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One of Johnny Griffin's hard blowing LPs as a leader for Jazzland – recorded with a crack lineup that includes Blue Mitchell on trumpet, Julian Priester on trombone, Wynton Kelly on piano, Sam Jones on bass, and Albert Heath on drums! This is the kind of work that the term "hard bop" was coined for – sharp-edged jazz at its best – informed strongly by earlier bop and modern modes, but also played with a deeper dose of soul overall. The six players come together perfectly throughout – working with a tightness that matches most Blue Note work of the time – and titles are a great set of tracks that includes 3 by Chicago pianist Norman Simmons, and 1 by the great Babs Gonzales. Tunes include "Olive Refractions", "The Message", "Lonely One", "Playmates", and "63rd Street Theme".

One of the greatest Yusef Lateef albums on Atlantic Records – and that's saying a lot, given the high level of quality he was hitting at the label! The album's a perfect blend of the newly-funky Lateef style with some hipper, more sophisticated touches – a mode that hints at his bigger-concept recordings to come, but which is still pretty lean and clean overall – and damn funky on most of the best tracks! Yusef plays a host of hip flutes here, plus tenor and oboe – and an almost equal star on the record is Kenny Barron, whose electric piano lines really make the album something special. The album begins with a long take on Barron's "Nubian Lady" which begins the record – and Kenny also contributed the tighter grooving "Jungle Plum". Other tracks include "African Song", "Queen Of The Night", "Poor Fishermen", "Below Yellow Bell", and a strange version of "Hey Jude" that goes on for a long time, and really messes with the volume – listed on the cover with the note "Do not adjust the playback level on your audio equipment – readjust your mind!"

From the soundtrack to the PJs.

A wonderful little tribute to the late, great John Coltrane – served up as a piano trio session led by Tommy Flanagan, but done with a sense of power and imagination that rivals the strength of Trane's classics! All tracks here are originals by Coltrane, performed by Flanagan with a forceful approach to the piano that shows a bit more McCoy Tyner than usual – and which is propelled strongly on most numbers by bold rhythm work from the team of George Mraz on bass and Al Foster on drums. Foster's work on the kit is especially nice – quite bold, and really soaring forward with a sense of righteous energy – inspiring Flanagan to heights we've never heard before on a session like this. Titles include "Naima", "Giant Steps", "Syeeda's Song Flute", "Central Park West", "Mr PC", and "Cousin Mary".

One of Johnny Griffin's hard blowing LPs as a leader for Jazzland – recorded with a crack lineup that includes Blue Mitchell on trumpet, Julian Priester on trombone, Wynton Kelly on piano, Sam Jones on bass, and Albert Heath on drums! This is the kind of work that the term "hard bop" was coined for – sharp-edged jazz at its best – informed strongly by earlier bop and modern modes, but also played with a deeper dose of soul overall. The six players come together perfectly throughout – working with a tightness that matches most Blue Note work of the time – and titles are a great set of tracks that includes 3 by Chicago pianist Norman Simmons, and 1 by the great Babs Gonzales. Tunes include "Olive Refractions", "The Message", "Lonely One", "Playmates", and "63rd Street Theme".

Classic Bud Powell trio work for Verve – recorded with Max Roach on drums, adding a nice edge to the session! The record features some of Powell's classics – like "Tempus Fugit", "Strictly Confidential", and "Celia" – plus other haunting renditions of standards like "Get Happy", "Yesterdays", and "April In Paris" – all wrapped up in a nice cover that features a moody David Stone Martin image in red!

One of the most ambitious albums on CTI – a very large project in which Don Sebesky seems to work with just about everyone else who recorded for the label! The Giant Box title is apt – as the record originally came packaged in a cardboard box – room enough to hold the 2 records that comprised it, all the long tunes on the set, and the huge array of cast who helped out on the project. Players include Sebesky on organ, piano, and electric piano – plus Baws, Joe Farrell, Paul Desmond, and many others. There's some sweet vocal backgrounds on the set – by Jackie & Roy, Lani Groves, and Tasha Thomas – and titles include "Vocalise", "Semi Tough", "Firebird/Birds Of Fire", "Free As A Bird", and "Song To A Seagul". Great stuff – with bits of funk, jazz, and ambitious arrangements – all filtered into the cool CTI sound!

Extra and alternate material from the sessions of Giant Giant Sand's excellent Tucson – a creative peak in the long, idiosyncratic career of the lamentably underappreciated Howe Gelb.

Rare material from the group that eventually became Unwound – high school recordings by the band of Justin Trosper and Vern Rumsey – pressed up here in a limited package with silkscreened cover – to kick off the full Numero reissue of Unwound material!

With Ben Webster on tenor, Frank Rosolino on trombone, and Barney Kessel on guitar. Titles include "Blues My Naughty Sweetie Gives To Me", "Blue Lou", "A Walkin Thing", and "Old Fashioned Love".

A massive return to form from Cecilia Stalin – and proof that she's got way more to offer than just some amazing vocals! The set's not just great on the vocal tip, but also in terms of the arrangements, too – a 21st Century recasting of jazz modes, criss-crossed with the best bits of the European underground – served up with a vibe that's especially heavy on London flavors, too! Music crackles right from the start – and Cecilia wrote and arranged the whole set herself, while also singing these beautiful lyrics that blend old school vocalese with contemporary soul – the kind of groove that we first loved when we discovered her singing with Koop about a decade ago – but even more focused and mature here! The set features a few great remakes – "Step Like A Giant", "Afro Blue (Roots)", and "Favorite Things" – all showing her love of John Coltrane – plus the tracks "Cinematic Favorite", "Quinox", "Aisha", "One", "Shining Star", "So Blue & Green", and "My Naima".

Kind of a forgotten piece of the left coast puzzle, and though we didn't get open on every cut here, we never get tired of the mid 90s classic "Back In The Day", which is featured here in the original and remixed versions. Also includes "Touch The Ceiling", "The Jones", "We Want The Funk" and "Homeboys First".

If you ever needed proof of Oscar Peterson's genius on the piano, this CD may well be it – as it captures Peterson in a set of different early live performances at Carnegie hall – all of them mindblowing! The tunes here are a bit longer and looser than some of Oscar's studio work for the time – and display a majestic command of the keyboard that rings out from the very first note – never too overdone or showy, but jaw-droppingly incredible in its sense of timing, and trademark mix of poise and invention in the same deft stroke. Accompaniment on 4 of the tracks is only by Ray Brown on bass – and the rest feature either Barney Kessel or Herb Ellis joining in on guitar to complete the classic sound of the 50s Peterson Trio. Tracks were recorded at JATP performances in September of 1949, 1950, 1952, and 1953 – and the CD features 15 titles that include "Gai", "Padovane", "Fine & Dandy", "Carnegie Blues", "Cheek To Cheek", "Tenderly", "Lollobrigida", "Pompton Turnpike", and "Love For Sale".

Atlanta's Seek have been a big hit with Dusty Groove fans for their smooth funky classic soul style – and that style's made even better here by extra remixes! The track "Surrender" is offered up here in 2 versions – one given a housey tip by Ron Trent, the original done in a straight soul style by the group. The real charmer, though, is "Ever After", a catchy midtempo track with some great keyboard work under the catchy vocals – and in this case, the original's a-ok with us, as the remix obscures the best parts!

Another stellar batch of Simply Good Music – a far-reaching selection of boundary-stretching jazzy soul – collected by Giant Step Records! The set features singles, album tracks and lesser known numbers from long-established talents such as Raphael Saadiq, Bebel Gilberto, Fertile Ground and Los Amigos Invisibles, nusoul divas Liz Fields and Adriana Evans, plus some incredible heaters by Platinum Pied Piers, Plantlife and others! 13 tracks in all: "I Know Shuggie Otis" by Raphael Saadiq, "Your Day Is Gone" by Platinum Pied Piepers feat Georgia, "Live In The Light" by Fertile Ground, "Appreciate" by Plantlife, "Ever After" by Jiva Vs. Seek, "In Search Of" by Adriana Evans, "Antonia" (TKN Re-edit) by Renovation Unlimited featuring Roy Ayers and more!

A classic bit of Chicago soul! "Stone Good Lover" is a mellow number from Jo – a warm bit of deep soul with a really great feel. The track was a real underground classic, and it's still one of the best records ever from this vastly under-rated singer. "Urge" is an instrumental – strings and piano vamping nicely with the band!

A rare later album from 50s guitar giant Mickey Baker – recorded overseas, and with a different vibe than his legendary R&B work – including some nice funky moments too! The album's not really jazz, and it's hardly rock at all – and instead is more of a bluesy effort with slight undercurrents of funk – some modern touches provided by the tight rhythms of bassist Alex Sanders and his combo – who provide a nice backdrop for Baker's sharp lines on guitar! Mickey's picked up a few modern tones over the years, but still has plenty of grit in his grooves – and titles include "Pop Off", "Prelude", "Ouagadougou", "Sophie", "Wag Your Tail", "Shadadabah", and "Alexander's Funk Time".

An overlooked gem from the revival years of Impulse Records – a set recorded in the mid 80s, but one that easily matches the soul and spirituality of the label's best work from the late 60s and early 70s! Pianist Henry Butler steps out here with a strong musical vision – one colored by his own bold McCoy Tyner-esque lines on the piano – and embellished by great solo work from Freddie Hubbard on trumpet and Azar Lawrence on tenor. Rhythm is by Charlie Haden on bass and Billy Higgins on drums – who definitely match Butler's pulsating, modal-influenced groove here – and additional instrumentation includes bits of flute and oboe, plus a string quartet on 2 numbers – coming off with Alice Coltrane-like brilliance! Great proof that righteous jazz was still being made in the 80s – with titles that include "Fivin Around", "LA Samba", "Improvisation On An Afghan Theme", "Giant Steps", and "Butler's Blues".

Sublime Italian soundtrack funk – and one of the greatest albums ever from 70s maestro Stelvio Cipriani! The music was scored for a schlocky horror film about a giant octopus – but Cipriani's approach here goes far beyond its roots – beautifully blending together tightly compressed bass and funky drum bits with sweet electric keys and warm string touches – making for a set that slinks along with an infectious groove from start to finish! The sound is incredible – immediately seductive on the first track, and continuing to develop as the set moves on – making for an amazing soundtrack that we'd rank as one of our Italian favorites of the 70s. Titles include "Tentacles", "Small Town Pleasures", "She'll Never Come Back", "San Diego Yellow Cab", "Summer & Winter", and "Scotch For Two". CD features more tracks than the previous version – 7 more bonus tracks that are previously unreleased!

Ronnie Cuber's an overlooked monster in jazz – a hell of a player, and has been for decades – and one of the last few cats who can really handle a baritone sax! Cuber was late in a legacy of baritonists that included Pepper Adams, Sahib Shihab, Cecil Payne, and Lars Gullin – a youngster when all those players were getting old, but more than able to swing with the lean energy that made the 50s baritone sax players as important as the giants on tenor! Here, Cuber really demonstrates that legacy strongly – picking up the giant horn and handling it with effortless ease – producing these beautifully-blown solo lines that are nice and long, and filled with imagination – in the company of a combo that features Kenny Drew Jr on piano, Ruben Rodriguez on bass, and Ben Perowsky on drums. The recent date is a great reminder that Cuber can still cook heavily – and titles include "Passion Fruit", "Coco B", "Perpetuating The Myth", "Tell Me A Bedtime Story", and "Arroz Con Pollo".

Incredible stuff – and a rare meeting of two giant jazz talents you'd never thought would appear on the same stage! The album features a 1960 concert in Sweden – Miles and Sonny upfront, with backing by the trio of Wyton Kelly, Paul Chambers, and Jimmy Cobb. Tracks are long, fiery, and a bit dirty (if we can say that in mixed company!) – and titles include "No Blues", "If I Were A Bell", "Walkin", "All Of You", and "On Green Dolphin Street".

Droning soundscapes with dreamy atmosphere and ominous twists and turns from Ensemble Pearl! The ensemble is an international one – featuring Sunn O)))'s Stephen O'Malley, plus Atsuo from Boris, Boris-affiliate Michio Kurihara, William Herzog and guests – and their eponymous record for Drag City is one of cooler avant instrumental projects on DC in recent memory. It apparently came together from material recorded for a theater project a couple years earlier – and it has a bit of tripped out, spooky soundtrack-y feel to show for it – but it stands really strongly as a headphones experience all its own! Includes "Ghost Parade", "Painting On A Corpse", "Wray", "Island Epiphany", "Giant" and "Sexy Angle".

A genius album from Swedish baritone giant Lars Gullin – and a set that's from a period that was much less documented on our side of the Atlantic! Gullin was one of the undisputed masters of the instrument, and his American recordings on Mercury and Prestige stand as proof to his talent – but his work from the 60s, done back in his native Sweden, has been lost for years – and is often deeper and more complicated than his US sides of the 50s! This set from 1964 features Gullin in the company of a host of very talented "pals" that includes some of the greatest talents in jazz in Sweden at the time – Rolf Billberg on alto, Jan Allan on trumpet, Harry Backlund on tenor, Torgny Nilsson on trombone, and Lars Sjosten on piano – all artists used by Gullin in varying combinations, working through these wonderful arrangements of original tunes that are among some of the best he ever wrote. The set features haunting arrangements that defy description, and which allow the soloists free room to express themselves in a manner that skirts between hardbop and modernism, but which always manages to swing! Titles include "It's True", "I've Seen", "Prima Vera", "Decent Eyes", "Gabriella", and "Portrait Of My Pals". CD also features 4 bonus tracks too!

A weird and wonderful album from Tribe Records giant Wendell Harrison – an obscure electric set from the start of the 80s! There's still a strongly spiritual feel on the record, but Wendell also adds some Fender Rhodes and vocals to his work on tenor and flute – bringing in the same sort of spacey soul vibe you'd find on work from the time by Oneness Of Juju! The overall sound is still quite soulful – a great extension of the early Tribe spirit from Detroit – and some cuts feature a bit more acoustic piano and sweet earthy percussion. Other cuts have more of a soulful bounce – thanks to vocals from Miche Braden and Kathy Simmons – and titles include "The Wok", "Ginseng Love", "Love Juice", "A Green Meadow" and "Peace of Mind".

A weird and wonderful album from Tribe Records giant Wendell Harrison – an obscure electric set from the start of the 80s! There's still a strongly spiritual feel on the record, but Wendell also adds some Fender Rhodes and vocals to his work on tenor and flute – bringing in the same sort of spacey soul vibe you'd find on work from the time by Oneness Of Juju! The overall sound is still quite soulful – a great extension of the early Tribe spirit from Detroit – and some cuts feature a bit more acoustic piano and sweet earthy percussion. Other cuts have more of a soulful bounce – thanks to vocals from Miche Braden and Kathy Simmons – and titles include "The Wok", "Ginseng Love", "Love Juice", "A Green Meadow" and "Peace of Mind".

Great later work from this tenor giant – some of his sublime and surprisingly modern work for the Moodsville label!

A great album that Brit tenor giant Tubby Hayes recorded on a trip to the U.S. during the early 60's. The set's a great batch of hard bop tracks recorded during the same time that Epic was doing great stuff like the Dave Bailey LPs, or some of the Charlie Rouse solo records. Dave Bailey's on drums, Horace Parlan's on piano, Clark Terry plays trumpet, and Eddie Costa plays vibes. The LP is magnificent, and perfectly captures Hayes' genius on the tenor in a way that few of his other recordings ever do. Tracks include "Pint Of Bitter", "Opus Ocean", "Soon", and "You For Me".

A beautiful late chapter in the jazz journey of Rahsaan Roland Kirk – and an album of subtle genius that's really opened up to us over the years! The setting here isn't as "hit you over the head" as on some of Kirk's Atlantic Records – because at one level, the tunes are mostly straight, and free of gimmicks – yet also still manage to conjure up the warmth, spirit, and soul that Roland brought to his best work. There's a slightly electric vibe running through some of the tunes, thanks to keyboards from Hilton Ruiz – and the album also benefits from organ work by Trudy Pitts and guitar from Billy Butler – both of whom are wonderfully restrained, in a way that matches the subtlety of the entire conception of the set. Titles include "Theme For The Eulipions", which features a great recitation from Betty Neals, plus cool chorus vocals – and other titles include "Goodbye Porkpie Hat", "Giant Steps", "Loving You", and "I'll Be Seeing You".

A beautiful late chapter in the jazz journey of Rahsaan Roland Kirk – and an album of subtle genius that's really opened up to us over the years! The setting here isn't as "hit you over the head" as on some of Kirk's Atlantic Records – because at one level, the tunes are mostly straight, and free of gimmicks – yet also still manage to conjure up the warmth, spirit, and soul that Roland brought to his best work. There's a slightly electric vibe running through some of the tunes, thanks to keyboards from Hilton Ruiz – and the album also benefits from organ work by Trudy Pitts and guitar from Billy Butler – both of whom are wonderfully restrained, in a way that matches the subtlety of the entire conception of the set. Titles include "Theme For The Eulipions", which features a great recitation from Betty Neals, plus cool chorus vocals – and other titles include "Goodbye Porkpie Hat", "Giant Steps", "Loving You", and "I'll Be Seeing You".

A beautiful late chapter in the jazz journey of Rahsaan Roland Kirk – and an album of subtle genius that's really opened up to us over the years! The setting here isn't as "hit you over the head" as on some of Kirk's Atlantic Records – because at one level, the tunes are mostly straight, and free of gimmicks – yet also still manage to conjure up the warmth, spirit, and soul that Roland brought to his best work. There's a slightly electric vibe running through some of the tunes, thanks to keyboards from Hilton Ruiz – and the album also benefits from organ work by Trudy Pitts and guitar from Billy Butler – both of whom are wonderfully restrained, in a way that matches the subtlety of the entire conception of the set. Titles include "Theme For The Eulipions", which features a great recitation from Betty Neals, plus cool chorus vocals – and other titles include "Goodbye Porkpie Hat", "Giant Steps", "Loving You", and "I'll Be Seeing You".

Seun Anikulapo Kuti returns with another strorming set of neo classic Afro Funk in the great tradition of his father – once again fronting the incredible Egypt 80 group! It's remarkable stuff that finds Seun – the youngest son of Fela – standing up as a visionary talent. He's not only living up to an immense legacy, but moving forward with it in ways that will absolutely stand the test of time. The insistent rhythms and intense energy of the Egypt 80 group – led by Lekan Animashaun – are Afrobeat perfection, with Seun's forthright vocals out front of it. But their approach here is anything but a retread of family glories. The songs are urgent and fierce, and there are subtle modern florishes in the production – thanks in part, no doubt, to co-producer Brian Eno. Titles include "African Soldier", "You Can R Un", "Rise", "Slave Masters", "For Dem E Ye", "The Good Leaf" and "Giant Of Africa".

Brilliant sounds from trombonist Albert Mangelsdorff – a rare live set that captures the modern jazz giant at the height of his powers! The set was recorded around the same time as Albert's famous Now Jazz Rammwong record – and it's got a very similar feel, with lots of elements from Eastern and Indian music styles – touches of the exotic intertwined with modal rhythms, soulful solos, and some occasional freer jazz moments! The blend of sounds is completely captivating, and the recording quality is excellent – sharp enough to make the whole thing feel like some lost Saba/MPS gem from these incredibly creative years in German jazz. In addition to Mangelsdorff's trombone, the set also features tenor and soprano sax from Heinz Sauer, alto from Gunter Kronberg, bass from Gunter Lenz, and drums from Ralf Hubner – on titles that include "Sakura Waltz", "Raknahs", "Now Jazz Ramwong", "Oakaka", "Theme From Pather Panchali", "Burungkaka", and "Far Out Far East".

A smoking selection of work from Memphis giant Willie Mitchell – some of the funkiest tracks he ever recorded, stuffed together in one mighty set! Willie's probably best know for his famous studio work for Ann Peebles and Al Green – but on his own, Mitchell can carve out a cooker like nobody's business – in this case with a great ear for the kind of harder instrumental soul sounds you might hear from Stax or Atlantic Records at the start of the 70s! These tunes have a way harder edge than the compressed, smooth sound of Willie's work with singers – and often feature a sharp solo instrument in the lead – such as tenor sax, riffing guitar, or soulful trumpet. Titles include "Breaking Point", "Six To Go", "Poppin", "Pearl Time", "20-75", "Leo's Mood", "The Champion", "Mercy", "That Driving Beat", "30 60 90", "Everything's Gonna Be Alright", and "Big Power House".

Late work by tenor giant Hank Mobley, and one of the rarest Blue Note albums from the late 60's! The session's a great one – recorded in Paris, with a swinging sextet that includes Philly Joe Jones, Dizzy Reece (!), and Slide Hampton – all coming together magically with Mobley to craft a set of long tracks that have some impeccable grooves and a really hard edge. The set's from a rare period when Blue Note was shining at the end of the 60s with an offbeat genius – and is a record that we'd rank right up there with The Phantom by Duke Pearson and Slow Drag by Donald Byrd, both excellent examples of the style we're talking about. Mobley is incredible, and wrote all the tunes on the set – with titles that include "The Flip", "Feelin' Folksy", and "Snappin' Out". The last truly brilliant album from Mobley!

Simply astounding! Soul Station is a deceptively simple album that has tenor giant Hank Mobley playing standards and originals in a quartet with Wynton Kelly on piano, Paul Chambers on bass, and Art Blakey on drums– a spare and simple group, but one with a direct energy that's really amazing – in a way that makes for some of Mobley's best solos on record! The tracks here are all relatively basic in construction, but this territory allows all players to really relax and open up – especially Mobley, who really dominates the proceedings with some well-blown lines on tenor. Blakey's work is great too – nicely restrained, and the date marks one of his last sessions ever as a sideman. Titles include "Soul Station", "Split Feelin's", "Dig Dis", and "This I Dig Of You".

Simply astounding! Soul Station is a deceptively simple album that has tenor giant Hank Mobley playing standards and originals in a quartet with Wynton Kelly on piano, Paul Chambers on bass, and Art Blakey on drums– a spare and simple group, but one with a direct energy that's really amazing – in a way that makes for some of Mobley's best solos on record! The tracks here are all relatively basic in construction, but this territory allows all players to really relax and open up – especially Mobley, who really dominates the proceedings with some well-blown lines on tenor. Blakey's work is great too – nicely restrained, and the date marks one of his last sessions ever as a sideman. Titles include "Soul Station", "Split Feelin's", "Dig Dis", and "This I Dig Of You".

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

A classic bit of mainstream prog from Nektar – a group who were a big part of the German underground of the early 70s, but who also managed to make some waves on this side of the Atlantic as well! Nektar aren't as full-on or focused as some of the prog acts who cracked the charts at the time, but they do have a tightness that rivals some of the best of the up-and-coming groups to secure a major label contract – particularly deft musicianship that really stands out in its complexity, at a level that might draw some comparisons with Gentle Giant – although probably not as arty or obtuse, given that these guys could be a bit more straightforward. The set's got some especially great mellotron next to other keyboards and guitar – and titles include "Countenance", "Death Of The Mind", "Pupil Of The Eye", "The Dream Nebula", and "Warp Oversight".

A classic bit of mainstream prog from Nektar – a group who were a big part of the German underground of the early 70s, but who also managed to make some waves on this side of the Atlantic as well! Nektar aren't as full-on or focused as some of the prog acts who cracked the charts at the time, but they do have a tightness that rivals some of the best of the up-and-coming groups to secure a major label contract – particularly deft musicianship that really stands out in its complexity, at a level that might draw some comparisons with Gentle Giant – although probably not as arty or obtuse, given that these guys could be a bit more straightforward. The set's got some especially great mellotron next to other keyboards and guitar – and titles include "Countenance", "Death Of The Mind", "Pupil Of The Eye", "The Dream Nebula", and "Warp Oversight". 2CD version also features a bonus bootleg 1971 recording of the record!

Great recent work from the legendary Janko Nilovic – an artist that most folks know best for his sound library sessions of the 70s, still sounding great here in a jazz trio mode! Nilovic plays Yamaha keyboards, in a trio that features both acoustic and electric bass, and percussion as well as drums – all with a style that's a lot more dynamic than the usual piano trio record – with plenty of funky echoes of Janko's sublime sides from the 70s! All tracks are originals, and they stretch out nicely – longer than before for Nilovic, which creates some nice complication in the keyboard solos without ever losing focus on the groove either – especially once things build as the album rolls along. The kind of set you'd be stoked to find if it was rare vinyl from the 70s – and titles include "Logos", "Metallochrome", "Paris Balkans", "Et Alors", "Balkania", "Cosmic Energy", and "Giant Locomotion".

An excellent lost session from the Black Ark! Tracked by Perry with Upsetters in 1975, these stripped down dubs feature some of the dopest, funky rhythms Scratch ever cut, while others have a super spare, loping Jamaican groove. The sound is crisp and tight, without the giant thunderclaps and echo drops you'd here in a Tubby mix, but chirping guitars and sublimely funky bass ducking in and out of the mix. From the same sessions that gave us the Kung Fu Meets The Dragon set, you know it's right with titles like "Last Blood", "Deathly Hands", "Dragon Slayer", "One Armed Boxer", "Fists Of Vengeance", "Samurai Swordsman" and "Final Weapon", plus the CD includes 2 bonus tracks, "Experience" with Delroy Butler and the extended mix of "Living My Life".

A striking solo set from Phillipe Baden Powell – much bolder and more expressive than his previous album – even though the overall feel is a lot more stripped-down too! Baden's got a very sharp approach to the keys of the piano – working here in a range of tones that's really breathtaking – a stark palette of sounds that's recorded with just the right sort of depth to let all of his most subtle touches come through. As befits his roots, the tunes are a mix of Brazilian numbers and jazz standards – plus a few original compositions as well – and titles include "Canto Triste", "Consolacao", "Prologue", "The Meantime", "Loro", "Choro Para Metronomo", "Ending", "Giant Steps", and "Vista Chinesa".

A fantastic full length set from Quasimode – the Japanese club jazz combo who first blew our minds with their single for Raw Fusion! Hearing them here in a full LP, the sound is even better than before – a range of jazzy changes and tight instrumental work that reminds us of Blue Note or Prestige in their mid 60s prime – with a wonderful blend of soul jazz and hardbop styles running through the mix, plus a fair bit of rolling modal rhythms aimed at the sound of the contemporary scene! Tunes are mostly upbeat throughout – and build from percussion, piano, bass, and drums – topped off by additional tenor, trumpet, soprano, and vibes on some numbers – and also featuring a bit of Fender Rhodes as well. The album features the group's great version of Tubby Hayes' "Down In The Village", plus the original tracks "Oneself Likeness", "Feelin Green", "Skelton Coast", "Ipe Amarelo", "Lucky Luciano", "Giant Black Shadow", and "1000 Days For Spirit".

A nicely-done biography of Louis Armstrong's late life and career – one that takes deep look at the last 25 years of this giant in American musical culture! It's a fascinating period for Satchmo – in which he actually made his highest charting recordings in "Mack The Knife" and "Hello Dolly", arguably reaching a pop icon/living legend status that a lot of his peers didn't get to enjoy in life. It's also a period in which he managed to cement his legacy and ultimate creative importance, while still baiting larger audiences – which is never an easy trick for any artist. A good read and much needed bio of late career Louie Armstrong!

Late work by jazz drum giant Buddy Rich – captured in a surprisingly energetic, firey, and sometimes funky mode at Ronnie Scott's Club in 1980! Buddy really pulled off some bright, buoyant, funk influenced work in the 70s and this set finds him at the tail end of that groove – playing with a pretty big group that includes Ernie Vantrease on piano, Wayne Pedziwiatr on bass, Ando Fusco, Jack Leibowitz, Steave Marcus and Kenny Hitchcock on saxes, Bob Coassin on lead trumpet, Roger Homefield on lead trombone, and others. Titles include "Intro/Beulah Witch", "Grand Concourse", "Blues A La 88", "Saturday Night", "Slow Funk" and the epic, 15+ minute closer "Good News".

A fierce and full-on session from Archie Shepp – a real return to avant jamming, in a style that recalls his best French work of the late 60s, but which also has some of the soulful touches of his late 70s years! The group features Sigfried Kessler on piano, Clifford Jarvis on drums, and Cheikh Tidiane Fall on voice and percussion on the album's leadoff track "Poem For Mama Rose", part of a very long reading of Cal Massey's excellent tune "Things Have Got To Change" – which is followed by a searing take on John Coltrane's "Giant Steps" – blown with incredible intensity, at a level that's always threatening to shake the tune apart! CD adds 2 more straight ahead and soulful numbers – versions of Horace Silver's "No Smoking", and the standard "You Don't Know What Love Is".

The collected mid 70s psych/prog/funk rock of Benny Soebardja – a beacon from the Indonesian scene and for underground rock the world over – with nearly all of the material from his 3 great albums with his Lizard group! The Lizard Years is made up of tracks from the albums Lizard, Gut Rock and Night Train LPs – at a time when Benny was veteran of the regional scene with the groups Giant Step, The Peels and Shark Move – stepping out front and backed by an incredible group of musicians going by the name Lizard. The music is tripped out, though accessible – with guitars ranging from proggy to funky, spacey keys and quite a bit of flute – nicely sung by Benny, in English, and with a really unique vibe that sweeps you right in! We were introduced to Benny's style of this period via Now Again's Those Shocking, Shaking Days comp – and it's great to have such a sprawling collection here – complete with a great booklet that puts it all in perspective. 30 tracks on 2CDs: "18 Years Old", "Come Closer", "Crime", "In 1965", "Sunny Day", "Cynthia", "Candle Light", "The Advantage Of Music In Me", "Circle Of Love", "The End Of The World", "Someday", "I'm Still In Luv Wit Ya'", "Gut Rock", "Night Train", "Stroll On", "Talked About My Girl", "Woman Of Desire", "Struggle For Life", "A Signal From Outer Space" and more.

Swamp Dogg's on the cover, riding a giant rat out of the ghetto – an image that definitely hints at some of the politics on the record! The album's one of Swamp's key classics from the early 70s – recorded at a time when he was still super-sharp – and when the character was a great focus of all the indie soul energy that Jerry Williams had forged on the scene in the 60s! In fact, the record's so great, they made it twice – recorded once down at the TK studios in Miami, then scrapped – and re-recorded here at Muscle Shoals, with some wicked Quinvy touches that really hold the whole thing together. The Muscle Shoals approach works beautifully for the Swamp Dogg aesthetic – and really gives it the right sort of southern soul punch to send home the tunes – as you'll hear on "Creeping Away", "Predicament #2", "Do You Believe", "Got To Get A Message To You", "I Kissed Your Face", and "Do Our Thing Together".

A landmark album from Johnnie Taylor – a set that not only gave his career a giant boost, but which also helped shift southern soul into hip new territory in the late 70s! The music's a great change from Taylor's previous work at Stax – and the set features warm production from Don Davis that brings a new level of smoothness to Johnnie's music – a quality that unlocks the soulful undercurrent always lurking in his bluesier work, and which pulls him out of the indie soul ghetto to the modern soul mainstream. The album features the massive "Disco Lady" – a record that's probably still paying Johnnie's bills today – and a cut that's much more groovy soul than you might guess from the title. Other tracks are great too – and include "Running Out Of Lies", "I'm Gonna Keep On Loving You", "Pick Up the Pieces", and "Somebody's Gettin It".

A giant-sized tribute to the fanzine movement! The book is devoted to DIY zines from the 70s onward – not just the iconic underground music journals – all the great personal and passionate self-published subcultural screeds. Teal Triggs' book is beautiful, served well by the oversized format (13.4 x 9.5 inches) and in full color – with more than 750 illustrations. It's heavy with shots of zine covers and page scans, with loads of rarities celebrated – from Punk and Search And Destroy up to Bust and Giant Robot – even some pages devoted to webzines. Paperback, 256 pages.

Amazing music from the legendary Barney Wilen – previously unreleased African recordings, done around the same time as his classic Moshi album! Although Wilen was best known as a hardbop giant in both his later and early years, the late 60s also marked a period of really rich experimentation – when Barney, like some of his other contemporaries, was really trying to break out of any traditional formats for jazz – and really take chances with new musical hybrids! In this case, Wilen's blowing with a whole host of different musicians from various African scenes – especially Zanzibar – mixing his own incredible tenor and other reeds with regional percussion, unusual instrumentation, vocals, and even some trippier electric touches too – all served up in a blend of music and sounds that's as much an ethnographic project as it is a conventional jazz album. This special set features 80 minutes of previously-unreleased tracks that never made it onto the first Moshi album – which was issued by Saravah Records in the early 70s – rare tracks that have come from Wilen's private archives, and which are every bit as amazing as the music on the original album. Titles include "Black Locomotive", "Moshi Too","Fullys In The Bush", "Serenade For Africa", "Barka De Sala", "Fete A Tam II", "Leave Before The Gospel", "Zombizar Reloaded", "Bumba Ciagalo", and "Kira Burundi".

Amazing music from the legendary Barney Wilen – previously unreleased African recordings, done around the same time as his classic Moshi album! Although Wilen was best known as a hardbop giant in both his later and early years, the late 60s also marked a period of really rich experimentation – when Barney, like some of his other contemporaries, was really trying to break out of any traditional formats for jazz – and really take chances with new musical hybrids! In this case, Wilen's blowing with a whole host of different musicians from various African scenes – especially Zanzibar – mixing his own incredible tenor and other reeds with regional percussion, unusual instrumentation, vocals, and even some trippier electric touches too – all served up in a blend of music and sounds that's as much an ethnographic project as it is a conventional jazz album. This special set features 80 minutes of previously-unreleased tracks that never made it onto the first Moshi album – which was issued by Saravah Records in the early 70s – rare tracks that have come from Wilen's private archives, and which are every bit as amazing as the music on the original album. Titles include "Black Locomotive", "Moshi Too","Fullys In The Bush", "Serenade For Africa", "Barka De Sala", "Fete A Tam II", "Leave Before The Gospel", "Zombizar Reloaded", "Bumba Ciagalo", and "Kira Burundi".

A great illustration of the recent growth of the Jazzland label from Norway – home to some of the most freest-thinking jazz and instrumental music of the past decade or so, and definitely a place of great experimentation in the last few years! The sound of Jazzland is never overdone – and, if anything, the label's emerged to a point where their subtle sounds are often their best – often spare instrumental musings that lay somewhere in a space beyond jazz – a bit like the vibe on ECM during the classic years, but more contemporary too. Some tracks here are from albums already issued on the label, but the collection also features a full bonus CD of live material too – Jazzland Live Session titles from 2011, featuring "Ideale" by Hakon Kornstad, "Sylvartun" by Knut Reiersrud, "De Viaje" by Josemi Carmona, "Darn That Dream" by Bugge Wesseltoft, "Boog" by Ola Kvernberg, and "Paradoxes" by Stein & Mari's Daydream Community. Studio titles include "Low Swing" by Knut Reiersrud, "Plystre" by Hakon Kornstad, "Giant Steps" by Bugge Wesseltoft, "Liarbird" by Ola Kvernberg, and "Sweet Mysterious" by Mari Kvien Brunvoll.

Amazing work from the contemporary African underground – put together by the same folks who produced the Congotronics package! The focus this time around is the style dubbed Karindula – music based around an instrument that's essentially a giant banjo made out of an oil barrel, a goat skin, four strings, and an empty bag of powdered milk – often used in this sharp, staccato style that's very rhythmic, and which feels electric, even when acoustic – giving some of this music the same bold drive as Congotronics! The set is a great document of this up and coming style – and comes with a DVD of performances, and a CD of great music that includes "Beggars Banquet" by Bana Simba, "Kiyongo" by Bana Lupemba, "Mado Mado" by BBK, and "Banani Batawina Bena Ngoma" by Bena Ngoma.

Spiritual soul and spoken word with instrumental inflections – a perfect illustration of the righteous sound of the Flying Dutchman label at the start of the 70s! The imprint was famously home to Gil Scott Heron, Lonnie Liston Smith, Leon Thomas, and other hip cats at the time – but also recorded a fair bit of work that was even more progressive and political – including key records from forces helping to carry the legacy of Civil Rights well into the 70s! This package offers up a perfect blend of those modes – great jazz tracks that carry the legacy of John Coltrane forth even further, and political records that were often more powerful than anything in the press at the time. Titles include "Sais" by Lonnie Liston Smith", "Nevertite" by The Esoteric Circle, "The Creator Has A Master Plan" by Louis Armstrong and Leon Thomas, "Lament For John Coltrane" by Bob Thiele Emergency, "Friends & Neighbors" by Ornette Coleman, "Sit Down" by Carl B Stokes with Oliver Nelson, "Echoes" by Leon Thomas, "The Giant Is Awakened"b y Horace Tapscot, "Gonna Get Some Right Now" by Chico Hamilton", and "We're Threatening The Oppressors" by Angela Davis.

A mind-expanding look at Memphis soul – one that gets way past common cliches about the city and its music! There's a heavy dose of funk in the mix on most numbers here – a gritty, fuzzy approach to the music that seems slightly borrowed from the Detroit scene at the end of the 60s – then mixed with some rougher, rootsier southern soul styles too! But other tracks take on a more sophisticated sound too – some of the righteous elements that hit Stax in the post-1968 period, especially as Isaac Hayes and David Porter were working on their own great solo work. Yet unlike Hayes and Porter, most of the artists here are much lesser-known – singers and groups who never charted big, but who got the chance to record for Memphis labels like XL, Stax, Select-O-Hits, and Sounds Of Memphis. CD features 20 tracks in all – and titles include "Dig It" by The Optimistics, "Mississippi Mud" by Smithsonian, "Two Paces Ahead Of Love" by Willie Walker, "Pullin" by The Minits, "It's Bump Time" by Gene Bowlegs Miller, "Blackrock Yeah Yeah" by Blackrock, "Keep The Faith" by Mel & Tim, "Watch Dog (alt)" by Barbara & The Browns, "Come What May" by John Gary Williams, "Strange Things" by Art Jerry Miller, "Shake" by The Ovations, "Tip Toeing" by Alvin Cash, "The Way Of Me" by Hannon, "Take A Giant Step" by LaCleve Milon, "Papa Killed A Chicken" by Willie Toliver, and "Don't Boom Boom" by Lillian Hale.

An absolute treasure trove of rare soul singles from Pied Piper Productions – a mid 60s Detroit soul operation that features Funk Brothers Jack Ashford, Joe Hunter, and Mike Terry – laying down sounds that rival the best Motown groovers of the period! The work is amazing throughout – soul cuts heavily focused on the groove and amazing lead vocals – recorded in ways that are similar to the best of Detroit at the time, but with some rawer aspects too – which makes for a massive package of Northern Soul gems! The package features both solo singers and great groups too – artists who include Lorraine Chandler, The Hesitations, September Jones, The Cavaliers, Willie Kendrick, Nancy Wilcox, and – heard here on rare singles and LP tracks that were originally released on labels like Karate, Kapp, Ruby and Giant – plus a number of recently unearthed titles that are seeing release for the first time ever! The set features 24 tracks in all, and the usual superb Kent notes and packaging – with titles that include "I Can't Hold On" by Lorraine Chandler, "Stuttering Sam" by September Jones, "Gambler's Blues" by Nancy Wilcox, "This Heart Is Lonely" by Rose Batiste, "Just Can't Leave You" by Tony Hesher, "Could It Be" by Micki Farrow, "I Fell In Love (Can't Help It)" by Freddy Butler, "He'll Be Leaving You" by The Pied Piper Players, "If Only You Knew" by Mike & Ray, "Time Changes Things" by Willie Kendrick, and "Lonely Too Long" by The Sandpipers.

A crucially important slice of work – and maybe one of the most striking sets in this all-great Spiritual Jazz series! The focus here is on some of the great American players working in Europe during the late 60s and early 70s – often in collaboration with equally forward-thinking Europeans, and with results that are still musically amazing all these many years later! The collection has American flautist Sahib Shihab working with Swiss guitarist Pierre Cavalli, sound library maestro Johnny Hawksworth with west coast giant Hampton Hawes, Don Cherry working with Krzysztof Penderecki, a rare version of "Enlightenment" by Sun Ra in France and other legendary European recordings by Albert Ayler, Billy Gault, and Lee Konitz – a wonderfully rich blend of players. The tracks are pulled from records we almost never see – especially on vinyl – titles include "Studie Nr 1 Fur 12 Saitige Gitarre" by Pierre Cavalli & Sahib Shihab, "Jazz Rule" by Johnny Hawksworth & Hampton Hawes, "Born & Shake" by Clarence Peters, "Enlightenment by Sun Ra, "Summertime" by Albert Ayler, "T & W" by Frank Wright Sextet, "Humus The Life Exploring Force" by Don Cherry & The New Eternal Rhythm Orchestra, "Five, Four, & Three" by Lee Konitz, "The Creators" by Bobby Hutcherson with Harold Land, and the masterful, nearly 20-minute "Springtime" by Eric Dolphy. Includes a great essay on the scene by Francis Gooding, plus extensive info for each track!

An essential set that brings together tracks from all of Herbie's key transitional recordings for Warner Brothers! Herbie started his years for the label playing in a more straight-ahead funky style – with perennial sample fave recordings like "Wiggle Waggle", "Lil Brother", and "Tell Me A Bedtime Story". Soon, however, he moved into more spacey territory – of the sort that he would later examine fully on his Columbia recordings of the early 70s. Tracks in this vein include "Sleeping Giant", "Crossings", "Quazar", and "You'll Know When You Get There".

An excellent electric Joe Henderson album from the 70s – one that features both live and studio material, all of which show Henderson at the height of his powers! George Cables is on electric piano throughout, and his backing of Joe Henderson is excellent – bringing out a whole new edge for the saxophone giant – one that's spacious, and searching, and much more open than before! The album features 2 tracks from the legendary 1970 Lighthouse concert with Woody Shaw on trumpet and Lenny White on drums – plus 3 more from a studio session that includes Curtis Fuller on trombone, Pete Yellen on saxes, and Stanley Clarke on bass. Titles include "Gazelle", "Mind Over Matter", "Invitation", and "A Shade Of Jade".

A crucially important slice of work – and maybe one of the most striking sets in this all-great Spiritual Jazz series! The focus here is on some of the great American players working in Europe during the late 60s and early 70s – often in collaboration with equally forward-thinking Europeans, and with results that are still musically amazing all these many years later! The collection has American flautist Sahib Shihab working with Swiss guitarist Pierre Cavalli, sound library maestro Johnny Hawksworth with west coast giant Hampton Hawes, Don Cherry working with Krzysztof Penderecki, a rare version of "Enlightenment" by Sun Ra in France and other legendary European recordings by Albert Ayler, Billy Gault, and Lee Konitz – a wonderfully rich blend of players. The tracks are pulled from records we almost never see – especially on vinyl – titles include "Studie Nr 1 Fur 12 Saitige Gitarre" by Pierre Cavalli & Sahib Shihab, "Jazz Rule" by Johnny Hawksworth & Hampton Hawes, "Born & Shake" by Clarence Peters, "Enlightenment by Sun Ra, "Summertime" by Albert Ayler, "T & W" by Frank Wright Sextet, "Humus The Life Exploring Force" by Don Cherry & The New Eternal Rhythm Orchestra, "Five, Four, & Three" by Lee Konitz, "The Creators" by Bobby Hutcherson with Harold Land, and the masterful, nearly 20-minute "Springtime" by Eric Dolphy. Includes a great essay on the scene by Francis Gooding, plus extensive info for each track!

The legendary unreleased Motown recordings by The Contours – material that should have been issued as a full length LP in 1964 – but all but a couple tunes have languished in the vaults until now! The group simply kills on on these dancefloor ready stormers, with raucous, charismatic lead vocals and tight harmony backup – on a set of numbers that were no doubt ready and set to slay live audiences. We're sure The Contours were unbeatable live, but these recordings really should have made it out at the time. Better late than never, to say the very least! Includes the 60s singles "Can You Do It" and "Can You Jerk Like Me", plus the unreleased "Do The See Saw", "Foot Stomping Time", "Party Groove", "Okey Dokey", "Love Is Uncertain", "Wanted", "Boy Meets Girl", "You Hurt Me So", "Throw You Out Of My Mind", "Giant Steps", "Let's Do The Uncle Willie", "Tonight", "Nobody Fine As Dinah", "Somebody's Daughter Outta", "Let's Do The Uncle Willie" and more. 26 tracks in all!

An amazing pairing of talents! Funk vocal giant Ricky Calloway works here with backing from The Dap Kings – recording in the Daptone studios, with production from Kenny Dope! All the cooks on board definitely don't spoil the broth – and instead, the cut may well be the sort of number we've been waiting to hear for years from Ricky! "I'm In Love" is presented here with parts 3 and 4 – which we don't think were on any previous singles – and is a stone monster too!

Jazz funk genius from Freddie Hubbard in the mid 70s! Gleam was a Japanese-only double album from the jazz giant in its original release – mighty funky at times, too – right up there with some of the best Miles Davis and Herbie Hancock Japanese sets from the 70s! It's a live set captured in March of '75 at Tokyo's Yubin Chokin Hall – long numbers played by a group that includes Freddie on trumpet, Carl Randall on tenor and flute, George Cables on electric piano, Henry Franklin on bass, Carl Burnett on drums, and Buck Clark on percussion! Each player has plenty of space to groove, and it's very well captured – you can hear the most expressive solos and the most subtle nuances. Some great solos by Freddie and the rest of the players – breathless tenor & flute by Randall, keys by Cables that are jazz funk perfection and interplay between Burnett's drums and Clark's congas & percussion that's somehow tense and comfortable at the same time. The shortest number in the set runs more than the 7 minutes and the longest is more than 20 minutes – and none is one second shorter than necessary, actually leaving us pining for more – making it all the more vital in the double album format. Released on 2CDs for the first time ever here! How this great album has been so hard to find over the years is a mystery. Titles include "Kuntu", "Spirits Of Trane", an amazing cover of Stevie Wonder's "Too High", "Midnight At The Oasis", "Ebony Moonbeams", and "Put It In The Pocket".

Steps Ahead is just about the least we could say about Ethio jazz funk genius Mulatu Astatke – he not only remains on a creative high point after so many years, he takes a couple more giant strides on Mulatu Steps Ahead for Strut Records! To put it simply, the music Mulatu makes here more than lives up to his legendary work from the height of late 60s & early 70s years. The material was recorded in sessions in Boston and London, playing with the Either/Orchestra on the Boston sessions, plus members of the Heliocentrics and others – really hitting on diverse styles throughout, from spacious and eclectic jazz, to the classic Addis Ababa nightclub sound, to grittier kinda crime jazz soundtrack styles and some Afro Latin inspirations. Wonderful recent work well worth Mulatu's legacy! Titles include "Radcliffe", "Green Africa", "The Way To Be Nice", "Assosa", "I Faram Gami I Faram", "Mulatu's Mood", "Ethio Blues", "Boogaloo" and "Motherland".

Soulful bossa from Blue Note – and a real lost treasure! Tenor giant Charlie Rouse makes a rare appearance as a leader here – working with a percussion-heavy group that includes Willie Bobo, Potato Valdez, and Garvin Masseaux – and hitting a sax-meets-bossa groove that's simply outta site! The tunes on the set feature 2 guitarists – one of them Kenny Burrell – snaking alongside Rouse's tenor as he blows over the grooves – and the whole feel of the album's at once spare, yet full – quite different than the Brazilian take on bossa jazz, with a really uniquely wonderful sound! Titles include "Velhos Tempos", "Back To The Tropics", "Un Dia", and "In Martinique".

A masterpiece of baroque fusion, and one of the most legendary sessions on the CTI label. Don Sebesky brilliantly arranges a complex set of jazzy grooves with a feel that's a bit larger than other titles on the label, and which also has a spooky scary soundtrack-y feel at its best moments. Titles include "Moon Dreams", "Footprints Of The Giant", "Lucky Seven", and "Skyliner".

One of our favorite records from Archie Shepp's "new traditionalism" years – a set of understated brilliance and beauty, and proof that Shepp's tenor could sound every bit as great on the inside of jazz as it did on the out! The group here is a quartet – with Ken Werner on piano, Santie Debriano on bass, and John Betsch on drums – but the real star of the scene is Archie, blowing with a rough-edged tone that's dripping with soul and humanity – definitely "knowing about the life" in the title, and coming through with a timeless quality that makes him stand beautifully alongside older players like Coleman Hawkins, Ben Webster, or Sonny Stitt! Titles include "Well You Needn't", "I Know About The Life", "Giant Steps", and "Round Midnight".

Rare funk from the Oaktown scene of the early 70s – most of it previously unreleased! The package is tremendous right from the start – cut from the same Music City cloth as work by Darondo, with an equally rough-edged, messed-up sort of feel – one that goes way past familiar funky sounds of the time! Bass is often quite heavy in the mix, giving most of these tunes a really strong, fat bottom sound – and some of the instrumentation has this wicked jamming fuzzy feel that almost recalls the best of the Westbound sound in Detroit. Titles include "Richmond Experience" by Kevin Burton & Peace, "Wouldn't It Be A Shame" by The Soul Messengers, "Check Me Out (alt)" by Little Denice, "Gumbo" by Victor Green, "Freedom Train" by Kevin Burton & Peace, "Just A Man" by Chucky Thurmon & Pharris Wheel, "Giant Hamburger (part 2)" by Victor Green, and the cuts "Get Down" and "Havin Fun" – both by unknown artists!

Cinematic soul rooted in the rawer organ, drums and horns vibes that resonated deeply in records from north to south in the 70s – done with a lean, tight and head nodding groove no doubt informed by Aloe Blacc's own roots in hip hop – on his best album yet and one of best raw soul styled albums ever to come from our friends at Stones Throw! Good Things is a giant leap ahead of Shine Through, Aloe's previous full length on the label. We loved that record for its gritty, unique approach to funky soul, but, Good Things reaches for the heights of Aloe's heroes from Donny Hathaway to Marvin Gaye – and comes closer than we could have imagined! It's produced by the Truth & Soul team, with a timeless funk & soul vibe comparable to their work with the great Lee Fields. We have a feeling we'll still be listening to this album 10-15-20 years from now. Essential! Titles include the underground breakout "I Need A Dollar", an incredible cover of The Velvet Underground's "Femme Fatale" (we must have dropped the needle on that 50 times in the first couple days we had it), "Green Lights", "Miss Fortune", "Good Things", "Loving You Is Killing Me", "Mama Hold My Hand", "Hey Brother" and more.

A long-overdue collection of work from the legendary Jack Arel – one of the lesser-known sound library composers of the late 60s and early 70s – but a true giant in his funky field, as you'll hear by the great music on this set! Arel is French, but he often wrote for British sources – including the Prisoner TV show – so his music has a great blend of Parisian pop modes and chunkier London beats – a style that almost mixes together some of the funkier jazz sensibilities of the sound library generation with the tighter, more romping rhythms that were usually penned for TV and commercial use. The first half of this set features 25 originals by Arel – some in collaboration with Pierre Dutor or Jean-Claude Petit – and often done with trippier touches that include fuzzy guitar or funky flute! The second half features remixes of the originals – tunes that are often a bit longer, and almost restructured as whole new songs. Originals include "Shore Of Sumatra", "Sideral Rhythmic", "De Paris A Liverpool", "Jungle Soul", "Game Trap", "Picture Of Summer", "Train Bleu", "Strange Galaxy", and "Sundown". Remixes include "Drugstore Party" remixed by Le Tone, "Jungle Soul" remixed by Shawn Lee's Ping Pong Orchestra, "The Night Squad" by Danny Wild & Goldfinger, "Loco Robo" by Luke Vibert, "Chicago Girl" remixed by Barth, "Electric Railman" remixed Mowo, and "Crystal Abyss" by Telepopmusik.

An unreleased treasure from the European scene of the late 50s – material recorded for a soundtrack, and a rare meeting of American trumpeter Donald Byrd and French tenor giant Barney Wilen! Neither the film nor the music were ever issued at the time – and this archival project finally brings together the sublime sounds in the studio from Byrd and Wilen – music that's easily every bit as great as the best French jazz scores of the time, as well as most other European hardbop records too! The group features talents from both sides of the Atlantic – Jimmy Gourley on guitar, Walter Davis on piano, Doug Watkins on bass, and Al Levitt on drums – and the style is a bit tighter than usual for a jazz soundtrack – with long tracks that have a more conventional jazz tune shape, instead of shorter atmospheric numbers. Wilen gets plenty of room to stretch out in expressive tones – as on his soundtrack work with Miles Davis from the same time – and hearing Byrd's trumpet alongside makes for a really nice contrast!

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

Droning soundscapes with dreamy atmosphere and ominous twists and turns from Ensemble Pearl! The ensemble is an international one – featuring Sunn O)))'s Stephen O'Malley, plus Atsuo from Boris, Boris-affiliate Michio Kurihara, William Herzog and guests – and their eponymous record for Drag City is one of cooler avant instrumental projects on DC in recent memory. It apparently came together from material recorded for a theater project a couple years earlier – and it has a bit of tripped out, spooky soundtrack-y feel to show for it – but it stands really strongly as a headphones experience all its own! Includes "Ghost Parade", "Painting On A Corpse", "Wray", "Island Epiphany", "Giant" and "Sexy Angle".

An incredible album from tenor giant Frank Foster – one of his best records ever, with an impeccable soul jazz groove that's light years beyond his earlier work! The record has a bit of the feel of Frank's album with Richard Davis for Impulse, but takes off in a slightly different direction – tightly grooving, with a bit of a searching feel that points towards Foster's Coltrane-inspired later years. Frank's on tenor, and the rest of the group includes Virgil Jones on trumpet, Al Dailey on piano, Bob Cunningham on bass, and Alan Dawson on drums. The rhythmic component of the session is tremendous, and titles include "Disapproachment", "Baby Ann", "Janie Huk", and a great version of his "Raunchy Rita".

Beautiful spiritual post-Coltrane jazz, played by an excellent but oft-overlooked duo from the early 70s! The Grubbs brothers are fantastic reed players, with a soaring sense of soulfulness that keeps things lively throughout – a style that inflects their horns together nicely to shade in colors on the tunes, then breaks them apart for expressive and meaningful solos that are filled with a tremendous amount of soul! Earl plays tenor and soprano, Carl plays alto sax – and other players include Stanley Clarke on bass, Sid Simmons on piano, and John Goldsmith on drums and percussion – all hitting a vibe that's totally great throughout! Titles include a great version of "Giant Steps", plus the cuts "The Juggler", "In My Youth", and "The Visit". CD also features one bonus alternate take of the track "In My Youth".

Herbie Hancock further expands his cosmic vision in this groundbreaking album of free-flowing fusiony tracks – a record that really steps up his range of keyboards, mixing in both acoustic and electric pianos, mellotron, and even a bit of spacey moog from the legendary Patrick Gleeson! The whole thing is wonderful – very open and flowing, and even more organic than Hancock's later work on Columbia – especially given the length of the tracks on the set. In addition to Gleeson, other players include Benny Maupin on reeds, Julian Priester on trombone, Buster Williams on bass, and Billy Hart on drums – and titles include the 3 long tracks "Quasar", "Sleeping Giant", and "Water Torture" – all good ones!

A brilliant late album from British tenor giant Tubby Hayes – one of his last true studio sessions, and a free-thinking album by a quartet that included Mike Pyne on piano, Ron Matthewson on bass, and Tony Levin on drums. Hayes' tenor talents are as strong as ever – imaginative and firey and with a tone that most other British players never reached – but he's also picking up some late 60s elements of freedom, and playing with his style a bit, in kind of an edgey way that creates more tension than usual for a set by Tubbs. The tracks are long and very creative original compositions – and the album's a true masterpiece that shows the wealth of talent bubbling on the UK jazz scene during the mid to late 60s. Titles include "Trenton Place", "Blues In Orbit", "Mexican Green", "Dedication To Joy", and "The Second City Steamer".

A collection of 60s sessions from John Klemmer – a real giant on the tenor, with a sound that long deserves to be revived! These sides have a sound that's pretty frenetic, and a style that presages a lot of the white free fusion players that would show up in the 70s. The set collects sides cut for Cadet, Blowin' Gold, Eruptions and All The Children Cried – and have that wonderful mix of styles that you'd find in the Cadet studios of the late 60s, with bits of rock, soul, and funk working their way into the mix, plus some electronic effects on the horn, too. Titles include "Excursion #2", "My Heart Sings", "Third Stone From The Sun", "Free Soul", "Children Of The Earth Flames", "Gardens Of Uranus", "Summer Song", "Rose Petals", "La De Dah", "All The Children Cried", "I Whisper A Prayer For Peace", and "Pulsations Of A Green Eyed lady".

Wonderfully tripped-out work from Finnish tenor giant Eero Koivistoinen – the first album recorded with his legendary Music Society group, and a strong departure from his straight jazz debut! The group here is expanded from before – with guitar from both Jukka Tolonen and Attilla Berger, plus three different keyboardists who work on piano and electric piano – often used in a slightly elliptical way to add a sense of spaciness to the tunes. Eero's still very firmly in the lead on tenor and soprano sax – and other players include Mike Koskinen on trumpet, Pekka Sarmanto on bass, and Esko Rosnell on drums – the latter two of whom provide a good pulse on the more upbeat numbers. Eero composed the entire record, and the tunes are a mixture of gentler soundpieces and others that groove a bit more – including his legendary "Boots & Roots", presented here with a lesser-known second part, "Roots & Boots"! Other tracks include "Five Blue Tones", "Bitter Sweet", "Folk Song", the 3-part suite "For Children".

Seun Anikulapo Kuti returns with another strorming set of neo classic Afro Funk in the great tradition of his father – once again fronting the incredible Egypt 80 group! It's remarkable stuff that finds Seun – the youngest son of Fela – standing up as a visionary talent. He's not only living up to an immense legacy, but moving forward with it in ways that will absolutely stand the test of time. The insistent rhythms and intense energy of the Egypt 80 group – led by Lekan Animashaun – are Afrobeat perfection, with Seun's forthright vocals out front of it. But their approach here is anything but a retread of family glories. The songs are urgent and fierce, and there are subtle modern florishes in the production – thanks in part, no doubt, to co-producer Brian Eno. Titles include "African Soldier", "You Can R Un", "Rise", "Slave Masters", "For Dem E Ye", "The Good Leaf" and "Giant Of Africa".

Steps Ahead is just about the least we could say about Ethio jazz funk genius Mulatu Astatke – he not only remains on a creative high point after so many years, he takes a couple more giant strides on Mulatu Steps Ahead for Strut Records! To put it simply, the music Mulatu makes here more than lives up to his legendary work from the height of late 60s & early 70s years. The material was recorded in sessions in Boston and London, playing with the Either/Orchestra on the Boston sessions, plus members of the Heliocentrics and others – really hitting on diverse styles throughout, from spacious and eclectic jazz, to the classic Addis Ababa nightclub sound, to grittier kinda crime jazz soundtrack styles and some Afro Latin inspirations. Wonderful work that's well worth Mulatu's legacy! Titles include "Radcliffe", "Green Africa", "The Way To Be Nice", "Assosa", "I Faram Gami I Faram", "Mulatu's Mood", "Ethio Blues", "Boogaloo" and "Motherland".

Solo guitar by Joe Pass – a beautiful little album that's a perfect showcase for the new sensitivity in his music during his years at Pablo records! The Joe Pass heard here is light years away from the guitar player who made a few gimmicky records a decade before – and this album has Joe coming across with a gentle, but sophisticated approach to his instrument that we never would have expected in the past! Titles include "Blues For Basie", "Blues For OP", "Misty", "Grooveyard", "Giant Steps", "Five Hundred Miles High", and "Limehouse Blues".

Live London recordings from the trio of pianist Pat Smythe – a player you might know from his work with Joe Harriott in the 60s – joined here by a great guest star – the American tenor giant Eddie Lockjaw Davis! The setting is very open and fluid – longer live tracks that allow Eddie to really stretch out on his solos – in that maturing mellower tone that he really mastered in the latter half of the 60s – an approach that's even more subtle than his earlier records on Prestige, but which really yields a hell of a lot, once it draws you in! And although Pat's billed as the star here, the tunes are clearly a showcase for Davis' tenor talents – on long readings of "Days Of Wine & Roses", "I'll Never Be The Same", and "If I Were A Bell". Note that although Harold McNair is listed on the cover, he doesn't appear until volume 2!

A landmark album from Johnnie Taylor – a set that not only gave his career a giant boost, but which also helped shift southern soul into hip new territory in the late 70s! The music's a great change from Taylor's previous work at Stax – and the set features warm production from Don Davis that brings a new level of smoothness to Johnnie's music – a quality that unlocks the soulful undercurrent always lurking in his bluesier work, and which pulls him out of the indie soul ghetto to the modern soul mainstream. The album features the massive "Disco Lady" – a record that's probably still paying Johnnie's bills today – and a cut that's much more groovy soul than you might guess from the title. Other tracks are great too – and include "Running Out Of Lies", "I'm Gonna Keep On Loving You", "Pick Up the Pieces", and "Somebody's Gettin It". CD includes bonus tracks "Disco Lady" (Extended Disco Version With Johnnie's Rap) & "Somebody's Getting' It" (JT's Instrumental Groove).

Cinematic soul rooted in the rawer organ, drums and horns vibes that resonated deeply in records from north to south in the 70s – done with a lean, tight and head nodding groove no doubt informed by Aloe Blacc's own roots in hip hop – on his best album yet and one of best raw soul styled albums ever to come from our friends at Stones Throw! Good Things is a giant leap ahead of Shine Through, Aloe's previous full length on the label. We loved that record for its gritty, unique approach to funky soul, but, Good Things reaches for the heights of Aloe's heroes from Donny Hathaway to Marvin Gaye – and comes closer than we could have imagined! It's produced by the Truth & Soul team, with a timeless funk & soul vibe comparable to their work with the great Lee Fields. We have a feeling we'll still be listening to this album 10-15-20 years from now. Essential! Titles include the underground breakout "I Need A Dollar", an incredible cover of The Velvet Underground's "Femme Fatale" (we must have dropped the needle on that 50 times in the first couple days we had it), "Green Lights", "Miss Fortune", "Good Things", "Loving You Is Killing Me", "Mama Hold My Hand", "Hey Brother" and more.

A 2LP vinyl release of the earier KRIT mix CD – featuring Curren$y, Wiz Khalifa, Yelawolf, Big Sant, Smoke DZ and others. Includes "Return Of 4eva", "Viktorious", "They Got Us", "Something", "Neva Go Back", "I Gotta Say", "Small As A Giant", "Voices", "2000 & Beyond", "Gumpshun" and more.

An unreleased treasure from the European scene of the late 50s – material recorded for a soundtrack, and a rare meeting of American trumpeter Donald Byrd and French tenor giant Barney Wilen! Neither the film nor the music were ever issued at the time – and this archival project finally brings together the sublime sounds in the studio from Byrd and Wilen – music that's easily every bit as great as the best French jazz scores of the time, as well as most other European hardbop records too! The group features talents from both sides of the Atlantic – Jimmy Gourley on guitar, Walter Davis on piano, Doug Watkins on bass, and Al Levitt on drums – and the style is a bit tighter than usual for a jazz soundtrack – with long tracks that have a more conventional jazz tune shape, instead of shorter atmospheric numbers. Wilen gets plenty of room to stretch out in expressive tones – as on his soundtrack work with Miles Davis from the same time – and hearing Byrd's trumpet alongside makes for a really nice contrast!

2 hip ones from Eddie's groundbreaking early 70s years! After already proving himself as a soul jazz giant during the 60s, Eddie's work of the early 70s pushed all the envelopes – taking funky jazz to a whole new level with a number of interesting experiments and techniques. You'll hear some of these in the Live At Newport set – a 1970 performance at the Newport Jazz Festival, one in which Eddie's got a hip Chicago group that includes Jodie Christian on electric piano, Louis Spears on bass, and Bob Crowder on drums. Tracks are long, with a mix of funk and soul – and titles include "Don't You Know The Future's In Space", "Carry On Brother", "Walk Soft", and "Silent Majority", which has guest vocals by Eugene McDaniels! Instant Death is even better, and features a lot of funky Varitone material from Eddie – plus some African percussion, avant-funk leanings, and lots of tasty grooves! Includes the title cut "Instant Death, a real triple-time groover – plus "Zambezi Dance", "Superfluous", and "Tampion". Muhal Richard Abrams plays piano and kalimba, and the whole thing's a great link between two schools of Chicago jazz – avant and funky!

A really compelling large group project from Lee Konitz – quite rare at this point in his career, and a beautiful demonstration of his many talents! Many of the numbers here are older jazz classics, but reworked by Konitz in fresh new arrangements – handled with a solid swing, yet some echoes of modern styles as well – and played by a lineup that includes Lee on alto, Ronnie Cuber on baritone, Burt Collins on trumpet, Jimmy Knepper on trombone, Ben Aranov on piano, Knobby Totah on bass, and Kenny Washington on drums. This mix of players from different generations really helps flesh out the feel of the set – with results that are almost like some of the Phil Woods projects of this nature. Titles include "Fourth Dimension", "Chi Chi", "Giant Steps", "April/April Too", "Who You", and "Struttin With Some Barbecue".