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Andy Williams like you've never heard him before – singing jazz, and doing a hell of a job of it, too! Sure, Andy was known as a mainstream singer from his TV show of the 60s – but he could also work well in a jazz mode, too – especially with great small combo backing like this! Those trademark Williams vocals really stretch out in this great setting – with combo backing from Hank Jones on piano, Mundell Lowe or Barry Galbraith on guitar, Eddie Safranski on bass, and Bobby Rosengarden on drums – all on rare material recorded for radio shows for The National Guard – all caught in the studio, with excellent clarity. Tunes are relatively short, and Andy takes off beautifully with the jazzy inspiration of the group – on a set of 26 tracks that include "You Are My Lucky Star", "Easy To Love", "An Old Piano Plays The Blues", "Stars Fell On Alabama", "Spring Is Here", "Do Do Do", "Young At Heart", and "You'd Be So Nice To Come Home To".

Classic Herbie from the early years, and a great mix of soul jazz and modernism! The record include a nice groovy "hit", Herbie's "Blind Man, Blind Man" – an obvious follow-up to "Watermelon Man", but still a standout track with a lot of imagination, and a fierce soul jazz hook that just won't quit! The rest of the record, while still groovy, also shows much more signs of Herbie's far-reaching conception – especially shared with players like Tony Williams, Grachan Moncur, Chuck Israels, and Grant Green – all of whom work with Herbie, Donald Byrd, and Hank Mobley – in a larger than usual group that makes for a really great sound! Titles include "A Tribute To Someone", "King Cobra", and "The Pleasure Is Mine". The CD also includes a bonus alternate take of "Blind Man, Blind Man"!

A trio of classics from the Thad Jones/Mel Lewis Orchestra! First up is the initial Presenting album – great music by one of the hippest large American ensembles of the late 60s – almost a US equivalent to the groovy sound of the Clark Boland Big Band over in Europe! Trumpeter Thad Jones and drummer Mel Lewis had already made some great music together on their own – but once they came together in a record like this, they really found a great new direction for their energy – a bold musical force that's strong enough to also encompass the rich talents of players who include Pepper Adams on baritone sax, Joe Farrell on tenor, Jerome Richardson on soprano sax, Richard Williams on trumpet, Bob Brookmeyer and Tom McIntosh on trombones, Hank Jones on piano, and Richard Davis on bass! The sound is full, but never overwhelming – and like the Clark Boland group, this one has a great way of breaking open to allow key soloists to have some great space on their own – a modern approach, and one that still never has the band losing its groove. Titles include "ABC Blues", "Mean What You Say", "Three & One", and "Once Around". The next album was recorded live in the Thad Jones/Mel Lewis home turf at the Village Vanguard! The group at this point was a freshly-created outfit filled with some of the best large group jazz soloists of the time – players that included Jerome Richardson, Joe Farrell, Eddie Daniels, Pepper Adams, Richard Williams, and Bob Brookmeyer – not to mention Jones and Lewis themselves! The style here is very much in the mode that the Clarke Boland Band was crafting in Europe during the same period – a redefinition of the larger jazz group, in a way that allowed it to swing with the dynamic energy and soul of some of the smaller combos of the 60s. And while the Jones/Lewis group had many years over which to hone their craft, they've never sounded better than on these initial recordings – as you'll hear on tracks that include "Samba Con Getchu", "A That's Freedom", "Bachafillen", and "Little Pixie". On the last album in the set, Ruth Brown joins the big band of Thad Jones and Mel Lewis – in a set that's a real standout in the career of all three artists! Thad and Mel already have a pretty great groove going at this point – a large ensemble approach to jazz, yet one that's swingingly soulful – very much on a par with some of Gerald Wilson's hip work of the same time at time. And adding in Ruth Brown's vocals is a great choice – as she not only needs a great showcase like this for her amazing voice, but also because she really helps unlock a soulful sort of energy that the group always had in their instrumental music. The approach is a bit like some of Etta Jones' best 60s recordings – a nice shift for Brown – and titles include "Black Coffee", "Fine Brown Frame", "You Won't Let Go", "Trouble In Mind", and "Be Anything (But Be Mine)".

A dream come true for all of us who ever loved the incredible songs of Kris Kristofferson at the peak of his craft – his late 60s and early 70s publishing demos – never before released versions of some of his best songs ever in the raw, unvarnished mode we always longed for! It's amazing stuff, including many tracks that would go on to be Kristofferson standards – numbers that got a little too clean and glossy on some of his own LPs and as recorded by others, which is what makes this compilation such a revelation. A genuine coup for our friends at Light In The Attic and a presentation of some of our favorite songs of the era by anyone – done raw and real, the way we always wanted to hear them! The set's produced by Mark Linn, who is responsible for the excellent Karen Dalton archival releases on the Delmore label, and he does similarly great work for Kris. It includes an excellent booklet with reminiscences by Dennis Hopper and Merle Haggard, full lyrics and notes from Kristofferson – plus rare photos and liner notes by Michael Simmons. Includes "Me And Bobby McGee", "Please Don't Tell Me How The Story Ends", "Smile At Me Again", "Border Lord", "Just The Other Side Of Nowhere", "Slow Down", "If You Don't Like Hank Williams", "When I Loved Her", "Billy Dee", "Getting By, High And Strange" and more. 16 tracks in all.

One of Hank Mobley's last recordings for Blue Note, and a record that really shows him stretching it out – hitting territory hardly imagined on his earlier hardbop sides! The album's still somewhat inside, but the overall feel is much more spacious than before – a sound that has some nice open moments, and which shows Hank not content to simply blow tenor in a deep, gutbuckety mode – even though that was still pretty darn great! The lineup is a sextet – with Woody Shaw on trumpet, Eddie Diehl on guitar, Cedar Walton on piano, Mickey Bass on bass, and Leroy Williams on drums – a different-than-usual combo for Mobley, and one that furthers the unusual feel of the record. Side one features the extended "Suite" – proof that Mobley's writing had grown as much as labelmate Lee Morgan by the end of the 60s. Other tracks continue that fact – and include "Justine", "You Gotta Hit It", and "Talk About Getting It" – plus "Gayle's Groove", which was written by Bass. The set was originally recorded in 1970, but was not issued on vinyl until 1980!

One of the first albums in what was to become a very successful pairing – the bass of Ray Brown and the vibes of Milt Jackson, working here in a down-homier setting that was miles away from his work with the MJQ! The set's got a light jazzy backing on most tracks – with some guitar from Kenny Burrell, some piano by Hank Jones, and some organ by Wild Bill Davis – and about half the tracks on the set feature vocals by gospel singer Marion Williams, singing here in a jazz/gospel style that comes across with a lot less of the hoke than you'd expect. Titles include "What Kind Of Fool Am I", "Sometimes I Feel Like A Motherless Child", "Nancy", "Much In Common", and "Gravy Blues".

Cash's fourth volume of stark, sparely-arranged studio recordings for producer/set list provider Rick Rubin. As Johnny gets on in the years his always haunting voice, like Bob Dylan's, is weighted by age, but the heavily-breathed delivery only adds to the ghostly quality of the increasingly dark tunes. With this fourth set in the series we're far past being surprised by the choice of material – this time Cash conjures up spiritual takes on Depeche Mode's "Personal Jesus", Trent Reznor's "Hurt", Lennon/McCartney's "In My Life", and more traditional material like Hank Williams' "I'm So Lonesome I Could Cry" and the eternally underrated Marty Robbins' "Big Iron". You can't forget that Cash's pen is still pretty sharp, too, as the really spooky imagery in the title track and others testify. The accompaniment includes the great Randy Scruggs, Beck/Tom Waits guitarist Smokey Hormel, Marty Stewart, Glen Campell, and backing vocals by Nick Cave and Fiona Apple. Another great one from the greatest!

One of the last records that Booker Ervin ever recorded, and one of the best! There's a depth of tone and conception here that goes far beyond even Ervin's already-great albums for Prestige – a mix of modernism and soulful expression that really points the way towards jazz expression in the 70s – although sadly, Booker was to leave the planet before getting a chance to stretch out in that era. All 6 tracks on the album are originals – and they sparkle with the imagination found on some of the most top-shelf Blue Notes of the time – work by Lee Morgan, Hank Mobley, or Wayne Shorter – played by a group that includes the amazing Richard Williams on trumpet (almost worth the price of the record alone), Bobby Few on piano, Lenny McBrowne on drums, and the little-known Cevera Jefferies on bass. Loads of dark edges, searing solos, and plenty of free flights into the sky – on titles that include "The In Between", "Tyra", "The Muse", "Mour", "Sweet Pea", and "Largo".

Some of the best early heartbreaking country numbers you're likely to hear – the hugely underappreciated earlier records cut by singer Goldie Hill in the 50s – work the influenced some of the very best female honky tonk singers of 50s, 60s & 70s – but Goldie still doesn't get the credit she deserves for it! The tunes are full of heartbreak and sadness, par for the course for the much of the post Hank Williams singers of the scene, but it's done her with a sweet tenderness, and a perceptive truthfulness in her tone – it's impossible to imagine Loretta Lynn doing what she did in the 60s & 70s if Goldie didn't get there first! Titles include "Call Off The Wedding", "Don't Send No More Roses", "Waiting For A Letter", "I'm The Loneliest Gal In Town", "Fickle Heart", "Why Talk To My Heart", "I'm Yesterday's Girl", "Miss You So", "Please Don't Betray Me", "Young At Heart", "Say Big Boy", "Treat Me Kind" and "Why Don't You Let Me".

A very apt title – as Jackie McLean sits in for a soulful session with the Great Jazz Trio of Hank Jones, Ron Carter, and Tony Williams – all "old bottles" at this point in their career, but working together beautifully to brew some very mellow "new wine"! The album's easily one of the best in the trio's run of the time – as Jackie's alto sax really helps flesh things out a bit more than usual – and moves the album past the trio sound of their other records. McLean gets plenty of space to do his thing on the longer tracks – and the piano of Jones, bass of Carter, and drums of Williams have a solid, soulful approach that's really wonderful. Titles include 2 McLean originals titled "Appointment In Ghana Again" and "Little Melonae Again", both remakes of older tunes – plus "Confirmation", "Bein Green", and "Round Midnight".

Classic folk blues and acoustic Americana from Lucinda Williams – her first record for Folkways – recorded at Malaco Studios with just Lucinda's naturally wonderful vocals, 12 string strumming, and 6 string accompaniment by John Grimaudo! Ramblin' finds Lucinda doing passionate, but somehow kind of relaxed renditions of a numbers from blues, folk and traditional canon, numbers by Robert Johnson, Memphis Minnie, Hank Williams, the Carter Family and others. Lucinda was much more celebrated decades later, but nothing she's done works better than the Folkways era for our ears. Includes "Ramblin' On My Mind", "Me And My Chauffer", "Malted Milk Balls", "Disgusted", "Drop Down Daddy", "Jambalaya", "Satisfied Mind" and more.

The Grevious Angel himself, legendary country rock inventor Gram Parsons gets the cover nod here – for a great feature story – plus a free CD of songs that inspired him! Also includes an exclusive interview with Ray Davies, Mick Ronson remembered by Morrissey, Simple Minds, Jane Birkin, Pete Seeger, Family, Joe Cocker and more – plus Uncut's 2013 album preview. The Honky Tonk Heroes CD features tracks by Johnny Cash, The Louvin Brothers, Hank Williams, The Everly Brothers, Roy Orbison, George Jones and more.

A really wonderful little album – a session of indie soul jazz from the early 80s, and proof that quality straight jazz recordings were still being made in the underground! Harris himself is the leader of the session – which features a loosely shifting ensemble of players that includes Hank Edmonds on piano, Ray Drummond on bass, Vernel Fournier on drums, Richard Williams on trumpet, Charles Williams on alto, and Kiane Zawadi on trombone – all players with credentials on better-known recordings, working here in an informal setting that really captures the sort of energy they must have had working in a small group setting at the time. The album's got a few great originals that really step out nicely – "Song For Joyce", "Lo's Delight", and "Rhonda" – all of which have a nicely grooving, but easygoing quality – one that brings out some especially nice notes in Harris' raspy work on tenor and baritone. Other tracks include "When Sunny Gets Blue", "Hey There", and "Stella By Starlight".

A pair of hard-wailing tenor albums on Verve – both of them great! Boss Tenors In Orbit is a studio album, but one that really has Gene Ammons and Sonny Stitt recreating some of the bold energy of their live shows – coming across with a vibe that's much more Prestige Records than Verve, thanks to the presence of the Don Patterson trio on the set! Backing is by Don on Hammond, Paul Weeden on guitar, and Billy James on drums – a nicely loose combo that really lets the tenorists stretch out and show their stuff. The cuts are mostly standard material – "John Brown's Body", "Walkin", "Long Ago And Far Away" – but the twin-tenor sound is great, and Patterson's free organ lines riff away nicely! On Boss Tenors, Gene Ammons and Sonny Stitt go head to head in this classic album of tracks that perfectly captures the joy and fury of their live performances from years before! The record was cut in Chicago with a very hard rhythm section that includes John Houston on piano, Charles Williams on bass, and George Brown on drums – and it's way heavier than the usual Verve "meeting of the masters" session, and feels more like a record that should have been issued on Prestige or Argo. Both players are impeccable, and the solos stretch out for a long long very live time. Titles include "Blues Up & Down", "The One Before This", and "Counter Clockwise" – but these guys even groove amazingly on standards like "Autumn Leaves" and "No Greater Love".

From the title, to the cover, to the gritty grooves way down in the wax – this has got to be one of the funkiest Blue Note albums ever – a real landmark from the legendary Lou Donaldson! The set kicks off with a hard and heavy groove from the very first note – thanks to some super-tight drumming by a young Idris Muhammad – still billed under his birth name of Leo Morris on the sleeve, but already hitting the kit with that snapping post-Popcorn style that would revolutionize funky jazz in years to come! Donaldson's plenty smoking himself on electrified alto sax – played with that great mix of flatness and echo that you'd hear in Eddie Harris' albums of the same time – and the rest of the lineup is equally cooking, with Melvin Sparks on guitar, Charles Earland on organ, and Ed Williams blasting away on funky trumpet! Titles include killer remakes of "It's Your Thing" and "Who's Making Love" – plus Donaldson originals "Hot Dog" and "Turtle Walk" – all nice and long, and with a really raw sound!

The very first recordings of Chicago bluesman Tail Dragger – recorded back in the early 80s, with that great rootsy sound that city's scene still had at the time! You can definitely hear a bit of polish since the early electric days, but overall the sound is nice and raw – and a great change from more commercial blues of the time – thanks especially to the raw, raspy style of singing that Tail Dragger uses – and the sharp instrumentation from Johnny B Moore and Jesse Lee Williams on guitars, and Eddie Jewtown Burks on harmonica. Titles include "So Ezee", "Where Did You Go", "Ain't Gonna Cry No Mo", "Don't You Want A Good Man", "Stop Lyin", and "Tail's Tale".

A killer debut from Curtis Hairston – an overlooked 80s soul singer who should have made it big, given the strength of this set! The album's got a tight groove, but is never too commercial – a bit away from other Atlantic soul of the time, thanks to some solid studio help from Kae Williams of BB&Q Band, a group with whom Hairston had worked previously. Williams arranged and produced half the set – the rest was done by Greg Radford – and the album mixes Hairston's well-crafted vocals with a mixture of upbeat rhythms and mellower tunes, the latter of which we like the best. Titles include "You're My Shining Star", "Chillin Out", "All We Have Is Love", "Take Charge", "The Morning After", and "Hold On (For Me)".

A funky treasure – finally unleashed! Bucktown was one of the best of the mid 70s indie blacksploitation films – thanks to some great starring work from Fred Williamson and Pam Grier – but for years, the soundtrack's never been available as an individual release. Now, this tasty heavy-vinyl set makes all the film's wonderful grooves finally available – presented in a great style that includes all the shorter moodier bits, the fuller longer funky tracks, and even a bit of sound effects and dialogue! The music was penned and conducted by Johnny Pate – of Shaft In Africa and Brother On The Run fame – and the tunes are a great blend of funky soundtrack styles that include full on big band, sparer snapping instrumentals, and even a few nice tunes with great use of moog! Titles include "Chase", "Stepping", "Bar Fly", "Check In", "Freeze", "Love Theme", "Call It In", "Sneaking It In", and "Spin".

A beautiful album of crispy cool jazz from the LA scene of the 50s – one that features the octet of Bill Perkins recorded live in Hollywood, but in a "special hi-fi theater recording" that has sound as sublime as his studio work! The group includes Perkins on tenor, Bud Shank on alto, Jack Nimitz on baritone, Stu Williamson on trumpet, Carl Fontana on trombone, Russ Freeman on piano, Red Mitchell on bass, and Mel Lewis on drums. The live setting takes nothing away from the perfection of the group's conception, as Perkins' leadership is impeccable, bringing together the horns in a beautiful wash of sound. Titles include "Let Me See", "Zing Zang", "For Dancers Only", "One Hundred Years From Today", "Song Of The Islands", and "As They Reveled".

Heavy drums from this mighty pair – presented together on two classic albums! Burnin Beat is a drum-heavy spectacular that returns Gene Krupa and Buddy Rich to their big band roots – thanks to some hard-swinging arrangements from George Williams! The tracks are a bit shorter and done with a larger group than on some of the other Rich or Krupa sides for Verve – but there actually seems to be even more drum pyrotechnics here, possibly because the players' efforts are compressed into such a tight space! Production is a bit odd – with the drums so high in the mix that they sometimes come across with more treble than bass – but that really highlights some of the most inventive moments on the top of the kit as well. Titles include "Duet", "Perdido", "Evolution", "Night Train", and "Hawaiian War Chant". Original Drum Battle is a pretty darn great album – with a wonderful mix of JATP swing and strong-handed drumming by the leaders. The material was recorded at a Jazz At The Philharmonic show at Carnegie Hall in 1952, and although the main focus appears to be Krupa and Rich's drum work, there's actually some fantastic sax playing on the album – from both the alto of Willie Smith and the tenor of Flip Phillips, both of whom are at the height of their powers in this relaxed setting, working amazingly well around the bombastic drum pounding of Krupa and Rich. Tracks are long, and titles include "Idaho", "Flying Home", "Drum Boogie", "Drum Battle", and "Perdido".

Another standout set from Howard Rumsey's Lighthouse All Stars – the kind of group who should have been a gimmicky way to promote his nightclub, but who actually managed to cut some of the best LA records of the time! The lineup here features Rumsey on bass, Bud Shank on alto, Bob Cooper on tenor, Conte Candoli on trumpet, Claude Williamson on piano, Stan Levey on drums, and either Frank Rosolino or Stu Williamson on trombone – depending on the track – and as before, there's a great focus on the solo talents of each member, so that even in this larger group setting, each number features a strong contribution by a particular player. Arrangements are great, and titles include "Who's Sleepy", "Isn't It Romantic", "Mad At The World", "Long Ago & Far Away", "Sad Sack", and "Dickie's Dream".

Sublime early work from Bud Shank – one of our favorite west coast players ever – captured here away from some of his better-known work on Pacific Jazz! There's a nicely rough edge to some of the material – with Bud really blowing alto strongly on some of the leadoff tracks – which feature a trio of trombones from Bob Enevoldsen, Maynard Ferguson, and Stu Williamson! These players get in a few solo licks – and rhythm is by Claude Williamson on piano, Joe Mondragon on bass, and Shelly Manne on drums – all working with Bob Cooper arrangements, on titles that include "Valve In Head", "Cool Fool", and "Mobile". A few more tracks feature the more playful side of Shank's horns – both alto and flute – in a cool quartet with Williamson on both piano and celeste, Don Prell on bass, and Chuck Flores on drums – on the titles "Tertia", "Theme", and "Have Blues Will Travel". One last track is especially great – "Blues In The Surf", which features a group with Billy Bean on guitar and Gary Peacock on bass – really opening up into some of the most creative modes Shank would showcase in the early 60s, before hiding out in larger arrangements.

One of Ben Sidran's biggest records from the 70s – a smooth combination of jazz, fusion, soul, and a bit of New Orleans groove! There's still a very unique feel to Sidran's music here – a sense of personality that really makes the whole thing sparkle – and which keeps the record from sounding too much like anyone else. Grooves are a great mix of jazz and soul elements – in territory that certainly has a 70s LA sort of quality, but which never gets too poppy or commercial – thanks to Ben's vocals, and mostly small combo backings from players who include Phil Upchurch on bass, Blue Mitchell on trumpet, Larry Carlton on guitar, and Tony Williams on drums. Nick DeCaro adds in a bit of extra strings from time to time – and titles include "Silver's Serenade", "Charlie's Blues", "Be Nice", "Goodbye Porkpie Hat", "One Way Grave", and "See You On The Other Side".

Sweet electric soul from Carol Williams – a rich voice from the disco generation, served up here with some great Philly club arrangements from Vince Montana! The groove is great, right from the get-go – thanks to rhythm from the team of Bobby Eli, Norman Harris, and Ronnie Baker – and Carol's vocals slide in strongly with a style that echoes soul styles from a few years before – and reminds us at this great point, the singer wasn't always subservient to the grooves on the cuts! Vince Montana plays a bit of vibes on the record – and titles include "Rattlesnake", "Just Feel", "My Time Of Need", "This Time May Be The Last Time", "Love Is You", and "Come Back". Bonus tracks include "Love Is You (unreleased Tom Moulton 12" version)", "More (original 12" version)", "Come Back (original 12" version)", and "More (single version)".

A pretty sweet late 70s set from Deniece Williams – produced by Maurice White of Earth Wind & Fire – and it sounds like it! The set ranges from catchy, crossover ready funky soul sweetened ever more by Deniece's amazing voice, to more stripped down and intimate numbers. There's a couple of stylistic detours, one bright eyed gospel soul tune and a more grandly furnished ballad or two – but for the most part it's a wonderfully produced late 70s funky soul set that takes flight even higher thanks to Deniece's incredible range! Titles include "Time", "We Have Love For You", "Season", "Be Good To Me", "The Paper", "Boy I Left Behind", "Baby, Baby My Love's All For You" and "God Is Amazing". This CD edition includes a bonus track: the promo single version of ""Baby, Baby My Love's All For You".

A key record in the evolution of Tony Williams as a drummer – and kind of a powerful summation of all the changes he'd made in the 70s – before a return to straighter jazz in the next decade! Williams' drumming here is incredibly fierce at points – almost at a Billy Cobham level – but he also shows the sensitivity to deeper sounds that he first brought into play during the 60s – and manages to mix an ear for fusion modes with some freer elements too – thanks to help from a lineup of players that includes Herbie Hancock and Brian Auger on keyboards, Cecil Taylor on piano, Jan Hammer on Fender Rhodes, Stanley Clarke on bass, Ton Scott on lyricon, and Ronnie Montrose on guitar. Titles include "Tony", "Coming Back Home", "Morgan's Motion", "Eris", "Open Fire", and "Hittin On 6".

The third volume in one of the most popular soul series we've ever stocked! The CD features 25 rare soul tunes – from a variety of northern and southern sources, all of them hard-to-find gems with a deep soul sound that's dripping with sincere emotion and raw songsmithery. Brit soul DJ/collector/writer Dave Godin put the set together – and it would be hard to find a more loving collection of tunes with such a no-nonsense approach to the material. Titles include "Thanks For Yesterday" by Eddie & Ernie, "I'm Undecided" by Toussaint McCall, "Who Are You Gonna Love" by Rozetta Johnson, "I Paid For The Party" by The Enchanters, "Too Far Gone To Turn Around" by JR Bailey, "My Deceiving Heart" by The Impressions, "I'm Missing You" by Loretta Williams, "Let Me Down Easy" by Betty Lavette, "Don't Leave Me Baby" by Ray Gant & The Arabian Knights, "Like It Stands" by Robert Ramsey, and "Look At The Boy" by Jean Plum.

An essential chapter of Miami soul – even if most of the work is appearing here for the first time ever! The set is a magnificent companion to Numero's Deep City collection of pre-TK Miami soul – but it's put together in such a way that it's almost a beautiful introduction to the south Florida sound on its own – served up in a batch of rare, unreleased tracks! The music is every bit as wonderful as you'd expect – Miami soul recorded at a time before cliches had started to hit that scene – and when the best artists down south were strongly resonating ideas from Memphis and Muscle Shoals with other elements borrowed from northern groups both funky and mellow. Numero have really outdone themselves with this one – and the collection is way more than a part 2 to their previous package – more of a brilliant set of soul tunes on its own, complete with a booklet that's as beautiful as the music. Titles include "One Little Piece" by The Rollers, "Don't Be Surprised" by Lynn Williams, "No Way Out" by Clarence Reid, "What's In The Lovin" by Helene Smith, "Mr Lucky" by Betty Wright, "There Goes My Baby" by James Knight & The Butlers, "Do What You're Doin" by The Rising Sun, "Do Your Stuff" by Perk Badger, "Masterpiece" by Deep City Band, "Nasty Dog (part 2)" by The Nasty Dog Catchers, "Thank You Baby" by Betty Wright, "Your Love Won't Let Me Leave You" by Snoopy Dean, "The Pot Can't Talk About The Kettle" by Helene Smith, "Show Me What You Got" by Frank Williams & The Rocketeers, "Don't Be A Fool" by Clarence Reid, and "Knockin At The Wrong Door" by The Rollers. 2LP version features a great 12 x 12 fold out color insert in the middle – and includes 4 bonus tracks – instrumental versions of "Play With Fire" by The Rollers, "True Love Don't Grow On Trees" by Helene Smith, and "There Goes My Baby" by James Knight & The Butlers – plus the cut "Frenchy The Tickler" by Johnny K Killens & The Dynamites.

A profoundly funky Message – a smoking set of early 70s funky jazz & heavy soul from the Mainstream Records vaults – a diverse set of incredible recordings from the label that may be fairly sprawling in style, yet holds together thanks to shared funky urgency! It's filled with Bob Shad productions for his stellar Mainstream roster, which at the time included a host of far reaching jazz veterans, soulful chanteuses, and killer funky combos – including Afrique, Blue Mitchell, Sarah Vaughn, Alice Clark, Charles Kynard and many more! The session players reads like a heavyweight jazz title card itself, with Don Pullen, Stanley Clarke, George Cables, Joe Sample, Victor Feldman and more. The set features a very well chosen 18 tracks, with solid notes on each by Dean Rudand. Titles include "House Of Rising Funk" by Chubukos, "Soul Makossa" by Afrique, "The Message" by Blue Mitchell, "Funky Butt" by The Delegates", "Never Did I Stop Loving You" by Alice Clark, "I Want You Back" by Bobby Shad & The Bad Men, "Grits Ain't Groceries" by Maxine Weldon, "The Spirit" by Curtis Fuller", "Bacon Butt Fat" by Charles Williams and more.

One of the funkiest New Orleans collections we've ever heard – thanks to massive work from compilers Andy Smith and Dean Rudland! There's an approach here that gets right past the obvious, and goes right for the jugular – the deepest veins of Crescent City funk, served up with rhythms that are harder and heavier than those you'd hear in some of the bigger hits from the scene! Forget the overdone cliches you might expect, and dig the massively funky tunes throughout – work that's ever bit as great and gritty as the grooves you'd hear in a Jazzman collection of rare funky 45s. And while some of the artist names are familiar, most are represented by more obscure work – titles that include "Sinner Girl" by Benny Spellman, "Mean Man" by Betty Harris, "Boogaloo Mardi Gras" by Bobby Williams, "La La Man" by Oliver Morgan, "What You Gonna Do" by Eddie Bo, "All I Want Is You" by Zila Mays, "Undivided Love" by Eskew Reeder, "The Book" by Eldridge Holmes, "Being Without You" by Maurice Williams, "Son Of A Slave" by Larry Darnell, "Brotherman Sister Ann" by Clemon Smith, "Funky Soul" by Dave Batiste & The Gladiators, and "Miniskirts & Soul" by Chris Kenner.

A massively expanded version of the original Sehorn's Soul Farm compilation – one that adds in a huge amount of bonus tracks, and makes for an even more essential batch of New Orleans soul! The cuts here all come from the original Sansu empire formed by Marshall Sehorn and Allen Toussaint – a key force in New Orleans soul of the 60s – thanks to Toussaint's amazing ear for new talent, and bold new styles of production in the studio! Toussaint went onto much greater fame on bigger labels in the 70s, but his work here is still his best – a hard-edged, uniquely rhythmic groove that forever changed the sound of soul in the Crescent City. The 2CD set brings together material that appeared on both original Sehorn's Soul Farm collections in the 80s – mostly culled from labels like Sansu and Deesu, plus bits from other sources – and it also adds in 18 more bonus cuts too, which makes for a whopping batch of 50 New Orleans soul classics. Cuts include "Sadie Mae" by Joe Haywood, "Did You Have Fun" by Willie West, "A Lady" by Warren Lee, "Chicken Strut" by The Meters, "Look Way Back" by Diamond Joe, "Man Of The Street" by Ironing Board Sam, "How To Pick A Winner" by Diamond Joe, "Lovely Woman" by Eldrige Holmes, "Hotcha Mama" by Ernie K Doe, "Mean Man" by Betty Harris, "Hercules" by Aaron Neville, "Sinner Girl" by Benny Spellman, "Blues Tears & Sorrow" by John Williams, and "Star Revue" by Warren Lee.

Amazing blues from the Georgia scene of the 70s – music that hardly feels like other versions of the genre coming out at the time – partly thanks to the raw recording quality of these tracks! Most of the music features just a singer and guitar – sometimes just one or the other – and the only other rhythm on the record comes from spoons or a bit of drums – which should give you an idea of the lean, rootsy sound of the record! The quality of the music is great, though – and the record feels like some older gem on Arhoolie or Yazoo. Titles include "James Boogie" and "Good Morning Little School Girl" by James Davis, "The Howlin Wolf" and "Old Red #2" by Jim Bunkley, "Poor Boy" and "If I Lose Let Me Lose" by John Lee Ziegler, "Love Blues" and "Hoochie Coochie Wagon" by William Robertson, and "Have You Ever Seen Peaches Grow On A Sweet Potato Vine" by Jimmy Lee Williams.

Some of our favorite sorts of soul tracks from the 70s – those mellow groovers that never get too over the top, and have a great slow-burning energy that goes on and on through the night! The tracks here are the sort that bubbled under during the disco generation – more laidback tracks that often used the same arrangers, producers, and studios – but came up with a groove that was much more gentle, and which was perfect for the soulful, sensual lyrics of the tunes! Thanks to efforts by the two-step scene in 80s London, and Chicago steppers in the 90s, lots of these tracks have had great staying power for years – and are perfectly put together in this sublime little compilation. Titles include "Take It Slow" by The Notations, "Trying To Get Next To You" by Arnold Blair, "Ain't It A Shame" by The Dells, "This Feeling's Killing Me" by The Jones Girls, "Sweet Music Soft Lights & You" by Ken Williams, "Love Sounds" by Intimate Strangers, "Let's Do It Again" by The Staple Singers, "Try Love Again" by Natural Four, "Lucky Fellow" by Leroy Hutson, "How Glad I Am" by Joyce Cobb, and "We Got Some Catching Up To Do" by Jean Carn.

Ann-Margret at her grooviest – singing the super-groovy theme from The Swinger – perhaps her greatest film appearance ever! There's a mod bounce to the album that goes way way beyond any of Ann's other albums of the period – thanks to arrangements from Marty Paich, Quincy Jones, and Johnny Williams – all of whom put a nice sort of lilt in the backings, and manage to capture Ann at her sexiest. The title tune "The Swinger" is worth the price of entry itself – as it's a catchy, guitar-twanging number delivered in an incredibly breathy mode – supported by 2 great instrumentals from the film as well, "Swinger's Holiday" and "Kelly's Dance". But even on more conventional numbers, Ann's got a great sound here – bringing whole new sexy life to tracks that include "I Wanna Be Loved", "By Myself", "I Just Want To Make Love To You", "More", and "Cute".

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

James D-Train Williams' first album for a major label – and a really great follow-up to the indie success of his initial recordings for Prelude Records! The style here is very similar to the clubby grooves of D-Train's earlier sides – thanks to strong keyboards, production, and songwriting help from Hubert Eaves – the jazzy talent who helped give Williams' his trademark groove! Instrumentation veers slightly more towards mainstream 80s soul at times, but the Eaves' sound is still very firmly in place here – and titles include the groovers "Oh How I Love You (Girl)", "Misunderstanding", and "Let Me Love You" – plus "You Are Everything", "I Got Your Number", "Stand Up & Fight", and "Miracle Of The Heart". CD also features 4 bonus tracks from singles – 12" mixes of "Misunderstanding" and "Oh How I Love You Girl" – plus "You Are Everything (acapella)" and "Oh How I Love You Girl (inst)".

From the title, to the cover, to the gritty grooves way down in the wax – this has got to be one of the funkiest Blue Note albums ever – a real landmark from the legendary Lou Donaldson! The set kicks off with a hard and heavy groove from the very first note – thanks to some super-tight drumming by a young Idris Muhammad – still billed under his birth name of Leo Morris on the sleeve, but already hitting the kit with that snapping post-Popcorn style that would revolutionize funky jazz in years to come! Donaldson's plenty smoking himself on electrified alto sax – played with that great mix of flatness and echo that you'd hear in Eddie Harris' albums of the same time – and the rest of the lineup is equally cooking, with Melvin Sparks on guitar, Charles Earland on organ, and Ed Williams blasting away on funky trumpet! Titles include killer remakes of "It's Your Thing" and "Who's Making Love" – plus Donaldson originals "Hot Dog" and "Turtle Walk" – all nice and long, and with a really raw sound!

A pair of late 60s gems from Jackie Gleason – back to back on a single CD! Silk N Brass features smooth groovy sounds from Jackie Gleason – a set that definitely serves up the silk and brass promised in the title – but which also features some nice solo work too – thanks to tenor from Charlie Ventura and trumpet from Pee Wee Ervin! There's a slight mid 60s groove to the record – one that's different than the sleepier sounds of Jackie's work from the previous decade – and arrangements by George Williams have a nice bounce at points. Titles include "Real Live Girl", "Girl From Ipanema", "Somebody Else Is Taking My Place", "Begin To Love", "It's Such A Happy Day", and "Starry-Eyed & Breathless". The Now Sound is a record that's definitely after our own heart – in case you couldn't tell from the title! The set has Jackie Gleason expanding his bag a bit for the late 60s – moving from the easy sound to the "Now Sound" – with the help of some cool electric sitar, pictured on the front of the set – and other hip instrumentation from Tom Scott on flutes, Milt Holland on tabla, and Emil Richards on a range of exotic percussion! The album's as totally wild and exotic as similar efforts on Impulse or Verve, but the record's still a great batch of "establishment hip" instrumentals – which shows Jackie trying to get a little hip for the times. George Williams handles arrangements, still with lots of the trademark Gleason strings – and titles include "Live For Life", "Can't Take My Eyes Off Of You", "It Must Be Him", and "I Won't Cry Anymore".

A legendary album from this tenor genius from Chicago – a hell of a player who emerged in the same generation as Clifford Jordan, John Gilmore, Eddie Harris, and Johnny Griffin – yet never fully got his due! The album's easily one of the most sharp-edged for the Bethlehem label – and has the power of a rare Blue Note or Prestige date from the same time – thanks partly to Harold's sharp bite in the tone of his tenor, and partly to an ultra-hip lineup that includes Charles Davis on baritone sax, Julian Priester on trombone, Phillip Wright on piano, Thomas Williams on bass, and Walter Perkins on drums. The set really showcases that mix of modern and soulful that was the best side of the Chicago scene at the start of the 60s – a vibe you'd find from a group like the MJT+3 or the Gene Shaw Quintet on Argo – even more of a surprise here on the mostly-cool Bethlehem label. Ousley penned some great originals for the record – and titles include "Porter's Groove", "Struttin To Truckin", "Paris Sunday", "Decvachan", and "Dell A Von".

A beautiful pairing of players – one that makes for a wonderful album! Shank's at the height of his early powers here – working in a fluid west coast mode that less in keeping with the "blowin" of the title, than the magic he was known for crafting on his other sides from the time. Bud plays alto, tenor, and flute on the session – and he's paired with Bob Cooper, whose round tones on tenor and bass clarinet are a nice match for Shank's slightly edgier sound. Claude Williamson is on piano, Don Prell plays bass, and Chuck Flores is on drums – 10 tracks in all: "Two Lost Souls", "Dinah", "Mutual Admiration Society", "Love Nest", "Just In Time", "Steve Allen Theme", "I've Grown Accustomed To Her Face", "As Long As There's Music", Sweet Georgia Brown" and "Blowin Country".

One of Ben Sidran's biggest records from the 70s – a smooth combination of jazz, fusion, soul, and a bit of New Orleans groove! There's still a very unique feel to Sidran's music here – a sense of personality that really makes the whole thing sparkle – and which keeps the record from sounding too much like anyone else. Grooves are a great mix of jazz and soul elements – in territory that certainly has a 70s LA sort of quality, but which never gets too poppy or commercial – thanks to Ben's vocals, and mostly small combo backings from players who include Phil Upchurch on bass, Blue Mitchell on trumpet, Larry Carlton on guitar, and Tony Williams on drums. Nick DeCaro adds in a bit of extra strings from time to time – and titles include "Silver's Serenade", "Charlie's Blues", "Be Nice", "Goodbye Porkpie Hat", "One Way Grave", and "See You On The Other Side".

No need to be a connoisseur to enjoy this set – because the tunes here are all plenty darn groovy – rare soul numbers with an instant appeal to our ears, thanks to their freshness and the quality of the work! The package features rare singles and a bunch of previously unissued tracks from the vaults of the Kent/Modern labels – most recorded at the end of the 60s, in a range of soulful styles! Some numbers have a sweeter feel, but many echo the headier sounds of the times – bringing in some funkier or psychedelic soul influences, even when the themes might be a bit more conventional, or the grooves a bit more mellow. As always with Kent, the package features loads of notes on the music – enough to help even a novice become a connoisseur after a few listenings – and the CD features 24 titles that include "Cut Me Loose" by Gene Taylor, "Beverly" by Billy Watkins, "If I'd Lose You" by Jackie Day, "That Righteous Feeling" by Marvin Phillips & The Spinners, "My Name Is Misery" by Al King, "I've Gotta Get You Back" by Mary Love, "I'm Guilty" by Vernon Garrett, "Can't Count The Days" by Jeb Stuart, "Baby Baby Baby" by Leon Peterson, "The Ta Ta Song" by Little Henry & The Shamrocks, and "It's OK" by Esther Williams.

An amazing look at the music of Leon Ware – one of our favorite soul artists of the 70s! Leon's got a warmly mellow style that's totally great – heard most famously in collaboration with Marvin Gaye on the classic I Want You album, but equally noteworthy on Leon's own records – and on a host of other projects he's done with top-shelf soul artists over the years! A good number of those projects are collected here – the cream of the crop of Ware-associated cuts from the 70s and early 80s – tunes penned, produced, arranged, or even featuring Leon himself – all brought together here in a really wonderful little collection. Each track is a treasure, and the whole thing is a sublime mellow soul masterpiece – filled with musical moments that sound even better in the company of each other – pulled from other records, and rewoven here in a new tapestry that stands as a rich tribute to Ware's mighty talents. Titles include "Everywhere Inside Me" by Norman Connors, "I Don't Know" by Syreeta, "You Do The Right Things" by Al Wilson, "Point Of View" by Rockie Robbins, "No Tricks" by Chuck Jackson, "I Can't Keep Holding Back" by Shadow, "Trust Your Heart (ext 12" mix)" by Bobby Womack, "Just Don't Make It Hurt" by Krystol, "I Came To Love You" by Booker T, "I Can Dream" by Themal Jones, "You Make Me Wanna Love Again" by Vesta Williams, "I Know It's You" by Donny Hathaway, "Can You Feel What I'm Saying" by Minnie Riperton, "Looking Up To You" by Michael Wycoff, "Thank You Early Bird" by Jerry Butler, and the tracks "What's Your World" and "Girl Girl Girl" by Leon Ware himself!

Contemporary grooves, but all pretty darn funky – thanks to an excellent track selection by Tobias Kirmayer – the same guy who brought us the excellents Movements collections! A few of the titles here are of older vintage, but most are pulled from the same deep funk underground that Kirmayer services with his Tramp Records label – groups steeped in the styles of the 60s and 70s underground, but who serve up new work that's filled with plenty of funky roots! Despite the wide range of styles promised in the title, most of the titles here are on the grittier side of the spectrum – which is a good thing for us – and even the few tracks that are a bit more programmed still work with plenty of soulful and jazzy elements to keep things real throughout. Titles include "Nothin But A Party" by The Blenders, "Get Clean" by The Nitesounds, "Skins Funk" by Skin Williams & His Dominoes, "Bubbles" by The Boogoos, "Violet" by Hi-Fly Orchestra, "Rhythmo" by Dusty, "Get High" by Dr Sonnenschein, "Barbados Stew" by Caldonia, "First Time Around" by Sagaflex & Rudy Tee, and "Trip To Afrika" by Baccarola.

From the title, to the cover, to the gritty grooves way down in the wax – this has got to be one of the funkiest Blue Note albums ever – a real landmark from the legendary Lou Donaldson! The set kicks off with a hard and heavy groove from the very first note – thanks to some super-tight drumming by a young Idris Muhammad – still billed under his birth name of Leo Morris on the sleeve, but already hitting the kit with that snapping post-Popcorn style that would revolutionize funky jazz in years to come! Donaldson's plenty smoking himself on electrified alto sax – played with that great mix of flatness and echo that you'd hear in Eddie Harris' albums of the same time – and the rest of the lineup is equally cooking, with Melvin Sparks on guitar, Charles Earland on organ, and Ed Williams blasting away on funky trumpet! Titles include killer remakes of "It's Your Thing" and "Who's Making Love" – plus Donaldson originals "Hot Dog" and "Turtle Walk" – all nice and long, and with a really raw sound!

Finnish soul, by an American singer – not the same Charles Williams that you might know from 70s jazz funk albums – but an even earlier talent, really shining brightly here in a soulful Scandinavian setting! The album's a really lost rare groove treasure – a record that almost has the same sort of depth as American soul albums of the time – thanks in large part to Williams' great arrangements on the set, which are a mix of funky club and jazz, with room enough for some nice instrumental passages next to the vocals. The mellower cuts showcase Williams' deeper soul styles, and the more upbeat ones have this sweet lead gliding beautifully over tight instrumentation – never too polished or commercial. Titles include the wicked funk classic "Change It", plus "Standing", "Your Life", "Love Is A Very Special Thing", "Helen", "Standing In The Way", and "Theme From Long Road". CD features two bonus tracks – "Just As Long" and "Funky Music".

One of the most old school volumes of this always-great series – a set that features mostly obscure soul singles from the late 60s and early 70s – many of which we've never had on reissues before! The groove here is more in the style that Chicago Steppers used back in the day – the mellow soul that first burned brightly in the mid 60s, then continued to supply the scene with some great music as years went on. And because of that mode, many of the tracks here have a great late nite feel – not exactly sweet soul, but not too far away either – thanks to some great vocals. Titles include "I Made Up My Mind" and "I'm Not Ready To Settle Down" by The Cheers, "I Love You More" by Lee Williams & The Cymbals, "Feel Kind Of Bad" by The Radiants, "You've Said It All" by Steve Karmen Orchestra, "Pull Together" by Nite Liters, "Here I Am Baby" by Barbara McNair, "Stay A While With Me" by Sharon Ridley, "Here I Am & Here I Stay" by Sonji Clay, "Stealing Watermelons" by Chambers Brothers, and "Got No One" by Delcardos.

Landmark material – one of Grachan Moncur's two classic albums for Blue Note, and a session that ranks as one of the best examples of the "new thing" moment in 60s jazz! Grachan's leading a sextet here that includes a number of players that he cut his teeth with in Jackie McLean's great mid 60's group, including McLean himself, Bobby Hutcherson, and a young Tony Williams. Lee Morgan joins in on trumpet – playing with a surprisingly modern tone for the time – and the group works their way through 4 stunning Moncur compositions – "Air Raid", "Evolution", "The Coaster", and "Monk In Wonderland". It's hard to describe the power of these recordings – but thankfully, we don't have to, as one listen to the album will blow you away!

Landmark material – one of Grachan Moncur's two classic albums for Blue Note, and a session that ranks as one of the best examples of the "new thing" moment in 60s jazz! Grachan's leading a sextet here that includes a number of players that he cut his teeth with in Jackie McLean's great mid 60's group, including McLean himself, Bobby Hutcherson, and a young Tony Williams. Lee Morgan joins in on trumpet – playing with a surprisingly modern tone for the time – and the group works their way through 4 stunning Moncur compositions – "Air Raid", "Evolution", "The Coaster", and "Monk In Wonderland". It's hard to describe the power of these recordings – but thankfully, we don't have to, as one listen to the album will blow you away!

Lonnie Smith's a musician who's really taken off in recent years – hardly content to rest on his well-earned laurels in jazz, and definitely not a player who's willing to reduce himself to familiar cliches designed to please a crowd looking for an old school sound! Instead, he's continued to grow strongly – reaching for new sounds, new modes of expression, and new ways of opening up on the Hammond – light years from his early work of the 60s and 70s! A record like this is a great document of that growth – amazing trio tracks that have some of the most righteous sounds that Smith's ever recorded – really far-reaching and free, yet still plenty soulful too – a balance we never would have expected from Lonnie back in the day. Each tune is a treasure – and the energy in the group is great, thanks to work on guitar from Jonathan Kreisberg and drums by Jamire Williams. All tracks are nice and long – and titles include "Beehive", "Dapper Dan", "Pilgrimage", "Backtrack", and "Mellow Mood".

Upbeat, jazzy, and swinging – two great albums from Mel Torme's years at Verve! I Dig The Duke I Dig The Count is an album dedicated to the music of Duke Ellington and Count Basie, set to some very upbeat, jazzy backings from Johnny Mandel! The album's quite swinging at points – and given the choice of material, Mel really breaks from the familiar – stretching out nicely to reach the spirit of the famous leaders, but always with that tremendous sense of tone! Titles include "Down For Double", "I'm Gonna Go Fishin", "I Like The Sunrise", "Reminiscing In Tempo", "Oh What A Night For Love", and "In The Evening". On Swings Shubert Alley, Mel Torme takes on the sound of Broadway at the start of the 60s – but he does so in a very groovy way, thanks to hip backings from the amazing Marty Paich! The style here is as swinging and jazzy as the work that Mel and Marty cut together on the Bethlehem label in the late 50s – and the tracks have a nice sort of groove, and an overall lean feel – a sound that takes the music far from its Broadway roots! Players include Art Pepper on alto, Stu Williamson on trumpet, Bill Perkins on tenor, and Frank Rosolino on trombone – all bringing a nice sense of themselves to the set. Titles include "Lonely Town", "Whatever Lola Wants", "Old Devil Moon", "Hello Young Lovers", "Too Close For Comfort", and "Just In Time".

More greatness than usual for Duke Jordan – thanks to the presence of Charlie Rouse on tenor and Richard Williams on trumpet! Titles include "Truth", "Tall Grass", "Sultry Eye", and "Undecided Lady".