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A rootsy cover, and some rootsy blues to match – a fairly stripped down session from John Lee Hooker –- and one that mostly just features vocals and guitar, plus some occasional added guitar and piano! Most of the recordings here are from the early 50s, pulled together in a full LP at the end of that decade – and they represent the formative roots of the Chess Records sound – a key bridge between Chicago blues and work from earlier scenes. Titles include "Ramblin By Myself", "Ground Hog Blues", "Women & Money", "High Priced Woman", "Sugar Mama", "Walkin The Boogie", "Love Blues", and "Union Station Blues".

A great return to recording for Son House – a musician who'd stopped playing the guitar in the postwar years, but rose again to fame during the great folk blues revival of the 60s! The style here is every bit as classic as some of Son's earliest music – just recorded a lot better, too – with beautiful focus on the subtle inflections he brings to the strings of his acoustic guitar, and vocals that ring out a lot stronger than they might have on a 78. Titles include "John The Revelator", "Empire State Express", "Preachin Blues", "Sundown", and "Grinnin In Your Face".

A 70s 2-fer that combines 2 albums recorded for Cadet in the mid 60s – one issued under Nelson's name, the other under Lou Donaldson's, but both featuring arrangements by Nelson. The Nelson LP is a pretty darn nice session in which Nelson is the lead soloist with a large group that includes Phil Woods, Jerome Richardson, Patti Brown, and Art Hoyle. Nelson plays tenor throughout, and the band has a very tight swing, in keeping with Nelson's incredible arranging style on albums like those he cut with Jimmy Smith. Tracks include "Daylie's Double", "Laz-ie Kate", "Teenie's Blues", and "Three Plus One". The Lou Donaldson LP is one of Lou's more unique sides of the 60s – as the album features him as the main soloist over arrangements by a group headed up by Oliver Nelson. As has been ably demonstrated on many sides on labels like Verve, Impulse, and Capitol – there's no better talent than Nelson for taking a strong soulful player, and putting him into a context that will let him solo at his best, and not be overwhelmed by the band. There's some nice organ in the group, and titles include "Tippin In", "Back Talk", "Huffin N Puffin", and "Ignant Oit".

A cool step sideways for the great Don Covay – a set that still holds onto all the soul of his earlier work for Atlantic – but one that also has Don hitting a rootsier, bluesier mode too! The combo's definitely a blues group at their core, but apart from some harmonica and a bit more twang in the guitar, they come across more like a rough soul combo behind Covay's lead – a quality that comes through especially strong on some of the points where the drums step out a bit more than usual. Our hat's off to Don for making this move – as the record really shows a whole new side of his vocal talents, and has a deeper vibe than he'd go for in his later crossover soul of the 70s. Titles include "Homemade Love", "Steady Roller", "Four Women", "Mad Dog Blues", and "Shut Your Mouth".

Forget blues, because Geater Davis is a soul singer through and through – a really incredible southern talent with a deep soul sound that few others can match! Although Davis didn't record nearly as much as his contemporaries, he's got a sound that matches or beats them – a raw, raspy quality that's a bit like Bobby Blue Bland, touched with the depth of feeling we love in James Carr, peppered with elements of other Memphis singers – all produced to perfection with a sound that's as classic as anything on Stax or Goldwax. This excellent collection features all tracks from Geater's rare album Sweet Woman's Love, plus additional singles from the time – all produced by Allen Orange, an overlooked genius in the southern studio scene of the 70s. Titles include "Don't Marry A Fool", "Cry Cry Cry", "I Love You", "I Know My Baby Loves Me", "I Can Hold My Own", "Cold Love (long version)", "I'll Get By", "I'll Play The Blues For You", "Breath Taking Girl", and a killer long take on "For Your Precious Love".

From its booze-soaked title cut, to its haunting selection of lonely ballads like "Midnight Sun" and "Stranger Called The Blues", this is one of the most fantastic vocal jazz albums of all time – and a record that we'd recommend instantly to anyone! June Christy has an incredibly icy tone on the record, filled with sorrow, regret, and loneliness – all of which are amplified even more deeply by Pete Rugolo's eerie, off-kilter arrangements. Titles include "Something Cool", "It Could Happen To You", "Lonely House", "I'm Thrilled", and "The Night We Called It A Day". Plus, this special CD reissue features the mono and stereo recordings of the album – completely different ones, as the album was originally recorded in mono in 1954, and completely re-recorded again with the same arrangements in 1960!

The title may be a simple one, but the record really marks a key point in John Coltrane's development – an embrace of the newer freedoms allowed to him at Atlantic Records, but in a way that's a bit more subtle than some of his other work for the label! At one level, the record moves at the same groove as Trane's later Prestige years – with rhythm mostly from Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – carving out some sharp lines for Coltrane to cascade over on tenor sax. Yet there's also a new sense of darkness here too – one that moves into edgier territory, and which isn't nearly as settled in as before. These qualities sneak out of both original numbers like "Harmonique", "Fifth House", and "Like Sonny" – as well as standards like "My Shining Hour" and "Little Old Lady". And they really come to the forefront on the classic "Village Blues" – the one track that features the new Coltrane group of McCoy Tyner, Steve Davis, and Elvin Jones!

A full length debut knockout for The Congregation – who had more-or-less been serving as the live soul house band on the north side of Chicago in the months leading up to Right Now Everything – and deservedly so! The group might take the most cues from classic raw soul and live show R&B – but they've also clearly soaked up plenty of garagey rhythms, uptempo blues and rave-up gospel – and most importantly, they're somehow delivering their raucous stage intensity in the studio. Vocalist Gina Bloom has the grit and the genuinely soulful spirit of singers who have been at it for decades – but this is a fairly young group – which is important, because we're hoping they'll continue to slay us for many years to come! The excellent band includes Chuck Sansone on keys and percussion, Charlie Wayne on guitar, Joe DeBord on bass, Dan Wendt on drums, Brian Crane on trumpet, Nick Nottoli on trombone and Erik Eiseman on sax. Includes the title track, "When There's Fighting", "Real Thing", "Darlin'", "High Class", "I Know You Will", "You'll Always Be Alright With Me", "I Will Forget You" and more.

An incredible collection of work from the vastly-overlooked Geater Davis – and a set that definitely lives up to its title! Geater Davis is a tremendous singer from the south – but one who barely ever got his due back in the 70s – even though these recordings for the tiny House Of Orange label are every bit as amazing as work coming out for bigger labels like Stax or Hi Records! Although Davis didn't record nearly as much as his contemporaries, he's got a sound that matches or beats them – a raw, raspy quality that's a bit like Bobby Blue Bland, touched with the depth of feeling we love in James Carr, peppered with elements of other Memphis singers – all produced to perfection with a sound that's got a deep-burning soul that never lets up. This excellent collection features all tracks from Geater's rare album Sweet Woman's Love, plus additional singles from the time – all produced by Allen Orange, an overlooked genius in the southern studio scene of the 70s. Titles include "Don't Marry A Fool", "Cry Cry Cry", "I Love You", "I Know My Baby Loves Me", "I Can Hold My Own", "Cold Love (long version)", "I'll Get By", "I'll Play The Blues For You", "Breath Taking Girl", and a killer long take on "For Your Precious Love".

One of a handful of great recordings by this second generation AACM group. The group's a trio featuring Kahil El'Zabar, Ed Wilkerson and Joseph Bowie, with a sound that rolls along nicely with a firm, afro-centric rhythm at its core. The compositions are beautiful and spare, with light melodies and extended improvisations by Wilkerson and Bowie on tenor and trombone over the pulsing rhythms. Six numbers in all "Papa's Bounce", "Loose Pocket", "Three And A Half", "Kahil's Blues", "Ancestral Song" and "Mamma's House".

It's hard to believe the Ethnic Heritage Ensemble is 35 years old – especially when Kahil El'Zabar looks so young on the cover, and when the group's sound is fresher than ever! The album's got a really beautiful, timeless sort of feel – spiritual jazz that few groups can play this well – balanced between El'Zabar's percussion and kalimba, the trumpet of Corey Wilkes, and the saxes of Ernest Dawkins – all key players in the Chicago scene, carrying on a rich tradition of AACM expression and other spiritual sounds. The album's wonderfully free from gimmicks – some of the most back to basics work we've heard from Kahil in years, and a great reminder of why we first fell in love with his music a few decades back – and the balance of the two horn players over percussion really creates a strong sense of power in the record – a bold vision that comes through beautifully! Titles include "Barundi", "Kari", "Oof", "All Blues", and "Ornette".

A double disc CD & DVD package showcasing one of our favorite souful acts on the contemporary landscape – Nicolay & Phonte's brilliant and ever-evolving Foreign Exchange project! Dear Friends showcases an acoustic concert performed for a private audience –- the great touring lineup that includes Zo!, Sy Smith, and singer/songwriter Jeanne Jolly. From the get go, we've been impressed by both the original songwriting from Foreign Exchange as well as the way they filter diverse influences into their own unique vibe – and this acoustic setting really gets to the heart and soul of it. This is an essential document for fans of the group, but it's also a fine intro if you're just now coming aboard! The live set includes "Fight For Love", "All Roads", "Take Off The Blues", "Lose Your Way", "Greatest Weapon Of All Time", a nice cover of James Taylor's "Something In The Way She Moves", "Laughing At Your Plans", "Daykeeper", "House Of Cards", Zo!'s "Greatest Weapon Of All Time" and "I Wanna Know". Also includes 2 new studio tracks: "Steal Away" feat vocals by Jeanny Jolly and piano by Zo! and "All The Kisses" feat Amber & Paris Strother of KING.

The brilliant bluesy side of Hendrix – great stuff recorded from '66-'70 – including his most blues based originals and incredible covers! Bluesy it is, but it's also Jimi – with the soaring, loose and massively influential lead guitar grooves and many of which went unreleased until the 90s – and remains among the most essential of posthumous Hendrix releases. Includes "Hear My Train A Comin'" (acoustic and electric versions), "Born Under A Bad Sign", "Catfish Blues", "Red House", "Voodoo Chile Blues", "Mannish Boy", "Once I Had A Woman", "Jam 292" and "Electric Church Red House".

A really nice later set from legendary Texas blues titan Sam "Lightnin'" Hopkins – done up for the Jewel label with a bit of the spark that was missing from the hit & miss work he did earlier in the decade for Bluesville! Blue Lightnin' also has a down and dirty style in spots, too – such as on the sinister "Back Door Friend" – the kind of thing that might have put off the academic market his previous label was shooting for! Other titles include "Found My Baby Crying", "Move On Out" (parts 1 & 2), "Fishing Clothes", "Gamblers Blues", "Wig Wearing Woman", "Last Affair", "Daddy Was A Preacher", "Jail House Blues", "I Hate I Got Married", "Lovin' Arms" and more.

A later chapter in the career of soul singer Etta James – six full albums, plus a bonus disc of live material too! The set represents most of Etta's work from recent years – a series of albums done for the Private Music label – in styles that range a bit more than before, yet still come across with plenty of the soul you'll know from Etta's roots. Production is definitely a bit more modern at times, yet the vocals are still top-shelf – whether in a more blues-based setting, or one that's going for a crossover vibe instead. Packaging is great – all CDs come in LP-styled sleeves – and titles include Love's Been Rough On Me, Life Love & The Blues, Matriarch Of The Blues, Burnin Down The House, Let's Roll, and Blues To The Bone – plus a bonus CD, Live In San Francisco!

One of the 2 terrific records ex-Fairport Convention singer-songwriter Ian Matthews cut for the Vertigo label in the early 70s – built around Matthews wonderful vocals and acoustic guitars, but with a tighter rhythmic backdrop the the typical post folk trope! The key here is warmth – particularly in Ian's vocals, which carries over on some great little tunes! Tracks include "Tigers Will Survive", "Midnight On The Water", "Right Before My Eye", "Hope You Know ", "Please Be My Friend ", "House Of Unamerican Blues Activity Dream", and "The Only Dancer". Also includes the bonus track "Devil In Disguise".

A really messed-up blend of soul, rock, and blues – done in a style that's very much in keeping with the genre-busting Fillmore scene of the late 60s! Maximillian are a trio who run through Hendrix-like guitars, deep soul styled vocals, and bluesy riffing – often in the course of the same number – and the album's produced and arranged by Teddy Vann with a really wonderful approach that keeps things from getting too sloppy, and which propels the record forward without falling into the kind of traps that you'd get from other groups of this nature. Titles include "Moby's House", "The Road Rat", "Naked Ape", "Kickin 9 to 5", "Scar On My Memory", and "Little Amazon".

Continuing proof that Meshell Ndegeocello is one of the most compelling soul singers of the past few decades – as she steps forth here in a tribute to Nina Simone, all with a rich criss-crossing of styles that's unlike any of her previous work! Meshell's vocals are right on the money – with a slight rasp that really suits Nina's spirit well – and the instrumental backings are mighty fresh, and really different than the straighter jazz you might expect from a staid Simone tribute – more in the mix of folk, rock, blues, and jazz elements that Nina used during some of her hippest sides for Philips Records in the 60s! Yet there's also a sparkle that's definitely Meshell's own, too – and the album also features guests work from Cody Chestnutt, Lizz Wright, Toshi Reagon, and others. Titles include "Suzanne", "House Of The Rising Sun", "Turn Me On", "Feeling Good", "Either Way I Lose", "Four Women", "To Be Young Gifted & Black", "See Line Woman", and "Be My Husband".

Continuing proof that Meshell Ndegeocello is one of the most compelling soul singers of the past few decades – as she steps forth here in a tribute to Nina Simone, all with a rich criss-crossing of styles that's unlike any of her previous work! Meshell's vocals are right on the money – with a slight rasp that really suits Nina's spirit well – and the instrumental backings are mighty fresh, and really different than the straighter jazz you might expect from a staid Simone tribute – more in the mix of folk, rock, blues, and jazz elements that Nina used during some of her hippest sides for Philips Records in the 60s! Yet there's also a sparkle that's definitely Meshell's own, too – and the album also features guests work from Cody Chestnutt, Lizz Wright, Toshi Reagon, and others. Titles include "Suzanne", "House Of The Rising Sun", "Turn Me On", "Feeling Good", "Either Way I Lose", "Four Women", "To Be Young Gifted & Black", "See Line Woman", and "Be My Husband".

An interesting project from Elliott Sharp – a set that mixes his older downtown sounds with some surprising rootsy elements – all in a blend that really helps his music stretch out strongly! Sharp's guitar work is still incredible – whether arch and arty, or acoustic and bluesy – and the album features a mix of instrumental workouts and vocal numbers – with lyrics sung by Tracie Morris, Eric Mingus, and Joe Mardin. Hubert Sumlin plays some guest guitar, and Curtis Fowlkes adds a bit of trombone – and titles include "Fade To Noir", "This House Is For Sale", "Endless Path", "Banking Blues", "I Blame You", and "Off The Hook".

One of the best hard-wailing all-star sessions that Jimmy did so well for Blue Note! The album features an amazing array of top-line players – like Tina Brooks, Lee Morgan, Curtis Fuller, Lou Donaldson, Art Blakey, and Kenny Burrell – and they all play with Smith in differing combinations, all of which have an open-ended groove that sounds very nice, and very much like the kind of material that Smith would have laid down at some small club in the late 50s. Titles include "Blues After All", "Au Private", and "Lover Man".

Rougher and rawer than we're used to hearing Dakota Staton – and a tasty little session done with Groove Holmes on organ! The tunes are mostly standards, taken at a slower bluesier pace than on some of Dakota's earlier sides – and Groove gets in plenty of licks on Hammond, sneaking behind Dakota's vocals, and working with a group that includes Bernard Purdie, Cornell Dupree, and Horace Ott. Titles include "Blues For Tasty", "A House Is Not A Home", "Candy", "Deep In A Dream", and "A Losing Battle".

An early one from Waits – his second album – and a great one! Like the rest of his first few records, this is a kind of like a street-savvy, hipster cabaret affair, with less of the eccentricity that would reveal itself later in his career. Still a great record though, rendered with a Bukowski-esque salt of the earth palette. Includes "Fumblin' With The Blues", "Please Call Me, Baby", "Diamonds On My Windshield", "New Coat Of Paint", "The Heart Of Saturday Night", "Drunk On The Moon", "Shiver Me Timbers", "San Diego Serenade", "Semi Suite", "Depot, Depot", and "The Ghosts Of Saturday Night (After Hours At Napoleone's Pizza House)".

A massive overview of the genius Chicago scene of the late 60s – and a set that's overflowing with some of the heaviest music ever recorded! The collection focuses on the most groundbreaking work from the later Chess years – particularly the funky blues, psychedelic soul, and tripped out jazz that was coming out of the Cadet Concept studios in the hands of producers like Charles Stepney, Richard Evans, and Marshall Chess! The Chess groups were ahead of their time by decades – blending together styles without a thought of simple genre restrictions, often forsaking chart fame and record sales in pursuit of an adventurous groove. And while some of the artists on the set may be familiar names, we can promise that most of them are presented in styles that you may not have heard before – as the collection features many unreissued numbers that are making their first reappearance here! 2LP set comes with a great set of notes on the inner sleeve – and features 20 tracks in all, including "Please Newsboy" by Eve Barnum, "Burning Spear" by Soulful Strings, "More & More" by Little Milton, "Baltimore Oriole" by Lorez Alexandria, "Soul Vibrations" by Dorothy Ashby, "Evil" by Howlin Wolf, "Stereo Freeze" by The Stereos, "The Way I Feel" by Phil Upchurch, "Mama's Got A Good Thing" by Laura Lee, "The Wailer" by Sonny Cox, "Leave It In The Hands Of Love" by Fontella Bass, "Why Am I Treated So Bad" by The Majestic Choir & The Soul Stirrers, "She Suits Me To A Tee" by Buddy Guy, "Memory Band" by Rotary Connection, and "In My Body's House" by Gene Chandler.

Early harmonic blues, pulled from vintage 78rpm recordings, and wrapped up in a great Robert Crumb cover – exactly the kind of album that makes the Yazoo label so great! Most tracks here appear on LP for the first time ever – and the set does a wonderful job of digging through some very vivid uses of the instrument in 20s and 30s blues – work that's arguably every bit as complex, if not more so, than any of the harp bluesmen in later years. Titles include "My Driving Wheel" by Lee Brown, "Crazy About You" by State Street Boys, "Railroad Blues" by Freeman Stowers, "Friday Moan Blues" by Alfred Lewis, "Harmonica Rag" by Chuck Darling, "I Want You By My Side" by Jazz Gillum, and "House Snake Blues" by Chicken Wilson & Skeeter Hinton.

Blues from the delta, beautifully compiled by the folks at Yazoo – in a classic collection that shows why they've always been one of the most trusted sources for music like this! The package really expands strongly on the sounds of Charlie Patton and Robert Johnson – both of whom are included, but featured with a host of contemporaries who really show the whole spectrum of this fertile scene during these crucial years. Titles include "Special Rider Blues" by Skip James, "Billy Goat Blues" by John Byrd, "Tallahatchie River Blues" by Mattie Delaney, "Delta Blues" by Son House, "Dead Shrimp Blues" by Robert Johnson, "Gang Of Brownskin Women" by Harvey Hull, and "Be True Be True Blues" by Henry Sims.

Wild funk from guitarist Freddy Robinson – hardly the "bluesology" you'd guess from the title! Sure, Freddie started his career as a blues guitarist on early Chess sessions – but during the early 70s, he cut some monster funky recordings for Stax, recordings that had a bluesy guitar in the middle, but some nice funky rhythm backing him up! The great Monk Higgins had a hand in most of the recordings – which is why they sounded so nice, and which is why they deserve a lot more credit than the sleepy "bluesology" title would imply. There's a nice batch of previously unissued material on here – plus tracks from Robinson's LPs Off The Cuff and At The Drive In. Titles include "Off The Cuff", "The Creeper", "Sister Hot Pants", "Black Fox", "Good Feeling", "I Remember", "House Hunting", "Here Comes Your Good Thang", "Changing Dreams", and a very dope version of "River's Invitation".

A massive overview of the genius Chicago scene of the late 60s – and a set that's overflowing with some of the heaviest music ever recorded! The collection focuses on the most groundbreaking work from the later Chess years – particularly the funky blues, psychedelic soul, and tripped out jazz that was coming out of the Cadet Concept studios in the hands of producers like Charles Stepney, Richard Evans, and Marshall Chess! The Chess groups were ahead of their time by decades – blending together styles without a thought of simple genre restrictions, often forsaking chart fame and record sales in pursuit of an adventurous groove. And while some of the artists on the set may be familiar names, we can promise that most of them are presented in styles that you may not have heard before – as the collection features many unreissued numbers that are making their first reappearance here! CD set comes with a 40 page set of notes – and features 20 tracks in all, including "Please Newsboy" by Eve Barnum, "Burning Spear" by Soulful Strings, "More & More" by Little Milton, "Baltimore Oriole" by Lorez Alexandria, "Soul Vibrations" by Dorothy Ashby, "Evil" by Howlin Wolf, "Stereo Freeze" by The Stereos, "The Way I Feel" by Phil Upchurch, "Mama's Got A Good Thing" by Laura Lee, "The Wailer" by Sonny Cox, "Leave It In The Hands Of Love" by Fontella Bass, "Why Am I Treated So Bad" by The Majestic Choir & The Soul Stirrers, "She Suits Me To A Tee" by Buddy Guy, "Memory Band" by Rotary Connection, and "In My Body's House" by Gene Chandler.

The title may be a simple one, but the record really marks a key point in John Coltrane's development – an embrace of the newer freedoms allowed to him at Atlantic Records, but in a way that's a bit more subtle than some of his other work for the label! At one level, the record moves at the same groove as Trane's later Prestige years – with rhythm mostly from Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – carving out some sharp lines for Coltrane to cascade over on tenor sax. Yet there's also a new sense of darkness here too – one that moves into edgier territory, and which isn't nearly as settled in as before. These qualities sneak out of both original numbers like "Harmonique", "Fifth House", and "Like Sonny" – as well as standards like "My Shining Hour" and "Little Old Lady". And they really come to the forefront on the classic "Village Blues" – the one track that features the new Coltrane group of McCoy Tyner, Steve Davis, and Elvin Jones! CD features 4 more bonus alternate takes too!

An incredible collection of work from the vastly-overlooked Geater Davis – and a set that definitely lives up to its title! Geater Davis is a tremendous singer from the south – but one who barely ever got his due back in the 70s – even though these recordings for the tiny House Of Orange label are every bit as amazing as work coming out for bigger labels like Stax or Hi Records! Although Davis didn't record nearly as much as his contemporaries, he's got a sound that matches or beats them – a raw, raspy quality that's a bit like Bobby Blue Bland, touched with the depth of feeling we love in James Carr, peppered with elements of other Memphis singers – all produced to perfection with a sound that's got a deep-burning soul that never lets up. This excellent collection features all tracks from Geater's rare album Sweet Woman's Love, plus additional singles from the time – all produced by Allen Orange, an overlooked genius in the southern studio scene of the 70s. Titles include "Don't Marry A Fool", "Cry Cry Cry", "I Love You", "I Know My Baby Loves Me", "I Can Hold My Own", "Cold Love (long version)", "I'll Get By", "I'll Play The Blues For You", "Breath Taking Girl", and a killer long take on "For Your Precious Love".

What can we say? This is the ultimate Miles Davis album – the one that includes so many songs that we've heard way too much in Starbucks, in retail stores, or at a friend's house who claims to be a "jazz expert", but is really a yuppie dilettante. Yet somehow, over all the years, and all those playings, the record manages to still sound fantastic – a truly inspirational piece of music that's long deserved all the attention it gets! The legendary group on the album includes John Coltrane on tenor, Cannonball Adderley on alto, Bill Evans on piano, and Paul Chambers on bass – working with Miles in a relatively modal style, with brilliant rhythm changes and a wonderful sense of space. The whole thing's sublime – and titles include "Blue In Green", "All Blues", "So What", and "Freddie Freeloader".

What can we say? This is the ultimate Miles Davis album – the one that includes so many songs that we've heard way too much in Starbucks, in retail stores, or at a friend's house who claims to be a "jazz expert", but is really a yuppie dilettante. Yet somehow, over all the years, and all those playings, the record manages to still sound fantastic – a truly inspirational piece of music that's long deserved all the attention it gets! The legendary group on the album includes John Coltrane on tenor, Cannonball Adderley on alto, Bill Evans on piano, and Paul Chambers on bass – working with Miles in a relatively modal style, with brilliant rhythm changes and a wonderful sense of space. The whole thing's sublime – and titles include "Blue In Green", "All Blues", "So What", and "Freddie Freeloader".

A wicked reinvention of the sound of Bo Diddley – a set that electrifies his groove even more than before – and takes him into the same mix of funk and blues that Muddy Waters and Howlin Wolf were exploring at the time! This album's right up there with the two Cadet/Chess classics by both of those artists – and is possibly even more messed-up too – with lots of jagged edges that push past the usual Bo Diddley groove – even though that classic sense of rhythm is still at the core to drive things along! We don't know who's playing drums, but they've got a nice heavy handed approach that makes these tracks really boom – and the set's in a massively funky style that's taken far too many years to be acknowledged for in the mainstream! Lots of nice ones, including "Shut Up Woman", "Funky Fly", "Power House", "Black Soul", "Elephant Man", and "I've Got A Feeling".

Another stellar agit-punk effort from The Ex – this one a straight-ahead batch of their celebrated tumultuous sound! The production is loose and sharp around the edges, giving it a bit of a Beefheart-ian feel, just a little bit less pummeling than the sound the group pounded a couple of years later with Steve Albini. Tracks include "Thunderstruck Blues", "Only If You Want 3", "Ret Roper", "Embarrassment", "House Carpenter", "Newsense", "Former Reporter", "Shore Thing", "Things Most People Think", "Hunt Hat" and more.

The second album from Foreign Exchange – the formerally bi-continental project of North Carolina MC, and nascent soul singer Phonte of Little Brother, and transplanted Dutch producer Nicolay – who take an even deeper turn into spacey soul on Leave It All Behind! Given that Phonte is singing rather than rapping, you'd be tempted to say that Foreign Exchange has left hip hop behind, but hip hop is in the heart and soul – and the group was born of the idea of hip hop as an evolving art form – so rhymes or not, it's hip hop to us. The spacey, jazzy melodic groove here finds producer Nicolay in peak form – a nice balance between thumping bass, beats and mellow atmospherics, and the mood is impeccable. We're pretty much stunned at how well Phonte is developing as a vocalist, with laidback lead and overdubbed backing vocals that go back the heart & soul comment above. A left turn for a duo that was adventurous to begin, with an excellent move to the next level! Titles include "Daykeeper", "Take Off The Blues", "All Or Nothing/Coming Home For You", "I Wanna Know", "House Of Cards", "Sweeter Than You", "Valediction", "If She Breaks Your Heart", "If This Is Love", "Something To Behold" and "Leave It All Behind".

Although Benny Golson is perhaps best known as a lively arranger in the modern idiom, he's also a kick-ass tenor player when he wants to be – and on this classic, he definitely wants to be! Unlike some of Golson's more tightly arranged records of the early years, this date is a deeply gutsy soul jazz session – support from a group that includes Ray Bryant on piano, Paul Chambers on bass, Art Blakey on drums, and Curtis Fuller on trombone – all sliding into long tracks that have plenty of room for solos! The whole thing's a bit like the more spontaneous side of the Jazz Messengers groove – and titles include "The Stroller", "Drumboogie", "My Blues House", and a beautiful version of "Yesterdays".

The brilliant bluesy side of Hendrix – great stuff recorded from '66-'70 – including his most blues based originals and incredible covers! Bluesy it is, but it's also Jimi – with the soaring, loose and massively influential lead guitar grooves and many of which went unreleased until the 90s – and remains among the most essential of posthumous Hendrix releases. Includes "Hear My Train A Comin'" (acoustic and electric versions), "Born Under A Bad Sign", "Catfish Blues", "Red House", "Voodoo Chile Blues", "Mannish Boy", "Once I Had A Woman", "Jam 292" and "Electric Church Red House".

An early one from Waits – his second album – and a great one! Like the rest of his first few records, this is a kind of like a street-savvy, hipster cabaret affair, with less of the eccentricity that would reveal itself later in his career. Still a great record though, rendered with a Bukowski-esque salt of the earth palette. Includes "Fumblin' With The Blues", "Please Call Me, Baby", "Diamonds On My Windshield", "New Coat Of Paint", "The Heart Of Saturday Night", "Drunk On The Moon", "Shiver Me Timbers", "San Diego Serenade", "Semi Suite", "Depot, Depot", and "The Ghosts Of Saturday Night (After Hours At Napoleone's Pizza House)".

A early 90s set from George Jackson – really moving stuff from the southern soul legend, songs with depth and emotion and played with vitally by a band – a pretty strong batch for Jackson, working in something of a timeless mode rather than bowing the to studio trends or trickery of the era! As diverse and adaptable of a soulful songwriter as George is, he sticks with a solid sax & trumpet accented southern style here, and it serves him quite well! Titles include "Struggling Lady", "Heart To Heart Collect", "If It's Love You're Trying To Fight". "I Want That Love Back", "Put On Me What You Put On Him", "Café Woman" and "Club House Blues".

Rootsy blues from the team of Memphis Slim and Willie Dixon – recorded in Paris in the early 60s at the Trois Mailletz nightclub! The style here is much earthier than you'd guess from the date – the return to tradition mode that some players often experienced while working in the European scene – and instrumentation features only piano from Slim and bass from Dixon, plus a bit of added drums from Philippe Combelle. Both artists sing on the album – and titles include "Rock & Rolling The House", "African Hunch With A Boogie Beat", "Baby Baby Baby", "Do De Do", "Pigalle Love", "All By Myself", "Just You & I", "How Make You Do Me Like You Do", and "The Way She Loves A Man".

A lot raunchier than La Wanda ever was as Aunt Esther on Sanford & Son! This record is for "adults only" and features lots of "street humor". Apparently, the meaning of the word "sucker" is exploited to the highest level. Some of the titles of her comedy pieces are "Hoe House Blues", "Ring Dang Do", "Darkie", "Open Drawer Whores", "Suck It Dry", "Karate Monkey", "The Hoe'in Game", and some more tame titles such as "Crazy House", "Bus Driver", and "The Buggy Ride".

The title may be a simple one, but the record really marks a key point in John Coltrane's development – an embrace of the newer freedoms allowed to him at Atlantic Records, but in a way that's a bit more subtle than some of his other work for the label! At one level, the record moves at the same groove as Trane's later Prestige years – with rhythm mostly from Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – carving out some sharp lines for Coltrane to cascade over on tenor sax. Yet there's also a new sense of darkness here too – one that moves into edgier territory, and which isn't nearly as settled in as before. These qualities sneak out of both original numbers like "Harmonique", "Fifth House", and "Like Sonny" – as well as standards like "My Shining Hour" and "Little Old Lady". And they really come to the forefront on the classic "Village Blues" – the one track that features the new Coltrane group of McCoy Tyner, Steve Davis, and Elvin Jones!

A great collection of the earliest work of Blind Willie McTell – all recordings made in Atlanta between 1927 and 1929 – served up in a wonderfully spare style that really showcases Willie's work on vocals and guitar! The latter "sings" as much as the former here – often with these inflections that are completely sublime, and almost more compelling than the notes themselves – and there's a harmony between the instrument and the voice that really seems to expand the power of the tunes, even with such a simple presentation. Titles include "Statesboro Blues", "Stole Rider Blues", "Mr McTell Got The Blues", "Come On Around To My House Mama", "Love Changing Blues", and "Drive Away Blues".

Timeless blues work from Boyd Rivers – played on both acoustic and electric guitar, but with a classic spirit that stretches back to the days of the delta! The recordings are from the early 90s, but done in a way that feels like they're from decades before – clear enough to bring out the best tones in Rivers' guitar and vocals, yet with a spare, stripped-down vibe that shows little change in the evolution of the blues over the 20th century! Titles include "Won't It Be Grand", "I Want To Be At The Meeting", "Get Away Jordan", "That Fire Shed In My Bones", "You Can't Make Me Doubt", "Church House Rock", and "When The World Seems Cold".

Posthumously released live material from rare jam session recordings from the 40s – issued here to cash in on the huge amount of Birdophiles that were cropping up after Parker's early death. The album gives no real notes on personnel or location, except to say that the tracks were recorded in 40s New York. And although the recording quality isn't excellent, Bird's solos do come through with a ferocity that greatly captures his sheer raw power in any setting. Titles include "Hot House", "Cool Blues", "Orinthology", "Groovin High", and "Round Midnight".

Incredible early work from Lorez Alexandria – the kind of albums that instantly set her apart from other singers of the 50s, reissued here properly for the first time in years! On This Is Lorez, the singer is working with sublime small combo backings from the group of pianist King Fleming – an unusual Chicago ensemble that includes Wilber Wynn on guitar, Ronald Wilson on flute and oboe, Vernel Fournier on drums, and Audrey Jones on bongos – a musical lineup that brings in a different sort of sophistication to the record, shading tunes with moody colors on flute and oboe that perfectly support Alexandria's soulful and sensitive interpretations of the tunes. The whole thing is pure genius, and a key look at the new levels of sophistication that were bubbling everywhere on the Chicago scene during the years of Jamal and Sun Ra. Lorez Sings Pres follows in a very similar mode – with backing by a Chicago group that again includes King Fleming piano, plus Charles Stepney on vibes, Paul Serrano on trumpet, and Vernel Fournier on drums – an extremely hip lineup that makes the record far more than just the Lester Young tribute promised in the title! But despite the instrumentalists, the real star on all sides is Alexandria – who sings with dark tones and deep colors that go far beyond conventional jazz vocals – all carried off with that slightly breathy mode that was one more unique aspect of her work! CD features all tracks from both albums – a total of 22 titles that include "Snowstorm", "I'm Glad There Is You", "The Sky Is Crying", "I'm Making Believe", "Necessity", "Penthouse Serenade", "DB Blues", "This Year's Kisses", "Easy Living", "No Eyes Blues", "Jumping With Symphony Sid", and a key early reading of "Baltimore Oriole".

A massive amount of early work by The Animals – brought together in one overstuffed package with some unreleased tracks as well! The group here have a great rough sound – much more bluesy than in later years, which turns out to be a perfect setting for the young Eric Burdon – whose vocals soar out wonderfully over a mix of original tunes and remakes of American classics by folks like Ray Charles, John Lee Hooker, Sam Cooke, Bo Diddley, and others! Producer Mickie Most really knows how to keep the right sort of edge on the tunes – lots of raw power in the instrumentation, especially the Hammond and guitar – and a stark, dark quality to Eric's vocals that went onto become the stuff of legend. Package features 40 tracks in all – with titles that include "I Believe To My Soul", "Don't Let Me Be Misunderstood", "Club A Go Go", "For Miss Caulker", "Feel", "Boom Boom", "Don't Want Much", "It's My Life", "House Of The Rising Sun", "We've Gotta Get Out Of This Place", and "I'm Gonna Change The World".

An incendiary collection of mid-to-late 60s material from The Attack – a proponent of the same UK scene that spawned The Creation and The Who – and influenced later firebrands like The Buzzcocks and other punk era greats! About Time includes the group's Decca singles, rare radio sessions, and previously unreleased records – some with a slight bluesy guitar tinge, but nearly all of them heavy and driving – way ahead of their time! Tracks include "Any More Than I Do", "Feel Like Flying", "Created by Clive", "Try It", "Go Your Way", "Strange House", "Freedom For You", "Hi Ho Silver Lining", "Magic In The Air (aka Watch With Mother)", and "We Don't Know". 15 tracks in all – and slightly different than the Cherry Red version.

Wonderful work from the little recorded Bronx Cheer – which combined uptempo acoustic jug band rock with an uncommonly catchy brand of unique tunefulness – tunes from their wonderful debut LP on Dawn Records, plus some very nice stuff from the unreleased second LP! Bronx Cheer has roots in the jug band groove, with chiming acoustic guitars, tight rhythm and vocals with a little bit of a good natured twang, but their recordings show a willingness to plug in and rock out once in a while. 19 tracks in all: "Barrelhouse Player", "Prison Wall Blues", "Adult Games", "Springdale Blues", "Round & Round", "Fourth Street Mess Around", "Back Door", "Won't Act Right", "Ballad Of Reg Purvis", "Same Again", "Wild Cat", "Long Lovin' Night", "Life Is An Empty Box", "Midnight Mover", "Tell Me" and more!

A tremendous debut from this overlooked late 60s group from the UK – a powerhouse that would later go onto fuel bigger groups like Jethro Tull, Emerson Lake & Palmer, and Uriah Heep! This initial outing has a surprisingly soulful feel at times – still very rockish in the presentation, but with a style that's still tipping out of the Brit beat group years too – so that even when things are freewheeling and almost progressive, you can still feel some bluesy undercurrents in the vocals and keyboards! John Glascock handles bass, Ken Kensley keyboards – and both sing as well, along with guitarist Joe Konas. Drummer Lee Kerslake completes the group – and titles include "Radio Show", "Farthing Man", "I Never Knew", "Towards The Skies", "Looking Glass", and "Candles Getting Shorter". 2CD set features the full original mono and stereo mixes of the album – plus bonus tracks that include "Somewhere In The Stree", "Baby's Rich", "Real Love Guaranteed", and a great cover of The Beatles' "Hey Bulldog".

The first full length collaboration between blues, soul and rock slide guitar eclecticist Ben Harper and harmonica master Charlie Musselwhite – and it's win for both – with a vibe that's rooted in many traditions, but feels right at home in both Harper's and Musselwhite's wheelhouses. We expected a blues & soul covers set when we first heard that this project was in the works – and while the prospect of these 2 fellows working together on the classic Americana songbook sounds like a pretty good idea to us – we're actually all the more impressed with this all originals take on classic styled craft. A bit of blues and blues rock, a bit of gospel, and a bit of southern styled folk soul – and a bunch of great songs! It's a full band set up for the most part, too, as opposed to a spare duos set – and the titles include "Don't Look Twice", "I'm In I'm Out And I'm Gone", "We Can't End This Way", "You Found Another Lover (I Lost Another Friend), "I Ride At Dawn", "Get Up!", "She Got Kick", "Blood Side Out" and "All That Matters Now".

The first full length collaboration between blues, soul and rock slide guitar eclecticist Ben Harper and harmonica master Charlie Musselwhite – and it's win for both – with a vibe that's rooted in many traditions, but feels right at home in both Harper's and Musselwhite's wheelhouses. We expected a blues & soul covers set when we first heard that this project was in the works – and while the prospect of these 2 fellows working together on the classic Americana songbook sounds like a pretty good idea to us – we're actually all the more impressed with this all originals take on classic styled craft. A bit of blues and blues rock, a bit of gospel, and a bit of southern styled folk soul – and a bunch of great songs! It's a full band set up for the most part, too, as opposed to a spare duos set – and the titles include "Don't Look Twice", "I'm In I'm Out And I'm Gone", "We Can't End This Way", "You Found Another Lover (I Lost Another Friend), "I Ride At Dawn", "Get Up!", "She Got Kick", "Blood Side Out" and "All That Matters Now". Deluxe edition comes with a bonus making-of DVD with additional live versions of a few of the tunes!

The first full length collaboration between blues, soul and rock slide guitar eclecticist Ben Harper and harmonica master Charlie Musselwhite – and it's win for both – with a vibe that's rooted in many traditions, but feels right at home in both Harper's and Musselwhite's wheelhouses. We expected a blues & soul covers set when we first heard that this project was in the works – and while the prospect of these 2 fellows working together on the classic Americana songbook sounds like a pretty good idea to us – we're actually all the more impressed with this all originals take on classic styled craft. A bit of blues and blues rock, a bit of gospel, and a bit of southern styled folk soul – and a bunch of great songs! It's a full band set up for the most part, too, as opposed to a spare duos set – and the titles include "Don't Look Twice", "I'm In I'm Out And I'm Gone", "We Can't End This Way", "You Found Another Lover (I Lost Another Friend), "I Ride At Dawn", "Get Up!", "She Got Kick", "Blood Side Out" and "All That Matters Now".

A cool collection of rare recordings from trumpeter Allen Houser – mostly recorded around the DC scene of the 70s, all with hip small group players and a pretty soulful feel overall! Houser's trumpet is set up in quartet, quintet, and sextet formations – often with a groove that draws from the hardbop years of Blue Note and Prestige, even more so than on some of Houser's commercially released work from the time. Players include Buck Hill on tenor, Reuben Brown on electric piano, Bob Butta on piano, Bob Balthis on valve trombone, and Joe Clark on tenor sax. A few tracks are recorded under the leadership of Julio Miranda or Joe Clark – and titles include "Peace", "Our Day Will Come", "Doxy", "Blues For Philly Joe", "Song For My Father", and "Four".

The first album from the great, freewheeling, genre-defying Little Feat! This album, like all the others from Little Feat, isn't easy to pigeonhole – rolling from sun-toasted country rock to roadhouse-y blues and beyond – in a way that feels perfectly right and natural. It's not as out there as a few of the later albums, but it's certainly among their best! Titles include "Snakes On Everything", "Strawberry Flats", "Forty Four Blues/How Many More Years", "Crack In Your Door", and "Takin My Time".

A very cool Elektra compilation – with rare non-Buddah work by the Lovin Spoonful, plus material by Al Kooper, Tom Rush, Paul Butterfield Blues Band, and Eric Clapton & The Powerhouse!

Wonderfully weird sounds from Lucifer – a record cut during the powerhouse 70s soul years of the Invictus/Hot Wax label, but done with a sound that's much more bluesy and rootsy than any other work for the company! Vocals are by Eugene Smith, who has a cool sort of Bay Area vibe – laidback, and almost folksy at points – snaking easily over the album's backings, which often have this gentle funk approach – but again with a pretty laidback style! Tony Camillo handled some of the arrangements on the record – and brings in some fuller backings that are mighty nice, yet which still suit Lucifer's style strongly – and titles include "Have You Heard", "In A Garden", "Bloodshot Eyes", and "Don't You (Think The Time's A Comin')". CD features the bonus track "What I Am".

One of two albums produced by Rudy Ray Moore – the other being The Sensuous Black Man – which define the art of making love from a gender-based perspective. Like Rudy's Sensuous Black Man, The Madam's version features one side of "instructional" dialogue – very XXX-rated, in bitchy mode that verbally orders a man to make love to a woman properly. Side two features "Rap Session", kind of a Q&A session in which The Madam lays down a bit more knowledge about sex over some bluesy music. There's plenty of bits on here that have been sampled over the years – and the record was a big one in the early mixes of the Chicago house scene.

Early, early Blue Note sides, from the dawn of the label, a transitional period in jazz. These sessions, led by Benny Morton and Jimmy Hamilton are truly hard-to-get in their original format, not to mention in any pressing, and these recordings reflect a side of the Blue Note catalog that's rarely considered any more. These swingtet sides feature the cream of the crop of the big band era, performing in smaller tighter groups that let them move around New York's urban jazz scene more easily. Some of the finest soloists of the era are caught here in a unique setting, including Barney Bigard, Ben Webster, Ray Nance and Harry Carney. As you'd expect from the performance standards of the day, the performance are short, tight and sweet, and include "MY Old Flame, "Conversing In Blue", two takes of "The Sheik Of Araby" and "Limehouse Blues" by Benny Morton's All Stars, "Cherry", "Rosetta", "The World Is Waiting For The Sunrise" and "Wiliphant Winnie" by the Sammy Benskin Trio and "Old Uncle Bud", "Blues For Clarinets", "Slapstick" and "Blues In My Music Room" by Jimmy Hamilton & The Duke's Men.

Two of the few, and nobody else – a set of duets between pianist Oscar Peterson and vibist Milt Jackson – recorded here in a really stripped-down setting, especially for the date! Both players bring a really classic feel to their style here – almost making the date feel like some lost tapes from the 50s – and Peterson's got a much more rhythmic pulse to his piano without the bass and drums, really reminding us a lot of his early sides for Verve. Titles include "Reunion Blues", "Mister Basie", "Limehouse Blues", "If I Had You", "Here's Two Of The Few", "Just You Just Me", and "Lady Be Good".

An unusual albums from the west coast scene of the 50s – recorded under the name of the Lighthouse All Stars, but featuring arrangements and compositions by Bob Cooper – who was the real driving force behind the set. Conte Candoli's in the group on trumpet – and other players include Buddy Colette and Bud Shank on alto and flute, Frank Rosolino on trombone, Victor Feldman on vibes and percussion, Stan Levey on drums, and Cooper himself on tenor. The overall sound is relatively tightly constrained, in a "jazz suite" mode – but there's plenty of room for solo space on the set, and Cooper's writing is as fluid as his ability is strong to bring these players together as conductor. The set's got a really great feel that gets way past some of the more academic west coast work of its sort – with a lot more soul than you'd expect. Titles include "Rain Blues", "Genesis (pt II)", "Architectonics", "Directional Suite", and "The Worker".

Includes the tracks "Wailin Blues", "Barrelhouse Stomp", "I Found A New Baby", "Baby Won't You Please Come Home", and "There'll Be Some Changes Made".

Early 70s albums from Ike & Tina Turner – later material from the together years – 1970's Come Together & '71's Nuff Said in a single package! Come Together includes the title high profile cover and others in "Honky Tonk Women" "I Want To Take You Higherr", but, it's got a number of solid ke originals, too. It's in a bit of loose blues & soul mode, with trademark powerhouse vocals from Tina. Titles include "It Ain't Right", "Too Much Woman", "Unlucky Creature", "Young And Dumb" and more. Nuff Said is another one that's among their last albums together, and it’s very much in the hit Ike & Tina style! Lots of hard heavy guitar, pounding drums, and raw heavy soul vocals from Tina. Tracks include "Baby", "Sweet Flustrations", "I Love What You Do To Me", "Tell The Truth", "I Love Baby", and "Nuff Said".

A legendary night at Chicago's Checkerboard Lounge – when The Stones, in town for some shows out in Rosemont, sat in with their hero Muddy Waters! First and foremost – we're in Muddy's wheelhouse here – it's his show, and he sounds great, even this late in the game! The Stones, who are hardly ever better from the early 80s onward than when they're in hard blues homage mode, provide stellar support, and they may very well instigate Muddy and his band to bring their best, which they handily do! Also in action are Muddy's own great band and other guests, including John Primer, Rick Kreher, Earnest Johnson, Ray Allison and Mojo Buford – plus Junior Wells, Buddy Guy (who does some singing on the set, along with Mick and Muddy), Lefty Dizz and Nick Charles. The whole thing sounds great, and this 2LP edition also includes a DVD of the live show – and titles include "Sweet Little Angel", instrumental takes on "Country Boy" and "Baby Please Don't Go", "Hoochie Coochie Man", "Mannish Boy", "Got My Mojo Workin'", "One Eyed Woman", "Clouds In My Heart", "Champagne And Reefer" and more.

The Enjoy Records Story – but from the early days, when the label was a powerhouse outlet for R&B, blues, and early soul music – years before they also started cutting hip hop as well! The tracks here are all a great illustration of the keen ear of the imprint, and their strong focus on a few key acts who could really knock it out of the park – music that made Enjoy a key player at the start of the soul years of the 60s – even though some of its best artists went onto later fame at bigger labels. The collection is the best we've ever seen on Enjoy during these seminal years – and features a whopping 36 cuts that include "People Sure Act Funny" by Titus Turner, "Hoop & Holler" by Riff Ruffin, "I Believe To My Soul" by Louis Jones, "What Ya Gonna Do" by Noble Watts & June Bateman, "Get It" by Jay Dee Bryant, "Let's Do The Boston Monkey" by Les Cooper, "Don't Lie" by Sammy Taylor, "Sad Song" by The Channes, "Long Time No See" by Ronnie & The Manhattans, "Hot Potato" by The Rinky Dinks, "Ain't Nobody's Business" by Mary B, "It Hurts Me So" by Elmore James, "Soul Twist" by King Curtis, and "What Shall I Do" by Gladys Knight & The Pips.

The 6th in the great Imaginational Anthem series from Tompkins Square – which explores the great solo American folk guitar traditions of the past century to today – and this one goes back the furthest yet! Features beautiful surviving recordings from as far back as the 1920s and 1930s by Sylvester Weaver, Riley Puckett, Davy Miller, Sam McGee, Lemuel Turner, Bayless Rose and more. 14 in all: "Guitar Rag" by Sylverster Weaver, "Darkey's Wail" by Riley Puckett, "Frisco Blues" by Bayless Rose, "Jailhouse Rag" by Davy Miller, "Tramp Waltz" by Lemuel Turner, "Jamestown Exhibition" by Bayless Rose and more.

A sweet and long overdue second set of Mo' Jazz from the Acid Jazz label – who made us wait just about 20 years for it – and much like the early 90s collection, it's a fresh take on timeless jazzy sounds that'll stand the test of time! It puts together nice contemporary numbers by Laurent Doumont, Filthy Six, Derek and Jodi Chai, The Cavemen, Max Middleton, G's Way and others – with riffs on classic post bebop jazz, organ funk, boozy jazzy soul ballads and more – with nicely cooking instros and vocal numbers alike. Classic-schooled, fresh sounds from artists we hope to hear much more from in the future. Bring on Vol 3! Includes "Everything I Do's Gonna Be Funky" by Laurent Doumont, "Live Again" by Derek Chai feat Jodi Chai, "Pedalo" by Riley Stone-Lonergan, "Wine Cups" by Richard Bundy, "Get Down" by Filthy Six, "Booze Blues" by Nigel Price Trio, "Return Of The Prodigal Son" by The Cavemen, "Treehouse" by Sam Q's Night Patrol, "Catch Me If You Can" by G's Way and more, 12 in all.

A sweet and long overdue second set of Mo' Jazz from the Acid Jazz label – who made us wait just about 20 years for it – and much like the early 90s collection, it's a fresh take on timeless jazzy sounds that'll stand the test of time! It puts together nice contemporary numbers by Laurent Doumont, Filthy Six, Derek and Jodi Chai, The Cavemen, Max Middleton, G's Way and others – with riffs on classic post bebop jazz, organ funk, boozy jazzy soul ballads and more – with nicely cooking instros and vocal numbers alike. Classic-schooled, fresh sounds from artists we hope to hear much more from in the future. Bring on Vol 3! Includes "Everything I Do's Gonna Be Funky" by Laurent Doumont, "Live Again" by Derek Chai feat Jodi Chai, "Pedalo" by Riley Stone-Lonergan, "Wine Cups" by Richard Bundy, "Get Down" by Filthy Six, "Booze Blues" by Nigel Price Trio, "Return Of The Prodigal Son" by The Cavemen, "Treehouse" by Sam Q's Night Patrol, "Catch Me If You Can" by G's Way and more, 12 in all.

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".

Great work by this famous LA trumpeter! Unlike other sessions, Conte gets a lot of nice room to roam around on his solos – and he's got great backing by a small group that includes Bill Holman on tenor, Lou Levy on piano, Larry Marable on drums, and Leroy Vinnegar on bass. The record never shows up on vinyl – and it's the kind of rare Bethlehem side that always catches a lot of money from collectors when it does show. Titles include "Full Count", "Four", "Groovin Higher", and "Jazz City Blues".

One of the best ever records by Townes Van Zandt – cut during his early 70s studio peak – and contrary to the title, a good 25 years before he passed away! He's again working with producer Jack Clement, but this record pares down the slicker and bigger production touches that seemed out of place on the earlier Clement-produced Our Mother The Mountain – with every single sound in service of the song. Towne's voice was never better than it is here and it includes some of his most enduring songs. Those include "Poncho & Lefty", "If I Needed You" and "Fraulein" – each as eternal as anything Townes would ever write or record – but everything here is excellent. Other tracks include "No Lonesome Tune", "Sad Cinderella", "Don't Let The Sunshine Fool You", his great and faithful cover of Hank Williams' "Honky Tonkin'" , "If I Needed You", "Heavenly Houseboat Blues" and more.

One of the best ever records by Townes Van Zandt – cut during his early 70s studio peak – and contrary to the title, a good 25 years before he passed away! He's again working with producer Jack Clement, but this record pares down the slicker and bigger production touches that seemed out of place on the earlier Clement-produced Our Mother The Mountain – with every single sound in service of the song. Towne's voice was never better than it is here and it includes some of his most enduring songs. Those include "Poncho & Lefty", "If I Needed You" and "Fraulein" – each as eternal as anything Townes would ever write or record – but everything here is excellent. Other tracks include "No Lonesome Tune", "Sad Cinderella", "Don't Let The Sunshine Fool You", his great and faithful cover of Hank Williams' "Honky Tonkin'" , "If I Needed You", "Heavenly Houseboat Blues" and more.

Excellent bop sides cut for EmArcy by Cannonball, collected and assembled in a manner that showcases his wonderfully soulful and hard blowing approach to the alto in the years before Miles recruited him. The set features a host of great sidemen including brother Nat, JJ Johnson, Cecil Payne, Ernie Royal, John Coltrane, Junior Mance, Horace Silver, Wynton Kelly, Paul Chambers, Keeter Betts, Sam Jones, Kenny Clarke, Max Roach and Jimmy Cobb. 17 tracks in all, including "Hurrican Connie", "Cynthia's In Love", "Cannonball", "Nat's Everglade", "Fallen Feathers", "Watermelon", "Fort Lauderdale", "Broadway At Basin Street", "T's Tune", "Blues For Bohemia", "Specutacular", "Miss Jackie's Delight", "Hoppin' John", "The Way You Look Tonight", "I'll Remember April", "Limehouse Blues" and "The Sleeper".

Titles include "Hard Times", "Rockhouse", "Sweet Sixteen Bars", "Doodlin", "How Long Blues", and "Blues Waltz".

A well-titled record, as Albert King here plays with the large sound and big tone that would make him one of the best up-and-coming bluesmen of the 60s – a key player in the already-electrified generation, and possibly the greatest example of the new confidence that was coming into the genre at the time! This early King Records session captures Albert at a great early point in his career – a bit free of some of the more standard modes that would come with his later fame – yet already a hell of a powerhouse on the scene. Titles include "Let's Have A Natural Ball", "Travelin To California", "Dyna Flow", "This Funny Feeling", "I've Made Nights By Myself", and "I Walked All Night Long".

2 albums' worth of sweet early soul jazz work from Junior Mance – both of them pretty darn hard to find! The records both hail from Junior's early 60s years – a time when he was getting a bit more freedom to stretch out on the keys and work through some soulful inflections – in a style that was encouraged by the contemporary success of pianists like Ray Bryant and Bobby Timmons. Like those two, Junior's working here in a style that's dripping with influences from gospel and blues, yet which also still firmly swings in a jazz-based sensibility – lightly gliding up and down the keys, with help from either Ben Tucker or Jimmy Roswer on bass, and Bobby Thomas or Paul Gusman on drums. The set's got 17 tracks in all, with lots of original tunes – and titles that include "Uptown", "Ralph's New Blues", "Main Stem", "Playhouse", "Sweet & Lovely", "In The Land Of Oo Bla Dee", "Swish", "Swingmatism", and "Big Chief". Note: CD omits the track "Seasons" from the album Big Chief due to space restrictions.

A beautiful 2CD set of long buried Townes Van Zandt recordings from the early 70s – a period that you can easily argue was his peak – even though few people were buying his records at the time! You get a pretty solid representation of 2 sides of the Townes sound on this great compilation from Omnivore. Disc One features alternate studio versions of some of our favorite songs – a good deal of which were produced by Cowboy Jack Clement at his Nashville studio in 1972 – plus a handful that Townes recorded in LA a year earlier. These have a sound that are fleshed out enough instrumentally, but without the horns, strings and some of the other grander aspects of the officially released album versions in hopes of breaking Townes through to a larger audience at the time. Ironically, it's the rawness and intimacy that Townes fans are drawn to – and that's what you get here! The second disc features demos that mostly feature just Townes's voice and acoustic guitar – and it's achingly beautiful! Despite the familiar track list, every song on this 2CD set is previously unreleased – and essential for longtime Townes fans and newbies alike! Includes "T For Texas", "Who Do You Love", "Sunshine Boy", "Pancho & Lefty" (an alternate 1972 mix without strings and horns), "Sad Cinderella", "Lungs", "Mr. Mudd & Mr. Gold", "White Freight Liner Blues", "Two Hands" and more on the studio sessions disc – and the titles on the disc of demos includes "Heavenly Houseboat Blues", "Diamond Heel Blues", "Tower Song", "Hightway Kind", "Old Paint", "Standin'" and more. 28 tracks in all – and it features some excellent notes by Colin Escott.

Legendary work from Goldwax Records – pulled from a stretch when the Memphis imprint was really going strong! By the time of these tracks, Goldwax was really coming into their own – picking up some of the best soul currents of the Memphis scene – and rivaling the Stax/Volt powerhouse in terms of quality – especially on the deep soul tracks that Goldwax seemed to do better than anyone else! This 2CD package is a wonderful overview of these golden years for the label – and it features every single single, both a and b-sides intact – presented with detailed notes on each release. Some of the work is the stuff of Memphis soul legend – mixed in with some more unusual, lesser-known bits from the scene – including a few rock, blues, and country numbers as well. 54 tracks in all – with titles that include "Anything You Do Is Alright" by Spencer Wiggins, "Don't You Believe Him" by Ivory Joe Hunter, "Cry Me A Hand Full" by The Terrys, "Say You Need It" by Barbara Perry, "Lovable Girl" by James Carr, "When You Look In The Mirror" by Eddie Jefferson, "What Time Ye Got" by Gene Bowlegs Miller, "Little Things" by Jeannie Newman, "Forgetting You" by James Carr, "Hello Daughter" by Leroy Daniel, "I Can't Forget You" by The Yo Yos, "Good Times" by George & Greer, "Walking Out On You" by Spencer Wiggins, "Qualifications" by The Ovations, "Liquid Mood" by Timmy Thomas, "Call On Me" by Percy Milem, "Me & My Imagination" by The Ovations, and "The Wife Of The Life Of The Party" by Kathy Davis.

Led Zeppelin at peak power – mixing hard rock bombast with deep, genuine love for blues and folk guitars! Houses Of The Holy is the essential the blueprint for countless imitators to come – but it's also got smarts, subtleties and creative ambitious that's just plain lost on the watered wannabes that floated up in Zeppelin's wake. Titles include "The Crunge", "Over The Hills & Far Away", "The Song Remains The Same", "The Rain Song", "Dancing Days", "Dyer Maker", "No Quarter", and "The Ocean".

Heavy funk from our friends at Colemine – great stuff from Cali combo Monophonics plus a different, but just as great psych funk styled cut by Destruments! "Like Yesterday" is solid as can be, a hard-hitting number with walloping drums, punchy horns, and powerhouse vocals – a track that starts out like it's going to slow cookin' jam highlighted by bluesy soul guitar, but it heats up quickly! "Freedom" by Destruments is an atmospheric gem that's not too easy to describe – which is a good thing! The beat and rhythm are stable, with densely atmospheric horns and spacey flourishes. A cool split single that demonstrates the far-reaching creative capabilities of the contemporary funk scene!

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

Quite possibly the most successful record Otis Clay ever cut – and a wonderful little set that recasts his bluesy Chicago vocals with a sweeter Memphis soul approach! Willie Mitchell is very firmly in the house for the record – and the approach he uses here with Otis is similar to that he used with Al Green on his biggest hits – slow-burning, slinkily soulful – in a way that infuses older modes of singing with a new level of sophistication and adult appeal! Backing is by the Memphis Horns – shimmering nicely in a trademark Hi sort of way – and titles include the classic "Trying To Live My Life Without You", plus "I Love You, I Need You", "Holding Onto A Dying Love", "I Die A Little Each Day", and "That's How It Is".

Two very groovy 60s soundtracks – back to back, and both appearing on CD for the first time ever! First up is Divorce American Style – a nice little soundtrack written by Dave Grusin for this dark and depressing 60s comedy that starred Dick Van Dyke and Debbie Reynolds! Grusin's score is extremely well-written – as great on the mellow and sad moments as it is on the more upbeat ones – almost going into Neal Hefti territory with its rich array of blue notes and understated jazzy phrasing – really great sounds from the budding young jazz talent! And sure, there's still a few nice groovers on the set that have a kitschy 60s feel – it wouldn't be a Dick Van Dyke film without them – and titles include "The Other Woman", "Before The Storm", "The Judgement", "Sudden Bachelor Blues", "Financial Counterpoint", "Tacos Por Uno Por Favor Jose", "The Scheme", "Sunday Fathers", and "Social Suburbia". Art Of Love is one of Cy Coleman's best records from the 60s – a swinging little soundtrack that's awash in all his best jazzy tendencies – the modes first honed up at the Playboy Penthouse, and expanded even more on a range of 60s scores! The film's a bit forgotten – a goofy 60s comedy starring Dick Van Dyke, James Garner, Elke Sommer, and Angie Dickenson – but the music lives on wonderfully, and has a jazzy flourish with a bit of kitsch – somewhere in the Mancini style of the 60s, but with some wonderful floating piano lines by Cy himself! Orchestrations are by Bob Bain and Russ Garcia – both very groovy talents – and titles include "Nikki", "Parisian Women", "So Long Baby", "Kick Off Your Shoes", and "Inspector Revisited".

Led Zeppelin at peak power – mixing hard rock bombast with deep, genuine love for blues and folk guitars! Houses Of The Holy is essential the blueprint for countless imitators to come – but it's also got smarts, subtleties and a creative ambition that's just plain lost on the watered wannabes that floated up in Zeppelin's wake. Titles include "The Crunge", "Over The Hills & Far Away", "The Song Remains The Same", "The Rain Song", "Dancing Days", "Dyer Maker", "No Quarter", and "The Ocean".

A great date from pianist Dave McKenna – an artist who's frequently caught in a trio set or smaller – which makes this quartet session with Zoot Sims a mighty nice treat! McKenna's got a really timeless approach to piano – one that often spans decades of jazz expression, especially the earlier ones – and that seems to bring out a nice sound here in Sims' horns – which include both tenor and soprano sax for the session, the latter of which is especially sweet. Tracks are relatively short, but have a warm, personal feel – and the group also features Major Holley on bass and Ray Mosca on drums. Titles include "One Good Turn", "Dave's Tune", "Deed I Do", "Limehouse Blues", "Linger Awhile", and "Wherever There's Love". CD features some bonus alternate takes, too!

The blues boomed big on record in the 20s and 30s – but in order to get that music to market, most labels had to really improvise – come up with whole new ways of recording the artists, and often going far afield with relatively little equipment! This well-done book by blues historian Paul Oliver really documents those formative years – a time when labels were working harder than ever to capture the growing range of American blues musicians – taking frequent trips south with recording equipment at hand – and cutting discs that would have a huge impact for decades to come. In addition to information about recording techniques, Oliver also breaks down different categories of the music, and showcases different approaches too – and also provides some more detailed information on recordings in his notes. 228 pages, hardcover, with some black and white images.

The great first album by Traffic – one of the best debuts by a British group in the late 60s! Better remembered as Mr. Fantasy, the album has a bit of a confusing release history. This excellent CD version features the album as it first appeared in the US – including the brilliant singles and in the rare mono mix. The punchy, direct vibe of the mono version is wonderful, but however you may prefer to hear it, the artistry is indisputable! There's still plenty of psych pop in the mix, colorful songcraft with a bluesy rock undercurrent. Capaldi, Winwood and Wood are most prominently credited, as Dave Mason hit the road after the singles, but since those are included on this early US version, let's show him some love, too! The organ and a driving rhythm are prominent, with flute and trippy atmosphere throughout. Later on, the group would work with jazzier and bluesier styles, traces of which are here. They would evolve pretty quickly, actually, both stylistically and via lineup shifts. Here's a most vital first stage! Includes "Paper Sun", "Dealer", "Coloured Rain", "No Face, No Name And No Number", "House For Everyone", "Dear Mr. Fantasy", "Smiling Phases", "Heaven Is In Your Mind", the weird closing fade "Were A Fade, You Missed This" and more.