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An assortment of work here from Italian Records – a late 70s/early 80s club label from Bologna, and one with a groove that's somewhere in the same quirky post-disco territory of Factory or Ze Records! Like both of those better-known imprints, Italian Records had a way of blending together styles from a variety of genres – bits of American club, German electronics, British production, and sounds that resonated with other aspects of the Italian scene. The end result is a bit disco, a bit new wave – cold at sometimes, soulful at others – but always very nicely "confuzed", and a key lost link in a stretch of dancefloor tradition that's only finally getting rediscovered of late! Package includes some great originals from the label's late 70s/early 80s roster, plus a few new remixes – and 2LP version features 12 tracks that include "IC Love Affair (Italian version)" and "Special Agent (female version)" by Gaz Nevada, "The Line (inst)" by Hi Fi Bros, "Thailand Seeds (vox)" and "So Evil (inst)" by AIM, "Funky Is On (extended)" by Funky Family, "Call Me Mr Telephone (vocal)" by Answering Service, "Do You Wanna Dance (LP)" and "True Love (sexual version)" by NOIA, "Blue Room (inst)" by Kirlian Camera, "Hear The Rumble" by Stupid Set, and "Please Don't Be Sad" by Fawzia.

Why do we love these Sesame Street records so much? Is it because they send us back to our childhood with fond memories, or because they're filled with such groovy music? This original Sesame Street recording is a great time with the Cookie Monster's voice singing children's songs over a variety of musical backings. 12 tracks in all, including, of course "C Is For Cookie", plus "Up & Down", "The Magic Cookie", "If I Knew You Were Coming I'd've Baked A Cake", "M-M-M Monster Meal" and "Me & Yo".

A lively bit of soca from Explainer – bubbling, jumpy, and a good version of the music that escapes many of the cliches that crept in later in the 80s. Titles include "Rasta Chick", "Not Tonite", "Heroes", "Getting Down", and "Panorama".

What can we say? Most of the biggest hits, and many of the very best tracks cut in the prime of Al Green's career – which is to say some of the very best Memphis soul ever recorded! 10 essential tracks in all, and it's just one of these Greatest Hits packages of pure, inarguable perection – with "Call Me", "Let's Stay Together", "Tired Of Being Alone", "I'm Still In Love With You", "Here I Am (Come & Take Me)", "How Can You Mend A Broken Heart", "I Can't Get Next To You", "You Ought To Be With Me", "Look What You Done For Me" and "Let's Get Married".

Al takes over the whole deal with this one – as the record features him writing, producing, arranging, and even playing lead guitar! Of course, he gets a bit of help – from Fred Jordan and Reuben Fairfax, whose names are hidden in smaller type, under the message on the back that says that the record is "something new". Well, it doesn't have Willie Mitchell, that's for dang sure. Al's voice is always nice and pretty, and the record's still got some really nice moments! Titles include "All N All", "Belle", "Loving You", "Georgia Boy", "Feels Like Summer" and "Dream".

Al Green, 1973 – what could be better? The king of Memphis soul is at the height of his powers here – working in a setting that yielded less chart hits than some of his other albums for Hi Records, but which is still as sublime as the rest – thanks to an undeniable studio magic guided by Willie Mitchell! The sound is full, but never slick or smooth – and Al's vocals are tremendous throughout (but honestly, did you expect anything less?) Titles include "Call Me (Come Back Home)", "Here I Am (Come & Take Me)", "Funny How Time Slips Away", and the beautiful "Have You Been Making Out OK?"

Al Green explores your mind – then moves onto your heart, your soul, and everything in between! The album's a classic in the best Hi Records tradition – and features Al moving into a style that's even more spiritual than before – serving up the sublime tracks "Take Me To The River" and "God Blessed Our Love", both of which seem to point strongly at the direction he would take in later years – but also managing to mix the secular with the spiritual, in a way that's as sexy as ever! Other tracks include the hit "Sha-La-La (Make Me Happy)", plus "One Nite Stand", "The City", "I'm Hooked On You", and "Stay With Me Forever".

A damn good bit of beautiful soul from Memphis that stands as one of Al Green's most enduring classics! There's nothing to say about the record except that it's beautiful – and that it's one of Al's most solid albums all the way through (although it's always hard to find fault with any of his classics from the same time.) Includes "I've Never Found A Girl", "La La For You", "Let's Stay Together", and his beautiful reading of "How Can You Mend A Broken Heart", one of the best soul covers ever!

Al Green's last secular album for Hi Records – but still a nice little cooker that's overflowing with Memphis soul! As with Green's previous set for Hi, the album's produced by Al himself, and not Willie Mitchell – in a style that's a bit rougher, chunkier, and almost funkier than the sound that Mitchell had been giving Al as the 70s moved on. Tunes have a nice snapping feel overall, and a lot heavier soul vibe than you might expect for the time – making the record a nice lost sleeper in Green's classic Hi Records catalog! Titles include "King Of All", "I Say A Little Prayer", "Happy Days", "Blow Me Down", "Lo & Behold", "Wait Here", "Truth N Time", and "To Sir With Love".

Was Clinton in jail when this one came out? We can't remember, but the back cover does say specifically "This album does not include any performances or creations by George Clinton." The band does include Fuzzy Haskins, Grady Thomas, Ken Blackmon, Calvin Simon, and others – and the sound is not bad early 80s slap-bass funk, with lots of nice electronified moments. Titles include "Phunklords", "The Witch", "Connections & Disconnections", "Call The Doctor", and "Who's A Funkadelic".

A motherlode of Al's classic soul hits from the early and mid 70's, with essential tracks like "Love & Happiness", "L-O-V-E", "Livin For You", "Full Of Fire", and "Take Me To The River". Great stuff, all sung with Al's perfect voice and great Hi Records backing.

Beautiful early work by Al! The record is a haunting mix of tender soul tracks filled with love, warmth, and Al's sexy soul. It's hard to distinguish this one from other records of his at the time, because they're all so good – but we can tell you that the album features Al's stone classic "Love & Happiness", plus the tracks "I'm Still In Love With You", "I'm Glad You're Mine", "What A Wonderful Thing Love Is", "Look What You Done For Me", and his great remake of Kris Kristofferson's "For The Good Times", a country/soul classic if there ever was one!

A wicked explosion from the legendary Syl Johnson – one of his smoking sets for Hi Records – done with solid soulful help from Willie Mitchell! Mitchell's familiar Memphis groove is firmly in place here – tightly compressed rhythms and horns, vamping perfectly for Syl's raw vocals – and the set also seems to feature Johnson smoking some grooves on harmonica too – but in a way that's still a lot more soul than blues! There's a few great funky moments on the set – a nice reminder of the Twinight years – and tracks include "I Only Have Love", "Take Me To The River", "Bustin Up Or Busin Out", "'Bout To Make Me Leave Home", "That's Just My Luck", "It Ain't Easy", "Steppin Out", and "Watch What You Do To Me".

A sweet and righteous 70s soul groover – the one and only album from the team of Freddie and Debra Thompson, a musical duo who really make things happen on their own! The set's a combination of jazzy disco tunes and sweeter, mellower soul numbers – with Freddie working lots of fast licks on trumpet and guitar, while trading off lead vocals with Debra. There's a great underground club approach to most of the tracks – kind of that post-Mizell Brothers style that was filtering around through the indie scene at lot at the end of the 70s. Great work overall, made even the more so through some honest indie production – with titles that include "Sweet Jazz Music", "Jam On", "Interlude", "Steady", "Sweet Music", and "Outside".

Great work from OV Wright – one of the few singers who was still strongly carrying the Hi Records torch at the end of the 70s! Although Wright had sometimes been bluesier in the past, his late 70s Hi sides have a much mellower, mature sort of feel – a ripening of the seeds in his Backbeat label work, taken to nice new heights at Hi in the hands of Willie Mitchell. Mitchell's backings have a feel that's somewhat like his work with Al Green, but OV's style of singing is completely different – not as overtly sexy, but really personal in approach. Titles include "That's The Way I Feel About Cha", "A Little More Time", "I Don't Know Why", "No Easy Way To Say Goodbye", "Let's Straighten It Out", and "The Bottom Line".

OV Wright's getting a bit smooth, but still sounding great – working here with really full backings from Willie Mitchell, at a level that's a bit more upbeat than his previous album at Hi Records! There's a bit more of a groove on these tunes, but most are still miles from the dancefloor – still in that time-tested OV Wright style, with echoes of earlier Memphis eras in the background, but a tighter, more mature approach upfront. Given the date of the record, the overall sound is surprising – more mid 70s Hi Records than anything else – but that's also the charm of the set, and proof that Hi could still hold strong when other labels were moving forward, perhaps a bit too quickly. Titles include "Mirror Of My Soul", "I'm Gonna Stay", "It's Cold Without Your Love", "We're Still Together", and "I Found Peace".

Wickedly hip work from Cannonball Adderley – and one of his real standout sessions for Capitol Records in the 60s! The set lives up to its "Africa" promise right from the very first note – and features a set of loud, proud tunes that really bring out the righteous sounds of this generation of new liberation – tunes that sparkle with lead alto and soprano sax from Cannon, but which really draw even more energy from the whole collective of musicians on the record – a hip lineup led by HB Barnum, who also did all the arrangements for the set! The result is a record that's unlike any of Adderley's other albums – from some of the evocative snakey lines on the top, to the hip mix of 60s Cali soul and African percussion on the bottom. And oh yeah, David Axelrod produced the whole thing too! Titles include "Gumba Gumba", "Up & At It", "Hamba Nami", "Ndolima", and "Lehadima".

Mod 60s all the way – as the film stars Michael York, Rita Tushingham, and Lynn Redgrave! The score is by John Addison, and actually more than half of the numbers are vocal ones – featuring the girls singing in series of whimsical tunes that are sort of a 60s take on the Merry Old England style. There's a few nice mod numbers, though – including the really great "Day Out", which kind of tipples and soars in a nice way, sounding almost like a lost tune from El Records! Other tracks include "Carnaby Street", "While I'm Still Young", "New Clothes", "Jabberwock March", "Baby Don't Go", "Can't Help Laughing", and "Pie Fight".

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

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

Excellent compilation of some of the best tracks recorded by the Alegre All Stars. One of the greatest recording projects in Latin music, the Alegre All Stars was a loose collective of great talents like Charlie Palmieri, Bobby Rodriguez, Chombo, Jo Quijano, Kako, Johnny Pacheco, and lots of others – and the records they made were laidback sessions full of lots of fire, communication, and laughter. Few groups matched their ability to lay down a tightly swinging Latin groove, and you'll hear the proof on tracks like "Manteca", "Estoy Buscando A Kako", "El Sopon", and "El Manicero".

One of the great records that Jug made for Prestige after he got out of the jug at the end of the 60's. George Freeman's on guitar, and his playing is positively smokin'. Harold Mabern plays piano and electric piano, and Idris Muhammad's on drums. With the funky cut "The Black Cat" (where George goes crazy on the solo), plus the nice groover "Jug Eyes".

A very groovy album of tracks that sounds extremely different from the mid-60's hits by the Association, but which also still shows their genius for production and for sensitive interpretation of sweet pop material. The whole thing's a lot more sophisticated than some of their other records – with a bit of a jazzy feel in parts, and a complicated singer/songwriter sound in others. The album includes their great version of Jimmy Webb's "P.F. Sloan", plus the cuts "Silver Morning", "A Funny Kind Of Song", "The First Sound", "Seven Virgins", and the goofy "That's Racin".

One of a few records cut by this surprisingly popular Australian group – temporary ex-pats to the US scene, featuring Errol Buddle on tenor and Bryce Rhode on piano, two of the country's greatest jazz players of the 50s and 60s. Given the sympatico between the Aussie and LA mode of the 50s – this Hollywood-recorded session fits right in with other styles of the Bethlehem catalog at the time. Tracks are short and tightly arranged – and tunes include "So Nice", "Few Get It", "That Old Feeling", "Koala", and "Lover Man".

What can we say? This is one of the greatest soul soundtracks ever! In a market that was dominated by the big-selling Shaft and Superfly albums, Roy slipped in this masterful blend of jazzy vibes and wah wah funk that's easily one of the best-composed records of the blacksploitation genre! The album's much more unified than your average funky soundtrack – and each track moves between styles that you'd hear on any of Roy's great albums from the time. There's heavy funk on the track "Brawling Broads", cool vibes and electric piano on "Aragon", off-beat jazz on "Coffy Sauna", and great soul on cuts like "Coffy Is The Color" and "Coffy Baby". Wonderful all the way through – and another jewel in the already-big crown of the great Roy Ayers!

JR's cut some records that have a rootsier feel – but this one features smooth modern arrangements and production by Phil Medley and Buddy Scott. The set begins with an uptempo clubby remake of "Taste of Honey", and also features a nicely grooving take on "Stella By Starlight". Other tracks include "Million To One", "Live Love & Play", "Love & Conversation", and "The Coming Of Your Love".

Quite an unusual record from New Orleans R&B legend Dave Bartholomew – arranger, producer, and trumpeter – coming off here with more of a jazz sound than on his usual records! Despite the "New Orleans" and "House Party" in the title, the album's actually set of complicated larger group arrangements – wonderful stuff with some strongly pronounced solos, blowing forth in styles that almost evoke some of the best crime jazz soundtracks of the time. Wardell Quezerque joined Bartholomew in putting together the album, and titles include "Sultan's Dream (parts 1 & 2)", "Concerto For Alto Sax (parts 1 & 2)", "Portrait Of A Drummer", and "A Cool One".

Stunning soul from the great Joe Bataan – a really groundbreaking mix of modes that's right up there with the best of the Spanish Harlem scene of the late 60s! The album is Joe Bataan's debut for the Fania Records label – and the start of an incendiary run of Latin classics that forever changed the face of the New York scene – a mindblowing mix of Latin rhythms and soul-based inspiration, served up in a mix of English and Spanish language lyrics! The title track is a sublime cover of Curtis Mayfield's "Gypsy Woman" – one that's even more heartbreaking than the original – and other titles include "Ordinary Guy", Sugar Guaguanco", "So Fine", "Fuego", and the groovy "Chickie's Trombone" – a tight little jammer that shows that Joe's group also drew plenty of inspiration from the descarga scene too.

A great little record that's kind of a prequel for Rubber Soul – filled with short, tuneful tracks that would flower more deeply on that later album – and often served up with a bit more wit and adult consciousness than in any of the group's earlier records! One of those records that we always forget about, until we drop the needle – the revel in its sweet blend of Beatles modes on tracks that include "Help", "The Night Before", "You've Got To Hide Your Love Away", "I've Just Seen A Face", "Yesterday", "Act Naturally", "It's Only Love", "Ticket To Ride", and "I Need You". Original 14 track UK lineup – much different than the American release!

An obscure session from Plas Johnson – recording here away from Capitol, under another name, quite possibly for contractual reasons! The album's got the gentle groove of Plas' best records of the time – deep deep tenor sax solos, recorded in a moody, echoey, late nite setting – all augmented by small combo instrumentation that includes vibes by Emil Richards, bass by Jimmy Bond, and organ by Bert Kendrix. Titles include "Summit Ridge Drive", "Beecher's Bossa Nova", "May Cees Blues", "The Spirited Gim Blues", and "Sax Fifth Avenue".

Sweetly jazzy soul from George Benson – a key classic from his great run at Warner Brothers Records, and the kind of record that George did better than anyone else at the time! Back in the 60s, we'd never have guessed that Benson's sweetly crackling vocals would dominate popular jazz more than his great guitar work – but hearing George here, it's clear that his soul work could easily outshine his guitar, especially when set up in a package like this! Atlantic soul maestro Arif Mardin produced, and as with his Chaka Khan productions for Warner at the time, he gives Benson a clean, clear modern style that's certainly pop, but also a lot less cluttered and clunky than modes used with other artists at the time. George is mostly on the vocal tip for the set, and Kashif helps out on one track – no surprise, given that Kashif was soon to walk down the path that Benson had started with his first few vocal albums in the 70s. Titles include "Love Will Come Again", "Use Me", "Late At Night", "In Search Of A Dream", "Lady Love Me", "In Your Eyes", and "Never Too Far To Fall".

A great little sleeper from the Blackbyrds – a record that never gets as much due as their earlier records that have a hard funky feel, but offer instead a tasty batch of smoother jazz funk numbers that show the group still continuing to grow. Donald Byrd's still at the production helm – and the band's got a nice spacey sound that almost reflects directions that other funk groups, like Kool & The Gang, were taking at the time. The best case of this is the massive cut "Mysterious Vibes", a slow jazzy stepper that was sampled to great fame a few years back – but you can also hear it on the cuts "Supernatural Feeling", "Soft & Easy", and "Dreaming About You".

A very strange one for Stax! The record came out on Stax's Truth subsidiary – and like most of the records on that imprint, it had a religious bent to it. However, unlike most of the other acts on the label, who were Memphis based, this one appears to be British – and also followers of Guru Maharaji Ji! The sound of the best tracks is almost in a Hair-type mode – kind of groovy, with large chorus vocals, and a slight bit of funk in the arrangements. The album sports two great instrumental funky tunes called "Alive & Well" and "Foxfire" – and other tracks include "Oh Maharaj Ji", "Satguru Has Come", "At The Feet Of The Master", "Arti", and "Rock Me Maharaj Ji".

Sublime work from Blue Magic – a record that still has them singing in the sweet harmony sound of earlier records, but which also picks up a fuller sound and a bit of a groove – thanks to stone Philly arrangements by Norman Harris and Ron "Have Mercy" Kersey! A number of tracks add in a bit of moog that sound surprisingly great next to the group's harmonies – electrifying them a bit without overwhelming them – and letting Blue Magic step way past their fragile harmony roots into the forefront of Philly group soul at the time! Tracks include the groovers "We're On The Right Track" and "Magic Of The Blue", the ballads "Chasing Rainbows" and "Loneliest House on the Block", plus "What's Come Over Me", which is a duet between the group and Margie Joseph.

Amazing sounds from drummer Roy Brooks – very spiritual work that's quite a change from his straighter soul jazz of the 60s! The album's right up there with Roy's better-known (though still rare) live performance at Town Hall – or his classic Free Slave session – and like those records, this one explodes with a raw power that's really amazing – heavy drums from Brooks, driving a collective of righteous musicians that really stretch out in the free space of the recording! The lineup shifts a bit from track to track, but there's a cohesive spirit to the record that comes from Brooks' bold spirit – a joyous, soulful, post-Coltrane sort of energy – let loose in the lead, to guide the talents of players who include John Stubblefield on tenor, Sonny Fortune on alto, Olu Dara and Cecil Bridgewater on trumpets, Hamiet Bluiett on baritone sax, Joe Bonner on piano, and Reggie Workman on bass. Eddie Jefferson makes an appearance on two tracks – singing much hipper than on any of his better-known recordings of the period – and titles include "The Last Prophet", "M'Jumbe", "Eboness", "The Smart Set", and "Eboness (Kwanza)".

After starting his career out with his funky group The Organizers, Odell Brown moved into a phase where he would act as the lead soloist in front of larger funky groups – like the one that appears on this record. The band was put together by Gene Barge, and they have a great soulful Cadet records sound – perfect for Brown's searing organ style. The solos are very lean, and have a nice nice strong quality to them. The band features Chisoul players like Morris Jennings, Henry Gibson, Louis Satterfield, Phil Upchurch, and Donald Myrick. A few tracks have ensemble vocals – and titles include "Nitty Gritty", "Free Delivery", "Come Together", "Free & Easy", and "Sign Of The Ram". Funky and hip!

One of the best of Odell Brown's groovy organ jazz albums for Cadet from the late 60's. His groovy little combo – which features Artee "Duke" Payne on sax, Tommy Purvis on tenor, Phil Upchurch on bass, and Master Henry Gibson on conga – grooves nicely through short "combo" oriented organ cuts like "Get Off My Back", "Mirar, Mirar", "She's Coming My Way", "Tough Tip", and "No More Water In The Well". They play with a mix of funkiness and virtuosity, and with the same sense of humor as contemporary groups like the Jack McDuff quartet or Young-Holt Unlimited. Nice stuff, and one of the harder records to find by them.

A sweet live set from Dave Brubeck's early years on Columbia Records – recorded in New York, but with all the calculated cool and modern tones Brubeck first forged in the San Francisco scene of the 50s! Paul Desmond's on board on alto sax – really getting a lot of space to stretch out on the album's extended performances, with a haunting, floating tone that really sends us. Remaining members include Bob Bates on bass, and Joe Dodge on drums – and tracks include "Lover", "Love Walked In", "The Duke", "Little Girl Blue", and "Fare Thee Well Annabelle".

Not necessarily a record of interviews – as the title might make you think – but one of Bruce's best records for Fantasy! The album's got some very edgey bits that approximate his live material, and which take the best part of his cleaner act, and transfer them well to record. Titles include "Dijinni In The Candy Store", "Enchanting Transylvania", "Interview With Dr Sholem Stein", "The Interview", "All Broadway Musicals Sound The Same, Especially The Baritones", and "The March Of High Fidelity".

Great work from Ray – and very much in the formula of his best Cadet records! The formula is simple – stick in 2 great original groovers, and fill the record with a few other covers of pop and jazz standards. Thanks to Richard Evans, who produced the sessions for Cadet, the grooves are great on nearly every track – and Ray sounds better here than on any other sides that we remember! In this case the originals are "Stick With It" and "Sound Ray" – both hard piano jams with a great downbeat and a nice dose of funk. Covers include "Song For My Father", "Con Alma", "Look Of Love", and "Scarborough Fair" – all very very nice!

An overlooked gem from the revival years of Impulse Records – a set recorded in the mid 80s, but one that easily matches the soul and spirituality of the label's best work from the late 60s and early 70s! Pianist Henry Butler steps out here with a strong musical vision – one colored by his own bold McCoy Tyner-esque lines on the piano – and embellished by great solo work from Freddie Hubbard on trumpet and Azar Lawrence on tenor. Rhythm is by Charlie Haden on bass and Billy Higgins on drums – who definitely match Butler's pulsating, modal-influenced groove here – and additional instrumentation includes bits of flute and oboe, plus a string quartet on 2 numbers – coming off with Alice Coltrane-like brilliance! Great proof that righteous jazz was still being made in the 80s – with titles that include "Fivin Around", "LA Samba", "Improvisation On An Afghan Theme", "Giant Steps", and "Butler's Blues".

Amazing soul from one of the greats of the 60s! This album was one of the first that Jerry cut for Mercury – where he'd begun working with the young team of Kenny Gamble and Leon Huff to completely rework the earlier sound he'd forged at Vee Jay Records. The album's still got Jerry singing in his wonderfully rich deep voice – hence the "iceman" in the title – but the songs have a bit more of a groove to them, with a soaring soul style that really lifts Jerry up, and pushes him onto a whole new generation of soul fans. The best proof of this are the hits "Hey Western Union Man" and "Never Give You Up" – but the whole album's great, and like most of Jerry's LPs, it's got many wonderful tunes hiding underneath the hits. Titles include "How Can I Get In Touch With You", "Can't Forget About You Baby", "Are You Happy", and "Go Away Find Yourself" – as well as other hits like "Lost" and "Only The Strong Survive".

A collection that Milestone issued in 1973 that includes tracks from three of Byrd's early 60s Bossa Nova records – Latin Impressions, Bossa Nova Pelos Passaros and Once More/Charlie Byrd's Bossa Nova. Byrd and his unamplified guitar are joined by Keter Betts on bass and Bill Reichenbach on drums and Latin percussion; other players are also featured. The tracks are mainly composed by the big names of Bossa Nova – Jobim, Powell, Caymmi, Lyra – but there are several Byrd originals as well such as "Socegadamente (Softly)", "Cancao De Nimar Para Carol", "Three Note Samba", and "Ela Me Deixou". Other tracks include "Samba Triste", "Desafinado", "Saudade Da Bahia", "Carnaval" and many others.

Candido cut sooo many great Latin records over the years, spanning a wide range of styles, we have a hard time deciding which we love the best. We like to think this may be his best album from the early part of his career, specifically because it features the master conga player amidst a tight jazz lineup, who leave him plenty of room to solo and just plain get down doing his thing. Dick Hyman's on organ, Joe Puma's on guitar, and Ernie Royal's on trumpet, with George Duvivier and Charlie Persip in the rhythm section. 8 tracks in all, including "Afro Blue", "Caravan", "Softly But Blue", "Blue Lou", "Blue Prelude", "Bongo Baby", "Blue Dirge" and "Candido Cocktail".

A wonderful combination of music and sound effects – very similar to some of the bigger label work from artists like Jack Fascinato or Dean Elliott over at Capitol Records in the late 50s, but an even more sonically-sensitive session done for the smaller Cook imprint! Jimmy Carroll leads an assortment of vibes, bells, harps, toys, percussion, and other odd instruments – all in a weird and playful mix of melodies that almost come across like mini-cartoons in sound! There's not much in the way of larger or conventional instrumentation – which makes Jimmy's work even different than bigger label experiments like this – and the recording quality from Cook really makes all the odd sounds come through with great clarity!

Wickedly fuzzy funk! Jimmy Castor recorded in a lot of different styles during the 70s – but the one he used on this album is still his best! The record's a non-stop guitar-heavy batch of classic funk tracks – and it features the storming break track "It's Just Begun", the funky goofy "Troglodyte", and plenty other nice moments like "Bad", "LTD", "I Promise To Remember", and "Psychee". Fuzzy guitar meets heavy drums meets some of the most insane lyrics ever on a mainstream funk album! One of our most requested records – and for good reason! If you've ever bought a lousy Jimmy Castor album – throw it away, and buy this one!

Heavy soul with a good dose of rock – the trademark sound of The Chambers Brothers, heard here during the height of their Columbia Records years! Although previously more of a folksy sort of combo, the group really took off during their time with Columbia – hitting whole new strides in their sound with a rich blend of contemporary influences, all supported by a deeply soulful sound that was rooted in tradition. The approach is heard most famously on their classic "Time Has Come Today" – but the whole set's great, and other cuts include the massively funky "Funky" – plus the tracks "Love Peace & Happiness", "Let's Do It", "In The Midnight Hour", "I Can't Turn You Loose", and "All Strung Out Over You".

Easily one of the best Ray Charles albums on ABC – if not one of the best Ray Charles albums of all-time. Ray's in his C&W mode here, but it's a bit more restrained than on other LPs, and is replaced here by a sophisticated style that works perfectly with his heartbreaking voice. Proof that Ray knew what he was doing when he said that he didn't want to cut any more crazy R&B records! Titles include "Teardrops From My Eyes", "Cry", "A Tear Fell", "You've Got Me Crying Again", and "I Cried For You".

Great work by this legendary hard swinging band – an early 60s American album issued on Atlantic Records, in the years before the Clark Boland Band's legendary run on MPS! Despite the early date, the album's got all the core elements of the band's sound in place – soaring rhythms, sharp-edged frontlines, and some great solo work by players who include Benny Bailey, Derek Humble, Jimmy Woode, Shahib Shihab, Idrees Sulieman, and Fats Sadi – coming together in a brilliant trans-Atlantic meeting of jazz talents! Tracks include "Long Note Blues", "Speedy Reeds", "Sonor", and "Om Mani Padme Hum".

One of the greatest records ever by this hip jazz ensemble – and one of their most unique! The record has the band grooving hard through two incredible suites of Latin music – Gary McFarland's "Latin Kaleidoscope" and Francy Boland's "Cuban Fever" – each of which takes up a side of the record, both driving the band to new solo heights with a very hip edge! Players include the usual cream of the crop of European jazz residents – like Sahib Shihab, Dusko Goykovich, Jimmy Deuchar, Phil Woods, Tony Coe, and Benny Bailey – and the tracks include "Uno Graso De Areia", "A Rosa Negra", "Olhos Negros", "Cara Bruja", and "Fiebre Cuban". Wonderful all the way through – and always a treasure! One of the shining jewels in the crown of MPS – and a Gilles P classic all the way through!

Otis Clay recorded live in Japan – working before a very appreciative audience, and hitting grooves that are right up there with his best 70s work on Hi Records! The sound is a bit looser than Hi – which is a nice change – and Clay's really in command on the set, leading the group with a strong sense of personality, and serving up great vocals with a strong deep soul feel. The grooves are filled with classic Memphis soul moments – and titles titles include "Hard Working Woman", "Ellie", "Trying To Live My Life Without You", "His Precious Love", "Love & Happiness", "Here I Am Baby", and "Love Don't Love Nobody".

One of Buck Clayton's famous Vogue Records recordings from the Parisian scene of the postwar years – simple, focused work that offers a great illustration of his unique talents on the trumpet! The group's a French combo – with Jean-Claude Pelletier on piano and organ, Jean Bonal on guitar, Roland Lobligeois on bass, and Kansas Fields on drums – and all players really lay back and let Clayton take the lead on most of the record – which allows Buck to sparkle on tracks that include "Premier Bal", "Tenderly", "Lonesome", "Rosetta", "Louise", "Stompin At The Savoy", "I'm In The Mood For Love", and "Black & Blue".

A rare late date from Arnett Cobb – and one of the few to match the groove of his Prestige Records sessions! Also features Junior Mance on piano, plus guest trumpet from Joe Newman and trombone from Al grey.

One of the great lost 70s sides on the Xanadu label – and a nice set of bop material from west coast pianist Dolo Coker. Coker had a brief resurgence in the mid 70s, thanks to records like this, and he's grouped nicely with Harold Land on tenor, Blue Mitchell on trumpet, Leroy Vinnegar on bass, and Frank Butler on drums. The tracks are long, with a distinct focus on Coker's hard-handed piano style. Titles include "Smack Up", "Dolo", "Affair In Havana", and "Field Day".

One of Cy Coleman's best records from the 60s – a swinging little soundtrack that's awash in all his best jazzy tendencies – the modes first honed up at the Playboy Penthouse, and expanded even more on a range of 60s scores! The film's a bit forgotten – a goofy 60s comedy starring Dick Van Dyke, James Garner, Elke Sommer, and Angie Dickenson – but the music lives on wonderfully, and has a jazzy flourish with a bit of kitsch – somewhere in the Mancini style of the 60s, but with some wonderful floating piano lines by Cy himself! Orchestrations are by Bob Bain and Russ Garcia – both very groovy talents – and titles include "Nikki", "Parisian Women", "So Long Baby", "Kick Off Your Shoes", and "Inspector Revisited".

One of the last classic efforts from the team of Willie Colon and Ruben Blades – a subtle but effective set of tracks that showcases both Blades' increasingly political concerns and the growing pan-Latin sound of Colon! The core approach is still mostly salsa, but you can hear plenty of other influences in the mix as well – all carried out with a sound that's simpler, and almost rootsier than some of Colon or Blades' more high-concept records at the end of the 70s. Tracks are all longish, with some good instrumental moments, and titles include "Tiburon", "Te Estan Buscando", "El Telefonito", "Y Deja", "Ligia Elena", "De Que", and "Madame Kalalu".

Amazing stuff – and one of Chris Connor's greatest records for Atlantic! There's a depth to this set that passes some of her others from the time – partially because the album features a very hip set of tunes, written by Ornette Coleman, Norman Mapp, John Lewis, Peggy Lee, and others – and partially because the album has some sublime arrangements by Al Cohn that easily shift between darkness and swinging brilliance – all with that perfect sense of balance that Connor brought to her best sessions. Titles include "I'm Gonna Go Fishin", "Jump For Joy", "Night Bird", "Opportunity Please Knock", "Milano", "Day Dream", "Free Spirits", and a great version of "Lonely Woman"!

Elvis Costello's early 80s foray into 60s Nashville and otherwise country-indebted songbooks – and it's a nice one! Even on his tighter, blistering punk era records, Elvis demonstrated not only the voice, but a great ear for the roots and soul that came before him. He showed some soul love quite profoundly a year-or-so earlier on the Get Happy album, and here he works in a similarly respectful mode for classic country, countrypolitan and even a little bit of honky tonk. Produced by Billy Sherrill – who was absolutely essential in the country crossover sound of the 60s and 70s. It's a bit overlooked, but we love this record! Includes "Why Don't You Love Me (Lie You Used To Do)", "I'm Your Toy", "Tonight The Bottle Let Me Down", "Sittin' And Thinkin'", "Honey Hush", "How Much I Lied" and more.

An overlooked late 60s treasure on Blue Note – one of the few new groups to work on the label at the time, and an up-and-coming modern combo from Detroit! The album's quite unique for a number of reasons – not just because the group was a little-known new signing to the label, but also because the work is quite far-reaching at times – some of the most free-thinking jazz recorded for Blue Note during the time, with a sense of boldness that almost stretches back to Jackie McLean's first few records of the new thing years, or a sense of lyrical invention that's a bit like Wayne Shorter when he made a shift towards the outside. Some numbers are awash in fast colors and changes, while others are a bit more in the pocket, with echoes of soul jazz – but the whole thing's incredibly fresh and free, a wonderful little record that only gets better and better over the years! The group features pianist Kenny Cox as the leader, plus Charles Moore on trumpet, Leon Henderson on tenor, Ron Brooks on bass, and Danny Spencer on drums. Titles include "Mystique", "You", "Trance Dance", "Eclipse", and "Number Four".

Tremendous work from trumpeter Ted Curson – and one of the few records that shows up often in his oeuvre, but which is every bit as great as his rare and expensive albums! Side one features killer material from Curson's group with tenorist Bill Barron – three cuts recorded in Paris in 1964, all of them razor-sharp, and overflowing with modern ideas – tracks that include "Searchin For The Blues", "Desolation", and "Light Blue". Side two features Curson in another European mode – working as the bold soloist in front of a larger Yugoslavian big band – with searing readings of his classics "Straight Ice", "Flip Top", and "Quicksand".

One of the harder to find Sammy records, and one of the best! Sammy takes Mel Torme's drippy "California Suite", an extended work about how great California is – and he turns it into an extended chat between Sammy and a friend in a bar in New York City, with twists and turns that are way jazzier, and way hipper than Mel's version, which features a whiny woman playing the part of the New Yorker. Side two of the record features some great sensitive versions of Mel Torme tunes – like "Welcome To The Club", "A Stranger Called The Blues", and "Willow Road". Arrangements by Marty Paich, too – one of Mel's best arrangers!

A late 70s gem from Tyrone's years on Columbia Records – one that shows both sides of his talents for the label! The set starts out with an extended clubby groover called "Get On Up (Disco)" – a bumping sort of number that's clearly trying to push him into Johnnie Taylor territory, and which comes off surprisingly well. But even better are the rest of the tracks on the set – which update Tyrone's older Brunswick sound with a smoother, more sophisticated sort of style – still recorded in Chicago, and with some southern soul traces – but usually done in a warmer midtempo groove, with excellent lead vocals and great backing from The Haywood Sisters. Titles include "It's You It's You", "Bunky", "All I Ever Need", "I Can't Go On This Way", and "Can't Help But Say".

A really unusual chapter in the career of Jackie DeShannon – an obscure early 70s album done for Capitol Records! The core album is done at a level that mixes both Jackie's soul and post-folk leanings of the late 60s – a style that's sophisticated and often a bit righteous, but also handled with some smoother arrangements designed to give the work a more mature quality. Themes run a bit deeper than Jackie's better-known early pop – and although a number of the tracks are covers, DeShannon wraps them up beautifully alongside her own original tunes for a really unified record. Titles include "Salinas", "Bad Water", "Ease Your Pain", "West Virginia Mine", "Show Me", "Keep Me Warm", and "Sunny Days".

An album that signifies its style right from the first track – which echoes Martin Denny's classic "Quiet Village", but which then rolls into a set of sprightly arrangements from Julius Wechter – who almost brings an A&M Records vibe to the album! Tunes are mostly Denny remakes of 60s instrumental themes, plus a few originals co-penned with Wechter – and there's some nice percussion bits that lurk in the background next to Denny's piano – which mostly rings out in the lead. Titles include "The Shadow Of Your Smile", "Lara's Theme", "Strangers In The Night", "You Don't Have To Say You Love Me", "Patch Of Blue", "Promises", and "Snowflakes In Summer".

A real smoker from Lou Donaldson's years at Cadet – and an organ-driven session with Big John Patton on the Hammond! The record's got a slightly lighter groove than the Patton/Donaldson albums for Blue Note – but that's the great thing about the record, as it's kind of a nice bridge between the lyricism of Donaldson's non-organ records, and the harder sound of his Hammond sessions. Ray Crawford plays guitar in the group, and most tracks feature conga from the little-known Cleopas Mopedido Morris – quite possibly a more famous player, working here under a "nom-de-date". Other players include the great Bill Dixon on drums, who gives the record a nicely fluid feel – and Bill Hardman on trumpet, making a really unique appearance here. Titles include "Possum Head", "Midnight Soul", "man With A Horn", and "Persimmon Tree".

If this is the New Lee Dorsey – we forgot all about the old one! The album's one of Lee's best early records – a killer batch of soul tracks that struts out of the New Orleans scene with some amazingly jagged production from Allen Toussaint and Marshall Sehorn, very much in the best style of the Crescent City scene at the time. Lee's vocals are amazing, very pyrotechnic – and the tracks on the set are all original numbers that crackle with a uniquely earthy kind of electricity. Titles include "Workin in the Coal Mine", "Ride Your Pony", and "Get Out of My Life, Woman", which has been sampled by so many people in so many versions. Lots of other great stuff, too, like "A Little Dab a Do Ya", "Mexico", and "Holy Cow".

Sweetly smooth grooving from The Dramatics – tighter than their years at Stax, but still tremendous stuff vocally – with a sound that mixes the rough and the sweet like nobody else! The album features works by a number of different producers – including group members Ron Banks and LJ Reynolds, plus Michael Henderson and Don Davis, whose talents are perhaps most responsible for the strength of any of the group's best records. David Van De Pitte does a bit of arranging on the record too – bringing in some of the fuller, clubbier styles he's known for. The album features a sublime mellow harmony track entitled "I Get Carried Away" – plus the tunes "Be My Girl", "I Can't Get Over You", "Stand Up & Move", "Finger Fever", "After This Dance", and "Say The Word".

The aura here is spreading wide – as George Duke really grows his sound strongly from the early years, and takes hold of a whole host of cosmic influences! The record's one of Duke's biggest for MPS – a beautiful balance between jazzy fusion and spacey soul – served up with help from an array of great singers and players from the west coast scene. Duke's still stretching out plenty on keyboards – but never in a too-jamming, too-indulgent way – always sensitive enough to never mess up the groove, and always with a sense of space and timing that never showed up this well in his later records. Players include Airto on percussion, Alphonso Johnson on bass, Ndugu Chancler on drums, and Duke himself on more keyboards than we could ever hope to list here! Vocals are by Sylvia St James, Gee Janzen, and Kathy Woehrle – as well as Duke himself – and titles include "Foosh", "For Love", "Uncle Remus", "Fools", "The Aura", "Enchinda's Arf", "Floop De Loop", and "Dawn".

A pivotal album in the development of the use of the Hammond organ in jazz – and Charles Earland's first exposure to a large audience! Durign the 60s, Charles was bumping around the Philly scene quite a bit – and recorded some small group indie sides that first gave a glimpse of his unique sound on the organ. But with this record, Earland really broke out wide – and hit a huge audience that made him one of the most in-demand players of the early 70s! The Earland touch is summed up perfectly here – a really fluid approach to the keys that shakes loose the clunkier styles of older Hammond players, and goes for a tightened-up groove that puts equal emphasis on rhythm and melodic improvisation – in a way that's always made Charles' records some of the best jazz dancers to come out of Prestige. Earland has an amazing way of completely transforming a tune – taking a familiar melody, but riffing on it extensively – slowly expanding it through almost modal progressions – until the tune opens up into a long extended jazzy groove! Proof of this is the album's sublime 11 minute version of "More Today Than Yesterday" – a solid stepper that never gets old – and other tunes include "Black Talk", "The Mighty Burner", "Here Comes Charlie", and "Aquarius". Oh, and players include Virgil Jones, Houston Person, Melvin Sparks, and Idris Muhammed – an all-star lineup, but tightly guided by Charles as if they were his own working group!

We have to admit we find these records to be a lot of fun, but no one could possibly buy the spiel in the liner notes about their "effect on the imagination and subconscious of the listener". Two extended soundscapes here: side one is "The Psychologically Ultimate Seashore", side two is the "Optimum Aviary". As the notes say, play at any speed, for different psychological effects.

A great little back to basics effort from the Fania All Stars – one that shakes off some of the electric and clubby influences that were creeping in during their years at Columbia, and returns the group to a mostly salsa groove! The sound here is bold and bright throughout – traditional at one level, but colored with modern inflections and a deepening sense of sophistication that may well make it one of the group's most cohesive records ever! Members of the ensemble include Roberto Roena, Johnny Pacheco, Luie Ramirez, and Papo Lucca – and vocals are by Celia Cruz, Adalberto Santiago, Ruben Blades, Santos Colon, Hector Lavoe, and Cheo Feliciano. Titles include "Dinamita", "Dime", "Ublabadu", "Cuando Despiertes", "La Borinquena", and "Encantigo".

One of our favorite records ever from the legendary Art Farmer/Benny Golson Jazztet – and a rare later date, recorded after their more famous albums for Chess! The lineup here is a bit unusual – in that a young Grachan Moncur III is in the combo on trombone – really adding some deep, soulful tones to the music – in ways that are very different than his famous Blue Note performances – but which really shape the sound of the music here wonderfully! Harold Mabern's on piano – again bringing in a different feel to this record for the group, with some lyrical undercurrents that are beautiful – and the rest of the lineup features Roy McCurdy on drums and Herb Lewis on bass – in addition to the sublime trumpet of Art Farmer and tenor of Benny Golson. Titles include one of the best versions of "Along Came Betty" that we've ever heard – plus the tracks "Domino", "Another Git Together", "Reggie", and "Space Station.

One of the best records ever cut by funky sax man Joe Farrell! The album's got a stripped down, choppy groove – virtually the blueprint for later 70s funk of this type, and played perfectly by Farrell and a very hip quartet lineup! Players include Joe on soprano and tenor sax, Herbie Hancock on keyboards, Stanley Clarke on bass, and Jack DeJohnette on drums – playing with a very angular sense of rhythm that really dives the record! The record's got a tight combo sound that's far more energetic than most CTI jazz from the time – and titles include the great cut "Great Gorge", which has a tight modal sample groove, plus "Times Lie", "Bass Folk Song", and "Moon Germs".

Killer CTI work from Joe Farrell – with grooves so sharp you could cut your trousers on them! Farrell's angular reed style is in perfect form here – grooving with a small group that includes Herbie Hancock on piano, Joe Beck on guitar, Steve Gadd on drums, and Don Alias on percussion – a combo that's got a harder, tighter feel than most CTI groups – a key reason why Joe's records of this time are so legendary! The album features a fantastic version of Stevie Wonder's "Too High" – one that breaks all over the beginning with these riffs by Farrell, then grooves into a CTI electric funk mode for about 13 minutes. All tracks are long – and other tracks include "Hurricane Jane", "Geo Blue", "Penny Arcade", and "Cloud Cream".

Oh, the feeling here is more than good – as the album's a stunner from the legendary Jose Feliciano, the kind of set that never fails to make us smile when we hear it! Jose's really evolved here from his earliest days – going even farther past the genius of his late 60s work for RCA, and picking up a host of more righteous soul influences in the process – really coming up with a great sound for the 70s! The record is filled with surprising gems – the kind of cuts that will make you go "damn!", and have you digging for other Feliciano records from the same time. Highlights include an excellent remake of Stevie Wonder's "Golden Lady", with loads of jazzy changes – plus the originals "Virgo", "Hard Times In El Barrio", and his classic theme to "Chico and the Man" – a cut that sounds especially great on this album, in ways we never appreciated when watching the show. Other numbers include "Essence Of Love", "Stay With Me", "You're No Good", and "I've Got To Convince Myself".

The hard wailing trumpet of Maynard Ferguson gets a perfect showcase on this obscure MPS session from the 60s – a record that offers up a nice bridge between his earlier albums on Roulette, and his more famous funk sides for Columbia! The sound here is mostly acoustic, but definitely hard-grooving – in ways that are similar to other MPS big band projects of the period, such as records by Gustav Brom, or the Clarke Boland Big Band! Like the latter, there's a great ensemble working with Maynard here – and even though he's the main soloist, the sense of the larger ensemble always helps shape the sound nicely. Deiter Reith plays piano on the date – and arrangements are by Slide Hampton, Don Sebesky, Bill Holman, Willie Maiden, and Mike Abene – on cuts that include a great reading of Slide Hampton's "Got The Spirit", plus the tracks "Knarf", "Ole", "Dancing Nitely", and "Whisper Not".

An amazing album by the great guitarist Eddie Fisher – and completely unlike his later funk records! Eddie plays stripped down jazz with a small combo that includes organ by Robert Selby, bass by Paul Jackson, and some rhythm guitar by Phil Westmoreland – and the twin-guitar approach creates this super-dope style that's light years ahead of its time, with a sophistication that points the way to later mid 70s work on labels like CTI and Kudu! Eddie's guitar work is an incredible exercise in spareness and soulfulness – best heard on the fantastic "Third Cup", a long drawn-out jazz stepper that's got to be heard to be believed. The cut's been a favorite on the Chicago jazz stepper's scene for years – and it alone is worth the price of the album. However, the record features some other wonderful stuff – like a sublime version of "Shadow Of Your Smile" that runs for a bubbling 12 minutes – plus the originals "Shut Up", "Scorched Earth", and "Two By Two".

What can we say? We've heard this one a million times, it sold over a million copies – but it's still incredible! The record is Roberta's first, and it features her in a mellow trio format, augmented by some occasional larger arrangements by William Fischer. At most points, though, the sound is incredibly spare – with vocals that are much more soulful than any of Roberta's other records, and a sound that hints at Nina Simone, but which has it's own jazzy groove and deep sense of feeling. Includes the classic funky version of "Compared To What", plus "Angelitos Negros", "Our Ages Our Our Hearts", and "Tryin Times".

One of the handful of blue comedy records Foxx cut for King before making it big and getting into it with Lamont, Grady and Esther on TV. Recorded live at his own club in Hollywood, and as you can imagine, the humor is pretty raw, and we wouldn't have it any other way.

Magical early work from Erroll Garner – a 10" LP featuring sides done for Savoy Records, all in that wonderfully evocative, wonderfully fluid Garner style! There's a bit less rhythmic force here than on some of Erroll's more famous work in the 50s, and most tunes have a very gentle, late nite sort of feel. Titles include "Moon Glow", "Confessin", "I Want A Little Girl", "She's Funny That Way", and "Stormy Weather".

Kind of a dream combination in one little album – especially if you dig breezy bossa from the 60s! Back in 1966, Verve Records got the great idea of teaming up its (then) biggest Brazilian imports – vocalist Astrud Gilberto and organist Walter Wanderley – both of whom were selling plenty at the time! Astrud's lovely vocals are matched beautifully with the lean, rhythmic bossa grooves of Wanderley's trio – and the result is a record that's near-perfect in execution. Most of the tracks are quite short, as is the record itself – but it's a perfectly concentrated dose of the Verve bossa sound at its best, with tracks that include "Portuguese Washerwoman", "Tu Meu Delirio", "A Certain Smile", "Call Me", "Here's That Rainy Day", "A Certain Sadness", "It's A Lovely Day Today", and a vocal version of Wanderley's big hit "Summer Samba", redone here as "So Nice"!