The Hawk Relaxes, but never lets himself go – and a set like this is a great illustration of the gentle genius that made so many later Coleman Hawkins records so great! The relaxed setting for this record is a perfect setting for Hawkins to open up and stretch out – working his tenor with a sound that has surprising modern edges, and unusual twists and turns, yet still all the careful economy of his better-known classic sides. There's a command of the instrument here that few other aging players ever seemed to muster – always a sense of new discovery and invention that marks the work strongly, even at a time when Hawkins could have been sitting on his laurels, playing the same old tune! Titles are all standards, but don't let that fool you – because there's plenty of magic in Coleman's versions of "Moonglow", "Just A Gigolo", "Speak Low", "When Day Is Done", and "I'll Never Be The Same". Oh, and we almost forgot – just because we're so focused on Hawkins – the other players include Ronnell Bright on piano, Kenny Burrell on guitar, Ron Carter on bass, and Andrew Cyrille on drums – making a surprising early appearance here! CD

A beautiful record – but that's no surprise, since most of the later work of Coleman Hawkins tends to be great! The setting is quite laidback – and Hawkins' time-weathered tenor is placed in a perfect setting with Tommy Flanagan on piano, Major Holley on bass, and Eddie Locke on drums. The set list is spare, with simple quartet arrangements – but Hawk's solos are mindblowingly perfect, and with a great edge that you won't find in his earlier recordings. It's hard to describe what we're talking about – but the more and more we listen to his later records, the more we realize what a genius he was! Includes the tracks "Don't Love Me", "Quintessence", "Go Lil Liza", and "Swingin' Scotch". CD

The "man" is at the top of his powers here – as the set pulls together an insanely great run of music from Isaac Hayes' first years as a solo act – coming on strong with a new sort of sophisticated soul sound that would transform a generation! Hayes had already hit big in the 60s working with writer David Porter – as the force behind some of Stax Records' fiercest, funkiest acts of the time – but as the 70s approached, he broke off as a magnificent artist on his own – full of righteous power, pride, and new ideas for soul music. This collection brings together some of Isaac Hayes' best work for the Stax/Enterprise label – with an especially strong focus on the kind of jams that have held up well for a 21st Century audience – including titles that have either been sampled by hip hoppers, or which represent some of Ike's strongest funkier tunes from the time. Titles include "Part Time Love", "Theme From The Men", "Ike's Rap 2", "Joy", "I Can't Turn Around", "Chocolate Chip", "Feel Like Makin Love", "Never Can Say Goodbye", "Walk On By", "Ike's Rap 1", "Good Love", "Rolling Down A Mountainside", and "Theme From Shaft". LP, Vinyl record album

A landmark album that hardly needs any introduction – as it's one of the most famous soundtracks, if not soul records, of the 70s! Isaac Hayes had already surprised music fans with the sophistication of his first few solo albums, which had been issued before this one – but with Shaft, he did the inconceivable, as the album was one of the first times a pop musician had scored, not just sung on, an entire soundtrack. Plus, the soundtrack's super-huge – running as a double-length batch of tracks that was a rarity for the often-slim soundtrack market. Includes many great funky numbers – both vocal and instrumental – including "Theme from Shaft", "Cafe Regio's", "Walk from Regio's", "Bumpy's Lament", and "Do Your Thing", in the nice 19 minute long version! LP, Vinyl record album

Drummer Roy Haynes works here with an ensemble that's definitely as hip as the title promises – a really righteous group that makes the album one of Roy's most spiritual records ever! Haynes was always a drummer who was really a cut above, even back at the start – but here, he really steps out strongly with a new musical vision for the 70s – working with a lineup that includes George Adams on tenor and flute and Marvin Hannibal Peterson on trumpet – but players who give the music a really bold feel, right from the start! The rest of the lineup is wonderful, too – as Carl Schroeder plays Fender Rhodes with this flowing vibe that's plenty soulful – alongside bass from Terud Nakamura and Mervin Bronson, conga from Lawrence Kilian, bongo from Elwood Johnson, and more drums from Haynes himself. Titles include a sublime reading of Stanley Cowell's "Equipoise" – plus "Tangiers", "You Name It", and "Satan's Mysterious Feeling". CD

A lucky number 13 from Lee Hazlewood – one of the artist's last albums during his legendary LHI run of creativity – and a set that marks a really groovy step forward! The music here has all the wit and sharpness of Lee's better-known late 60s material, but there's also a bit of a groove too – some currents that were brought to the record by Larry Marks, then given a special Hazlewood touch when Lee's vocals were added – all in a way that almost makes for a soulful 70s update to his 60s sound! The set was only issued during Lee's time in Sweden during the early 70s – which makes it one of his rarest records ever – and titles include "You Look Like A Lady", "Tulsa Sunday", "Ten Or 11 Towns Ago", "And I Loved You Then", and "I Move Around". Features the bonus tracks "Drums", "Susie", and "Cold Hard Times (outtake)". 2LP edition features 30 tracks in all – including acoustic demos, unreleased tracks, and more – including the rare tunes "Peppermint Morning", "Miracle On 19th Street", and "I'm Riding". LP, Vinyl record album

One of the rarest Lee Hazlewood albums ever – a mid 70s set recorded for Polydor in Sweden, and one that represents a really unique chapter in Lee's career overseas! At times, the album's got a very strong country feel – more so than even other Hazlewood records, which always had a bit of twang – yet at other points, the record moves into more familiar vocal work – recalling some of the modes that Lee had laid down on his best work of the late 60s. Not all songs are originals, but Lee definitely makes all the music his own – and the arrangements by David Whitaker and Lars Samuelson move around in good ways to match the spirit of Hazlewood's mood on each tune. This reissue features some really great notes – filled with the kind of personal recollections that make Lee's life seem like it was always a blast to live – and titles include "The Rising Star", "Come On Home To Me", "It's For My Dad", "Paris Bells", "Hello Saturday Morning", "Wait Till Next Year", "LA Lady", "I've Got To Be Moving", "Mother Country Music", and a great version of "It Was A Very Good Year". CD

Some of our favorite work ever from the mighty Lee Hazlewood – material recorded under his own name for Reprise Records – during a stretch when he was also producing for the label with Nancy Sinatra and Dean Martin! The 2CD set features 3 full albums, plus great bonus tracks too – and the assembled lot is as great of a tribute to Hazlewood's genius as we've ever seen! First up is The NSVIPs – a set that follows up the same sort of "story song" format that Lee laid down on his wonderful Trouble album for Mercury – but done here with themes that are a bit hipper, and more wry – in keeping with his Reprise persona. Next is Friday's Child, which has some of Hazlewood's most beautifully-penned tunes – tracks that mix the whimsy of his bigger hits with some great darker elements. Last up is the amazing Love & Other Crimes – one of our favorite albums of the 60s, magically recorded in Paris with a very unique sound – and a style that's a bit different than some of Hazlewood's other records. Titles include "First Street Blues", "I Had A Friend", "Everybody Calls Me Something", "Me & Charlie", "A Real Live Fool", "Hutchinson Jail", "By The Way", "Houston", "Morning Dew", "The House Song", "Love & Other Crimes", "Pour Man", and "Wait & See". Bonus tracks are great too – and include Hazlewood tracks "Ode To Billie Joe", "Rainbow Woman", "I Am You Are", and "Charlie Bill Nelson" – plus other gems that include "Just Bluesin" and "Houston" by Sanford Clark, "A Stranger In Town" by The Vanguards, "The Whisk" by The Whisk Kids, "Zapata" by Jack Nitzsche, "What Are We Gonna Do In 64" by The Wildcats, "Our Man Flint" by The Ring A Dings, and "This Town" by Duane Eddy. 55 tracks in all. CD

The last album that Jimmy Heath ever gave the world – and a record that makes us miss him even more – as the whole thing takes Heath back to that spectacular mix of solo expressionist, thoughtful composer, and sensitive arranger territory of his best early years! And if you want proof of Jimmy's warm, open spirit – the set begins with a one minute bowed bass solo before Heath's horn even comes into play – then works sublime magic on a number of original numbers, and a few well-chosen classics – all put together by Jimmy as a "ballads" album, but in a way that's hugely different from some of the more facile songbook sessions of over-recorded standards. Instead, the Heath arrangements throughout are wonderfully fresh, and have a soulful quality that really blows us away – more than even on some of his other late records, which is what makes this final session so bittersweet. The core group features Kenny Barron on piano, Monte Croft on vibes, Russell Malone on guitar, and Lewis Nash on drums – and the set features vocals from Gregory Porter on one track, and Cecile McLorin Salvant on another – and Wynton Marsalis blows a trumpet solo on a third track. Titles include "Ballad From Upper Neighbors Suiter", "Left Alone", "Inside Your Heart", "La Mesha", "Con Alma", "Fasion Or Passion", and "Don't Explain". LP, Vinyl record album

Very hip work from a young Jimmy Heath – a relative newcomer to the scene at this point, but breaking out with a firm conception and tone, exercised strongly here in a set of large group arrangements worked out in collaboration with Tom McIntosh. McIntosh's work in this format is well known from albums by Dizzy and James Moody – and as with those records, this one has an edgey quality that really keeps the music fresh, and which provides a good foil for solos by Heath, McIntosh, Pat Patrick, and Cannonball Adderley. Titles include "Big P", "Mona's Mood", "Nails", and "The Picture Of Heath". CD

Very hip work from a young Jimmy Heath – a relative newcomer to the scene at this point, but breaking out with a firm conception and tone, exercised strongly here in a set of large group arrangements worked out in collaboration with Tom McIntosh. McIntosh's work in this format is well known from albums by Dizzy and James Moody – and as with those records, this one has an edgey quality that really keeps the music fresh, and which provides a good foil for solos by Heath, McIntosh, Pat Patrick, and Cannonball Adderley. Titles include "Big P", "Mona's Mood", "Nails", and "The Picture Of Heath". CD features the bonus track "Nails", in an alternate take! CD

The start of a legend – a huge amount of material that introduced the world to the tenor genius of the young Joe Henderson – recorded over the space of a few short years, on records that feature Joe as both the leader and a sideman on some of the hippest Blue Note records of the time! Henderson was amazing right at the start – able to play a soulful hardbop lead at one moment, then slide into edgier modern territory the next – a quality that made him a key artist to work with some of the other strong Blue Note innovators of the period – as you'll hear in this overstuffed set! The set features a total of 47 gems – including some alternate takes – all wrapped up with the usual top-shelf Mosaic Records booklet of notes, photos, and other key details on the material. Includes the full albums Page One, Our Thing, In N Out, Mode For Joe, and Inner Urge – all recorded under the leadership of Joe Henderson – plus tracks from the albums Unity by Larry Young, The Kicker by Bobby Hutcherson, Little Johnny C by Johnny Coles, and Step Lightly by Blue Mitchell – and the full Kenny Dorham albums Una Mas and Trompeta Toccatta, both of which are essential in Henderson's career! CD

A wonderful set from vocalist Jon Hendricks – and quite different than most of his other work! This set was one of a few that Jon recorded while living in the UK at the end of the 60s – and it features orchestrations by Wally Stott, and production by Johnny Franz – the team who both made the Scott Walker records of the late 60s so great! The style here is a bit more subdued than that on the Scott Walker albums – warm and lush, in a mode that has Hendricks singing as a traditional vocalist, in a mellow late nite style. The album features a few original tunes – "Times Of Love", "Where", and "One Rose" – plus great versions of "I Concentrate On You", "Lil Darlin", and "Nature Boy". Oddly dark, with some nice touches – and a whole new side of Hendricks' vocals! LP, Vinyl record album

American trombonist Allen Hermann teams up here with Japanese trombonist Itsumi Komano – a player you might know from her work in the Bon Bones duo, and one who sounds nicely different here! The twin horn approach sometimes shows a lineage with JJ Johnson and Kai Winding in their small group records – tight leads, then very individual solos – but Hermann and Komano also have this way of crafting crisp colors of their own, by really finding a resonance between the horns in all these different ways that change up nicely from track to track. The rest of the group features Asami Yato on piano, Yutaka Yoshida on bass, and Yusuke Yaginuma on drums – and titles include "I Could Write A Book", "How Insensitive", "Early On", "Blues For A & I", "It Was A Beautiful Thing", and "Hear & Now". CD

The grooviest work so far from the Hi-Fly Orchestra – a set that moves even farther past the sublime territory of their debut, into a really classic blend of soul jazz and Latin rhythms – produced to perfection with a wonderfully solid feel! Instrumentation here is all live – a blend of sax, flute, trombone, Fender Rhodes, piano, and plenty of percussion – all handled with a feel that takes us back to some of our favorite territory on Verve Records from the 60s, those wonderful records that blended elements from the Latin underground with some of the harder jazz leanings of the period – a legacy these guys are happy to add to with their wonderful grooves. Miriam Aida guests on vocals on two cuts, but most titles are instrumental – and tunes include "Afro Boo", "Carioquinha", "Polonesa", "SP Samba", "Mrs Shing A Ling", "Hi Fly Stomp", "Mambo Atomico", and a surprisingly groovy cover of "Crosstown Traffic". CD

A wonderful album of straight ahead jazz – cut by a current combo from Italy, but done with a really classic sound! The style here is a bit like that of the straighter jazz albums on Schema Records – all acoustic, but often highly rhythmic – and focused in styles that explore older Italian modal jazz of the 60s, as well as some of the deeper shadings of the Blue Note scene from years back! The lineup is incredibly strong – with tenor from Daniele Scannapieco, trumpet from Fabrizio Bosso, and piano from Luca Mannutza, whose firm work and bold notes on the keys really give the album a lot of drive and fire! CD features Nicola Conte remixes of the leadoff track "Conversation" – which is actually great enough in its original version by the group – and other tracks include "Wide Green Eyes", "The Driver", "Shade Of Gira", "Dubai", and "Campagna". CD

A wonderful comeback from the great Andrew Hill – a sweet return to the Blue Note label, after dropping off the recording scene a bit at the end of the 70s! Hill first rose to greatness on the label, and returns to the same here too – in a mode that echoes the edges of his "new thing" years, but also has a warmer feel too – one that's different than the style of his Grass Roots album, but also much stronger than most of the other records he'd done in the years in between too. The group's a very sympathetic quintet – with mighty vibes from Bobby Hutcherson, plus alto sax from Greg Osby, bass from Rufus Reid, and drums from Ben Riley. Titles include "Pinnacle", "Golden Sunset", "Samba Rasta", "Tail Feather", "Spiritual Lover", and "Bobby's Tune". CD features 3 bonus tracks – "Pinnacle (alt take)", "Golden Sunset (alt take)", and "Spiritual Lover (alt take)". CD

One of Andrew Hill's best records of the 70s – a soulful trio recording performed with Richard Davis on bass and Roger Blank on drums – and a real return to the glory of his 60s material! Hill's piano still has that fresh angular modern approach of his Blue Note sides – but the bass and drum work on the album ground it a bit more – adding in some additional rhythmic components, and giving the session the spiraling searching mode of some of the other Japanese trio sessions from the time, in the spirit of the best recordings on the East Wind label for which this gem was recorded! Hill wasn't always at his best in the decade, but he definitely shines here on some long, very expressive tracks – with titles that include "Mudflower", "Nefertiti", "Blue Black", and "Relativity". CD

Two classic 60s albums from pianist Andrew Hill – back to back in a single set! First up is Point Of Departure – mindblowing work from pianist Andrew Hill – one of the key records during that short initial run when Blue Note was really giving him a special showcase for his talents – and when the label was dabbling in more avant jazz as part of the "new thing" moment on the scene! The group here is really the stuff of legends – as the set features a very late performance from Eric Dolphy on alto, plus Joe Henderson on tenor, Kenny Dorham on trumpet, Richard Davis on bass, and Tony Williams on drums – all players at the prime of their young talents, soaring to the skies under the leadership of Hill – skittishly working their way into territory that's never truly free, but wonderfully expressive and exploratory – a clear summation of the sense of "modern" in modern jazz! All tracks are originals by the pianist, too – and titles include "New Monastery", "Flight 19", "Spectrum", "Dedication", and "Refuge". Compulsion is one of the most dynamic albums that Andrew Hill ever cut for Blue Note – a record of long tracks, played by a largeish group who seem perfectly suited to Hill's most creative musical ideas! There's an approach here that almost predates some of the more righteous soul jazz ensemble sides of the 70s – as Hill's piano leads a octet that features Freddie Hubbard on trumpet, John Gilmore on tenor and bass clarinet, Cecil McBee and Richard Davis on basses, Joe Chambers on drums, and Nedi Quamar and Renaud Simmons on percussion. The percussionists roll out with quite a bit of presence in the set – not so much as on some of the Art Blakey percussion sides for Blue Note, but more with a pronounced sense of "bottom" that you might not always hear from Hill – an earthy, sometimes organic way of riffing that then allows freer solo work from the horns and piano on the top! Titles include "Compulsion", "Legacy", "Premonition", and "Limbo". CD

Great experimental work from Holger Hiller – a set that was issued on the important German new wave label Ata Tak, but which was maybe even more revolutionary than most other records on the imprint at the time! Hiller bridges so many different worlds here – earlier German electronic experimentation at an academic level, some of the spacier sounds of the prog generation, and the really creative exploration of earlier ideas in a more personal level that marked the new wave of the post-punk years – using some elements here that would be right at home on a cold wave recording, but with modes that are sometimes more playful, and almost in territory that Holger Czukay would explore on some of his solo work of the decade. The mix of keyboards, vocals, and analog elements is great – and titles include "Jonny", "Hosen Die Nicht Aneinander Passen", "Mutter Der Frohlichkeit", "Das Feuer", "Ein Hoch Auf Das Bugeln", and "Budapest Bukarest". CD

Great experimental work from Holger Hiller – a set that was issued on the important German new wave label Ata Tak, but which was maybe even more revolutionary than most other records on the imprint at the time! Hiller bridges so many different worlds here – earlier German electronic experimentation at an academic level, some of the spacier sounds of the prog generation, and the really creative exploration of earlier ideas in a more personal level that marked the new wave of the post-punk years – using some elements here that would be right at home on a cold wave recording, but with modes that are sometimes more playful, and almost in territory that Holger Czukay would explore on some of his solo work of the decade. The mix of keyboards, vocals, and analog elements is great – and titles include "Jonny", "Hosen Die Nicht Aneinander Passen", "Mutter Der Frohlichkeit", "Das Feuer", "Ein Hoch Auf Das Bugeln", and "Budapest Bukarest". LP, Vinyl record album

One of our favorite records by Earl Hines – a hip little comeback set, recorded in the mid 60s with an Ellingtonish lineup that includes Clark Terry, Cat Anderson, Ray Nance, Lawrence Brown, Jimmy Hamilton, and Johnny Hodges. Hines' piano is certainly a strong force in the record, but even more delightful is the solid feel of the players overall – working with that complete coherence found in the best 60s sides by Duke, but touched here with some of Hines' sprightly approach to the melody. Titles include "Once Upon A Time", "Black & Tan Fantasy", "You Can Depend On Me", "Hash Brown", and "Fantastic That's You". CD

An underground set from early 70s Stax Records – the only set cut back in the day by Ernie Hines – a really great singer who works here with a blend of southern soul and sweet harmony modes! The album's got a pretty laidback vibe, which is great – almost in the same space as The Temprees, with an undercurrent of super-dope arrangements, and Ernie's lead vocals right up front in the mix! There's a bit of strings on the set, and most tracks have some sort of harmony support behind Hines' lead – a vibe that's a bit different, and maybe almost more east coast than the usual Stax set. Arrangements are by Wardell Quezquerque, Dale Warren, Lester Snell, and Tom Nixon – and both The Bar Kays and The MGs play on the record. Titles include the sample classic "Our Generation" – plus "Electrified Love", "Sugar Plum", "Change Is Gonna Come", "Your Love (Is All I Need)", and "Come On Y'All". CD

A really great live set from alto genius Johnny Hodges – a set that's right up there with some of his best studio albums on Verve at the time! As with those records, Johnny's taking a slight sidestep from the world of Duke Ellington here – working with similar material and familiar players, but also really stretching out on these beautiful solos that focus on his warm, raspy charm on the alto – that quality that made Hodges as important to the sound of mid 50s jazz as Ben Webster or Lester Young on the tenor! The group's a septet, and other players include Lawrence Brown on trombone, Harry Carney on baritone, Al Williams on piano, and Ray Nance on cornet – on titles that include "All Of Me", "Blues For Madeline", "Solitude", "Mood Indigo", "Do Nothing Till You Hear From Me", "Jeep's Blues", "Rockin In Rhythm, and a nice long take on "Perdido". CD

Includes the albums Once Upon a Time, Stride right, and Swing's Our Thing – plus track from a 1970 arranged by Oliver Nelson session and an early 1944 date for Apollo records. CD

Late work from the great Billie Holiday – the kind of mature set that made Verve Records such a perfect home for the singer in the 50s! Where other labels might have pushed too much to try to get Billie into more commercial, or more straightforward modes – Verve just relaxes into the kind of small combo sound that usually had the singer at her best – pairing Holiday with a great lineup that includes Harry Edison on trumpet, Ben Webster on tenor, Jimmy Rowles on piano, and Barney Kessel on guitar. The songs are short and focused – with Billie at the top of her form on familiar standards like "Comes Love", "Darn That Dream", "Body & Soul", "They Can't Take That Away From Me", and "Embraceable You". This deluxe reissue features 3 takes of "Comes Love", new notes, great sound, and a cool looking package! CD

Late work from the great Billie Holiday – the kind of mature set that made Verve Records such a perfect home for the singer in the 50s! Where other labels might have pushed too much to try to get Billie into more commercial, or more straightforward modes – Verve just relaxes into the kind of small combo sound that usually had the singer at her best – pairing Holiday with a great lineup that includes Harry Edison on trumpet, Ben Webster on tenor, Jimmy Rowles on piano, and Barney Kessel on guitar. The songs are short and focused – with Billie at the top of her form on familiar standards like "Comes Love", "Darn That Dream", "Body & Soul", "They Can't Take That Away From Me", and "Embraceable You". LP, Vinyl record album

Late work from the great Billie Holiday – the kind of mature set that made Verve Records such a perfect home for the singer in the 50s! Where other labels might have pushed too much to try to get Billie into more commercial, or more straightforward modes – Verve just relaxes into the kind of small combo sound that usually had the singer at her best – pairing Holiday with a great lineup that includes Harry Edison on trumpet, Ben Webster on tenor, Jimmy Rowles on piano, and Barney Kessel on guitar. The songs are short and focused – with Billie at the top of her form on familiar standards like "Comes Love", "Darn That Dream", "Body & Soul", "They Can't Take That Away From Me", and "Embraceable You". LP, Vinyl record album

Really great early work from guitarist Earl Hooker – and a set that also feature some soulful sides by Jody Williams too! The bulk of the album features Hooker laying down that amazing guitar sound that always made him so distinct, and such a key precursor to funk as well – working in combos with organ and piano from Big Moose, tenor from AC Reed, and more piano from Pinetop Perkins – on titles that include "How Long Can This Go On", "Bright Sounds", "Off The Hook", "Nothing But Poison", "Nothing But Good", and "Leading Brand" – plus cuts with vocals from Ricky Allen and Lillian Offitt. Jody Williams plays guitar, but he also sings too – and brings a nicely soulful vibe to tunes that include "You May", "Hideout", "Morning For Molasses", "Looking For My Baby", and "Lucky You". CD

A pair of very stripped-down albums from John Lee Hooker – issued together in this 70s set! First up is Country Blues Of John Lee Hooker – featuring the legendary John Lee Hooker, heard here in one of his more obscure recordings from the late 50s – at least in contrast to his famous sides for Vee Jay Records! This set's an unusual date – recorded in Detroit, despite the claim of the title – and featuring Hooker on acoustic guitar and vocals, without any other instrumentation at all – pitched much more towards the growing folk blues scene than some of his more familiar Chicago recordings. Tracks are short, but pack plenty of punch – and titles include "Black Snake", "I Rowed A Little Boat", "Bundle Up & Go", "Behind The Plow", "Water Boy", "Tupelo Blues", and "Pea Vine Special". That's My Story is from 1960, and features great rootsy blues from John Lee Hooker – and an unusual session that has him getting backup help from jazz players Sam Jones on bass and Louis Hayes on drums! Jones and Hayes only play on a handful of tracks, and most of the focus is on Hooker's damn-great vocals, and acoustic guitar – spun out nicely over a set of tracks that includes "I Need Some Money", a controversial clash with early Motown – plus "One Of These Days", "Gonna Use My Rod", "I Want To Talk About You", "Democrat Man", and "I'm Wanderin". LP, Vinyl record album

A totally great little record – the initial recording of "Boogie Chillen" by the legendary John Lee Hooker – presented here on a 7" pressing that looks like the original single on Sensation Records from Detroit! Unlike that one, this issue features a bonus second take of the tune on the flipside – one that's even more raucous than the original! 7-inch, Vinyl record

Boogie, indeed – as the tracks here are filled with the kind of skittish guitar lines that made John Lee Hooker one of the real standouts of the 50s scene – maybe one of the most rhythmic bluesmen of his generation, next to Bo Diddley! Like Diddley's classic records for Chess, most of these tracks are filled with deft work from Hooker on guitar – chuggingly rhythmic, but often breaking out into great solo moments too – the roots of electric modes that would break bigger in the 60s, handled here by one of the early masters! Titles include "Hoogie Boogie", "Boogie Chillen 2", "House Rent Boogie", "Jump Me", "Huckle Up Baby", "Shake Holler & Run", "Momma Poppa Boogie", and "Hastings Street Boogie". LP, Vinyl record album

The legendary John Lee Hooker, heard here in one of his more obscure recordings from the late 50s – at least in contrast to his famous sides for Vee Jay Records! This set's an unusual date – recorded in Detroit, despite the claim of the title – and featuring Hooker on acoustic guitar and vocals, without any other instrumentation at all – pitched much more towards the growing folk blues scene than some of his more familiar Chicago recordings. Tracks are short, but pack plenty of punch – and titles include "Black Snake", "I Rowed A Little Boat", "Bundle Up & Go", "Behind The Plow", "Water Boy", "Tupelo Blues", and "Pea Vine Special". CD

A really amazing package – not just for fans of John Lee Hooker, but for anyone who loves postwar blues in general! The work here is all from the tiny Sensation Records label in Detroit – the label to first record John Lee Hooker in the late 40s, and who continued to do sessions with Hooker even after they were getting some of their recordings placed on bigger labels for wider distribution. The massive 3CD set is the first to ever fully plumb the depths of these years – and brings together all the recordings made by Sensation, including some unusual alternates, related dates, and more – all with fantastic sound that really gets at the raspy brilliance of Hooker, and the way he effortlessly mixed up urban and rural modes on the Detroit scene. 71 tracks in all – and titles include "Hoogie Boogie", "Hastings Street Boogie (ext take)", "Hobo Blues (alt take)", "Henry's Swing Club", "Sailing Blues", "Build Myself A Cave (take 3)", "Alberta (alt take)", "Wednesday Evening", "John L's House Rent Boogie (alt take)", "Moon Is Rising (alt take)", "Story Of A Married Woman (alt take)", "Strike Blues (ext)", "I'm In The Mood (humming overdub)", "It Hurts Me So (alt take)", "That's All Right Boogie (underdub)", and lots more! CD

Legendary jazz drummer William Hooker is in some pretty heady territory here – improvising alongside two different guitarists, both of whom really push the sound in ways that are different than some of Hooker's other records! Thurston Moore provides plenty of freaky sonic fuzz in the first half – and Elliott Sharp is pictured playing a twin-necked guitar in the second – both players who are no strangers to longform improvisation, and whose energy is easily met, if not beaten, but Hooker's incredible command of the drum Kit! The track with Moore is titled "Sirius" – and the one with Sharp is "The Hat & Its Train". LP, Vinyl record album

Shirley Horn's definitely swinging here – in a set of tracks that features groovy numbers from two different points in her career! Some of the work on the set is from her early 60s years on Mercury and ABC Records – and the other half's from that great stretch in the 90s when her career had really been revived, thanks to a host of excellent recordings for Verve! The mix of material is really great, and shows a wider range of Horn's talents than you'll normally find on other collections – mixing 60s swingers in with some more mature numbers from the later years. Titles include "Big City", "The Great City", "Mack The Knife", "That's No Joke", "I Got Plenty O Nuttin", "Hard Hearted Hannah", "Peel Me A Grape", "How Am I To Know", "Come Dance With Me", and "The Best Is Yet To Come". CD

A lost album from the legendary Stax Records – a full set of tracks from the deep soul group Hot Sauce – planned as a record of its own in the final years of the label, but never issued at the time! Hot Sauce were one of the funkiest groups on Stax in the early 70s – a wickedly badass group who sported great lead vocals from Rhonda Washington – a singer who really knew how to stay on the groove and send the whole thing home! The work on this set is a great evolution of the Stax groove – and shows where the label might have gone in terms of 70s funk, had they stayed the course – and although the album's long overdue to get released, we're plenty happy to finally have it out after all these years. Many tracks were issued over the years as singles, and the set also features a few tracks not intended for the album too – titles that include "Stop Dogging Me", "Funny", "Mama's Baby", "I'll Kill A Brick", "Good Woman Turning Bad", "I Can't Let You Go", "Echoes From The Past", and "I Can't Win For Losing". CD

A killer album of funky blues – recorded by Howlin Wolf during the period when Chess/Cadet was backing its older artists up with some of the newer funk musicians it had working in its studios! The overall sound works quite well – and although purists at the time moaned at the way artists like Wolf, Etta James, and Bo Diddley were being handled (especially with a "we know better than them" message on the cover like this!), the funky blues records from this time actually seem to be some of the most enduring from Chess – especially with younger listeners in the 21st Century! A big part of the success here goes to producers Charles Stepney and Gene Barge – who helped bring together a younger batch of players for Wolf's backing – including Pete Cosey and Phil Upchurch on guitars, Louis Satterfield on bass, and Morris Jennings on drums. Titles include "Spoonful", "Tail Dragger", "Smokestack Lightning", "Red Rooster", "Evil", and "Down In The Bottom". LP, Vinyl record album

Howlin Wolf sings the blues, and comes across in a way that influences an entire generation too – with that raw, raspy sound that made the singer a perfect blend of delta roots and contemporary sounds that were bubbling up in the postwar years! These tracks have a spare, simple, stark style that's still a lot more powerful than most of the records that tried to copy Wolf's modes in later years – mindblowing guitar work from Willie Johnson, harmonica lines that weave the whole thing together, and tremendous vocals that would shake the paint off your walls, even without any other instrumentation! Titles include "Crying At Daybreak", "Twisting & Turning", "Brown Skin Woman", "Morning At Midnight", "Backslide Boogie", "House Rockin Boogie", "Keep What You Got", and "Worried About My Baby". LP, Vinyl record album

Pivotal work from trumpeter Freddie Hubbard – eleven full albums recorded by the young jazzman as a leader, together showing a really incredible scope of his talents in just a few short years in the studio! The Blue Note albums here already show an incredible evolution – from initial hardbop crackle at the best level of the label, to a slight shift into new thing territory that marks a more experimental side of Freddie's work that would take off later in the 60s. There's also two Impulse Records releases in the package – the completely sublime sextet outing of The Artistry Of Freddie Hubbard – a great date with Curtis Fuller on trombone, Tommy Flanagan on piano, and John Gilmore on tenor – making a rare appearance in the studio away from the Sun Ra Arkestra! The other Impulse album is titled Body & Soul – and has Hubbard amidst a larger group of modernists on most tracks, with these incredible Wayne Shorter arrangements – then in a small group with shorter on tenor and Eric Dolphy on alto and flute. Blue Note albums include Breaking Point, Blue Spirits, Open Sesame, Going Up, Hub Cap, Ready For Freddie, Hub Tones, and Here To Stay – with players who include Tina Brooks, Jimmy Heath, and Wayne Shorter on tenors; McCoy Tyner, Cedar Walton, and Herbie Hancock on pianos; Paul Chambers, Sam Jones, and Reggie Workman on basses; and James Spaulding making a key early appearance on alto and flute. 70 long tracks in all – and a very detailed booklet of notes with rare photos! CD

Really wonderful work from the young Michael Hurley – one of his first records to get somewhat wide exposure, thanks to the help of Jesse Colin Young, who signed Hurley up to his Raccoon label at Warner Brothers! The vibe here is right up there with some of the best offbeat acoustic work cut during that stretch at the label – not the same in sound, but not far in spirit from unique records by Steve Young, John Hartford, and others – not to mention the cooler currents from Jesse's scene too! Hurley's vocal style changes nicely to fit the mood of each tune, really bringing the most out of the sorts of lyrics that were his special stock in trade – while the guitar playing is nicely unified, and although spare, really does a great job of holding the album together. Titles include "Blue Driver", "Water Train", "The Sun Is Slowly Sinking", "I'm Worried I'm Worried", "In Florida", "Lilly Pads Upon The Pond", and "Trinidad". CD

A sweet mix of clubby tracks and mellower moments from Willie Hutch – and an overlooked gem from his late 70s years on Whitfield Records! The set's got Willie definitely digging some of the disco styles of the time, but in a way that's never sellout at all – as his vocals and guitar are always right on the money, and rounded out by more laidback moments that retain that spacey, trippy charm of Hutch's earlier records. These mellow tracks are really great – almost more soulful than some of Willie's Motown work, in a style that trades the funk for some sweeter, lighter instrumental touches that really let Willie's vocals take center stage. Titles include "Never Let You Be Without Love", "Kelly Green", "Midnight Dancer", "Everyday Love", "Deep In Your Love", and "Everybody Needs Money". LP, Vinyl record album

A great little set from Leroy Hutson – proof that he was still going strong through all his years at Curtom! The vibe here is a bit different than his first few records, and you might be suspicious with Leroy wearing a disco shirt on the front – but the sound is wonderful, and only shows Hutson blossoming into a more sophisticated singer, songwriter, and producer – one with a great ear for the careful balance needed for the modern soul generation! The shift is a bit like Roy Ayers on his late 70s work for Polydor – and Hutson is definitely on a par with Ayers in our book – we'd always put the two side by side for the strength of their work in the 70s. Seminal tracks include "So Nice" and "Right or Wrong" – both of which are amongst some of his best work ever – and other tracks include "Unforgettable", "Funk In My Life", and "Lonely Without You". LP, Vinyl record album

Some of the most beautiful work we've ever heard from this legendary pianist – and that's really saying a lot, given how many beautiful records Abdullah Ibrahim has given us over the years! The set expands from Ibrahim's solo performance for Gearbox Records, and takes things into a trio – but a different format than the usual piano trio mode – as bassist Noah Jackson also plays cello, and instead of drums the group's third member is Cleave Guyton Jr, who blows both flute and piccolo in very unique ways! The setup really changes the usual approach that you might know from Abdullah, in a way that shows just how fluid and open his ideas are even at this point in his career – a time when so many others would be content to just rehash the past. All material was recorded live at the Barbican in London – but the first half uses the wide expanse of the room without an audience present, and the second then presents different songs recorded live with a full concert setting. Titles include "Nisa", "The Wedding", "Mindif", "Water From An Ancient Well", "Blue Bolero", "Skippy", "Giant Steps", "Barakat", "Tsakwe", "Krotoa/Crystal Clear", and "Ishmael". LP, Vinyl record album

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

The album may not have been much of a Money Maker for Studio One Records – given that it's one of the rarest in their catalog – but it stands as a key illustration of the label's genius, and just how far away they were from most of their contemporaries! The set's a bit of a split effort in the studio – mostly tracks credited to the duo of Im & David, who are Cedric Im Brooks and David Madden – plus a few others handled by keyboardist Jackie Mittoo, and a few by others thrown in for good measure! Yet as on most indie reggae efforts of the time, there's a very unified vibe to the whole thing – especially as the album's a mostly instrumental outing, and most likely features the same players working together on different tracks – contributions from Sound Dimension, Soul Vendors, and Soul Brothers – plus some sweet guitar from Ernest Ranglin. Titles include "Money Maker", "Black Is Black", "Soul Brother", "Soul Walk", and "Candid Eye" by Im & David; "Stormy Night", "Mixing", and "Feel It" by Jackie Mittoo; "Black Man's Train" by Lloyd Williams; and "Great Gu Gu Mu Ga" by The Boss. CD

Decades into a mighty run of records, Incognito keep on delivering the goods! This set's a stone smoker, in the best tradition of the group – jazzy grooves, soulful vocals, and everything right on the money, thanks to the never-failing leadership of Jean-Paul Bluey Maunick! Bluey's got a wide range of talents helping out in the lead on key cuts – including plenty with Natalie Duncan, and more appearances from Cherri V, Max Beesley, Chicco Alotta, Tony Momrelle, and James Berkeley – on cuts that include "The Lowrider", "Colourblind", "Nothing Makes Me Feel Better", "Into You", "Keep Me In The Dark", "1993", "Tell Me Something", "One Step", "Close To Midnight", "Stories Of Our Past", and "Make Me Change My Mind". CD

The Ingram Family tighten things up nicely with this follow-up to their first funky album – and they get a slicker sound that points the way towards their excellent modern soul sides of the 80s. Tracks are written by James, William, Butch, and John – and although the album was excecutive produced by the H(ugo) & L(uigi) Records team, the Ingrams handled most of the production and arrangements, and give the record a much more sophisticated sound than other work on the label. Filled with loads of great moments that bridge the gap between 70s harmony soul and modern 80s groove. Titles include the moogy space soul classic "I Don't Want To Be Alone", plus "Mi Sabrina Tequana", "I Just Wanna Testify", "Music Has The Power", "Get Your Stuff Off", and "That's All". LP, Vinyl record album

Both classic albums from Luther Ingram – issued back to back on a single CD! I've Been Here All The Time is a tremendous little set from Luther Ingram – proof that the singer had way more to offer than just his famous southern soul singles! The record's got a really deep feel from the start – kind of a slow-burning sound that moves way past easy soul music styles, and offers up Ingram as one of the most mature singers of his generation. The Bar-Kays handle some of the backings, and they're also quite good here too – much rootsier at times than on their own records, but still with a hint of funk as well. Titles include "Ghetto Train", "I'll Just Call You Honey", "Since You Don't Want Me", "I'll Love You Until The End", "Be Good To Me Baby", "Ain't That Loving You", and "You Were Made For Me". The second album is wonderful mellow soul from Luther Ingram – and a record that gave the south one of its greatest soul anthems of the 70s! "If Loving You Is Wrong, I Don't Want To Be Right" is one of those genre-defining tunes – a slow-burning track that shows a new level of maturity for southern soul in the 70s – sweetly sad vocals from Luther right out front of the mix, supported with bubbling backings that ooze sex throughout – and a message of pride in the face of love that had an undeniable impact on a whole generation. The rest of the album's equally great – done with slightly fuller backings at times, and a more familiar Memphis soul groove at others – a perfect showcase for the mighty talents of Ingram at this high point of his career. In addition to "If Loving You Is Wrong", other titles include "Dying & Crying", "I Remember", "I Can't Stop", "Love Ain't Gonna Run Me Away", and "I'll Be Your Shelter". 21 tracks in all – and 14 pages of detailed notes and photos! CD

Not the first album from this fantastic group, but a set that's their initial outing for Impulse Records – the old home to John Coltrane, Sun Ra, and Pharoah Sanders – and a very fitting place for their boundless sense of expression! The group really seem to have upped their game for this album – finding a way to move into darker, deeper territory that really blows us away – really layering their sound with a richness that's almost weaponized at times, especially given the message in their songs – as if these guys have drunk deep of the complexity of ESP Albert Ayler material, the fused it to a spaceship towards the cosmos! Moor Mother delivers some spoken passages of knowledge on the album – alongside the saxes of Keir Nueringer, trumpet of Aquiles Navarro, bass of Luke Stewart, and drums of Tcheser Holmes. Titles include "Our Land Back", "Free Love", "Celestial Pathways", and "Root Branch". LP, Vinyl record album

One of the coolest records we've ever heard from Japanese drummer Akira Ishikawa – even wilder than some of his famous funk sessions of the time! The set definitely lives up to its African Rock promise – as it features lots of sparely percussive tracks that build beautifully – clearly drawing from African inspiration, in the same way that other albums by Akira drew from American funk – then also adding in some cool production and hip effects that help further some of the "rock" side of the agenda! At points, the record almost feels like a solo percussion jam – but at others, the guitars really get heavy, with a jamming intensity that's simply mindblowing. There's lots of psychedelic overtones when the guitars come in – and they make for a wicked contrast with some of the more organic, percussion-oriented moments. All tunes are nice and long, and titles include the extended break cut "Pigmy", plus "Vita", "Na Tu Penda Sana", and "Wanyamana Mapambazuko". LP, Vinyl record album

An overlooked 60s soul killer on Atlantic Records! We love Deon Jackson – we love his sweetly honest vocal style, we love his songs, and we love the great production he gets from the legendary Ollie McLaughlin! This album is the only one he ever cut – and it's a masterpiece all the way through! Ollie's production mixes some wonderful lilting qualities with rollicking hard soul – it's a far-reaching approach that works incredibly well with Deon's unique approach to the vocals! Includes the super-hit "Love Makes The World Go Round" and a charming uptown soul take on "King Of The Road", plus "Come Back Home", "1-2-3", "You Said You Love Me", "SOS", "Love Is What You Make It" and "Hush Little Baby". LP, Vinyl record album

Uncensored is right! Millie's live shows during the 70s were a lot raunchier than any of her records – and were usually filled with profanity, off-color jokes, and plenty of frank and foxy references to sex. She'd built her name on record through sweet heartbreaking southern soul sides – but this album gives the at-home listening crowd one of their first tastes of Millie in the raw, and it contains many classic monologues and lots of witty patter that Millie still uses in live shows to this day. Includes a great version of "If Loving You Is Wrong", with a hip rap in the middle; a nice take on "Keep The Home Fire Burnin", with a similar monologue to that used by Latimore in his live sets; a version of "Do Ya Think I'm Sexy?", the "Phuck U Symphony"; a piece on "The Soaps", and "Didn't I Blow Your Mind". LP, Vinyl record album

A flawless batch of classics from Millie Jackson in the heart of her early years on Spring Records – maybe sounding better than ever here! Millie's raunchier style would come later on, but here she's working in styles that are a perfect mix of gritty and sweet – arrangements tailored perfectly to those characteristics in her sultry, smoky voice – and equally at home in sessions in Muscle Shoals, Philly or NYC. Covers the bases from moody southern soul, to tender ballads, to lightly soaring strings – and the mixes by Steve Levine really bring out the vibe of the original sessions, as closely as possible to the spirit and vision of the original recordings – a restoration as opposed to a revision. Includes "Sweet Music, Soft Lights & You" featuring Isaac Hayes, "House For Sale", "I'll Continue To Love You", "My Man, A Sweet Man", "I Cry", "If Loving You Is Wrong (I Don't Wanna Be Right)" and "It Hurts So Good" – plus "Kiss You All Over", "Bad Risk", "Never Change Lovers In The Middle Of The Night" and more. 12 tracks on the CD. CD

An incredible collaboration from John Coltrane and Milt Jackson – and one that gives Milt one of his sharpest records ever! The setting is relatively straight – tenor from Coltrane, vibes from Jackson – plus rhythm from Hank Jones on piano, Paul Chambers on bass, and Connie Kay on drums. Yet there's also a sense of openness here that you'd hardly ever expect on other records by Jackson – especially his contemporaneous sides with the Modern Jazz Quartet – and Coltrane's tenor gets as much room to roam here as it did on Prestige – really cutting some beautifully soulful, open, and flowing lines throughout! Titles include "Bags & Trane", "Three Little Words", "Be-Bop", "Late Late Blues", and "The Night We Called It a Day". LP, Vinyl record album

Jackson, Johnson, Brown, and company – and a few more too – a nicely laidback sextet date from the later years of Pablo Records, done in the great mode that always made the label's work a 70s extension of the Verve Records ethos! Key players here, obviously, are Milt Jackson on vibes, JJ Johnson on trombone, and Ray Brown on bass – Brown also produced the set – and the group also features John Collins on guitar, Tom Rainer on piano, and Roy McCurdy on drums. Tracks are shorter and tighter than a jam session mode for three such heavy players – and titles include "Jaybone", "Lament", "Our Delight", "Bag's Groove", "Watch What Happens", and "The Jumpin Blues". LP, Vinyl record album

Michael Jackson's last album with his famous family – a set of electric 80s soul that's a bit different than Jackson's well-known solo work! In a way, the later Jacksons albums almost feel like a place where Michael can try out some ideas that don't fit as tightly into the overall sound of his own records – and there's definitely more diversity here than before – a shift between gentle ballads, beat-heavy tunes, and even a few rockish/poppish moments. Of course, we should probably be crediting the other Jacksons for their help in the sound here too – as they're certainly credited on the cover – but there's also less of the "many parts as one" sound than before, so it's hard to tell how they're working together. Titles include "The Hurt", "Wait", "Torture", "One More Chance", "Body", "We Can Change The World", and "State Of Shock", the big single, which features a guest appearance by Mick Jagger. LP, Vinyl record album

Really fantastic music from pianist Ahmad Jamal – a set of tracks that's a really nice change from some of the recordings he was doing for Chess Records in the early 60s, and which definitely point the way towards the more stretched-out performances to come on Impulse Records! As the title implies, the setting is live – and Jamal really stretches out here on a number of tunes – working with a free-flowing sense of lyrical beauty that's even more stunning than in the shorter space of a studio cut – really skilled with that ear for tone and timing that made his work such a fresh voice on the piano scene at the time, and a subtle hint at righteous modes to come in the following generation. Chuck Lampkin is on drums throughout, and one set features Richard Evans on bass, the other Jamil Nasser – on long takes of "Bogota", "Minor Adjustments", "All Of You", "Squatty Roo", "Keep On Keeping On", "Minor Moods", "Lollipops & Roses", "Tangerine", and "But Not For Me". CD

Dark genius from keyboardist Bob James – one of his seminal 70s classics for CTI! The album follows strongly in the spirit of the records One and Two – using James' spacious approach to Fender Rhodes alongside some backings that are electric, yet have an earthily funky quality that really sets him apart from the pack! The set includes the sample classics "Storm King" and "Westchester Lady" – both of which are examples of James at his best – plus the cuts "Jamaica Farewell", "One Mint Julep", and "Women Of Ireland". LP, Vinyl record album

A really unusual album from the TK Records Miami Soul empire – a set that feels like that label's attempt to go head to head with the sound of Sylvia Robinson! Like Sylvia, Regina James is a singer with a very sexy approach to 70s soul – not afraid to let her desire ooze out into the grooves, which are a really well-crafted batch of Miami rhythms handled by Clarence Reid – who also produced and wrote most of the songs in the set. And also like Sylvia, Regina may not be the best soul singer in the world, but she more than makes up for that with her personality – which comes through loud and clear in the album's very unique "Kitty Kat Pussy Cat Medley" – and on other tunes that include "Alfie", "Tribute To Music", "Primitive", and "Dancin In The Flames Of Love". CD

An overlooked gem from Rick James' classic early run for Motown – a set that maybe didn't chart as big as some of his other records for the label, but which stands strongly today as a well-crafted batch of mellow funky soul! James has a bit less of the bass-heavy riffs here than you'd expect – and instead, the record has kind of a laidback, almost dreamy feel at times – still upbeat, but with the kind of relaxed, glowing vibe you'd be more likely to find from Teena Marie around this point – a really nice contrast with the more familiar hit sounds you'd know from Rick! We actually really like these mellower groovers – which are almost like some of Johnny Watson's Caribbean-tinged grooves – and the production augments the tunes with a bit of sound effects, which really furthers the paradise garden feel of the tunes. Titles include "Mary Go Round", "Summer Love", "Big Time", "Don't Give Up On Love", "Getting It On In The Sunshine", and "Island Lady". CD features a previously unreleased demo of "Gypsy Girl", and a previously unreleased extended version of "Big Time". CD

One of the key genre-starting records from Perry Farrell and Jane's Addiction – work that sprung out of the tail end of the 80s with many of its musical changes intact, but which also isn't really like any of them at all! The record's not really punk, metal, or even some of the hard rock that was morphing into grunge – although it borrows the best of all those styles, and serves things up with that really unique charm that made Farrell such a compelling frontman. The album was the group's last in their initial burst of genius – and fits nicely alongside the other two – with tracks that incude "Been Caught Stealing", "Stop", "No One's Leaving", "Classic Girl", "Then She Did", and "Ain't No Right". CD

A Pablo Records release – but featuring material that was originally destined for Verve Records in the 50s – a rare performance in Japan by the Jazz At The Philharmonic! The double-length set is overflowing with goodness, all recorded in the open-ended, warm-hearted style that Norman Granz brought to these classic performances! The album starts with an extended set by the JATP All-Stars – a group that features Roy Eldridge and Charlie Shavers on trumpets, Willie Smith and Benny Carter on alto, Bill Harris on trombone, and Ben Webster and Flip Philips on tenors – with rhythm from the combo of Oscar Peterson on piano, Herb Ellis on guitar, Ray Brown on bass, and JC Heard on drums. JATP titles include a "Ballad Medley", "Tokyo Blues", and "Cotton Tail". The set then features six more tracks by the Oscar Peterson Trio – including "Sushi Blues" and "Up" – and another four by the Gene Krupa Trio – including "Don't Be That Way", and "Cocktails For Two". The set then ends with a long set by Ella Fitzgerald with a quartet – on titles that include "Smooth Sailin", "How High The Moon", "Body & Soul", "Lady Be Good", and "My Funny Valentine" – plus a reading of "Perdido" with the whole JATP group. LP, Vinyl record album

There's a big discography of postwar jazz from the west coast scene inside – including classic records like the Gerry Mulligan 10" LP pictured on the cover, and lots more unusual and obscure albums too! The issue serves things up in Japanese "disc guide" format – with a small image of the record covers, then other details in English, and more in Japanese – with listings of key records, prefaced by a cool color section too. The rest of the issue follows with more jazz features too – all with black and white images and photos next to text in Japanese – with a total of 216 pages, in a book-styled cover. Book

This special issue of Jazz Critique looks at two key tenor players of the postwar years – Blue Note legend Hank Mobley, and the great Dexter Gordon, who moved from early fame on the LA scene to a key career stretch overseas! The issue offers up discographies of both players – with dozens of important sessions, both as leaders and sidemen – complete with images of the covers and details of the records in English – and lots more text in Japanese, which you can likely read using Google translate. There's lots more images throughout the issue – a color section at the start, and lots more enticing ones throughout the well-stuffed 208 pages within! Book

That's the great bassist Charles Mingus on the cover – and this issue of Jazz Critique acts as a mini-discography of some of his greatest recording sessions – with listings of dozens of key albums, including sideman sessions, rare live material, and other gems that work together to showcase some of the most acclaimed moments of Mingus on records! As with other issues, the text is mostly in Japanese – but the discography has images of record covers and other details in English – and the issue then moves into a range of other jazz-based features too, in a 200 page, book-styled issue with black and white images throughout. Book

An incredible tribute to the legendary Strata Records in Detroit – performed by Jazzanova with a host of other guests – and at a level that's maybe the greatest thing the group has ever given us on record! The vibe here is a lot more Strata and spiritual than the style you'd expect from Jazzanova – as they take on tunes by label legends like Lyman Woodard, Kenny Cox, Sam Sanders, Maulawi, and other talents from the same Motor City underground of the 70s that gave the world Tribe Records. Instrumentation is a blend of Fender Rhodes and lots of live jazz work on flute, tenor, trombone, and trumpet – sometimes topped with vocals from Sean Haefeli, who really helps open up the soulful side of the tunes! Wonderful throughout, better than we might have even guessed – with titles that include "Joy Road", "Face At My Window", "Ortotundes", "Loser", "Scorpio's Child", "Creative Musicians", "Lost My Love", "Inside Ourselves", and "Saturday Night Special". CD

Essential funk in a single set – three killer albums from James Brown's legendary backing group! First up is Food For Thought – the classic first album by The JBs – James Brown's Fred Wesley-led backing band, and the force behind most of his greatest records of the early 70s! The band are incredible at this point – sharper, harder, and funkier than just about any other combo around – and that includes all the thousands of groups in the funky 45 underground who were always trying to copy their sound, but never got things this right! Not only are the rhythms the stuff of legend – but the use of the instruments is far far above the norm – as can be heard on the mindblowing "The Grunt", which was sampled heavily by Public Enemy to great fame – and which features a saxophone solo that sounds more like a whistling tea kettle! The set collects some of the group's best early singles, and includes all of the short little funky cuts that made them a legend right out of the box – "Pass the Peas", "The Grunt", "These Are The JBs", "Hot Pants Road", "Wine Spot", "To My Brother", "Blessed Blackness", "Theme From King Heroin", "Escapism (parts 1 & 2), and "Gimme Some More" – all together here in one tight little album of massive funky hard beats and breaks! Doing It To Death is an incredible album – a landmark piece of funk that nobody should be without, funk fan or not! The album is the second to feature James Brown's famous backing combo of the early 70s – and unlike their first one, which was really more of a collection of singles, this album has the group playing hard, long, and loud, in the free funk improvisational mode that was James' real contribution to the music at the time. The tracks are all incredibly long, with James at the forefront, egging the band on with shouts and comments – but also letting them open up large instrumentally, playing in a mode that's as much jazz as it is funky soul. The whole thing's peppered with some nice shorter segues between tracks – but the long cuts are the winners, and are some of the best funk ever recorded! Titles include "Mo Peas", "Doing It To Death", "La Di Da La Di Day", "You Can Have Watergate, Just Gimme Some Bucks & I'll Be Straight", and "Sucker". Last up is Damn Right I Am Somebody – quite possibly our favorite record by the JBs, ever! The set starts with a wonderful conversational bit – rapping and musing on the idea of "Damn Right, I Am Somebody" – showing the group in a political and righteous mode for the first time ever. The grooves then kick in – with the same heavy funk as on earlier records, but also a nice nod towards experimental production – from strange fade ups and fade downs, to stark time and rhythm changes, and even bits of electronics used to create some very cool moments in the grooves! The whole thing's as dead funky as can be, and is stuffed with insane classics like "Blow Your Head", "Same Beat", "Damn Right I am Somebody", "I'm Payin' Taxes, What am I Buyin'", and a great cover of Marvin Gaye's "You Sure Love to Ball"! CD

An amazing record that predates many ideas in soul jazz by a decade! Drummer Ron Jefferson was a lesser-known member of the LA bebop scene of the late 50s and early 60s, but by the time he cut this album for French Polygram in the mid 60s, he'd been to Africa, and had discovered a whole new set of musical visions – many of which are worked out in this unique trio session that features bassist Roland Haynes, guitarist Buz Saviano, and Jefferson himself on flute and drums. The music is incredibly spiritual, righteous, and free – and sounds much more like something you'd find on a hip American underground label1975, than it does a French session from the 60s – especially on side two, which features a long track that mixes more freethinking work on guitar with the kind of work on drums that should have made Jefferson a legend – very different than on his other recordings. The span of playing is amazing, and despite the seemingly familiar trio setting, the group hits a wide range of sounds as they play through a set of Jefferson's unique compositions like "Africa The Beautiful", "Every Little Bit Helps", "Fu Yu", and "The Speaker". LP, Vinyl record album

A really unique project from the Serbian underground of the 80s – a record that mixes together global elements, electronics, and some other live instrumentation – all in a way that's as tuneful as it is experimental, and which has a nice sort of post-punk sense of freedom throughout! The music reminds us a lot of some of our favorite work from farther up on the European scene – particularly records on the Crammed label, as this set shares a similar sense of wider sensibilities coming into play with new technologies of the time, yet handled in a way that's very personal and poetic. The duo bring a bit of vocals to the record, but most of the music comes from the interplay between acoustic and electronic elements – on titles that include "Gitanes", "Gajeiro", "Rhinoceros II, "Sometimes At Nine", "In The Sky", and "Rumba Balcana". LP, Vinyl record album

A classic run of records from Waylon Jennings – brought together in a single package! First up is Lonesome Onry & Mean – a pivotal album for Waylon Jennings – the record where he really found the new direction that would finally get him the fame he deserved – delivered in a way that's free from all the later cliches, and which also ties Waylon pretty strongly to the hipper currents of the underground – especially that point where singer/songwriter genius intersected with country! The production is his own, and vastly different than the late 60s records – even though we love those to death too – and that magical Jennings vocal approach does fantastic things to tunes by Steve Young, Mickey Newbury, Kris Kristofferson, and others! Titles include the fantastic "Lonesome Onry & Mean", plus "Good Time Charlie's Got The Blues", "Freedom To Stay", "Lay It Down", "You Can Have Her", "Pretend I Never Happened", "San Francisco Mabel Joy", "Sandy Sends Her Best", and a great take on "Me &Bobby McGee". Honky Tonk Heroes is genius material from Waylon Jennings – one of those career-defining records from the early 70s that completely put him on top, and heralded a whole new generation in country music! The set's maybe equally noteworthy as a showcase for the up-and-coming Billy Joe Shaver, who wrote much of the songs on the record – and it's also a great showcase for the important production talents of Tompall Glaser, who really gets the spirit of the music right! Titles include great versions of "Honky Tonk Heroes", "Old Five & Dimers Like Me", "Ride Me Down Easy", "Black Rose", "Willy The Wandering Gypsy & Me", "Omaha", and "Ain't No God In Mexico". This Time is one of those Waylon Jennings records from a time when he could do no wrong – fighting the stronger powers at RCA to really find his voice – recording at the studio of Tompall Glaser, with great production help from Willie Nelson – who was enjoying his own transformation at the time too! As with the previous two gems from this period, the choice of material and presentation is great – songs by Willie, JJ Cale, and Billy Joe Shavers – in a set of titles that include "Heaven Or Hell", "It's Not Supposed To Be That Way", "This Time", "Pick Up The Tempo", "If You Could Touch Her At All", "Walkin", "Slow Rollin Low", "Louisiana Woman", and "Slow Movin Outlaw". Ramblin Man is Waylon Jennings at peak mid 70s perfection! Ramblin' Man fits in stylistically with the gruff honky tonk hero mode he first fully realized a couple albums earlier, but he's still fiercely blazing trails here, pairing his gruff lead vocals with sweeter female harmonies on some tracks, changing the groove from laidback swagger to fast-paced honky tonk, working in some tender ballads with the gruffer numbers...Waylon at his best. Starts up with the eternal title track and equally classic "Rainy Day Woman" and hardly lets up in greatness from there, with "Cloudy Days", "The Hunger", "It'll Be Her", a great cover of the Allman Brothers' "Midnight Rider", "Memories Of You And Me", "Amanda" and more. Features bonus tracks too – "Laid Back Country Picker", "The Last One To Leave Seattle", "Big Big Love", "Got A Lot Going For Me", "The Last Letter", and "The One I Sing My Love Songs To". CD

Beautiful early work from Jethro Tull – a formative set that really has the group deepening both their themes and their music! There's still a bit of blues rock at the core – but also some richer, more lyrical modes too – and Ian Anderson does a perfect job of bridging both worlds with his sublime work on flute – an instrument that must have seemed like an odd lead for a rock group at the time, but which is no surprise in the same generation that artists like Herbie Mann and Roland Kirk were making their own hip records – not to mention the great Harold McNair, who was a UK contemporary of Andreson. The whole thing's great – a record that's ripe for rediscovery, and which really gives back year after year – and titles include "A New Day Yesterday", "Back To The Family", "Fat Man", "Reasons For Waiting", "Nothing Is Easy", and the classic instrumental "Bouree". LP, Vinyl record album

JJ Johnson's greatest album – without a doubt! This gem of a session was recorded in 1960 in New York, with an incredibly hip sextet that includes Cedar Walton, Clifford Jordan, and Freddie Hubbard. The tracks are all long, hip, and very much in a Blue Note soul jazz mode – very unusual not only for Johnson, but for Columbia records as well. The album feels like it should have been issued on Epic, with those killer Dave Bailey sides from 1961 – which might be why it has frequently gotten lost in Johnson's career, hidden amidst some of the sleepier material that seems to see the light of day more often than this one. The album's a stone winner all the way through – and features Johnson playing some of his gutsiest solos ever. Tracks include "Minor Mist", "In Walked Horace", "Fatback", "Aquarius", and "Shutterbug". LP, Vinyl record album

A smoking funky set from early 70s Stax Records – the only album we've ever seen from Roy Lee Johnson & The Villagers, and a stone cooker all the way through! The sound is hard and heavy on most numbers – with loads of funky 45-styled riffs – and the core group is a nicely self-contained unit, with a lot of focus on the rhythm section – but they also get some great help here from the Memphis Horns, who blow over the top beautifully, and add a nicely soulful vibe to the record! Drums are nice and hard – and titles include the killer "The Dryer (parts 1 & 2)", plus "Razorback Circus", "Robot", "Midnight At Riley's", "Don't Tell Me Nothing About My Woman", "Patch It Up", and "I'll Be Your Doctor Man". CD

A different sound than usual for Syl Johnson – but a record that still has loads of those amazing vocals we love from Syl! The style's mostly modern soul – with a tightness that's different from the grit of earlier Johnson albums – that mode in which other singers of the time were tightening up their bag too. The approach works especially well on the midtempo groovers – which have the bite of Johnson's vocals providing a great contrast tot he smoother grooves of the instrumentation – in ways that really deepen the feel of the tunes, but in ways that are very different than classic work from Syl. Titles include "Mystery Lady", "Blue Water", "Who's Gonna Love You", "You're The Star Of The Show", "Gimme Little Sign", and a 9 minute "Otis Redding Medley". LP, Vinyl record album

The title's a reference to one of the greatest hits of Booker T & The MGs, the legendary Memphis group that featured Booker T himself on organ – a hell of a player, and an individual with a much longer legacy than just his early recordings for Stax Records! Booker has roots that go way deep in the Memphis scene, long before Stax Records – and the book recounts those days, and also follows the keyboardist as he moves west to California, opening up in superstardom in a very different way! The style is a bit unique – almost like these little diary entries written from different locations in different years, but put together to form this cool patchwork picture of Booker T's hopes and dreams, music and personal life, all with a very vivid approach. The hardcover edition is 336 pages in all, with a section of images in the middle. Book

An overlooked gem from jazz singer Etta Jones – an effort cut around the same time as her better-known records for Prestige, but one that's maybe done with an even hipper sound overall! Etta's nicely laidback, and hits that soulful, singing mood that makes her so great right from the start – a bit offbeat, but in the best way possible – as Jones brings older bluesy inflections into play with more contemporary ideas – all set to wonderful instrumentation from a cool group that features Junior Mance on piano, Kenny Burrell on guitar, Joe Newman on trumpet, Frank Wess on tenor, and Mike Manieri on vibes. The song choices are great – and the balance between steppers and mellow cuts is perfect – on titles that include "Swinging Shepherd Blues", "All Right OK You Win", "Moon Man", "Did I Remember", "Lonely Crowd", and "I Was Telling Him About You". LP, Vinyl record album

If you've only heard George Jones in later years, when he was the king of the heartbreaking ballad, you'll find plenty here to discover – as his early recordings for Starday Records are something else entirely – and almost have George hitting a rockabilly mode at times! This set's got some of Jones' best early singles for the Texas label, plus some overlooked gems – wrapped together to offer a wonderfully vibrant picture of a superstar in the making – already a singer with a voice that few folks could match, equally well-suited to catchy upbeat numbers and some of the more heartfelt tracks that offset things nicely. Titles include "Accidentally On Purpose", "Tall Tall Trees", "No Money In This Deal", "Too Much Water", "If I Don't Love You", "Why Baby Why", "Eskimo Pie", "How Come It", "Accidentally On Purpose", "Hold Everything", "Maybe Little Baby", "Rock It", "Mexican Boogie", "Gonna Come Get You", "Taggin Along", "That's The Way I Feel", and "You Gotta Be My Baby". CD

A monster set of work by one of the funkiest guitar players ever! Ivan Boogaloo Joe Jones recorded a number of sides for Prestige Records during the early 70s – but this rare gem came out after all those, in 1975, on the tiny Joka label, and never really got into proper circulation at the time – making it one of THE indie jazz funk classics of the 70s! The album's actually one of Boogaloo's best – and has a rougher edge than his Prestige albums – heard to great effect on the two standout funky cuts, "Sweetback" and "Confusion" – both of which are stunners that feature Jones really ripping away on the guitar! The whole set's nice, though – and other tracks include "You've Got It Bad Girl", "Trouble In Mind", and "Jamaica Farewell". CD

A holy grail from the prime years of Blue Note hardbop – and one of the first records ever recorded by Clifford Jordan, then a fresh young tenor talent, just blown in from Chicago! The album has Jordan working with an all-star lineup that includes Art Farmer on trumpet, Sonny Clark on piano, and Louis Hayes in drums – blowing with a style that is a bit looser than other Blue Notes from the time, with touches of lyrical expression, brought on by the presence of Farmer and Hayes. Great overall – as tight as a bop side, but with a much deeper soul! Titles include "Confirmation", "Laconia", "Soul-Lo Blues", and "Cliff Craft". LP, Vinyl record album