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A rare bit of Florida funk from the 70s – an album recorded by TK during the height of its soulful run at the time, but never issued until now! The group's headed by vocalist Becen Padron – who also plays keyboards, guitar, and drums – and the rhythms have a snapping, funky, clubby sort of groove – quite similar to some of the more famous rhythms coming from TK powerhouse KC & The Sunshine Band! As with KC's work, the groove here is a bit funk, a bit disco, and plenty darn catchy – and Padron's rough-edged vocals bring a nice sort of unpolished feel to the record, making it come across a lot more indie than most sounds on TK. Titles include "The Thange", "Surrender Your Love", "Florida Fantasy", "Girls", "Gotta Have The Funk Funk", and "You Do Me Good".

A 22 track collection of work by Mike Cambpell – a little-known Bay Area vocalist from the 80s, with a sweetly swinging style that's very much in the tradition of Mark Murphy, another San Francisco contemporary. The CD features 12 tracks from Campell's 1982 album Secret Fantasy, originally issued on the Palo Alto Jazz label – plus another 10 tracks from various sessions throughout the 80s, all with a similar warm small combo feel. The tracks are a mix of originals, standards, and some hipper fare from the left end of the jazz vocal spectrum – and titles include "Dat Dere", "Early", "Another Star", "I'm Always Drunk In San Francisco", "Round Midnight", "Soft Strum Blues", "And It All Goes Round & Round", "Mystery", "Alone Again", and "High Wire".

Dreamy genius from Piero Piccioni – one of our favorite Italian composers ever! This set does for Piccioni what the Mondo Morricone sets did for Ennio – in that it pulls together an assortment of his best tracks from late 60s and early 70s soundtracks – with a focus on the loveliest work of the period! Bossa rhythms meet bubbling organ, tinkling piano, floating voices, and other soft and pillowy elements – creating tunes that have a groove, but which are also topped off by lots of sweet easy touches. The collection features 20 tracks in all – and honestly, if you'd asked us to pick our favorites by Piero, we'd hardly have done a better job ourselves! Titles include "Cera Una Volta-Finale", "Capriccio", "Coming To The Point", "Il Dopolotta", "Sycamore Trails", "Nolan Theme", "Mystery", "Una Colt In Mano Al Diavolo", "Easy Dreamer", and "Amore In Fiore".

A set of varied moods and settings – yet one that really does a wonderful job of fleshing out the Sun Ra aesthetic during these crucial years when Ra dubbed himself the "King Of The Sub Underground"! That humorous title is a reference to the fact that Ra and the Arkestra were still working with largely little mainstream exposure – despite the big growth of avant jazz at the time – and were instead working on beautiful recordings like these, often made without any thought of a larger market at all! The CD brings together material from albums originally issued with Sub-Underground in the title – also under other names as well, including Temple U – and the tracks represent the Arkestra really hitting some of their creative heights in a mix of live, studio, and rehearsal recordings. Titles include the brilliant "World Of Africa", recorded in 1968, but with a chunky groove and weird piano that almost feel like a precursor to Fela Kuti; the sublime "Love Is Always" and "Song Of Drums", recorded live with a spare group in a beautifully echoey setting; surprisingly great takes on "What's New" and "Autumn In New York", played by a small group with Ra on a slightly off-tune upright piano; the long "Cosmo Earth Fantasy" suite, with some very fierce sounds; and a nice live take on "Space Is The Place/We Roam The Cosmos", which jumps right into the groove at the start – with a pretty offbeat feel, and lots of cool vocal interplay!

A cooker of a record from Lester Bowie – one that takes the earlier sound of the Brass Fantasy ensemble, and focuses it into a mode that shows his growing love of soul and funk! The set was issued on the the short-lived Venture imprint of Virgin – a surprisingly strong outlook for creative projects like this – and the vibe's quite different than the Brass Fantasy records cut for ECM – with almost a bit more soul at the bottom, and a compact sort of energy that really sends the ideas home. Players include Bowie, Stanton Davis, Malachi Thompson, and Sasul Siddik on trumpets – plus Steve Turre and Frank Lacy on trombones, Vincent Chancey on French horn, Bob Stewart on tuba, and Phil Wilson on drums. Titles include a surprisingly great remake of "Thriller" – plus "Vibe Waltz", "I Am With You", "Duke's Fantasy", "Personality", and "Twilight Dreams".

Veteran hip hop from the Hiero camp! Pep Love & Opio team up as First Light – with guest appearances by Phesto, Casual, A-Plus, Tajai, Knobody, Cold Showdda, Knowbody and Del The Funky Homosapien. Includes "Greetings" with Phesto, "Valley Of The Kings" feat Casual, "Over The Top", "Los Lobos", "Lighters" with A-Plus, Casual and Del The Funky Homosapien, "Shinin'", "Do What I Want", "Rock Raw", "Dip Dip Dive", "Make It Pop" feat Tajai, "Mission", "Libel" and more.

A crowning moment from the Chicago scene of the late 70s – the second Mercury album from Heaven & Earth, and a stunner all the way through! The set's an undisputed groover right from the start – thanks to the massive arrangements from the great Floyd Morris – an artist who did some excellent work in the Chicago indie soul scene in the 60s, including some classic funky 45s – and whose work here definitely gives Heaven & Earth a sharper edge than most other acts of their type at the time! You can definitely hear Floyd's touch in the funky bottom of the two-part classic "I Feel A Groove Under My Feet", and in the riffing guitar of "Poetry In A Box" – and the group also show their warmer, mellower side nicely on cuts like "Let's Get It Together", "I'm In Love With Your Lady", "I Only Have Eyes For You", and "Whole Lot Of Love" – nice warm numbers with great harmonies and gentle stepping grooves!

A classic from Cannoball and producer-partner David Axelrod – truly great stuff and maybe even better than the Zodiac set Cannonball did for Capitol! The formula is similar to that one – with David Axelrod producing, electric keyboards by Hal Galper and George Duke, spacey solos by Cannonball and Nat Adderley, and some very hip recitations by Rick Holmes on love, sex, and the zodiac! Holmes is best known as the chappie who cut "Remember To Remember" years later with Roy Ayers – but this album's got a similar "wisdom and knowledge" feel that's pretty wonderful. Titles include "Aquarius: Humanity Plus", "Cancer: All Sides", "Leo: Rosebud", "Aries: Damn Right", "Gemini: Ecstasy", and "Virgo: For Pam".

The only album ever from Allspice – but a hell of an incredible soul record – and one that's kept the group's name strong with collectors and rare groove fanatics for years! The album's on of the best Fantasy Records productions by Wayne Henderson and his At Home team – and like some of the others, is handled with a groove that's tight, yet plenty sophisticated too – light years from mainstream disco or common club of the late 70s, and instead informed by plenty of jazz and deeper ideas as well! The vibe is perfect – as heavenly and righteous as some of the best Roy Ayers club tracks of the time – which proves to be a perfect foil for the Allspice style of mixing male and female vocals – which again is often done in an Ayers-like mode. The sound is sublime throughout – one of those real treasures that should have been a huge record in the 70s, but was barely pressed up at all – and quickly forgotten about by the record company. Yet even after all these years, the whole thing sounds amazing – one of those albums we'd never part with at all! Titles include the groovy "Slipped Away", the funky stepper "Hungry For Your Love" – and loads of other great tunes that include "Love Fire", "Destiny", "She's A Lady", "I Don't Know", and "Give It Time".

One of the greatest sides of The Blackbyrds' music – their mellower, more chilled-out tunes – all tracks that we like almost as much as their funkier classics! Although the combo first earned their name for upbeat, sharp-edged funky fusion, they also had a wonderful way with a laidback groove – sweetly stepping instrumentals that were often a bit overlooked next to some of their bigger 70s hits, but which are equally great – and perhaps even more so, as they represented a really unique approach to the music at the time! There's a vibe here that we'd rank right up there with Kool & The Gang on "Summer Madness" – an approach that's often spare, and focused around a key instrumental bit – and which is a great antidote to some of the heavier-handed funk of the time! Keyboards are often heavy on these numbers, and although there's some vocals, the instrumentation is almost always center stage – served up over some sweetly stepping rhythms that are really great. Titles include "Lady", "Wilford's Gone", "A Heavy Town", "All I Ask", "At The Carnival", "April Showers", "Love Is Love", "Soft & Easy", "Lady", "Flying High", "The Baby", "Summer Love", "Dreaming Of You", and "Time Is Movin".

A great album of funky dancefloor tunes! Originally issued in 1978, and clearly for the New York dancefloor crowd – the record takes the earlier work of funk group The Blackbyrds, and remixes the tracks slightly to pump up the groove a bit for the dancers. While the approach might not sound good on paper, it actually works wonderfully on the record – as the tunes retain all of the jazz funk feel of the originals, without any of the cheap tricks you might expect. The album's as essential as any of the group's earlier albums – and it's filled with great versions of classics like "Supernatural Feeling", "Gut Level", "Walking In Rhythm", "Do It Fluid", "Rock Creek Park", and "Happy Music".

The Fantasy debut of Dengue Fever – delivering beautifully on the promise of earlier work – a major step from one of the most adventurous groups anywhere! Dengue Fever have always been steeped heavily in 60s & 70s Cambodian rock, a style that blended myriad influences in its heyday, and Dengue Fever does it proudly. Southeast Asian styles fuse with Afro rock, classic garage, surf and Latin rhythms and pulpy atmosphere. Titles include "Cannibal Courtship", "Cement Slippers", "Mr Bubbles", "Thank You Goodbye", "Durian Dowry", "Sisters In The Radio" and more.

A great lost chapter in the Larry Mizell story – a record that's not nearly as well known as Mizell-produced jams for Bobbi Humphrey or Johnny Hammond, but which is every bit as great! Roger Glenn's a funky flute player with a really great groove – California groovy, with just a touch of Latin – served up here with some great Mizell-infused touches – that rolling rhythm on the bottom, soaring instrumentation on the top, and some great Latin elements that are wrapped up warmly in the fusion! There's plenty of great keyboards, too – played both by Larry Mizell, and also by Mark Soskin – a range of Fender Rhodes, Arp, mini-moog, and more – all adding in the right sort of warmth to Roger's flute, and the album's rich array of percussion. Titles include "Kick", "Reachin", "Rio", "Gloria", "Overtime", and "Don't Leave".

Great early work from the amazing Vince Guaraldi – an album issued in the 60s on the wave of his rising fame, but which was most likely recorded a few years earlier! The group here is Vince's key early trio with Eddie Duran on guitar – grooving with Vince in drumless splendor that takes most of its rhythmic cues from Guaraldi's inherent sense of groove on the keys of the piano – a simple, spacious touch that's almost more magnificent here in its early simplicity than it is in later years. There's a slight influence of 50s modernism on the keys – bits of John Lewis or Bill Evans – but the warmth and lyricism of the overall set mark the record clearly as Vince's own musical vision. Titles include "Autumn Leaves", "Fenwyck Farfel", "Yesterdays", "Room At The Bottom", and "A Flower Is A Lovesome Thing".

Pretty amazing work from one of the greatest under-rated talents of 50s modern jazz! John LaPorta was a brilliant multi-instrumentalist who's probably best known for his work with Mingus in the mid 50s Jazz Workshop years, and for his earlier sides with Woody Herman – but it's on records under his own name that LaPorta really begins to shine. This great set features 14 tracks that were recorded in the 50s, but never issued before – and 9 more that were from the album Conceptions, issued briefly in the 50s by Fantasy Records. The first 14 tracks form a long suite of jazz-based compositions, handled with a modernist chamber-type approach – and based around some really great solo work on trumpet, baritone, tenor, and bass. The feel is almost like a 50s jazz soundtrack – with lots of moody moments paired with others that break out in a stronger swinging groove. The remaining tracks are equally nice – in a similar style, and showing LaPorta as a composer who could have handled just about any ambitious jazz project of the time. Titles include "Forward Motion", "Jazz Canon", "Images", "Lucidity", "Little Fantasy", "Ferme LaPorta", "En Rapport", and "Triplets You Say".

Very righteous work from Esther Marrow – a soul sister who sings with a hell of a lot of power! The set's an overlooked gem in the Fantasy catalog of the 70s, and it's one of only two secular soul albums cut by Marrow – and quite possibly the best of the bunch, too! Esther's got some great help on the set from arrangers Richard Tee, Bernard Purdie, and Bobby Scott – each of whom set Marrow up with some small group backing that keeps things tight and soulful throughout – thanks in big part to the drum work, which is handled by Purdie, Jimmy Johnson, and Idris Muhammad. Other players include Tee on organ and piano, Cornell Dupree on guitar, and Ralph McDonald on congas – whose percussion really helps shape the sound of most of the grooves. There's a horn section too – used sparingly – and there's also a bit of backing vocals from The Reflections, although Esther's pretty much in the lead on all numbers. Titles include "Trade Winds", "Things Ain't Right", "Ask Me To Dance", "Woman In The Window", and "Ghetto".

One of the hippest albums ever cut by Letta Mbulu – a perfect mix of her Soweto roots and the funky styles of her adopted California home! The album's the only one that Mbulu ever recorded for Fantasy Records – and the style brings together those great sing-song vocal modes perfected on her 60s records, with some of the funky jazz elements that were bubbling in the Fantasy scene during the years of Cannonball Adderley and David Axelrod! No surprise, both Cannonball and Nat Adderley appear on the record, and the set's produced by their own company – with lots of great early arrangements from the great Wayne Henderson. Some of the best tracks have a spacious groove that leaves plenty of room for funky basslines – and titles include "Afro Texas", "Learn To Love", "Never Leave You", "Zimkile", "Setho", and "Saddest Day".

Quite possibly the funkiest album ever from Pleasure – and that's saying a heck of a lot! The album grooves from the very first note – and moves through some of the group's tightest, most rock-solid numbers – all of which use their trademark blend of funky and soul, but which somehow seem to hit even more perfect territory than previous albums! And yes, those records are great, but usually have a few standout cuts – while this one works together perfectly – leading us in right away, then holding us rapt through some wonderful cuts that never let up – massive energy that few other funky combos could match, produced to perfection by the legendary Wayne Henderson. Titles include the wicked sample cut "I'm Mad", the bouncy "Pleasure For Your Pleasure", the spacey "Ghettos Of The Mind", the bumping "Let's Dance", and the tracks "Jammin With Pleasure", "Theme For The Moonchild", "2 For 1", "We Have So Much", and "The Love Of My Life".

Wonderfully tight work from Pleasure – a record that definitely lives up to the lean, clean image on the cover – as it's got the group honing their funky skills even more strongly than before! Wayne Henderson's at the helm, finding the group hit this razor-sharp groove that comes through right from the start – really refining their already-great sound into some of the tightest jazz funk on record at the time! Every track is a gem – and the set's got funky killers, mellow steppers, and plenty more – as you'll hear on the cuts "Celebrate The Good Things", "Foxy Lady", "Get To The Feeling", "Ladies Night Out", "No Matter What", and "Farewell Goodbye".

Joyous grooves indeed – the second album by this legendary 70s jazzy soul outfit – and a landmark album in the Fantasy Records Bay Area funk mode! The record will forever be remembered for the cut "Joyous" – a monster groover with a killer hook, strong funky playing, and a searing tenor solo that wails for about a minute before the vocals even come in! Wayne Henderson produced the record – and it's very much in the mode of work that he was doing for other groups at Fantasy, but also sounds a bit like later jazz funk groups, such as Breakwater or Smoke – tight, but never uptight – funky, but never with the kind of grit you'd find in the indie underground. The vocals are a bit in the Average White Band mode, and the instrumental playing is top-shelf all the way – a monster mix that's possibly carried off better here than on any other album by the group! The album includes 2 instrumentals, "Selim" and "Sassafras Girl", as well as the vocal tracks "Tune In", "Let Me Be The One", and "Can't Turn You Loose".

Striking modern work from jazz singer Lucy Reed – no surprise, though, given that arrangements here are by the likes of Gil Evans, George Russell, and Eddie Higgins! Reed's got a beautiful sense of tone – a clarity that comes through right away, but which is never miscast in these modern settings as it might be in a more commercial jazz date – which could pitch Lucy right into some too-sentimental fare. Instead, the tunes usually have a moody sort of glow – all the sadness of more familiar jazz singers of the time, but given a colder steel edge that we really love. Titles include "Love For Sale", "A Trout No Doubt", "Born To Blow The Blues", "This Is New", "No Moon At All", "You Don't Know What Love Is", "Lucky To Be Me", and "There He Goes".

A massive double-header – one that features the first two Sylvester albums for Fantasy Records! First up is the self-titled Sylvester – a reworking of his older groove into one that we love more than any other that he ever used – a smooth modern soul style, not really disco, but with a driving approach that would certainly have worked well in the clubs! You gotta give Syl credit here – as it would have been easy for him to turn up the camp a lot in the 1977 disco days – but instead he's sticking strong to his soul impulses, and has come up with a wonderful album of tracks that's like the first Luther album – one that you can enjoy whatever your take on the man, without any introduction to his person or persona. Of course, a big part of the credit also goes to Harvey Fuqua – who's reemerged here from his years at RCA to produce the record – showing his always strong ability to seek out new talent, and bring out the best in them. Titles include "I Tried To Forget You", "Tipsong", "I Been Down", "Loving Grows Up Slow", "Never Too Late", and "Over & Over". Step II is probably Sylvester's biggest album for Fantasy – and for good reason too! The set pushes onto the dancefloor a bit more than before – often with some slight keyboard touches that hint at the Patrick Cowley years, but with none of the coldness of those records at all. The great Harvey Fuqua's producing here with Syl, and the sound is rich and bold – an even more prideful statement than Sylvester's first album on Fantasy. Two Tons Of Fun deliver some great backup vocals, and Cowley lays down a bit of keyboards – and titles include the all-time disco classic "You Make Me Feel Mighty Real", plus "Dance (Disco Heat)", "Just You & Me Forever", "Grateful", and "I Took My Strength From You".

One of our favorite Cal Tjader albums ever – and one of the first to have his vibes working alongside Fender Rhodes! The record's a surprising little set from the start of the 70s – one that almost has Cal picking up some of the New York sounds of a few years before, then mixing them up with a hipper west coast electric style in the end – a Fantasy Records vibe that meshes together a few different modes, and comes up with a rich new style in the process! There's a bit of vocals on the set – somewhat unusual for Cal Tjader, and often used to augment the soulfully snapping grooves of the best tunes – but even more amazing is the heavy use of Fender Rhodes, played here by the amazing Al Zulaica, who's work on the album really ranks right up there with the best early 70s keyboardists on the coast! Zulaica's piano is amazing next to Cal's warmly chromatic vibes – and other instrumentation includes saxes from Bill Perkins, flute from Mel Martin, trumpet from Luis Gasca, moog from Rita Dowling, and percussion from both Pete and Coke Escovedo. Titles include the killer "Aqua Dulce (Cool-Ade)", a fantastic version of "Gimme Shelter", a sublime of Clare Fischer's "Morning", and the cuts "Ran Kan Kan", "Descarga Cubana", "Curacao", and "Somewhere In The Night".

A rare funk album from west coast legend Larry Williams – very different than his heavy R&B of the late 50s, or the brief soul comeback he had with Johnny Guitar Watson in the 60s – and instead a heavy groover with a trippy Cali sound! The record's got a sharp groove right from the start – a vibe that's a bit similar to some of the best Johnny Watson funk of the period – a slight jazzy undercurrent in the instrumentation, with wicked guitar and keyboard bits dancing around each other in the rhythms – often mixed with vocals that have a cool sort of electric feel, and topped with some great horn work from Fred Wesley on trombone and Maceo Parker on alto sax! Rudy Copeland plays keyboards on the album alongside Williams, the the set's got a bit of the feel of Rudy's lost Funky Blindman set – and in a way, also echoes the best strutting, sexy modes of Bootsy Collins too. The album's a surprising gem all the way through – a real lost chapter in Larry's career, and the kind of set that might have broken bigger, had he not died mysteriously a few years later. Titles include "Funky Force", "The Resurrection Of Funk", "One Thing Or The Other", "ATS Express", "How Can I Believe", and "Can't Dance To The Music (If It Ain't Got Funky Rhythm)".

James Hunter at the Daptone Studios – working here with Bosco Mann production, and a sound that's much rawer than before! James has always had one hell of a voice, but this time around he also gets a bit more bite in his music too – a funky undercurrent that's more late 60s soul than some of the earlier sounds of the decade on previous albums – almost representing the same righteous evolution in Hunter's music that so many artists themselves experienced back in the day! The new punch is wonderfully placed – and may well finally get Hunter the kind of exposure he needs – appreciation from the soul underground for his wonderful vocals, and a groove that's got plenty of deep funk and New Orleans soul elements. Titles include "Gold Mine", "Drop On Me", "Minute By Minute", "Chicken Switch", "So They Say", "If I Only Knew", "Look Out", and "Let The Monkey Ride".

A pair of modern moments from George Russell – back to back on a single CD! Stratusphunk is not "phunk", in the way you might think of "funk" – but an album that sets a whole new standard for modern jazz in the 60s – thanks to the fresh ideas of George Russell! Russell's in his best modal mode here – and there's a highly rhythmic construction to most tunes – layers that build beautifully, and which have a sharper edge than some of George's earlier work in the 50s – a balance that's better heard than described by our words, and which is completely compelling right from the start. The vibe is modern, but things still swing beautifully – and players are mostly younger musicians eager to follow Russell's leadership on piano – Dave Young on tenor, David Baker on trombone, Alan Kiger on trumpet, and Chuck Israels on bass. Titles include "Lambskins", "Stratusphunk", "New Donna", "Kentucky Oysters", and "Bent Eagle". Stratus Seekers is key work from the guy who put the "modern" in modern jazz – the great George Russell, heard here in the company of some younger players who definitely help him seek out some new territory in music! The record's got a wonderful balance between sharp edges and swing – a sound that few others could handle so well as Russell – and which bears some links to George's bigger concept albums in the 50s, but comes across with a sound that's much leaner, and which easily makes this record one of the most striking modern sides on the Riverside label at the time! Players are all great – and include Don Ellis on trumpet, Paul Plummer on tenor, John Pierce on alto, and Steve Swallow on bass – plus Russell on piano and Joe Hunt on drums. Titles include "Stereophrenic", "Pan Daddy", "Kige's Tune", and "Blues In Orbit".

Quite possibly the greatest album ever from Side Effect – a wonderful set that mixes their soulful harmonies with some killer jazz funk from Wayne Henderson! The album may be the most perfect realization of the groove that Henderson was going for during his At Home Productions years – lots of funky fusion in the instrumentation, but all directed towards a tighter, more soul-based style – that perfect contribution that Fantasy Records made to the world in the 70s – after labels like Blue Note and Columbia first started setting things down. Whatever the chronology, though, this set's a standout no matter how you slice it – damn catchy tunes, incredible vocals, and a set of rhythms that are every bit as hip today as they were back when first recorded – really genre-defining grooves that you'll definitely recognize in the album's classics "Always There" and "Keep That Same Old Feeling" – and will go on to love in the cuts "Life Is What You Make It", "Changes", "I Know You Can", "SOS", "Time Has No Ending", "Finally Found Someone", and "Honky Tonk Scat".

A great double-header from Sylvester – two Fantasy classics back to back on a single CD! Sell My Soul is an overlooked gem from Sylvester's years on Fantasy Records – a set that has him working strongly with soul maestro Harvey Fuqua, in a really great blend of disco and more laidback modes! There's a balance here that's like early Luther at his best – a way of being proudly poised, yet never in an overdone way – a captivating approach to the music that pushes past any obvious cliches you might expect, and which will definitely have you digging deeper for more Sylvester if you only know his hits. The set list includes a few older classics remade – including "Fever" and "Cry Me A River" – plus the tracks "Change Up", "I Need You", "My Life Is Loving You", and "Doin It For The Real Thing". Too Hot To Sleep is even better – one of the most soulful albums Sylvester ever recorded – a set that's light years from his colder club work of the mid 80s, and delivered with a beautifully rich sound overall! Despite Sylvester's previous disco fame, the album does a great job of keeping things mellow at times too – showing a great way with a gentle groove, but one that Syl hardly ever gets any credit for! The gentle steppers here are really wonderful – right up there with some of the better-known modern soul of the time, and miles away from some of Sylvester's other overdone modes. Titles include "New Beginnings", "Too Hot To Sleep", "Here Is My Love", "Thinking Right", "I Can't Believe I'm In Love", and "Ooo Baby Baby".

A should-be Cali country rock classic by Chris Darrow – and a real rare gem of a record we'd put right up there with the best of its kind! Multi-instrumentalist Darrow might be best known to psych enthusiasts – as he was a founding member of Kaleidoscope – but as a session player, he's worked with an eclectic roster of major players that includes Frank Zappa, Gram Parsons, Leonard Cohen, Sly Stone, the Nitty Gritty Dirt Band and others. His solo work is akin to some other great, but better-known Cali country rockers, and honestly, we'd rate this record up against the aforementioned Mr. Parsons – it's really that good – but with more eclectic instrumentation. Catchy songs that are well sung and expertly-crafted – with Chris playing guitars, mandolin, dobro, fiddle and just about anything else with strings on it – and some light percussion, too! Other players include Ed Black, Loren Newkirk, Arnie Moore and Mickey McGhee – plus a sweet group of backing vocalists that includes Jennifer Warren. Titles include "Beware Of Time", "Lovers Of Sleep Abed Tonight", "Shawnee Moon", "Move On Down The Line", "Song For Steven", "Cocaine Lil", "Alligator Man", "Keep On Trying", "New Zoot", "The Show Must Go On", "The Sky Is Not Blue Today" and "We Can Both Learn To Say I Love You". This great 2013 version on Drag City has 5 bonus demos, too!

A pretty hip set of big band arrangements – very much along the lines of early 50s Stan Kenton, with a tight swing, but a nicely modern undercurrent as well! The arrangements, as the title indicates, are all by Gerry Mulligan – and in addition to the piano of Elliot Lawrence, players include Al Cohn and Hal McKusick on saxes, Nick Travis on trumpet, Eddie Bert and Paul Sheldon on trombones, Buddy Saunders on bass, and Don Lamond on drums – all players with a great ear for mixing up tightness on the heads, and a more laidback groove during the solo moments. Tracks are short and angularly arranged – and titles include "But Not For Me", "Happy Hooligan", "My Silent Love", "Mullenium", and "Bweebida Bwobbida".

A pair of killers from Dave Pike – early work in a tremendous career in music! First up is Bossa Nova Carnival – a sublime set of bossa nova numbers, all written by the bossa pianist Joao Donato! Joao doesn't actually play on the record, but his compositions here are enough – as they help Pike find a new sense of space and pulse in his music – rhythms that really unlock his vibes towards their grooviest ends for the first time ever on record. Most numbers are heavily modal – a great mix with the bossa setting – and the album also features key work from Clark Terry on flugelhorn, Kenny Burrell on guitar, and Chris White on bass – whose loping lines really help shape the overall sound of the record. Also features lots of nice percussion – and titles include "Ginha", "Samba Lero", "Sono", "Carnival Samba", "Sausalito", and "Melvalita". Limbo Carnival isn't some early 60s gimmick session, designed to cash in on a dance craze – and instead, it's a wonderful early Latin set from the great vibist Dave Pike! In fact, given the strength of the grooves here, it would be plenty darn hard to do any limbo action to this one – because the rhythms are bouncy, modal, and very very groovy – served up by Pike on vibes, in a lineup that includes Ray Barretto on conga, Ahmed Abdul-Malik on bass, and Leo Wright on flute and alto – plus a few other straight jazz players like Jimmy Raney on guitar and Tommy Flanagan on piano. Tracks include "Mambo Bounce", "Matilda", "Cattin Latin", "St. Thomas", and a strange groovy version of "La Bamba".

A killer little soundtrack – and one that's quite different than the usual blacksploitation set, but still pretty funky overall! The film Black Girl was a surprisingly sensitive movie directed by Ossie Davis in the early 70s – not as much about action as it was about the everyday life, and the hopes and dreams of the lead characters – all of which made for some really well-rounded music, of the sort you'd find on some of the other great Fantasy Records soundtracks of the time, especially the classic Cornbread Earl & Me score. Ed Bogas and Ray Shanklin put together the whole thing, and the album's a mix of hip instrumental tracks with some other vocal ones – a really nice range that draws from singers like Betty Everett, Rodger Collins, and JJ Malone – and jazz players like Sonny Stitt and John Hunt (plus organ from Merl Saunders on one cut.) Titles include "BJ's Step", "Black Girl", "Sister", "Earl (Still A Pearl)", "Mothers Day Song", "Power", "Get Me To The Bridge", "Chock-lite Puddin", and "Black Girl Cue".

A pair of overlooked albums from Clover – a great Bay Area group from the start of the 70s – best known for later work with Elvis Costello and Huey Lewis! Clover is a great start for a very cool group – a set that definitely draws on some of the "out of the city" sounds of the post-Haight scene in SF – as you might guess from the cover – but which also has some funkier undercurrents too, and almost a garagey mix of soul amidst the rootsy elements – one that really shows the evolution of a group like this from the styles of a few years before! Titles include a cover of "Shotgun", plus "Come", "Could You Call It Love", "Southbound Train", "Going To The Country", and "Stealin". Fourty Niner shows a wonderful growth in Clover – a record that really has the group coming into their own, and hitting some of the best Marin County vibes of the time! There's a definite rootsy feel to the record – some of those Bay Area transmogrifications of sounds from the south, into much more hippie-oriented styles – but there's also a sense of confidence and care with songwriting that should have made these guys huge – a quality that easily rivals the best work from the late Byrds or early Eagles camp – with maybe a bit to challenge The Band too – served up with a great Fantasy Records rock approach all the way through. Titles include "Mr Moon", "Harvest", "Old Man Blues", "Sound Of Thunder", and "Love Is Gone".

A charming little set from the great Dave Frishberg – easily one of the hippest singers and songwriters in jazz during the past few decades! The set's got Dave working solo – just singing along with his own piano accompaniment – in a whimsical way that matches the same sort of energy you'd get from Blossom Dearie or Bob Dorough in a similar setting – both good comparisons, given how much each have sung some of Frishberg's tunes! And as a way of tipping his hat back, the set features a great version of Dearie's "Long Daddy Green" – plus an extended "Johnny Hodges Medley", and loads of great tunes that include "The Dear Departed Past", "Eloise", "One Horse Town", "Zanzibar", and "Blizzard Of Lies".

Incredible stuff! The CD features work from four seminal modern mid 50s groups – all recorded at the Blackhawk nightclub in San Francisco at the height of their powers. About half the CD features work by a young Charlie Mariano – playing here with a sextet that includes Dick Collins on trumpet and Richard Wyands on piano, both perfectly matched players for Charlie's young, icy, modern tone. Remaining tracks feature the Vince Guaraldi quartet with Jerry Dodgion on alto, the Dodgion Quartet with Sonny Clark on piano, and the Ron Crotty trio with Vince on piano and celeste. The collection of tracks is extremely well put together – as all tunes are united by a post-bop approach that looks strongly towards modern jazz, yet which never fails to swing. Great stuff – and an essential chapter of the emerging 50s underground. Titles include "After Coffee", "Ginza", "Calling Dr Funk", "My Friend Ethel", "The Nymph", "The Groove", and "Between 8th & 10th on Mission Street".

A great little album of jazz funk – and the only record we've ever seen by this group! The 3 Pieces may not have lasted long in the record business, but this rare album from 1975 has made them legends on the rare groove scene for years. The record was cut during the height of the jazz funk years at Fantasy Records – and it features Donald Byrd handling the production chores, in a similar manner to the style that he used with the more famous Blackbyrds, who were also recording for Fantasy the time. The record features loads of electric piano and ARP, plus some tight and smooth guitar, and a nice rolling groove that is very catchy. A number of tracks have vocals – in kind of a subdued soul mode – and tracks include the groove classics "Backed Up Against The Wall", "Shortnin Bread", "Concrete Jungle", and "Vibes Of Truth". And believe it or not, there aren't any vibes on the album!

A rare little straight ahead set from Cal – not nearly as Latin as some of his other sides for Fantasy at the time, and done in a gently grooving way that's mighty nice! The group's a quartet (in case you couldn't guess from the title!) – with Gerald Wiggins on piano, Eugene Wright on bass, and Bill Douglass on drums – all swinging along with Cal in a gently soulful mode that offers some great interplay between his vibes and Wiggins' piano. Titles include "A Fifth For Frank", "Miss Wiggins", "A Light Groove", "It Never Entered My Mind", and "Fancy Bea".

The only album we've ever seen by Janice – aka Janice Barnett – a set that's got some great smooth production from the legendary Harvey Fuqua! The set's got a sound that's almost in a Salsoul mode at times – not totally disco, but with some uptempo elements – mixed in with some warmer harmonies provided by Janice and a group, of the sort you might find on records by Double Exposure – although with the obvious female difference, of course. A nice little album – we wish she made a whole bunch more of them! Titles include "Goody Two Shoes", "I Should Have Left You", "Love On The Line", "Take Me Away", "If I Had Known", and "Wake Up Smiling".

An excellent gimmick – and yet another way that United Artists was trying to push its "Bond" catalog in the 60s! Count Basie brings a soulful swing to the work of John Barry – hitting hard on the tracks with his own smoking piano, and an orchestra filled with some of his best players, like Al Grey, Eric Dixon, and Freddie Green – as well as Eddie Lockjaw Davis, an artist who wasn't credited on the session at he time. Arrangements are by Chico O'Farrill and George Williams – and titles include "Thunderball", "From Russia With Love", "007", ""Dr Know's Fantasy", "Girl Trouble", and "Goldfinger". This CD includes the bonus "Dr Know's Fantasy (First Version)".

A lost bit of ensemble funk from the end of the 70s – served up in a mix of bass-heavy club and boogie styles! The group have a rolling groove that's a bit like some of the work by Instant Funk or other clubby funk acts – but the overall feel is a bit tighter and more small group-oriented, even though the end result is as tight and professional as anything coming out on some of the bigger labels at the time – making for a great mix of indie and mainstream funky club styles! Our favorite cuts may actually be the mellower ones – which have some great soul harmonies – but even the uptempo tracks are pretty nice, with a strong Philly-inspired sound overall – and titles include "Postcard Love Affair", "My Fantasy", "Push", "There You Go", "Fantasize", "I Judge The Funk", and "You're Always on My Mind".

An excellent bit of southern funk – very much in the early mode of Little Beaver, but with a sound that's even harder! James Knight is The Black Knight – leading a tight little combo with a raw funky 45 sound, heavy on the horns for backing, but with James' guitar right up front in the mix, jamming hard in a way that would have made Hendrix proud! The tracks are a mix of heavy funk numbers and more tripped-out jams – and Knight's vocals remind us a bit of Charles Wright in the old days, blaring out of the speakers with a bit of distortion and lots of soul, really driving home the quality of the songs. Titles include "Fantasy World", "Save Me", "Flyin High", "Funky Cat", "Uncle Joe", "Cotton Candy", and "Just My Love For You".

Two of the later Blackbyrds LPs on one CD! Action's one of their great ones, and it's got a cool mellow vibe that's different than their earlier funkier stuff. It also includes the great cut "Mysterious Vibes", which was sampled by someone not too long ago. Also with the cuts "Supernatural Feeling", "Soft and Easy", and "Street Games". Better Days has a bit of a modern soul feel, with more of the later Fantasy production style, and the tracks "Do It Girl", "What's On Your Mind", and "Love Don't Strike Twice".

Get down with the sound of Peter Brown – one of the funkiest white cats on the Miami soul scene of the 70s! Peter originally hailed from the Chicago area, but he got the call down to Miami with his classic club groover "Do Ya Wanna Get Funky With Me" – a compelling blend of snappy rhythms, soulful horns, weird keyboard bits, and sweet female vocals. That track instantly set Peter up large – reputedly the first 12" single to sell a million copies – and Brown followed the groove with a whole host of other clubby classics cooked up in the Miami TK studios! This set brings together 9 of Peter's extended dancefloor cuts from the 70s – plus 2 more remixes from later years – for a total of 11 tracks that include "Do Ya Wanna Get Funky With Me", plus "Dance With Me", "Love In Our Hearts", "Stargazer", "Fantasy Love Affair", and "You Should Do It".

The second album from disco superstar Peter Brown – and a batch of tracks that's a bit less clubby than before! Brown's emerging here more as a fully-fledged pop singer in his own right – showing at least a bit of confidence by putting himself on the front cover this time around, even though his back is to the camera! The tunes are catchy, and co-produced with Cory Wade – who'd helped so strongly with Brown's Fantasy Love Affair classic for TK Records – and there's plenty of that sweetly compressed production in this set too. Titles include the crossover classic "Love In Our Hearts" – which almost has a Queen-like chanting groove – plus "Penguin", "West Of The North Star", "Leadmeon", "Got To Get The Show On The Road", "It's Alright", and "Crank It Up".

Rare work from the San Francisco scene of the 50s – issued here on the Crown label, who usually just focused on the sounds of LA! As usual with Crown, the notes are a bit vague – but we can say that the set features some sparkling material that really matches the Fantasy Records 50s best of all players – although with a vibe that's slightly more rough around the edges – but we mean that in a good way! The set begins with a long take on Brubeck's haunting "At A Perfume Counter" – almost more of a showcase for the alto of Paul Desmond, which takes some turns and twists that are simply breathtaking – and which will have you raising your love of his talents another notch – if that's possible at all. Next is Desmond as a leader in the haunting "Purple Moon" – a number with a bottom bassy intensity that's a perfect foil for Paul's raspy alto in the lead. Last up is Cal Tjader on "Jazz Latino" – a number that's got a cool blend of vibes, piano, and guitar!

An overlooked gem from The Controllers – one issued a bit late to be part of the classic wave of group soul, but a set that's still overflowing with really old school harmonies! The Controllers really have a wonderful way of putting over a ballad – letting things build slow and mellow, trading lead parts and harmonies together in a way that really moves the message forward, while never overdoing things too much in search of a hook. And even when the instrumentation is contemporary, it never gets in the way of the vocals – and almost always lays back once the lyrics come in, even on the album's few groovers. Titles include "For The Love Of My Woman", "My Secret Fantasy", "Love Is On Our Side", "Play Time", "Sleeping Alone", "Knocking At Your Door", and "No One's Ever Loved Me More".

A rare bit of Cali soul – and a lot groovier than you'd guess from the cover! The music is rich in jazzy inflections – funky fusion used behind the lead vocals of Errol Knowles, in a blend that's quite similar to the best Bay Area funk of the time – particularly some of the grooves coming from the Fantasy Records scene! Guitars are great – played by Bill Courtial with lots of snakey, angular lines that really emphasize the groove – and other instrumentation includes keyboards and some mighty sweet percussion. Titles include "Losing You", "Love Nevermore", "Corn On The Cob/Time", "Don't You Think It's Time", "Time To Explain", and "Poem For Helen".

Crazy psyche era wierdness from Cromagnon – the band name and album title may reference prehistory, but this stuff is actually way ahead of it's time – if we didn't see the date on this thing, we'd have sworn it to be from the art damaged post punk early 80s! The group is credited to Austin Grasmere, Brian Elliot and "The Connecticut Tribe" – and the instrumentation is billed as vocals, music and sounds – you figure out the rest. The set opens with some soundbites of Hollywood fan fare that segues into a mix of bagpipes, thundering percussion and vocals that sound like screams and whispers at the same time. The following track "Ritual Fest Of The Libido" rivals "LA Blues" by the Stooges in gutteral grunted nightmare soundscapes, but later tracks mix in more laidback grooves that are just as freaky. A total mindfrack of a record, and a pretty amazing one, if not for everybody! Other titles include "Organic Sundown", "Fantasy", "Crow Of The Black Tree", "Genitalia", "Toth, Scribe I" and "First World Of Bronze".

A mellow soul classic from Chicago – and one of the last great records to come out of the city's hip 70s soul scene! We know very little about Crystal Winds – save for this excellent record, one of the few titles issued on the short-lived Cash Ear label, a south-side imprint in the tradition of 70s powerhouse labels like Curtom or Chi-Sound. The work's got a wonderfully polished feel – lots of jazzy harmonies on the vocals, and a smooth midtempo groove that reminds us of some of the best work on Fantasy Records, especially those handled by Wayne Henderson and At Home Productions. Includes a great jazzy stepper called "Signs of Winter's Time", plus other great tracks like "So Sad", "Love Ain't Easy", and "It's A Wondrous Thing".

A tasty session of west coast Brazilian grooves – cut by the great percussionist Paulinho Da Costa, with a group that includes Claudio Slon, Larry Williams, and Lee Ritenour. The record's got a very nice breezy feel – with a sound that's similar to some of the Fantasy Brazilian LPs of the time, which mixed tight Brazilian playing with a soulful sense of California production. With the cuts "Simbora", "Toledo Bagel", "Ritmo Number One", and "Berimbau Variations".

A lost classic from Father's Children – the group's only album ever, but an impeccably produced set – thanks to the efforts of Wayne Henderson's At Home Productions team! The groove here is similar to that forged by Henderson over at Fantasy – soul, but inflected with plenty of jazzy fusion touches – instrumentation that steps out riffing with a really great edge, and fleshes out the sound with a lot more creativity and imagination than mainstream soul at the time. The best grooves here have a midtempo boogie flavor – with plenty of righteous jazzy touches alongside the richer harmonies that flow out warmly on the lyrics! Titles include their landmark track "Hollywood Dreaming", plus other nice ones like "Got To Get Away", "Gone Bad", "You Can Get It", "Music For Your Mind", "Wild Woman" and "Shine On". 2 bonus tracks on this CD version: 7-inch edits of "Hollywood Dreaming" and "Shine On".

A pair of killer albums from The Five Stairsteps – 1967's self-titled set for Windy C – plus '68's Love's Happening by The Five Stairsteps & Cubie – together with bonus track on this great set from Outta Sight UK! The Five Stairsteps album is a landmark batch of sweet soul – recorded by the still youthful group that included a 13 year old Kenny Burke! The kids were brought together by their parents Clarence and Betty Burke, but it was Curtis Mayfield who really gave them a push – as he discovered them, produced them, and wrote some excellent songs for them during their best early years. Mayfield's sweet soul style forged with The Impressions runs through most of these tracks – and although the group is young, they really do a fantastic job with the material, and infuse it with a soulfulness way past their years. Titles include "Danger She's A Stranger", "World Of Fantasy", "Ooh Baby Baby", "Don't Waste Your Time", and "Behind Curtains". Love's Happening might be the best record ever by this Chicago soul group! The record's got a full batch of original tracks written and produced by Mayfield – including their amazing, funk steeped version of "Don't Change Your Love", with a breakbeat that lit up the sampler culture for years! That raw drum sound is in effect on even the more delicate numbers, and the lead vocals and harmonies soar or sink deep to the soul, as the groove demands. There's also some kind of tripped out touches in the production in spots, making for a nice balance of sweet soul and leftfield touches. Kind of an underappreciated effort in the grand scheme of Curtis Mayfield productions, but wholly essential! Other titles include "Stay Close To Me", "New Dance Craze", "Baby, Make Me Feel So Good", and "Little Young Lover". 5 bonus singles in the set: "Ain't Gonna Rest (Til I Get You)", "You Can't See", "Change Of Pace", "Madame Mary" and "We Must Be In Love".

Funky and free-thinking fusion from the Texas scene of the mid 70s – a great indie album by a group who travelled in the same territory as the soul combo Starcrost! Although American, the work here has some great qualities that remind us of some of the best European fusion from the same time – a sense of soaring, stretching energy – and one that never resorts to too much jamming to carry across its message, and which juxtaposes heavier rhythms with some gentler tunes that really allow the horn parts some wonderful moments! Instrumentation include soprano sax, tenor, trumpet, electric and acoustic piano, and a fair bit of percussion too – all recorded with a great sense of warmth, almost in the mode of some of the best Fantasy Records 70s sessions! Titles include "Jig", "Halyards", "Cumulo Nimbus", "47 Tears", "March Of The Goober Woobers", and "Weedhopper"

2 killers from organist Caesar Frazier – back to back on one CD! Hail Ceasar is a monster bit of funky jazz – filled with long tracks that all jam mightily, all at a level that matches or tops the best work coming out of Prestige or Blue Note Records at the time! The set is one of the rare few on the Eastbound jazz subsidiary of Detroit soul powerhouse Westbound Records – and it's the first to feature organist Ceasar Frazier as a leader – really grooving hard here with a Prestige-styled combo that includes Idris Muhammad on funky drums, Melvin Sparks on heavy guitar, and Houston Person on soulful sax – all produced with a gritty gritty edge by the legendary Bob Porter! The whole album's great – filled with incredible cuts that include a version of "Hicky-Burr", the first Bill Cosby theme – plus the tracks "Make It With You", "Running Away", "Hail Ceasar!", and "See-F". Ceasar Frazier 75 is a tightly grooving set that expands his sound a bit from the first! All the best elements are still in place here – including funky organ from Ceasar, production from jazz funk maestro Bob Porter, and a hip range of players that includes Horace Ott, Wilbur Bascomb, and Bernard Purdie. But the overall sound is somewhat shifted too – brought more into the tightly jamming jazz funk mode of the mid 70s – a bit richer and fuller overall, yet never in a way that's slick or sloppy – just more like some of the best later sides on Prestige or Fantasy from the same stretch. The record features a crazy version of the "Mighty Mouse Theme", a mellow take on the Isley's "Summer Breeze", Stevie Wonder's great "Living For The City", and the original "Funk It Down".

Sweet early CTI work from trumpeter Freddie Hubbard – the kind of groundbreaking electric jazz that really helped him find a new space in the 70s! The album follows strongly from Freddie's classic Red Clay set for CTI – and like that one, it features extended tracks that build beautifully as they roll on – taking Freddie's airy trumpet as the base, and layering in electric piano, flute, guitar, and percussion – plus some wonderfully subtle strings – used sparely, but in just the right way to underscore the wider vision of the record. Arrangements are by the mighty Don Sebesky – and other players include George Benson on guitar, Hubert Laws on flute, Phil Kraus on vibes, and Airto on percussion – plus Richard Wyands on the keys, making a rare CTI appearance here. Titles include a surprisingly great version of "Uncle Albert/Admiral Halsey" which has some great breaks in the middle – plus "First Light", "Moment To Moment", and "Yesterday's Dreams". New version features remastering from original tapes – and 2 bonus tracks – "Fantasy In D" and an live take of "First Light".

Japanese drum powerhouse George Kawaguchi leads a very hip band here – one that's filled with quick-thinking players who can really create strongly on the fly – matching George's boundless energy, but bringing plenty of their own elements to light as well! Kawaguchi's drums are back a bit in the mix, compared to some of his other albums of this time – but there's often a punch to the record that comes from the larger ensemble – a bit funky big band at points, but with more intimate qualities at others. Other musicians include Hideo Ichikawa on keyboards, Yoshio Ohtomo on alto, Hidehiko Matusmoto on tenor, and Isao Suzuki on bass – and titles include "Tappan Zee", "Feels So Good", "I Can't Get Started", "Isn't She Lovely", "Friends", "Fantasy", and a nice funky take on "Superstion".

One of the later, post-Fantasy albums by the LA Boppers – a great one for Mercury! Bop Time has some of their nice smooth two step harmony vocals set amidst jazz-tinged arrangements – with plenty of funk in the mix, too – especially in those killer basslines! Augie Johnson produced for At Home productions, so the jazzy moments blend nicely with the dancefloor funky soul. Tracks include "You're On My Mind", "If It Is That Way", "Dreamer", and "You're No. 1". Also features a very tasty remake of "La La Means I Love You"!

The last record we've ever seen by this funky vocal combo – and every bit as tasty as their early work for Fantasy Records! Part of the reason for that is because the group's getting production here from Augie Johnson – who picked up plenty of funky jazz touches through his work with Wayne Henderson, and had a long relationship with the group that clearly shows them in their best light. The vocals are great – harmonic and floating, without being hokey – and the tracks groove along with the same sort of gentle bounce you'd expect from late 70s Fantasy sides by the Boppers, Side Effect, and others. Tracks include "Dog House", "Perfect Love", "If You Go", "Wrap You Up", "Christy", and "Well Deserved Rest".

String-heavy early genius from a young Michel Legrand – tracks from some of his best travelogue albums for Columbia from the 50s! The first half of the set is Legrand's original I Love Paris album – a sparkling postwar musical fantasy of Paris, made up of a host of famous themes from French pop music of the 20th century, all set to lush string arrangements! The album's not as upbeat or jazzy as some of Legrand's later soundtrack work, but it's got a wonderful quality all its own – a warmly romantic vision of a Paris that was still putting the pieces back together less than a decade after WWII, presented in a way that glosses sweet sounds over darker corners with a vaguely eerie feel. The record instantly made Legrand an international favorite, and features 16 tracks that include "Mademoiselle De Paris", "The Last Time I Saw Paris", "Paris Canaille", "Autumn Leaves", "A Paris", "La Vie En Rose", "Under Paris Skies", and "April In Paris. Next up are 11 more tracks from another postwar site – Italian themes from Legrand's Holiday In Rome record, done in a similar style to the Paris session – with titles that include "Vieni Vieni", "Aveva Un Bavero", "Fiorin Fiorello", "Torna A Surriento", and "Funiculi Funicula". The travels are completed in Vienna – with 3 more titles from Legrand's Vienna Holiday album, including "Vilia", "Third Man Theme", and "The Cafe Mozart Waltz".

Cheryl Lynn and Luther Vandross – a tremendous combination that makes for one heck of a great record! Luther arranged and produced the entire set – and he does a great job here of pushing Cheryl Lynn into more upbeat territory without getting too poppy or schmaltzy! In a way, the record shows traces of some of Luther's best work for other artists (and himself) in the late 70s – an approach to club that's still plenty darn soulful, and which really lets Lynn open up with tremendous vocals. Titles include a famous remake of "If This World Were Mine" – done as a duet with Luther – plus "I Just Wanna Be Your Fantasy", "Instant Love", "Sleep Walkin", "Day After Day", "Look Before You Leap", and "Say You'll Be Mine". 2 bonus tracks: "Instant Love (Single Version)" and "If This World Were Mine (Single Version)".

A pair of Mercury Records albums from Johnny Mathis – on CD for the first time ever! Tender Is The Night is tremendous work from Johnny's short years on Mercury – a set that has the singer hitting a new level of maturity in his music – thanks in part to arrangements from Don Costa! Costa's scored plenty of singers before this set – but with Johnny, he hits a level of sophistication that's really amazing – the depth of tones and colors that Frank Sinatra was getting on his late 60s years at Reprise – perfect for the new level of expression that Mathis was hitting in his vocals. There's loads of numbers here that go way beyond what you might expect from the usual hits from Johnny – and titles include "Laura", "No Strings", "A Dream Is A Wish Your Heart Makes", "Forget Me Not", and "Tomorrow Song". Wonderful World Of Make Believe features Mathis working with arranger Allyn Ferguson – who often gives Johnny the same sort of shimmering charts he might get from Glenn Osser, but who takes a bit more liberties here with the "make believe" modes promised in the title! Lots of the tunes are numbers from shows – but those of a whimsical, wistful variety – postwar tunes with a fantasy vibe that's perfect for the inherent sense of longing in Mathis' vocals. Titles include "Shangri La", "House Of Flowers", "Beyond The Sea", "Camelot", "I'm Always Chasing Rainbows", "Sands Of Time", and "When You Wish Upon A Star".

The long-overdue release of an album that should have been a Neo Soul classic! The team of Otis Cooper and Shugg David recorded this gem of a set back in the mid 90s along with help from longtime friend and producer Raphael Saadiq – but due to shifting priorities at the major label, the set was shelved and is only now finally seeing the light of day! Despite the wait, though, the album bristles with electricity and has a totally fresh sound – bubbling over with the warmth and soul of the best Saadiq production work of the time, and hitting a vibe that's almost in the same mode as his own recent Ray Ray recordings. But even more charming are the talents of Otis & Shugg – two down-to-earth vocalists who work in a style that's nicely free of cliché, and which really shows them setting a tone that would be followed by many other make singers in the Neo Soul years to come. Titles include "Right On Track", "Fantasy", "If You Want It", "My First Mistake", "Round & Round", "Indiana", "This Is My Phone Call", and "Something Inside Of Me".

An insane bit of fuzzed-out funk! This is Parliament's rare first album – a trippy batch of tunes that come off of Clinton's experimentation in the Detroit soul scene, infused by the rock-heavy energy of the city at the time – and probably a heck of a lot of cannabis, too! The record is quite different than the slick funky sound of the group's later work for Casablanca – and has the psychedelic funk sound of the early work of Funkadelic, which was also recorded during the same period. The album's filled with funky classics – including "I Call My Baby Pussycat", "Little Ole Country Boy", "My Automobile", "Funky Woman", and "Nothing Before Me But Thang". CD features loads of bonus tracks too – 7 more numbers that include "Red Hot Mama", "Come In Out Of The Rain", "Unfinished Instrumental", "Loose Booty", "Breakdown (mono)", "Fantasy Is Reality", and "Breakdown (stereo unedited version)".

Pivotal work from Duke Pearson – a brilliant set that perfectly sums up all the criss-crossing of styles he was working on in the late 60s – and comes up with a wonderful blend of electric jazz, Brazilian rhythms, and just a touch of 70s soul! Pearson plays some sweet Fender Rhodes on the set, in addition to acoustic piano – and there's some other wonderful instrumentation in the mix too – including flute and guitar from Hermeto Pascoal, making a rare Blue Note appearance – plus sweet flutes from Jerry Dodgion and Lew Tabackin, both blowing in kind of a CTI-ish way – as well as tenor from Frank Foster, trumpets from Collins/Shepley, and wonderful drums from Mickey Roker – whose inventive rhythms here really helps set fire to Duke's new ideas. Flora Purim sings on a few tracks – pre-Fantasy Records, and turning in some of her greatest vocals ever – and titles include a wonderful version of "Stormy", plus "Book's Bossa", "Gira, Girou", "Hermeto", "Emily", and "It Could Only Happen With You".

Wonderful grooves from Push – a funky ensemble who flourished in the Seattle scene at the end of the 70s – turning out some really massive sounds in the clubs, and in the studio! This collection's the only one we've ever seen of their work – a much-needed testament to their stone strength on a very local scene at the time – one in which a group like this could work every night of the week to big regional crowds, yet somehow never manage to crack the big time! Yet the group's lack of fame is also what makes this music great – a fresh approach to 70s territory that you might know from some of the bigger acts of the time – with instrumentation jazzy enough to rival some of the Fantasy Records groups of the time – and a sparkling vibe that recalls some of the bigger crossover groups, like Kool & The Gang or Average White Band! The set features recordings from two different sessions – one in Seattle, the other in Portland – and titles include "I'm Not Alone", "I'm A Dreamer", "It Ain't Never Been This Funky", "You Turn Me On", "The Jealous Type", "Reach", "We Have So Much", "You're Nasty", and "Celebration".

Righteous Ra from the end of the 70s – one of the most soulful albums ever by the Sun Ra Arkestra, and a lost treasure that's got some nice funky moments! The vibe here is very much in the Lanquidity/Disco 3000 mode – an extrapolation of styles best known from the Space Is The Place era, tightened up into more of a groove at some points, but also relaxed and more reflective at others. Our favorite track on the set is "UFO", a snapping bit of funk that comes as a real surprise from Sun Ra – and a tune that's got some nicely noisy guitar jamming alongside straighter electric rhythms – all topped off by vocals from the group and some really strong horn work! The tune's a great party funk number that shows the Arkestra at its most joyous – and other tracks include "On Jupiter", which has a great blend of light vocals, spacey moog, and snakey sax – plus the side-long "Seductive Fantasy", a laidback number that unfolds with a really gentle grace.

A unique set by the great Ravi Shankar – one of his trippiest albums ever, and originally recorded as a soundtrack for the film Viola! There's plenty of elements that resonate with some of Shankar's other studio work of the 60s – but there's also a much darker feel overall – really heady sounds that are often abstracted or echoed a bit with the production, given a wild sort of light show feel that you'd never hear on any of Ravi's other records! There's some very raw tabla and tambura in the mix, and other odd instruments from Les Structures Sonores – who seem to bring in a bit of electro-acoustic energy to the record at points. Titles include "Madness", "Fantasy", "Anxiety", "Torment", "Submission", "Death", "Transmigration", "Retribution", and "Reflection".

Spy themes galore – a full CD of famous James Bond tunes, paired with a whole bonus CD of additional work from Brit maestro Roland Shaw! Back in the 60s, Shaw recorded a host of great spy-styled sets for Decca – two albums of work with Bond on the cover and in the title, and two more with additional spy and secret agent themes! The best of that work's packaged together here, in an ultra-cool 2CD set that features 37 tracks in all – a good number of which were penned by John Barry for original Bond films, then redone by Roland in ways that are swinging 60s, with lots of mod instrumental moments – including some great guitar amidst all the horns. Titles include "Twisting With James", "You Only Live Twice", "Chateau Fight", "Pussy Galore's Flying Circus", "Thunderball", "Dawn Raid On Fort Knox", "Dr No's Fantasy", "James Bond Theme", "Diamonds Are Forever", "Mr Kiss Kiss Bang Bang", "Bond Below Disco Volante", "The Saint", "I Spy", "The Avengers", "Theme From The Man From Uncle", "Casino Royale", and "Mission Impossible".

An incredible bit of funky fusion from the Texas scene of the 70s – a record that's unlike anything else we've ever heard from the Lone Star state, and which still sounds plenty fresh all these many years later! Starcrost have a sound that mixes jazzy riffing with great female lead vocals – sung in a style that's a bit soulful, but which also has a fair bit of jazz in the mix too – a blend that was much more common for some of the Bay Area groups of the 70s, particularly some of those recording for Fantasy Records. The vibe here is a bit like Pleasure at times – fusion focused into a funkily grooving mode – and the playing is superb throughout – never cliched, never too over the top, and never filled with too-jamming styles that could slow down the groove! There's a great balance between breeziness and all-out grooving that keeps the whole album fresh throughout – a quality that was hardly ever done this well on albums by bigger groups of the period. Titles include "Flow", "Quicksand", "Catharsis", "False Paradise", "Getting Going", "Funky Little Home", and "Da Ba O" – plus the unreleased tracks "I've Got A Plan" and "Run".

A double-length, 4 act disco fantasy from Donna Summer and Giorgio Moroder – both very much at the height of their powers here – and able to keep up enough energy to make it through what was originally 2LP set! The work's a unified sort of story – kind of a disco opera of sorts – but more than the lyrics or the story, what makes the album great is the rhythms – full-on and non-stop, rolling strongly from tune after tune in a highly energized blend. Titles include "Once Upon A Time", "Fairy Tale High", "Queen For A Day", "Now I Need You", "Dance Into My Life", "A Man Like You", "I Love You", and "Rumor Has It".

Masterful funky soul jazz from the mid 70s – and one of the best solo albums recorded by Headhunter Bill Summers – a sunny batch of Bay Area funk that really grooves with the best of Fantasy Records from the time! The set was produced by Skip Scarborough, and has that great bubbling, stepping, soulful groove that was Scarborough's best contribution to jazz funk – a trademark groove that was every bit as important to the 70s as the work of Bob James or Larry Mizell! Summers' work on congas and percussion is excellent and the players are totally top shelf – the core group features drums by Alphonse Mouzon, bass by Paul Jackson, and keyboards by Scarborough – and vocalists on the set include Dianne Reeves, Mikki Morris, and Charles Meeks. Titles include "Drum Suite", "Come Into My Life", "People Know", "Just A Matter Of Time", "No One", "Check It Out", and "Que Sabroso".

A great batch of lost funky club tracks – heavy moog in the mix, making some great wikki-wikki sounds over the album's smoothly grooving tunes! The group's got Gregg Phillinganes and Roger Smith in the frontline on keyboards – they also play Arp and Fender Rhodes next to moog – and Dick Griffey helped with the vocal arrangements, giving the record the smooth sophisticated feel of a classic LA Solar release from the late 70s, mixed with some of the jazzier grooving on Fantasy records from the same time. Titles include "Mood I Love Love", "Don't Overlook The Feelings", "So Long", "Let Love Flow For Peace", and "Fantasy". CD also features the bonus track "Erika (ext mix)".

Loads of great keyboards here from Hiromasa Suzuki – working in a mode that's somewhere between earlier funky jazz, and the tighter Japanese fusion of the late 70s! The style here is never too smooth, yet Suzuki really manages to blend some great elements together – his own keys, lots of funky rhythms, saxes from Jiro Inagaki, and even a touch of vocals from Kyoko Ishu – used in ways that are relatively spare, and more musical than lyrical – which fits in perfectly with the groove! The feel of the set is like some lost bit of funky jazz from mid 70s Fantasy Records – and titles include "Screwdriver", "Scramble", "Between O & M", "Straight Flash", and "Out Of Focus".

We've been digging the keyboard grooves of James Taylor for decades – and still, after all that time, he's one of the tightest, most soulful cats around! This sweet set takes Taylor back to the groove he was first hitting in the mid 90s – that blend of Hammond with funky 70s modes – somewhere in the late Prestige Records, or sublime Fantasy soul style – served up here by a core quartet, with added horns, flute, harmonica, and male vocals on a few tracks. Taylor's keys are wonderfully tight and soaring – very much in Hand Of The Inevitable territory, with a 70s Johnny Hammond vibe – and titles include "Loneliness", "Koko", "Song For My Dad", "Light Up Your Soul", "Woman", "Home Is Where The Hatred Is", and "The Template".

2 totally great Cal Tjader electric albums – both recorded originally for the Skye label, and back to back on one CD! Cal Tjader Plugs In is a beautifully plugged-in, turned-on session from Cal Tjader – one that features the funky vibist alongside some sweet Fender Rhodes! The session was recorded live, but it's got a flowing, modal quality that rivals Tjader's best work in the studio for Verve and Fantasy at the end of the 60s – a soaring, spacious sound that comes from the interplay between Cal's ringing vibes and the Fender Rhodes and acoustic piano work of Al Zulaica – an excellent player we only know from a few of Tjader's albums. Armando Peraza provides some tight conga work on the set – and titles include "Spooky", "Tra La La Song", "Morning Mist", "Alonzo", "Nica's Dream", and "Get Out of My Way" – a great instrumental take on the Latin soul hit from Joe Torres! Solar Heat is even better – a record that features Joao Donato on organ and Gary McFarland on vibes! The record is a brilliant extension of Cal's styles at Verve – a bit of Latin, a bit of jazz, with some easily grooving numbers that have just the right dose of funk! Donato's organ sounds especially great, and there's also some added electric piano and electric harpsichord on the record, which expands the electricity even more! Loads of great numbers – including "Mambo Sangria", "Fried Bananas", "Solar Heat", "Ode to Billy Joe", and Donato's great "Amazonas".

The second US album from Euro disco outfit Voyage – a group who manage to bring in some nice progressive and jazzy elements to the mix! There's almost a jamming rock-gone-disco approach to a few of the best numbers – thanks to a strong use of heavy guitars and keyboards, and a real rock-like phrasing at times. All tracks are longish, with TK-styled breakdowns on the better tunes – and lead vocals are handled by Sylvia Mason. Titles include "Tahiti, Tahiti", "Souvenirs", "Kechack Fantasy", "Eastern Trip", "Let's Fly Away", "Golden Eldorado", and "Gone With The Music". This 2CD special edition also includes he album length Special Instrumental Vol 2 on CD1 – plus a second CD featuring 12", 7" and otherwise alternate mixesof "Souvenirs", "Let's Fly Away", "Tahiti, Tahiti" and more – including the bonus "Dance And Romance" recorded as Disco & Co. 24 tracks on 2CDs!

2 of Johnny's best albums ever! The two records on this CD were the first that he cut for the Fantasy label during his comeback period of the mid 70s, and they both show Johnny turning his earlier bluesy style into a very dope Bay Area soul/funk groove, of the sort that would become his trademark sound for the next 10 years. In later years, that style sort of became a parody of itself – but in these early recordings, it still sounds nice and fresh, with a nice messed up style, and some excellent production. Titles include the great "It's Way Too Late", plus "Strong Vibrations", "Tripping", "I Don't Want To Be A Lone Ranger", "I Get A Feeling", "If I Had The Power", and "Like I'm Not Your Man".

A pair of late 70s gems from Johnny Guitar Watson – back to back in a single set! What The Hell Is This offers up a great return to the spacey soul that made Johnny Watson so great in the 70s – a set that turns down the bass and brings up Johnny's voice – letting his wonderful persona drift and flow amidst a range of mellow-grooving tracks! The album's got some great echoes of territory that Johnny first explored during his Fantasy years – that style that took his older blues and smoothed it out – compressing all the elements together in a really great way, yet without some of the overdone funky bits that could sometimes hurt later Watson work from these years. Johnny's charm is undeniable throughout – wickedly soulful and clever, and not nearly as silly as you'd think from the album's goofy cover. Titles include "In The World", "What The Hell Is This?", "Strung Out", and "Cop & Blow". Love Jones is one of the last great records by Johnny Guitar Watson – and an album that's got some wonderfully subdued moments, which is a real relief after some of the too-funky bits on some of his other sets from the late 70s! Johnny returns to the tight soul of the mid 70s Fantasy LPs – still keeping the guitar up in the mix, but also really focusing on his wonderfully compressed style of vocals – a slightly tripped out mode that dances along beautifully with the guitar – ta-ta-ing us to some great mellow grooves, and really letting Watson's personality shine! Titles include "Love Jones", "Asante Sana", "Lone Ranger", and "Children of the Universe".

A masterpiece of smooth jazzy funk – and super-hip session headed up by the young keyboardist Bernard Wright! Wright's working here with an insider crowd of jazz funk players that includes Bobby Broom, Dave Grusin, Marcus Miller, and Don Blackman, whose funky style is very similar to Wright's. The record sort of picks up the groove where some of the Fantasy Records sessions of the 70s left off – mixing together jazz and soul into a captivating blend that's made even better by Dave Grusin's tight production. Includes Don Blackman's sample classic "Haboglabotribin", a nice version of Weldon Irvine's "Music Is The Key", and the cuts"Just Chillin' Out", "Master Rocker", and "Bread Sandwiches". Great all the way through, though – and a record that still delights us year after year!

Early 80s greatness from Bernard Wright – the benchmark Nard from '81 and his Funky Beat from '83 – in a single set! Nard is a masterpiece of smooth jazzy funk – and super-hip session headed up by the young keyboardist! Wright's working here with an insider crowd of jazz funk players that includes Bobby Broom, Dave Grusin, Marcus Miller, and Don Blackman, whose funky style is very similar to Wright's. The record sort of picks up the groove where some of the Fantasy Records sessions of the 70s left off – mixing together jazz and soul into a captivating blend that's made even better by Dave Grusin's tight production. Includes Don Blackman's sample classic "Haboglabotribin", a nice version of Weldon Irvine's "Music Is The Key", and the cuts"Just Chillin' Out", "Master Rocker", and "Bread Sandwiches". Funky Beat is his second album – an 80s groove electro classic that's quite different than his first LP! It takes Bernard firmly into a b-boy jazz mode – working keyboards, bass, and drum programs into a groove that's farther reaching and more soulful than anything that Herbie Hancock was doing at the time. And as with his first album, Bernard's got plenty of great help on this one – as the record features work by Weldon Irvine, Lenny White, Dave Grusin, and others. The album includes some great Weldon Irvine compositions – like a remake of "Mr Clean", and the sweet vocal numbers "Won't You Let Me Love You" and "Keep On Doing That Right Thing", both of them warm wonderful tunes that stand with the best work on the album! Also includes a straight jazz version of "Joy Spring", and the breakin' tracks "Funky Beat", "Get Your Lover Back", "Video Generation", and "Move Your Body".

A heavy dose of funky jazz – and one that goes way past the obvious too – to include some real gems from the 70s that even we'd passed up! The package is filled with stellar jazz from the Fantasy Records family – Prestige, Pablo, Galaxy and Fantasy proper – choice numbers by The Blackbyrds, Stanley Cowell, Charles Earland, Patrice Rushen and others – funky jazz, soul, boogie and Brazil-flavored numbers from the top shelf of the diverse period! It's a tight, well chosen compilation with numbers you simply could not overlook in putting a set like this together – productions by the Mizells, Donald Byrd, Earland and others – but there's a few of leftfield choices, too. Simply a great little snapshot of the funky jazz and soul period and the family of labels that generated so much of the most creative music to come from it! 14 tracks and nearly 80 minutes of grooves: Includes "Happy Music" by Blackbyrds, "Close To You" by Marlon McClain, "Let Me Love You (Let Me Be Me)" by Stanley Cowell, "Taj Mahal" by Paulinho Da Costa, "Nov Ano" by Azar Lawrence, "Moon Dreams" by Flora Purim, "Montevideo" by Opa, "Glide" by Pleasure, "Shout It Out" by Patrice Rushen, "If Only I Could Prove To You" by The 3 Pieces and more.

A killer collection of funk and soul from an ultra-hip Bay Area label of the 70s – Oakland's enigmatic Brown Door Records – headed up by funk maestro Marvin Holmes! The music's got a beautifully sunny vibe – all the best Bay Area elements of the time, reflected in the scene-crossing, genre-stepping modes that often made the East Bay way more exciting than anything going on in San Francisco – particularly in the cool crossbreeding that would happen between Berkeley, Oakland, and other communities. Holmes' cuts here are a great example of that – still the funk and jazz of his late 60s music for bigger labels, but also pretty stretched-out and open too – filled with an all-encompassing spirit that rivals the best music from the Fantasy studios at the time – but with a hipper, indie vibe all the way through. This spirit also steps over to the work by other artists on the collection, too – and is told in the rich notes and images included with the heavy booklet – both in English and Japanese, at a level that shows the Shout Productions folks stepping into Numero territory. A wonderfully deep compilation – filled with great cuts that include "You & Me", and "Goin Home" by Faye Marshall, "Making New Friends" and "Trippin On The Sounds" by Jeanie Tracy, "Cain't Get Anuff" by Bill Bell, "I Can't Go Without You (parts 1 & 2)" by Doroth Morrison, "Love Yo Love" and "Confess Your Love" by John Turk & The 3rd Street Annex, and the tracks "Kwame", "You Better Keep Her (7" version)", "Find Yourself (parts 1 & 2)", "Gimme Some Tonight (parts 1 & 2)", "Feel So Good (inst)", "You Girl", "Tell The Truth", and "Kimani Mdogo" by Marvin Holmes & Justice.

A great tribute to the other half of the Double Fantasy team – in a sweet set of Brazilian remakes of songs by Yoko Ono! The package has a surprisingly sensitive feel – none of the offbeat, avant Ono in the mix – and instead, a wonderfully sweet quality that almost comes through even more strongly in these Brazilian versions than in Yoko's originals! Titles include "Who Has Seen The Wind" by Hevelyn Costa, "Listen The Snow Is Falling" by Ampslina, "Death Of Samantha" by Digitaria, "Why" by Tetine, "Yangyang" by Silvia Machete, "Kiss Kiss Kiss" by Voz Del Fuego, and "Walking On Thin Ice" by Katia B.

The latest volume in one of our favorite series of soul jazz tracks! This one opens the scope way past previous volumes, and features a rollicking party of tasty little groovers – most of them with a raw, uptempo, funky 45 jukebox kind of feel! Tracks are from the Chess, Fantasy, Jewel, and Brunswick catalogs – with many rare numbers like "Fever" by Sharon Cash, "Get Ready" by Ella Fitzgerald, "Ain't There Something That Money Can't Buy" by Young Holt Unlimited, "Light My Fire" by Erma Franklin, "Hush" by Woody Herman, "Another Plan For School Mix Up" by The Cals, "I Heard It Through The Grapevine" by Karen Hernandez, "Caesar's Pad" by Googie Rene, "The Point" by Aaron (Chico) Bailey & The Family Affair Band, "I Got To See My Baby" by Lee Jones & The Unforgotten Two, and "Ain't It A Groove" by Dave Hamilton. 23 cuts in all – and very very groovy!

Second great volume in this cool Kent series of "mod" jazzy tracks from the Prestige/Fantasy vaults. The emphasis here is definitely on "mod", and a lot of these tracks are the kind of cuts that you'd imagine Brit hipsters in the 60's listening to – with loads of Hammond riffs, choppy guitar, and the occasional bluesy vocal. There's 22 cuts on here, and the tracks include "Smokey Joe's La La" by Googie Rene, "Blue Vibes" by Johnny Lytle, "Cholo" by Brown Brothers of Soul, "Soul Jam" by Booker T & The MGs, "Money" by Freddie Roach, "Mission Impossible" by Johnny Gilliam, "Brother Ray" by Willis Jackson, and "Right On" by Boogaloo Joe Jones. Very very groovy, and like finding an excellent jazzy jukebox in a lost corner tavern!

An excellent collection of tight modern soul and funky uptempo numbers – cuts that aren't really disco, but which are smoother than the usual funk you'd hear on the Jazzman label – a really unique hybrid that's hand-picked by the mighty Fryer! Lots of the grooves here have a cool indie feel – a bit like Fantasy Records funky soul of the late 70s, and a bit like some of the more soulful club of the east coast scene at the time – and given the tightness of the instrumentation, there's often some nice jazzy touches in the mix – making some of the solos as appealing as the vocals! Most tracks here are of late 70s vintage, although there's a few bits from other years too – and titles include "People" by Elipsis", "Simple Song" by Zebra, "Life Goes On" by Freak, "Rollercoaster" by George Smallwood, "Mellow Feeling" by Barbara Lynn, "Funktown" by Nate Calhoun, "I've Got It" by Tolbert, "Party & Get On Down" by Big Apple Band, "Give Me One More Chance" by Target, "You're The One" by Kings Go Forth, "You're The Best" by Larom Baker, "What About The Child" by Gold, and "Keep Her Happy" by Phillip Wright.

Really rare grooves from an incredibly obscure scene – and that's saying a lot, given how many global sounds have been circulating in recent years! The cuts here represent a unique outpouring of funky club styles from the nation of Surinam – tracks recorded by a handful of groups in the wake of their mid-70s independence – and as filled with as much joy and positive energy as you might imagine from such a political moment! The grooves are surprisingly great – upbeat funk, with lots of jazzy inflections – in a space that's somewhere between the sound of Fantasy Records in the mid 70s, and Capitol soul at the start of the 80s – tight, but never too slick – and as cool as it is classy. Lyrics are in English, and titles include "Sweet Dream" by Alwin Reingoud, "Groovy Weekend" and "Disco Party" by Erwin Bouterse & The Group Roetoe, "Try Try Try" and "You Are Gonna Miss Me" by Solat, "Funkin In Your Mind" and "Going Insane" by Sumy, "Here's To You" by Thunderstorm, and "Waiting For Your Love" by Usje Sukatma.

Some of the best work ever from legendary trumpeter Woody Shaw – and honestly, a batch of music that may well be one of the best runs at a label by any jazz musician, period! Woody first came on the scene as a sharp talent from the east coast in the 60s – playing with a drive and fire that really set a whole new tone for the trumpet – one different from predecessors like Miles Davis, Lee Morgan, or Freddie Hubbard. And although he was already great on records for Blue Note and other labels, he really exploded as a leader with these sides for Muse – stretching forth with dynamic energy and boundless imagination – sometimes in a setting that was as spiritual as work on Strata East, sometimes in a straighter mode that put Shaw right up there with the best trumpeters of decades past. This Muse Records work has always been scattered and spotty on the reissue market, but is finally collected together here in one place – a stunning set of albums that includes The Moontrane, Love Dance, Little Red's Fantasy, Concert Ensemble At The Berliner Jazztage, In The Beginning, Iron Men, Setting Standards, Solid, and Imagination. The set features all tracks from these sessions – including bonus material not on the original LPs – plus very detailed notes and information, in the true Mosaic Records fashion!

Pure genius from the B Baker Chocolate Company – a set that's equal parts fusion and soul, held together by these rich arrangements that really send the whole thing home! The album's never too slick, yet has a sense of perfection that matches some of the best soulful fusion dates at Blue Note or Fantasy in the mid 70s – a quality that's especially strong on the vocal tracks on the set – one of which features Lew Kirton in the lead! The players are all totally top-shelf – and include Lonnie Smith and Jimmy McGriff on keyboards, John Faddis and Marvin Stamm on trumpets, and Jimmy Ponder on guitar – and the set's got a beautiful balance that few other records like this can match. Lew Kirton sings on "It's Where You're Coming From", and "Dreamer" features Gene Scott – and instrumental tracks include the funky classic "Snowblower", plus "Carousel" and "Spirit Level".

A wonderful mix of soul jazz, funky rhythms, and even more experimental moments – a truly tremendous effort from LA drummer Roy Porter, and the first set issued under the name of his Sound Machine group! The groove here is really unconventional – filled with unusual timings, phrasings, and changes that push it way beyond more familiar jazz funk of Prestige, Fantasy, or CTI – yet still all very much in the pocket, with a righteously soulful vibe that's incredible! The cover's inspired by Roy's son's love of motocross – and one number even features a bit of motorcycle sound effects along with the grooves! The rest of the tracks are heavier on the horns, and feature some wonderful arrangements that are filled with soul and style – always a bit edgey, and never too slick or straightforward. Titles include the classics "Funky Twitch" and "Hip City", plus "Drums for Daryl", "Ooh-La-La", and the legendary "Jessica", a really beautiful number!

A pivotal record for Patrice Rushen – a set that has her really tightening up the groove from previous albums on Prestige – heading much more towards the focused soul-drenched grooves of her Elektra Records years! The set's a stunner – still very much with the hip, west coast funky fusion vibe of Rushen's roots – but even groovier overall, with loads of massive cuts that hold up beautifully over the years – and which still show a side of Patrice that's much different than her later hits. Titles include the classic cuts "The Hump", "Stepping Stones", and "Shout It Out" – all perfect jazz funk gems in the best Prestige/Fantasy mode of the mid 70s – and other tracks include "Roll With The Punches", "Let There Be Funk", "Let Your Heart Be Free", "Yolon", and "Sojourn". This Soul Brother UK edition includes a bonus single verion of "Let Your Heart Be Free".

Full-on funky backings for saxophonist Charles Williams – a set that almost has him in the same territory as Stanley Turrentine during his late 70s years on Fantasy Records, or Hank Crawford over at Kudu! The style here is a bit more lush than some of the other Mainstream Records dates of the time – full backings arranged and conducted by Ernie Wilkins – always plenty darn soulful, and built around a mix of strings and jazzier instrumentation – set up with the care and precision of a hip soul soundtrack, and topped by well-crafted alto sax solos by Williams. Other players include Chris Woods on baritone sax, Bubba Brooks and Frank Wess on tenor, Don Pullen on organ, Paul Griffin on electric piano, David Spinozza on guitar, and Ray Barretto on congas – and titles include some great versions of "Who Is He (And What Is He to You)", "People Make the World Go Round", and "Where Is The Love" – plus "Iron Jaws", "Just Before Day", "Ain't No Blues", and "Drown In My Own Tears".

Amazing stuff! Johnny "Hammond" Smith began his career as a simple soul jazz organist – but by the time of Gears, he'd teamed up with the mighty Larry Mizell, the genius arranger/producer who'd breathed new life into the careers of Donald Byrd and Bobbi Humphrey. Mizell works with Hammond in the say we he does with other jazz artists – by taking a groove that works best with their solo style, and slowly layering other instrumentation and effects on top of it, so that when the solo kicks in, it's supported on waves and waves of funky sounds and soulful grooves. Mizell and his brother Fonce both play keyboards on the record, and the rest of the group includes monster fusion players like Harvey Mason, Roger Glenn, Hadley Caliman, and Jerry Peters. The real treat is Johnny, though – as his solos are heavenly, the best of his 70s work, stripped mean and lean, laid in at just the right points. Includes the breakbeat classic "Shifting Gears", the house classic "Los Conquistadores Chocolates", and funky numbers "Fantasy" and "Tell Me What To Do". The second half of this CD is Forever Taurus, which Johnny recorded right after his legendary Gears album, and it features production by Wade Marcus that's very much in the Larry Mizell mode that made Johnny huge in the 70s! As with the Gears record, Johnny's backed by a large ensemble of players – and the overall sound has lots of nice touches, extra percussion, and a good electric groove. Tracks include "Cosmic Voyager", "Walk In Sunshine", "Ghetto Samba", and the title cut.

A great early 80s session from Irakere – and one that really upgrades the funkier side of their groove! The approach is still that great mix of Cuban roots and Latin jazz we've always loved from the group – but there's also a bit tighter production, and great use of keyboards from Chuco Valdes – who spins out these funky fusion grooves that almost feel like some of the great west coast hybrids you'd get over at Fantasy Records during the 70s. In addition to work by Valdes on piano, organ, and keyboards – the set also features Paquito D'Rivera on saxes and Arturo Sandoval on trumpet and valve trombone – on titles that include "Cha Cha Cha", "Camaguey", "La Semilla", and "Quince Minutos".

A legendary album from the Texas scene of the 70s – exactly the kind of set that helps the city of Austin live up to its massive reputation for music! The group's got a wonderful blend of jazz, soul, and funk – a unique blend that reminds us of our favorite funky Fantasy Records sides from the Bay Area scene, but which is even more special here as a standout set from Austin. Like some of the best ensemble funk sets of the 70s, the groove's choppy one minute, jazzy the next – really drawing from the many spirits that inhabit the 8-piece lineup, in ways that really let everyone's talents sparkle. Drums are nice and tight, and the keyboard and saxophone work is wonderful too – and titles include "Ghetto Tool", "Groove Awhile", "Keep Your Eyes On The Merchandise", "Funk N Roll", "Frozen Tundra Lady", and "Radiator".

A sweet soulful groover from the great Harold Vick – quite a different record than some of his other 70s sessions, but a nice one too! The sound here is very mellow – and very much in the "After The Dance" mode that the album references from the Marvin Gaye tune – laidback, slinky, sexy, and a sweet blend of jazz instrumentation and some larger backdrops put together by William Eaton – almost with a vibe that would be more at home on Kuduo or CTI! Vick solos wonderfully – stepping out with a line that's spare, but right on the money – similar to some Stanley Turrentine solo work on projects like this – amidst other instrumentation from Richard Tee on keyboards, Eric Gale on guitar, and Ralph MacDonald on percussion. Titles include a great version of Marvin Gaye's "After The Dance", plus "You Are Everything", "Blue In The Face", "Ghetto Fantasy", "In My Life" and "Things Ain't Right".

A crucial look at the Chicago scene in the 1980s – and the first collection to really get at the roots of that city's legendary house music scene! Although later labels – like Trax or DJ International – became known as global forces for dance music in the 80s, the big wave of new sounds from the Windy City was really started by a much smaller company – the tiny Mitchbal label, and related Chicago Connection Records! This wonderful package really does a great job of bringing the Mitchbal contribution to light – with lavish notes, almost Numero-style, that fully detail the way the label mixed unique strands on the scene – British imports, new wave rhythms, and a younger generation of soul musicians still looking for an outlet in the post-disco years. These forces, and more, all came together to make the mighty sound of Mitchbal – featured here in a collection of the label's rare singles, some unreleased tracks, and other essential bits. 3CD package features a full bonus mix CD, plus a whopping 24 tracks that include "Fantasy (inst)" by Z Factor, "Shake Your Body" by Jeanette Thomas, "When I Hear The Music" by Mitchbal & The Housemasters, "The House Is On Fire" by Dezz & Grant, "Do Dat Stuff (dance mix)" by Mitchbal & Larry Williams, "I Am Music (inst)" by Libra Libra, "That's The Beat" by Risque Rhythm Team, "Fast Cars" by Z Factor, "More Than Just A Dance (backyard mix)" by Rique Rhythm Team, "I Got Broke Breakdancing (inst)" by MC Ghee, and "I Can't Forget" by Mr Lee.

An absolute funky monster! This set lays out an incredible batch of funk era singles from the vaults of Galaxy Records – and it shakes and burns all the way through, with lost funk bombs Bobby Rush, Rodger Collins, Bill Coday, Bobby Eaton, the Debonairs and others! It's comprised of mostly obscure 45s representing the stone funkiest records ever released by the Oakland-based Galaxy label – which was at this point sort of serving as the farm club for big brother label Fantasy Records. This one's essential, kids – just as worthy of your funk-loving dollar as the legendary rare funk compilations on Jazzman, Soul Fire or Stones Throw! 22 tracks in all: "Foxy Girls In Oakland", "Get Your Lie Straight", "Chicken Heads" by Bobby Rush, "Bring It On Up" by Loleatta Holloway, "I Love Her Too" by Lenny Williams, "People Say" by JJ Malone, "Try The Life" by Everyday People, "Man Power" (previously unreleased) by Ben & Larry, "My Money Is Funny" by the Right Kind, "The Iron Horse" by Merl Saunders & Heavy Turbulence, "I Get What I Want" by the Sequins and lots more!

Amazing stuff – and one of the hippest records ever cut by pianist Friedrich Gulda! Unlike some of his other more modernist efforts, this one's got a really free swing to it – and it features a spare stripped-down approach that has Gulda's work on piano and "electra piano" backed only by the drums of Klaus Weiss. If you know Weiss' playing, you'll know that he's a heck of a player – one of the hardest swinging players in Germany during the 70s, with a rich range of styles that included funk, soul jazz, and hard bop playing. The best numbers on the album feature Gulda playing these amazing lines on "electra piano", with Weiss grooving underneath – either hitting a modal groove, a bossa one, or in some cases a freer beat to match Gulda's solos. The record kicks off with the four-part "Suite For Piano, Electra Piano, & Drums" – which has two great groovers, the "bossa nova" and "finale" section". Side two features the more avant "Meditation III", plus the excellent "Blues Fantasy", which starts out free, then rolls into a great modal funky part with great electric keyboard lines!

Overseas excursions from the Charles Lloyd Quartet – a group who were already breaking down plenty of boundaries at home in the US! The lineup is a bit different than some of the other Lloyd sessions of the time, in that Cecil McBee is in the group on bass – adding in some wonderfully spiritual tones to a lineup that features Charles on tenor and flute, Keith Jarrett on piano, and Jack DeJohnette on drums – playing with those inventive rhythms that made his work a perfect fit for Lloyd's lines on the tenor! Titles include "Tagore", "Karma", "Little Anahid's Day", "Manhattan Carousel", "European Fantasy", and "Hej Da!".