling sounds from a killer lineup – a 4Hero-related project done by the quartet of Kaidi Tatham, Akwasi Mensah, Matt Lord, and Dego Ranks – music that definitely explores the next level of expression for the 2000 Black generation! All the best London touches are firmly in place here, but the groove's also fresher than before, too – wonderfully cosmic, yet nicely abstract in a few places too – showing the kind of complication that Tatham's brought to his rhythms in recent years – yet still maintaining all the soulful, righteous focus we could have hoped for! The album features guest work by Eric Lau, Sarina Leah, Bembe Segue, and Nadine Charles – and titles include "THB", "Kenny", "Naive", "Seven4", "Mind Skies", "Badly Persuaded", "Stars Shine For You", "Quantum Shift", "You Know It's Like That", and "Mr Pickles".

A well done survey of the career of Thievery Corporation to date – selected by Rob Garza and Eric Hilton – wonderful stuff from the reigning kings of downtempo jazzy grooves! It's made up of the duo's best known tracks as well as their own personal favorites. You couldn't really ask for a better or more careful curated set! Includes "Amerimacka", "Lebanese Blonde", "Facing East", "Holographic Universe", "Until The Morning", "All That We Perceive", "The Richest Man In Babylon", "The Passing Stars", "Satyam Shivam Sundaram", "Vampires", "Warning Shots", "Shadows Of Ourselves" and more.

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

6 classics from Weather Report – presented in cool tiny LP-sleeve covers! First up is the original Weather Report album from 1971 – a massive session that took fusion to a whole new level for the 70s! Most of the players here had been associated with Miles Davis at some point in the year or two beforehand – and Miles' electric work is definitely a starting point for this group – but they quickly flow off in whole new directions, thanks to the mighty legacy of their own talents on previous records! Next is I Sing The Body Electric – one of the finest statements ever uttered by group, and a set that's got a bit more soul and warmth than their first album! The lineup's changed slightly at this point – still Wayne Shorter on reeds, Joe Zawinul on keyboards, and Miroslav Vitous on bass – but Eric Gravatt has replaced Alphonse Mouzon on drums, and Dom Um Romao's taken over for Airto on percussion – giving the record an even earthier feel at times! Then, you get the 2CD set Live In Tokyo – an album that was only ever issued in Japan at the time of recording, and which really shows a searing side of the Weather Report sound! Sweetnighter is one of our favorite albums ever from Weather Report – an album that has them picking up a bit more soul than before, and shaking off some of the experimental sounds of their roots – yet all in a way that still makes them one of the most revolutionary fusion combos of the time! There's an incredible sense of tightness between the reeds of Wayne Shorter, the keyboards of Joe Zawinul, and the bass of Miroslav Vitous – and even when things go a bit outside, there's always a sense of focus and groove that brings them back together – a style that's never entirely funky, but which has plenty of funky elements to please our ears! Mysterious Traveller brings a new sense of focus in the Weather Report sound – that building, soaring groove that would become the group's trademark in the mid 70s – offered up here in one of it's first and finest examples! The approach is one to describe accurately on paper – but which is instantly recognizable as the Weather Report sound of the time – a flowing, stretching, organic vibe that builds equally from the talents of all players, and turns it into a wonderfully righteous groove! And last up is Tale Spinnin – a beautiful title for a beautiful little record – one that really does have Weather Report spinning out musical tales in sound – with a free-flowing and soulful sense of energy! The groove's definitely tighter than the earlier years, but it's never slick – and Joe Zawinul handled the overall orchestrations for the record, with an approach that's often highly rhythmic, vamping, and building up nicely as the tunes roll on.

Tremendous comeback work from Randy Weston – arguably the series of albums that set the tone for his great return to fame in the 90s! The 3CD set features Weston's albums Caravan, Well You Needn't, and The Last Day – tributes to Duke Ellington, Thelonious Monk, and his own work on piano – played at a level that's deeper and more complex than any Randy Weston albums from years past! The setting is spare throughout – really just bass and percussion backing on most numbers, but even then at a very low level – so that the strongest focus is always on Weston's keys, and his highly rhythmic way of addressing a tune. Players include Jamil Nasser on bass and Idris Muhammad and Eric Asante on drums and percussion. Titles include "Misterioso", "Well You Needn't", "Caravan", "Heaven", "Chromatic Love Affair", "C Jam Blues", "Ganawa In Paris", "Night In Medina", "Berkshire Blues", "African Night", and "The Last Day".

Genius work from the World Sax Quartet – a really unique ensemble who not only set the tone for a generation of jazz musicians to come, but also gave focus to some richly expressive talents from the 70s underground! The quartet is something of a supergroup right from the start – graced with tremendous reed work by David Murray, Julius Hemphill, Oliver Lake, and Hamiet Bluiett – all key American players who really helped transform the sound of jazz in the 70s – coming together here in a whole new way on seminal sides for the Black Saint/Soul Note label! The format – which inspired many others – is really compelling – as the group's sounds come only from saxes, no other instrumentation at all – with the four wind players handling all rhythm and melody, and making some really amazing music in the process. Horn interplay had never been heard so clearly before – especially as here, the stars put aside their egos, and never try to overblow each other – and instead have this brilliant way of working together to craft a new sort of groove. The box set features the albums Steppin With, WSQ, Revue, Live In Zurich, and Live At The Brooklyn Academy Of Music – all with the classic lineup – plus Moving Right Along, which actually features a quintet with Bluiett, Murray, and Lake – joined by James Spaulding and Eric Person.

We've been digging Zo for many years, and knew he was a superstar right from the start – but this time around, he blows us away even more than ever! The album's got a special spark that goes beyond even all the great music Zo's given us before – and even past his work with Foreign Exchange – a richness that partly comes from the contributions of guests like Sy Smith, Phonte, Eric Roberson, Choklate, Anthony Davis, and Carmen Rodgers – but which is definitely rooted in Zo's own sublime work on keyboards, his great ear for an understated rhythm, and a Stevie Wonder-like sense of jazz that really shines forth this time around. If you think they're not making classics anymore, you need to wrap your ears around this one – and be prepared to become a believer! Titles include "The Train", "For Tina", "Out In The World", "New In Town", "Tell Me Something New", "Making Time", and "Count To Five".

A damn great little record from Zo – one that has him stepping forward brilliantly from his previous series of self-released records – moving into really heavyweight territory with the Foreign Exchange team, on a set that features guest vocals from Phonte, Sy Smith, Lady Alma, Yazarah, Eric Roberson, and others! The album's an amazing extension of the Detroit cosmic soul that Zo's always done so well – taken into even tighter, more professional territory – yet all without ever sounding slick or commercial! We've always loved Zo – and this album's like a great reward for all our faith in his music – like being right there at the start of something special – and trust us, the album's definitely something special. All the guest stars fit in perfectly, and Zo's keyboards and other instrumentation are just right – as you'll hear on cuts that include "If I Could Tell You No", "SunStorm", "Say How You Feel", "Greatest Weapon Of All Time", "Be Your Man", "For Leslie", "Free Your Mind", "MakeLuv2Me", "All Is Well With Love", and "Flight Of The Blackbyrd".

Sort of a "part 2" to the excellent Sexopolis compilation – issued more than a few years ago, and one of the first times anyone ever paid attention to the huge undiscovered legacy of funky French music! The package, like the first, is put together by DJ BNX of Fantomas – and it's got a really wonderful blend of French tunes from sources that include jazz, soundtrack, pop vocal, and easy listening albums of the 60s and 70s. The groove is really great – with lots of mad twists and turns that you'd never hear in American albums of the time, and a surprisingly fresh sound that keeps us digging back for French rare goodies like these! Titles include "Shore Of Sumatra" by Pierre Dutour, "Afromania" by Clyde Borly, "High Tide" by Jack Arel, "Hysterie" by Eric Framond, "Shirley" by Pierre Devevey, "Zozoi" by France Gall, "Dingo" by Olivier Despax, "Chakan" by Jef Gilson, "Africa" by Mat 3, "Popcorn" by JP Bottura, and "Number One" by Francis Lai.

Freaky Finnish disco – a huge collection that features 100 tunes recorded in Finland at the end of the 70s and start of the 80s – each of them a unique contribution to the sound of club music! The styles here vary widely – and although most of the music was marketed under the genre of disco, there's also a good degree of disco-influenced European pop in the mix too – that extrapolation of American dancefloor modes that was used often by German and Scandinavian producers at the end of the 70s. However, that doesn't stop the set from being pretty darn groovy – and with that many tunes to chose from, especially at this price, there's more than enough grooves in the mix for the money. Notes are all Finnish, but seem to be pretty detailed on the contents – and from what we can tell, the 4CD package brings together contents of an 8 cassette series that was issued with some pretty striking covers back in the day! Features work by Bianca, Jukka Heino, Salomon, Nummisuutarit, Jarno Sarjanen, Eric, Lisbeth, Leena, Veijo Sailio, John Hemlight, Paajanen, Maria, Kirsi, Ami & Kirsi, Harmony Four, Eric Mannstrom, and many other cats who never cracked these shores at the time!

Two groundbreaking collections in one cool package! Volume 3 is one of our favorite volumes in the London Is The Place For Me collection – and a brilliant batch of work that criss-crosses West African, West Indian, and postwar jazz styles! Most of the recordings here were done under the leadership of Ambrose Adekoya Campbell – a transplant to London from Lagos in the postwar year, and an artist who had a huge influence on the changing rhythms of his scene. Campbell mixed styles of his roots with those of the larger London community around him – in a way that let in more Latin and Caribbean influences to more traditional African styles – often using guitar in a high-life styled way, but also bringing in some key jazz phrasings as well. Titles include "We Have It In Africa", "Iku Koni Payin", "I Am A Stranger", "Lagos Mambo", "Ela Da Awa", "and "Calabar-O" by West African Rhythm Brothers; "The Wind In A Frolic" and "Unity" by Nigerian Union Rhythm Group; "Ibikunle Alakija" by Ayinde Bakare & His Meranda Orchestra; and "Late Ojo Davies" and "Geneva Conference" by West African Rhythm Stars. Volume 4 features a collection of incredible work from the postwar, post-colonial years in the UK! As with other volumes, there's an array of Carribean and African influences at work here – often highly rhythmic and performed with lots of percussion, but also served up in ways that has the original modes coming into contact with more contemporary UK styles! Most of the work here was recorded in London, but overflowing with global styles that include mentos, high life, calypso, Latin, and even a bit of jazz – played by an array of artists who all found new means of expression in the capital. Titles include "Mambo Indio" by Shake Keane, "Alphonso In Town" by Lord Kitchener, "Give Her The No 1" by Eric Hayden, "Khauleza" by Dorothy Masuka, "Chicken & Rice" by Young Tiger, "Egyptian Bint Al Cha Cha" by Ginger Johnson, "Don't You Go Away" by Cab Kaye, "Highlife Piccadilly" by The African Messengers, "Darling Don't Say No" by Nat Akins, "African Jazz Cha Cha" by Ginger Johnson, "Piccadilly Folk" by Lord Kitchener, and "Ilu Oyinbo Dara" by Victor Coker.

There's a heck of a lot of great music here – a whopping 35 tracks of contemporary and vintage soul, all put together for the price of a regular single CD! The package is the latest in the excellent Luxury Soul series – based around artists who have worked the UK series of the same name – and who really come together here in a warm array of the best contemporary soul styles! There's plenty of Neo Soul numbers, a handful of classics, and a few more modern elements too – and titles include "I'm Not That Tough" by Ashford & Simpson, "Rubber Soul" by Live Tropical Fish with Omar, "Things That I Do" by Gianna, "Enough Is Enough" by Dennis Taylor, "Music & Love" by Victor Haynes, "Just A Simple Love" by Sheree Brown, "In The Meantime" by Johnny Britt, "Crystal Clear" by Howard Hewett, "Just Let Me Be Close To You" by Valentine Brothers, "I'll Come Running Back To You" by June Yamagishi with Bobby Womack, "So In Love" by Chapter 8, "Slow Down" by Al Olive, "Priority" by Kloud 9, "It's Just One Of Those Things" by Incognito, "I Want It" by Soul Talk, "Wake Up Everybody" by Eric Benet, and "Anything" by Angela Johnson.

Includes tracks by Joachim Kuhn, Eric Watson, Eddie Johnson, and Ryuichi Sakamoto.

The Sounds of Al-Mashriq – Middle Eastern folk and funk with raw percussion, street sounds and a wealth of surprising samples and other stylistic twists and turns – all respectful to and evocative of the culture! The set was put together by Coleman for Mochilla – the adventurous label and loose collective of global music-reverent DJs/producers/artists. The Sounds Of Al-Mashriq set follows the Mochilla team's visits to Lebanon, Jordan and Egypt – and it's a continuous mix of regional music, plus some subtle blends with hip hop beats and other eclectic flourishes. Nearly an hour-long continuous mix by Eric Coleman.

The title gets it right – as the album's easily the closest thing to free jazz that Ornette Coleman ever recorded – an album-length improvisation played by a "double quartet" that's overflowing with classic players! The style here is a fair bit like John Coltrane's Ascension album for Impulse – and like that one, the session features Ornette and his contemporaries really stretching out – blowing like never heard before on record, and working in a highly unstructured setting! Other players include Eric Dolphy on bass clarinet, Freddie Hubbard on trumpet, and Scott LaFaro on bass – alongside regular group members Don Cherry on pocket trumpet, Charlie Haden on bass, and both Ed Blackwell and Billy Higgins on drums. One long track – just titled "Free Jazz"!

One of the first albums ever recorded by soulful avant legend Byard Lancaster! Lancaster hailed from Philadelphia, and played flute and alto in a style that was clearly informed by the freer spiritual players that dominated one branch of the avant garde tree at the time, like 'Trane and Pharoah. He's joined here by a young Sonny Sharrock, whose "John's Children" they do a wonderful reading of, plus Eric Gravatt, Keno Speller and Jerome Hunter. The tunes are all still tied to a primarily swing based concept of time, and the solos never reach too far, on this side that nods towards the new thing without diving in too deeply. Includes the title track, "Last Summer", Garner's "Misty", "Mr AA", "Dogtown", the standard "Over The Rainbow" and "Satan".

In our humble opinion, Shirley Scott didn't start getting great until she hit the end of the sixties (even though she'd recorded loads throughout the decade). Reason? Because she never could hold up her end in a marathon soul jazz session, and was better suited to some of the over arranged pop/groovy stuff like this album. Proof? The groovy versions of pop stuff enclosed, with people like Eric Gale and Billy Butler backing her, and an electric bass providing the bottom that Shirley could never quite manage. Tracks include "I Want You Back", "Because", "Someday We'll Be Together", and "Can I Change My Mind".

Angela Bofill's sublime first album – a mixture of jazzy soul and soulful jazz, all put together with a sound that's really a cut above most of her contemporaries! As with Jean Carn or Phyllis Hyman, there's a sophistication to Angela's sound here that indicates roots in much hipper territory that were still pulling strongly on her work for this mainstream set – a sound that runs deeper than you might expect for such a commercially successful record, and which has really kept it alive for years. Part of the strength of the set is the jazzy backings given the music – arranged by Dave Grusin, and carried off by himself on keyboards, with other players who include Eric Gale on guitar, Dave Valentin on reeds, Steve Gadd on drums, and Ralph MacDonald on percussion. There's a warmly glowing feel to the record that's neither slick or commercial – and titles include "Children Of The World United", "Summer Days", "Rough Times", "This Time I'll Be Sweeter", and "The Only Thing I Would Wish For".

Angela Bofill's sublime first album – a mixture of jazzy soul and soulful jazz, all put together with a sound that's really a cut above most of her contemporaries! As with Jean Carn or Phyllis Hyman, there's a sophistication to Angela's sound here that indicates roots in much hipper territory that were still pulling strongly on her work for this mainstream set – a sound that runs deeper than you might expect for such a commercially successful record, and which has really kept it alive for years. Part of the strength of the set is the jazzy backings given the music – arranged by Dave Grusin, and carried off by himself on keyboards, with other players who include Eric Gale on guitar, Dave Valentin on reeds, Steve Gadd on drums, and Ralph MacDonald on percussion. There's a warmly glowing feel to the record that's neither slick or commercial – and titles include "Children Of The World United", "Summer Days", "Rough Times", "This Time I'll Be Sweeter", and "The Only Thing I Would Wish For". Includes a bonus track – the Arista single mix of "This Time I'll Be Sweeter".

The final LP of the first round of EPMD, and the hardest to get on vinyl since it's not been made available in multiple pressings or reissues. 11 tracks of the LI hardcore boom bap with Eric and Parrish reppin' the East coast in fine style over their patented bass heavy trunk rattling beats. Non stop head nodders from start to finish including "Boon Dox", "Nobody's Safe Chump", "Can't Hear Nothing But The Music", "Chill", "Headbanger", "Scratch Bring It Back (Part 2 - Mic Doc)", "Cummin' At Cha", "It's Going Down", "Who Killed Jane", "Play The Next Man" and "Crossover".

Quite possibly the best album to feature the talents of Chico Hamilton and Eric Dolphy – a set recorded at a time when Dolphy was an up-and-coming player on the west coast scene! Although Chico Hamilton had recorded with unusual reed players before, Dolphy brings a depth of soul and spirit to this album that's missing from a lot of Chico's earlier work at the time – a style that still holds onto some of the measured qualities of the Pacific Jazz work by the Hamilton group, yet which also opens up into some of the darker corners that Dolphy would explore more on his own recordings of the 60s. The group also features some great guitar by Dennis Budimir and cello by Nathan Gershman – but the real standout aspects of the set come from Dolphy's work on flute, alto, and bass clarinet. Titles include "Where I Live", "Passion Flower", "Tuesday At Two", "Nature by Emerson", "Far East", and "Good Grief, Dennis".

One of the best records that Chico Hamilton cut during the 50s – and one that features Eric Dolphy, who was with Chico's group for a short while! The record's got the quintet (which also includes the excellent Dennis Budimir on guitar) fronting larger string arrangements by Fred Katz (no longer their cellist, but still a key force here) – and the approach is a great expansion on the earlier styles that Chico forged for Pacific Jazz. The strings here are never sleepy, and instead have a dark and modern feel overall – similar to Ralph Burns' best work of the time, but a bit more restrained – and Eric Dolphy's reed work really keeps things interesting, with sharp-edged notes give most of the tracks a fair bit of depth. Titles include "Modes", "Strange", "Don's Delight", "Andante", "Fair Weather", "Something To Live For", and "Pottsville USA".

Early work by Gunter Hampel and one of his greatest records! – Music From Europe has a sound that's free and propulsive, but not nearly as indulgent as on later albums. Recorded in 1966 in Holland, it tows the line incredibly well between abrasive soundscapes and a more controlled energy. Alternatingly tight bursts of alto & sorprano sax, clarinet and bass clarinet give it some real muscle and more easygoing moments. The group's a quartet – with Willem Breuker on saxes, Pierre Courbois on percussion, and Piet Veening on bass. Hampel plays vibes, flute, and bass clarinet – and titles include the 21+ minute suite "Assemblage", "Heriocredolphysiognomystery" (dedicated to Eric Dolphy) and "Make Love Not War To Everybody".

A pair of gems from High Fashion – back to back on a single CD! Feelin Lucky is an 80s groove classic – and a killer bit of Captiol Records soul from High fashion! Of all US major labels, Capitol was probably putting out the best soul in the early 80s – and this is a tight modern batch of up-tempo tracks, right up there with other contemporary classics on the label, like work by BB&Q Band, Taste Of Honey, and TS Monk! The tunes all manage to have a great groove without sounding cheesy – thanks to some nice jazzy touches in the arrangements, good hooks in the songs, and some great soulful vocals. Very, very nice – and nearly every cut's a winner! Tracks include "Feelin Lucky Lately", "Next To You", "Hold On", "When The Lover Strikes", "I Want To Be Your Everything", and "You're the Winner". Make Up Your Mind offers up more sweet modern soul tracks from High Fashion – a short-lived combo who cut a few high quality sides for Capitol at the beginning of the 80s, part of that imprint's strong commitment to R&B at the time. The group here features lead vocals by Alyson Williams, caught at a very young point in her career, plus other leads by Eric McClinton, who's on most of the best tracks on the set. At their best, the group hits a smooth stepping modern sound that's really nice – a toned-down approach for the clubs, infused with a bit of quiet storm soul. Titles include "Show Me", "A Little More Time", "Pump On The Pipe", "Just A Little More Love", "Love", and "Make Up Your Mind".

John Lewis takes on the music of Gary McFarland – working here in a very cool set of McFarland compositions and arrangements – often with a lot more tone, color, and feeling than usual for a Lewis album! John often punctuates his piano notes, almost as if he's using vibes – and the larger backings have this way of being quite spacious – as in some of McFarland's more modern recordings for Impulse from the same time – very open, and quite revolutionary for the time! Players include Freddie Hubbard on trumpet, Eric Dolphy on alto, Phil Woods on clarinet, and Benny Golson on tenor – and titles include Tillamook Two", "Night Float", "Notions", "Another Encounter", and "Wish Me Well".

Supremely soulful modern jazz from the great Booker Little – one of his best albums ever as a leader, and a real standout moment amidst so many of the re-titled sessions that came out after his early death! The album's got a tremendous feel from the very first note – a furthering of the modernism that Little forged with Max Roach and Eric Dolphy – but stated more strongly in his own voice as a leader and composer – a bold jazz vision that makes us miss his talents even more strongly than before! The group here is the stuff of legends – with Dolphy on alto, bass clarinet, and flute – plus Don Friedman on piano, Julian Priester on trombone, Ron Carter or Art Davis on bass, and Max Roach on drums, tympani, and vibes! Titles are all original compositions by Little – and include "We Speak", "Strength & Sanity", "Quiet, Please", "Hazy Hues", and "Moods In Free Time".

Great stuff, and one of Jackie McLean's best for Blue Note from the "new thing" period! The album features Jackie working out a wealth of new ideas, in a quartet that includes Larry Willis on piano, Bob Cranshaw on bass, and Clifford Jarvis on drums. Jackie holds down the frontline himself on alto, and the tracks are nice and long, with one composition by Jackie, and two by Willis – all in the exploratory mode of work on records like One Step Beyond. Tracks include "Eco", "Poor Eric", "Christel's Time", and "Right Now". Plus, the CD also features a bonus alternate take of "Right Now".

Great stuff, and one of Jackie McLean's best for Blue Note from the "new thing" period! The album features Jackie working out a wealth of new ideas, in a quartet that includes Larry Willis on piano, Bob Cranshaw on bass, and Clifford Jarvis on drums. Jackie holds down the frontline himself on alto, and the tracks are nice and long, with one composition by Jackie, and two by Willis – all in the exploratory mode of work on records like One Step Beyond. Tracks include "Eco", "Poor Eric", "Christel's Time", and "Right Now". Plus, the CD also features a bonus alternate take of "Right Now".

A tremendous collection of French film soundtracks – all penned to accompany the famous work of Jean-Pierre Melville, and all nearly as integral to the movies as the image itself! Melville is a very sound-conscious director, and the music for his films is a key force in guiding the actions of the camera – as much a narrative force as a scene-setting device, as you'll hear in the wonderful music on this set! The package features work from 10 different Melville films from the years 1959 to 1972 – and is presented with great notes in both English and France, with some key images from the movies too. Includes material from Bob Le Flambeur by Jo Boyer, Deux Hommes Dans Manhattan by Christian Chevallier, Leon Morin Pretre by Martial Solal, Le Doulos by Paul Misraki, L'Aine Des Ferchaux by Georges Delerue, Le Samourai by Francois De Roubaix, L'Armee Des Ombres by Eric Demarsan, Le Cercle Rouge by Eric Demarsan, Un Flic by Michel Colombier, and Musique Inedit Pour Le Cercle Rouge by Michel Legrand.

Excellent stuff – and a classic concert performance recorded in Paris in 1964! The group features Eric Dolphy on flute, alto sax and bass clarinet, Clifford Jordan on tenor, Jaki Byard is on piano ,and Dannie Richmand is on the kit. The 2 CD set features some very long takes on Mingus standards, with some excellent hard soloing all the way through! Titles include "Fables Of Faubus", "Parkerana", "Orange Was The Colour Of Her Dress Then Blue Silk", "ATFW", "Sophisticated Lady" and Meditations On Integration".

The title's exploding with Mingus, and the album is too – a completely classic effort for Impulse Records that's easily one of Charles' best of the 60s! Things are reigned in somewhat from the Mingus years at Atlantic or Candid, but the sound is still great – almost more focused than before – with a sense of all the best qualities that Charles was finding in his music, laid out back to back in near-perfect formation! The group's full of great players – with reeds from Eric Dollphy, Booker Ervin, and Jerome Richardson – all of whom really contribute some deep tones to the album – and Jaki Byard's on piano, making one of his key Mingus appearances of the 60s. Titles include the massive "Better Get Hit In Yo' Soul" (the virtual Mingus "trademark" tune), plus the tracks "Celia", "Hora Decubitus", and "II B.S.". Plus, the CD features the bonus track "Freedom" – not on the original LP!

One of the all-time classics of early 60s mainstream jazz – and a beautiful record that showcases writing and arranging talents of Oliver Nelson! Nelson had been bumping around a variety of sessions before this one – as a leader, sideman, and arranger – but it was with this album that his true talents really unfolded – sparkling with a depth of imagination and expression that marked him as one of the greatest artists in 60s American jazz! The group on the set is an all-star sextet – featuring Paul Chambers, Eric Dolphy, Bill Evans, Roy Haynes, and Freddie Hubbard – a disparate group of players who manage to come together with Nelson and find a unique voice that's rarely been duplicated again! The album features 6 fantastic compositions by Nelson, including "Stolen Moments", "Hoe Down", and "Yearnin". A fantastic record – and one that you can't go wrong with!