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An amazing collection of string quartet work composed by Morton Feldman – played to perfection by the Ives Ensemble, who really know how to get the right spirit out of the music! Most of these pieces are filled with space – notes that often ebb slowly into silence before the next one approaches – creating this sense of tension that's really wonderful – yet still quite tuneful too, without as much of the atonality you might hear in other work of this nature. The 4CD set features the complete String Quartet II, from 1983 – heard here in its first recording!

A set of performances dedicated to Thelonious Monk – yet music that's quite far from anything by Monk that we've ever heard before! Yet there's also a definite Monkish inspiration going on here – a sense of space and timing that resonates in different, often drawn-out ways – performed by the group's twin pianos, handled by Ufuk and Bahar Dorduncu – and percussion by Francois Volpe and Sebastien Cordier. The result is more avant compositional than jazz, yet the performance here is key too – on performances of compositions that include Oliver Schneller's "Resonant Space", Guillermo Gregorio's "Construction In Four Parts", Fabrizio Rat Ferrero's "L'Abito Non FaIl Monaco", and Stefan Wirth's "Standards".

One of Cecil's best for Hat Art, and a beautiful working of the extended title cut, "The Garden". Cecil's solo here, and other tracks include "Driver Says", "Points", "Pemmican", and "Introduction to Z". The set includes two LPs, and is boxed in one of those nice Hat Art foldover sleeves!

Seminal sounds from John Cage – his groundbreaking Sonatas & Interludes of the late 40s – performed here with a rich sense of tone and timing by James Tenney! The performance is easily the most striking we've ever heard of these short pieces – and really bring out the magical sounds that Cage composed when conceiving of his "prepared piano" approach to music – interpreted wonderfully by Tenney, with a great ear for the sounds inside the instrument! Given that the compositions were initially what had inspired a young Tenney to take up music in his teens, this performance has a deeply personal undercurrent – and it's perhaps that which makes the music here sound so great.

Braxton and Richard Teitlebaum team up again on this 2 LP release for Hat Art. Teitlebaum plays cool electronics next to Braxton's icy alto, and the sound is incredible. Wild stuff – and although not Braxton's usual bag, it's still a welcome part of his oeuvre. Titles include "3", "1.2", "2", and "1.1".

Pure genius from Horace Tapscott – a record that really lights a new fire under his talents – and takes us back to some of the most expressive, most righteous jazz from the LA scene of the 70s! The quartet here features key LA player John Carter on clarinet – an instrument that he'd embraced heavily during the decade in which this set was recorded, but managed to use with a sense of boldness and fire brought to earlier work on saxes – a sound that's quite different than just about any other player on the instrument! Carter's a perfect match for Tapscott's long-woven lines on piano – heard to great effect on the album's reworking of his classic "Dark Tree" – but cast out perfectly on all the other tunes too – thanks in part to tremendous rhythm work from Cecil McBee on bass and Andrew Cyrille on drums! The set's brilliant all the way through – one of the greatest things Hat Art ever recorded – and a record to rival any of the great indie underground sets of the 70s. Titles include "One For Lately", "The Dark Tree", "Sketches Of Drunken Mary", "Lino's Pad", "Sandy & Niles", "A Dress For Renee", and "Nyja's Theme".

Plenty of Chicago overtones here – thanks to the Windy City setting of the recording, and to contributions from Jeb Bishop on trombone, Kent Kessler on bass, and Robert Barry on drums! Daniele D'Agaro is no stranger to this scene – and his tenor and clarinet are right at home in the lineup – finding free spaces of expression to voice his presence strongly, yet also moving in ways that clearly inspire the other musicians – especially on the more compositional tracks on the set. Titles include variations on the Ellington numbers "Melancholia" and "Sweet Zurzday" – plus "Ultramarine #13", "Chicago Beer Coaster", "Dick's Holler", and "Barry K".

The minimalism of Erik Satie, handled by the maximalism of the Vienna Art Orchestra – at first glance a seeming mismatch, but instead a record that really opens up Satie's music strongly – and also makes for one of the Vienna Art Orchestra's most memorable moments! The large group is broken out into much smaller ensembles for most of the album – often just duos or solo players, working through some of Satie's most inventive compositions – varying instrumentation throughout, in ways that almost make for different refractions of the music through differing lenses – a bit like the excellent Satie project issued around the same time on Nato. Players include Wolfgang Puschnig on flute, Christian Radovan on trombone, Woody Schabata on vibes, Wolfgang Reisinger on tarabuka, and Lauren Newton on voice – and titles include "Reflections On Aubade", "Vexations 1801", "Gnossienne No 3", and "Reflections On Idylle".

The "Sunrise" in the title here is especially well-placed – because this live performance by Sun Ra has a beautifully glowing quality – one that unfolds musically as the set rolls on, moving through a day's course of music in different moods and dimensions! Ra initiates the proceedings with some gentler inside piano, but as the set gets moving, the other group members leap into the fray – pushing a tremendous energy into some of Ra's original compositions – then stepping back for a more peaceful, contemplative exploration of older themes in jazz – played in that "across the 20th century" mode that took hold of The Arkestra strongly during this decade. Group members here include Marshall Allen, John Gilmore, Noel Scott, Michael Ray, and Danny Thomas – and the concert is very well recorded, with numbers that include "Cocktails For Two", "Lightnin", " "Light From A Hidden Sun", "Pin Points Of Spiral Prisms", "Silhouettes Of The Shadow World", "Queer Notions", "Big John's Special", and "A Helio-Hello & Goodbye Too".

The compositions of Cornelius Cardew, performed here with a distinctly Chicago inflection – in a relatively recent performance that is partially conducted by Art Lange, and featuring Jim Baker on Arp, Carrio Biolo on vibes, Jeb Bishop on trombone, Fred Lonberg-Holm on cello, and Jeff Parker on guitar. Given the relation of some of the players to Lonberg-Holm's Lightbox Orchestra, there's definitely a similar feel here – a sense of timing and interplay that illuminates Cardew's compositions nicely, in the hands of musicians who can understand the complexities of his work, and make the best of the freedoms he allows them. Titles include "Autumn 60", "Treatise", "Memories Of You", "Material", and "Octet 61 For Jasper Johns".

An amazing 2CD set of archival material from saxophonist Joe McPhee – and work that's right up there with his classic early albums for the Hat Art label! The tracks here were all recorded privately in the late 60s and early 70s – and all of them feature Joe completely on his own – often blowing solo tenor or soprano sax, but also playing other instruments too – including toy piano, percussion, recorder, kalimba, flute, echoplex, and even "space organ"! The sound is wonderful – completely evocative, and filled with soul – very much in the same space of Anthonly Braxton's For Alto album, but more spiritual overall – as you might expect from Joe! The first CD features a selection of long tracks that build wonderfully, with almost a Kalaparusha-like energy – and the second CD features a lot more tracks, some short, some long – with a really creative instrumental approach – as well as some overdubbing that allows McPhee to solo along with himself!

Classic 60s soul jazz from Eddie Lockjaw Davis – more than an album's worth of materal on a single CD! First up is part of the album Misty – great work from the famous team that featured Eddie Lockjaw Davis on tenor and Shirley Scott on organ – recorded here in the mellow, open-ended setting of Prestige Records' Moodsville label – a perfect setting for the late nite stylings of the pair! There's a slight more groove to this session than some of the other Moodsville date – thanks to the presence of Ray Barretto in the group on congas –a longside the bass of George Duvivier and drums of Arthur Edgehill. CD also adds in the track "From This Moment On". Goin To The Meetin is a great one – and one of the rarest Prestige dates from Eddie Lockjaw Davis! The album features a unique group that includes Horace Parlan on piano – in place of the organ that had graced many of Davis' earlier Prestige records – with added groovy energy from Buddy Catlett on bass, Art Taylor on drums, and Willie Bobo on congas – all players who seem to give Davis an even sharper edge than before – not entirely the modern tones of his pairings with Johnny Griffin, but a bit less sleepy than in the company of a Hammond. The congas really kick things up nicely – and there's an undercurrent of fire that almost recalls some of the best Blue Note dates of this nature from the time. Titles include "Little Cougar", "Yes Yes", "Pass The Hat", "Goin To Meetin", and "Oh Babee".

A wild early "party" record – supposedly credited to Ben Light. Worth it enough for the label alone!

The first full album recorded by A Certain Ratio – and a mad mix of styles that's immediately compelling! The group are a key link here in so many traditions – British punk, 70s funk, dub, and late prog – all coming together under the godlike production talents of Martin Hannett to make the album one of the gleaming jewels in the crown of the young Factory Records label. There's never been a record of such scattered, skittish darkness – and even though short songs like "The Fox", "Forced Laugh", "Felch", "My Spirit", and "Loss" are arresting, the whole thing's magnificently capped off by the extended percussion jam "Winter Hill" – a tune that sounds like a batucada group trying to drum their way across a post-apocalyptic landscape!

The second big single from ABC, served up here with a Trevor Horn remix that really keeps things interesting! The tune starts out with a jazzy part that's heavy on the vibes – then rolls into the familiar catchy main part of the tune – then opens up with some more jazzy bits as things roll on! "Man Trap" is a vocal number, but the lounge sequence version is a nice piano instrumental played by Horn.

Sublime sounds from the always-amazing Ahmed Abdul-Malik – a jazz bassist at heart, but also a musician with a great ear for Eastern instrumentation as well! Ahmed cut a few key records at the end of the 50s and start of the 60s – and this spellbinding set may well be one of his strongest – a set that moves past some of the more gimmicky use of exotic instrumentation on other albums, and focuses on a jazzy core that really shines strongly on the album's long tracks! There's still a nice sense of the East on the record – thanks to Hamza Aldeen's oud – but the set also features great jazz solos from Seldon Powell on flute and tenor, and the great Ray Nance on both cornet and violin. Drummer Walter Perkins plays with a fluid style that's perfect for the date – and pianist Paul Neves has a lyrical approach to piano that works wonders for the groove. Titles include "Spellbound", "Never On Sunday", "Body & Soul", "Song Of Delilah", and "Cinema Blues".

This former member of the Rena Rama group steps out in a loving tribute to Don Cherry – who was himself an importance force on the Swedish scene at the same time as Aberg's earlier fame! The album's got a slow-building quality that reminds us a fair bit of the Cherry of later years – a great sense of space and sound, and one that really benefits from an expanded lineup of musicians on the set. Some tracks are quite laidback and atmospheric, but the best ones are fuller and more driving – and apart from drummer Peter Erskine, Palle Mikkelborg also plays the role of Cherry on trumpet on a medley of tracks from Don's Relativity Suite! Titles include "Arthur", "Rain", "Amarone", "Kashmir", "Folkvisa", "In Memoriam", and "Tantra/Mali Doussn'Gouni/Desireless".

A beautiful second record from Abiah – warmly wonderful material that's as sensitive as a singer/songwriter set, yet also has a deep sense of soul as well! Vocals and piano are wonderfully intertwined – in a mode that has the depth of jazz, yet the focus of soul music as well – often handled at a gentle pace, but with a flow that really holds us rapt throughout – with an acoustic vibe that's somewhere in a space between Bill Withers and Joan Armatrading. Abiah is an artist who previously recorded for Universal under his first name, Jeremiah – but he sounds even more wonderful here, and the shift to using his last name is definitely a good choice for this next chapter in his music. Titles include "This Time", "Goodbye", "Foolish Heart", "September", "Turn The Light On", and "Life As A Ballad".

Mid 80s soul from Detroit's Colonel Abrams – One of the first artists to take the then burgeoning house sound into the mainstream – paired up with nicely grooving modern soul vibe! Includes the his "Trapped" and "I'm Not Gonna Let", with those bright and bumping synth melodies and relentless house influenced beats underneath vocals and songwriting that helped get it over with the chart ready contemporary soul scene – plus the solid ballad "Never Change", "Over & Over", "Speculation", "The Truth", "Table For Two" and more. This CD version includes 4 bonus tracks: 12" mixes of "Trapped", "I'm Not Gonna Let You", "The Truth" and "Over And Over" – plus the non album track "Music Is The Answer".

Some of our favorite albums ever from pianist Muhal Richard Abrams – an amazing run of eight records for the Black Saint/Soul Note label – rich in fresh colors, tones, and new musical ideas! There's a sensitivity to some of these records that you don't always get with Abrams – a personal feeling that brings in a much-needed warmth to his complex compositional forms – often in collaboration with other players on the Chicago scene, but also with a wider range of avant players, especially from New York – where Abrams would have a great influence in the 80s. The lineup of musicians here is wonderful – a virtual who's-who of the jazz left at the time, at least from an American perspective – with performances from George Lewis, Roscoe Mitchell, Amina Myers, Thurman Barker, Baikida Carroll, Andrew Cyrille, Craig Harris, Stanton Davis, Marty Erlich, Dick Griffin, Cecil Bridgewater, Fred Hopkins, Dierdre Murray, and so many others. The set features 8 full albums, each in a tiny LP-styled sleeve – and titles include Siphumonesty, Mama & Daddy, Blues Forever, Rejoicing With The Light, View From Within, Hearinga Suite, Blu Blu Blu, and Think All Focus One.

Great rootsy Cajun accordion – a version of the genre that's much grittier than any of the later versions that were spread more strongly through the mainstream – and definitely light years from the touristy sounds heard in more recent years! This set offers up a host of rare small label recordings from Nathan Abshire – a player who really handles his instrument with a personal touch – almost as raw and soulful as a harmonica in the hands of a blues musician, and often supported by rhythms that are pretty darn blue as well – although also with a definite Louisiana sound! The package features material with the Pine Grove Boys and Balfa Brothers group, plus others by Nathan on his own – and the set features 25 titles that include "Pine Grove Blues", "Offshore Blues", "Shamrock", "J'Etais Au Bal", "Choupique Two Step", "Partie A Grand Basile", and "Dying In Misery".

The cover's a bit cheesy, but the record's a great one – stunningly spiritual jazz from saxophonist Idris Ackamoor, and a set that really lives up to his soulful fame from the 70s! The record has a similar vibe to some of Ackamoor's recordings with The Pyramids – very well-crafted work that's filled with a rich spirit and lots of freely creative energy – often moved by rhythms that are warm and flowing, and recorded with a sound that's much more 70s than you'd guess from the date of the recording. Idris plays alto sax, and other group members include Art Hirahara on electric piano, Baba Duru on percussion, Destiny Muhammad on harp, and Fred Harris on drums. Some tracks have vocals – sung beautifully, in a really Strata East sort of way – and titles include "Our Voices", "Beckoning", "Libation Song", "Island Dance", "Move Towards The Light", and "Centurian".

Wonderful work from Idris Ackamoor – a great indie set that we'd rank right up there with some of his best recordings of the 70s! The group here is only a quartet, but there's a richness to the sound that's really amazing – a soaringly soulful style that often feels like Idris is working with a larger group – especially given the bold, righteous sound of the music! The rhythm trio is wonderful – Fred Harris on piano, Mark Anthony Williams on bass, and Al Marshall on drums – and Idris plays alto sax throughout, with a sharp edge and fluid tone that shows lots of growth since the 70s. Daria Nile and Rhodessa Jones sing on a few tracks – bringing a nice sort of Strata East vibe to the record – and titles include "Idrissa's Dream", "Topanga", "You", "A Child's Lament", "Spiritual Rebirth", and "A Prayer For Changing Times".

An excellent second album by Barbara Acklin – and a perfect demonstration of her really unique Chicago soul talents! Acklin's really at the cusp of two generations here – at one level still with some of the sweetness of the earlier style of 60s girl soul, but at another full of the power and pride that was really flowing into other artists of the 70s – a balance that's a great summation of the unique way that Chicago artists could play both ends of the spectrum, and come up with something really unique in the process! The album includes the great cut "Am I The Same Girl", a loping soul groover that was all set to be a big single for Barbara – but for some reason, Brunswick held the tape back, stripped off the vocals, put on some piano, and released it as the instrumental "Soulful Strut" by Young-Holt Unlimited at the same time! Yet we still dig Barbara's version better, though – nestled here alongside other great cuts that include "Seven Days of Night", "A Raggedy Ride", "Go With Love", "Mr Sunshine", "Until You Return", and "Where Would I Go".

Brilliant stuff – and one of the greatest P&P singles ever! Marta Acuna's "Dance Dance Dance" is one of those tracks that we never tire of – a sublime blend of Latin rhythms, warm disco vocals, and that great spacey P&P approach to production! Sweet female vocals glide in and out of the tune while a pumping bassy rhythm rolls along – gently grooving the track with a jazzy sort of flair, as moogy keyboards bring in a wonderful cosmic vibe!

Pepper Adams never fails to blow us away in a small group setting – and here, on a killer quartet date from the early 80s, he really wins us over all over again! The album's one of those great ones from Adams – in which he's really let loose to open up and blow some extended, imaginative solos – the kind of open-ended baritone sax romps that few (if any) other players could do this well! The rhythm section kicks with just the right sort of energy for the tunes – Jimmy Rowles on piano, George Mraz on bass, and Billy Hart on drums – and titles include "Trentino", "Urban Dreams", "Three Little Words", "Dexter Rides Again", and "Time Is On My Hands".

One of the most amazing players to ever pick up the vibes – an artist with the sort of boundless creativity that Walt Dickerson and Bobby Hutcherson brought to the instrument in the 60s! Jason Adasiewicz has an amazing ear for both sound and music – and manages to balance the two perfectly – reaching for completely fresh sounds from the vibes, yet also with a sense of structure that's never too free – really maintaining a musical, melodic approach that keeps us rapt and attentive all the way through! Jason's music has always been great, but these recent Delmark sets are even a cut above – proof that both the label and the new Chicago scene are powerful forces in 21st Century jazz. The trio features excellent work by like-minded musicians Natt McBride on bass and Mike Reed on drums – and titles include "The Volunteer", "Pillow", "Run Fly", "Solo One", "Diesel", and "Waiting In The Attic".

Heavy dancefloor funk from ADC Band – grooving in a bass-heavy mode that almost seems like a mainstream take on P-Funk – but which also has some really great mellow soul elements on the mellower tunes! There's a great ensemble Detroit groove going on overall – and as an added bonus, soul jazz legend Marcus Belgrave plays trumpet on most of the tracks! Titles include "I Just Want To Hold You", "Stank Machine", "Midnite Creeper", "Talk That Stuff", "ADC Is Back", and "At The Party".

A stone classic from Cannonball Adderley – and a pivotal set that has him continuing the live recording setting of some of his best 60s albums, while also stretching forward to some of the more inventive ideas of the latter part of the decade! David Axelrod produced, and the album's definitely got his ear firmly in place – a great way of bringing together the album's hip instrumentation – Cannon's alto, Nat Adderley's cornet, and the wicked electric piano of Joe Zawinul – played here in a style that would go onto have a huge influence on countless other musicians on the instrument. Rhythm is by Victor Gaskin on bass and Roy McCurdy on drums – and as with other Axelrod live albums, there's some great spoken bits left in the mix – Cannon's charming conversation with the audience, which really opens up the tunes. Titles include the 2 title hits – "Walk Tall" and "74 Miles Away" – plus "I Remember Bird", "Oh Babe", and "Do Do Do".

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

A swingin' Japanese concert by one of Cannonball's best groups from the 60's. Joe Zawinul's on piano, brother Nat's on cornet, Sam Jones is on bass, and Louis Hayes is on drums. But the real treat here is Yusef Lateef, who does some excellent reed work on tenor, flute, and oboe – and who's playing at this point with that great mix of soul jazz and out-sounds that he was cooking up at the time. There's some great long cuts, including an excellent 12 minute reading of Lateef's "Brother John", plus the title track, "Come Sunday", "Tengo Tango", "Easy To Love" and "The Weaver".

At this point, things were getting better from Cannonball – as he was getting a lot more of a handle on his style as a soloist, and began sticking to the tight little combo sound that would make him a star in the 60s. This album was recorded slightly before Cannon's classic lineup would begin to gell – but it features some very able company in the form of Art Blakey, Wynton Kelly, and Milt Jackson, with a tight hard bop sound to the group. The title cut's a near-classic, and other tunes include "Sounds For Sid", "Groovin High", "Serves Me Right", and "Blues Oriental".

A massive look at the mighty pairing of Cannonball Adderley and David Axelrod – a partnership that's way more than just jazz musician and producer! Axelrod's talents in the studio are many, but his greatest heights were possibly reached in collaboration with Cannonball – a relationship that spawned an amazing run of singles and albums that allowed the saxophonist to expand his music to amazing new levels, and touch audiences that few other jazz musicians could reach! Axelrod's sense of sound and timing are a perfect match for Cannonball's intrinsically funky approach to the saxophone – and no matter what the setting here, from big band to small combo, studio recordings to live date, high concept records to relaxed jazz sessions, there's an undeniable groove in the music that never lets up. The CD pulls together a very wide range of work from key Axelrod/Adderley Capitol recordings – and offers a double-length look at their pairing that's as soulful as it is essential. Titles include "The Black Messiah", "Space Spiritual", "Do Do Do", "Gone", "Ndolima", "Up & At It", "Hummin", "Make Your Own Temple", "Tensity", "Fun In The Church", "Khutsana", "Price You Got To Pay To Be Free", "Walk Tall", "Music You All", and "Dialogues For Jazz Quintet & Orchestra".

A strong showcase for young Nat Adderley's talents on cornet – and an album that's got a different feel that his work with his more famous brother's combo at the same time! The style here is simple – Nat blowing with 2 different quartets – one with Joe Zawinul on piano, Sam Jones on bass, and Louis Hayes on drums (all from Cannonball's group) – the other with the rhythm section of Wynton Kelly on piano, Paul Chambers on bass, and Philly Joe Jones on drums. Despite's Nat's reputation as a gutbuckety soul jazz player, he actually gets in some nicely lyrical licks in this set – blowing in a soulful modern style that almost recalls the work of Carmell Jones at times! Titles include "Chloe", "Images", "Scotch & Water", and "Naturally".

One of the best-ever Nat Adderley albums, and a damn funky set of tracks that has a tight soulful feel! The session's got a similar feel to some of the other rare late 60s Milestone albums (like the 2 killers by Bobby Timmons!) – especially in that it's got a group that plays with the fullness of a larger ensemble, and who race in and out nicely, to support the funky solos of the leader. Of course, some of the other players are pretty darn nice in the solo department too – like Joe Henderson on tenor, Jeremy Steig on fluge, and Joe Zawinu on piano – and they also manage to keep a tight rhythmic groove throughout. Titles include "The Scavenger", "Sweet Emma", "Rise Sally Rise", and "Menlat".

A lost treasure from Antiono Adolfo – keyboard player, arranger, and one of the greatest Brazilian talents of his generation! Adolfo's sound and style is contemporaneous with the best work of Marcos Valle, Edu Lobo, and others – and like them, he has an approach that mixes together jazz, MPB, baroque orchestrations, easy scoring, and a bit of funk – similar to the best work of the Blue Brazil generation on EMI/Odeon Records. The approach is one that's rarely been matched by any other artist – and it's a strong reason why Adolfo's records from this period are extremely sought after in the world of collectors. This beautiful album from 1970 has Adolfo working with the group A Brazuca – who bring some wonderful vocal harmonies to the set, mixing with strings, guitars, and some great electric piano work from Adolfo. Includes the breezy classic "Transamazonica", plus the cuts "Que Se Dane", "Atencao Atencao", "Claudia", "Panorama", "Tributo A Victor Manga", "Caminhada", "Grilopus No 1", and "Cotidiano".

This is the Aesop album on MUSH records before he got signed to Def Jux. It is a piece of raw, dark, poetic artistry that describes his hometown of NYC and the trials and tribulations in it beautifully. This album is a little rougher and his lyrical style is just a little more advanced on his later work, but all the same, it deserves massive praise here. Tracks include "Commencement At The Obedience Academy", "Drawbridge", "Big Bang", "Garbage", "Basic Cable", "I'll Be OK", "Attention Span", "Spare A Match", "Breakfast With Blockhead", "Fascination", "Skip Town", "How To Be A Carpenter", "The Mayor And The Crook", "Prosperity", and more. 2012 reissue of the out of print, dawn of the 00s classic.

This is the Aesop album on MUSH records before he got signed to Def Jux. It is a piece of raw, dark, poetic artistry that describes his hometown of NYC and the trials and tribulations in it beautifully. This album is a little rougher and his lyrical style is just a little more advanced on his later work, but all the same, it gets massive praise here. Tracks include "Commencement At The Obedience Academy", "Drawbridge", "Big Bang", "Garbage", "Basic Cable", "I'll Be OK", "Attention Span", "Spare A Match", "Breakfast With Blockhead", "Fascination", "Skip Town", "How To Be A Carpenter", "The Mayor And The Crook", "Prosperity", and more.

Greatest hits compilation from one of the true greats! Tracks include "Zulu Nation Throw Down", "Planet Rock", "Looking For The Perfect Beat", "Frantic Situation", "Unity Part 7", "What Time Is It", and "Funk You".

The electro classic, famous in part for that incredibly prescient sample from Kraftwerk that went on to become the basis for what seems like the entire Miami Bass industry for a while – but it's so much more than that. Truly a benchmark record!

A killer album of Afro Funk – with a very unusual origin! In the wake of Manu Dibango's big hit (and some kind of failure to register the copyright), many many versions of "Soul Makossa" were recorded and released, some good, some bad. This album is a good example of that situation – kind of a quickie project issued by Mainstream Records to cash in on the hit – but it's also an amazing bit of lost funk, and a record that's lasted for years in the hearts of beatheads! The group's a studio combo headed by Richard Fritz – and includes funky drummer Paul Humphrey, organist Charles Kynard, and guitarist David T Walker – all players we can trust to keep things groovy. The record does include a version of "Soul Makossa" that's pretty great – but even better is the breakbeat classic "House Of The Rising Funk", apparently the same version of the track that was issued on a 45 under the name The Chubukos. Other nice ones include "Kissing My Love", "Hot Mud", "Get It", "Hot Doggin", and "Let Me Do My Thing".

Great work by one of the grooviest groups on the LA 60s scene! The Afro Blues Quintet have a blend of soul jazz and Latin styles that's similar to the best 60s work by Cal Tjader, or to records by small combos like the Quartette Tres Bien or The Latin Jazz Quintet. Lots of grooves have a nice modal swing to them – nice and jazzy, with slight touches of soulful instrumentation, all fused into a tight Latin-styled groove. Loads of great original tunes – including "Mystic Mambo", "Freaks", "Incantations", "Victims Of Chance", "Let My People Go", and "Afro Rock".

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

Hard-ripping genius from Agent Orange – one of the group's first moments on wax, and arguably one of their greatest, too! The set's everything you'd ever want from an LA hardcore record from the glory days – tight, fast, simple, and completely effective – the kind of music that America did best, right at a time when the punk rock flag was failing in other parts of the globe – just guitar, bass, and drums – but played with an energy that set fire to a whole new generation! Includes the classic "Everything Turns Grey", a great remake of "Miserlou", and the cuts "Living In Darkness", "A Cry For Help In A World Gone Mad", "No Such Thing", and "Too Young To Die".

Singer Cyrille Aimee gets help from some great "friends" here – a tight quintet with Roy Hargrove on trumpet, Joel Frahm on tenor, and Spike Wilner on piano – really helping set up her vocals with a solid instrumental footing! Aimee's got a slight Billie Holiday quality to her phrasing – at least in the way her tone comes across – but the set's a mix of numbers that move way past traditional jazz vocal numbers, thanks partly to the way the group is swinging the rhythms, and bringing in a more contemporary vibe overall. Titles include a nice Wilner original – "East Village Inamorata" – plus "Yesterdays", "Que Reste Il", "I Was Beginning To See The Light", "When I Was A Child", "I Mean You", and "Stand By Me".

One of the best albums ever by this legendary Chicago trio – a great example of the way that records on the Nessa label can really get to the heart of artists' intentions! The trio of Henry Threadgill on reeds, Fred Hopkins on bass, and Steve McCall on percussion have never sounded better – and have this intimate, soulful interplay that's sometimes missing from other efforts – that special kind of energy that makes the AACM so great when it's really clicking this well – as deeply spiritual as it is freely expressive! Threadgill plays alto, tenor, bass flute, and the compelling hubkaphone –a nd titles include "I'll Be Right Here Waiting", "No 2", "GvE", "Subtraction", and "Keep Right On Playing Thru The Mirror Over The Water".

One of Airto's greatest records ever – a really hard hitting batch of tracks that mix sharp-edged fusion lines with some earthier Brazilian percussion touches – all in a way that nicely steps off of Airto's first few American releases, and warms the groove up with a nice dose of California soul! Flora Purim joins in here on both vocals and percussion – and the rest of the group features Hugo Fattoruso on keyboards and harmonica, Jorgte Fattoruso on drums, and David Amaro on both electric and acoustic guitars – shifting nicely between both instruments in a way that further underscores the blended vibe of the record! Most of these tracks are Airto classics – like "Tombo in 7/4", "San Francisco River", "Romance Of Death", "Ringers", and "Wind Chant" – and the record has a very sweet CTI production style, but is still rough enough around the edges to keep things nice and real!

Airto's unique Brazilian fusion style meets the electric funky genius of CTI – and the result is a killer album of long tracks with a far-reaching jazzy groove! The album takes off a bit from Airto's work with Return To Forever – no surprise, since Chick Corea and Flora Purim are on the record – but the set's also got the choppy modal groove that you'd expect from work by other CTI artists like Hubert Laws, Joe Farrell, Ron Carter, and Stanley Clarke, all of whom are on the album. Most tunes are quite long and free-flowing – and titles include "Lucky Southern", "Flora's Song", "Creek (Arroio)", and "Return To Forever".

Very righteous work from percussionist Pheeroan Ak Laff – even more hard-edged than some of his other important recordings of the late 70s – and that's saying a lot! Allthough Pheeroan lent his talents to many other musicians, this is one of the few albums he cut under his own name – and it's a blazing hot batch of percussion – monstrous work on the drum kit, with other percussion instruments as well – all recorded with a spare, earthy sound that's really amazing! The feel is partly loft jazz, partly ethnographic percussion – the latter of which is augmented more when the album features a few spoken spiritual passages – and the tones that Ak Laff gets out of his percussion are amazing – surprisingly melodic moments, mixed with others of bombastic intensity. Titles include "Ayin Of Love", "Tzaddi Vau", "Michelle Del America De Sud", "Jarawa", "Freedom" and "3 In 1".

The first ever compilation of Indonesian psychedelia from AKA is a great one – fuzzy prog and funk steeped jams that the group tore up throughout the 70s – as cool as any single artist global rock compilations we've seen in quite a while! The group formed in Surabaya, East Java and went on to record a slew of albums throughout the 70s, but never really busted out big in it's time. Now's a great time for the world to catch up! They sing in English, and the songs are really exciting, changing tempos as they roll along incredibly, with a sound built around drums, bass, keys and guitars. Lead singer and keyboard player shines pretty brightly, but each group member sings and kills it in their own realms. Amazing! Includes "Do What You Like", "Glenmore", "Reflection", "We've Gotta Work It Out". "Cruel Side", "Groovy", "Mr Bull Doc", "Shake Me", "Crazy Joe", "Open Doors", "Sky Rider" and the CD bonus track "AKA Untuk Mu". 15 in all.

A sweet Japanese set from Toshiko Akioshi – recorded at the Blue Note in Tokyo, with a group that really replicates the sound of her big band from the 70s! Key partner from those years – Lew Tabackin – is in the group playing loads of great tenor and flute solos – and other players include a range of younger Americans, including Jim Rotondi on trumpet and Jim Snidero on alto and flute – all working in that great Akioshi/Tabackin formation – tight head arrangements, but lots of room to soar out on solos on the longer tracks! Terumasa Hino also guests a bit on trumpet – and titles include "Hirohiko's Delight", "The Village", "Lady Liberty", "Unrequited Love", and "Hope".

Toshiko Akioshi makes a trip back to the Japanese jazz scene in the early 60s – for this great little session that has her meeting up with "old pals" from previous years – including Sadao Watanabe on alto sax, Akira Miyazawa on tenor, and Hideo Shiraki on drums! The reunion is a really great one – just the kind of session that stands out as special in the careers of all artists involved – especially Toshiko, who seems to have hit a new level of maturity in her work! The style here is essentially hardbop, but brought together with some well-penned head arrangements that hint at the more sophisticated directions Akikoshi would take in her later years – yet still preserve all the boppish spontaneity of her youth. The set's on a par with the best on Blue Note or Impulse in the US at the time – and is key proof that at the right moments, the Japanese jazz scene of the early 60s was really something to rave about! Titles include "Quebec", "Old Pals", "Watasu No Biethovin", "So What", and "The Night Has A Thousand Eyes".

A wonderful album from the team of Toshiko Akioshi and Charlie Mariano – a set that was only ever issued in Japan, and which we like a fair bit more than their better-known US album for Candid! The group here is the same as that one – with Charlie Mariano on alto sax, Toshiko Akioshi on piano, Eugene Chirico on bass, and Albert Heath on drums – but the sound is a lot more focused, and often a bit more swinging – with some especially great emphasis on Mariano's magnificent tone – nicely rough-edged at this point in his career, but still strongly inside – with none of the overindulgence of later years. Charlie cuts through the tunes brilliantly – and Toshiko's got a great mix of bop and modern tones in her piano work. And even though the first half of the set list is tunes from West Side Story, the quartet make them cook like you've never heard before – really taking off with a new sort of energy that's totally great! Titles include "Tonight", "America", "Cool", "Plaisir D'Amour", "Malaguena", and "Oleo".

Possibly the rarest album by UK outfit pf Alan Bown! The group is named for founder, trumpet and flugelhorn player, and they got around bit earlier in an R&B-styled mode, then billed as The Alan Bown Set. Starting with this cool record, they committed to more of a psychedelic pop mode. That serves them well! The tunes are infectious, skewing the the accessible side of the psych sound. The drums hit hard and there's both punchy electric and chiming acoustic elements – usually with groovy organ and huge melodies. Outward Bown has never had much luck in the market place, and this 2CD UK edition aims to remedy that – with the full stereo version plus the bonus track "Little Lesley" on disc one, plus the full mono version with a few additional bonus tracks on disc two. Includes "Toyland", "Mutiny", "Sally Green", "Love Is A Beautiful Thing", "Violin Shop", "You're Not In My Class", "Technicolor Dream", one of the most unique covers of "All Along The Watchtower", "My Girl Of The Month May" and more.

A great 4-part suite that rivals any of Manny Albam's other sessions from the time – including Jazz Greats Of Our Time, or Jazz New York. The tracks here are all quite long, and done in a bluesy mode that gives the album a bit more soul than usual for Albam – making great use of solos by Art Farmer, Nick Travis, Bob Brookmeyer, Al Cohn, Phil Woods, and Gene Quill to flesh out the feeling of the set.

The cover of this one makes it look like a no-name leaderless session, but this one actually features some great work by some very hip players! Half the album features vibist Teddy Charles leading a group of modernists that includes Hal McKusick, Frank Socolow, Bill Russon, Bob Brookmeyer, Mal Waldron, and Donald Byrd – on tracks that have a bluesy base, but a bit of an edge to them. The other half features Manny Albam leading a combo with Al Cohn, Teo Macero, Art Farmer, Bill Evans, Phil Woods, and Eddie Costa. The session was done to showcase the talents of 4 of the best modern arrangers of the late 50s – Manny Albam, Bill Russon, Teo Macero, and Teddy Charles – all of whom contribute some great charts to a set of tracks that includes "Swinging Goatsherd Blues", "East Hampton Blues", "Blues In The Night", "Night Crawlers", and "Blues For Amy".

A nice 7" package on Decon – with cover art that folds out into a full-sized poster! Superstar guest, too! Action Bronson joins in on "Artesia" – and The Alchemist guests on "Getaway Car".

Always-great work from singer Lorez Alexandria – still sounding wonderful, even at this late date! Her presentation's a bit earthier than before, but no less poised than on earlier sessions – with the same sense of space and timing that's always made her one of our favorite jazz singers! And as always, there's a soulfulness to the music that really makes the whole thing sparkle – a sound that goes way past overdone torchy vocals, or hackney sets of standards – in that unique space that Lorez seems to inhabit nearly on her own. Backing is by a group that includes Houston Person on tenor, Bruce Forman on guitar, and Michael Carvin on drums – and titles include "Star Eyes", "Make Someone Happy", "My One & Only Love", "Someone To Watch Over Me", "Long Ago & Far Away", and "You Stepped Out Of A Dream".

Wonderful work from Johnnie Allan – and tracks that definitely live up to the "swamp" promise in the title! The vibe here starts with 50s southern rock – a bit of twang from rockabilly and country – but there's also a heavy New Orleans influence in the rhythms that makes things really unique – a rolling way of hitting the groove that changes up the music from styles you might normally know! And at points, some other Louisiana elements creep into the mix, and really come out sounding great – a very cool blend of styles that only gets stronger in the later years. The set features a wealth of recordings for the Jin and Viking labels, plus detailed notes as well – and titles include "Little Fat Man", "South To Lousiana", "The Promised Land", "Let's Do It", "Your Picture", "What'Cha Do", "Cajun Man", "Nights Of Misery", "Secret Of Love", "Graduation Night", "I Cried", and "Somewhere On Skid Row".

Beautifully free alto work from Byron Allen – a player who really shines brightly on this rare session for ESP Records – one of the few ever cut under his own name! Allen's got a style that's right up there with the 60s best from Ornette Coleman or Marion Brown – able to move with a fluidity that's breathless, even amidst rhythms that are very loose and open – as the trio here works in a style that almost echoes some of the harmelodic modes of Coleman, but which eventually pushes farther towards the freedoms of other artists on ESP! The set has some wonderful bass from Maceo Gilchrist, whose round, rolling tones really make the album sparkle – as do the punctuated drums of Ted Robinson. Titles include "Today's Blues Tomorrow", "Time Is Past", "Three Steps In The Right Direction", and "Decision For The Cole-Man".

A sweetly dreamy little album recorded by Daevid Allen away from Gong – working here with his drum-less group Euterpe, described in the notes as "an amazing bunch of catalunatics"! The record was recorded in a home studio in Majorca, and has a really relaxed feel – one that's somewhat spare and intimate, but with a lyrically sing-song sort of approach – one that only further pulls out the more playful side of Allen's vocals. Instrumentation includes mandolin, moog, bass, and guitar – and the approach is almost a prog folk move into the territory of Syd Barrett. Titles include "Children Of The New World", "Spirit", "Song Of Satisfaction", "Have You Seen My Friend", "French Garden", and "Wise Man In Your Heart". CD also features the bonus track "Euterpe Gratitude Piece".

The standout set from Donna Allen – a real up-and-comer in 80s soul music, and a singer who'll always be remembered for this gem of an album! The record's got a positive, upbeat groove that works perfectly with Allen's vocals – a style that's bit lighter and more fluid than some of the more commercial soul of the time, yet still very much right on the money in the hook department – often served up with the kind of keyboards and basslines that would have been used with other artists a few years before. The album's mellower cuts really let Allen open up and show her vocal range – and titles include "Daydreams", "Satisfied", "Sweet Somebody", "Serious", "Wild Nights", "Bit By Bit", and "Another Affair". CD features bonus tracks – "Serious (12" ext)", "Satisfied (12" long)", "Sweet Somebody (12" rmx)", "Serious (single)", "Satisfied (single)", "Sweet Somebody (single)", and "Serious (12" delirious mix)".

A fantastic bit of spacey soul – and an amazing collaboration between the Mizell Brothers and vocalist Rance Allen! The set's quite different than Rance's earlier, rootsier work for Stax – and instead has the soaring, joyous quality of some of the other great Mizell productions from the time on albums by Gary Bartz, Bobbi Humphrey, and Johnny Hammond! The best cuts here soar along with a really jazzy feel – that trademark Mizell groove, supported with excellent production that somehow manages to fuse a wide range of keyboards, rhythms, and string together with a really lean sound. Rance's spiritual vocals are wonderful throughout – and the whole album's essential for both Mizell fans, and any lover of righteous 70s soul! Titles include the sublime classics "Truth Is Marching On", "Reason To Survive", and "Peace of Mind" – plus "I'm Gonna Make It After All", "Got To Be Ready", and "You're My Everything".

A beautiful mix of gospel soul and heavy Memphis production – and the kind of heavy soul album that made Rance Allen one of Stax's best new artists during the 70s. David Porter produced and arranged, and the album has some great electric keyboard work by Rance that provides a perfect counterfoil for his rich baritone voice. The album's a lot more stripped down than later efforts – with a rootsy sound that should have made Rance even bigger with the crossover crowd. Titles include "Talk That Talk", "The Painter", "Ring My Bell", and "Harlem Heaven".

A wonderful tribute to Tony Allen's landmark Black Voices album – re-presented here with the full original record, plus a host of bonus cuts too! The core record is amazing – a set that really re-introduced Allen to the world, after falling into a bit of obscurity in the 80s years after he broke with Fela Kuti – the start of a rich new chapter in his career that's continued to burn strongly for the past decade or so! The album still holds up wonderfully – as Allen's still swinging hard, in a heavy afro funk groove that sounds a lot like his 70s work – with great electric keyboards, tight guitars, and some very nice flanged-out vocals. The drumming is nice and tight – but with a freer edge that mixes elements from the older work with a dubby spacey approach that recalls rhythms of groups like Can or Cymande! Titles include "Asiko", "Get Together", "Black Voices", "The Same Blood", and "Ariya Psyche (Juju mix)". CD also features 5 more tracks – titled Black Voices Revisited – including different versions of "Asiko" and "The Same Blood" – plus "Ariya", "Get Together (with Mudbone Cooper)", and "Black Voices (with Clip Payne)".

A long-awaited full length set – one that finally brings together all of the amazing Tony Allen reworks done by the Honest Jon's label! These "chop up" tracks were originally issued over a range of limited 12" singles, and they're really amazing stuff – not just remixes of Tony Allen's work, but re-recordings and re-interpretations as well – a batch of music that stands amazingly well on its own, even if you're not a fan of Tony originally – and which takes his music into even more exotic territory than just Afro Funk! The choice of artists here is key to the set – as players from other Afro-influenced genres really take a new spin on Allen's music – and are allowed to strongly bring their own sounds to the set. Titles include "Ole (Cairo version)" by Salah Ragab, "Sankofa" by Hypnotic Brass Ensemble, "Kilode (rmx)" by Carl Craig, "Awa Na Re (rmx)" by Bonde De Role, "Mark's Disco Dub" by Mark Ernestus, "Reggae Land Dub" by Wareika Hill Sounds, "Samba" by Son Palenque De Colombia, "Kilode (rework)" by Wajeed, "Ole (rmx)" by Moritz Von Oswald, "Fuji Ouija" by Diplo, and "One Tree (TP's spirit of unity mix)" by Terrence Parker.

An all-instrumental set from Mose Allison – one that drops out his familiar jazz vocals, and really brings a nice focus to his energy on the keys of the piano! Given that Mose really got his start as a sideman in other combos during the 50s, the selection's no surprise – and if you've only heard Allison's better-known numbers with singing, you'll really be floored here at his skills as an instrumentalist – particularly in the way he manages to play the piano with deep-down roots, yet also hit some stunningly modern tones as well! Accompaniment is by Addison Farmer on bass, plus either Ronnie Free or Nick Stabulas on drums – and titles include "Dinner On The Ground", "Crepuscular Air", "Mule", "Creek Bank", "Town", "Devil In The Cane Field", "The Minstrels", "Moon & Cypress", "Carnival", and "Mojo Woman".

The word from Mose is mighty darn hip – served up here in a sweet Atlantic Records session that seems to really hone into all the mod influences his music would have in the 60s! The rootsy quality of Allison's earlier records is still firmly in place – but the group also has a tighter feel that's almost more soul jazz – thanks, in part, to work from Ben Tucker on bass – in a groove that's similar to some of his own contributions to 60s jazz. Titles include a great version of "Foolkiller" – one of Mose's greatest tracks – plus "One Of These Days", "Days Like These", "Your Red Wagon", "Look Here", "I'm Not Talking", and "New Parchman".

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

A fantastic collection of unreleased material by mid-to-late 60s psych pop songwriter genius Tandyn Almer – who's probably best know for penning the eternally great "Along Comes Mary" for The Association – but we sure didn't know how great of a performer he was on his own! The 15 track record was cut for his publisher Davon Music, who circulated it to insiders at the time, looking to sell the songs – but what they should have done was found a label and released it. Fuzzy guitars, raw drums and great keyboards, excellent background harmonies – and the good-natured, melodic quality that attracted groups like the Association to Tandyn! Sundazed has long been a favorite source of rewarding 60s and 70s reissues, but they really deserve some bigger love for releases like this one – which is a first-ever commercial release. It feels like a complete, finished production for the most part – and not at all like a bunch of demos. Psych pop greatness! Includes "Find Yourself", You Turn Me Around", "Anything You Want", "About Where Love Is", "Face Down In The Mud", "I Get High", "Bring Your Own Self Down" (by The Purple Gang)", "Where Will They Go", "Sunset Strip Soliloquy" and more.

A great 80s groove from AM & Shawn Lee – heavy on these Casio-like keyboards at the start, then given a dubby finish as it moves on – all to set the scene for the cool spacey lyrics in the middle! Slow funky, with a nice retro vibe – and "Dancing Heart" follows in a similar mode, with a cool dark groove that blends piano, guitar, and electronics in a very post-punk way!

Amalia's future soul full length debut for Tokyo Dawn! On Art Slave, Amalia does a pretty amazing job of showing off a broad range of inspiration, but delivering a record that's fresh and uniquely her own. She's one of more expressive contemporary soul vocalists on the international scene – with a voice that can deliver catchy soul hooks and spacey funk wierdness with equal brilliance – and her range is incredible, too! The production on this set is pretty heavy with spacey electro funk – and titles include "Art Slave", "Welcome To Me", "4 U", "All The Funk I Need", "Bonafide", "Psychoanalyze", "Stop Please", "Zebra Butt-A-Fly", "Luxurious (Ad Bourke Remix)", "Freeze That!", "I'm The Woman" and more.

A spacey, soulful and funky showcase for singer Amalia – one the finds her collaborating with an impressive roster of guests including Atjazz, Portformat, Opolopo and others! Amalia blends inspirations that range from heartfelt, though trippy 70s soul and funk, to 80s electro and the more creative underground soul of the hip hop generation and beyond. What sets Making Of Amalia apart is the way that she's adapting it all so seamlessly into a vibe of her own. It doesn't hurt that she has an amazing vocal range, and the creative mind to use it as a spontaneous, unpredictable instrument above all others. Nor does it hurt that the record is filled to catchy, sexy and spacey songs that are a flat out blast to listen to! Creative and stylistically daring soul in the tradition of Chaka Khan, Betty Davis, Erykah Badu, Labelle and other free spirits! Titles include "Just Like Magic" with B Bravo & Teeko, "Get Caught" and "Cuttify It!" credited to Cutty Lark & Amalia, "Where Do I Belong" (Portformat & Amalia)", "She Want It All" (Bakura feat Amalia), "Hysteria" (Reggie B & Amalia), "Still In Love With You" (Sage Monk & Amalia) and more.

A holy grail of 70s African Funk – and not just for the unusual look of the cover! The set's a really unique one – almost rootsier than most of the better-known Ghanian grooves of the time, but funkier too – with a brilliant blend of raw percussion, quirky basslines, and some smoking horn parts that are a lot more American soul and funk than the usual 70s African groove! The whole thing's stunning all the way through – a record that totally informs an understanding of its generation, yet in ways that no other record can touch. Wonderful all the way through, with not a bit of filler – and all cuts are right on the money for any fan of African funk! Titles include "Toffie", "Fa No Dem Ara", "This Hustling World", "Kwaakwaa", and "Akoko Ba".

A holy grail of 70s African Funk – and not just for the unusual look of the cover! The set's a really unique one – almost rootsier than most of the better-known Ghanian grooves of the time, but funkier too – with a brilliant blend of raw percussion, quirky basslines, and some smoking horn parts that are a lot more American soul and funk than the usual 70s African groove! The whole thing's stunning all the way through – a record that totally informs an understanding of its generation, yet in ways that no other record can touch. Wonderful all the way through, with not a bit of filler – and all cuts are right on the money for any fan of African funk! Titles include "Toffie", "Fa No Dem Ara", "This Hustling World", "Kwaakwaa", and "Akoko Ba".

A lesser-remembered album from America, and one with some surprisingly nice moments, too! The group here are still working with producer George Martin – but they're recording in Hawaii, with some tight studio help – and almost hitting that sound they helped inspire in so many others with their earlier records – a perfect warm, mellow, seventies mode that's mighty nice throughout! A few tunes almost bring in an undercurrent of funk – more of a bit of a punch at the bottom, with less of the fragile acoustic modes of before – although a few nice tracks still have those in place as well. Drummer Willie Leacox brings in a nice kick to the set – and titles include "God Of The Sun", "Sergeant Darkness", "Sarah", "These Brown Eyes", "Don't Cry Baby", "Hurricane", and "Now She's Gone".

A well-titled album, given that the overall feel here is maybe a bit more stripped-down and almost rootsy at times – even though the trio's still working with producer George Martin! The set was recorded in just a week at Caribou Ranch – and it's almost a return to the core harmonies and acoustic elements of the group's roots – cast out here with perfect compressed sound, yet also hitting harder with a few more punched-up moments at times too. There's a nice "past the hits" quality to the set – and titles include "She's A Liar", "Letter", "Watership Down", "Amber Cascades", "Lovely Night", and "Who Loves You" – plus "Hideaway (parts 1 & 2)", which has this great mellow groove and piano from Martin that could easily be a hip hop sample!

A stone classic from Gene Ammons – and a record that introduced his talents to a whole new audience in the 60s! The album's a more laidback one than some of Jug's more hard-blown honkers – as you might guess from his hit rendition of the ballad in the title – and the instrumentation here varies between organ from Johnny Hammond Smith and piano from Mal Waldron – making for a nice tapestry of dark-tinged, late nite moods. Other players include Frank Wess on tenor and flute, and Art Taylor or Ed Thigpen on drums. Titles include the classic "Angel Eyes", plus "You Go To My Head" and "It's The Talk Of The Town" – and slightly more groovin numbers like "Getting Around" and "Water Jug".

Way more than just an album with Gene Ammons as a leader – and instead, a set that truly earns the "all stars" listed on the cover – thanks to a great array of supporting players, and a very loose, open-ended jam session style that lets everyone get in plenty of solo space! Ammons' tenor is tremendous, but he's also a great collaborator here, too – working with Idrees Suliman on trumpet, Pepper Adams on baritone, Mal Waldron on piano, Art Taylor on drums, Doug Watkins on bass, and Ray Barretto on conga – in a mode that's maybe slightly tighter than some of the blowing sessions Prestige was doing at the time, but which still has that key longform creative energy that made the hardbop generation so great. Titles include "Blue Gene", "Scamperin", "Blue Greens n Beans", and "Hip Tip" – and all tracks are long, with plenty of focus on solos!

One of Ammons' classic blowing sessions for Prestige, with an all-star lineup that includes Art Farmer, Jackie McLean, Mal Waldron, and Kenny Burrell. The group plays together on 4 long tracks, and in a tight hardbop vein, with long soulful solos from every player. Titles include "Pint Size", "King Size", and "Funky".

More proof that the Prestige blowing session style worked perfectly for Gene Ammons – as he's right at home on the album's long relaxed tracks, cut in the company of expert players like Art Farmer, Jackie McLean, Duke Jordan, and Art Taylor. Candido's also along for most of the ride, giving the record a nice kick – and the set list includes four long tracks, "Madhouse", "Happy Blues", "The Great Lie", and "Can't We Be Friends".

Like some of the other issues on Trip, this set brings together some great sides that sort of fell between the cracks in an artist's career. These nice rarer sides by Gene Ammons seem to be recorded by Jug during the early 60's, when he was jumping around his contractual agreements with a number of labels, and recording sessions for just about everybody. The first LP features Jug in the studio with Howard McGhee (the set was briefly issued under his name, on Argo) and a guitarist we're pretty certain is Jake Fisher (from other issues of this material), for a cool laidback soul jazz session that's probably one of Jug's most open-ended from the time. The tracks are all long, with a lot of room for solo space, and a round mellow tone. Titles include "Housewarmin", "Nothin' But Soul", "Jivin Around" and "Jug & McGhee". The second set's a hard-hitting blowing session, cut very much in the mode of Gene's late 50s sides for Prestige – and with a very accomplished group of soul jazzers that includes Nat Adderley, Frank Foster, Bennie Green, and Frank Wess. The groove has a nice raw late night sound – and tracks are pretty long and open-ended. Titles include "Litty Ditty", "Sermonette", "Juggin Around", and "Jim Dog".

A real turning point in the career of Gene Ammons – a record that almost returns Ammons to his earthier roots, and in the process helps build up a whole new sound in soul jazz for the 60s! The "Jug" nickname in the title is kind of a joking way to help Ammons stand alongside "Miles", "Trane", "Diz", and other one-name monikered stars in jazz – but even without that gimmick (which somehow lasted for years), the album's got a depth that more than gets Gene back on top, thanks to a gritty soulfulness and good sense of feeling in the grooves! Players here include Richard Wyands on piano on most numbers – plus a rare appearance by Clarence "Sleepy" Anderson on 2 numbers – one on organ, one on piano. Rhythm is by Doug Watkins on bass and JC Heard on drums – and Ray Barretto makes one of his great soul jazz appearances on drums – rolling the groove along with a nice bit of bounce throughout! Titles include "Tangerine", "Ol Man River", "Easy To Love", "Seed Shack", "Miss Lucy", and "Namely You".

A great little session by Jug – cut after the late 50s blowing session years, and with a much tighter sound that's very much in the pocket! The record features two groups – one with Walter Bishop, Art Davis, and Art Taylor; the other with Patti Brown, George Duvivier, and Taylor – and both groups are backed by Ray Baretto, for a tight rolling groove. Most titles are standards or loosely composed lines, but Jug's tenor is in great form – and the setting features some wonderfully economic playing. Tracks include "Up Tight", "Jug's Blue Blues", "Lester Leaps In", and "The 5 O'Clock Whistle".

Late great work from Ammons – an album done at the time of his funk sides for Prestige, but recorded in the style of his earlier years in Chicago! The session's a laidback set of soulful solo-heavy work – recorded as part of a hip series of shows at the North Park Hotel, with a local rhythm trio that includes Jodie Christian on piano, Cleveland Eaton on bass, and Marshall Thompson on drums. James Moody joins Ammons in the frontline, and the set's got the best electric feel that you'd hear if you were lucky enough to catch either player in a small club date in the early 60s. Loads of very imaginative solo work in the best Chicago tenor tradition – with titles that include "Work Song", "Jim Jam Jug", "Have You Met Miss Jones", and "C Jam Blues".

Some of the funkiest female soul ever recorded – the near-complete work of James Brown diva Vicki Anderson, compiled here officially for the first time ever! Vicki was one of the first female singers to work with James – replacing the sweeter style of vocalist Anna King in the James Brown Revue of the late 60s, and setting the stage for better-known hard soul singers Marva Whitney and Lyn Collins in years to come! Vicki recorded some excellent singles with James and the band backing her up – but never actually cut a full LP, which is why this overdue set is so essential. Vicki's got a socking-hard sound that worked equally well with the early funk sound of the James Brown Band of the late 60s, as it did during her later recordings with the JBs and Bobby Byrd. The collection brings together 17 of Vicki's recordings under the James Brown umbrella – including a number that we'd never heard before, some duets with James and Bobby Byrd, and a few of her singles recorded under the name of Myra Barnes. And you can take our word for it that you won't find a better collection of funky female soul – because this one's hard-stepping and massively grooving all the way through! Titles include "Baby Don't You Know", "Message From The Soul Sisters (parts 1 & 2)", "Super Good (parts 1 & 2)", "I'm Too Tough For Mr Big Stuff", "Answer To Mother Popcorn", "I Want To Be In The Land Of Milk & Honey", "Baby Don't You Know", "If You Don't Give Me What I Want (I Gotta Get It Some Other Place)", "Wide Awake In A Dream", "What The World Needs Now Is Love", "I'll Work It Out", "Think", "Don't Throw Your Love In The Garbage Can", and "You're Welcome Stop On By".

Pre funk, perhaps, but mightily storming soul singles from Vicki Anderson – James Brown productions from the mid 60s to the end of the decade – incredible stuff that's been a bit underappreciated in a world of funky compilations, yet no less incredible and even more diversely soulful than the funky stuff! Vicki's 70s funk sides are the stuff of legend, and these 60s recordings, which started around the time she joined the James Brown Revue in the mid 60s are just about as good a selection of period female fronted R&B and soul as we can think of – and a really eye opener if you came on board with Vicki for the 70s sounds and her later work with Bobby Byrd! Includes a pair of duets with James Brown – the proto funk gem "Think" from 1968 and "Let It Be Me" from 1970, which truth be told, has more than a little funk bubbling underneath, and some groovy guitars, strings and brass on top – plus "Here Is My Everything" and "Loving You" with Bobby Byrd. But this is Vicki's showcase all the way, and it's a great one! Titles include "I Love You", "My May", You Send Me", "Wide Awake In A Dream", "All In My Mind", "Tears Of Joy", "No More Heartaches, No More Pain", "In The Land Of Milk And Honey", "The Feeling Is Real", "I'll Work It Out" and more. 23 tracks in all.

Lovely vocals from Mayra Andrade – a singer who's been bubbling under for the past few years, and emerges here with a really strong debut for the US market! Mayra's got a very transatlantic pedigree – with roots both in Brazil and Cuba, as well as Cape Verde – and a fair bit of time spent in Europe as well – a rich legacy of cultural experience that leads up strongly to this release! The music's mostly got some of the personal, earthy qualities of more familiar Cape Verdean artists, but also carries echoes of samba as well – and some of the sensitivities of mid-century French chanteuses too – a captivating blend that's handled surprisingly strongly here, with none of the too-commercial tendencies that might get in the way for such a record. Backings are relatively lean, and often percussive with a bit of guitar – and titles include "Nha Sibitchi", "Navega", "Lua", "Mana", "Comme S'Il En Pleuvait", "Dimokransa", and "Lapidu Na Bo".

The debut album from Pier Angeli – equally known for her acting ability as well as her singing – and working here in a swinging late 50s American take on the sound of Italian pop! Pier was married to singer Vic Damone, and while his style's perhaps a bit fuller and more emotive than hers, there's a good degree of comparison – as Pier's working here to please the imagined Italy of the American audiences in the years when things settled down after World War 2 – singing in Italian throughout to a nice set of backings from Hugo & Luigi. Most of the album's in a lush, romantic mode that's in keeping with other Roulette vocal sessions of the late 50s – save for the fact that the language is Italian, not English! Titles include "Volare", "Anema E Core", "Nu Quarto E Luna", "Torero", "Arrividerci Roma", and "Suvenir D'Italie".

Just to get things straight: Ann's the Beauty and Al's the Beard – and they're paired together in this surprisingly tasty set that stands as one of Ann's jazziest albums for RCA! Part of the strength is from arranger Marty Paich, who has Al's trumpet and Ann's voice working with a small group that includes Red Norvo on vibes and Al Hendrickson on guitar. Tunes are a bit laidback, especially for Ann – and titles include "Mutual Admiration Society", "Personality", "My Baby Just Cares For Me", "Little Boy", and "The Best Man".

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 wonderfully moody session from the late 50s – one that features the eerie vocals of Leda Annest over the orchestrations of Phil Moore! Leda's got a haunting voice that's somewhere in the range of Yma Sumac, but a bit less dramatic – more kind of a wordless instrument, used amidst the orchestrations in broad washes of color and tone. Moore scored the entire piece for Leda's voice – an extended 3 part suite that runs through series of dark, jazz, and playful moods – all featuring some incredible vocals by Leda!

Bebel Gilberto eat your heart out – Antena explored the same electric-bossa territory you did, nearly 20 years before your first big record! The group were a short-lived French outfit who were one of the shining jewels in the crown of the lovely label Les Disques Du Crepuscule during the early 80s – and were a real breath of fresh air in the post-punk years with their light and jazzy approach to the groove. As you'll hear in this set, Antena's style borrows a lot from the bossa, but also throws in some wonderful poppish touches – including jangly guitars recorded in a similar mode to some of the other French/European indie groups of the time, and a slight darkness in production that almost gives a Martin Hannett-like undercurrent to the whole set. The group's album Camino Del Sol has been lovingly reissued with a great set of notes, as well as a series of bonus tracks from an additional ep – making for a beautiful 14 track package that will really help you rediscover this nearly-lost group! Titles include "Sissexa", "To Climb The Cliff", "Camino Del Sol", "Bye Bye Papaye", "Noelle A Hawaii", "The Boy From Ipanema", "Seaside Weekend", "Frantz", and "Ingenuous".

Bebel Gilberto eat your heart out – Antena explored the same electric-bossa territory you did, nearly 20 years before your first big record! The group were a short-lived French outfit who were one of the shining jewels in the crown of the lovely label Les Disques Du Crepuscule during the early 80s – and were a real breath of fresh air in the post-punk years with their light and jazzy approach to the groove. As you'll hear in this set, Antena's style borrows a lot from the bossa, but also throws in some wonderful poppish touches – including jangly guitars recorded in a similar mode to some of the other French/European indie groups of the time, and a slight darkness in production that almost gives a Martin Hannett-like undercurrent to the whole set. The group's album Camino Del Sol has been lovingly reissued with a great set of notes, as well as a series of bonus tracks from an additional ep – making for a beautiful 14 track package that will really help you rediscover this nearly-lost group! Titles include "Sissexa", "To Climb The Cliff", "Camino Del Sol", "Bye Bye Papaye", "Noelle A Hawaii", "The Boy From Ipanema", "Seaside Weekend", "Frantz", and "Ingenuous".

Amazing sounds from one of the best funky combos anywhere – ever! Antibalas have certainly risen to fame in the years since we first heard their Afro-styled grooves – working famously in the Fela musical, and reaching generations of ears with their own brilliant records. Yet throughout it all, they've always stayed true to their sound – and, if anything, are even sharper, tighter, and funkier than before – all extremely adept not only at playing their instruments, but at hitting the right sort of sound to cut through all the BS that was holding back funky Afro grooves for years! Part of that sound comes from superb Daptone production by Gabriel Roth – who really knows how to keep things lean and mean and full of energy. But the core credit really goes to the group – who never cease to amaze us here – and continually come up with fresh sounds on their keyboards and horns – and inventive rhythms to match! Titles include "Dirty Money", "The Rat Catcher", "Ari Degbe", "Ibeji", "Sare Kon Kon", and "Him Belly No Go Sweet".

The most outwardly political album to date from Antibalas – and quite possibly the funkiest one too! The set's got the group really grooving hard in their 70s Afro Funk-inspired vein – jamming at a level that would make Fela Kuti blush – working together with a fierce array of percussion, horns, keyboards, and guitars to jam up a groove that stretches back to the best days of the African-styled funk of the classic years. The whole thing's wonderful – every bit as essential for any fan of 70s Fela as it is for the current deep funk underground of which Antibalas are a part – and if you had any fear that their move to a semi-major label would hurt them, rest assured that they sound better than ever! Titles include "Big Man", "Obanla'e", "Elephant", "Sister", "Pay Back Africa", and "Who Is This America Dem Speak Of Today?"

Brilliantly baroque psych from Aphrodite's Child – a stone classic cut while the group was in exile in Paris – heavy on drums, and with soaring keyboards that really work wonders with the vocals! Given that the group features a young Vangelis and Demis Roussos, there's plenty of raw power here – and the energy of the record is quite different than later work by either artist – very bold, and political too – with hardly any signs of their Greek roots, yet a sense of myth and majesty that are undeniable. There's surprising hooks to the tunes at times – and titles include "It's Five O'Clock", "Wake Up", "Annabela. "Let Me Love, Let Me Live", "Funky Mary", "Good Time So Fine", and "Marie Jolie".

A funky treasure trove from Apple & The Three Oranges – a group we hardly know at all, but who really blow us away with the cuts on this collection! The groove is plenty hard right from the get-go – the best of the funky 45 underground of the early 70s – which means that there's more 60s rawness on the record than you'd get from bigger-label funk at the time – as Ed "Apple" Nelson still works here with a mostly underground vibe! Ed plays drums – which are mighty hard on most numbers – and his vocals have this offbeat, off-kilter, over the top quality that almost reminds us a bit of the Hank Ballard/James Brown recordings for late 60s King – particularly in the way that Nelson's completely unbridled with his energy. The whole thing's great – one of the best funky collections we've heard in years – and presented with a rich amount of notes and historical information too. Titles include "Free & Easy (parts 1 & 2)", "Moon Light", "Curse Upon The World", "What Goes Around Comes Around", "Down Home Publicity", "True Love Will Never Die", "Gotta Stand For Something (parts 1 & 2)", and "I'll Give You A Ring". CD features a massive 52 page booklet, too!

Righteous soul, but with a wicked groove too – a killer set from Aquarian Dream, made even better by some great Norman Connors production! In a way, Aquarian Dream were to Norman Connors what Ramp were to Roy Ayers – in that the group wasn't really that dominated by Connors, but they did benefit a lot from his groundbreaking work in the jazz funk field – getting a level of sophistication in their sound that's really wonderful – and mixed with almost equal parts soul, funk, and jazz in the instrumentation! Vocals are often in a harmony mode – again in the manner of Ramp – and there's a classy yet cosmic sound to the record that we totally love. (And there's also one more Roy Ayers-like connection in the vocal department – since the group features Sylvia Striplin, who later recorded for Roy's Uno Melodic label!) The album's got a number of nice groovers with a strongly off-beat sound – and titles include "Friends", "It Ain't Whatcha Say", "You're A Star", "Play It For Me", and "Gentle Thoughts".

First LP from Norman Connors' jazzy soul group Aquarian Dream. Norman produced, and the groove is about what you'd imagine if he got his hands on an east coast soul group, with a lot of mellow vibes, and some more uptempo grooves. Claude Bartee plays tenor and soprano, Gloria Jones sings vocals, and Jacques Burvick plays a whole battery of cool keyboards and moogs. Tracks include the classic Chicago club track "Phoenix" – plus "Look Ahead", "Once Again", and "Treat Me Like The One You Love".