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Funky soul from the west coast – and a motherlode of tracks that you've probably never heard! Inner City Records was a small time funk powerhouse – owned and run by organ player George Semper, who cut some mighty fine records on his own! The label's not to be confused with the New York-based jazz label Inner City – because this one was a much more down-n-dirty funky one – and cut some killer work in a deep deep mode, much of which was never issued before – and is making a long-overdue first appearance here! The tracks have some seriously fine jazzy work in them – snapping funk, with a hard and dirty edge, played by performers that include Charles Owens, Rodney Franklin, and James Gadson – all of whom would later go onto become superstars in their own right. A number of tracks have vocals, too – and titles include "Plastic Situation" by Ron & Candy, "In One Peace" by In One Peace, "Funkorgy" by Funkafreek, "Tenderness" by Funkhouse with Candy, "Thank U" by The R&B Classic Funk Band, "It's Insane" by In One Peace, "Spread The News" and "Hands Of Time" by Perfect Circle, "Sticky Boom Boom" by United Soul Association, and "Funktime" by Funkproof.

Gil Evans plays some sweet electric piano – and leads a group with Terumasa Hino on trumpet, Lew Soloff on trumpet and piccolo trumpet, George Adams on tenor and flute, and Gerry Niewood on soprano sax and flute!

Reissue of a rare Teddy Charles album that also featured Booker Little and Booker Ervin. The album features the inventive vibist caught live in New York at a Metronome sponsored gig featuring Mingus alums Mal Waldron, Booker Ervin and Booker Little. The set includes one expansive Charles original, "Take Three Parts Jazz", a Little original "The Confined Few", Ervin's "Scoochie" and Waldron's "Cycles", along with a few standards. The music is fantastic, and is a mix of modernist modal themes with rich soul jazz playing. Ervin and Little are fantastic, and their sharp edgey sounds are a perfect contrast with Charles' moody vibes. Very little of Teddy Charles' work, which ranged from introspective avant garde pieces with Jimmy Giuffre to more swing based collaborations with Mingus, has been documented, this piece showcases his New Directions Quartet in a unique setting, with inspired guests.

One of our favorite albums ever by the Art Ensemble of Chicago – a key French session that captures the group at the height of their powers! The centerpiece of the album is the extended track "Certain Blacks (Do What They Wanna)" – done in a beautiful mix of politics and free group improvisation that come across with amazing power and clarity – making the piece one of the best translations of the Chicago AACM spirit to the European scene. Other tracks on the session include the soulfully spiritual number "One For Jarman", which captures the group at a uniquely laidback level – and the bluesy "Bye Bye Baby", which features one of the few pairings of the group with Chicago Beau and harmonica player Julio Finn.

A great meeting of two generations of jazz – and one that really blows the top off some of Dexter Gordon's other European sessions of the time! The setting here is definitely one that's more a Gordon-based date – long tracks with rhythm backing from a trio with Kenny Drew on piano, Niels Henning Orsted Pedersen on bass, and Alex Riel on drums. But unlike some of the other long-blown Gordon-heavy albums for the stretch, the presence of Jackie McLean really brings in a new sort of fire – the kind of soaring, soulful energy he brought to his own records in these immediate post-Blue Note years – almost a Coltrane influence, and a sense of spiritualism that really comes through on some of his solo moments – even in this relatively straight setting. Titles include "Half Nelson", "I Can't Get Started", "Another Hair-Do", and "Dexter Digs In".

Detroit underground hits the mainstream – in a seminal album of crossover dance tracks! Kevin Saunderson and vocalist Paris Grey, along with help from Juan Atkins, craft a set of tunes that managed to hook the rest of the world on the electro sound that had been bubbling under in the Motor City for most of the 80s. And sure, there's more hooks and less darkness than on some of Saunderson's earlier work – but is that such a bad thing? Not to our ears, as lots of these tunes have still held up quite well over the years. Titles include "Paradise", "Ain't Nobody Better", "Big Fun", "Do You Love What You Feel", "Good Life", and "Secrets Of The Mind".

Hard driving work by Ted Curson! Jubilant Power is a pretty apt title for the set – played with a celebratory fire – combining the freer loft-style playing of his late 70s American work, with some of the tighter grooving rhythmic approaches of his early 70s sides in France. Chris Woods, a frequent partner from the Paris years, is in the group on alto and flute, cutting lines that match Curson's as well recallung the tenor of Bill Barron during the 60s. Other players include Andy Laverne and Jim McNeely on piano, Nick Brignola on alto sax and flute, Bob Merigliano on drums and Sam Jacobs on conga. Excellent stuff! Titles include "Marjo", "Song Of The Lonely", "Reava's Waltz", "Airi's Tune", "Searchin For The Blues" and "Ted's Tempo".

A wonderful album of hip jazzy vocals from Urszula Dudziak – an amazing singer who was sort of Poland's version of Flora Purim! Like Flora, Urszula had a fierce scatting and riffing style that broke way past the work of earlier female jazz singers – and she always applied this style to some wonderfully catchy arrangements and tight grooves, using the voice as a heavily fused-up instrument. Also like Flora, Urszula had some good help from her husband – Polish jazz legend Michal Urbaniak, who produced and played on the album, along with friend of the family, the wonderful altoist Zbigniew Namyslovski. Tracks include a great version of Komeda's "The Cats", plus the tracks "Moontag", "Future Talk", "Klick", "Quiet Afternoon", and "Double Bounce".

There's nothing little about the talents of Roy Eldridge on the trumpet – as you'll hear in this hip set of tracks from the start of the 50s – material recorded in Paris with help from some great American sidemen! Half the tracks feature Roy's trumpet in a quintet with Zoot Sims on tenor, Dick Hyman on piano, Pierre Michelot on bass, and Ed Shaughnessy on drums – grooving in the relaxed, swing-based style that you'd expect from Eldridge's 50s work on Verve. Roy sings just a bit on the set – scatting alongside the lead vocals from Anita Love on a version of "It Don't Mean A Thing" – and singing a duet with Anita on the R&B-ish "Ain't No Flies On Me". Other tracks include "King David", "Wrap Your Troubles In Dreams", and "The Man I Love". Remaining tracks are also from Paris in June of 1950 – and feature Gerry Wiggins on piano, Pierre Michelot on bass, and Kenny Clarke on drums – on instrumental tunes that include "Wild Driver", "Easter Parade", "If I Had You", "Nuts", and "Goliath Bounce".

One of the few 70s sessions that features Hal Galper working with horns – in this case the Brecker Brothers, who really add a nice degree of fire to the set! Rhythm is by Wayne Dockery on bass and Billy Hart on drums – and Hal's playing acoustic piano, giving the album lots of warm tones and a sweet mellow feel overall. Titles include "Waiting For Chet", "Children Of The Night", "Spidit", and "Reach Out".

One of our favorite albums ever from Eddie Jefferson – one of the last sessions he ever recorded as a leader, and a stone cooker through and through! The arrangements here are by Slide Hampton, who hits a really soulful groove for the set – one that moves away from some of the more experimental modes of other Jefferson dates of the 70s, and hits a snapping, swinging style that moves Eddie back to his hippest modes of the 60s. Hampton plays trombone in the group, and other players include Charles Sullivan on trumpet, Richie Cole on alto, Junior Cook on tenor, Hamiet Bluiett on baritone, and Harold Mabern on piano and electric piano. Leon Thomas produced the record, and Joyce Lawson guests as the female voice on a remake of "Moody's Mood For Love". Other titles include a killer version of Duke Pearson's "Jeannine" that is probably worth the price of the album alone – and there's also "Benny's From Heaven" and "Freedom Jazz Dance", both of which are great, too – plus "Summertime", "Exactly Like You", and "Night Train".

A great blend of choppy reeds, soaring keys, and romping rhythms – handled here by an extremely inventive 70s group! Listen is the brainchild of reedman Mel Martin – who plays soprano sax, tenor, flute, and piccolo on the record – but it also features some wicked keyboards and steel drums from Andy Narrell, who sounds way better here than in his later new age years. Martin's got a really sharp-edged sort of sound – almost in the 70s Steve Grossman mode, especially on soprano, or maybe a bit like early Dave Liebman – nicely cutting alongside rhythms from bassist Dave Dunaway and drummer George Marsh, both of whom bring their own creative touches to play, while still making things groove nicely. Titles include "A Tribute To Clark Kent", "Aural Hallucination", "The Mosquito Steps Out", "Gazpacho Sabroso", "Jesse's Theme", and "Dance For Denica".

A killer bit of Latin jazz from the 70s – one of the first records issued under the name of percussionist Ray Mantilla, and a really smoking set that features funky flute from Jeremy Steig, bass from Eddie Gomez, and both drums and keyboards from the mighty Joe Chambers! The tunes have a dynamic energy that's totally great – way more than just straight Latin, and proof that even at the start, Ray was always trying to reach some new directions with his music. The set begins with a tight "Percussion Intro", then rolls into a batch of original groovers titled "Inca Love Chant", "Chango Llama", "Caravanessa", and the nice long "Seven for Mantilla".

An overlooked gem! During the mid 70s, Jackie McLean cut a few fantastic records that had a very spiritual vibe, and which added in a lot more soul than in previous sessions from the 60s. Part of the strength of these recordings – including this one – is the other musicians in the group – like the great Billy Gault, who wrote 2 tracks on the record, and who plays some very spiritual piano – or the excellent Billy Skinner, a young trumpeter who also emerges as a strong writer on this session. Other players include Rene McLean on alto and soprano, and Michael Carvin on drums – and tracks include "Camel Driver", "Some Other Time", "Adrian's Dance", and "Star Dancer".

One of the few non-Polish albums issued by Polish alto genius Zbigniew Namyslowski – a really great player who rarely got any Western exposure during the Soviet era! The set's got a tight funky fusion feel – reeds mixed with Fender Rhodes, bass, and drums – all in a blend of soulful lines and freer moments, not unlike the complex groove you'd get on 70s work from Sonny Fortune! Michal Urbaniak produced the record, but the overall feel is much more spacious than his own records – a good sense of groove that really makes things sit right. Titles include "Hobble", "Ohh-Hah", "Tango", "Mango Boogie", and "Pastorale".

With Niels Henning Orsted Pedersen on bass and Tony Inzalaco on drums.

An overlooked fusion set from guitarist David Pritchard – maybe not the biggest name in jazz in the late 70s, but working here with a really heavy-hitting lineup! Pritchard plays acoustic and electric guitar on the set, and he's joined by players who include Patrice Rushen on acoustic and electric piano, Freddie Hubbard on trumpet, and Chester Thompson on drums – plus the lesser-known Charles Orena, who handles both tenor and soprano sax here. Some numbers have a full-out fusion feel, which others hit some tones that are more spacious and relaxed – almost heading into the airiness of Pat Metheney, yet always retaining a bit more force. Titles include "Bright Depths", "Hog Futures", "Black & White", "As Day & Night", and "Angel's Flight".

One of the best-remembered Sun Ra albums from the 70s – a really cool little session that features Ra playing the unusual "rocksichord" all the way through! The instrument's a very weird one – kind of like a messed-up electric piano, with lots of cool broken notes and a weird fuzzed-out tone – one that almost feels like a guitar's being fitted into a keyboard, with almost psychedelic results! Ra's use of the rocksichord gives the album a really eerie, outer spacey sound – one that mixes strongly with more familiar jazz lines from John Gilmore on tenor, Marshall Allen on alto and flute, Danny Thompson on baritone, and Ahmed Abdullah on trumpet. Titles include "The Mystery Of Two", "Interstellar Low Ways", "Cosmos", "Moonship Journey", "Neo-Project #2", and "Jazz From An Unknown Planet".

One of the best-remembered Sun Ra albums from the 70s – a really cool little session that features Ra playing the unusual "rocksichord" all the way through! The instrument's a very weird one – kind of like a messed-up electric piano, with lots of cool broken notes and a weird fuzzed-out tone – one that almost feels like a guitar's being fitted into a keyboard, with almost psychedelic results! Ra's use of the rocksichord gives the album a really eerie, outer spacey sound – one that mixes strongly with more familiar jazz lines from John Gilmore on tenor, Marshall Allen on alto and flute, Danny Thompson on baritone, and Ahmed Abdullah on trumpet. Titles include "The Mystery Of Two", "Interstellar Low Ways", "Cosmos", "Moonship Journey", "Neo-Project #2", and "Jazz From An Unknown Planet".

Sweetly grooving vocals from Judy Roberts – a Chicago homegirl, but one with the warm sunny touches of the California scene of the late 70s! The record's got Judy working with a tight small combo – keyboards, bass, guitar, and percussion – grooving away in a sweet mode that works well with her vocals – almost bossa-inspired at points, but mostly with a soaring, open sort of quality that's almost a cross between some of the hip European singers of the 70s, and the best jazz vocal talents from the Bay Area. The album's got some nice electric remakes of tunes like "Senor Blues", "Round Midnight", and "Last Tango In Paris" – plus the tracks "The Other World", "The River Must Flow", "Rainbow In Your Eyes", and "No Turns".

A very cool little 70s set from jazz vocalist Carol Sloane – the kind of small label affair that showed that the genre was alive and well at the time! The feel here is intimate, but never sleepy – with backing by a small combo that's always pretty "live" – backing Sloane with the same sort of groove you might hear in a club, but held together slightly more tightly overall. Players include Benny Aronov on piano, George Mraz on bass, Joe LaBarbera on drums, and Norris Turney on alto sax – and the sax is perhaps one of the nicest elements here, as it really helps push the record past the "singer with piano trio" sound that could too often dominate albums like this. Titles include "Baby Don't You Quit Now", "Jackie", "Tomorrow Mountain", "Something Cool", "Jackie", and "You're A Bad Influence On Me".

Lew Tabackin looks a bit stiff on the cover of this one (who wouldn't, in a tan polyester suit?) – but the record's a surprisingly hip date, and a great chance to hear Lew away from his 70s big band with Toshiko Akioshi! As the title and cover imply, the album features Tabackin's "dual nature" on reeds – with one side of flute performances, and another of tenor – both of which are surprisingly soulful. The flute work is somewhat sensitive, and beautifully done – almost poetic at points, and played with a style that's quite different than Lew's big band work. Group members include Don Friedman on piano, Bob Daughtery on bass, and Shelly Manne on drums and waterphone – a rhythm section that really matches the sensitivity of Tabackin's groove on the titles "Euteurpe", "Yellow Is Mellow", and "Out Of This World". The tenor work is a bit more hard-edged, almost boppish, but with a slightly more laidback feel – and titles include "No Dues Blues", "My Ideal", and a great take on "Russian Lullaby".

A pretty sweet 70s session from Michal Urbaniak – done in the same heavy funk style as his bigger label recordings of the time, with a solid blend of electric rhythms and some nice trippy solo work! The core of the group is Urbaniak on violin and lyricon, Urszula Dudziak on voice and percussion, and the great Zbigniew Namyslowski on alto sax and flute – and Kenny Kirkland adds more than a few nice touches on Fender Rhodes and mini moog. Jamming is at a minimum, and the tunes really keep a strong rhythmic pulse – making for a good set that's filled with jazz funk groovers! Titles include "Stray Sheep", "Always Ready", "Jasmine Lady", "Strife", and "Tie Breaker".

An excellent album of funky electric jazz – and possibly the best one that Phil Woods cut with his European group! The quartet's a very hip group that's way hipper than its clunky name – with Gordon Beck on electric piano and organ, Daniel Humair on percussion and drums, and Henri Texier on bass, flute, and African percussion – all instrumentalists who dip heavily into the deep bag of their mighty talents for the date, helping to push Phil's music into some very cool new territory! The album cooks a lot harder than Woods' previous MGM date with the Rhythm Machine group in Europe – and has a really freewheeling vibe, and a sound that's almost outside at points. All tracks are long, with a modal electric approach that's very nice – and funky in the best parts – and titles include "Chromatic Banana", "Ultimate Choice", "The Last Page", and "The Day When The World".

Plenty of fire here – the kind of quick-witted piano work we've really come to admire from Tete Montoliu – who really hits a new level of genius on his 70s recordings for the Steeplechase label! Montoliu has this amazing way of hitting hard, with a real edge – then laying back and just letting things flow – kind of a shift between left and right hand emphasis that really makes for some breathtaking runs on the keyboard – especially with backing here from Niels Henning Orsted Pedersen on bass and Albert Tootie Heath on drums. Tracks are nice and long, and titles include "Sweet Georgie Fame", "Blues For Perla", "Falling In Love With Love", and "Old Folks".

Toshiko Akiyoshi plays with two different sets of musicians on this trio side. Side 1 features Bob Daugherty on bass and Jimmy Smith on drums, while side 2 has Andrew Simpkins on bass and Peter Donald on drums. The set's largely standards, with 7 numbers in all, including "Swinging Till The Girls Come Home", "Solar", "Two Bass Hit", "In Your Own Sweet Way", and "Tempus Fugit".

One of Hino's sweeter fusion albums – still soulful enough, but done in a style that's more like CTI funk than some of his earlier albums. Leon Pendarvis handled the group and plays keyboards on the record – and other players include Steve Gadd, Bob James, John Tropea, Masabumi Kickuchi, and Michael Brecker – plus vocals by Lani Groves and Luther Vandross. Not bad, in a soulful fusion kind of way – and with titles that include "Still Be Bop", "Goin For The Gold", "La Hora Azul", "Sweeter & Sweeter", "Late Summer", and "Antigua Boy".

One of our favorite albums ever from Eddie Jefferson – one of the last sessions he ever recorded as a leader, and a stone cooker through and through! The arrangements here are by Slide Hampton, who hits a really soulful groove for the set – one that moves away from some of the more experimental modes of other Jefferson dates of the 70s, and hits a snapping, swinging style that moves Eddie back to his hippest modes of the 60s. Hampton plays trombone in the group, and other players include Charles Sullivan on trumpet, Richie Cole on alto, Junior Cook on tenor, Hamiet Bluiett on baritone, and Harold Mabern on piano and electric piano. Leon Thomas produced the record, and Joyce Lawson guests as the female voice on a remake of "Moody's Mood For Love". Other titles include a killer version of Duke Pearson's "Jeannine" that is probably worth the price of the album alone – and there's also "Benny's From Heaven" and "Freedom Jazz Dance", both of which are great, too – plus "Summertime", "Exactly Like You", and "Night Train".

A wonderfully moody album from Abbey Lincoln – one that's a bit more laidback than some of her other efforts, but no less soulful! There's kind of a broken, jagged sound to the record – a late nite vibe that's blue and melancholy, and which gets some great support from the tenor sax of Archie Shepp – which often gets a chance to solo on most tracks! The rhythms are gentle, often a bit spare – and handled by Hilton Ruiz on piano, Jack Gregg on bass, and Freddie Waits on drums – and the set also features work from trumpeter Roy Burroughs. Tracks include three original compositions, "Painted Lady", "Throw It Away", and "Caged Bird", plus a sublime version of Stevie Wonder's "Golden Lady". Also includes Ellington's "Sophisticated Lady", and Michel Legrand's "What Are You Doing the Rest of Your Life".

A killer set from keyboardist Jeff Lorber – an artist who really had a lot to offer back here in his early years! Unlike some of Lorber's later albums, which could always be a bit too smooth, this one's got a sharp-edged groove and a stripped-down quartet lineup – a group that mixes Jeff's great work on keyboards with reeds, bass, and drums – plus some occasional guest instrumentation on a few numbers. The sound is really wonderful – tight, but never slick – and slightly funky at points too – although in a really warm and gentle way. Titles include "Glisten", "Terry's Lament", "Water Music", "Deva Samba", "Funky Gospel", "Cousin Stu", "River Winds", and "Lift Off".

A killer bit of Latin jazz from the 70s – one of the first records issued under the name of percussionist Ray Mantilla, and a really smoking set that features funky flute from Jeremy Steig, bass from Eddie Gomez, and both drums and keyboards from the mighty Joe Chambers! The tunes have a dynamic energy that's totally great – way more than just straight Latin, and proof that even at the start, Ray was always trying to reach some new directions with his music. The set begins with a tight "Percussion Intro", then rolls into a batch of original groovers titled "Inca Love Chant", "Chango Llama", "Caravanessa", and the nice long "Seven for Mantilla".

One of the best-remembered Sun Ra albums from the 70s – a really cool little session that features Ra playing the unusual "rocksichord" all the way through! The instrument's a very weird one – kind of like a messed-up electric piano, with lots of cool broken notes and a weird fuzzed-out tone – one that almost feels like a guitar's being fitted into a keyboard, with almost psychedelic results! Ra's use of the rocksichord gives the album a really eerie, outer spacey sound – one that mixes strongly with more familiar jazz lines from John Gilmore on tenor, Marshall Allen on alto and flute, Danny Thompson on baritone, and Ahmed Abdullah on trumpet. Titles include "The Mystery Of Two", "Interstellar Low Ways", "Cosmos", "Moonship Journey", "Neo-Project #2", and "Jazz From An Unknown Planet".

One of Sun Ra's best non-Saturn live sets of the 70s – a nice little record that shows the group mixing it up with equal parts avant garde and straight ahead jazz, all handled in that ever-growing large group style that made them a real force to be reckoned with in a concert setting! The album was recorded during the 1976 Montreux Jazz Festival, and has a bit more focus and polish than some of the other Arkestra live material from the time – a mature, coherent sound that almost points the way towards some of their work to come in the 80s – when Ra and the group were finally reaching the wider audience they deserved. The set's a double-length one, and features players who include John Gilmore on tenor, Marshall Allen and Danny Davis on alto and flute, Pat Patrick on baritone, Ahmed Abdullah on trumpet, Craig Harris on trombone, and James Jackson on Ancient Egyptian Infinity drum – which is always a treat. Ra plays solar organ and moog, as well as piano – and titles include "Of The Other Tomorrow", "On Sound Infinity Spheres", "El Is The Sound Of Joy", "Gods Of The Thunder Realm", "Gods Of A Thunder Realm", "The House Of Eternal Being", and "Lights On a Satellite".

One of Sun Ra's best non-Saturn live sets of the 70s – a nice little record that shows the group mixing it up with equal parts avant garde and straight ahead jazz, all handled in that ever-growing large group style that made them a real force to be reckoned with in a concert setting! The album was recorded during the 1976 Montreux Jazz Festival, and has a bit more focus and polish than some of the other Arkestra live material from the time – a mature, coherent sound that almost points the way towards some of their work to come in the 80s – when Ra and the group were finally reaching the wider audience they deserved. The set's a double-length one, and features players who include John Gilmore on tenor, Marshall Allen and Danny Davis on alto and flute, Pat Patrick on baritone, Ahmed Abdullah on trumpet, Craig Harris on trombone, and James Jackson on Ancient Egyptian Infinity drum – which is always a treat. Ra plays solar organ and moog, as well as piano – and titles include "Of The Other Tomorrow", "On Sound Infinity Spheres", "El Is The Sound Of Joy", "Gods Of The Thunder Realm", "Gods Of A Thunder Realm", "The House Of Eternal Being", and "Lights On a Satellite".

Surprisingly wonderful work by Cybill Shepherd – recorded early in her career, and a very serious attempt to express herself as a jazz vocalist! Part of the reason for the success is the fact that Cybill's working here with a great group that includes Stan Getz on tenor, Frank Rosolino on trombone, Monty Budwig on bass, and other west coast players – but another part of the success is Cybill's warm and sweet vocals, as evocative at this point as she was in her fine performances on film. Instrumentation often hits a cool, breezy sort of sound – almost bossa at some of the best points, which really transforms the older tunes! Titles include "Triste", "I Can't Get Started", "I'm Falling In Love Again", "Do It Again", "Speak Low", "It Never Entered My Mind", and a great grooving take on "Mad About The Boy".

A brilliant session from trumpeter Charles Sullivan – a player who's only recorded a handful of dates as a leader, all of them great! This album's got a unique history, in that it was issued both by the Inner City and Strata East labels in the 70s – and overall, it's got a vibe that's right up there with the best Strata East sets of the time – thanks to help from a wonderfully hip lineup that includes Dee Dee Bridgewater on vocals, Stanley Cowell on piano, Sonny Fortune on alto sax, and Billy Hart on drums! With a lineup like that, it would be hard to miss – but Sullivan also manages to round the players up into a sound that's really unique, too – very much his own musical vision, with a great balance between sensitive moments, and boldly righteous statements. Other players include L Sharon Freeman on electric piano, Onaje Allen Gumbs on piano, and Alphonse Mouzon on drums – and titles includes the great jammer "Field Holler", plus the tracks "Now I'll Sleep", "Genesis", "Goodbye Sweet John", and "Evening Song".

Quite possibly one of the most successful Japanese piano trio recordings of the 70s – a super-session performed by a group that includes Joe Sample on acoustic piano, Ray Brown on bass, and Shelly Manne on drums! Given that Sample's best known during the era for his electric keys with the Crusaders (and on countless studio sessions), it's a real treat to hear him tickle the ivories in an acoustic way – and a genuine surprise to hear how strong his work is in such a format. Joe manages to swing the tunes with plenty of creative improvisation, but also keeps a strong focus on the groove too – making for an album that's got some of the rhythmic flourishes of the best work of the Oscar Peterson trio in later years, but with some of the added freedoms of the Japanese scene. Titles include "On Green Dolphin Street", "Round Midnight", "Funky Blues", "Manha Do Carnaval", "Yearnin", and "Satin Doll".

A quartet date from Toshiko – with trumpet from Steven Huffsteter, bass from Gene Cherico, and drums from Billy Higgins. Titles include "Soliloquy", "After Mr Teng", "Memory", and "Hangin Loose".

Man, Lew Tabackin looks pretty darn freaky on the cover image for this one – and although we're tempted to bill the record as his stag-like satyric fling away from his wife, Toshiko Akioshi is very much a key part of the session – contributing some wonderful songs and piano lines to the album's small combo groove! Lew plays flute throughout – blowing in these hauntingly snakey lines that are almost more in the spirit of music by cats like Chris Hinze or Jeremy Steig, than Tabackin's usual groove with his big band – a great change from the usual, recorded here with Toshiko on piano, Shelly Manne on drums, and either John Heard or Bob Daugherty on bass. Titles include "Rites Of Pan", "Autumn Sea", "Be Bop", "Jitterbug Waltz", "Elusive Dream", and "Night Nymph".

Recorded live at the Brooklyn Academy of Music, New York City, February 7-10, 1983. A HUGE amount of material! Includes the tracks "Say Hello", "Walk The Dog", "Violin Solo", "Closed Circuits", "For A Large And Changing Room", "Pictures Of It", "Language Of The Future", "Reverb", "If You Can't Talk About It, Point To It", "City Song", "Finnish Farmers", "Democratic Way", "Private Property", "Neon Duet", "Difficult Listening Hour", "So Happy Birthday", "Dance Of Electricity", "Sax Duet", "Born, Never Asked", "From The Air", "Beginning French", "Talkshow", "Cello Solo", "Blue Lagoon", "Stiff Neck", "Hothead", "Telephone Song", "Sweaters", "We've Got Four Big Clocks", "I Dreamed I Had To Take A Test", "Big Top", "It Was Up In The Mountains", "Big Science", "Red Map", "Strike", "False Documents", and many, many more!

One of the biggest records ever from The Chi-Lites – thanks to the "Oh Girl" title hit that's referenced on the cover! But apart from that ballad classic, the record's actually got a heck of a lot more to offer – some incredible harmony soul tracks that show that even during their hit years, The Chi-Lites were one of those groups who could still stay true to their roots – and still come up with amazing tunes again and again! Mainman Eugene Record is at the helm producing and writing most of the tunes on the set – and some of the best numbers have that little gentle groove that was the best Chi-soul contribution to the sound of the 70s – that lilt or bounce from the 60s, turned towards slightly more sophisticated modes for the new generation. Titles include "Being In Love", "Love Is", "Coldest Days Of My Life", "Living In the Footsteps Of Another Man", "Ain't Too Much Of Nothing", and "A Lonely Man" – and a cover of "Inner City Blues".

A wonderful 70s live album from Marvin Gaye – a set that was as expansive, ambitious, and sophisticated as his studio work from the time! The album's put together almost like a 3-sided portrait of Marvin – in that it begins with a long section of current work, moves into a "fossil medley" of older hits, then returns to "now" to showcase two of his biggest his of the time. The orchestrations are sublime – wonderfully carried off in a live setting amidst some very frantic screams from the females in the audience – and Marvin's vocals are incredible too – floating out magically amidst the crowd, and easily some of his best on record from the decade. Titles include the album's hit reading of "Distant Lover" – plus "Let's Get It On", "What's Going On", "Trouble Man", "Inner City Blues", "Distant Lover", "Keep Getting It On", and "Jan".

A wonderful 70s live album from Marvin Gaye – a set that was as expansive, ambitious, and sophisticated as his studio work from the time! The album's put together almost like a 3-sided portrait of Marvin – in that it begins with a long section of current work, moves into a "fossil medley" of older hits, then returns to "now" to showcase two of his biggest his of the time. The orchestrations are sublime – wonderfully carried off in a live setting amidst some very frantic screams from the females in the audience – and Marvin's vocals are incredible too – floating out magically amidst the crowd, and easily some of his best on record from the decade. Titles include the album's hit reading of "Distant Lover" – plus "Let's Get It On", "What's Going On", "Trouble Man", "Inner City Blues", "Distant Lover", "Keep Getting It On", and "Jan". Packaged in a cool gatefold, with a die cut image of Marvin's big silver boots!

One of the few cases in the history of pop music where the record is worth all the hype! Marvin blew everyone's mind when he unleashed this amazing suite of political soul tunes – not only just because he'd moved past the simple love songs of earlier years, but also because he was working with an amazingly complicated approach to soul music, one that would touch the work of others for years to come. David Van DePitte arranged and conducted the whole album – with soaring orchestrations mixed with smooth modern soul, in a style that reminds us a lot of the work of Charles Stepney at Cadet, who'd been doing this sort of thing for years but with less success. In the hands of Marvin Gaye, though, the material has an amazing quality – and all the disparate elements of the album are fused together in one powerful message by Marvin's incredible voice. One that we never tire of, and a record to be listened to all the way through every time. Titles include "What's Goin On", "Save The Children", "Flyin High (In The Friendly Sky)", "Mercy Mercy Me (The Ecology)", and "Inner City Blues (Make Me Wanna Holler)". This expanded edition includes the B-side tracks "God Is Love" and "Sad Tomorrow".

Free-flowing and angular reed work from Francois Jeanneau – a fair bit more soulful than you might guess from the "techniques" in the title! The setting is relaxed and almost informal, but moves along with that subtle sense of groove that often marked the best Owl Records sessions from years back – a rhythmic approach that comes from the flowing piano of Michel Graillier, the punctuated bass of JF Jenny-Clark, and the tight drum work of Aldo Romano. Jeanneau's out sometimes, but mostly just fluidly exploratory – a bit post-Coltrane, but with more space between the notes at times. Titles include "En Marge", "Autrefois Les Baleines", "Heliodanse", "Le Lynx", and "Techniques Douces".

Excellent work by Jordan – recorded right at the same time as his classic sides for the Strata East label, and with a similar feel! The group on the set is the same as heard on the Glass Bead Games album – Cedar Walton on piano, Sam Jones on bass, and Billy Higgins on drums – and it's hard to imagine a tighter 70s soul jazz ensemble, especially one with such a capacity for sounding both exploratory and open, while also managing to keep things always at a nicely swinging pace. The album's filled with original tracks by the members of the group – including "Seven Minds", "Impressions Of Scandinavia", "The House On Maple Street", and "Miss Morgan".

A seminal late 80s techno track from Kevin Saunderson, in the days before he adopted the Inner City name. Overall the sound is a bit less dark, and a bit less electro than what would become the genre's mainstay sound, but in a late night-driving vibe with a soulful undercurrent that still sounds fresh!

One of a handful of enigmatic albums cut in the early 70s by Sixto Rodriguez – a Latin-tinged singer with a style that's a bit like that of Jose Feliciano – but trippier, and with more rock and folk touches! This set's probably his best one – thanks to arrangements and production by Dennis Coffey and Mike Theodore, both of whom give the album a stoned-out feel that sets it up nicely with other work on the Sussex label at the time – and which has made this Rodriguez album a well-sought nugget for crate diggers! The album's got a lot of "deep" cuts with semi-political lyrics – including "Inner City Blues" (not Marvin's version), "Like Janis", "This Is Not A Song, It's An Outburst", and "Crucify Your Mind" – and Rodriguez seems like he must have been one hip cat back in his day! Wonderful reissue version – with great sound and a huge booklet of notes that really gets at the details of the enigmatic Rodriguez story!

Amazing sounds from the legendary Rodriguez – the brilliant 70s singer who had a groove that was equal parts soul, funk, rock, and folk – and an overall approach that was pretty darn unique! Most numbers here have some acoustic guitar over slightly funky rhythms – perfectly scored to work with Rodriguez's raspy soul vocals, which have an undeniably heartfelt style – somewhere in a space between Terry Callier and early Jose Feliciano, but very much its own mode too! This CD features great gems from Rodriguez's years at Sussex Records – including three tracks not on the albums – "Can't Get Away", "Street Boy", and "I'll Slip Away" – plus other titles that include "Sugar Man", "Cause", "I Wonder", "Like Janis", "Jane S Piddy", "I Think Of You", "Inner City Blues", and "Sandrevan Lullaby Lifestyles".

Plenty of darkness here from Phil Upchurch – those great tones and notes he worked so well back in the 70s – all with that near-perfect quality that made him one of the most in-demand players of his day! The style here is a bit different than some of Phil's previous work in Chicago – as the set was recorded on the west coast with support from players who include Joe Sample on piano, Arthur Adams on rhythm guitar, Chuck Rainey on bass, and Harvey Mason on drums. But that shift of locale hasn't dampened Phil's sound at all – and he's still getting a bit of hometown help from Donny Hathaway, who arranged a few tracks and also plays a bit of electric piano on the record. Other arrangements are by Nick DeCaro, and titles include "Love & Peace", "Darkness, Darkness", "Cold Sweat", and "Inner City Blues".

Sublime soulful sax from Grover Washington – the man who virtually reinvented the sound of the instrument for a decade! The package here brings together some of the coolest cuts from Grover's years on Kudu Records – a place that really helped him hone his sound after initial recordings in the soul jazz underground – coming up with a compressed style that worked perfectly alongside keyboards and Hammond – played here by players who include Dave Grusin, Bob James, and Richard Tee! Tracks are often long and have a snakey vibe that's always funky, but a bit more too – that special blend that was Grover's imprint at the time – and which resonates a lot stronger here than on any later work. The package is overflowing with gems – including "Loran's Dance", "The Sea Lion", "Earth Tones", "Masterpiece", "Black Frost", "Ain't No Sunshine/Theme From Man & Boy", "All The King's Horses", and "Inner City Blues".

A great groover by Reuben Wilson – and one of his best albums ever! The funky organist really takes off from the sound of his earlier Blue Note albums here – hitting a vibe that's sharper, darker, and plenty darn righteous – still small combo jazz funk, but with a depth that we wouldn't have expected a few years before! The group's a great one – with Ramon Morris laying down some great lines on tenor sax, plus Bill Hardman on trumpet, Lloyd Davis on guitar, Mickey Bass on bass, and Thomas Derrick on tightly funky drums. The album features Reuben's amazing cover of "Inner City Blues" – which has a great jagged groove that was sampled years back by Tribe Called Quest – and it also includes the groovy cut "Creampuff", plus "Never Can Say Goodbye", "Sugar", "I'll Take You There", and "The Sweet Life".

A second great look at Italy's legendary Baia Degli Angeli disco – presented in a package that's possibly even better than the first! As with that volume, this one's delivered in a book-style format – hardcover, and filled with color pages that contain images of the club in the 70s, a recent revival series, and a host of wonderful artifacts used for promotion – flyers, t-shirts, and other giveaways that are all pretty darn cool! Plus, there's notes on the club, scene, and music in both Italian and English – making for a whopping 60 pages that offer us a look at a key musical force from many years back. But the CD alone is pretty great too – filled with 16 great club classics that played well at the Baia Degli Angeli – including "You Are The Star" by Jakki, "Shu Dig Dancin" by Inner City Express, "Sing Sing" by Gaz, "Dr Doo Dah" by Kongas, "Funky Road" by The Invitations, "Crocos Dance" by Revelation, "Everybody Dance" by Bumblebee Unlimited, "I Think I'm Gonna Fall In Love" by Skyline, "Block Party" by Anthony White, "Rock Spank Freak" by High Voltage, and "Mary Hartman Mary Hartman" by The Sound Of Inner City.

One of the biggest records ever from The Chi-Lites – thanks to the "Oh Girl" title hit that's referenced on the cover! But apart from that ballad classic, the record's actually got a heck of a lot more to offer – some incredible harmony soul tracks that show that even during their hit years, The Chi-Lites were one of those groups who could still stay true to their roots – and still come up with amazing tunes again and again! Mainman Eugene Record is at the helm producing and writing most of the tunes on the set – and some of the best numbers have that little gentle groove that was the best Chi-soul contribution to the sound of the 70s – that lilt or bounce from the 60s, turned towards slightly more sophisticated modes for the new generation. Titles include "Being In Love", "Love Is", "Coldest Days Of My Life", "Living In the Footsteps Of Another Man", "Ain't Too Much Of Nothing", and "A Lonely Man" – and a cover of "Inner City Blues".

In our humble opinion, just about every track that Marvin recorded for Motown is "great" – but since this set's focused on the hits, we're happy to accept their track selection, and admit they do a pretty good job of covering most of the big bases – early solo gems, duet classics, and some of the sublime 70s numbers that really made Marvin's music sparkle! Titles include "What's Going On", "Inner City Blues", "Trouble Man", "Let's Get It On", "Distant Lover", "Got To Give It Up", "Heard It Through The Grapevine", "That's The Way Love is", and "If I Could Build My Whole World Around You".

One of the few cases in the history of pop music where the record is worth all the hype! Marvin blew everyone's mind when he unleashed this amazing suite of political soul tunes – not only just because he'd moved past the simple love songs of earlier years, but also because he was working with an amazingly complicated approach to soul music, one that would touch the work of others for years to come. David Van DePitte arranged and conducted the whole album – with soaring orchestrations mixed with smooth modern soul, in a style that reminds us a lot of the work of Charles Stepney at Cadet, who'd been doing this sort of thing for years but with less success. In the hands of Marvin Gaye, though, the material has an amazing quality – and all the disparate elements of the album are fused together in one powerful message by Marvin's incredible voice. One that we never tire of, and a record to be listened to all the way through every time. Titles include "What's Goin On", "Save The Children", "Flyin High (In The Friendly Sky)", "Mercy Mercy Me (The Ecology)", and "Inner City Blues (Make Me Wanna Holler)".

A post-Curtis Mayfield album by The Impressions – but one that crackles with the raw righteousness of Curtis' first few solo albums on Curtom! Mayfield's place here is held by the amazing Leroy Hutson – one of our favorite soul talents of the 70s, really sparkling here in the trio before moving onto his own run of classics for Curtom – with a vocal quality that's solidly soulful, and possibly even more progressively pointed than Curtis. Hutson helped co-arrange the album with Riley Hampton – and production is by Curtis Mayfield, who brings in all the right elements of fuzz and funk to really keep the group sounding hip. Titles include the classic peace song "Stop the War", plus "I Need To Belong To Someone", "Love Me", "Our Love Goes On & On", "This Love's for Real", and a cool cover of "Inner City Blues".

A killer second set from Johnny Kemp – and a great showcase for the talents of a young Teddy Riley too! Teddy helped out with the album's leadoff track – the excellent "Just Got Paid", one of those 80s soul numbers that broke big right of the box – and which has gone onto be one of the best illustrations of mainstream soul at its best from the time! And while that track's got an infectious energy that's undeniable, the record also shows Johnny Kemp in a lot more flavors – including some great ballad modes that really let his unique vocals sparkle and glisten. Titles include the great "Urban Times Medley" of "Inner City Blues/Mercy Mercy Me" – plus "Dancin With Myself", "My Only Want Is You", "One Thing Led To Another", "Feeling Without Touching", "Just Like Flying", and "Just Got Paid".

A monstrous bit of jazz funk from drummer Alphonse Mouzon – spacey tracks in a choppy style that reminds us a bit of some of the best European fusion albums from the period, but with a harder groove overall! Mini Moog and ARP trip out the sound throughout, but the underlying rhythms are nice and heavy. Lee Ritenour's on guitar, and he gets a lot of play on the record – but the main groove is Alphonse's heavy funky snakefoot! Al's drums and percussion are furiously frenetic, and he also plays a lot of keyboards – and other players include Tom Scott on tenor, Dave Grusin on clavinet, Victor Feldman on bongos and congas, and Charles Meeks on bass. A few tracks have vocals – by Marty McCall, Jackie Ward, and Caroline Willis – as well as Alphonse himself and the album's also got two very nice break-oriented tracks – "Snake Walk" and "New York City" – both with nice hard drums! Titles include a number of other good fusion groovers, like "Without A Reason", "Just Like the Sun", "Before You Leave", "Just Like The Sun", and "Mouzon Moves On".

One of a handful of enigmatic albums cut in the early 70s by Sixto Rodriguez – a Latin-tinged singer with a style that's a bit like that of Jose Feliciano, but trippier, and with more rock and folk touches! This set's probably his best one – thanks to arrangements and production by Dennis Coffey and Mike Theodore, both of whom give the album a stoned-out feel that sets it up nicely with other work on the Sussex label at the time. The album's got a lot of "deep" cuts with semi-political lyrics – including "Inner City Blues" (not Marvin's version), "Like Janis", "This Is Not A Song, It's An Outburst", and "Crucify Your Mind" – and Rodriguez seems like he must have been one hip cat back in his day!

A nice, expansive retrospective of vital releases on KMS Records – in a 4CD set that features some the greatest and most influential numbers from the early days of the pioneering Detroit dancefloor label – as well as more recent material that's just as great! Legendary producer and label founder Kevin Saunderson as at the forefront of a good deal of the tracks, which span a stunning quarter century – and features great cuts by Kreem, Reese, Keynotes, Inner City, Urban Culture, Tronikhouse, Phil Agosta, Brandon DeCarlo and more! 49 tracks on 4CDs: "Triangle Of Love" by Kreem, :The Sound", Rock To The Beat", "Bassline" and more by Reese, "The Groove That Won't Stop" and more by Kevin Saunderson, "Back Together Again", "Good Life", "Big Fun" and more by Inner City, "World Of Deep", "Velocity Funk" and more by E-Danceer, "Smooth Groove" and "Straight Outta Hell" by Tronikhouse, "Tribute To Detriot" by Phil Agosta and many more.

An early 70s classic from The Crusaders – and a record that has the group perfectly poised between the rougher soul jazz of their roots and some of the tighter styles they brought into play during the 70s! The sound here is heavily electric – thanks to great keyboards from Joe Sample and bass from Wilton Felder – but the style isn't nearly as slick as on later albums recorded under the Crusaders name, thanks to the hipper, looser feel the group were allowed while working for the Chisa label! As on the first album recorded after the group shifted their name from the Jazz Crusaders, the set features added guitar work by Larry Carlton, David T Walker, and Arthur Adams – all of whom really help to emphasize the funkier side of the tracks while Wayne Henderson's trombone and Wilton Felder's tenor remind us they've still got a great talent for jazz! Titles include "Search For Soul", "Gotta Get It On", "Look Beyond That Hill", "Ain't Gon Change A Thing", and "A Message From The Inner City".

A nice change in sound for Debbie Harry – thanks to Chic production from Nile Rodgers and Bernard Edwards – who really help the solo singer find a groove that's quite different than her work in Blondie! The style's a mixture of the funky club that Chic did so well, with elements that lean a bit more towards an early 80s rockish dancefloor – almost with a vibe that echoes some of the UK imports trickling over to these shores at the time, but with a definite New York vibe underneath! The setting gives Harry's vocals a great way to hit a more playful nature – that sound that was creeping in a bit in Blondie, but which some folks thought was wrong for the group – and Chris Stein is still on hand to bring in some street-sensitive riffing guitar. Titles include "Backfired", "Military Rap", "Oasis", "Surrender", "Chrome", "Jump Jump", and "The Jam Was Moving". CD features 3 bonus tracks – "Backfired (special long version)", "The Jam Was Moving (extended)", and "Inner City Spillover (extended)".

Heavy funk from Teena Marie – a self-produced killer for mid 80s Epic Records – done with some even bolder grooves than before, in ways that definitely show the hallmarks of the Prince generation! The 80s was a hell of a good time to be a female funk artist on her own – and Teena more than takes advantage of that fact here – stepping out with a proud, loud groove that's undeniable – very much a female-positive moment that some folks occasionally overlook in their accounts of 80s soul. All tracks are Teena originals, right on the money – and titles include "Emerald City", "Once Is Not Enough", "You So Heavy", "Lips To Find You", "Love Me Down Easy", and "Sunny Skies".

Jackie McLean opens it up at Cafe Montmartre in Copenhagen – blowing in the long, open-ended style usually associated with live dates from the club! The format here is similar to the better-known Montmartre recordings by Dexter Gordon and Johnny Griffin – strong rhythms from a trio that features Kenny Drew on piano, Bo Stief on bass, and Alex Riel on drums – topped with dominant solos from Jackie, who's blowing here in a boppish style that's a bit different from some of his more spiritual sessions of the 70s. Titles include "Das Dat", "Smile", "Parker's Mood", and "Confirmation".

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

A very cool little album from Placebo – arguably the group's most soulful session ever, and one that draws heavily from American funky jazz at the start of the 70s! The grooves are nice and tight, and keyboards are focused on the most soulful sort of riffs – not nearly as tripped out as in later years, and really doing a great job of sending home the funky rhythms – almost in a way that's sort of early CTI at the best points! Marc Moulin's genius is already firmly in place – and he handles all arrangements, plus plays Fender Rhodes, electric harpsichord, and even what sounds like a bit of moog! Titles include "Humpty Dumpty", "Aria", "Showbiz Suite", "Ball Of Eyes", "You Got Me Hummin", and "Inner City Blues".

Nicer than the usual set of beats from Guidance – a strong bunch of tunes with some nice jazzy touches, especially on keyboards! A few of the tracks are a bit too abstract, but there's some very nice numbers on here that keep a really soulful groove – keys soloing upfront, percussion snapping along, and light vocals drifting in and out of the mix. Moody and atmospheric, with tracks that include "Rival Cruise", "Inner City Sides", "Escaping Sao Paulo", "Backbone", "Luminate", and "Half Pint".

Amazing sounds from the legendary Rodriguez – the brilliant 70s singer who had a groove that was equal parts soul, funk, rock, and folk – and an overall approach that was pretty darn unique! Most numbers here have some acoustic guitar over slightly funky rhythms – perfectly scored to work with Rodriguez's raspy soul vocals, which have an undeniably heartfelt style – somewhere in a space between Terry Callier and early Jose Feliciano, but very much its own mode too! Titles include "Sugar Man", "Cause", "I Wonder", "Like Janis", "Jane S Piddy", "I Think Of You", "Inner City Blues", and "Sandrevan Lullaby Lifestyles".

One of the greatest soul groups from the UK in the 80s – a real bright spot in the years before Soul II Soul and the rise of acid jazz – and a set we'd rank right up there with Sade's best work of the time! Working Week have a very jazzy sound at their core – acoustic rhythms, and a strong commitment to jazz at the core – no surprise, given that two of the group's three members were previously involved with Weekend! The third member is the lovely Juliette Roberts – easily one of the best Brit soul singers of the time – and an artist who really helps push some of the more American influences in the group's music – while still giving the whole thing a bit of a London sparkle, too. The mix is sublime, and the whole album's great – full of classic cuts that include "Autumn Boy", "No Cure No Pay", "Sweet Nothing", "Who's Fooling Who", "Thought I'd Never See You Again", and "Venceremos". Amazing reissue – with a full bonus CD, and a whopping 15 extra tracks! Working Week were early proponents of really reworking tunes for singles, especially with jazzy elements – as you'll hear on cuts that include "Veceremos (jazz dance special 12")", "Afoche", "Storm Of Light (inst)", "Bottom End", "Stella Marina (main mix)", "Inner City Blues (urbane guerilla mix)", "Who's Fooling Who (dance version)", "Venceremos (7" bossa version)", "Stella Marina (full rap)", "Pepe's Samba (live)", and "Murphy's Law (live)".

Jazz loves Marvin Gaye – and we do too! Guess that makes us the perfect folks to rave about how wonderful this set is – a killer collection of 70s jazz funk numbers that pays homage to the great one – offering up instrumental versions of grooves originally recorded by Marvin for Motown – taking the tunes way past their original renderings with loads of sweet instrumental touches! There's still plenty of soul in the mix – given that most numbers here are done in an electrified fusion mode – and a few even feature some slight chorus vocals, too. Titles include "You Sure Love To Ball" by The JBs, "What's Going On" by Quincy Jones, "I Want You" by Gato Barbieri, "Distant Lover" by David Newman, "Don't Mess With Mr T" by Regina Carter, "When Did You Stop Loving Me" by Mongo Santamaria, "Inner City Blues" by Phil Upchurch, and "Trouble Man" by Grover Washington Jr.

A musical document of an amazing moment in the New York scene – the late 80s/early 90s wave of vogue balls – which were almost a collision of club culture with high fashion! There was a particularly rich gender-bending element to the vogue scene – and the music that accompanied it was a key part of that activity – tracks that had already risen to fame in crossover clubs from previous years, taken to new heights by DJs who provided music along with the voguing activity – in a great array of grooves from the disco years through early house music, brought together in ways that made 80s musical evolution make a heck of a lot of sense! The compilation album is a companion to the excellent book of the same name – also by Soul Jazz – and this 3CD version features tracks that include "Moment Of My Life" by Inner Life, "The Ha Dance (Ken/Lou mixx)" by Masters At Work, "Just Like A Queen (share the throne mix)" by Ellis D, "Is It All Over My Face" by Loose Joints, "Body Drill" by 2 Body's, "Love Hangover" by Diana Ross, "The Witch Doctor (dark ages mix)" by Armand Van Helden, "Break 4 Love (Spanish fly mix)" by Raze, "Din Daa Daa" by George Kranz, "X (Sound Factory mix)" by Junior Vazquez, "Love Is The Message (Tom Moulton mix)" by MFSB, "Cunty (party mix)" by Rageous Projecting Keven Aviance, "Love Thang" by First Choice, "This Brutal House" by Nitro Deluxe, "Ooh I Love It (Love Break)" by Salsoul Orchestra, and "Deep In Vogue (Banjie Realness mix)" by Malcolm McLaren. Also includes a limited bonus mix CD by Junior Vazquez – and a booklet and cool set of postcards!

Amazing – simply amazing – and one of the best LPs of 60s soul you could ever buy! Darrell Banks was one of the many lost talents laboring in Detroit during the 60s – and he was part of the city's hip underground soul scene that included monster talents like Steve Mancha and JJ Barnes, all of whom fall into the "should have been famous" category, but who have fortunately been honored for years by soul fans worldwide. This album's one of two that Banks ever issued under his own name – and it's a collection of singles that were put together by Revilot, but issued in full LP format by Atlantic. Banks mixes together raw deep soul vocals with some hipper uptown production – and the result is soul that's about as classic as "classic" could be! Every single cut's a winner, written by some of the finest talents in soul music at the time – and tracks include "Here Come The Tears", "Our Love (Is In The Pocket)", "I'm Gonna Hang My Head & Cry", "Baby What'cha Got For Me", and Banks' semi-hit, "Open The Door To Your Heart".

Damn, is this a great record! The album's not only one of the best blacksploitation soundtracks ever recorded, it's also one of James Brown's funkiest outings of the early 70s! Nearly every cut's a winner, and James gets some very funky help from The JBs, who groove hard on the best instrumental cuts, plus Lyn Collins, who sings a sock version of "Mama Feelgood" that's worth the price of the record alone! Includes the classic "Down & Out in New York City", plus "Blind Man Can See It", "Sportin' Life", "The Boss", "Dirty Harri", and "Chase".

Damn, is this a great record! The album's not only one of the best blacksploitation soundtracks ever recorded, it's also one of James Brown's funkiest outings of the early 70s! Nearly every cut's a winner, and James gets some very funky help from The JBs, who groove hard on the best instrumental cuts, plus Lyn Collins, who sings a sock version of "Mama Feelgood" that's worth the price of the record alone! Includes the classic "Down & Out in New York City", plus "Blind Man Can See It", "Sportin' Life", "The Boss", "Dirty Harri", and "Chase".The original on wax, with the split middle gatefold cover! One of James' best records from the 70's, and includes the cuts "Sportin' Life", "The Boss", "Down & Out in New York City", "Blind Man Can See It", and lots more good grooves. This is the original pressing – with a split die-cut gatefold cover in the middle!

The first solo album from folk-country singer and songwriter Catherine Irwin in a decade – and as much as we wish she'd put one out every year, we'll take what we can get – especially if the occasional record is as moving and beautiful as Little Heater! If you don't know this already, Catherine is the other principle voice of Freakwater – a band that doesn't get nearly as much credit for turning city folk onto country-leaning folk music as they've deserved over the years. There's a wearily soulful quality to Catherine's songs that sets her pretty clearly apart from other writers – which is especially impressive, given that she draws from traditional influences – and comes up with a mood that's really all her own. Recorded by Tara Jane O'Neil. Titles include "Mockingbird", "Dusty Groove" (Irwin's Dusty Springfield-inspired song that Kelly Hogan adapted into a gorgeous country soul anthem. . .and it's done by Catherine herself as a stripped-down, beautiful folk ballad), "Hoopskirt", "Sinner Saves A Saint", "We Must Also Love The Thieves", "To Break Your Heart", "Nightshade", "Pale Horse/Pale Rider", "The Whole Of The Law", "The Banks Of The Ohio" and more.

A key album in the Isley Brothers "extended funk" mode of the 70s – a style in which the group approached nearly every tune by adding in a "part 2" in order to stretch out the groove! The style here is bass-heavy funk, but less of the sort that other groups were using at the time – because the Isleys still bring in plenty of soul to the mix, and resist popping the bass too much so that they still have plenty of space for the slinky vocals that always make their work so great. Most of the titles on the album have this extended approach, and titles include "I Wanna Be With You (parts 1 & 2)", "Liquid Love (parts 1 & 2)", "Winner Takes All", "Love Comes & Goes (parts 1 & 2)", "Let's Fall In Love (parts 1 & 2)", "Let Me In Your Life (parts 1 & 2)", "Life In The City (parts 1 & 2)", "Go For What You Know", and "Mind Over Matter (parts 1 & 2)". CD also features a bonus track – "It's A Disco Night (12" disco version)".

One of our favorite albums ever – and every track is a masterpiece! The album was originally cut for the tiny Chiaroscuro label in 1977 – and it's got a sound that's unlike anything else we can think of – soaring, soulful, jazzy, and righteous – wrapped up in a blend that's never been done this perfectly again! James Mason's a player who's know for a bit of keyboard work with other artists – but here, he's really working as a collective power – bringing together a brilliant ensemble that work as one to hit some sublime sounds – much in the way that Roy Ayers could work some key magic with his groups at the same time, but with a vibe that's very different too. Players include Ayers associates Justo Almario on saxes and Philip Woo on piano – and a young Narada Michael Walden adds some excellent drums to the record – a lot more powerful and funky than on most of his own albums! Lead vocals are by Clarice Taylor – who's got this unique voice that really makes the record – proud, but sensitive at the same time too – and Mason plays lots of Fender Rhodes, polymoog, Arp, and a bit of guitar. Titles include the breakbeat classic "Funny Girl", the monster groover "Sweet Power Your Embrace", the funky "Slick City", and the massive "Free" – but every cut's a winner, and others include "Mbewe", "Rhythm Of Life", and "Dreams". This is the kind of album that makes us proud to be in business!

Nothing dixie about this classic groover from The Newports – as the tune's got a jagged rhythm on the bottom, and some sweet harmonies over the top – almost a jukebox mambo vibe, with maybe a slight touch of Crescent City – not to mention a sweet tenor solo near the end! "Don't Knock It" is a stormer from Sinner Strong – a Northern Soul number with a great girl vocal in the lead – sung with an intensity that reminds us of The Exciters!

Two funky classics – back to back on a single CD! Put The Music Where Your Mouth Is features some of the funkiest grooves recorded in the UK during the early 70s – the wicked first album by the Olympic Runners, a group who almost got their start by accident! The combo was booked to back up bluesman Jimmy Dawkins for a one-off session in London – but worked together so well in the studio, jamming before Dawkins showed up, that they decided to make it a go with a groove of their own – and this fantastic funky album is the result! The tracks are all instrumental, mostly short and midtempo – with tight changes, lots of guitar and keyboards, and a vibe that's almost in the spirit of Average White Band – but grittier and funkier overall. The title cut – "Put The Music Where Your Mouth Is" – begins with this riffed bass part that's virtually a blueprint for the BDP generation of samples – and other cuts include "Everyone A Winner", "Do it Over", "Taco Toes", "Grab It", "Sproutin Out", "Just Once Is Enough", and "Be My Main Squeeze". Out In Front features funky, fantastic grooves from this hip UK combo of the 70s – a set that's heavy on keyboards and guitars, all produced with this cool compressed feel by the mighty Mike Vernon! The sound is kind of a mix of 70s American funk from the mainstream, and some of those great British studio styles of the period – that way of comping all instruments down on a groove that you'd find in better glam and pop – turned here towards a much more soulful style for the Olympic Runners! Tracks include "Freeze on Funk", "Dump the Bump", "Panic Button", "Exit City", "Get This Thing Down", "Coucou N Flying Fish", and "Go No Further".

Here's a rule with Jr Walker singles: if it's a 2-parter, it's a winner – and this is one track that definitely proves that rule! "Hip City" snaps along with a really funky groove – scratchy guitar on the beat, setting the scene for Jr's tasty sax work, and even coming up with a catchy vocal about halfway through the track! Outta site – and one of his best!

One of the best Stevie Wonder albums ever! Stevie's moving into god-like territory here – handling a multitude of styles, all well, and crafting some of the most sophisticated soul of his generation. The album's got the same jazzy references you'll find on the best work by Donny Hathaway – best heard on the sublime track "Golden Lady", which gets our clear vote for one of the best songs ever! Just about every track is great, though – and the album features the big hits "Living For The City", "All In Love Is Fair", "Higher Ground", and "Don't You Worry 'Bout A Thing" – plus "He's Misstra Know It All", "Jesus Children Of America", and "Too High". CD has 24 bit digital remastering, with original artwork and lyrics.

Classics and rarities from the Windy City Soul scene that gravitated around the great Curtis Mayfield and his studio! The set features tracks from Curtom, plus the Thomas, Mayfield and Gemigo labels along with Paramount and Polydor – with numbers by The Fascinations, Five Stairsteps & Cubie, The Mayfield Singers, Major Lance, Chuck Ray, Ruby Jones, Notations, Linda Clifford, Gene Chandler and many more! 26 tracks in all: "Girls Are Out To Get You" by The Fascinations, "Don't Start None" by The Mayfield Singers, "You Got The Power" by Mamie P Galore, "I Spy (For The FBI)" by Jamo Thomas & His Party Brothers Orchestra, "Lucky" by The Mayfield Players, "Don't Have To Be Lying Babe" by Gene Chandler, "You Better Run" by Ruby Jones, "Can't Get Enough" by Linda Clifford and more.

The first two volumes in this legendary series – back to back in one set! Volume 1 is an amazing collection – and one that really helped completely revise our understanding of Caribbean music! The collection features a fair bit of artists with roots in the West Indies, but who made a huge impact on London's postwar immigrant population – the new rise of non-native residents who were swelling the ranks of the city in the years after the way – bringing with them new cultures, new sounds, and new traditions – with all the requisite ideas and politics that might imply! The work here often has a subtle social agenda – working through themes important to these new Londoners, yet still echoing modes of the homeland as well – often with great musical backings that's heavy on percussion, jazzy instrumentation, and very upbeat rhythms. Titles include "London Is The Place For Me" by Lord Kitchener, "I Was There" by Young Tiger, "Some Girl Something" by The Lion, "No Carnival In Britain" by Mighty Terror, "Jamaica Hurricane" by Lord Beginner, "Birth Of Ghana" by Lord Kitchener, "Victory Test Match" by Lord Beginner, "Spanish Calypso" by The Lion, "Bulldog Don't Bite Me" by Timothy, "My Landlady" by Lord Kitchener, "If You're Not White You're Black" by Lord Kitchener, and "Aguiti" by Lord Invader. Volume 2 compiles the stylistically varied music coming from the emergent West Indian and African communities of 50s and 60s London – far more than just the topical, and often quite whimsical calypso tunes of the era! Calypso is well represented, but the set includes strains of jazz, percussive instrumentals that veer towards native Trinidad and Nigeria, and loads of Caribbean grooves! It's all exceptionally bright – with some lovingly, and knowingly, naive vocals that are as sweet as they are wise. A truly wonderful compilation. Essential! 20 tracks in all: "Calypso Be" by Young Tiger, "Yolanda" by Ambrose Campbell, "Calypso Blues" by Mona Baptiste, "My Wife's Nightie" by Lord Kitchener, "Ominara" by West African Rhythm Brothers, "Gerrard Street" by King Timothy, "ET Mensah's Rolling Ball" by West African Swing Stars, "West Indian Drums" by Russ Henderson, "Gbonimawo" by Rans Boi's Ghana Highlife Band and more!

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

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

Massive mixes from the mighty Tom Moulton – a huge 4CD package that not only includes some classic lost and rare mixes from the 70s, but also a whopping 17 previously unreleased Moulton mixes, appearing here for the first time ever! If there's anyone who's ever been well-suited to reworking a Philly groove, it's Tom – given his long standing association with the soul scene in the City Of Brotherly Love – and his crucial role in pushing soul tracks into the clubs during the 70s. As with most of Tom's best work, the mixes here are richly faithful to the originals – and never try to overstate themselves at all, just focus on the best elements, and bring them to the forefront of the groove! 4CDs, 31 tracks, and Moulton remixes of "Back Stabbers" by The O'Jays, "Dirty Ol Man" by Three Degrees, "Trusting Heart" by The Trammps, "Do It Any Way You Wanna" by People's Choice, "Nights Over Egypt" by The Jones Girls, "I Don't Love You Anymore" by Teddy Pendergrass, "Year Of Decision" by Three Degrees, "Slow Motion" by Johnny Williams, "The Love I Lost" by Harold Melvin & The Blue Notes, "She's A Winner" by The Intruders, "Trammps Disco Theme/Zing Went The Strings" by The Trammps, "Let's Groove" by Archie Bell & The Drells, "The Devil Made Me Do It" by Robert Upchurch, "Love Is The Message" by MFSB, "Party Time Man" by The Futures, and "See You When I Get There" by Lou Rawls.

Damn, is this a great record! The album's not only one of the best blacksploitation soundtracks ever recorded, it's also one of James Brown's funkiest outings of the early 70s! Nearly every cut's a winner, and James gets some very funky help from The JBs, who groove hard on the best instrumental cuts, plus Lyn Collins, who sings a sock version of "Mama Feelgood" that's worth the price of the record alone! Includes the classic "Down & Out in New York City", plus "Blind Man Can See It", "Sportin' Life", "The Boss", "Dirty Harri", and "Chase".