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A seminal world jazz crossover from bassist Ahmed Abdul-Malik -- one of the first albums ever of its kind, and as fresh today as it was back in the late 50s! At the time of the set, Ahmed was working as Thelonious Monk's bassist -- but here, he also plays a fair bit of oud -- that lute-like stringed instrument from the Middle East that often has a weirdly sort of angular sound. Other non-traditional jazz instrumentation on the record includes kanoon, darabeka, and duf -- all of Middle Eastern origins -- and these instruments are mixed with straighter jazz work from Johnny Griffin on tenor, whose solos really add a lot of soul to the set. Titles include "Ya Annas", "Isma'a", "El Haris", and "Farah Alaiyna".

Smoking grooves from an incredible group -- the amazing Afro Blues Quintet, a combo with a sound like no other! These guys were never one for stardom, but during the mid and late 60s, they burned up the west coast scene with an incredible blend of vibes, piano, and reeds -- often kicked up nicely with some hard-rolling rhythm work that gave their tracks a similar mod groove to classics by Johnny Lytle, Ramsey Lewis, or Pucho & The Latin Soul Brothers! But the real difference with the ABQ (if we can call them that!) is that they had a really spacious approach to their sound -- never putting too much into the mix, and instead using the space between the notes every bit as much as the notes themselves. The grooves are great, and since most of this work has never been reissued, the set's totally fresh to the ears of most listeners! As usual, the folks at BGP have done a great job with the notes -- and the set features 22 tracks from the group's Mira, Surrey, and Crestview recordings -- titles that include "Monkey Time", "Freaks", "La La La", "Southside Habit", "Mirror Image", "Afro Rock", "Evening Of The Beast", "Spartacus", "Candie Luv", and "Our Mambo".

Maybe we're biased, but this is a fantastic record in the great Chicago tradition that includes Common Sense and the Molemen! All Natural manage to combine conscious and abstract lyrics with music that's worth hearing, and doesn't fall into that you-gotta-be-blunted-to-appreciate-it drudge. Production by No I.D., the Molemen and Capital D. Includes "50 Years" and "Hip Hop History 101" from the first single, plus "Phantoms Of The Opera", "Thinkin Cap", "No Nonsense", "MC Avenger", "It's OK", "Prime Suspect", "Niggas B Lyin", "Take It 2 Em", "Fresh Air" , "This Is How It Should B Done", "Start The Revolution", and more. No issued with the bonus tracks "Portals Os Sound", "Sound Of The Fury", and "Time Piece".

A fresh album from one of the stronger partnerships in avant garde jazz -- sax titan Fred Anderson and drummer/percussionist Hamid Drake -- joined by some of the finest Chicago based players for set of slowbuilding, generously spacious material that might be even better their previous album for Thrill Jockey! Anderson's sax and Drake's drumming are as intuitive to each other as ever, and some bits of the record have a dual bass sound that really pulls us in! Josh Abrams and Harrison Bankhead bring the bass, with a great cello part by Bankhead on one track, and Jeff Parker plays some nice guitar. A masterful record with more of an ensemble approach than its predecessor! 5 long (or longish), languorously gripping tracks: "Planet E", "Strut Time", "For Brother Thompson", "From The River To The Ocean" and "Sakti/Shiva".

A lost treasure of Brazilian fusion -- originally released by keyboardist Marcos Ariel on his own tiny label in 1981! The set sparkles with the best of the larger Brazilian fusion scene of the time -- working in a post-Azymuth blend of keyboards, guitar, percussion, and Brazilian instrumentation -- and often taking off to the skies in Return To Forever-like jams that really open the set up! Ariel plays a wide range of keys on the set, as well as a bit of flute -- and other instrumentation includes soprano sax, guitar, percussion, and tenor from Leo Gandleman. The tunes have a nice way of blending the spacey with the rhythmic, and the set's got a sparkling finish that makes it sound as fresh today as it did over 20 years before! Titles include "Bambu", "A Ponte", "Humaita", "Samba Torto", "Mar", and "Dois Irmaos".

Classic work from Danish pianist Bent Axen -- a set that includes some late 50s trio material, plus a number of quintet and sextet tracks done with associates in the Jazz Quintet 60! The set begins with Bent in a trio that includes Niels Henning Orsted Pedersen on bass and Finn Fredericksen on drums -- but it then moves into some even better work with horns -- including 4 tracks with Allan Botschinsky on trumpet and Bent Jaedig on tenor, plus 8 more that feature both of those players with additional tenor from Frank Jensen. Axen's sound is great throughout -- sharply modern at points, but without any sense of coldness at all -- and as with the best records from the Jazz Quintet 60, the style here is often swinging and soulful, with a very fresh edge! All material was originally issued on the Debut label -- and the CD features 19 titles that include "Cosper", "Laverne Walk", "Haig's", "More Peace", "Star Eyes", "Sivle", "Mr Cushmaker", and "Let's Keep The Message".

A holy grail of jazz -- Roy Ayers' first album as a leader, and a near-lost session that's simply sublime! The record was cut at the same time that Roy was working in LA with pianist Jack Wilson -- and it's got an approach that's a bit similar to some of the Wilson/Ayers sessions for Atlantic, Blue Note, and Vault -- but with a marked difference here in the presence of Curtis Amy, who plays some incredible tenor and soprano sax on the session -- arcing out over the modal lines set up by the vibes and piano, and shading in the record with a much deeper sense of soul! Amy plays on about half the album's tracks -- all of which are standout modal tunes that preface the MPS/Saba sound by a number of years, and which we'd easily rank as some of the greatest jazz recorded anywhere in the 60s. And even the tracks without Amy are great too -- and have Roy echoing out with a wonderfully round tone on the vibes -- no tricks, no gimmicks, no attempt to cross over to commercial jazz -- just a brilliant tone and fresh vision on his instrument for the time. Wilson's great too (but when is he not?) -- and rhythm is by either Bill Plummer or Victor Gaskin on bass, and either Tony Bazley or Kenny Dennis on drums. Titles include "Sound & Sense", "Ricardo's Dilemma", "Out Of Sight", "Young & Foolish", "Reggie Of Chester", and "Days Of Wine & Roses". CD also features 2 bonus tracks -- "Now's The Time" and "Perhaps/Cool Blues" -- both pulled from the Bird Call record with Vi Redd as a leader, noteworthy as Roy's first time in the studio!

Recent genius from the true king of Latin Soul -- the mighty Joe Bataan, sounding every bit as great now as he did back in the day! Bataan gets some very hip backing from Los Fulanos -- a Barcelona-based combo who help recreate the tight sound of Joe's early grooves from the late 60s, with just a touch of the funk he picked up in the 70s too -- a really great blend that helps Bataan breath fresh new life into a range of classics from years back. The set list includes some of our favorite Latin Soul gems from Joe, and both the rhythms and production styles are completely faithful to the originals -- but also aren't just simple copycat versions either. After so many years in obscurity, it's great to see Bataan back in action so strongly -- cooking it hard and heavy on cuts that include "Latin Soul Square Dance", "Gypsy Woman", "Mestizo", "The Bottle", "Johnny's No Good", "Special Girl", "Subway Joe", "Puerto Rico Me Llama", and "Rap O Clap O 2008".

Hazy beatcraft steeped in Indian soundtrack style funk, strings and percussion from the indefatigable Madlib -- Volumes 3 & 4 in the Beat Konducta series of the increasingly adventurous and conceptual outings -- 2 volumes on 1CD! This time out Madlib, er, Beat Konducta is conducting beats, strings & things from India and/or otherwise East -- but the way in which the beats bluntly thump is quintessential Madlib -- you know it and love it from the first beat! 'Lib really breathes fresh life into this approach -- going miles deeper than anyone out there doing the Bollywood-hip hop hybrid -- coming up with a sound all his own. CD version includes the complete Volumes 3 & 4. Masterful! Titles include "Enter Hot Curry", "Indian Hump", "Onthanewthing", "Indian Deli", "Rumble", "Dancing Girls Theme", "Piano Garden", "Dark Alley Incidental Music", "Early Party", "Fifth Chant", "The Rip Off (Scene 3)", "Sitar Ride", "Get It Right", "More Rice", "Indian Bells", "Smoke Circle", "Sha Sound", "Another Getaway", "Raw Ground Wire", "Main Title" and more.

Hazy beatcraft steeped in Indian soundtrack style funk, strings and percussion from the indefatigable Madlib -- Volume 3 in the increasingly adventurous and conceptual outings of the Beat Konducta! This time out Madlib, er, Beat Konducta is conducting beats, strings & things from India and/or otherwise East -- but the way in which the beats bluntly thump is quintessential Madlib -- you know it and love it from the first beat! 'Lib really breathes fresh life into this approach -- going miles deeper than anyone out there doing the Bollywood-hip hop hybrid -- coming up with a sound all his own. Masterful! "Onthanewthing", "Indian Deli", "Rumble", "Dancing Girls Theme", "Piano Garden", "Dark Alley Incidental Music", "Early Party", "Fifth Chant", "The Rip Off (Scene 3)", and "Sitar Ride".

The long awaited sides C & D in Madlib's incredible blend of Bombay soundtrack-styled funk, blunted Eastern beats, and all round stunning Middle Eastern accented hip hop instros! This time out Madlib, er, Beat Konducta is conducting beats, strings & things from India and/or otherwise East -- but the way in which the beats bluntly thump is quintessential Madlib -- you know it and love it from the first beat! 'Lib really breathes fresh life into this approach -- going miles deeper than anyone out there doing the Bollywood-hip hop hybrid -- coming up with a sound all his own. Amazing! "Get It Right", "More Rice", "Indian Bells", "Club Scene", "Duel", "Organ Stroll", "In The Cave", "Malfunction", "Victory", "Smoke Circle", "Raw Ground Wire", "New Bombay", "Shah Sound", "Another Getaway", and more.

A stormer from Archie Bell & The Drells -- one of our favorite soul albums ever, and a masterpiece of mid-tempo soul! Archie Bell & The Drells sound amazing here -- light years from the rougher funk of their earlier years, yet still with a groove that's undeniable -- an incredible meeting of soul music scenes handled by the young Gamble & Huff team -- who not only produce most of the record, but also wrote most of the tracks on the set! The groove is lightly lilting, and totally on the money -- a sound that's incredible, and hard to describe in words -- but which really grabs us from the get-go. All tracks are great, and totally fresh -- and tunes include "I Love My Baby", "Houston Texas", "Showdown", "My Balloon's Going Up", "Giving Up Dancing", "Girl You're Too Young", and "Green Power".

One of the most comprehensive collections of work we've ever seen on Eddie Bo -- a really well-done set that finally gets at the full range of his massive funky talents -- including a host of rare singles done for a variety of other artists as well! Despite the dates in the title, most of the music here is from the 60s and 70s -- music from those glorious years of New Orleans soul and funk -- when it seemed like the Crescent City groove could never stop, thanks to the efforts of Eddie and some of his contemporaries! There's a massively heavy groove to most of the numbers here -- an emphasis on the funkiest side of Eddie Bo's sound, especially when he's working in the studio with other singers in the lead -- and even if you've got some other Eddie Bo reissues in your collection, there's plenty fresh stuff here that makes this one well worth owning. CD booklet notes are great too -- a full history of Eddie's long career and all its different chapters. 28 tracks in all -- including "Funky Yeah" and "Shelly's Rubber Band" by Curley Moore & The Cool Ones, "What's Good To You (part 1)" and "The La La Man (part 1)" by Oliver Morgan, "Horse With A Freeze (part 1)" by Roy Ward, "Timber (parts 1 & 2)" by Candy Phillips, "Can I Be Your Main Squeeze" by Chuck Carbo, "I'm A Carpenter (part 1)" by David Robinson, "Garden Of Our Trees" by The Explosions, "Reborn" by Marilyn Barbarin, "Live It Up" by James K-Nine, "Mama Here Comes The Preacher" by Doug Anderson, ""Something You Got" by Barbara George" -- and the tracks "Chained", "When The Fingers On The Funk", "Rubber Band", "Getting To The Middle", "Check Your Bucket", "Lover & Friend", "Can You Handle It", "Fallin In Love Again", "Gotta Have More", and "We Like Mambo" all by Eddie Bo.

A wicked trip into space courtesy of Bongolian -- who somehow sound hipper, groovier, and funkier than ever before! Bongolian have really expanded their sound a bit this time around -- taking their usual blend of 70s funk and 60s mod, and adding in some cool spacier elements -- including key use of synth, and also some great production that really spaces out some of the best sounds -- making things as weird and wonderful as you might expect from the title! There's a really unique groove going on here -- one that's a really fresh change from some of the other funky work on the market, and which has us digging Bongolian even more than before. Even the rhythms are often quite special -- still funky, but not in the usual ways -- and always with a nice sort of playful energy. Imagine Booker T & The MGs, The Duke Of Burlington, and Alan Hawkshaw all taking a trip to the stars together -- and you've only got part of the picture here! Titles include "Feel It", "Lucky Seven", "The Horn", "Bongo Mambo", "Talking Synth", "The Champion", "Paris Colonade", and "Marimba Down At The Hare".

One of the hippest records ever to come out of Chicago -- the sole recording by Boscoe, a group who was even more obscure and experimental than contemporaries like The Pharoahs or Artistic Heritage Ensemble! Like those groups, Boscoe has a very unique, very visionary approach -- one that's not content just to echo the standard post-Coltrane modes that other spiritual jazz groups around the country were hitting -- but which instead moves into territory that touches on the darker sides of funk, soul, and spoken word of the time -- all with a message that's incredibly powerful, and conception that's wonderfully fresh throughout! The group's lineup features tenor, trumpet, trombone, guitar, bass, and drums -- but they way they're put together is often far different than other funky combos -- and it's clear that the group had as much of a sensibility about the overall sound of their record as they did their freer grooves. At times, there's a righteousness here that recalls the best of the early Westbound Records scene from Detroit -- but there's an even higher agenda too, which is more in keeping with the spiritual aspriations of their Chicago contemporaries, and which really show up in the lyrics. The whole album's a masterpiece from start to finish -- unlike anything that we can think of, still ripe for rediscovery today, and just the kind of set that makes us prouder than ever of our Chicago heritage! Titles include "We Ain't Free", "Money Won't Save You", "Now and Den", "He Keeps You", "I'm What You Need", and "Writin' On The Wall".

One of the hippest records ever to come out of Chicago -- the sole recording by Boscoe, a group who was even more obscure and experimental than contemporaries like The Pharoahs or Artistic Heritage Ensemble! Like those groups, Boscoe has a very unique, very visionary approach -- one that's not content just to echo the standard post-Coltrane modes that other spiritual jazz groups around the country were hitting -- but which instead moves into territory that touches on the darker sides of funk, soul, and spoken word of the time -- all with a message that's incredibly powerful, and conception that's wonderfully fresh throughout! The group's lineup features tenor, trumpet, trombone, guitar, bass, and drums -- but they way they're put together is often far different than other funky combos -- and it's clear that the group had as much of a sensibility about the overall sound of their record as they did their freer grooves. At times, there's a righteousness here that recalls the best of the early Westbound Records scene from Detroit -- but there's an even higher agenda too, which is more in keeping with the spiritual aspriations of their Chicago contemporaries, and which really show up in the lyrics. The whole album's a masterpiece from start to finish -- unlike anything that we can think of, still ripe for rediscovery today, and just the kind of set that makes us prouder than ever of our Chicago heritage! Titles include "We Ain't Free", "Money Won't Save You", "Now and Den", "He Keeps You", "I'm What You Need", and "Writin' On The Wall".

A really charming little set from vocalist Bobbi Boyle -- a singer in Encino during the late 60s, working here with a great mix of jazz, bossa, and all things groovy! The album's almost a Sunshine Pop take on jazz vocals -- one that has Bobbi singing with a sweet small combo, and vocalizing in these lightly skipping lines that are really beautiful -- a bit like Lynn Marino on her famous album with Frank Cunimundo -- a set that would be a very good comparison to this album too! But at another level, there's echoes here of some of the hipper European vocalists of the 60s -- like Monica Zetterlund or Karin Krog -- although Boyle's sound is definitely one that was born and bred in the good ol' US of A. Many of the tunes are familiar 60s numbers, but they're handled by Bobbi and the group with a really personal feel -- one that brings gently grooving rhythms into play through most of the set, making for a really fresh approach to the music. Titles include "How Insensitive", "This Gal's In Love With You", "A Day In The Life", "It's Always 4 AM", "Love So Fine", "Lazy Day", "If You Go Away", and "Up Up & Away". CD also features 2 bonus tracks -- "Sad Old World" and "Everybody's Talkin".

A more Latin-styled set than usual from The Brass Ring -- as you might guess from the title and cover! The sound is slightly fuller here -- a bit of brassy trumpets used sparingly, but just enough to fill out the groove at times -- and other new elements too, like acoustic guitar, added rhythms, and a few other bits that help the group keep things fresh, while still staying in the same blend of dreamy, easy, and groovy modes hit on previous albums. There's a similarity here to some of the best playful instrumental work on Verve or Impulse at the time -- and titles include "Girl From Ipanema", "This Afternoon I Saw It Rain", "Sugarloaf", "Little Sea Shells", "Gazpacho", "Yours", and "Amanha".

The deepest album we've heard in years from Till Bronner -- a beautiful collection of Brazilian-tinged tunes, performed with a host of wonderful guest stars! Bronner plays his usual trumpet, and also sings a bit too -- in that warmly raspy voice that we first grew to love during his Chet Baker tribute. But almost even better are the guests -- who include Milton Nascimento, Vanessa De Mata, Aimee Mann, Sergio Mendes, Luciana Souza, Melody Gardot, and our own Kurt Elling -- all of whom really bring a lot of depth to the record with their contributions. There's still a warmly soulful feel to the set, as you'd hear on other Bronner albums -- but the additional Brazilian touches really make the whole thing sound fresh and wonderful -- an unexpected treat from an artist we always like to keep our ear on. Titles include "O Que Sera", "Evening", "Ela E Carioca", "Ligia", "Cafe Com Pao", "A Ra", "Bonita", "Sim Ou Nao", "Aquelas Coisas Todas", and "Misterios".

Trend-setting vocal work from Oscar Brown Jr -- one of the hippest singers of his generation, and a vocalist who really took things to the next level in the 60s! Brown's got a sound that's partially influenced by the vocalese of Eddie Jefferson, Jon Hendricks, and other singers of the 50s -- but his groove here is also a bit more fluid and lyrical too -- thanks to some great lyrics penned by Oscar, some of which went on to become classics over the years. Like his predecessors, many of the tunes chosen by Brown got their start as jazz instrumentals, but sparkle anew here with fresh lyrics that really liven them up a lot -- tales of sin and soul and a lot more, often delivered with a good sense of wit. Titles include great vocal versions of "Dat Dere", "Work Song", and "Afro-Blue", plus some of his great original compositions, like "Brown Baby", "But I Was Cool", and "Rags and Old Iron". The arrangements are great, with a nice jazzy sound -- and the group includes the excellent Floyd Morris on piano! CD features 5 bonus tracks that include "Straighten Up & Fly Right", "Forbidden Fruit", "World Of Grey", "Mr Kicks", and "Hazel's Hips".

A massive tribute to one of the greatest 70s soundtrack composers -- England's mighty Roy Budd, the man responsible for Get Carter and some other incredible gems! This package is the first to really dip into Roy's classic 70s work -- and it does a great job of bringing together funky tunes that might have been passed up because they were hidden in otherwise mellower soundtracks. Snippets of dialogue are juxtaposed with some great grooves -- and a few of the tracks are presented in new remixes that give the set a fresh feel, even if you own some of the original Budd soundtracks. The overall sound is great -- a wonderful blend of jazzy riffs and cop show grooves -- and titles include "Hanky Panky", "Beauty & The Bass (edit)", "M17", "Black Is Beautiful", "The Girl In The Car", "Jazz Source (edit)", "Livin Should Be This Way", "Free Tarrant", "Hallucinations (edit)", "Diamond Fortress (Karminsky Experience rmx)", "Diamonds", "Jazz It Up (Mitchell & Dewbury mix)", "Get Carter Theme (Bobby Hughes Experience mix)", and "Mr Easy".

A landmark album for Donald Byrd -- one that marks a key departure in his sound! Donald's really opening up on this one -- picking up more of the soulful and the spiritual side of jazz, and moving from the hardbop and modern jazz of his late 50s years -- no surprise, since he's surrounded by an incredibly hip group -- with Wayne Shorter on tenor, Herbie Hancock on piano, Butch Warren on bass, and Billy Higgins on drums. The tracks are longish and lyrical, with wonderfully-crafted solos, and some fresh writing from both Hancock and Byrd that really mark the album as one of the most inventive Blue Notes of the time! Titles include a great instrumental version of "Pentacostal Feelin", plus the cuts "Nai Nai", "Night Flower", and "French Spice" -- all of which were written by Byrd. Plus, this CD also features the bonus cut "Three Wishes", written by Hancock!

A nice little album from vocalist Bobby Caldwell -- with a totally smooth compressed soul sound that's sort of in the same mode as the best soul work by Hall and Oates (which is a compliment in our book!) Production and songwriting are both very tight -- and there's some good acoustic instrumentation mixed into the mostly-electric sound to keep things fresh. Titles include "Coming Down From Love", "Wrong Or Right", "You Promised Me", "I Don't Want To Lose Your Love", and "Open Your Eyes".

Terry Callier's first album -- recorded in 1964 when he was a wee teen hanging around Chicago's folk scene! As the title indicates, the album's definitely got a folk-styled sound -- but also as the "new" implies, it's got a sound all it's own, fresh and free -- and that sound is the genius that is Terry Callier! This is very stripped down material, very dark and brooding -- a good chance to hear Terry before he hit the Chess studios and they backed him up with a lot of orchestrations (although we love the orchestrations, too.) The material has a soulful spiritual feel, and is sung with a lot of passion over acoustic guitar. Think of Nina Simone's folksier stuff from the same time, if you need a reference. Tracks include "900 Miles", "Cotton Eyed Joe", "It's About Time", "Promenade In Green", and "I'm A Drifter".

Terry Callier's first album -- recorded in 1964 when he was a wee teen hanging around Chicago's folk scene! As the title indicates, the album's definitely got a folk-styled sound -- but also as the "new" implies, it's got a sound all it's own, fresh and free -- and that sound is the genius that is Terry Callier! This is very stripped down material, very dark and brooding -- a good chance to hear Terry before he hit the Chess studios and they backed him up with a lot of orchestrations (although we love the orchestrations, too.) The material has a soulful spiritual feel, and is sung with a lot of passion over acoustic guitar. Think of Nina Simone's folksier stuff from the same time, if you need a reference. Tracks include "900 Miles", "Cotton Eyed Joe", "It's About Time", "Promenade In Green", and "I'm A Drifter". This expanded edition includes 3 bonus tracks -- "Be My Woman", "Jack O' Diamonds", and "The Golden Apples Of The Sun"!

The sweetly grooving first album from Central Line -- one of the few British soul groups to really kick it in the early 80s scene -- with a catchy dancefloor sound that both encapsulates the era and lays down a killer groove for the ages! The album is a blend of bass riffing, keyboards, group vocals and nice electro touches -- always done with a truly soulful approach as a perfect counter balance to the breezy electronics! Upbeat and fresh early 80s modern soul that holds up better than most huge hits of the time! Titles include the killer opener "Walking Into Sunshine", plus "Don't Tell Me", "Shake It Up", "Breaking Point", and "I Need Your Love".

One of the best American psyche albums we've heard from the late 60s -- a near-perfect record that's head and shoulders above the rough experimentation of most other groups from the period! Colours spell their name with a definite British twist, and there's clearly a Beatles influence going on here -- a sound that's almost pre-Sgt Peppers, but which has wonderfully complicated time changes, vocal parts, and production techniques that must have cost a pretty penny to such a little-known group! Horns and strings are arranged by Dave Roberts, and handled with a sensitivity that almost matches The Zombies' best at times -- and the tunes themselves are a fresh variety of odd themes, including one number about robbing a liquor store. Titles include "Brother Lou's Love Colony", "Bad Day At Black Rock Baby", "Love Heals", "Rather Be Me", "I'm Leaving", "Cataleptic", "Don't You Realize", and "Lovin".

Gal Costa sings the best of Antonio Carlos Jobim -- working here with a really sparkling sound in a live performance that covers the space of two CDs! The backing is by a very nice little jazz group, and Gal's at her best later styles here -- hitting nice jazzy vocal passages, and singing freely without any clunky arrangements to hold her back. Cristovao Bastos leads the group and handled the arrangements -- and he's as great as ever in this top-shelf setting -- sophisticated, but nicely swinging -- in a way that really keeps things fresh. Titles include "Fotografia", "Wave", "Derradeira Primavera", "Triste", "Anos Dourados", "Ligia", "Tema De Amor De Garbriela", and "Samba Do Avaio".

Two Jackie DeShannon gems -- back to back on CD for the first time ever! Me About You is sophisticated Jackie at her best -- working with great arrangements from Jack Nitzsche and Nick DeCaro -- both cats from the California scene we can really trust for "cut-above" pop work like this -- music that goes way past the simple sounds of DeShannon's start -- into cool adult territory that really makes the album great. Jackie's vocals are surprisingly soulful in the setting -- even more so than before -- and the tunes include lots of gems, including versions of Van Dyke Parks' "High Coin", John Sebastian's "Didn't Want To Have To Do It", and Tim Hardin's "Baby Close Its Eyes". Also includes "I Keep Wanting You", "Me About You", and "Nicole". Also features Hardin's "Reason To Believe" -- as a bonus track. To Be Free has kind of a crossover California soul feel overall -- recorded with Rene Hall arrangements that echo a few rootsy modes at times, mixed in with fuller orchestrations that step a bit back towards Jackie's earlier years on Imperial -- a surprisingly nice blend, with a fresh sound for the 70s. The album features a number of great tracks co-written with Jimmy Holiday -- a fellow Imperial talent -- and titles include "Mediterranean Sky", "Sooner Or Later", "What Was Your Day Like", "Livin On The Easy Side", "Brighton Hill", and "When Morning Comes Again".

One of the best records of the post-post rock 90s -- the masterful Directions In Music from Bundy K Brown, Doug Sharin and James Warden -- a record that will sound fresh and insistent for as long as anyone's listening to it, standing up to the passing of time as well as any other instrumental avant rock album of the 90s, or earlier! 8 untitled pieces with guitar, bass and drums at the core of the sound, but with subtle, angular touches and textural manipulation adding depth without it ever getting too arty or difficult just for the sake of it -- there's not a unnecessary particle or element to be found -- and it's mesmerizing all the way.

Cosmic hip hop soul from DJ Spinna -- a wonderful remix from Spinna's aptly titles Intergalactic Soul LP -- a fresh funky take on the track "Outta Time" to the Japanese scene by the always fresh Jazzy Sport label! The breakthrough mix has the best kind of splintering beatcraft -- spraying atmosphere on the outer edges without sacrificing the soulful sound at the core -- with playfully funky bass groove in the mix, too!

Two young players we hardly know at all, but both of them great talents who really get a chance to shine on this date! Erik Doelman handles piano, and Simon Rigter tenor sax -- and both are sharp-edged modernists who still know how to swing with a good degree of soul -- almost hitting a mid 60s Blue Note sound on this session, particularly that side of the label that started to show some stronger modern influences, but not move full into "new thing" territory! Rigter's tenor has a slightly sinister quality -- a bit like a young Joe Henderson, although not as raspy -- and Doelman's piano lines underscore that quality strongly, in a quartet that also features Frans Van Geest on bass and Gijs Dijkhuizen on drums. Titles include "Hatchback", "Red Light District", "Symbol Crash", "Erik's Mood", "Harmonizer", and "Ad Fundum" -- all original compositions that are as fresh as the players!

Darkly brilliant -- and one of Joao Donato's most fantastic records! The set was recorded during Joao's time in America in the mid 60s -- cut in New York with lofty backings by Claus Ogerman, in a pillowy soft mode that fits perfectly with Joao's light bossa piano lines, and which has all the hints of sadness and moodiness that often creep into his playing. The complicated approach of the album far surpasses some of Joao's work from Brazil at the same time -- and the album's one of the best of its generation, a sublime mix of all elements that still sounds as fresh today as it did in 1965! Titles include "Amazonas", "Glass Beads", "Sugarcane Breeze", "Vento Do Canavail", "It Didn't End", and "O Barquinho".

An excellent blend of contemporary R&B -- with a beat-heavy sound that's clearly in the lineage of Mary J Blige, but with an underground feel that keeps things really fresh throughout. Driza's got a voice that won't quit, with the kind of range and strength of Jocelyn Brown in her classic years -- and the chunky production of the album mixes together a lot of funky beats and smooth soul elements, into a heady brew that really jumpstarts the vocals in a great way! Titles include "Confusion", "Let It Out", "Rhythm Of Life", "One Reason", "Secret Fantasy", and "Taking Chances".

Beautiful work from Chicago trumpeter Greg Duncan -- a player with a deep sense of soul, and a wonderfully fresh vision for his music! The set's far from a simple, standard jazz debut -- and instead, Greg steps forth here with a thoughtful, fully-formed approach to his music -- one that carries itself with the poise and grace of a classic set from many years back, and which is sure to establish Duncan as one of the brightest young players on the Chicago scene. Greg's sound has the maturity of Art Farmer at his 60s best -- both on trumpet and flugelhorn -- and the rest of the group is great too, with alto and tenor from Dan Nicholson, piano from Marchin Fahmy, bass from Jeff Greene, and drums from Jon Deitemeyer -- all of whom seem to work with effortless ease to realize Duncan's vision on the set. There's almost a bit of a Wayne Shorter aesthetic going on here -- particularly that of Shorter's seminal soulful early Blue Note albums as a leader -- with an open flow and a somewhat searching feel, but never in a way that's too undirected or too academic. Titles include "No Return", "Tony's City", "Guardian Angel", "On The Prowl", "Black Narcissus", and a version of Shorter's "Sleeping Dancer Sleep On".

Two classics from Earth Wind & Fire -- back to back on one CD! Last Days & Time is Earth Wind & Fire's first album for Columbia Records -- the start of a really legendary run during the 70s! The sound here is a bit tighter than their first two for Warner Brothers -- a groove that has funk and soul taking a bit more precedence over the jazz of their roots -- but all in a blend that's completely fresh and unique, and which takes all the righteous energy of the past, and focuses it here even more strongly! And while the groovers are great, there's also a few sweet numbers that are almost even better -- some slightly mellow tracks that don't hit that commercial ballad sound of the group's later years -- and which almost have an earthy, organic feel overall. The whole thing's tremendous -- truly essential work by the group at their best -- and titles include "I'd Rather Have You", "They Don't See", "Make It With You", "Remember The Children", "Mom", "Power", and "Time Is On Your Side". Head To The Sky is a tremendously beautiful album -- and a righteous anthem of power and growth that seems to open itself up to us more and more over the years! Earth Wind & Fire are at their height here -- mixing together soul and funk with a set of influences that includes African percussion and Brazilian jazz -- then blending the whole thing effortlessly into a cosmic sound that's simply breathless! "Keep Your Head To The Sky" is a song of pride that became an instant underground classic; "Zanzibar" is an incredible reworking of Edu Lobo's famous composition, turning the Brazilian baroque track into a spacey groover that soars on for 13 minutes; and "Evil" is a great tune that features the electrified Kalimba that became the band's sonic and legal trademark over the years! Other titles include "The World's A Masquerade", "Clover", and "Build Your Nest".

Earth Wind & Fire's first album for Columbia Records -- the start of a really legendary run during the 70s! The sound here is a bit tighter than their first two for Warner Brothers -- a groove that has funk and soul taking a bit more precedence over the jazz of their roots -- but all in a blend that's completely fresh and unique, and which takes all the righteous energy of the past, and focuses it here even more strongly! And while the groovers are great, there's also a few sweet numbers that are almost even better -- some slightly mellow tracks that don't hit that commercial ballad sound of the group's later years -- and which almost have an earthy, organic feel overall. The whole thing's tremendous -- truly essential work by the group at their best -- and titles include "I'd Rather Have You", "They Don't See", "Make It With You", "Remember The Children", "Mom", "Power", and "Time Is On Your Side".

Earth Wind & Fire's first album for Columbia Records -- the start of a really legendary run during the 70s! The sound here is a bit tighter than their first two for Warner Brothers -- a groove that has funk and soul taking a bit more precedence over the jazz of their roots -- but all in a blend that's completely fresh and unique, and which takes all the righteous energy of the past, and focuses it here even more strongly! And while the groovers are great, there's also a few sweet numbers that are almost even better -- some slightly mellow tracks that don't hit that commercial ballad sound of the group's later years -- and which almost have an earthy, organic feel overall. The whole thing's tremendous -- truly essential work by the group at their best -- and titles include "I'd Rather Have You", "They Don't See", "Make It With You", "Remember The Children", "Mom", "Power", and "Time Is On Your Side".

A French combo, but one with a very global groove -- a mix of funky styles and Cuban rhythms, served up with a few contemporary touches as well! The sound here is really unique -- sweetly jazzy one minute, and sharper-edged the next -- moving the groove from keyboard-driven funk to more acoustic numbers that draw on an older Latin heritage, with a bit of a Congolese twist -- all wrapped up with a fresh, enthusiastic sound that really sets the group apart. The percussion's especially nice -- and really gives the album a solid, earthy grounding -- and apart from the first track, which has a bit of a hip hop vibe, most of the numbers here feel like lost grooves from both the Cuban and Congo scene of the 70s. Titles include "Mira Flores", "Baila Mi Songo", "Smcn", "Amor Amor", "Mini Congo", "Ohcimini", and "La Boca".

Excellent Duke Ellington work from the late 50s -- written and recorded during a period in which he was reemerging with a stronger jazz vision than ever before! The set was written by Ellington and Strayhorn -- and dedicated to the Shakespeare Festival in Stratford, Ontario -- but forget the Bard-inspired roots of the tracks, because the shimmering moods of the pieces is pure Ellington -- with a richness of feeling that's totally great, and a sound that's wonderfully fresh, given that most of these numbers aren't overplayed Ellington compositions! Players include Cat Anderson and Clark Terry on trumpets, Paul Gonsalves on tenor, and Johnny Hodges on alto -- and titles include "The Telecasters", "Circle Of Fourths", "Sonnet For Caesar", "Sonnet To Hank Cinq", and "Such Sweet Thunder".

The massive second album from Adriana Evans -- head and shoulders above her debut! The sound here is a lot more complicated than on the first LP -- with a righteous vibe that mixes together elements we never would have expected in her previous work! Adriana's working here with longtime collaborator Jonathan "Dred" Scott -- in a blend of styles that includes bits of folk, Brazilian, and classic soul touches -- all produced in a sweetly compressed mode that makes all the best bits cook together into a simmering brew that's got a unique flavor of its own. Adriana's grown in leaps and bounds in the years since we last heard from her, stepping out here as a whole new artist with sound that's bold and fresh -- on tracks that include "Remember The Love", "Rollin On", "7 Days", "Morning Light", "What It Is", "Something", "In Search Of", and "Cold As Ice".

The first album we've heard in years from The Family Stand -- a group we first started loving for their chunky rhythms nearly two decades ago -- and who've kept on growing strongly over the years! The sound here is quite fresh at times -- a synthesis of the group's roots and some more contemporary touches -- including a bit of heavy guitar at times, but also some compelling production twists that really emphasize the funkier side of the grooves. There's a bit of politics in the mix too -- and titles include "The Undiscovered Country", "Dangerous", "Super Sol Nova", "Innizout", "I Thought We Had", "Breakdown", and "Divided We Stand".

A spacey soul classic -- with a sound that never gets old! Faze-O will be forever remembered for their massive cut "Riding High" -- a stretched out slow funk jam that has amazing keyboards, floating guitars, and a super-dope groove that's stayed fresh from the moment it was first set to wax back in 1977! This album's the group's first, and best -- and it's a really wonderful record that blends together funky fusion and heavy soul -- filled with killer cuts arranged by the Ohio Players, and with lots of great keyboards by the group! Includes, of course, the massive cut "Riding High" -- plus "Toe Jam" and "Funky Reputation"!

The one and only album we've ever seen from this ultra-hip Latin Soul combo -- an outfit that has a sweet swinging sound, soulful lead vocals, and some nicely tripped-out guitar! The style here is a bit different than some of the other New York groups of the time -- as these guys bring the focus more on the guitar than on the piano, or horns -- and go for a style that's clearly influenced as much by rock and soul of the time as it is by the general changes on the Latin scene. The groove changes up often over the course of the album -- making for a record that's got a really unique feel, and a sound that stays fresh throughout -- moving way beyond boogaloo and shing-a-ling into some really tripped-out territory! Titles include "Electric Latin Soul", "Everybody's Got Soul", "Guajira Sicodelica", "Chango", "Yo te Quiero", "Borinquen", "Nena", "El Son De La Loma", "Campesino", and "Santa Isabel De Las Lajas".

A pretty rough and rugged set of rock tracks -- performed by a trio who were all prisoners at London's legendary Borstal! The title makes you think this might be some sort of Clash-type record, but the date belies the difference -- and the overall approach is kind of in the Rolling Stones/Immediate Records mode of the late 60s -- soulful at times, and with some added arrangements that include strings and larger orchestrations behind the core rock sound. Titles include "Long Long While", "Borstal", "See You Later", "You Made Me What I Am", "Life Is What You Make It", and "Take What We Want".

A previously-unissued album from Funkadelic -- originally done for MCA Records at the end of the 80s, but only now finally seeing the light of day! The set's a great continuation of the P-Funk groove that George Clinton set down on his solo albums for Capitol during the earlier part of the decade -- and it shows a bit of a transformation of that sound towards some of the (then) contemporary funk modes in the post-Prince generation. Instrumentation is a bit more programmed than before, but there's still a very festive P-Funk approach going on -- thanks to vocals from Garry Shider, Donnie Sterling, and Mallia Franklin -- and instrumentation from players DeWayne McKnight, Chong Spradley, and a young Amp Fiddler! Titles include "Nose Bleed", "Sunshine Of Your Love", "Jugular", "Some Fresh Delic", "Primal Instinct", and "Freaks Bearing Gifts". CD also features 4 mixes of "By Way Of The Drum" -- from the 12" release of the music, the only MCA issue of material from these sessions!

Some of the hippest accordion jazz you could ever hope to find -- five albums worth of material from Richard Galliano, the musician who's almost single-handedly kept the accordion alive in jazz over the past few decades! Although a somewhat old instrument in jazz, the accordion takes on a whole new sound in Galliano's hands -- one that's fresh, contemporary, and keenly aware of the changes in the use of the instrument in other styles over the years -- yet all while still swinging with a particularly classic, and especially French, styled approach to the groove. Albums include Viaggio (1993), with great guitar from Bireli Lagrene; Face To Face (2001), a set of duets with organist Eddy Louiss; Piazzolla Forever (2003), a septet tribute to the great Astor Piazzolla; Concerts (2004), a set of duets with reedman Michel Portal; and Ruby My Dear (2005), a set recorded by Galliano with his New York Trio.

Perhaps the ultimate album for The Gap Band -- and sure, it was a hit, but the record still sounds great today, and the constant sampling of some of the record has kept it fresh in the crates for years at years. The band have lost the heavier funk sound of earlier years, and working in a slick 80s groove mode that they both helped to define and put on the charts with the tracks "Oustanding" and "Early In The Morning", both two killer grooves with a complicated instrumental feel, and some wicked harmony vocals over the top. Lonnie Simmons is still producing the band -- and other tracks include "Lonely Like Me", "Stay With Me", "Talkin Back", and "You Dropped A Bomb On Me".

Not the UK super-group from the 70s, but a killer combo from the Colombian scene -- one who've got a sound that's easily one of the hippest of the South American rock world at the time! Genesis blend together some slight prog elements with a much more folkloric groove -- almost picking up the use of regional sounds that made some of the Mutantes records so great, and taking them into fresh new territory of their own. There's a bit of jamming guitar on the record, but not nearly as heavy as other South American rockers -- leaving lots of space for wood flutes, acoustic guitar, percussion, and other cool bits -- layered together with progressive production that plays with the instrumentation and lets the whole sound of the album flower nicely! Titles include "Don Simon", "Manos De Hombre", "Reconfortame", "Cumbia Cienaguera", "Quiero Amarte", and "Suenas Quieres Dices".

A groundbreaking set of work from the team of Jef Gilson and Hal Singer -- a uniquely cross-cultural session recorded in the Paris scene of the 70s, and easily some of the best work ever from both musicians! Singer's probably best remembered on these shores for his older R&B tenor work of the 50s -- but sometime during the 60s, he moved over to Paris, where he cut some mighty great music -- including the legendary Paris Soul Food album, which predates this one by a few years. Gilson was always a great artist on the French scene -- a modern pianist whose work of the 60s was always fresh and new, and a player who moved into more of a world jazz sensibility as the 70s approached. Together, both players work some real magic here -- deep soul from Singers tenor, sharper tones from Gilson's piano -- and a range of weird and wonderful notes from other players who include Bernard Lubat on vibes, Jacky Samson on bass, Frank Raholison on drums, and both Del Rabenja and Gerard Rakotoarivony on percussion -- really helping the record live up to its "Africa" title! Samson's bass is especially amazing -- roundly-toned, and incredibly soulful -- as much so as his legendary work with Marco DiMarco, but pitched slightly differently here -- and titles include "The High Life", "Liberation", "Mother Africa", "Chant Inca", and "Garvey's Strut". Plus, as an added bonus the CD also features 2 incredible earlier tracks by Gilson -- material recorded with Lloyd Miller back in the 60s -- playing "micro organ" and balaphon, with a sound that's almost even more haunting than the main album. Other players include "Pierre Caron on tenor and Alain Tabar-Nouval on alto -- and titles include "Le Grand Bidou" and "Fable Of Gutenberg".

A round two knockout for Gnarls Barkley -- an album we think is better than the landmark St Elsewhere LP -- boisterous pop art & soul from Danger Mouse and Cee-Lo! We were slightly trepid when the Odd Couple was announced, fearing a hasty attempt to rekindle the magic that clearly caught everyone by surprise a couple years ago, but that worry is squashed. This is a near masterpiece, kids! Incredibly deep and impressively spun from obscure sound library records, Italian soundtracks, and all kinds of moddish samples by Danger Mouse -- with warmly scratchy vocals by Cee-Lo that are as fresh as anything he's ever done. Again, he's laughing in the face of darkness and depression, and somehow making a party out of it! You won't find another mainstream success story this year that's so fun and charming on a superficial level -- while truthfully dark and troubled if you focus some on the lyrics. Hype be damned, this one's amazing! Tracks include "Charity Case", "Who's Gonna Save My Soul", "Going On", "Run (I'm A Natural Disaster)", "Would Be Killer", "Open Book", "Whatever", "Surprise", "No Time Soon", "She Knows", "Blind Mary", "Neighbors", "A Little Better".

A damn incredible package of work from Daryl Hall & John Oates -- one that's got way more than just the stock greatest hits you'd find on other box sets, and which is filled with loads of rare moments alongside the classics! There's a vibe here that's really wonderful -- an approach that really unlocks the more soulful side of the Hall & Oates sound -- especially since the collection begins with a fair bit of pre-fame recordings, and also includes some rare live tracks from the mid 70s -- plus a number of other previously unreleased gems too! Hits are still out in full effect, but they only comprise about half the material here -- making the set list a great journey between the fresh and familiar -- all wrapped up with a great booklet that has lots of rare photos and commentary on each track by the duo. 16 previously unreleased tracks, and 74 tracks in all -- with cuts that include "I Need Your Love" (by The Masters), "Girl I Love You" (by The Temptones), "Perkiomen", "Fall In Philadelphia", "Lady Rain (live)", "Camellia", "The Woman Comes & Goes", "I Don't Wanna Lose You (7" rmx)", "Don't Go Out", "Possession Obsession (live)", "So Close (live)", "Storm Warning", "Have You Ever Been In Love (demo)", "I Want Someone (live from Daryl's house)", "Dreamer (72-09 redux)", "Heartbreak Time", "Las Vegas Turnaround", "She's Gone", "Love You Like A Brother", "Did It In A Minute", "Go Solo", "Kiss oOn My List", "Crazy Eyes", and lots lots more!

Laidback trio work from pianist Kevin Hays -- a player with a great ear for finding fresh new corners in familiar tunes! Most of the tunes on here are from the pop cannon of a few decades back -- but Hays' approach to the music is really fresh, kind of an open, flowing groove that reminds us a bit of Steve Kuhn at times -- especially in the way Kevin balances modern impulses with warmer inflections. His bassist -- Doug Weiss -- is great too, and plays with a round sound that really bumps the tunes along nicely, even the gentle ones -- and the trio is completed by Bill Stewart on drums. Tracks include "Think Of One", "You've Got a Friend", "Bridge Over Troubled Water", "Fool On The Hill", "Nothing Like You", and "Cheryl".

A great little album from Heaven & Earth -- recorded after their big years on Mercury, but with Philly production that gives them a nice fresh sound! The production's a lot more in a modern soul vein than before -- but the harmonies are top-shelf all the way, and seem to stretch out even more than on earlier albums, hitting ranges that are normally the province of indie soul recordings from the early 70s, instead of slicker ones from the early 80s. "That's Love" is a great soul number that reminds us of the building emotion of the group's classic "Guess Who's Back In Town" -- and other good tracks include "I Really Love You", "You're A Blessing", and "Give Love One More Chance".

Very groovy work from the amazing Neal Hefti -- one of the best non-soundtrack albums issued under his own name, and a set that's filled with bouncy, catchy little tunes! The style here takes off nicely from Neal's previous work with Count Basie, but also shows some of his upcoming soundtrack styles as well -- especially his great penchant for offbeat instrumental phrasing, and whimsical way of penning a groove. The ensemble's filled with great players who include Plas Johnson and Buddy Collette on flutes, Conte Candoli and Gerald Wilson on trumpets, Emil Richards and Larry Bunker on vibes, Earl Palmer on drums, and Francisco Aquabella on percussion -- all in a sound that's quite fresh, and really unique! There's a fair bit of flutes in the mix -- even more than the Hefti/Basie use of the instrument -- and the tunes have that tightly punctuated Hefti sound throughout, making for plenty of groovers throughout! Titles include "Exodus", "Cute", "Like Young", "Take Five", "Moanin", "Lil Darlin", and "Coral Reef".

Great solo piano work from Abdullah Ibrahim -- and a set that's put together a bit differently than some of his other records of this nature! Often, solo Ibrahim sides are quite long and extended -- but this time around, most of the tracks are quite short -- some around three minutes, some almost only 60 seconds -- making for a really fresh approach to the solo piano genre, and one that almost has Abdullah painting these wonderful little pictures in sound! The brevity of the tunes is no reflection of their depth -- as Ibrahim really packs a lot into the small space focusing his ideas wonderfully, and moving through some dark themes that really hold us in rapt attention throughout. Titles include "Jabulani", "Mamma", "Bayana Children Of Africa", "In The Evening", "Ocean & The River", "Blue Bolero", "For Coltrane", "Dust", "Tookah", and "Blues For A Hip King".

An amazing record! This one's probably our favorite Isley Brothers album of all time -- and it's a perfect blend of all the styles they were into at the time -- heavy funk, sweet soul, folksy rock, and rolling uptempo grooves! The Brothers handle all styles equally well, and the album's a real delight as it skips effortlessly from track to track -- always bringing a fresh sound to the experience of listening, and continuing to delight us year after year with the Isley's greatness! Includes the classic extended cut "Love Put Me On the Corner", a baroque soul symphony in itself; an amazing remake of "It's Too Late" that's way different than the original; the middle-class anthem "Work To Do"; and the funky cuts "Pop That Thang" and "Layaway".

An amazing record! This one's probably our favorite Isley Brothers album of all time -- and it's a perfect blend of all the styles they were into at the time -- heavy funk, sweet soul, folksy rock, and rolling uptempo grooves! The Brothers handle all styles equally well, and the album's a real delight as it skips effortlessly from track to track -- always bringing a fresh sound to the experience of listening, and continuing to delight us year after year with the Isley's greatness! Includes the classic extended cut "Love Put Me On the Corner", a baroque soul symphony in itself; an amazing remake of "It's Too Late" that's way different than the original; the middle-class anthem "Work To Do"; and the funky cuts "Pop That Thang" and "Layaway".

Classic Michael Jackson -- with a difference! The package is an amazingly fresh look at the earliest solo years of Michael, and the best Motown sides recorded by the Jackson 5 -- one that goes back to the original tapes, and represents the material here in nearly-acoustic versions -- leaving out most of the backing, save for just a bit of instrumentation -- and giving us mostly a focus on the beautiful vocals of Michael and his brothers! The approach sounds gimmicky, but it's not -- because the style here is incredibly hip -- almost making these familiar Motown nuggets sound like lost tracks from the Cadet Concept studios -- with almost a folk-funk undercurrent at times -- much more righteous than the versions you might know over the years, and even more personal than ever. Titles include "We've Got A Good Thing Going", "I'll Be There", "Ben", "Who's Loving You", "Ain't No Sunshine", "I Want You Back", "ABC", "Got To Be There", and "Never Can Say Goodbye".

The LA Turnaround from Brit folk tunesmith Bert Jansch -- one of the few records he made for Charisma in the mid 70s -- this one fresh from the break up of the seminal Pentangle! The UK folk sound is as noteable in Bert's voice as any other aspecet of this warm, wonderful set -- but there's also some laidback, southern Cali sunshine in the acoustic picking as well as the more fleshed out instrumentation, with some electric bass, pedal steel and electric piano that shows up when the mood strikes. A really wonderful record, produced by Mike Nesmith, who often a part of some pretty inspiring things when free of any creativitely stifling Monkee business! Titles include "Fresh As A Sweet Sunday Morning", "Chambertin", "Travelling Man", "Stone Monkey", "Needle Of Death", "Lady Nothing", "One For Jo", "Open Up The Watergate (Let The Sunshine In), "The Blacksmith" and more. This edition includes 4 bonus tracks, including alternate versions of "Open Up The Watergate", "The Blacksmith" and "One For Jo", plus "In The Bleak Midwinter, plus the CD is enhanced, featuring the 13+ minute behind the scenes "LA Turnaround. . .The Movie".

There's plenty to love in the music of Jaspects -- a groove that's fresh, instrumentation that's real, and a solid, soulful sound all the way through! The group have a wonderful way of mixing jazz with heavier rhythms -- a dose of hip hop production, yet never in ways that kill the instrumental sensitivity of the group, nor the warmer soul of their lyrics. Keyboards figure heavily on most numbers -- bumping along with the beats, but always keeping things cool -- and there's kind of a slow-bubbling groove to the record that makes for a real change from other sets of this nature. Things are somewhat more cosmic than before, yet never too spacey -- and the set marks a great leap forward for the group, who should hopefully reach a big new audience with this release. Titles include "1963", "Polkadotted Stripes", "Play On", "Like A Drum", "Be Your Man", "Find My Way To Love", "Fallin", "2012", "Chuck Jones", and "Liquid Sounds".

A long-awaited full length set from Yolanda Johnson -- an artist who first grabbed our ears with her Violet Flower EP a few years back! Yolanda's really grown a lot in the space since that first record -- moving her groove into some fresh territory that almost has a bit of an 80s soul vibe at times -- thanks to some cool keyboards that dance along wonderfully with her vocals! The overall sound is quite contemporary, though -- especially at moments when the beats get nice and crispy, and the tunes get a bit more tripped-out than we remember before -- almost up in Cosmic Cali territory. Johnson's vocals are as warmly seductive as ever -- really showing even more depth than the first go-round -- and titles include "Music & Faith", "I Need You", "Strut", "Intervention", "Love Is A Game", "On The Inside", "Lose Control", "Can't Get You Out Of My Head", "Breathing", and "When I See You".

A killer bit of west coast jazz from the 50s -- and hardly what you might expect from the title! The album's actually not the kind of aural sex you might expect (although it does have a nice nude on the front!) It is, however, one of the few sessions led by tenorist Richie Kamuca, a great player with a great edge here -- one that's much sharper than the cheesecake painting, and a perfect driving force for the larger octet on the date! The album's similar to Kamuca's album on the Hi-Fi label -- played with a largeish group, but a lean sound overall -- thanks to the talents of Bill Holman on baritone, Conte Candoli on trumpet, Frank Rosolino on trombone, Vince Guaraldi on piano, Monte Budwig on bass, and Stan Levey on drums. Arrangements are nicely fresh, and titles include "Star Eyes", "Linger Awhile", "Fun", "I Hadn't Anyone Till You", "Way Down Under", and "Blue Jazz".

Maria Kannegaard is one of the straightest artists on Norway's Jazzland label -- but she's also one of our favorite too, and a hell of a great pianist who's easily one of our favorite contemporary talents on the instrument! Kannegaard has a way of hitting hard, yet keeping things fluid -- a soulfully majestic sound that conjures up McCoy Tyner one minute, Bill Evans the next -- but also has its own angular sense of interplay, an intrinsically rhythmic aspect that really holds our interest throughout. The group's a trio -- with Ole Morten Vagen on bass and Thomas Stronen on drums -- and all titles are wonderfully fresh originals by Maria, with tunes that include "Drifting Down The Nile", "Camel Walk", "Bits", "Quite At Rest", "Travelling Pass", "Sliding Doors", and "A Cup Of Coffee & Some Danish Pastries".

A beautiful package of work from Keletigui Et Ses Tambourinis -- a group who've never been represented this well in the reissue market -- finally getting their due in a well-done 2CD set! The sound of the group's a bit different than some of their contemporaries -- a haunting blend of reeds mixed with guitar, and often set to rhythms that have a gently flowing, almost bubbling sort of quality -- one that echoes other popular African rhythms of the period, but which often change up in really cool ways! The hors are often what make the grooves so great -- soulful tenor, sharper alto sax, and some sweet flute lines that dance across the top -- echoing the spirit of the guitar nicely. And the instrumentation changes a bit from track too, making for a fresh sound throughout. As with other titles in this series, the package features full notes in English and French, plus lots of wonderful photos too -- and most cuts in the collection come from the years 1968 to 1972 -- lots of great singles, plus most of one LP. Titles include "Toubaka", "Guajira Con Tumbao", "Ilole Gbanina", "La Bicycletta", "Donsoke", "Bebe", "M'bongi Eyi", "Kabakele", "Kesso", "Mariama", "Kadia Blues", "Djoute Wassa", and "Jrda".

A nice solid midtempo 80s groove track that was a big hit for Gladys Knight, even at this late point in her career, and still manages to sound fresh today.

Aural hypnosis, blissful beats and natural atmospherics from Kona Triangle -- the collaborative union of UK sound stylists Keaver and Brause! The organic sounds that float over and slide another the synth tones and lightly thumping beats sound like genuine nature -- giving the groove and lively depth -- and it's a lovely little batch of soundscapes. Titles include "Heavens Gate", "Shine Alight", "Pinchback", "Long Mountain", "Fresh Flowes Ahead", "Airlock", "Mango Rubicon", "Toybox" (Kona remix), "Mauna Loa" and more.

Aural hypnosis, blissful beats and natural atmospherics from Kona Triangle -- the collaborative union of UK sound stylists Keaver and Brause! The organic sounds that float over and slide another the synth tones and lightly thumping beats sound like genuine nature -- giving the groove and lively depth -- and it's a lovely little batch of soundscapes. Titles include "Heavens Gate", "Shine Alight", "Pinchback", "Long Mountain", "Fresh Flowes Ahead", "Airlock", "Mango Rubicon", "Toybox" (Kona remix), "Mauna Loa" and more.

Quite a unique set from Lee Konitz -- recorded during a late 60s period where he was wonderfully experimental with his sound! For the album, Konitz is joined by Marshall Brown on valve trombone & baritone horn, Dick Katz on piano & electric piano, Eddie Gomez on bass and Jack De Johnette on drums -- all making for a mixed acoustic/electric sound that seems to set Lee free -- not in a trippy way, but in a mode that breaks the ice of the 50s years, tempers the freedom of the early 60s recordings, and makes for a really fresh approach overall! The album starts off with three Bartok pieces that were originally for piano but have been adapted by the Quintet -- and also features three Katz originals and two Konitz pieces -- titles that include "Thumb Under", Lester Leaps In", "Something To Sing", "Peasant Dance", "Subconcious Lee", and "Fourth Dimension". CD features 3 bonus alternate takes!

Essential work from vocalist Karin Krog -- one in a number of sessions cut with some of the best saxophonists of her time (Dexter Gordon, Archie Shepp, John Surman) -- a record that features some incredible late tenor from Warne Marsh, set beautifully alongside one of the few vocalists who could match him! Instrumentation for the record comes only from Warne's tenor and the bass of Red Mitchell -- leaving Karin plenty of room to open up with imaginative interpretations of the tunes -- and almost letting Marsh emerge as a second "voice" that contributes equally to the album. The approach is wonderful -- spare and moody, but extremely soulful -- and even familiar chestnuts sound completely fresh in the setting. Titles include "I Remember You", "Trane", "Moody's Mood For Love", "Loverman", and "Speak Low". CD also features 3 bonus alternate takes!

Sweet jazzy funk -- from the cornbelt of Omaha! The LA Carnival are one of those rarer-than-rare funk groups who not only never got their due back in the day -- but also recorded a heck of a lot of great material that never even got issued! They have a totally great sound that bubbles in jazzy licks on trumpet, sax, and organ -- next to tighter, funkier vamping on the rhythms -- all of which makes for a killer approach to the groove that's surprisingly fresh, given the passage of three decades since the group's heyday. And leave it to the folks at Stones Throw -- who know how to dig beyond the crates, into the earth, and come up with a lost slice of funk history that has made the world a much better musical place. They've lovingly remastered these great recordings from the early 70s, and have packaged the whole thing with a well-done set of notes that really goes into detail about this unique group, their amazing sound, and their obscure Nebraska origins! An instant funk essential -- and one you'll be thanking yourself for buying for years to come. Titles include "Black Man's March", "Ron's Tune", "The Klan", "Color", "Flyin", "We Need Peace & Love", and "Blind Man".

The first indie release by Amel Larrieux -- and a great one! Amel's sounding stronger than ever here -- working in stripped-down territory that recalls her earlier work, yet which also put her in the forefront of underground soul artists keeping the genre fresh and strong. After years singing with Groove Theory, Sweetback, and on other projects, Larrieux's vocals are incredible -- deeply-crafted, but never overdone and cloying -- sliding around with a style that's sweet and righteous at the same time, and set here amidst arrangements that have some great twists and turns. Nicely defying cliché, Amel's got a sound here that's fresher than ever! Titles include "For Real", "Congo", "Sacred", "Giving Something Up", "Beyond", "All I Got", "Say You Want It All", and "Dear To Me".

Beautiful work from the mutually-admiring team of Joe Locke and David Hazletine -- two players who always make great records on their own, but who sound especially nice here together! The album's only the second effort from this pair in a decade, but it's well worth the wait -- a soaring, joyous blend of Locke's vibes and Hazeltine's piano -- showing all the musical development both players have experienced in the past ten years, and recorded with a real richness in sound. Other players in the group are great too -- bassist Essiet Essiet, who brings a soulful undercurrent to the whole thing, and drummer Billy Drummond, who snaps the tunes with a swing, but in a more relaxed way that you might hear on other Hazeltine sessions. Tunes are quite fresh too -- mostly original numbers that bring out some great tones in both players -- perfect vehicles for their warmly collaborative efforts, on titles that include "One For Reedy Ree", "Pharoah Joy", "Convocation", "If It's Magic", "Blues For Buddy", and "Twelve".

Massive work from the great Cheryl Lynn -- and a key bridge between late 70s disco and the newer grooves of the 80s club scene! The album's a mix of midtempo groovers with a few mellower tracks -- and it's got a tight, slightly jazzy sound that was very fresh at the time, and which still holds up incredibly well today. The standout cut on the record is the landmark groover "Got To Be Real" -- but there's loads of other great ones, like "Star Love", "Daybreak (Storybook Children)", "Give My Love To You", "All My Lovin", and "Come In From The Rain".

Some of the funkiest work ever recorded by Galt MacDermot -- the quirky jazz and soundtrack composer who's become a favorite of beatheads over the years! The set combines two albums worth of unreleased tracks by Galt -- killer material from his legendary years, all recorded for his own Kilmarnock label, and never issued at the time. The CD's filled with quirky funk tracks that feature loads of tight drums, skittish basslines, and some killer piano and other jazzy bits -- all set up with a sound that's incredibly fresh, and which makes the CD a total delight for fans of anything funky. Both these sets were out on vinyl before, but honestly, hearing the work together in this 24 track package makes it come alive even more -- as there's a depth to the set that's simply astounding!

Mandrill's first album of funky Latin jazz and soul -- a landmark in crossover styles that still sounds remarkably fresh today! Unlike later records, which feature a tighter funk sound, this one has the band jamming out in a Latin-inflected mode that sounds like some of the best Chicano bands from LA during the early 70s. There's loads of funky flute, sweet organ riffing, and heavy drum and bass interplay. Includes the extended suite "Peace & Love", plus other funky goodies like "Symphonic Revolution", "Rollin' On", "Warning Blues", and "Mandrill".

Few players can muster a solo trombone set like Albert Mangelsdorff -- and this beautiful set is great proof of that fact! First up is the album Trombirds (1972) -- incredible solo work from one of the best trombone players on the planet -- a set that's almost more FMP jazz than MPS -- and a beautiful demonstration of the mighty talents of Albert Mangelsdorff! The set's quite unique, especially for the time -- and Albert really sounds beautifully in this solo space -- never blowing too free, or losing his sense of swing at all -- but also really opening up his horn to new styles and new sounds -- some of which are hard to believe they came from a trombone! There's a sonic sensibility to the record that's really amazing -- never just blown, but always done with a sense of tone -- and titles include "Sing A Simple Song For Change", "Blues Of A Cellar Lark", "Trombirds", "Yellow Hammer", and "Espontaneo". Tromboneliness (1976) has Albert blowing solo, and beautifully, in a set of highly imaginative numbers! Solo trombone may not sound like the most earth-shattering thing in the world -- but in the hands of Mangelsdorff, it can definitely move mountains -- creating complicated patterns of shape and sound with a very familiar instrument -- used here in ways you'd never expect, even from some of Albert's other group recordings. There's a strong sense of tone here -- one that's perhaps only matched by George Lewis for sheer inventiveness and creativity -- and Mangelsdorff never misses an opportunity to surprise, and the whole set is refreshing throughout. Titles include "Do Your Own Thing", "Fur Peter", "Marc Suetterlyn's Boogie", "Creole Love Call", "Questions To Come", and "Bonn". The last album in the set is Solo (1982) -- a simply-titled album, but one that's full of complicated sounds -- trombone modes that few other players could match, and a mighty testament to the improvising powers of the legendary Albert Mangelsdorff! The set seems to draw on a range of jazz tradition -- but delivers the music in a stark, fresh sort of way -- tones and sounds that are almost right at home with the early 80s generation that also gave us industrial music and a huge wave of free European jazz -- but always delivered here by Mangelsdorff with a sense of poise, timing, and class -- proof that his inventive work on trombone was never a matter of tricks or gimmicks. Titles include "Rooty Toot", "Lost & Found", "Nexus", "Bone Blues", "JC Was Here", "Give Me Some Skin", and "Der Alte Dreiviertel".

A really fantastic little set -- way way better than we ever expected, thanks in large part to the strength of the remixers used in the project! We'll be honest in saying that it would be easy to ruin Curtis Mayfield's work by remixing it too much -- because the man's genius is so well-established that we really can't imagine adding that much to it. But when you've got talents like Louie Vega, Ashley Beedle, Blaze, and King Britt in on the project, they can all go to places that we couldn't even imagine -- and the result is a really fresh batch of tunes that expands upon the classic sound of Curtis with a host of soulful styles! Some tracks have more of a dancefloor focus, but the majority of work on the set still really appreciates the Curtom funky sound of the originals -- and never muddies the water with too much trickery or superfluous remix bits. Titles include "Superfly (Louie Vega EOL mix)", "Do Do Wap Is Strong In Here (Ashley Beedle re-edit)", "Move On Up (Eric Kupper voc)", "We're A Winner (Grandmaster Flash rmx)", "Little Child Runnin Wild (King Britt Scuba mix)", "Freddie's Dead (Blaze Roots DJ mix)", "If There's A Hell Below (Maurice Joshua Nu Soul mix)", and "We Got To Have Peace (Eddie Baez laidback mix)".

The second of many great recordings that Brother Jack cut of "Electric Surfboard"! The cut's amazing, with a monster hook that works perfectly with Jack's moody organ style -- and it bubbles away with an intense groove that's fresh throughout! "Down Home Style" is a nice one, too -- with a tasty Memphis funk sound that's very nice!

Nice set of jazzy tracks by Brazilian drummer Pascoal Meirelles, and one that mixes jazz and forro styles into a unique blend with a very fresh sound, thanks in part to his crack sextet. The lineup includes tenor, alto, and keyboards -- plus bass and percussion. With the tracks "Forro Brabo", "P'ro Moura", "BPC", "Jazz Riff", "Mr. Arthur Maia Suite", and "Chorino Da Paula".

Monday Michiru is one of the few contemporary artists to get the Free Soul treatment -- but that's more than ok with us, given the depth of her work, and her near-classic sound! The collection brings together some of the most soulful and deeply flowing tunes by Monday from the past decade or so -- numbers that sparkle with a sense of life and joy that you'd be hard pressed to find in most other soul singers, even those from the current Neo Soul underground! A few numbers are more uptempo and dancefloor-oriented, but these are offset by others that are gentler and more introspective -- performed in a great range of instrumental styles that really keep things fresh. CD features a few special versions of tracks, and titles include "Loving You (acoustic live version)", "You Make Me (single version)", "Play It By Ear", "Conversations With Myself", "Sunshine After The Rain (radio edit)", "Leaf In The Wind", "Chasing After The Sun (barefoot n pregnant version)", "Tatto My Heart", "Changes", "Mermaid", "Maiden Voyage -- Gone", "Stop N Listen", "Thinking Of You", and "How Deep Is Your Love".

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".

A very unique little record -- and one with a sublime blend of Latin, soul, and vocal styles! The record's a fair bit more sophisticated than most other efforts like this from the 60s -- thanks to a strong batch of talents that includes Gil Fuller on arrangements, Phil Moore III on piano, Leni Groves on vocals -- and a host of small combo players who include Joe Pass on guitar, Hadley Caliman on tenor and flute, and Francisco Aquabella on percussion! There's a warmly soulful west coast jazz sound here that's perhaps the strongest aspect of the record -- a style that steps off nicely from the hipper side of LA, but throws in a few Latin influences -- making for a really great sound that's totally fresh, and which really makes this record stand out from the pack! Titles include a great version of "What Is Wrong With Groovin", plus "Midnight Blue", "Batucada", "I Want Your Kiss", "Lavender Lady", and "The 8th Day".

Breezy guitar, and breezy vocals to match -- a wonderful album from Paulo Muniz, done in a real 70s style overall! The sound here takes us back to that great point when American jazz vocalists were really experimenting with Brazilian styles in the 70s -- not just aping older bossa modes, but coming up with a fresh new blend of rhythms and instrumentation, topped with well-penned lyrics in English. But at other points, there's a straighter bossa approach too -- thanks to jazzy instrumentation on the piano and saxophones in the mix -- and Paulo brings a warm sincerity to his songwriting that's really great. A few tracks are in Portuguese, and titles include "Even Better Somehow", "Last Try", "Sweet Delusion", "Perdi", "Sine Qua Non", "Perdao", "Any Further", and "Esqueca".

An Afro Funk treasure from the 70s -- a rare album recorded by Pax Nicholas, a singer and percussionist who was part of Fela's legendary Africa 70 band! The album's got a sound that definitely echoes that heritage, but with a groove that's pretty weird too -- more stripped down than most of Fela's work, with a thin keyboard part that often pulsates under the horns, creating an offbeat, edgey vibe in the music! Nicholas' groove is almost like taking Fela, and putting it through an odd sort of filter -- one that turns things slightly sideways, and brings a really fresh sound to more familiar Afro Funk modes -- kind of with the same other-worldly feel we love in some Ethiopian work of the time. Tracks are all nice and long -- and plenty jamming -- and titles include "Na Teef Know De Road Of Teef", "Ataa Onukpa", "Na Six Feet", and "You".

Spacey soul soundscapes from Nicolay -- another big step for the unpredictable, but always soulful beatmaker, producer, and artist -- inspired by a consciousness awakening trip to Tokyo on Shibuya -- City Lights Volume 2! When we were first tipped to Nicolay's sounds, it was from a soulful hip hop perspective, and he still carries that vibe, but the scope of colors he's composing with is broad -- using them to craft material that's both intimate and hypnotic. Fresh beats, Rhodes, Moog, bass, strings and drums flavor the sound. Much of the material on this set is instrumental, but several tunes featuring lovely vocals by Carlitta Durand -- with lyrics penned and vocal arrangements by frequent collaborator and Foreign Exchange partner Phonte Coleman. Titles include "Lose Your Way", "Saturday Night", "Wake Up In Another Life" and more with Carlitta Durand, "Shibuya Station", "Crossing", "Rain In Ueno Park", "A Ride Under The Neon Moon", "Bullet Train", "The Inner Garden", "Departure" and more.

A killer full length set of work from Cliff Nobles -- the artist best known to the world for a late 60s instrumental hit, but a pretty great singer as well! This wonderful collection features both vocal and instrumental sides of the Cliff Nobles sound -- tunes that are a testament to his underground soul strengths at the end of the 60s, with a great blend of sock-soul and pre-funk modes! Cliff scored biggest on the charts with his classic "The Horse" -- a brassy, upbeat instrumental with a groove that's right up there with the best Archie Bell or Bar-Kays work of the late 60s -- but that cut was actually the flip of the vocal tune "Love Is All Right", a wonderful showcase for his singing skills. Both tracks are featured on the set, and the collection continues with a mixed vocal/instrumental sort of appeal -- a mini soul party on its own, with a really fresh blend of modes. Titles include "The Horse", "Love Is All Right", "Judge Baby I'm Back", "Horse Fever", "If You Don't", "The More I Do For You Baby", "The Camel", "Getting Away", "Burning Desire", "Switch It On", and "This Love Will Last".

Red Norvo's dragged his vibes out into a field of wildflowers -- and while we hate to think what that's done to the sound of his instrument (not to mention his hayfever), we can definitely say that the album's a groovy treat from the decade when Red was turning out some of his finest music ever! The "Music To Listen To" title is a nod towards some of the mood music sets of the time -- but that quality is here in title only, as the album's definitely an all-jazz affair -- one that expands out the original Norvo trio sound to sextet formation -- getting some wonderful sounds from Buddy Collette on flute, Bill Smith on clarinet, Barney Kessell on guitar, Red Mitchell on bass, and Shelly Manne on drums -- all players who can hit the fresh, modern tones that Norvo's known for, but who also help things swing nicely overall. The flute/clarinet mix is especially sweet -- a fluttering, bird-like sort of reed effect -- and titles include "Divertimento", "Red Sails", "Poeme", "Rubricity", and "The Red Broom".

A fresh batch of warm, wonderful hip hop from producer/MC Ohmega Watts -- a block rockin' set that couldn't be more welcome in these days of morose contemporary hip hop! If there's any justice in the world, Find will catapult the Ohmega Watts name into the upper echelon of respected contemporaries such as the J5, Blackalicious, and the Stones Throw set. The record's an uptempo, funky stormer with songs that recall the best early sunshine from of the Pharcyde and Black Sheep, plus beats and production that mirror the propulsive thump of Pete Rock and the sprawling atmosphere of Prince Paul. We don't throw those names around indiscriminately, kids. Ohmega earns it! Tracks include "Where It All Started" with DJ DNA, the great single "That Sound" feat Lightheaded, Noelle of Rebirth and the Procussions, "A Request", "Mind Power", "Groovin' On Sunshine", "Floor Rock", "Move!" and more. LP version does not contain the 4 "interludes".

Brilliant stuff -- the first album ever by samba singer Orlandivo, a great talent who had a knack for blending samba, bossa, jazz, and a bit of soul -- surfacing here with a sound that's quite different than most other singers of his generation! The record features organ by the great Ed Lincoln, grooving around in a tightly percussive bossa-inflected style -- and the record is every bit as fresh and sparkling as the cover makes you think! Titles include "Onde Anda O Meu Amor", "Vem Pro Samba", "Chavinha", "Samba Toff", "Dias De Verao", "Sambadinho", "Saudade Doi Demais", "Amor Vai E Vem", and "Frajola E Piu Piu".

Some of the earliest work we've ever seen from this hip Brazilian singer -- and a cool batch of jazzy tunes that's got a really fresh sound! The album's got the feel of a bossa session, but the instrumentation is a bit off-kilter -- in a really cool way, especially on the way that vibes are used next to the vocals. Most tracks have a lively samba groove -- and titles include "Paralelo", "Entrou No Samba", "Deixa O Vento Levar", "Na Roda Do Samba", "E Samba", and "Voce E Paz". This is a huge treat to see reissued so beautifully -- and the sound is as crisp and alive as can be. A stunner!

Amazing work from Os Ipanemas -- a group who just keep sounding better and better with each new recording! The set's easily the most mature of their recent comeback stretch -- and has these magnificent arrangements that almost remind us of Moacir Santos at points -- a gentle balance between bossa, jazz, and more angular modes -- all handled with a great deal of warmth, in a sound that's clean, fresh, and totally exhilarating! There's none of the too-easy modes you might expect from a group headed up by two older Brazilian musicians -- and despite the frequent press that equates these guys with the Buena Vista Social Club, the sound here is really something different altogether -- hardly too-traditional modes, and instead the kind of music that would sound equally amazing if it were coming from the hands of a younger, unknown group. Titles include "Canto Pra Oxum", "Era Bom", "Doriva", "Chama O Donato", "Deus Do Ceu", "Fonte De Prazer", "Afro Imortals", "Gana", and "Um Novo Amor Chegou".

The long awaited return of Brazilian iconoclasts Os Mutantes -- featuring original Mutante Sergio Dias and a great new band -- plus songwriting contributions from Tom Ze and Jorge Ben -- a forward looking endeavor, not at all a nostalgia trip! It's been around 30 years since the previous Os Mutantes album, and the never predictable Dias sounds as fresh and energized as we hoped he'd be -- with bright, catchy-as-hell melodies, wildly playful carnivalesque sounds as well as more rootsy acoustic bits, on songs that fearlessly blend genres and influences. It's hard to imagine that we'll ever love records from Mutantes, or anyone else in any genre, as much as we love the late 60s stuff -- but this is excellent, and among the better Mutantes records since the Rita Lee era. Dias sings and plays electric & acoustic guitars, Egyptian oud, organ, percussion, harmonica and handles the string arrangements, and fellow Mutantes this time out include percussion, drums & vocals by Dinho Leme and Bia Mendes, vocals, piano & keys by Henrique Peters and Fabio Recco, percussion & sound design by Simone Sou, bass, flute, strings and string arrangements and more by Citor Trida. Titles include "Hymns Of The World (Intro)", "Querida Qierida", "Teclar", "2000 E Agarrum", "Baghdad Blues", "O Careca", "O Mensageiro", "Anagrama" featuring Tom Ze, "Aamba Do Fidel", "Nada Mudou", "Gopala Krishna Om", "Hymns Of The World (Final)" and more.

One of our favorite funk combos take on a host of gems from the past -- all classic soul and funk numbers that really expand the sound of Osaka Monaurail! The group first got their start doing a great riff on the sound of James Brown -- but here, they move into Memphis soul, Chicago funk, and more -- working their well-honed instrumental talents over a host of killer cuts that explode in fresh new versions! Unlike other records, where Ryo Nakata sings, this time around he's just leading the group and playing keyboards -- but that shift is OK with us, as it gives the horns and guitar lots more space to do their thing. Titles include "Cafe Regio's", "Supershine #9", "Chocolate Buttermilk", "Amen Brother", "Get Down", "Get Ready", "Little Old Money Maker", "Message To Love", "Divertissement", and "Hey Jude". CD also features 3 bonus live tracks -- "Tighten Up", "Truck Turner", and "Soulful Strut".

One of our favorite funk combos take on a host of gems from the past -- all classic soul and funk numbers that really expand the sound of Osaka Monaurail! The group first got their start doing a great riff on the sound of James Brown -- but here, they move into Memphis soul, Chicago funk, and more -- working their well-honed instrumental talents over a host of killer cuts that explode in fresh new versions! Unlike other records, where Ryo Nakata sings, this time around he's just leading the group and playing keyboards -- but that shift is OK with us, as it gives the horns and guitar lots more space to do their thing. Titles include "Cafe Regio's", "Supershine #9", "Chocolate Buttermilk", "Amen Brother", "Get Down", "Get Ready", "Little Old Money Maker", "Message To Love", "Divertissement", and "Hey Jude".

Yes, yes, yes -- we all know the group from later years and their big hit at the end of the 70s, but back in the late 60s, they were an excellent uptown soul duo who forged some slight fame with work like this, sweet soul versions of standards and pop tunes, arranged in a strong New York style by Bert Keyes and Van McCoy. Looking at the evergreen titles, you wouldn't think the album was much -- but like Ruby & The Romantics and other New York groups of the time, Peaches & Herb really manage to turn the tracks into something new, opening up old lyrics with new soul styles, creating a sound that's both fresh and familiar at the same time. Peaches sings an amazing solo version of "Time After Time", and other tracks include "Let's Fall In Love", "I'm In The Mood For Love", "Close Your Eyes", "We Belong Together", and "I Will Watch Over You".

Surprising 70s work from tenorist Bill Perkins -- a set with a very different groove than his better-known sides from the 50s, with lots of sharp angles, modern touches, and a wonderfully rich sound overall! Perkins plays tenor, baritone sax, and flute -- and he's working with some very hip players who include Pepper Adams on baritone, Gordon Goodwin on tenor and soprano sax, and Lou Levy on piano -- the last of whom is most likely a key component in the sound, as Perkins' music here has some of the same fresh notes and new tones we've heard on Lou's overlooked 70s recordings. Goodwin's a player we don't know at all, but we love his work here -- and he also contributed two great tunes to the set too. Titles include a killer remake of Natalie Cole's "La Costa" -- plus "Confluence", "Indoor Sports", "Civilization & Its Discontents", and "Dylan's Delight".