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A big, warm sunshine psychedelic pop set from John Carter and the Flower Pot Men – built around the richly groovy Brian Wilson styled gem "Let Go To San Francisco" – featuring a number of tunes credited to the Flower Pot Men proper and a slew of related material! Listen To The Flowers Grow features a bunch of sweet summer of love style pop gems – including demos and previously unreleased bits buy the Flower Pot Men and their circle of cast members, related projects and pseudonyms – including work credited to John Carter, the Ministry Of Sound, Haystack, Dawn Chorus and more. Titles include "What's The Matter With Juliet" (demo), "Rain, Rain, Rain" (Ministry Of Sound/John Carter vocal), "Let's Go To San Francisco Pt 1", "Let's Go To San Francisco Pt 2", "A Walk In The Sky", "Am I Losing You", "A Man Without A Woman", "You Can Never Be Wrong", "Letter To Josephine" (as Haystack), "A Night To Be Remembered" (as Dawn Chorus) and more!

A beautiful little record – one of those really unique, really sensitively soulful sessions of jazz that were coming out of the Japanese scene in the 70s – quite different than work you'd hear from any other point of the globe! The group's led by bassist Yoshio Ikeda – who has a way of carefully setting things up from the bottom – rolling out these warm acoustic lines that set the scene for the album's work on piano from Aki Takase, flute from Masami Nakagwa and Tamami Koyake, trombones from Shigeharu Mukai and Tadanori Knakawa, trumpet from Hitoshi Okano, and soprano and tenor from Suetoshi Shimizu – instruments that are spun out in these long, lyrical lines that are extremely beautiful – and as evocative as the title fo the record! Titles include "Down To The Sea", "After Image", "Anemophilous Flower", and "Rising Into The Sky".

Flute, strings, and soul – a wonderful counterpart to some of Hubert Laws' funkier albums of the time – and a record cut with some tremendous backings! The core group features Hubert on assorted flutes, Gary Burton on vibes, Chick Corea on piano, and Bernard Purdie on drums – all augmented by larger string backings arranged and conducted by John Murtaugh, with a dark-tinged style that's a bit in the mode of some of the work at the time by William S Fischer, but with a sound that's even moodier and more introspective. Laws' work on flute is a brilliant example of understatement – lots of space between the notes, and a rich exploration of sound that's completely mindboggling! Titles include "Ashanti", "Equinox", "Pensativa", "Wild Flower", and "Yoruba".

Although Sonny Phillips was one of the funky organ players to record for Prestige during the classic jazz funk years, by the time of this recording, he'd emerged as a more spiritual talent, with a looser, freer approach, and a much more open-ended vibe. This 1976 session is a good example of that – as it moves beyond simple funky jazz, into a realm that shows Phillips picking up a lot of outside influences, and going for a style that was mellower, more laidback, and a bit more cosmic – while still hitting some nice funky moments. The set was recorded by Houston Person, and features Phillips on piano and organ, with backing by Ben Dixon, Jimmy Ponder, and Ralph Dorsey. Titles include "Salaam 7", "Goin Home", "My Black Flower", and "Jalal".

Easily one of the most tripped-out records we've ever heard – and take it from us, we've heard a lot of tripped-out records in our time! This unusual session from 1968 is kind of a free-form blend of folk, raga, improvisation, and vocals that are more the sorts of utterances you'd hear at "happening" then really lyrics themselves – all wrapped together with echoey production and weird sort of sounds that make the whole thing feel like one of the MPS "jazz meets world" projects collided with "Sister Ray", or kind of a hippie folk version of some of Don Cherry's organic music experiments. Instrumentation includes flutes, dulcimer, guitar, violin, and percussion – and there's a lot of cool electronics used to process the sounds too. Daevid Allen also works on the recording – and titles include "Lovin Spaceship", "Women Of Moon", "Guharam Rock", and "Between Spirits". 2LP set also features a bonus album with more music recorded in 1970 – with a similar mad mix of styles, on titles that include "Voyage To Nebadon", "Ananada", "Rainbow Forest", and "Titicaca".

A bit trippy, but also pretty darn funky – a wonderfully groove-conscious assortment of work from Blue Note and some other EMI-related labels – most of it from the tail end of the 60s and the hip start of the 70s! There's a bit less psychedelia here than you might guess from the title, but that's ok with us – as the track list is wonderful – and features some of the hippest, most mature grooves coming out at the time – a blend of cuts that ranges from righteous soul jazz to the soaring productions of Larry Mizell! Titles include "Howling For Judy" by Jeremy Steig, "Streets Of Calcutta" by Ananda Shankar, "Light My Fire" by John Andrews Tartaglia, "Wind Parade" by Donald Byrd, "Hallelujah I'm Coming Home" by Candido, "Acid Pot Or Pills" by Horace Silver, "Music Is My Sanctuary" by Gary Bartz, "Harlem River Drive" by Bobbi Humphrey, "Cristo Redentor" by Donald Byrd, and "Love For Sale" by Gene Harris. 12 tracks in all!

A soaringly soulful set, thanks to production by Carl Davis and Willie Henderson, and arrangements by Tom Tom Washington and Sonny Sanders – a Brunswick super-team who make the set sound just like some of their bigger records from the time! Add to that a host of tracks penned by Eugene Record – and you get a sweet set with titles that include "Lady Lady Lady", "I'm Gonna Pay You Back", "Have You Seen Him", "Oh Boy", "The Fountain", and "This Love Is Real".

A famous album – but for good reason! The set's something of a landmark in spiritual jazz from the 60s – and it features a classic live performance from Charles Lloyd, recorded at the Monterey Jazz Festival – almost as a distillation and popularization of ideas that were brewing in the music of John Coltrane, Eric Dolphy, and others! The group here features a young Keith Jarrett on piano, Cecil McBee on bass, and Jack DeJohnette on drums – all flowing magnificently with Lloyd's work on tenor and flute – in an open-ended groove that draws on modal rhythms for inspiration, and which features solos that stretch out, but never go "outside"! The classic performances of "Forest Flower" takes up all of side one – with a dreamy drifting quality that has Jarrett at his best – and side two features a version of his "Sorcery", plus McBee's "Song Of Her", and a version of "East Of The Sun".

One of Antonio Carlos Jobim's greatest records – and a perfect blend of his subtle bossa genius with the moody electric sound of CTI! Jobim plays electric and acoustic piano, guitar, and sings a bit – and Deodato handled the arrangements with a breezy brilliance that matches all the magic of Jobim's wonderful compositions, but gives them a slightly more fluid feel too – in a way that's somewhat more sophisticated than the sound of Jobim's previous CTI outings – Tide and Wave. Other players on the album include Joe Farrell on soprano sax, Hubert Laws on flute, and Airto on percussion – and there's a great mix of Brazilian and American styles on the set – electric, sinister, breezy, and always wonderful! Includes the titles "Sabia", "God & The Devil In The Land Of The Sun", "Children's Games", "Stone Flower", "Brazil", "Tereza My Love", and "Choro".

One of Antonio Carlos Jobim's greatest records – and a perfect blend of his subtle bossa genius with the moody electric sound of CTI! Jobim plays electric and acoustic piano, guitar, and sings a bit – and Deodato handled the arrangements with a breezy brilliance that matches all the magic of Jobim's wonderful compositions, but gives them a slightly more fluid feel too – in a way that's somewhat more sophisticated than the sound of Jobim's previous CTI outings – Tide and Wave. Other players on the album include Joe Farrell on soprano sax, Hubert Laws on flute, and Airto on percussion – and there's a great mix of Brazilian and American styles on the set – electric, sinister, breezy, and always wonderful! Includes the titles "Sabia", "God & The Devil In The Land Of The Sun", "Children's Games", "Stone Flower", "Brazil", "Tereza My Love", and "Choro".

One of Antonio Carlos Jobim's greatest records – and a perfect blend of his subtle bossa genius with the moody electric sound of CTI! Jobim plays electric and acoustic piano, guitar, and sings a bit – and Deodato handled the arrangements with a breezy brilliance that matches all the magic of Jobim's wonderful compositions, but gives them a slightly more fluid feel too – in a way that's somewhat more sophisticated than the sound of Jobim's previous CTI outings – Tide and Wave. Other players on the album include Joe Farrell on soprano sax, Hubert Laws on flute, and Airto on percussion – and there's a great mix of Brazilian and American styles on the set – electric, sinister, breezy, and always wonderful! Includes the titles "Sabia", "God & The Devil In The Land Of The Sun", "Children's Games", "Stone Flower", "Brazil", "Tereza My Love", and "Choro". Also comes with a bonus alternate of "Brazil".

A sweet little set from Houston Person – a record that's a nice return to basics, much needed after some of his overproduced sessions of the mid 70s! The group here features a number of old Prestige stalwarts, helping Houston to hit a laidback soul jazz vibe – players who include Jimmy Ponder on guitar, Sonny Phillips on organ, and Idris Muhammad as drums – as well as Bill Hardman on trumpet, whose clean blowing in the front brings Houston back up to speed. Larry Killian plays added percussion on the set – and tracks include "Dameron", "Preachin & Teachin", "My Romance", and "Wildflower".

Melodic, beautiful, but still pretty adventurous solo guitar from Richard Crandell – originally a private press release, from a player that turned out to be pretty influential to guitar gurus such as Leo Kottke, who recorded "Rebecca" – plus a Crandell piece was included on Numero's fantastic Wayfaring Strangers Guitar Soli compilation. In The Flower Of Youth is a sometimes lovely, sometimes fairly brooding set, and he balances incredible technique and mastery with gut level emotion very well! Titles include the title track, "Rebecca", "Diagonal", "Shamrock", "Delta Triad", "Assembly Line", "Mount Shasta" and more.

"Reminiscence" is a wonderfully atmospheric groover from Toshiyuki Goto – warm beats with a soft finish, covered by a background keyboard organ line that bubbles away like you're hearing it come from a distant club down the street – all of which makes for a very compelling (and soulful) listen! The track's backed by "Tribe" by Mato – a tune that's got a slight Afro House inflection, and some more very nice organ riffing!

Jazzy samples with an earthy edge – worked together in some magical soundscapes that also manage to groove nicely at the best moments! One of the more "organic" titles in the hip catalog of the Japanese Flower Records label – and a compelling release that takes us back to some of the more progressive days of the Idyllic Records label of the mid 90s. Titles include "Takin You Underground", "Trilhas", "Moments Of Magic", "A Promise", and "Erizevrio".

A far-reaching early gem from Roy Ayers – a set that's much more jazz-based than his later work, and a record that has him touching base with the Blue Note and Strata East sides of the jazz spectrum! The lineup here is incredibly hip – a mix of players that includes a young Charles Tolliver on trumpet, Harold Land and Joe Henderson on tenor, Jack Wilson on piano, and Reggie Workman on bass – not to mention Roy himself on some mighty great vibes! There's a surprising spiritual undercurrent to the music – pointing the way towards jazz to come in the 70s – and titles include "Glow Flower", "Ayerloom", "Virgo Vibes", and "In The Limelight" – plus an early take on Charles Tolliver's "The Ringer".

One of our favorite Latin soul albums ever – a rollicking mix of upbeat party tracks, gentle ballads, and more – all handled with the undeniable magic that is Joe Bataan at his best! The album kicks off with the fantastic groover "Subway Joe" – a hilarious tune about Joe trying to find a seat on the subway – and it rolls into killers like "Nuevo Jala Jala", "Juanito", "Ponte En Algo", and the wonderfully emotive "Special Girl". There's a really wonderful quality to all the tunes – honest, open, and done with instrumentation that includes lots of dark passages, yet which also continues to flower in hope! A landmark, and a record that delights us again and again over the years!

One of our favorite Latin soul albums ever – a rollicking mix of upbeat party tracks, gentle ballads, and more – all handled with the undeniable magic that is Joe Bataan at his best! The album kicks off with the fantastic groover "Subway Joe" – a hilarious tune about Joe trying to find a seat on the subway – and it rolls into killers like "Nuevo Jala Jala", "Juanito", "Ponte En Algo", and the wonderfully emotive "Special Girl". There's a really wonderful quality to all the tunes – honest, open, and done with instrumentation that includes lots of dark passages, yet which also continues to flower in hope! A landmark, and a record that delights us again and again over the years!

A great little record that's kind of a prequel for Rubber Soul – filled with short, tuneful tracks that would flower more deeply on that later album – and often served up with a bit more wit and adult consciousness than in any of the group's earlier records! One of those records that we always forget about, until we drop the needle – the revel in its sweet blend of Beatles modes on tracks that include "Help", "The Night Before", "You've Got To Hide Your Love Away", "I've Just Seen A Face", "Yesterday", "Act Naturally", "It's Only Love", "Ticket To Ride", and "I Need You". Original 14 track UK lineup – much different than the American release!

A great little record that's kind of a prequel for Rubber Soul – filled with short, tuneful tracks that would flower more deeply on that later album – and often served up with a bit more wit and adult consciousness than in any of the group's earlier records! One of those records that we always forget about, until we drop the needle – the revel in its sweet blend of Beatles modes on tracks that include "Help", "The Night Before", "You've Got To Hide Your Love Away", "I've Just Seen A Face", "Yesterday", "Act Naturally", "It's Only Love", "Ticket To Ride", and "I Need You". Original 14 track UK lineup – much different than the American release!

New grooves, but with an older dancefloor style – recorded here in a sound that's got lots of the dark electronics that showed up on the European scene in the early 80s! At many levels, this record is one that could have played big in the clubs in Berlin or Manchester, circa 1983 – as it's got lots of analogue electronics and programmed rhythms that pulsate strongly, but often with a colder sort of groove. The focus is mostly on the instrumentation, although there are a bit of vocals – and if the record didn't have a 2006 copyright date, the set could easily pass itself off as a lost relic from the Sheffield scene of many years back! Titles include "The Devil In Us", "Coach Me", "On Just Foot", "I Regret The Flower Power", and "An Other Skin".

A great little follow-up to the first Black Devil album – a dubbier take on some of the same tunes, served up in a way that's almost more compelling than the original! As before, there's a real early 80s groove going on here – a style that's somewhere between UK post punk electronica, and some of the electro disco work coming out of other European scenes – all delivered without gimmick or cliche, and less of the "trash" elements that you might associate with other recent retro work of this nature. The core album presents dub takes on 6 tunes – "The Devil In Us", "On Just Foot", "Coach Me", "An Other Skin", "Constantly No Respect", and "I Regret The Flower Power". CD also features 6 more collaboration/remix tracks – done with Unit 4, Elitetechnique, Black Mustang, and In Flagrenti!

Brilliant 60s pop from the team of Tommy Boyce & Bobby Hart – best known for their key early songwriting work for The Monkees, but a heck of a great duo on their own! Boyce & Hart have a sparkly, sunshiney sound that's very much a part of The Monkees generation – a beautiful post-folk, post-surf blend of styles, and one that's served up with all the warmth and charm that made The Monkees so great. But if you're thinking that the CD is just a Monkees rehash, it's not – because there's very little work here that was associated with the more famous group – and instead, the collection really gets at the jangly genius of the Boyce & Hart sound, a style that should have sparkled strongly on its own in the 60s, but which was unfortunately always eclipsed by their work for other artists. Looking at the great photos in the CD's well-done booklet, it's clear that Boyce and Hart have a hell of a lot of charm – and that charm comes through brilliantly in the set's collection of 24 numbers pulled from their 3 albums for A&M Records. Titles include "For Baby", "Sometime She's A Little Girl", "Girl I'm Out To Get You", "Where Angels Go", "The Ambushers", "Love Every Day", "Teardrop City", "Pretty Flower", "I Wonder What She's Doing Tonite", "Six & Six", "Alice Long", "PO Box 9847", and "Strawberry Girl".

Sweet 70s funk from the great Oscar Brown – quite a change from his jazz-based work of the 60s, but a great new sitting for all of his wonderful wit and warmth! Brown's still a hell of a songwriter, and one with a very socially-conscious eye – sharper here than before, with lots of comments on the changes in society in the 70s, mixed with a few more heartfelt, personal moments too. There's still a bit of jazz in the mix – thanks to work from Seldon Powell on reeds, and Joe Sample on keyboards – and arrangements are by old friends Floyd Morris, the underground Chicago soul genius – and Sivuca, best known for his Brazilian music, but a great choice here to expand the groove. Brown wrote all the tunes on the record – and titles include "From My Window", "Like A Flower", "Brother Where Are YOu", ""The Lone Ranger", "If You Come Back", and "The Joneses".

Smooth modern duets from one of our favorite ladies in soul music! Jean Carne's a heck of a singer – with a career that stretches back to early soul jazz recordings with (then) husband Doug Carn, to solo recordings on Philly International in the late 70s, to appearances on records by other artists – sessions from the 70s, 80s, and 90s in which Jean lent her vocals to a wealth of great recordings! This great collection focuses on work in that category – uncollected sides from a three decade period, brought together in one album that shows just how great Jean can sound when she's singing with other artists. Many of these titles are quite hard to find otherwise, and haven't even shown up on other collections of Jean's work – and tracks include "Good Thng Goin On" with Billy Paul, "Holdin On" and "Dreams Of Tomorrow" with Dexter Wansel, "Keep In Touch" and "The Look Of Love" with Grover Washington Jr, "Lean On Me" with Nathan Heathman, "If You Don't Know Me By Now" with The Temptations, "Love Is Beautiful" with Universe, "Star Flower" with Lonnie Liston Smith, "Let's Stay Together" with Bobby M, "I'm Back For More" with Al Johnson, "You Might Be Surprised" with Roy Ayers, "Mother Of The Future" with Norman Connors, and "Valentine Love" with Michael Henderson. Also features the bonus solo track "Trust Me" – never on CD before!

A sublime album through and through – and another essential slice of work from the legendary Nicola Conte! Conte's only given us a few full length sets under his own name, but they've all been amazing, and this album's no exception – a record that mostly features live jazz instrumentation, turned towards some of the groove-heavy modes that Conte forged from his earliest sides on Schema Records – a style that was clubjazz before anyone was using that tag, but which also has done plenty to revive a huge range of classic modes from decades past! The record's got echoes of bossa, modal jazz, and more – served up by combos with players that include Timo Lassy on sax and flute, Fabrizio Bosso and Till Bronner on trumpets, Pietro Lussu on piano, and Conte himself on guitar. Vocals are by Alice Ricciardi, Jose James, Chiara Civello, and Kim Sanders – and the album's got an even deeper feel than Conte's previous album on Blue Note. Tracks include "Karma Flower", "I See All Shades Of You", "Black Is The Graceful Veil", "Caravan", "Rituals", "Macedonia", "The Nubian Queens", and "Like Leaves In The Wind".

Great grooves from Debo Band – a contemporary combo, but one who's steeped in older Ethiopian modes – particularly the best 70s sounds inspired by artists like Mulatu, Mohammad Ahmed, and Tilahun Gessesse! The album may well be the funkiest set ever issued by Sub Pop – and has a hard-rolling power that rivals classic sounds you might hear on the Ethiopiques series – sent home especially well by the sax lines of Danny Mekonnen, and amazing vocals of Bruck Tesfaye – an artist who's really got his sound just right! Other instrumentation is right on the money, with some occasional touches of funkier elements – but usually just the right sort of classic Ethiopiano percussion, horns, and strings to make the music come out beautifully. Titles include "And Lay", "Asha Gedawo", "Habesha", "Abassel", "DC Flower", "Not Just A Song", "Ney Ney Weleba", and "Akale Wube".

Great grooves from Debo Band – a contemporary combo, but one who's steeped in older Ethiopian modes – particularly the best 70s sounds inspired by artists like Mulatu, Mohammad Ahmed, and Tilahun Gessesse! The album may well be the funkiest set ever issued by Sub Pop – and has a hard-rolling power that rivals classic sounds you might hear on the Ethiopiques series – sent home especially well by the sax lines of Danny Mekonnen, and amazing vocals of Bruck Tesfaye – an artist who's really got his sound just right! Other instrumentation is right on the money, with some occasional touches of funkier elements – but usually just the right sort of classic Ethiopiano percussion, horns, and strings to make the music come out beautifully. Titles include "And Lay", "Asha Gedawo", "Habesha", "Abassel", "DC Flower", "Not Just A Song", "Ney Ney Weleba", and "Akale Wube".

An album that's every bit as hip as you'd expect from its Sam Rivers-inspired cover image – a beautiful tribute to the modal jazz scene of the 60s, particularly the work of John Coltrane and some of his followers on Impulse Records! Apart from a cover of "Naima", though, the set's hardly a simple rehash of Coltrane modes – as all other tunes are originals, and the band delivers them with a core piano trio groove, then adds in flute, tenor, and soprano sax on different tracks! Rhythm is at the heart of the record, and bassist/leader Jerker Kluge really moves the group with a pulsating sound on his instrument – a deep, soulful tone that's matched beautifully by the brightly soaring piano lines of Jo Junghanss. A few cuts feature vocals by Julia Fehenberger, who further deepens the soul of the record – and the whole thing's a massive killer – like finding some lost Saba/MPS gem from the late 60s, with all the European jazz genius you'd expect from such a reference. Titles include "Heaven & Earth", "Naima", "Orange Flower", "Red Smoke", "Starlings Talk", and "Black Tiger".

A wonderful soundtrack from Georges Delerue – and proof that, no matter what the setting, his musical work is always top-shelf! The film's a less-remembered Catherine Deneuve vehicle from the early 80s, but Delerue handles the music with a really timeless feel – a beautifully balanced set of orchestrations that move slowly, and with great feeling – unfolding gently as the set moves on – with that almost flower-like style he brought to some of his best arrangements of this nature. Some tracks are short, and together the music works wonderfully as an evocative sound piece, even away from the film. Titles include "Face To Face", sung by Vivian Reed – plus instrumentals "Nostalgie De Victor", "Marche Militaire", "Le Bar De L'Hotel", "Voltige Aerienne", "A Bientot Charlotte", and "L'Espoir". CD also features a great bonus – a 17 minute "Suite Symphonie De Philippe Broca"!

Classic stuff from the man who brought the Exotica sound to the mainstream! We hardly need to tell you about these albums – as they're virtually the blueprint for countless exotica albums to come, a mixture of 50s easy listening, strange tropical rhythms, and odd little sound effects! Denny's playing with his original combo of Arthur Lyman, Augie Colon, and John Cramer – in a mixture of piano, percussion, vibes, and lots of bird calls! Tracks include "Stone God", "Island Of Dreams", "Escales", "When First I Love", "Bacoa", "Ebb Tide", "Rush Hour In Hong Kong", "Singing Bamboos", "Jungle Flower", "Busy Port", "Lotus Land", and his hit recording of "Quiet Village".

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".

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

A pair of classics from John Hartford – with bonus tracks too! First up is Aereo Plain – a groundbreaking album from the young John Hartford – not really folk, not really country – but a unique hybrid of both, and done with a good ear for unique sounds as well! Hartford's a really unique artist, especially at this key point in his career – and he's working here with producer David Bromberg, who himself was also helping to reinvent acoustic music at the time. The Warner Brothers placement of the record is key – as Hartford's got this sense of the past, mixed with the irony of the present – one which strongly echoes some of the hip rock contemporaries on the label, particularly the up and coming brand of post-Sunset LA talents. Titles include "Turn Your Radio On", "Up On The Hill Where They Do The Boogie", "First Girl I Loved", "With A Vamp In The Middle", and "Tear Down The Grand Ole Opry". Next is Morning Bugle – a record that's even rootsier than John's first for Warner – with just a bit of bass backing from Dave Holland, and excellent guitar from Norman Blake next to Hartford's own banjo. As before, the lyrics have this really unusual bent – steeped in images of the past, but with the sensibilities of the present – particularly the left-leaning politics of the early 70s time in which the album was recorded. Titles include "Streetcar", "My Rag", "Old Joe Clark", "On The Road", "Howard Hughes Blues", and "Got No Place To Go". 2CD set features 8 bonus tracks too – including "Airport Floor", "Back Up & Push", "Flower Power Died", and "Weave & Way".

Beautiful 60s work from Hampton Hawes – a set from the middle of the decade, a period when he wasn't recorded all that often – but one not issued by Contemporary until his American revival in the 70s! The group's got a wickedly fluid feel – not just Hamp's always-amazing piano, but also great drums from Donald Bailey and some especially great bass from Red Mitchell – really hitting those rounded, warm tones that would flower even more boldly during his time overseas. The sound is great – almost more of a Saba/MPS piano set than the usual Contemporary bag – and titles include "I'm All Smiles", "Searchin", "The Shadow Of Your Smile", "Spring Is Here", and "Manha De Carnaval".

Great work by The Heath Brothers – a lot slicker and smoother than their earlier album for Strata East, but still filled with a soulful jazzy approach that befits their rich talents! By the point of this set, Jimmy Heath, once a rougher talent on the tenor, had emerged as one of the smooth soul maestros on the instrument – ranking next to Grover Washington Jr and Stanley Turrentine for a mellifluous sound and well-timed approach to the solo. Heath's written some great tracks here that are underpinned nicely by brother Percy's strong work on bass – still acoustic amidst some added electric instrumentation on some of the tracks. Titles include "Passion Flower", "Move to The Groove", "Feelin Dealin", "Project S", "The Voice Of The American Saxophone (from Afro American Suite of Evolution)", and "A Time & A Place (There's)".

Great long piano grooves from the trio of Masaru Imada – augmented here with additional instrumentation as well! Masaru alone is already great – a Japanese pianist with a strong sense of rhythm – those rolling lines we love in his trio dates from the 70s, usually with a nice dose of modal energy and an undercurrent of soul. Yet here, his sound goes even farther – as the album adds in some work by Fushimi Tetsuo on trumpet, Mitsumori Ichiroh on tenor and soprano sax, and Nakajima Osamu on percussion – coming in on the latter half of the record to push things along nicely. Tracks are all very long – and titles include "Glitter", "Blackdog", "Bell Flower", "Quarter", "World Line", and "Little Step".

An excellent Quincy Jones score that stands head and shoulders above the soundtrack to the first film in this series, In The Heat Of The Night. Q is in fine fine form with this material – adding in a lot more funk than before, to fit the uptown theme of the film. There's lots of nice jazzy tracks on the record, and some tight funky ones that made the soundtrack virtually a blueprint for the blacksploitation sound of the 70s! Titles include "Soul Flower", "Call Me Mr. Tibbs", "Black Cherry", "Blues For Mr. Tibbs", and "Fat Poppadaddy".

The roots of The Knack – and some really amazing tracks that were recorded years before their famous debut on Capitol! The sound here is great and gritty – mostly just Doug Feiger and Berton Averre working out tunes in the studio – using guitar and bass, and serving up the vocals with a nicely sneering style! Even more amazing is that most of these tunes were recorded in 1973 and 1975 – yet already show the pair's tremendous ear for a tight riff and unstoppable hook – that core essence of everything we love about The Knack – but with an even rawer feel too. Titles include "Who'll Set You Down", "Little Lies", "Flower My Fate", "Weiss On Rye", "Have A Heart", "Corporation Shuffle", "Get On The Plane", "Lazer Days", and "Good Girls Don't".

The roots of The Knack – and some really amazing tracks that were recorded years before their famous debut on Capitol! The sound here is great and gritty – mostly just Doug Feiger and Berton Averre working out tunes in the studio – using guitar and bass, and serving up the vocals with a nicely sneering style! Even more amazing is that most of these tunes were recorded in 1973 and 1975 – yet already show the pair's tremendous ear for a tight riff and unstoppable hook – that core essence of everything we love about The Knack – but with an even rawer feel too. Titles include "Who'll Set You Down", "Little Lies", "Flower My Fate", "Weiss On Rye", "Have A Heart", "Corporation Shuffle", "Get On The Plane", "Lazer Days", and "Good Girls Don't".

Nice! US reissue of one of the better post-Josie albums by the Meters, with a groove that's a little New Orleans, and a little 70's funky soul. Not all cuts are great, but there's some nice funky tracks on here that make this one worth having, and which keep it from being a disappointment, like some of the other Reprise albums. Cuts include "Soul Island", "Flower Song", "Gettin Funkier All the Time", "Do the Dirt", "Cabbage Alley", and "Stay Away" – plus a version of Neil Young's "Birds"!

A wonderful little record – one that's much richer and more compelling than you might expect from ESP Record's billing of Mij as a "Yodeling Astrologer"! The album's very heavy on reverb – used to really wonderful effect to expand and abstract the sounds created by Mij on vocals and guitar – recorded here without any other instrumentation at all, but spilling out wonderfully in the wide space of the studio with a tremendous sort of force. There's a flowing brilliance to the record that recalls the sound of Tim Buckley's music – but with some of the darker elements of Tom Rapp – although in the end, Mij's music sounds nothing like either – but would sit equally well in a collection that included both. Titles include "Little Boy", "Door Keys", "Planet Of A Flower", "Never Be Free", "Look Into The Knight", "Two Stars", "Grok", and "Romeo & Juliet".

A wonderful little record – one that's much richer and more compelling than you might expect from ESP Record's billing of Mij as a "Yodeling Astrologer"! The album's very heavy on reverb – used to really wonderful effect to expand and abstract the sounds created by Mij on vocals and guitar – recorded here without any other instrumentation at all, but spilling out wonderfully in the wide space of the studio with a tremendous sort of force. There's a flowing brilliance to the record that recalls the sound of Tim Buckley's music – but with some of the darker elements of Tom Rapp – although in the end, Mij's music sounds nothing like either – but would sit equally well in a collection that included both. Titles include "Little Boy", "Door Keys", "Planet Of A Flower", "Never Be Free", "Look Into The Knight", "Two Stars", "Grok", and "Romeo & Juliet".

Turkish folk meets fuzzier rock – in a unique cross-crossing of styles that comes off beautifully! From the cover and the start of the record, you might think it's just a bunch of traditional numbers – but as the set moves on, things get a bit weirder – and some unexpected psychedelic instrumentation and production really make things sound great. The vibe is mostly instrumental, with touches that include funky piano, fuzzy guitar, and dark little basslines that slide underneath the tunes and really create a great kind of groove! As with most Turkish albums from the time, there's a sound here that's completely fresh – and which has a great appeal to both fans of offbeat funk and trippier rock! Titles include "Madimak", "Iklig", "Toroslar", "Lorke", "Ilgaz", "The Legend Of Mount Ararat", "Hamsi", "Cahit's Tune", "Wild Flower", and "Kaleidoscopic Dream".

One of the nicest early albums by this great 70s soul collective – featuring a strong mix of funk and mellow soul tracks, with backing by the Nite Liters on some tracks, and production by the great Harvey Fuqua throughout! Titles include "Wild Flower", "It's Been A Long Time", "Keep On Doing It", "Pains of Love", "Ain't No Change", and "Heaven Says". Classic funky 70s soul!

A split CD with tunes from 9DW and Boris. EP features 4 tracks – "Spice", "Stingray", "Tokyo Wonder Land" and "Akirame Flower".

Great late psychedelia from the UK – the only album ever issued by Octopus (not to be confused with the ESP group of the same name) – packaged here with a wealth of bonus tracks from the group's previous incarnation as The Cortinas! The core style of the main record is really great – nicely compressed, but still pretty trippy – in a way that's never too overindulgent, and which shows a great ear for creatively poppy tunes. There's almost a post-Creation style going on here – and checking out the group's earlier work as The Cortinas, you can really hear how much they grew in the few short years before the Octopus album. As usual with Rev-Ola, the whole thing's put together with a wealth of information on the band – and the set features a whopping 22 tracks that include "The River", "Summer", "Council Plans", "Orchard Bloom", "John's Rock", "Rainchild", "Girlfriend", "Laugh At The Poor Man", "Sagittarius", "In The Park", and "Phoebe's Flower Shop".

Just a few of the songs here are from the 60s, and many of the rest are written by Gaetano Partipilo himself – and mixed with a few Brazilian numbers as well – all to round out a wonderfully rich sounding album that really lives up to the best Schema tradition! Instrumentation is mostly live jazz – played by Gaetano on alto sax, as well as Nicola Conte on guitar, Pietro Lusso on Fender Rhodes, Pasquale Bardaro on vibes, and Fabrizio Bosso on trumpet – but maybe best of all are the vocals, which shift a bit over the course of the record, and include raspy soul lines from MR Natural, and warmer female vocals from Alice Ricciardi, Heidi Vogel, and Rosalia De Souza. Half the tracks are instrumentals, and the mix of modes really makes the album great – never settled too far into one comfortable corner, and really taking the listener on a great journey overall! Titles include "Essa Mulher", "Se Voce Pensa", "Beyond The Days", "Jive Samba", "Right Now", "13 Death March", "Wall & Water", "Atras Da Porta", "The Sticks", "Moon Flower", and "Ocean Dance".

Just a few of the songs here are from the 60s, and many of the rest are written by Gaetano Partipilo himself – and mixed with a few Brazilian numbers as well – all to round out a wonderfully rich sounding album that really lives up to the best Schema tradition! Instrumentation is mostly live jazz – played by Gaetano on alto sax, as well as Nicola Conte on guitar, Pietro Lusso on Fender Rhodes, Pasquale Bardaro on vibes, and Fabrizio Bosso on trumpet – but maybe best of all are the vocals, which shift a bit over the course of the record, and include raspy soul lines from MR Natural, and warmer female vocals from Alice Ricciardi, Heidi Vogel, and Rosalia De Souza. Half the tracks are instrumentals, and the mix of modes really makes the album great – never settled too far into one comfortable corner, and really taking the listener on a great journey overall! Titles include "Essa Mulher", "Se Voce Pensa", "Beyond The Days", "Jive Samba", "Right Now", "13 Death March", "Wall & Water", "Atras Da Porta", "The Sticks", "Moon Flower", and "Ocean Dance".

A largely unheard psychedelic gem from the end of the 60s – originally private pressed by the group of suburban NY teenagers responsible for the wild sound! There's a cosmic rock groove and a bit of doe-eyed innocence in these cute odes to mind expansion – with freewheeling guitars, hand percussion, keys and a conversational vocal style that sounds like a wildly tripping, speak-singing Neil Young! Titles include "Flower", "Nostalgia Trip", "Reflections", "Do You Think About Me?", "White Light", "Relax", "My Lonely Friend", "Andrea", and "The Goodnight Song". Super heavy-vinyl reissue comes in a very cool cover with a bonus booklet – and also includes a bonus single too!

A largely unheard psychedelic gem from the end of the 60s – originally private pressed by the group of suburban NY teenagers responsible for the wild sound! There's a cosmic rock groove and a bit of doe-eyed innocence in these cute odes to mind expansion – with freewheeling guitars, hand percussion, keys and a conversational vocal style that sounds like a wildly tripping, speak-singing Neil Young! Titles include "Flower", "Nostalgia Trip", "Reflections", "Do You Think About Me?", "White Light", "Relax", "My Lonely Friend", "Andrea", and "The Goodnight Song" – plus bonus tracks that include demos and live recordings!

Massive! An incredibly sweet, funky batch Black Ark reggae – killer cuts by Leo Graham, The Imposters, Dillinger, The Gladiators and more, most especially, the mighty Upsetters! A number of the vocal tracks have a sweet harmony sound, and while other compilations often pair dubs and vocal versions, this one skims the cream instead, only pairing up a few cuts that way, but don't worry, there's no shortage of Upsetters jammies here. Scratch drops just the right amount of murky sauce on these numbers recorded between '73 and '75. Titles include Leo Graham's "Jump It", Sam Carty's "Life Is A Flower", Dillinger "Cane River Rock", The Imposters "Have Some Fun" and "Nature Man", The Gladiators "Time" and The Upsetters' "Vampire (horns)", "Jamaican Theme" and 'Perceptive Dub".

A box set edition of the 90s classic by The Pharcyde – the group's high water mark – and one of the greatest hip hop albums of the era! Along with Del and the Souls Of Mischief, Pharcyde were one of the few west coast units to achieve any kind of widespread popularity using the uniquely loopy, funhouse vibe of De La Soul, Black Sheep and Tribe Called Quest in their lighter moments. The original album tracks include the classics "Passing Me By", "Soul Flower", "Ya Mama", "I'm That Type Of Ni@*a", "Officer", "4 Better Or 4 Worse", "Return Of The B-Boys", and lots more. This box set edition featuring the original album, full instrumentals, remixes & more on 3CDs – plus detailed liner notes & vintage photos – in a great-looking little box! Disc 2 features the full instrumentals. Disc 3 – Remixes/B-Cydes – includes "Pork", "Soul Flower (Remix) (Brand New Heavies Version)", "Ya Mama (Matt Dike Remix)", "Ya Mama (Kenny Dope Remix)", "Other Fish (LA Jay Remix)", "Passin' Me By (Fly As A Pie Mix)" and more.

The early 90s classic by The Pharcyde – the group's high water mark – and one of the greatest hip hop albums of the era! Along with Del and the Souls Of Mischief, Pharcyde were one of the few West Coast units to achieve any kind of widespread popularity using the uniquely loopy, funhouse kinda of vibe of De La Soul, Black Sheep and Tribe Called Quest in their lighter moments. This has always been a tough one to find on wax, particularly in the high quality 2 LP incarnation, so we're thrilled to see this one back on the market! Features the classics "Passing Me By", "Soul Flower", "Ya Mama", "I'm That Type Of Ni@*a", "Officer", "4 Better Or 4 Worse", "Return Of The B-Boys", and lots more!

Titles include "Eternal Caravan Of Reincarnation", "Waves Within", "Look Up", "Just In Time To See The Sun", "All The Love Of The Universe", and "Stone Flower".

A seedy psych Future – as it was foretold by The Seeds, circa '67! The Future kicks off with a dreamy intro – Sky Saxon waxes on with some spoken word backed by gentle, harp-like strings a little bit of organ before it takes flight – a heady clue that this one's gonna amp up the trippy psychedelia. The first couple of tracks do that, but lest you'd forget – the Seeds are garage and punk forbears, too, and buzzing electric guitars, stomped on keys and growling vocals come roaring in pretty soon – making this one of the more delightfully unpredictable of the mid 60s Seeds records! Disc 1 of this expansive 2CD deluxe edition features the full stereo mix of the original album – plus 12 bonus tracks – which include mono mixes of a number of album tracks, plus alternate versions and unreleased tunes. Disc 2 features another 15 tracks from the sessions – with alternate takes and unreleased additional material. 38 tracks in all – plus a thick booklet of notes and photos! Includes "Travel With Your Mind", "Flower Lady And Her Assistant", "Fallin'", "Six Dreams", "Two Fingers Pointing On You", "Now A Man", "Painted Doll", "Out OF The Question", "Where Is The Entrance Way To Play", "Rides Too Long", "Sad And Alone", "900 Million People Daily All Making Love (Full Length Version)" and many more.

Insanely fantastic! Ananda Shankar was one of the hippest sitar players of the 60s – an artist who was not only steeped in the strongest traditions of Indian music heard in other more mainstream players, but one who also had a keen ear for modder and funkier grooves of the time! This rare American set by Ananda is one of his greatest ever – a brilliant mix of funky backings and tripped out sitar work – done in a way that blends together soul, funk, and rock – all given a particularly cool Indian twist. The vibe is very much in the best funky Bollywood style – but was actually done years before most Bollywood funk – and the set includes great covers of "Jumpin Jack Flash" and "Light My Fire", plus great original tracks like "Sagar (The Ocean)", "Snow Flower", "Dance Indra", and "Metamorphosis".

An album of incredible beauty – and one of the key early sides that Shorter cut for Blue Note! It's nearly impossible to describe the genius of these records without playing them – and upon playing, all words disappear in the brilliance of Shorter's incredible tone, solo imagination, and writing! There's a nascent soulfulness here that would emerge quite strongly across the field of jazz in the late 60s and early 70s – bubbling forth here on the session, with a sound that we could only call Shorter-archetypal – and return to again and again over the years, as proof that few players ever measured up as greatly at such a young age! The group's a quintet with Herbie Hancock on piano, Freddie Hubbard on trumpet, Ron Carter on bass, and Elvin Jones on drums – and the set list includes "Speak No Evil", "Infant Eyes", "Witch Hunt", and "Wild Flower".

Wonderfully warm work from the late 70s years of Lonnie Liston Smith – material from his key stretch a Columbia Records, a time when he'd really learned to tighten up his groove a bit from earlier years, yet still keep all the deeper soul intact! The set kicks off with Song For The Children from 1979 – a set done by Lonnie with help from Bert DeCoteaux, who's still clearly aiming the record at the soul side of the spectrum – using Lonnie's cosmic blend of keyboards, rhythms, and vocals just the right way – and hitting some sounds that are a bit more righteous than other Columbia Records fusion acts of the time. Some cuts feature lead vocals by James Robinson – and other instrumentation includes saxes from Dave Hubbard and guitar by Ronnie Miller. The album kicks off with the soul jazz number "A Song For The Children", and other tracks include "Aquarian Cycle", "Street Festival", "Gift Of Love", and "Midsummer Magic". (Note that the reissue leaves off the track "Fruit Music", due to space restrictions.) Exotic Mysteries is one of the fullest-sounding albums ever cut by Lonnie Liston Smith – but one of the greatest albums too! The set has Smith really taking off a bit more than on his work for RCA or Flying Dutchman – hitting some fuller sounds in the studio, thanks to backings arranged by Berg DeCoteaux, who's clearly trying to push Lonnie's groove a bit more towards a soul fusion audience of the time, yet always without losing any of the righteous energy that makes the music so great. There's a wonderful blend of acoustic and electric keyboards on the set – wrapped up in bits of strings, and propelled strongly to the skies with some great rhythms that include bass work from a young Marcus Miller, who also wrote some of the tracks on the set. Vocals aren't often in the lead – usually just sung by a chorus, if at all – and some of the best numbers here have a laidback groove that's totally wonderful – nice and mellow, with lots of room for the keys! Tracks include "Quiet Moments", "Space Princess", "Night Flower", "Mystical Dreamer", "Magical Journey", "Singing For Love", and "Exotic Mysteries".

A definite set of bare essentials from the Spontaneous Music Ensemble – especially given that at this point, the group was stripped down to just the duo of John Stevens on percussion and cornet, and Trevor Watts on soprano sax! The material was all recorded live, and the double-length set is an amazing illustration of the genius that Stevens brought to the group – a way of working and reworking a very simple concept – such that the freedom of improvisation was also given a structure, yet one with a logic that would often defy more simplistic conceptions of jazz! The package features a massive 16 previously unissued tracks – a great look at this unique chapter of the group – with titles that include "In The Midlands", "For Phil", "Three Extracts", "Newcastle 72", "Open Flower", and "Opening The Set".

Not singles as in the world of "hits" – but a really cool collection of rare work from Sun City Girls – mostly tracks issued on 7" singles for the Majora label, plus a few bits from other sources too! Together, the tracks provide a perfect illustration of the wide-ranging aesthetic of the group – some of the exotic tones that would be explored much more fully in their Sublime Frequencies label – mixed with some raspy, trippy elements that marked these guys as some of the few psych experimentalists of their generation! And honestly, this stuff sounds way better than we remember it – really compelling after all these years, especially in light of the later accomplishments of the Bishop brothers. Titles include "Soar/The Flower", "Esoterica Of Abyssynia", "Eye Mohini", "Sun Damaged My Ass", "Borungku Si Derita", "It's Ours", "Abydos", "Kickin The Dragon", and "Kal El Lazi Kad Ham".

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

Hard and heavy funky jazz from west coast tenorist Fats Theus – and one of the rarest albums on CTI! This one differs strongly from the label's smoother electric output – as it's got the rough n ready feel of a classic Prestige jazz funk session. Fats is backed by an all star group that includes Hilton Felder on organ, Grant Green on guitar, Idris Muhammad on drums, and Chuck Rainey on bass – and it kind of sounds like Fats is playing an electric tenor, or a Varitone, which gives the set the feel of some of the Lou Donaldson funk albums on Blue Note! Cuts include "Black Out", "Bed Of Nails", "Stone Flower", and "Check It Out".

A landmark album of electric piano grooves from Hysear Don Walker – the keyboardist on some of Young-Holt Unlimited's best albums! This album's much more in a jazz vein than some of the Young-Holt titles – with Walker playing electric keys on slower funky numbers that burn along at a sweet Kudu or CTI-styled pace – kicking back and letting the keys really open up as the tunes progress – putting equal emphasis on rhythm and solo space as Walker goes for the groove in an amazing way! All tracks are originals, save for one nicely placed Beatles cover – and titles include "Hydel", "Fat Flower, Skinny Stalk", "Durham Queen", "Inner Face", and "Jade Silhouettes".

Incredible third coast salsa from the late 70s – amazing stuff from the orquestras of Carlos Ruiz and his Ebirac label – made by singers and players in Chicago's Puerto Rican community of the period that stands up just as well today! Chicago salsa, unlike more nationally popular styles, was rooted in the city's rich Puerto Rican community. They cover material adapted from traditionals and more, done with less pan-Caribbean derived sounds than the Cuban-rooted salseros of NYC and Miami. As fondly remembered as the players of the Chicago salsa scene are by the older Puerto Rican community, records by Orquestas La Justicia, La Solucion, Juventad Tipica '78, Tipica Leal '79 and others are terribly hard to find. Not only has Numero managed to compile a terrific batch of songs, the sound quality is impeccable, too! Titles include "Plena Matrimonial" by Ebirac All-Stars featuring La Calandria & Ramito, "Stone Flower", "Alegre Jibarito", "Guaguanco Coroco" and more by La Justicia, "Afro Theme" and "Ano Nuevo Y Reyes" by Juventud Tipica '78, "A Bailar Son Montuno", "El Gordo Y El Flaco" and "Mini Minoso" by La Solucion, "Mozambique" by La Solucion featuring Mongo Santamaria, "Donde Estabas" by Tipica Leal '79 and more, plus the bonus "Ebirac Radio Spot". The booklet is lavish, too – full of notes and photos that that make it all the more revelatory – providing a historical perspective that can't be overpraised!

Beautiful stuff – and a record we never tire of hearing! This album's a sublime extension of the earlier Brazilian style of the Tamba Trio – in a set that has them adding a fourth member, and picking up some cool new sounds from producer Creed Taylor! The set brings the group's earlier blend of bossa jazz and vocal harmonies into play with Taylor's spacious sensibilities in the early days of CTI – that stretch when the label was partnered with A&M Records, in a mode that also echoes some of the best studio qualities of that imprint too! The songs are longer than usual – nicely stretched out in a beautiful blend of jazz, bossa, and voice – and tracks include a classic reading of Luiz Eca's "The Dolphin", a great take on "Canto De Ossahana", and the tracks "Flower Girl", "We & The Sea", and "Lemanja".

Heavy, spiritual Coltranesque Afro-jazz from '74 from Carlos Garnett! The album's one of Carlos' best for Muse – with a heavy soul jazz lineup that includes players like Huberrt Eaves, Reggie Lucas, and Anthony Jackson. Ayodele Jenkins sings vocals on a few tracks – and the album nicely places beautiful introspective pieces like "Journey To Enlightenment" and "Love Flower" sit next afro-Carribean influenced numbers such as "Chana" and "Let Us Go to Higher Heights".

Sublime work from Piero Piccioni – a really Morricone-like soundtrack, and one that's filled with hauntingly beautiful melodies! There's a lightly gliding feel to the record that's really wonderful – light lines on organ, topped with wordless vocals from Edda Dell'Orso and I Cantori Moderni, alternating to suit the mood of the film, and really bringing out some of the most lovely qualities in Piccioni's music. The tunes unfold gently, like the petals of a flower in soft summer rains – and there's also an undercurrent of darkness at a few points, but one that hardly gets in the way of the breathy, bossa-styled tunes. Titles include "La Torre", "Da Soli In Vacanza", "Capriccio", "The Redcoat", "I Cavalli", and "Nero Piu Bianco". CD also features 11 more bonus tracks – really wonderful alternates of the main tunes, making for a huge 25 track package!

Incredible third coast salsa from the late 70s – amazing stuff from the orquestras of Carlos Ruiz and his Ebirac label – made by singers and players in Chicago's Puerto Rican community of the period that stands up just as well today! Chicago salsa, unlike more nationally popular styles, was rooted in the city's rich Puerto Rican community. They cover material adapted from traditionals and more, done with less pan-Caribbean derived sounds than the Cuban-rooted salseros of NYC and Miami. As fondly remembered as the players of the Chicago salsa scene are by the older Puerto Rican community, records by Orquestas La Justicia, La Solucion, Juventad Tipica '78, Tipica Leal '79 and others are terribly hard to find. Not only has Numero managed to compile a terrific batch of songs, the sound quality is impeccable, too! Titles include "Plena Matrimonial" by Ebirac All-Stars featuring La Calandria & Ramito, "Stone Flower", "Alegre Jibarito", "Guaguanco Coroco" and more by La Justicia, "Afro Theme" and "Ano Nuevo Y Reyes" by Juventud Tipica '78, "A Bailar Son Montuno", "El Gordo Y El Flaco" and "Mini Minoso" by La Solucion, "Mozambique" by La Solucion featuring Mongo Santamaria, "Donde Estabas" by Tipica Leal '79 and more, plus the bonus "Ebirac Radio Spot". The booklet is lavish, too – full of notes and photos that that make it all the more revelatory – providing a historical perspective that can't be overpraised!

A far-reaching early gem from Roy Ayers – a set that's much more jazz-based than his later work, and a record that has him touching base with the Blue Note and Strata East sides of the jazz spectrum! The lineup here is incredibly hip – a mix of players that includes a young Charles Tolliver on trumpet, Harold Land and Joe Henderson on tenor, Jack Wilson on piano, and Reggie Workman on bass – not to mention Roy himself on some mighty great vibes! There's a surprising spiritual undercurrent to the music – pointing the way towards jazz to come in the 70s – and titles include "Glow Flower", "Ayerloom", "Virgo Vibes", and "In The Limelight" – plus an early take on Charles Tolliver's "The Ringer".

Probably the rarest of all albums by The Chairmen Of The Board – and also the last! The album was cut after the band re-formed briefly, and it's got a fuzzed-out heavy soul sound that's quite different from some of the group's earlier work. There's heavy guitar on many tracks – riffing away in a psychedelic mode that dominates most tracks, but which almost buries the group's vocals. The album's a great one if you dig the funk side of the Chairmen – and at times, it almost reminds us of The Politicians, who were kind of labelmates of the group. Includes the excellent two-part funk track "Life & Death" – plus "Love At First Sight", "Everybody Party All Night", "Let's Have Some Fun", "Finder's Keepers", "Skin I'm In", and "White Rose (Freedom Flower)". Lots of bonus tracks too – including "Finders Keepers (inst)", "Someone Just Like You", "Come On In & Dance", and "You've Got Extra Added Power In Your Love".

An album that's every bit as hip as you'd expect from its Sam Rivers-inspired cover image – a beautiful tribute to the modal jazz scene of the 60s, particularly the work of John Coltrane and some of his followers on Impulse Records! Apart from a cover of "Naima", though, the set's hardly a simple rehash of Coltrane modes – as all other tunes are originals, and the band delivers them with a core piano trio groove, then adds in flute, tenor, and soprano sax on different tracks! Rhythm is at the heart of the record, and bassist/leader Jerker Kluge really moves the group with a pulsating sound on his instrument – a deep, soulful tone that's matched beautifully by the brightly soaring piano lines of Jo Junghanss. A few cuts feature vocals by Julia Fehenberger, who further deepens the soul of the record – and the whole thing's a massive killer – like finding some lost Saba/MPS gem from the late 60s, with all the European jazz genius you'd expect from such a reference. Titles include "Heaven & Earth", "Naima", "Orange Flower", "Red Smoke", "Starlings Talk", and "Black Tiger".

The birth of a sound and the birth of a legend – Martin Denny's first album in the Exotica series, and a record so great it named an entire genre! Denny certainly didn't invent the tropical style of easy listening that came to be known as "exotica" in the 50s – but with a record like this, he delivered the goods better than anyone else – by taking away all the too-sweet styles of Hawaiian music, and serving up a stripped-down, jazzy kind of sound! The album features Denny's classic original quartet – with Arthur Lyman on vibes and Augie Colon on bongos – and titles include "Stone God", "Jungle Flower", "Busy Port", "Lotus Land", and his hit recording of "Quiet Village".

A completely unique little session – and a record that's every bit as musically striking as you might guess from its title and cover! The date's a rare Latin-tinged one for trumpeter Kenny Dorham – a record that takes his usually smooth sound and sets it up against octet backings with horns from JJ Johnson on trombone, Cecil Payned on baritone sax, and Hank Mobley on tenor – plus piano from Horace Silver, bass from Oscar Pettiford, and drums from Art Blakey – plus added congas from Patato Valdes! The expanded group plays with a great sense of power – really pushing Kenny's sound tremendously – and although the album also features a few tracks by a smaller group with less percussion, these also have a bit of a Latin/exotic tinge too. Titles include "Basheer's Dream", "Lotus Flower", "KD's Motion", "Venita's Dance", "Minor's Holiday", "La Villa", and "Afrodisia".

A completely unique little session – and a record that's every bit as musically striking as you might guess from its title and cover! The date's a rare Latin-tinged one for trumpeter Kenny Dorham – a record that takes his usually smooth sound and sets it up against octet backings with horns from JJ Johnson on trombone, Cecil Payned on baritone sax, and Hank Mobley on tenor – plus piano from Horace Silver, bass from Oscar Pettiford, and drums from Art Blakey – plus added congas from Patato Valdes! The expanded group plays with a great sense of power – really pushing Kenny's sound tremendously – and although the album also features a few tracks by a smaller group with less percussion, these also have a bit of a Latin/exotic tinge too. Titles include "Basheer's Dream", "Lotus Flower", "KD's Motion", "Venita's Dance", "Minor's Holiday", "La Villa", and "Afrodisia".

A bit of jazzy magic from Fagen – stepping out from the cover of Steely Dan after the Gaucho album, and sounding pretty darn great on his own! The record is almost nostalgic, going back to a 50s of Brubeck, abstract expressionism, and pre-Castro Havana – filled with images that are a bit less oblique than those of Fagen's work with Steely Dan, and a love for the subject matter that makes us like the record even more. Musically, the set follows strongly from Gaucho, but has perhaps a bit more straight jazz – and titles include "The Goodbye Look", "Walk Between Raindrops", "IGY", "Green Flower Street", and "New Frontier".

An amazingly unique little group – one that kind of stepped in the Impulse Records back door from the Coltrane galaxy, but which features some very unique aspects overall! As the cover states, the ensemble's led by bassist Jimmy Garrison and drummer Elvin Jones – and also features McCoy Tyner from Coltrane's quartet – yet the real charm of the record comes from the reed men, who include Prince Lasha on flute and clarinet, Sonny Simmons on alto and English horn, and Charles Davis on baritone sax! All players are free-thinking modernists, with ties to some of the farther reaches of 60s jazz – yet they work here in a beautifully inside mode, similar to Lasha's excellent Insight album on CBS UK – a vibe that takes all the most wonderful aspects of the Coltrane generation, but pushes them even further with some deeply personal expressions. Tracks include the seminal "Half & Half" – plus "Aborigine Dance In Scotland", "Oriental Flower", and "Nuttin Out Jones", and "Gettin On Way".

A beautiful bit of understated 70s brilliance from Hank Jones – working here in a no-nonsense format that rivals the greatness of his earlier years! At one level, the album's recorded with some of the touches of some of the Japanese trio sides of the 70s – yet the tunes here are tighter, and shorter, with more of a focus on Hank's straightforward approach to the keys. Rhythm is by Ron Carter on bass and Grady Tate on drums – and titles include "Wind Flower", "Minor Contention", "Favors", "Nothin Beats An Evil Woman", and Gary McFarland's "Hanky Panky".

The title says it all – as Yusef Lateef works here in that wonderful mixture of hardbop, soul jazz, and Eastern stylings that he brought to all of his best early sessions as a leader! Lateef himself is playing tenor, flute, and oboe – which he uses to craft these eerie snakecharmer lines that work perfectly with the modal grooves of the tracks – very unusual rhythms for the time, and a real precursor to some of the world jazz experiments to come from overseas. The rest of the group features pianist Barry Harris, drummer Lex Humphries, and bassist Ernie Farrow, who also plays a strange instrument called a rabat – which further adds to the charm of the record. Titles include "Plum Blossom", "Purple Flower", "Three Faces Of Balal", and "Chinq Miau".

The title says it all – as Yusef Lateef works here in that wonderful mixture of hardbop, soul jazz, and Eastern stylings that he brought to all of his best early sessions as a leader! Lateef himself is playing tenor, flute, and oboe – which he uses to craft these eerie snakecharmer lines that work perfectly with the modal grooves of the tracks – very unusual rhythms for the time, and a real precursor to some of the world jazz experiments to come from overseas. The rest of the group features pianist Barry Harris, drummer Lex Humphries, and bassist Ernie Farrow, who also plays a strange instrument called a rabat – which further adds to the charm of the record. Titles include "Plum Blossom", "Purple Flower", "Three Faces Of Balal", and "Chinq Miau".

Sublime ballad work from Harold Melvin & The Blue Notes – material that easily represents the greatest side of their talents from the Philly International years! Although the group charted biggest with their groovers, we've always loved their mellower tunes best – and this CD is filled with them – killer slow-moving cuts that really let Teddy Pendergrass stretch out with amazing vocals, a tangle of emotions set beautifully to soulful Philly backings. A few tunes are from the post-Teddy years, but are still pretty great too – and titles include "Pretty Flower", "I Miss You", "Ebony Woman", "Let Me In Your World", "It All Depends On You", "To Be True", "Yesterday I Had The Blues", "I'm Weak For You", "It's All Because Of A Woman", "Hope That We Can Be Together Soon", "You Know How To Make Me Feel So Good", "If You Don't Know Me By Now", and "Yesterday I Had The Blues".

One of the nicest early albums by this great 70s soul collective – featuring a strong mix of funk and mellow soul tracks, with backing by the Nite Liters on some tracks, and production by the great Harvey Fuqua throughout! Titles include "Wild Flower", "It's Been A Long Time", "Keep On Doing It", "Pains of Love", "Ain't No Change", and "Heaven Says".

Was there a more tragic figure in the 60s scene than Phil Ochs? Perhaps, but this is still a wonderful piece of his odd and sad career, a great portrait with his unrelenting political stance still in place, though not as raw as some of his other LPs. More arranged than any of his other LPs, but not without spare moments, the orchestrations still never get in the way of Ochs' occasionally delicate voice or clutter the picture too much. Eight tunes: "Cross My Heart", "Flower Lady", "Outside Of A Small Circle Of Friends", "I've Had Her", "Miranda", "The Party", "Pleasures Of The Harbor" and "The Crucifixion".

A killer debut from Rasputin Stash – a funky group who work with all the long-haired inspiration you'd expect from their name! The groove is a mix of guitars and tight horns – undercut by the kind of heavy basslines that later made the group a good fit for Curtom Records, and lots of cool percussion touches that pepper the bottom of the rhythms nicely – with a pretty spontaneous feel! At times, there's almost a Watts 103rd Street Rhythm Band vibe to the record, but mixed with some of the trippier influences of the Westbound crew – especially on the guitar – and like those artists, these guys have no trouble at all dipping into a touch of rock here and there to trip out their groove. Titles include "Mr Cool", "You Are My Flower", "Dookey Shoe", "I Want To Say You're Welcome", "Take Me On Back", and "Freaks Prayer".

An unbelievably fantastic album, and perhaps the greatest one that Dom Um Romao ever did! Dom recorded this one in America with a blend of Brazilian and New York musicians – creating an incredible sound that's unlike anything else we can think of! We'd place this record next to the best electric work by David Axelrod, the dopest funk on CTI, and a rare few other jazz funk albums from the 70s – and the whole thing's completely sublime all the way through! Includes the spare spacey groover "Dom's Tune", the lively dancer "Cinnamon Flower", the jazzy "Family Talk", a great version of "Ponteio", and a take on Sivuca's "Adeus Maria Fulo" with Joao Donato on electric harpsichord! Loads of samples, and players include Joe Beck, Dom Salvador, Sivuca, Mauricio Smith, Portinho, Richard Kimball, and Lloyd McNeill.

Insanely fantastic! Ananda Shankar was one of the hippest sitar players of the 60s – an artist who was not only steeped in the strongest traditions of Indian music heard in other more mainstream players, but one who also had a keen ear for modder and funkier grooves of the time! This rare American set by Ananda is one of his greatest ever – a brilliant mix of funky backings and tripped out sitar work – done in a way that blends together soul, funk, and rock – all given a particularly cool Indian twist. The vibe is very much in the best funky Bollywood style – but was actually done years before most Bollywood funk – and the set includes great covers of "Jumpin Jack Flash" and "Light My Fire", plus great original tracks like "Sagar (The Ocean)", "Snow Flower", "Dance Indra", and "Metamorphosis".

One of the fullest-sounding albums ever cut by Lonnie Liston Smith – but one of the greatest albums too! The set has Smith really taking off a bit more than on his work for RCA or Flying Dutchman – hitting some fuller sounds in the studio, thanks to backings arranged by Berg DeCoteaux, who's clearly trying to push Lonnie's groove a bit more towards a soul fusion audience of the time, yet always without losing any of the righteous energy that makes the music so great. There's a wonderful blend of acoustic and electric keyboards on the set – wrapped up in bits of strings, and propelled strongly to the skies with some great rhythms that include bass work from a young Marcus Miller, who also wrote some of the tracks on the set. Vocals aren't often in the lead – usually just sung by a chorus, if at all – and some of the best numbers here have a laidback groove that's totally wonderful – nice and mellow, with lots of room for the keys! Tracks include "Quiet Moments", "Space Princess", "Night Flower", "Mystical Dreamer", "Magical Journey", "Singing For Love", and "Exotic Mysteries".

Beautiful stuff – and a record we never tire of hearing! This album's a sublime extension of the earlier Brazilian style of the Tamba Trio – in a set that has them adding a fourth member, and picking up some cool new sounds from producer Creed Taylor! The set brings the group's earlier blend of bossa jazz and vocal harmonies into play with Taylor's spacious sensibilities in the early days of CTI – that stretch when the label was partnered with A&M Records, in a mode that also echoes some of the best studio qualities of that imprint too! The songs are longer than usual – nicely stretched out in a beautiful blend of jazz, bossa, and voice – and tracks include a classic reading of Luiz Eca's "The Dolphin", a great take on "Canto De Ossahana", and the tracks "Flower Girl", "We & The Sea", and "Lemanja".

Man, if Sesame Street sounded this groovy, we'd still be at home, sitting on the couch watching TV! Think of the album as kind of an alternative take on the Sesame Street sound of the early days – one that went past the easy multiculturalism of Gordon and Maria, into a style that was much more righteous – and handled in a socking 70s soul mode! The group are a vocal quintet with a solid harmony sound – working here in a blend of funk, soul, and mellower numbers – initially recasting versions of Sesame Street hits, but eventually moving into some of their own numbers on the second side of the album. Highlights include the group's own funky classic "The Cat Walk" – a loping slow funk groover that we've loved for years as a funky 45, and which is worth the price of the album alone – plus their snapping drum remake of the Sesame classic "Come On & Get It". Other tracks include "Soul Children Flower Children", "Time Will Tell", "It's Love I Feel Inside", and "What Happened To The Vows We Made" – plus versions of "Sesame Street" and "Rubber Duckie".

Nice lost session that has the great mellow bassist Buster Williams heading a group that includes vibist Roy Ayers on a number of cuts, plus other nice players, like Kenny Barron, Billy Hart, and Jimmy Rowles. The highlight of the album is a beautiful 12 minute reworking of Roy Ayers "Vibrations", which is done in an even nicer way than on Ayers' album of the same name. The album also includes "Prism", "I Dream Too Much", and "The Enchanted Flower" – all of which are warm mellow groovers, with Williams' round soulful bass right up front.

Very high concept work from Stevie Wonder! The record is, in fact, about the "secret life of plants" – partially used as a soundtrack for a film of the same name, but also acting as kind of a storybook in itself! Stevie's exploring a wide range of plant life and plant themes on the set – often in a way that has his keyboards taking center stage in little symphonies of soul that unfold like the petals of a flower in the morning sun – and which stand out as quite different from some of his vocal work, marking him as a talented electronic musician in his own right. Many tracks do have lyrics, too – often with themes of growing, seeding, and other garden metaphors that are easily translated to the human experience. Titles include "Secret Life Of Plants", "Outside My Window", "A Seed's A Star", "Race Babbling", "Black Orchid", "Send One Your Love", "Tree", "Come Back As A Flower", and "Ai No Sono".

A great little discovery from the 60s – work from a teeny tiny Canadian label, but all of it pretty darn great! Not many groups recorded for the Gaeity Records label, but they all seem to be pretty well skilled at picking up on the best elements of 60s psyche pop and garage – all delivered here with a simple but effective groove that's almost a bridge between the LA and Chicago scenes of the mid 60s. CD features 24 tracks in all – broken into sections group by group – and titles include "World Of Dreams" and "Only In America" by The Plague, "Lies" and "Nature's Love" by Solid Reputation, "So Much In Love With You" and "My Time Is Comin" by The Checkerlads, "If You Can Dig It" and "Ode To A Cucumber, A Berry, & A Flower" by The Dewline, "Lexington Avenue" by Farmer John, "Yours Until Tomorrow" and "That's The Tune" by Flying Colours, "To Be Back Home" and "I Brought My Love With Me" by NRG/Merriday Park, and "Baby Get Out" and "Set Me Free" by Portland Street South.

Bright, vibrant Piccadilly Sunshine – groovy psychedelic pop from the Brit scene of the late 60s – carnivalesque colors in the arrangements, some with a grittier garage core, others that boisterous and poppy through-and-through! The tracks are largely pulled from rare singles, and generally lean towards the more gentle side of the psyche scene. Wonderful stuff, much of it we'd never have heard in our lives if Psychic Circle didn't round it up! 20 tracks in all: "Miss Pilkington's Maid" by Jason James, "I Won't Be There" by Peppermint Circus, "Flower Power" by Alan David, "Falling Leaves" by Studio Six", "The Race" by Christopher", "Why Don't You Follow Me" by Mighty Joe Young, "Polly Sunday" by Jon, "Sad Simon Lives Again" by Tim Andrews and more.