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A classic of spiritual, soulful jazz – and one of Archie Shepp's greatest albums! The set was recorded in New York after a few free and festive years in Paris, and it's an amazing about-face that has Archie stepping into a world of righteous, full-on, political, and funky themes – the likes of which are far more outspoken than any of his previous recordings. The group on the set is quite a large one – hip New York underground players, a small string ensemble, and even a few singers – like soul diva Joshie Armstead and vocalist Joe Lee Wilson. Overall, the sound's somewhere in the same place as the Art Ensemble of Chicago's amazing Les Stances A Sophie – in that the record comes from a free jazz tradition, but moves into a more rhythmic focus in order to communicate its message. The added vocals and recitations are wonderful – very moving, and much less hippy-dippy than on other Shepp records of the time – and the whole thing holds together with a unique sound and substance that's made it a treasure that holds up again and again. A true gem, and one we'll never part with! Tracks include "Quiet Dawn", "Goodbye Sweet Pops", "Steam (parts 1 & 2)", "Attica Blues", "Blues For Brother George Jackson", and "Ballad For A Child".

A classic of spiritual, soulful jazz – and one of Archie Shepp's greatest albums! The set was recorded in New York after a few free and festive years in Paris, and it's an amazing about-face that has Archie stepping into a world of righteous, full-on, political, and funky themes – the likes of which are far more outspoken than any of his previous recordings. The group on the set is quite a large one – hip New York underground players, a small string ensemble, and even a few singers – like soul diva Joshie Armstead and vocalist Joe Lee Wilson. Overall, the sound's somewhere in the same place as the Art Ensemble of Chicago's amazing Les Stances A Sophie – in that the record comes from a free jazz tradition, but moves into a more rhythmic focus in order to communicate its message. The added vocals and recitations are wonderful – very moving, and much less hippy-dippy than on other Shepp records of the time – and the whole thing holds together with a unique sound and substance that's made it a treasure that holds up again and again. A true gem, and one we'll never part with! Tracks include "Quiet Dawn", "Goodbye Sweet Pops", "Steam (parts 1 & 2)", "Attica Blues", "Blues For Brother George Jackson", and "Ballad For A Child".

A spiritually-resonant set from vocalist Dwight Trible – one of the greatest jazz singers of the past few decades! Trible's got a depth that few others can match – a quality that takes us back to the glory days of Leon Thomas with Pharoah Sanders, or Joe Lee Wilson on the Paris scene of the 70s – but heard only on a handful of albums under his own name, plus work with the Build An Ark collective and Life Force Trio! Cosmic reminds us of everything we loved about Dwight's Living Water album a few years back, and this one may be even stronger – sung with a yearning, soaring, soul-shaking voice that's perfect for both the original material, and a few well-chosen classics. Trible is backed by a stellar group of musicians that includes John Beasley on piano and organ and George Harper on tenor sax – and titles include "Speak To Us Of Love", "I've Known Rivers", "In The Beginning GOD", "Love Is Forever", "Little Afrika", "Algeriangeles", "Hyku For Peace/Come Ye", "It's All About Love" and a glorious take on the Five Stairsteps soul classic "Ooh Child"!

One of the only records ever recorded as a leader by alto player Monty Waters – a hip New York altoist who's appeared on records with Joe Lee Wilson, but rarely got the chance to lead a group on his own. This Japanese-only set from 1975 features Waters working with a quartet that includes Ronnie Boykins on bass, George Avaloz on drums, and Yoshiaki Masuio on guitar – playing together in a mode that's almost a lyrical take on some of Ornette's harmelodic recordings from the same time, a style that we evoke mostly because of the way that the guitar comps in behind the rhythm in parts, letting Waters blow over the top in solo formation. At other times, the guitar's in a more tradition role – but the lack of a piano in the group means that there's still quite a bit of freedom, although the group always manages to swing soulfully. Titles include "Modesto", "The Black Cat", "RPM", "J Love March", and "Apt #2H".

The Brazilian side of Blue Note Records – a double-length collection that mostly features bossa-inspired numbers from the 60s, but also includes a few gems from more recent years too! Unlike Verve or Impulse, Blue Note rarely went straight into bossa nova – and instead, the label's artists often came at the music from a different direction – using bossa themes and inspiration, mixed with their own hard bop impulses – and often served up in a really unique groove in the end! This package is a great illustration of that special magic – tracks that go way past the usual, and which still sound amazingly fresh and visionary all these many years later. Titles include "Wave" by Stanley Turrentine, "Blue Bossa" by Joe Henderson, "Sandalia Dela" by Duke Pearson, "Book's Bossa" by Donald Byrd, "Rio" by Lee Morgan, "Recado Bossa Nova" by Hank Mobley, "Swingin The Samba" by Horace Silver, "Back Down To The Tropics" by Charlie Rouse, "Love For Sale" by Dexter Gordon, "Latona" by John Patton, "O Amor Em Paz" by Cannonball Adderley, "Manha De Carnaval" by Ron Carter, "Waters Of March" by Cassandra Wilson, and "Triste" by Dianne Reeves.

A great introduction to the amazing hardbop work recorded by Blue Note in the late 50s and 1960s – served up as a massive 2CD set filled with some of the label's most cooking classics! The sound here is always tight, right, and to the point – a key illustration of the care and focus that Blue Note brought to the studio when recording jazz work of this nature, which always helped them get the best work out of all players on the session. The 19 track collection is beautifully packaged with full notes and album cover images for each track – and a set of music that goes way past the hits, to feature real gems that include "The African Queen" by Horace Silver, "After The Rain" by Duke Pearson, "No Room For Squares" by Hank Mobley, "Mosaic" by Art Blakey, "Nite Flite" by Lee Morgan, "Footprints" by Wayne Shorter, "Easterly Winds" by Jack Wilson, "A Little Busy" by Art Blakey, "The Black Disciple" by Donald Byrd, "Una Muy Bonita" by Bobby Hutcherson, "Hootnan" by Jackie McLean, and "Hobo Joe" by Johhny Coles.

A brilliant testament to the righteous power of soul music in the civil rights era – and key proof that even a subtle message could do a lot back in the day! The package presents the work in roughly chronological order – starting from a time when politics had to be peddled softly, and moving towards a time when things could be a bit more explicit – showing a great evolution of themes of pride and power, offered up in tunes both familiar and obscure. The collection is way more than a "hip hits of the 60s" sort of set – and acts almost as a mini-documentary of the contributions of soul music to civil rights – supported by a great set of notes and photos in the booklet. We're especially happy to see the track "Have You Ever Seen The Blues" by Yaphet Kotto – alongside 22 more titles that include "Blues For Mr Charlie" by Lou Gosset & Joe Lee Wilson, "The Ghetto" by Homer Banks, "We're A Winner" by The Impressions, "When Will We Be Paid" by The Staple Singers, "Oh Lord Why Lord" by Parliament, "Message From A Black Man" by The Spinners, "Run Charlie Run" by The Temptations, "Cryin In The Streets (parts 1 & 2)" by George Perkins & The Silver Stars, "Free At Last" by Jackie Day, "Someday We'll All Be Free" by Donny Hathaway, and "The Prayer" by Ray Scott.

Attica Blues, and beyond – a great late 70s performance that has Archie Shepp turning the clock back towards that famous album – but also making some very new grooves with a richly expanded lineup! The double-length set was recorded in Paris, in front of a very lively crowd – and it's honestly one of Shepp's most dynamic records from the time – definitely inspired by all the freedom he'd had in the French scene for the previous decade – yet also brought together with a great sense of focus too. The lineup is excellent – with vocals from Joe Lee Wilson and Irene Datcher – trumpets from Malachi Thompson, Charles McGhee, and Roy Burrowes; trombones from Charles Greenlee, Dick Griffin, and Steve Turre; reeds from Marion Brown, James Ware, and Marvin Blackman; plus piano from Art Matthews, some added strings, great percussion, and piano, tenor, and soprano sax from Shepp himself! Ray Copeland directs the group – giving it the hip focus of his few key recordings like this – and titles include "Star Love", "Moon Bees", "Attica Blues" (in two parts), "Steam", "Quiet Dawn", "Hi Fly", "U-Jaama", "Ballad For A Child", "Simone", "Crucificado", :A Change Has Come Over Me", "Goodbye Sweet Pops", and "Skippin'".

Blue Note Records plays the Beatles – on a great set of grooves that runs back to the 60s, and includes some other more recent performances of tunes first made famous by the Fab Four! The collection is heavy on soulful jazz numbers that really show off the sharp changes of Beatles tunes – the way they can be surprisingly great vehicles for jazzy expression, when in the hands of the right artists! Some cuts are from related Blue Note labels, some from the original – and titles include "Get Back" by The Jazz Crusaders, "Can't Buy Me Love" by Stanley Turrentine, "I Want To Hold Your Hand" by Grant Green, "Oh Darling" by Joe Williams, "Yesterday" by Lee Morgan, "Hey Jude" by Jazz Crusaders, "Eleanor Rigby" by Three Sounds, "Come Together" by Cassandra Wilson & Dianne Reeves, and "Day In The Life" by Grant Green.

Even better than volume one – and a stellar collection of rare funky grooves! The compilation features a brilliant batch of tracks from the 70s – mostly underground soul, jazz, and funk tunes that have yet to appear on reissues, chosen by UK DJ Dean Rudland, with a feel that's as righteous and progressive as the title might imply. There's lots of gems on here that were only ever issued on 45s, or on the kinds of rare LPs that we'd be selling in the $100 range, if and when we could find them! Titles include "Sleep Talk" by King Errison, "Theme From The Men" by Joe Bataan, "Kissing My Love" by Spanky Wilson, "Fever" by Sharon Cash, "Where Will You Run" by Walter Hawkins & Selah, "Harambee" by Jambo, "Africa" by Preston Epps, "Mucho Macho" by Macho, "I Must Be Doing Something Right" by Irene Reed, "I Can't Stand It" by Brenda George, "Afro Texas" by Letta Mbulu, "Don't Let It Go To Your Head" by Katie Love & The Four Shades Of Black, "Kicking Back" by Joe Houston, "Love Potion Cheeba Cheeba" by The Mighty Tom Cats & Ann Winley, and "Return Of The Prodigal Son" by Byrdie Green.

Even better than volume one – and a stellar collection of rare funky grooves! The compilation features a brilliant batch of tracks from the 70s – mostly underground soul, jazz, and funk tunes that have yet to appear on reissues, chosen by UK DJ Dean Rudland, with a feel that's as righteous and progressive as the title might imply. There's lots of gems on here that were only ever issued on 45s, or on the kinds of rare LPs that we'd be selling in the $100 range, if and when we could find them! Titles include "Sleep Talk" by King Errison, "Theme From The Men" by Joe Bataan, "Kissing My Love" by Spanky Wilson, "Fever" by Sharon Cash, "Where Will You Run" by Walter Hawkins & Selah, "Harambee" by Jambo, "Africa" by Preston Epps, "Mucho Macho" by Macho, "I Must Be Doing Something Right" by Irene Reed, "I Can't Stand It" by Brenda George, "Afro Texas" by Letta Mbulu, "Don't Let It Go To Your Head" by Katie Love & The Four Shades Of Black, "Kicking Back" by Joe Houston, "Love Potion Cheeba Cheeba" by The Mighty Tom Cats & Ann Winley, and "Return Of The Prodigal Son" by Byrdie Green.