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An overlooked gem from the early years of Schema Records – a straight jazz set that crackles with classic modal energy! The group's really a great one – and features some tremendous trumpet from Fabrizio Bosso – plus trombone from Gianluca Petrella, piano from Stefano Bollani, and saxes from Gaetano Partipilo – mostly all players who've really gone on to make a name for themselves after this set! There's a really classic feel here – somewhere between the Italian jazz of the Basso/Valdambrini group, and some of the best hardbop on Saba/MPS. The group falls into none of the cliches that you might expect – quite a surprise at the mid 90s time of the session, but a bit more common in today's club jazz era – and the production here is wonderful too, just right for the 60s feel of the record. Titles include "Mr. Kenyatta", "Argento D'Africa", "Unit 7", "Mira", and "Modal Convention".

A German disco extravaganza – and a much-needed look at one of the strongest 70s club outlets next to the US! At first glance, the mix of Germany and disco might seem like an unlikely fit – but the German scene gave the world some key disco hits back in the 70s, as well as a huge variety of underground and lesser-known gems! The German approach was often a bit heavier on electronics than the American one – modes that were slightly pulled from prog and fusion that was bubbling around earlier in the decade, then fused into a cleaner, leaner, more rhythmic groove – and often topped with vocals in English, sometimes by American vocalists living overseas. Even the older German instrumentalists got in on the act – and the 70s saw both jazz and easy players hitting a disco groove with a new approach to their music! This great collection – put together by the folks who gave us The In Kraut – showcases all these aspects of the scene, and brings together a few hits with a lot more obscure gems – many of which we've never seen on this side of the Atlantic before. Titles include "Opium" by Peter Thomas, "Philodendron" by Veronika Fischer, "Illegal Toys" by Alfie Khan Sound Orchestra, "Lovemachine" by Supermax, "You've Got The Power (parts 1 & 2)" by Su Kramer, "Fashion Pack" by Amanda Lear, "Weider Zusammen" by Marianne Rosenberg, "Sex World" by Berry Lipman, "Get On The Funk Train (part 1)" by Munich Machine, "I Can't Move No Mountains" by James Last, "Treat Me Like A Woman" by Jackie Carter, "Feedback Brother" by Peter Herbholzheimer Rhythm Combination & Brass, "Disco Cisco" by Carsten Bohn's Bandstand, and "Love In A Sleeper" by Silver Convention.

Three groundbreaking albums from reedman Jan Garbarek – packaged in a single set! First up is Sart – a great example of the way that ECM helped to bring the voice of the Scandinavian jazz underground to the world at large – as the album's a key showcase for the talents of budding young modernists Jan Garbarek, Bobo Stenson, Terje Rypdal, and Arild Andersen! The record's got a really unusual quality that's quite different from the more jamming fusion or freer jazz of the mid European scene – a sense that plays with space between the notes as much as it does the sounds of the individual instruments, and which seems perfectly cast for the newer style of jazz recording pioneered by ECM. Garbarek plays tenor, bass, and flute on the record; Stenson is on electric and acoustic piano; Rypdal on guitar, Andersen on acoustic (but amplified?) bass, and Jon Christensen is on drums. Titles include "IRR", "Song Of Space", "Close Enough For Jazz", "Sart", and "Fountain Of Tears". Witchi Tai To is warm and wonderful sounds from Garbarek – and a record that brings together so many strands at once! There's of course the obvious atmospherics you might expect from a 70s set on ECM – but there's also some sharply modern moments too – that harder sound that the label was endorsing while helping to shape the world of European jazz on both sides of the fence. And there's even some surprisingly soulful moments, too – not just from Jan's work on tenor and soprano sax, but also from the piano of Bobo Stenson – which rings out wonderfully amidst subtle bass from Palle Danielsson and drums from Jon Christensen. Titles include a great version of Jim Pepper's "Witchi Tai To", plus "Hasta Siempre", "AIR", and "Desireless". Dansere is one of the highlights of saxophonist Jan Garbarek at ECM – and a set that has him working with the well-matched lineup of Bobo Stenson on piano, Palle Danielsson on bass, and Jon Christensen on drums! The shape of the songs is a bit looser than before, but Garbarek and Stenson turn out to be perfect in the setting – opening up, stretching out, and breaking down convention – yet also never losing themselves in self-indulgence either. Titles include "Dansere", "Lokk", "Fris", "Til Vennene", and "Skrik & Hyl".

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

A really special record from a really special group – one of two sublime 70s gems from Azteca – a wicked blend of jazz, funk, Latin, and soul – all put together by a young Coke Escovedo! Coke's ostensibly the leader of the group, but there's also a richly collaborative feel going on – a style that brings together jazz players like Tom Harrell on trumpet, Mel Martin on saxes, George Muribus on Fender Rhodes, and Flip Nunez on organ – and Latin players like Victor Pantoja on congas, Coke Escovedo on timbales, and Pete Escovedo on added percussion. In fact, the set's a key early example of the strength of the Escovedo family – and like their best later efforts, the set really stretches out and pushes the boundaries of conventional genres. There's also some great guest work from Lenny White on drums, Mike Nock on keyboards, and Neal Schon on guitars – and vocals are by a range of singers who really keep things fresh. Titles include "Red Onions", "Mazatlan", "Whatcha Gonna Do", "Mexicana, Mexicana", and "Love Is A Stranger".

A really cool little album – recorded by Detroit vibist Jack Brokensha at the end of the 60s, working with a combo called the Baroqe-Adelics, whose instrumentation includes electric harpsichord and fuzzy guitar! The album's the kind of small label jazz side we treasure – and includes a mix of funky and groovy numbers with some straighter tracks that demonstrate Brokensha's vibes in a more conventional jazz context. Includes the great original groovers "Boogaloo", "Opus Barokus", "Twistrist", and "Priscilla" – plus versions of "My Favorite Things", "On Green Dolphin Street", and "Tast Of Honey".

A near-lost chapter in the career of Jean Carn – her one and only album recorded for Motown, cut in the early 80s with production by Norman Connors! Oddly, although Connors was the first producer to give Jean Carn a chance back in the 70s as a smooth soul vocalist – finding her voice a perfect fit for his warm and jazzy arrangements – here, he's going for a style that's a bit more conventionally soul-based, with more guitars and mainstream production than you'd expect. Jean's still pretty great, though, showing why she was one of the best female soul artists of the modern soul era – on tunes that include "My Baby Loves Me", "Don't Let Me Slip Away", "Steady On My Mind", "Completeness", and "Better To Me".

Unusual material from Chico Hamilton – recorded around the same time as his groundbreaking work for Pacific Jazz – but for the smaller Crown/Modern label in LA! The format's a bit unusual, and changes a bit throughout the record – showing Chico's already-strong ear for creative formats that go way beyond conventional jazz. There are 2 numbers at the end of side 2 featuring Chico in the familiar chamber jazz lineup, with Fred Katz on cello and Paul Horn on reeds – "Crazy Cats" and "Lord Randall". The rest of the tracks feature the stringed instruments handling most of the melody, in a free floating style that's got the same "modern yet swinging" approach of some of Jimmy Giuffre's best late 50s recordings, which ultimately places it in a similar context to the chamber jazz numbers. Titles include "Porch Light", "Autumn Landscape", "Uyawda", "Lolly Pop", "Pluck It", "Katz Up", "Crazy Cats", and "Lord Randall".

The brass is definitely dynamic here – arcing, curving, and grooving in the best Sharps & Flats mode! The group's at their late 60s best on this well-titled set – really moving past conventional big band styles, and hitting a very groovy sound throughout – one that rivals the best instrumental modes at A&M Records in the US, or some of the tighter jazzy projects from MPS too! There's a fair bit of horns in the lineup, but the arrangements are nice and lean – and the players really come together strongly – never trying to blow things too out of line, and really letting the rhythms direct their hip energy here. Titles include "Moneypenny Goes For Broke", "Scarborough Fair/Canticle", "Fool On The Hill", "Hold On I'm Comin", "Amen", "Gumba Gumba", "Wave", and "The Look Of Love".

Warm and wonderful work from Phyllis Hyman – a set that's a lot more mainstream soul than her music of a few years before, but she delivers it with a strong commitment to the more complicated styles of her roots! The sound here is full and proud – a nice extension of the work that Hyman did with Norman Connors, and not nearly as much in a disco mode as it might be, given the time of the release. And although many of the tracks are somewhat upbeat, they've got a bit more complication in the rhythms than conventional club – thanks to the presence of jazz players who include Herbie Hancock, Monty Alexander, Azar Lawrence, and others. The best production on the record is by T Life, and the team of Skip Scarborough and Larry Alexander – and titles include "Kiss You All Over", "Living Inside Your Love", "Soon Come Again", "Here's That Rainy Day", "So Strange", "Lookin For A Lovin", and "Be Careful (How You Treat My Love)". CD features some great bonus tracks too – including "Love Is Free", "Sing A Song", "Sweet Music", "Kiss You All Over (12" mix)", and "So Strange (12" mix)".

The first record we've heard from this Japanese collective in many years – and a set that definitely marks a real maturation in their music! The album was inspired by the tragic events of the 2011 nuclear catastrophe in Japan – and shows a decidedly deeper side of J's Bee's music – one that has a lot more jazz than before, and a strong ear for earthy soundscapes – almost an ECM-like quality that's mixed with a few of their more conventional groove! These guys aren't aiming for the dancefloor this time around – and instead, the whole album is woven together as a rich tapestry – with strong thought for the way the sounds and songs emerge, letting all the messages resonate strongly. The set features some especially great sax solos and Fender Rhodes – plus soulful vocals from Yuko Kawasaki – on titles that include "Lights", "Strange Supper", "Blind In The Rye", "Chuck It All", "Laika Blanca Music", "Angel Puke", and "Under The Sun".

Great tones here from guitarist Lage Lund – a player who works in these rich, chromatic modes that are really beautiful – and strung together here with a nicely gentle swing! The rhythms of the tunes are quite fresh – not what you'd expect for a conventional jazz guitar record – yet also not the obtuse kinds than can sometimes hold back a tone-obsessed album either. All of which means that Lund's found a way to swing these tunes, yet still explore his sound as well – ringing out these beautiful notes amidst the company of Pete Rende on piano, Ben Street on bass, and Marcus Gilmore on drums. Titles include "Strangely", "Circus Island", "Soliloquy", "Party Of One", and "All Across The City".

A brilliant album that proves that even at the height of his success, Lee Morgan was one of the freest thinkers on Blue Note – always coming up with fresh ideas that continued to grow his talents! The first cut on the album is keep roof of that fact – the title track "Search For The New Land" – a beautiful 16 minute exploration of modal jazz themes, with an unusual stop/start device as a means of ushering solos by different bandmates – including Wayne Shorter on tenor, Grant Green on guitar, and Herbie Hancock on piano! The approach is unlike anything that Morgan ever did before – and unlike most of other Blue Note as well – and it also benefits from great rhythmic help from Reggie Workman on bass and Billy Higgins on drums. Other tunes are a bit more conventional, but still pretty special – like some of Morgan's inventive work on the Rajah albums – with titles that include "The Joker", "Melancholee", "Mr. Kenyatta" and "Morgan The Pirate".

The Rascals' last album for Atlantic Records – and a set that has the combo relying more than ever on the talents of organist Felix Cavaliere! There's a great New York blend of rock and soul going on in the set – a confident, soaring sort of approach to the tunes that's past caring what any simple genre conventions might mean, or which tracks might end up on radio – even though most of the tunes here are still plenty darn catchy. The piano and organ lines on the album snap along nicely, as do some of the drums (especially on the break cut "You Don't Know") – and although group member Eddie Brigati had left by the time the album was released, he still sings lead on a few tracks. Titles include the jazzy "Nama", which is a wonderful surprise – plus "You Don't Know", "Right On", "Ready For Love", "Fortunes", "Glory Glory", and "The Letter".

Two rare soundtracks from the quirky Bruno Spoerri – both of them a very cool blend of jazzy reeds and lots of electric touches! Teddy Bear is from the early 80s, and is one of the later records we've heard from Spoerri – a set that definitely bears the pedigree of its time, through cool use of Lyricon, Prophet, and Emulator keyboards! Bruno often blows his sax into the keys, then processes the reedlines in a very cool way – with a style that's more soulful than usual keyboard styles of the time, given the acoustic roots of the sounds – yet which still has a great 80s vibe overall. Things are almost in the offbeat style of some of the instrumentals from the German AtaTak scene of the time – and titles include "Too Much Smell", "The Silliest Song", "Reanimation Of A Filmmaker", "Small Talk", "The Arrest Of Groucho", and "Baby Baby". Lilith is from a few years before, and has a more conventional 70s approach – great electric piano lines over tight rhythms, with Bruno handling both tenor and Lyricon – on tunes that mix sound library funk with some of the weirder, more offbeat sounds you might know from other Spoerri soundtracks. Titles include "Singing In The Dark", "Winding Down", "The Dance", "Prepare For The Show", "Train", "Going To Work", and "Fanfare".

Two rare soundtracks from the quirky Bruno Spoerri – both of them a very cool blend of jazzy reeds and lots of electric touches! Teddy Bear is from the early 80s, and is one of the later records we've heard from Spoerri – a set that definitely bears the pedigree of its time, through cool use of Lyricon, Prophet, and Emulator keyboards! Bruno often blows his sax into the keys, then processes the reedlines in a very cool way – with a style that's more soulful than usual keyboard styles of the time, given the acoustic roots of the sounds – yet which still has a great 80s vibe overall. Things are almost in the offbeat style of some of the instrumentals from the German AtaTak scene of the time – and titles include "Too Much Smell", "The Silliest Song", "Reanimation Of A Filmmaker", "Small Talk", "The Arrest Of Groucho", and "Baby Baby". Lilith is from a few years before, and has a more conventional 70s approach – great electric piano lines over tight rhythms, with Bruno handling both tenor and Lyricon – on tunes that mix sound library funk with some of the weirder, more offbeat sounds you might know from other Spoerri soundtracks. Titles include "Singing In The Dark", "Winding Down", "The Dance", "Prepare For The Show", "Train", "Going To Work", and "Fanfare".

A really great quartet that works together beautifully here – bass from Joelle Leandre, trombone from Sebi Tramontana, violin from Carlos Zingaro, and drums from Paul Lovens – all well-trained players for open improvisations like this – coming together in ways that recall some of the best FMP live work from the 70s! The music is free, but never without consideration – sounds that come out of nowhere, yet somehow fit perfectly together – although in ways that go far beyond conventional jazz, even that of the avant variety. The set features five tracks – titled "Sudo 1", "Sudo 2", and so on!

Amazing music from the legendary Barney Wilen – previously unreleased African recordings, done around the same time as his classic Moshi album! Although Wilen was best known as a hardbop giant in both his later and early years, the late 60s also marked a period of really rich experimentation – when Barney, like some of his other contemporaries, was really trying to break out of any traditional formats for jazz – and really take chances with new musical hybrids! In this case, Wilen's blowing with a whole host of different musicians from various African scenes – especially Zanzibar – mixing his own incredible tenor and other reeds with regional percussion, unusual instrumentation, vocals, and even some trippier electric touches too – all served up in a blend of music and sounds that's as much an ethnographic project as it is a conventional jazz album. This special set features 80 minutes of previously-unreleased tracks that never made it onto the first Moshi album – which was issued by Saravah Records in the early 70s – rare tracks that have come from Wilen's private archives, and which are every bit as amazing as the music on the original album. Titles include "Black Locomotive", "Moshi Too","Fullys In The Bush", "Serenade For Africa", "Barka De Sala", "Fete A Tam II", "Leave Before The Gospel", "Zombizar Reloaded", "Bumba Ciagalo", and "Kira Burundi".

Amazing music from the legendary Barney Wilen – previously unreleased African recordings, done around the same time as his classic Moshi album! Although Wilen was best known as a hardbop giant in both his later and early years, the late 60s also marked a period of really rich experimentation – when Barney, like some of his other contemporaries, was really trying to break out of any traditional formats for jazz – and really take chances with new musical hybrids! In this case, Wilen's blowing with a whole host of different musicians from various African scenes – especially Zanzibar – mixing his own incredible tenor and other reeds with regional percussion, unusual instrumentation, vocals, and even some trippier electric touches too – all served up in a blend of music and sounds that's as much an ethnographic project as it is a conventional jazz album. This special set features 80 minutes of previously-unreleased tracks that never made it onto the first Moshi album – which was issued by Saravah Records in the early 70s – rare tracks that have come from Wilen's private archives, and which are every bit as amazing as the music on the original album. Titles include "Black Locomotive", "Moshi Too","Fullys In The Bush", "Serenade For Africa", "Barka De Sala", "Fete A Tam II", "Leave Before The Gospel", "Zombizar Reloaded", "Bumba Ciagalo", and "Kira Burundi".

A killer killer compilation – the sort we've been dying to own for years! It's a well known fact that there's plenty of funky nuggets hidden amidst 70s gospel recordings – massive grooves and break-heavy tracks that rank right up there with the best indie funk from the same time. Yet tracking down these tunes has always been plenty tough – given that most gospel records sold in different circles, had different distribution, and often are less easy to decipher for the crate digger than more conventional funk and soul. Enter the folks at Numero – who have really gone all out this time around, and dug through piles and piles of rare gospel records to come up with a whopping batch of great tracks! This set is definitely ground zero for getting into funky gospel – and it's filled with far more obscure work than the Soul Gospel set on Soul Jazz – all indie numbers from small labels that only got minor distribution at the time. As usual with Numero, the notes and package match the soulful depth and righteousness of the music – and the set is one of the most perfectly wrapped-up genre compilations we've ever seen! 18 tracks in all – with titles that include "I Thank The Lord" by Mighty Voices Of Wonder, "This Old World Is Going Down" by The Modulations, "Look Where He Brought Us" by The Apostles Of Music, "Thoughs (sic) Were The Days" by LaVice & Company, "Bad Situation" by 5 Spiritual Tones, "God Been Good To Me" by Mighty Walker Brothers, "O Yes My Lord" by Voices Of Conquest, "We Don't Love Enough" by Triumphs, "Heaven On Their Minds" by Sam Taylor, "God Will Dry My Weeping Eyes" by Horace Family, and "I Call Him" by Masonic Wonders.

The first full length compilation from NYC Trust – including cuts from limited vinyl releases and some previously unreleased bits – with tracks by Greenwood Rhythm Coalition, Midnight Lab Band, Frente Cumbiero, Doctor Stereo and Beverly Road All Stars! It's modern dancefloor grooves with global roots – the kind that eschews trends, yet has a contemporary feel. It was mostly recorded from 2009-2012, and built to last – this will still sound fresh a decade down the road! Includes "Secret Stash (Fumaca Jazz Remix)", "Over Easy's: and "Guajira '78" and more by Greenwood Rhythm Coalition, "Pavita" and "Unconvention" by Frente Cumbiero, "Moonwalking", "The Forgotten Chant (Revisted by Los Fulanos)" and more by Midnight Lab Band, "La Cumbia Perdida" by Doctor Stereo, "Murder She Wrote" by Beverley Road All Stars and more.

Webster Lewis takes off wonderfully here – finding a completely unique groove that's equal parts club, soul, and fusion! The album's almost as sublime as Roy Ayers' best from the time – and has a similar balance that's perfectly done – a depth of thought that goes way beyond conventional club, and a willingness to bring in lots more complicated elements from various jazz sources. Webster's keyboards are nicely out front in the set – and there's some great vocals by a female chorus who sweeten up the sound nicely, but not in ways that are too commercial or cliched. The whole thing's great – a righteous masterpiece through and through – and tracks include "Hideaway", "There's A Happy Feeling", "Touch My Love", "Believe In Yourself", "Barbara Ann", and "Loving". CD features 4 bonus tracks too "Wee Church", "Japanese Umbrella", "Spirit Of Love", and "Touch My Love (alt mix)".

A brilliant album that proves that even at the height of his success, Lee Morgan was one of the freest thinkers on Blue Note – always coming up with fresh ideas that continued to grow his talents! The first cut on the album is keep roof of that fact – the title track "Search For The New Land" – a beautiful 16 minute exploration of modal jazz themes, with an unusual stop/start device as a means of ushering solos by different bandmates – including Wayne Shorter on tenor, Grant Green on guitar, and Herbie Hancock on piano! The approach is unlike anything that Morgan ever did before – and unlike most of other Blue Note as well – and it also benefits from great rhythmic help from Reggie Workman on bass and Billy Higgins on drums. Other tunes are a bit more conventional, but still pretty special – like some of Morgan's inventive work on the Rajah albums – with titles that include "The Joker", "Melancholee", "Mr. Kenyatta" and "Morgan The Pirate".

A really special record from a really special group – one of two sublime 70s gems from Azteca – a wicked blend of jazz, funk, Latin, and soul – all put together by a young Coke Escovedo! Coke's ostensibly the leader of the group, but there's also a richly collaborative feel going on – a style that brings together jazz players like Tom Harrell on trumpet, Mel Martin on saxes, George Muribus on Fender Rhodes, and Flip Nunez on organ – and Latin players like Victor Pantoja on congas, Coke Escovedo on timbales, and Pete Escovedo on added percussion. In fact, the set's a key early example of the strength of the Escovedo family – and like their best later efforts, the set really stretches out and pushes the boundaries of conventional genres. There's also some great guest work from Lenny White on drums, Mike Nock on keyboards, and Neal Schon on guitars – and vocals are by a range of singers who really keep things fresh. Titles include "Red Onions", "Mazatlan", "Whatcha Gonna Do", "Mexicana, Mexicana", and "Love Is A Stranger". CD also features a bonus single mix of "Whatcha Gonna Do".

A pair of obscure soundtracks, both with a western theme – fitting together surprisingly well on a single CD! Hud is one of Paul Newman's finest early moments on screen – scored beautifully here by Elmer Bernstein, who shows a surprisingly deft ear for guitar lines – spun out in ways that are almost more folksy than the usual soundtrack of this type, and a real change from some of the jazzier, more dramatic Bernstein work of the late 50s. The CD features both film tracks that are mostly guitar, and alternates for a chamber orchestra – plus a few bonus tracks by other artists too. Titles include "Flower Bed", "Quarantine Sign", "Lonely Corrals", "Bonaparte's Retreat", and "Prelude". Next is Nathan Van Cleve's score for The Lonely Man – an obscure Anthony Perkins western, with a sweet title track sung by Tennessee Ernie Ford! The instrumental numbers carry the spirit of the theme nicely – a warm, slightly romanticized Hollywood version of the west – often using acoustic guitar and harmonica alongside more conventional orchestrations. Titles include "Losing The Stallion", "The Trek", "The Prodigal Father", "The Deserted Bonanza", and "Death At The Bonanza".

Another wonderful album from this groundbreaking Chicago combo! The group's now a permanent quartet, with the extremely great addition of Jeff Parker on guitar and electronics – and the album continues to push the boundaries of Rob Mazurek's unique sound. The liner notes on the back refer to a NY Times article that described the group's sound as "painterly", and to us, that's a pretty fair estimation of their sound. The group work in wide washes of sound – structured around conventional jazz traditions, but touched with a more abstract approach derived from their connection to the Chicago rock and experimental scene. Titles include "Warm Marsh", "Elroy", "504", "The World Has Changed", "Woman In Motion", and "Antiquity".

Gentle grooves from the KPM sound library – two great albums back to back on a single CD! First up is Girl On The Beach – soft, seductive grooves from James Clarke – delivered with a nicely mature feel, and one that really takes Easy up a few notches from conventional 60s forms! There's a subtle Brit feel here that's miles beyond American work of this nature – a way of giving things a gentle sort of funk, even when mellow – thanks to stepping electric bass in the background, really making magic behind some vibes, guitar, and jazzy horns. There's almost a Euro erotic feel to some numbers – and titles include "Little Racer", "Girl On The Beach", "Edge Of The World", "Running Away", "Feet In The Sea", and "Nocturne". Gentle Sounds is a set that definitely lives up to its title – and a record that features great KPM work from Johnny Pearson, Keith Mansfield, and Steve Gray! There's some subtle rhythms on most tracks – grooves, but gentle ones – often with some Latin or bossa percussion elements in the mix, blended with other instrumentation that includes acoustic guitar, flute, trumpet, and marimbas – all delivered with a beautifully mature style. This is grown-up late 60s Easy at its best – the kind that hit the best acoustics of the FM dial, for adults who really knew how to choose their sounds wisely. Titles include "The End Of The Day", "Please Mr Pearson", "Quiet Interlude", "Soft Sell", "Floating Bossa", and "Quiet Waltz".

A real stroke of genius from pianist Andrew Hill – and a surprising one too! After an initial legacy of groundbreaking experimental sides for Blue Note, Hill returns to his "grass roots" on this excellent session of straight ahead, fairly funky, soul jazz piano tunes! In the notes, Hill claims a desire to get back to the people – and in a really unusual turn, he shakes off his previous modernist trappings and goes for territory that's much more in the mode of Lee Morgan, Horace Silver, or Hank Mobley on Blue Note! Yet despite this turn, and amidst some more conventional arrangements, Andrew's work on piano is still quite dark and moody – filled with beautiful clashing lines and haunting off-beat changes that open up the session way more than you'd expect! Booker Ervin joins in on tenor – on what would become one of his last recordings – and the rest of the group includes Lee Morgan, Ron Carter, and Freddie Waits – all plenty darn hip players who really get the unusual balance of soul jazz and modernism that Hill's going for here! Tracks include "Mira", "Bayou Red", "Venture Inward", "Grass Roots", and "Soul Special".

These guys just keep getting better and better with each new record – really transforming the older sound of New Orleans into a rich new groove – one that's not just jazz, street music, or conventional brass band – but a really unique hybrid of all those modes and more! The album begins with a great intro piece, spoken by Big Al over grooves from the group – who then really let loose on the album's instrumental tracks that follow – mixing melody and rhythm effortlessly with their work on horns and percussion, and coming across with a style that's even funkier than before – further proof that their placement on the Tru Thoughts album is a mighty good thing! Titles include "Shot Gun Joe", "Tombstone Intro", "We Goin Make It", "Big Girl", "Take It To The House", and "Milwaukee Fat".

Warm and wonderful work from Phyllis Hyman – a set that's a lot more mainstream soul than her music of a few years before, but one that still shows a strong commitment to the more complicated styles of her roots! The sound here is full and proud – a nice extension of the work that Hyman did with Norman Connors, and not nearly as much in a disco mode as it might be, given the time of the release. And although many of the tracks are somewhat upbeat, they've got a bit more complication in the rhythms than conventional club – thanks to the presence of jazz players who include Herbie Hancock, Monty Alexander, Azar Lawrence, and others. The best production on the record is by T Life, and the team of Skip Scarborough and Larry Alexander – and titles include "Kiss You All Over", "Living Inside Your Love", "Soon Come Again", "Here's That Rainy Day", "Lookin For A Lovin", and "Be Careful (How You Treat My Love)".

An incredible album of Latin funk – the only-ever record from this west coast combo headed by the legendary Benny Velarde! Benny's a name that you might recognize from earlier, straighter Latin dates for Fantasy – or for countless studio work during the 70s – but here, he's really got a talent for a funky 70s groove – and manages to hit a unique space that's somewhere between conventional funk, west coast Latin, and some of the hippest blacksploitation grooves of the time! The album also features some under-credited work from Lalo Schifrin – who was tied to the project somehow (Velarde claims that the record was killed by MGM upon release because of a feud with Lalo) – but never really fully credited in the notes. There's a definite link here with some of Schifrin's funkier soundtrack of the period – a great blend of jazzier elements and headier 70s funk – all served up with a tightness that has made the record one of our favorite funky treasures for years! Titles include "The Ghetto", "Latin Slide", "Who You Fooling", "Road Runner", "Soul Sauce", "Cocoa Leaf", and "Move Your Hands".

One of the greatest soundtracks ever – an archetypal album from French composer Francis Lai, and a record that set the tone for countless other imitations to come – yet which is still the best! The groove here is really unique – a spare blend of bossa influences, jazzy organ lines, and wordless vocals that are sung beautifully by French singers Nicole Croisille and Pierre Barouh – and although a mainstream success, the record was the initial force behind the legendary Saravah imprint that Barouh would form later, to record a wide range of groundbreaking work in a variety of genres. But history aside, the music here is plenty – and from the very first note the whole soundtrack grabs you with a sense of warmth and sentiment that defy description – modes never heard before in the soundtrack world, and which really broke the mold from Hollywood conventions! Titles include the seminal bossa number "Samba Saravah", plus "A Man & A Woman", "Today It's You", "In Our Shadow", "At 200 MPH", and "Stronger Than Us".

An unusual title, but one that refers to Jackie McLean in quartet, quintet, and sextet formation – a growing lineup that develops along the course of the record, as new players are added into the mix with a casual, almost blowing session approach! The set begins with Jackie's alto set out in spare territory with Mal Waldron on piano, Doug Watkins on bass, and Art Taylor on drums – plenty of space to solo on "Sentimental Journey" and "Why Was I Born" with sharp changes and deeply soulful tones that really push past the conventions of the tunes – and as the record moves on, Hank Mobley steps in on tenor and Donald Byrd on trumpet – expanding out the sound for nicely-blown versions of"Abstraction", "Confirmation", and "Contour".

Dark genius from Duke Pearson – quite possibly one of his hippest records ever, and an album that's filled with surprising twists and turns! At one level, the set seems to be a simple batch of soul jazz tunes – in the mode of Pearson's mid-60s classics on Blue Note – but at another, it opens up into unusual phrasings, timings, shades, and tones – all of which are years ahead of their time, and serve to keep the album full of complexity throughout! Many tracks groove here – but in a very subtle way that often moves a bit towards modal jazz. And the players on the set shade things in unconventionally – sometimes using understatement and space as their strongest tools – clearly directed by Pearson's budding talents as an arranger. Players include James Spaulding on flute and alto sax, Harold Vick on soprano sax, Johnny Coles on trumpet, George Coleman on tenor, and Gene Bertoncini on guitar – and Pearson himself plays a bit of celeste in addition to his regular piano. Titles include a great version of Joe Henderson's "Soulin", plus Ron Carter's "Little Waltz", and Pearson's own "The Fakir", one of the best tracks he ever wrote! Other titles include "Hush A Bye", "Prairie Dog", and "Angel Eyes".

Wonderful work from Gregory Porter – easily one of the best new jazz singers to emerge in the past decade or so, and one whose approach is soulful enough to rival the greats of the 70s! There's echoes here of Bill Withers, Gil Scott-Heron, and Al Jarreau – and like all those artists, Gregory's a singer who really moves past simple styles and generic conventions – into a mode that's vivid and rich right from the start, and defiitely his own territory – a world of sound that's a delight to experience! Most backings are straight jazzy, but inflected with some soul modes – and the album's even better and more incredible than Porter's debut for Motema. Titles include "On My Way To Harlem", "When Did You Learn", "Mother's Song", "Imitation Of Life", "Our Love", "Be Good", and "Painted On Canvas".

Stanley Turrentine's no spoiler here – as his tenor sax soars out over the top of some sweet larger group arrangements from Duke Pearson – all awash in a great sense of soul, joy, and life! The album's got a much brighter feel than you might guess from the cover – a vibe that's a bit similar to Stan's classic Joyride album, but a bit more open and free – thanks to the lyrical touches of Pearson on the charts. Other players include Blue Mitchell on trumpet, Julian Priester on trombone, James Spaulding on alto and flute, and Pepper Dadams on baritone sax – plus rhythm from McCoy Tyner on piano, Bob Cranshaw on electric bass, Mickey Roker on drums, and Joseph Rivera on percussion. As on some of the other Pearson dates from the time – particularly those with Donald Byrd – the use of electric bass really opens things up, by creating a subtle rhythmic pulse that really drives most numbers along. And also in the Pearson mode, the added players aren't really a horn section in the conventional way – just a group of like-minded, top-shelf jazz players who egg on the main soloist with a great sense of enthusiasm for the music! Titles include "La Fiesta", "The Magilla", "Sunny", "Maybe September", "You're Gonna Hear From Me", and "When The Sun Comes Out".

One of a rare few albums ever from singer Patty Waters – an extremely experimental vocalist who was part of the mid 60s ESP Records scene! Patty was one of the first to ever go way past conventional singing – and work more in a vocalizing style that had just begun in avant classical – often more concerned with sounds and shapes than melody and music! Sometimes, though, she hits a surprisingly soulful note – almost a touch of Nina Simone's righteousness, before moving into more experimental territory once again. Waters is almost the Cathy Berberian of the jazz vocal world – and works here with a hip ESP lineup that features either Dave Burrell, Burton Greene, or Ran Blake on piano – depending on the track – plus Giuseppi Logan on flute, Perry Lind on bass, and Scobe Stroman on drums. The set was recorded live, but with great fidelity that really respects the subtle moments of Waters' vocals – and titles include "Wild Is The Wind", "Song Of Clifford", "Song Of The One I Love" and "Song Of Life With Hush Little Baby".

London's always been one of the hippest cities in the world – but back during the postwar years, there was an especially wonderful outpouring of music on the scene – a rich array of new sounds and styles pulled from around the globe – as so many residents from crumbling British empire came to live in the UK! Musicians and listeners arrived in London with plenty of cultural baggage on hand – influences from the Caribbean, West Africa, and India too – plus other smaller scenes that once fell under the British banner, all now the fuel for the cultural fire that was happening in England! The title here tells plenty about the music being made in this newly-formed scene – bits of African highlife, Jamaican calypso, American jazz, Cuban Latin, and more – all filtered into the modernism of the 50s, and given a new twist that was decidedly urban as well. The package may well be the most impressive so far in this legendary series – and is certainly the one that moves the farthest past any sort of easy expectations or cultural conventions. Titles include "Women Police In England" by Mighty Terror, "My Sorrow" by West African Swing Stars, "Cricket Umpires" by Lord Kitchener, "Jordhu" by Caribbean Swing Band, "Trumpet Highlife" by Shake Keane, "Calypso Mambo" by George Browne, "Cuban Nightingale" by Buddy Pipp's Highlifers, "Kitch" by The Quavers, "Tabu" by Mona Baptiste, "King Jimmy Foo Foo" by Tejan Sie with The West African Rhythm Brothers, "The Escape" by Dizzy Reece, "Mambo Contempo" by Ginger Johnson, "Life In Britain" by Mighty Terror, "Sway" by Buddy Pipp's Highlifers, "Song Of Joy" by Rupert Nurse's Calypso Band, "Joe Louis Calypso" by Lord Beginner, "Uncle Joe" by Fitzroy Coleman Quintet, "Me Donkey Want Water" by Tony Johnson, "Belly Lick" by Eric Hayden, "Nigeria Odowoyin" by West African Rhythm Brothers, and "Football Calypso" by King Timothy.

An unreleased treasure from the European scene of the late 50s – material recorded for a soundtrack, and a rare meeting of American trumpeter Donald Byrd and French tenor giant Barney Wilen! Neither the film nor the music were ever issued at the time – and this archival project finally brings together the sublime sounds in the studio from Byrd and Wilen – music that's easily every bit as great as the best French jazz scores of the time, as well as most other European hardbop records too! The group features talents from both sides of the Atlantic – Jimmy Gourley on guitar, Walter Davis on piano, Doug Watkins on bass, and Al Levitt on drums – and the style is a bit tighter than usual for a jazz soundtrack – with long tracks that have a more conventional jazz tune shape, instead of shorter atmospheric numbers. Wilen gets plenty of room to stretch out in expressive tones – as on his soundtrack work with Miles Davis from the same time – and hearing Byrd's trumpet alongside makes for a really nice contrast!

A brilliant album that proves that even at the height of his success, Lee Morgan was one of the freest thinkers on Blue Note – always coming up with fresh ideas that continued to grow his talents! The first cut on the album is keep roof of that fact – the title track "Search For The New Land" – a beautiful 16 minute exploration of modal jazz themes, with an unusual stop/start device as a means of ushering solos by different bandmates – including Wayne Shorter on tenor, Grant Green on guitar, and Herbie Hancock on piano! The approach is unlike anything that Morgan ever did before – and unlike most of other Blue Note as well – and it also benefits from great rhythmic help from Reggie Workman on bass and Billy Higgins on drums. Other tunes are a bit more conventional, but still pretty special – like some of Morgan's inventive work on the Rajah albums – with titles that include "The Joker", "Melancholee", "Mr. Kenyatta" and "Morgan The Pirate".

A crazy bit of funk from drummer Roy Porter – a player who first rose to fame during the LA bop years of the late 40s, but who sounds even hipper here in the 70s! The album's got a madly skittish approach to funk – one that's highly rhythmic, but often in unconventional ways – somewhat similar to Redd Holt's excellent albums for the Paula label. Roy plays drums, percussion, and sings a bit – and the grooves run from break-heavy instrumentals to even cooler numbers that bring in more of a sense of flow and soul – really opening things up beyond any simple 70s jazz funk cliches, and hitting some really wicked new territory! Instrumentation includes plenty of great horns, electric piano, guitar, and even a bit of Arp – all used in really inventive anc reative ways. Titles include the classic crate-digging favorites "Panama" and "Party Time", plus a vocal version of "Jessica", a cover of Jobim's "Waver-ing", and another nice original called "Funny Feelin'"! Tremendous stuff all the way through!

London's always been one of the hippest cities in the world – but back during the postwar years, there was an especially wonderful outpouring of music on the scene – a rich array of new sounds and styles pulled from around the globe – as so many residents from crumbling British empire came to live in the UK! Musicians and listeners arrived in London with plenty of cultural baggage on hand – influences from the Caribbean, West Africa, and India too – plus other smaller scenes that once fell under the British banner, all now the fuel for the cultural fire that was happening in England! The title here tells plenty about the music being made in this newly-formed scene – bits of African highlife, Jamaican calypso, American jazz, Cuban Latin, and more – all filtered into the modernism of the 50s, and given a new twist that was decidedly urban as well. The package may well be the most impressive so far in this legendary series – and is certainly the one that moves the farthest past any sort of easy expectations or cultural conventions. Titles include "Women Police In England" by Mighty Terror, "My Sorrow" by West African Swing Stars, "Cricket Umpires" by Lord Kitchener, "Jordhu" by Caribbean Swing Band, "Trumpet Highlife" by Shake Keane, "Calypso Mambo" by George Browne, "Cuban Nightingale" by Buddy Pipp's Highlifers, "Kitch" by The Quavers, "Tabu" by Mona Baptiste, and "King Jimmy Foo Foo" by Tejan Sie with The West African Rhythm Brothers.

London's always been one of the hippest cities in the world – but back during the postwar years, there was an especially wonderful outpouring of music on the scene – a rich array of new sounds and styles pulled from around the globe – as so many residents from crumbling British empire came to live in the UK! Musicians and listeners arrived in London with plenty of cultural baggage on hand – influences from the Caribbean, West Africa, and India too – plus other smaller scenes that once fell under the British banner, all now the fuel for the cultural fire that was happening in England! The title here tells plenty about the music being made in this newly-formed scene – bits of African highlife, Jamaican calypso, American jazz, Cuban Latin, and more – all filtered into the modernism of the 50s, and given a new twist that was decidedly urban as well. The package may well be the most impressive so far in this legendary series – and is certainly the one that moves the farthest past any sort of easy expectations or cultural conventions. Titles include "The Escape" by Dizzy Reece, "Mambo Contempo" by Ginger Johnson, "Life In Britain" by Mighty Terror, "Sway" by Buddy Pipp's Highlifers, "Song Of Joy" by Rupert Nurse's Calypso Band, "Joe Louis Calypso" by Lord Beginner, "Uncle Joe" by Fitzroy Coleman Quintet, "Me Donkey Want Water" by Tony Johnson, "Belly Lick" by Eric Hayden, "Nigeria Odowoyin" by West African Rhythm Brothers, and "Football Calypso" by King Timothy.

One of the best 60s albums ever from the legendary Toshiko Akioshi – a session recorded back in the US, with help from a quartet of American musicians! The album's got a strongly boppish feel overall – as Toshiko's piano comes into play with trumpet from Kenny Dorham, tenor and flute from Lew Tabackin, bass from Ron Carter, and drums from Mickey Roker – all working in a style that has a lot of dark corners and very subtle edges. Hints of Toshiko's later arranging styles creep into some of the tunes, but overall the work is relatively spontaneous and open – quite lyrical and points, especially on some of the original numbers that have some slightly Japanese themes alongside more conventional jazz progressions. Dorham's trumpet is obviously a great asset in a setting like this – and the record is one of his rarest appearances from the time. Titles include "The Night Song", "How Insensitive", "Phrygian Waterfall", "Let's Roll In Sake", and "Opus No Zero".

An unreleased treasure from the European scene of the late 50s – material recorded for a soundtrack, and a rare meeting of American trumpeter Donald Byrd and French tenor giant Barney Wilen! Neither the film nor the music were ever issued at the time – and this archival project finally brings together the sublime sounds in the studio from Byrd and Wilen – music that's easily every bit as great as the best French jazz scores of the time, as well as most other European hardbop records too! The group features talents from both sides of the Atlantic – Jimmy Gourley on guitar, Walter Davis on piano, Doug Watkins on bass, and Al Levitt on drums – and the style is a bit tighter than usual for a jazz soundtrack – with long tracks that have a more conventional jazz tune shape, instead of shorter atmospheric numbers. Wilen gets plenty of room to stretch out in expressive tones – as on his soundtrack work with Miles Davis from the same time – and hearing Byrd's trumpet alongside makes for a really nice contrast!

The start of a great run from the trio of Japanese drummer George Otsuka – a player who really brings an imaginative style to the piano trio mode! Otsuka's got a way of stretching out while also swinging – a bit more conventional here than on later records, but still already quite distinct – in ways that make him one of the freshest drummers on the Japanese scene of the time – without some of the too-showy modes of the generation before. The trio's got a great sort of punch – thanks to bold lines on piano from Hideo Ichikawa – a hell of a player, and one who really makes these early Otsuka records sparkle. Titles include "Page 1", "Potato Chips", "Blues For Alice", "Theme", and "Bye Bye Blackbird".

That's Tres Hongos, not Tres Hombres – a trio of improvisers who really make some amazing sounds together! Trumpeter Jacob Wick has a way of handling his horn that's unlike anything we've ever heard before – not so much blowing, as coaxing sounds out of the instrument that are light years past conventional jazz trumpeting – almost electronic at points, although there's clearly no processing at all on this all-acoustic set. And pianist Marc Riordan has a great sense of space – really punctuating the record with these well-chosen notes that warm things up in just the right way – almost a thoughtful reflection on the proceedings around him. Frank Rosaly's work on drums is as inventive as ever – a really compelling mix of sounds from all around the kit – played with some great spontaneous energy. Titles include "Game Urge", "God's Girlfriend", "Champagne Bayside", and "Optimist".

Pretty great work from the team of Lorenzo Tucci and Lucxa Mannutza – two artists we normally associate with much straighter jazz material, but who really take off here together! The format is still definitely jazz, but the energy is quite free a times – just drums and effects from Tucci, and shifting piano, Fender Rhodes, and Hammond from Luca Mannutza – played in these really flowing lines that sparkle amidst Lorenzo's energy on the drums – all in ways that are inside enough to swing, but in ways that really go beyond conventional jazz! The format is a wonderful development for both players – and really helps us appreciate their rich talents even more than before – hardly a trick or gimmick, and instead a compelling collaboration that almost makes us feel like ECM has collided with Schema Records. Titles include "Jet Lag", "Jungle & Space", "Lunar", "Moon Boots", "The Voyager", "Avaria", and "Inception".

Snowboy returns with another batch of grooves in the Hi Hat series – the first volume we've heard under that name in awhile – and while the sound is still great, the format here is a bit different than before! The style this time around is heavily jazzy – and pulled from records that are even more obscure than those used on previous volumes – mostly relatively recent recordings from the past decade or so, but those which were ignored the first time around – making the music here seem even more fresh! Most of the numbers are titles that were buried in more conventional records, but which stand out as modern jazz dance tracks – keeping the spirit of modal, hardbop, and Latin-styled jazz grooves alive and well on the dancefloor – as testified by the album's photos from Snowboy's Hi Hat club night! Titles include "Sunny Day (live)" by Jon Lucien, "Speed Trap" by Peter King, "If I Perish" by Terrell Stafford, "Our Man In Havana" by Cubana Bop, "Seven Steps To Heaven" by World Saxophone Quartet, "Caribbean Fire Dance" by Bobby Sanabria & Ascension, "Blue Bossa" by McCoy Tyner Latin Big Band, and "Fical Mal Com Deus" by Airto.