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The Latin Kick – with a jazzy groove! Gerardo Frisina's long been one of our favorite talents on the international groove underground, and like his labelmate and sometime musical partner Nicola Conte, he's got a way of crafting tracks that are awash in classic jazz touches. Frisina himself is the producer, arranger, and composer of the album – and brings together acoustic jazz players with warmer beats, all in service of a groove that sparkles with all the best Schema Records touches, but also takes the label's sound to a whole new level! The Frisina heard here is bolder and more ambitious than before – and like Nicola Conte on recent sides, he's stepping past simple Latin-flavored tracks into boldly jazzy numbers that expand upon his ideas with a range of colors, tones, and rhythms. Easily one of the best full-length sets on Schema to date – and that's saying a lot – with titles that include "Senor Rico", "Jazz Ally", "The 7th Day", "Batucafro", "Cortante", "Bite The Nite", "Gosto De Que E Bom", and "Hush".

Pre-Mercury work by Heaven & Earth – cut with a sound that's a bit rougher, but still pretty darn nice! The group exhibit their strength in both the ensemble funk mode and the group harmony style – and the single's a nice piece of the puzzle for their early career!

A great groove from singer Gregory Porter – the first tune that really brought him to our attention – making a debut appearance here on vinyl! The original of "1960 What" is plenty great – running for over 12 minutes, and building in this jazzy groove that's really wonderful – topped by vocals from Porter that almost rank with some of Gil Scott-Heron's best in the 70s! The remix tries for a bit more of a contemporary rhythm – nice enough, but we're more than happy just to have the original version on wax.

4 mixes of this classic bit of Detroit Techno – going over the top, into the mainstream, thanks to the lasting genius of Kevin Saunderson!

Great big Dee-troit rawk, like no other group of madmen could have ever created! This is the album that established the Motor City as the capital of late 60s/early 70s gonzo psychedelic rock, and still stands as probably the most massive live recording of the era. Pile-driving outer space noise at it's finest! Recorded live at the Grande Ballroom in Detroit and featuring incisive liner notes by ringleader John Sinclair. Tracks include "Kick Out The Jams", "Come Together", "Rocket Reducer No. 62", "Borderline", "Motor City Is Burning", "I Want You Right Now" and "Starship".

Solid material from UK hip hop veteran Ty – on a tight 10-inch EP from Record Breakin and Tru Thoughts! Rhymer Ty and producer partner Drew Horley have been working together for quite a while now, and they're as strong as ever production wise – with beats and scratches that show love for classic hip hop – and they bring quite a bit of live instrumentation into the mix , too. Synth, keys and piano by Drew, plus live drums, some horns and other live instrumental flourishes (including clavinet by Amp Fiddler) – along with some soulful backing vocals on the hooks. Ty's lyrics are strong on both the self-reflection and social commentary tips. Good stuff! Tracks include "Lets's Start", "Like You Never", "Knock Knock" and "Well Well Well".

A lesser-remembered album from America, and one with some surprisingly nice moments, too! The group here are still working with producer George Martin – but they're recording in Hawaii, with some tight studio help – and almost hitting that sound they helped inspire in so many others with their earlier records – a perfect warm, mellow, seventies mode that's mighty nice throughout! A few tunes almost bring in an undercurrent of funk – more of a bit of a punch at the bottom, with less of the fragile acoustic modes of before – although a few nice tracks still have those in place as well. Drummer Willie Leacox brings in a nice kick to the set – and titles include "God Of The Sun", "Sergeant Darkness", "Sarah", "These Brown Eyes", "Don't Cry Baby", "Hurricane", and "Now She's Gone".

More proof that the Prestige blowing session style worked perfectly for Gene Ammons – as he's right at home on the album's long relaxed tracks, cut in the company of expert players like Art Farmer, Jackie McLean, Duke Jordan, and Art Taylor. Candido's also along for most of the ride, giving the record a nice kick – and the set list includes four long tracks, "Madhouse", "Happy Blues", "The Great Lie", and "Can't We Be Friends".

Gentle-going genius from the later years of Satchmo's career – a session that has Louis on trumpet and vocals, backed by the Oscar Peterson Trio! Peterson's usual group with Herb Ellis and Ray Brown is expanded slightly for this outing – bringing in Louis Bellson on drums to syncopate the tunes a bit more strongly, and give them that gently swinging rhythm that always works well with Armstrong's style. The real surprise, though, is Louis' voice – which is simple, almost elegant at times – and free from some of the gimmicks of other 50s sessions, or the too-playful style of his better-known duets of the period. We really love his gentle, honest approach to the lyrics here – on tunes that include "I'll Never Be The Same", "Moon Song", "What's New", "There's No You", "You Go To My Head", "That Old Feeling", and "Let's Fall In Love". CD also features 4 bonus tracks – including "Let's Do It", "I Get A Kick Out Of You", "Willow Weep For Me", and "Makin Whoopee".

One of David Axelrod's oddest records, but still a darn great one! The whole album is sort of a concept album about slavery (hence the title "The Auction"), and it has some spiritual political vocals on a number of tracks – but underneath is the usual great funky instrumentation of David Axelrod, with lots of nice deep grooves that kick the otherwise snoozy lyrics into another level. The whole thing's got a feel that's sort of like the 24 Carat Black record, with a deep soulful groove. Titles include "The Auction", "Oh! Freedom", "The Debt", "Freedom", "Sympathy", "Leading Citizen", and "Be Proud, My Race!".

One of the greatest Roy Ayers albums of all time – and one of the rarest! The record is right in the same vein as Roy's groundbreaking He's Coming LP – a righteous mix of soul jazz, subtle funk, and some of the cosmic wisdom that Roy was spreading among the jazz funk underground – all wrapped up beautifully, but never in a way that's like commercial soul of the time. There's a few instrumental tracks on the album, plus some vocal ones that show that off-beat male/female style that Roy would use more famously in later tracks like "Everybody Loves The Sunshine" or his work with Ramp. Players include Harry Whitaker on electric piano, Edwin Birdsong on organ, Alphonse Mouzon on drums, Jumma Santos on congas – and titles include a version of Nat Adderley's "Hummin", done as "Hummin In The Sun", and very much in the Ramp vein. Also features instrumental cuts "The Fuzz", which has Roy's vibes toned way up, and the cool mellow "The Painted Desert", a really offbeat slow jazz number. The group also does a great job with Edwin Birdsong's "Pretty Brown Skin", picking up the song as a really anthemic groover that gives the record a nice kick! CD also includes the rare 45-only track "He Gives Us All His Love" – originally done for the movie Cold Turkey.

A really wonderful take on Porgy & Bess and other Gershwin standards by Pearl Bailey – there's just something about her naturally rich, bluesy, husky tone on these tunes that's simply wonderful! The backing is often well measured, but, occasionally a bigger sound and chorus vocals kick in. For the most part Pearl owns this stuff, giving warmth and resonance lost on more showbizzy takes on the style and compositions. Titles include "I Got Plenty Of Nothin". "I Got Rhythm", "Summertime", "Lady Be Good", "A Foggy Day", "They Can't Take That Away From Me", "Bess You Is My Woman", "It Ain't Necessarily So", "Clap Yo Hands" and more.

A pair of mid 70s album by Bobby Bare – the ambitious, concept-driven Hard Time Hungrys – and the easygoing The Winners & Other Losers – two worthy efforts from one the most unique voices and personalities of his era! Both albums are heavy with songs written by Bare family friend and frequent songwriting partner Shel Silverstein. Johnny Cash gets all the mainstream attention for collaborating with Shel on "A Boy Named Sue", but Shel and Bare have a far richer collaborative history together. Home For The Hungrys tells the story of the impoverished, with the title track, "Back Home In Huntsville Again", "Bottles And Boxes", "Truck Driver, Truck Driver", "The Unemployment Line" and more. The Winners And Other Losers is simply a great batch of tunes, sans concept, with the enduring "Drop Kick Me Jesus", "My Better Half", "Keeping Rosie Proud Of Me" and more. 24 tracks in all.

A mid 70s album by Bobby Bare – the easygoing The Winners & Other Losers – a worthy effort from one the most unique voices and personalities of his era! This album is heavy with songs written by the Bare family friend and frequent songwriting partner Shel Silverstein. Johnny Cash gets all the mainstream attention for collaborating with Shel on "A Boy Named Sue", but Shel and Bare have a far richer collaborative history together. The Winners And Other Losers is simply a great batch of tunes, sans concept, with the enduring "Drop Kick Me Jesus", "My Better Half", "Keeping Rosie Proud Of Me" and more.

Eastern tinged jazzy funk rock from Dutch born Okko Bekker! "East Indian Traffic" has a totally wicked funky backbone and a spindly, dexterous sitar way out front. Some jazz funk horns kick in as it goes along, too. "Ganges Delta" as another gem, less sorta soundtrack pulpy styled as the A-side, still a great and genre straddling number. Groovy stuff that appeared on Okko's cool Sitar & Electronics LP.

An excellent upbeat club number – sung in Japanese by the lovely Bird, and produced by Shinichi Osawa of Mondo Grosso. The track's probably one of our favorites from Bird's latest LP – and it's got these kick-start beats at the beginning that are mixed with burst of strings that sound totally great. The vocals are extremely soulful, and mix in with these keyboard lines that percolate the track – swirling together in a way that makes the cut instantly compelling!

A dream band indeed – as the set features a cast of excellent players who manage to come together tightly as a unit, then break out in really strong and hard-blown solos! Even by a "pulled together for this jam session by the record label"-type group there's a swinging style firmly in place – incredible tightness, but a real respect for the soloists – and a power to kick it louder and larger than even in a small group setting. Players include Herb Geller, Al Cohn, Hank Jones, Budd Johnson, and Ernie Wilkins – and titles on this first volume include "Maynard The Fox", "The Wailing Boat", "Somebody Wants Me Down There", "Little Girl Kimbi", and "Button Nose".

An excellent set from Willie – recorded in the years before he moved to Verve, with a very different sound! The Willie Bobo here is less of the pop instrumentalist on some of his later sides – and is more of a hard-hitting Latin leader with a heck of a lot of soul. There's an early boogaloo approach to a number of the cuts, one that really makes them kick hard with some very catchy rhythms – and other numbers have a stripped down, rhythm-heavy small combo approach that's equally great, and which really helps expand the sound. Willie's vocals are kept to a minimum, and there's some really great instrumental touches on the best cuts – including some nice electric piano! Titles include "Bobo Do That Thing", "A La Bobita", "Azulito", "Chickadee", "Rigor Mortis", "Ritmo Tymbale", and "Grab Your Hat".

A surprisingly great batch of kick ass rock and roll tunes – southern fried, but done with a cosmic undercurrent that makes for a mighty weird approach! The drums are amazing – fierce right from the get-go, in a way that has made the record a favorite with break collectors for years – and the fuzzy guitars really step out strongly too – with just a slight southern twang, and a great edge that keeps things pretty funky at parts! Bobby Caldwell is in the group on percussion, piano, vibes, and bells – and he also co-wrote most of the songs on the album – and titles include the classic "Dancing Madly Backwards", plus "Myopic Void", "Frozen Over", "Thousand Days Of Yesterdays", "As The Moon Speaks", and "Astral Lady".

The sweetly grooving first album from Central Line – one of the few British soul groups to really kick it in the early 80s scene – with a catchy dancefloor sound that both encapsulates the era and lays down a killer groove for the ages! The album is a blend of bass riffing, keyboards, group vocals and nice electro touches – always done with a truly soulful approach as a perfect counterbalance to the breezy electronics! Upbeat and fresh early 80s modern soul that holds up better than most huge hits of the time! Titles include the killer opener "Walking Into Sunshine", plus "Don't Tell Me", "Shake It Up", "Breaking Point", and "I Need Your Love".

One of the hippest albums ever from the team of Kenny Clarke and Francy Boland – a unique small combo session that's even groovier than their famous big band work! The setting is wonderful – Clarke on drums, Boland on piano, and a sextet lineup that includes Sahib Shihab on flute, Fats Sadi on vibes, Jimmy Woode on bass, and Joe Harris on percussion – all players who know each other well, and groove together as one amazing unit on the set! The tunes here are lyrical and lively, modal and moving, and still some of the freshest jazz cut on the European scene of the 60s – music that's having a huge impact these days in the club jazz underground. Shihab's flute work is sublime, especially next to Sadi's vibes – and Harris' added percussion gives a number of the cuts a bit of a Latin kick that's totally great! There's a bit of vocals on the set, and titles include "Ebony Samba", "Tin Tin Deo", "Potter's Crossing", "Wives & Lovers", "Ensadinado", "Lorraine", "Day By Day", "Love Hungry", and "Please Don't Leave".

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".

The mellower of Lyn Collins' two albums for the People label – but still pretty darn fantastic! At some level, it seems like Lyn's taking on the rest of the soul industry – showing them that she can kick some major booty on her interpretations of hits like "Backstabbers", "If You Don't Know Me By Now", "Try A Little Tenderness", and "Mr Big Stuff", which is one of her best funky tracks ever, and better than Jean Knight's original! She also shines extremely well on the original cuts, though – especially the funky classic "Rock Me Again & Again & Again", plus the often-overlooked mellow soul groovers "To Each His Own", "Put It On The Line", and "How Long Can I Keep It Up". Production by James Brown, of course!

Dorothy Donegan tickles the ivories with a mighty nice touch – on a set that shows why she was quite a popular attraction on the 50s scene! Donegan's got a way of approaching the piano with a heck of a lot of vitality – really working the keyboard with great imagination, moving up and down with tremendous dexterity as she opens up a tune! There's no tricks or gimmicks, though – and although the playing has a lot of vitality, it's also beautifully composed, too – just the right balance to keep things swinging, even when the playing is complex. Titles include "September Song", "St Louis Blues", "Love For Sale", "Lullaby Of Birdland", "I Get A Kick Out Of You", and "Dancing On The Ceiling".

Two great soul sides from Eddie & Ernie – heavy hitting work that's really beyond compare! "Bullets" was recorded in 1972, but never issued at the time – and is a tightly funky number with a really romping groove – one that seems to make the duo's vocals cook even more than usual, sending their message home with this really great blast of horns! "In These Very Tender Moments" is from five years earlier – a mellower cut, but one that still has this great slow funk groove – kind of a slo-mo drum part that makes for a very hip kick up from the bottom!

A well-titled album from trumpeter Don Ellis – as the set soars to the skies from the very first note! The album's got a dynamic energy that almost beats Don's American work of the time – lots of funky rhythms, and a cool MPS groove that shows the label's strong 70s legacy of larger group jazz recordings! Like other MPS dates of the time, there's a nice mix of electric and acoustic instrumentation in the lineup – bass and guitar that kick the rhythms up strongly, plus keyboards and electrified strings that bring in their own unique sounds. Milcho Leviev handles the keys on the session – and titles are a fresh batch of numbers that include "Sidonie", "Image Of Maria", "Sladka Pitka", "Go Back Home", "Whiplash", "The Devil Made Me Write This Piece", and "Invincible".

Post-disco work from The Emotions – breaking free a bit here from the Earth Wind & Fire influence, and grooving nicely with a sweet 80s feel! The girls' voices are still quite wonderful – some of the deepest harmonies in the female soul world at the time – and the tunes kick it up nicely in a blend of snapping bassy club tracks and mellower cuts that sweetly sway with their great vocals! Loads of wonderful tracks – and an album not to miss! Titles include the wicked funky "Love Lies" - plus "Turn It Out", "There'll Never Be Another Moment", "Now That I Know", "When You Gonna Wake Up", and "Here You Come Again".

Plenty of crazy rhythms here – as singers Chiemi Eri and Carl Jones are joined by Japanese jazzmen who include Nobuo Hara & His Sharps & Flats, saxophonists Sadao Watanabe and Sleepy Matsumoto, guitarist Shungo Sawada, and the Hideo Shiraki Quintet! The backings on all tracks are superb – and elevate the already-great team of Eri and Jones to a wonderful new level – one that easily matches some of the hippest vocal jazz sessions cut in the US during the same period, especially some of the more inventive albums on the soul jazz side of the spectrum. Titles include "The Big Twister", "My Funny Valentine", "Just Squeeze Me", "Love Is Here To Stay", "I Get A Kick Out Of You", and "Midnight Sun Will Never Set".

Landmark work by one of the greatest jazz outfits of the early 60s! Art Farmer and Benny Golson were both known as well-composed players during the 50s – strongly soulful, but often with a fine sense of arrangement that usually tended towards the lyrical side of things. With this group, though, they turned that approach towards a heavier sounding style of jazz – tightly stepping soul jazz, in the manner that was being explored at the time by Cannonball Adderley, Art Blakey, and others – presented by Farmer and Golson with a bit more groove and a wonderful kick at the bottom! This album's the first the group cut together – and apart from trumpet by Farmer and tenor by Golson, it also features Curtis Fuller on trombone, McCoy Tyner on piano, Addison Farmer (brother of Art) on bass, and Lex Humphries on drums. Includes the massive original recording of "Killer Joe", which went onto become one of the most recorded jazz standards ever, plus the tracks "Blues March", "Mox Nix", "Park Avenue Petite", and "I Remember Clifford". Perfect tone, perfect groove, and a perfect sound all the way through!

Gutsy tenor work from Jimmy Forrest – a player who was poised to rival Sonny Stitt and Gene Ammons at the start of the 60s, and who could have easily done so, given the strength of his work for Prestige! The record's one of a few that the St Louis player got to cut for the label – and it's a tightly-crafted combo effort that features Hugh Lawson on piano, Tommy Potter on bass, and Clarendon Johnson on drums – plus a bit of added conga from Ray Barretto, bringing in that extra "kick" that pushed off other great soul jazz sessions from the time! Tracks are short, and have a good focus on Forrest's wonderful tone – and titles include "Sonny Boy", "Annie Laurie", "I Love You", "Most Much", "Soft Winds", "Matilda", and "Autumn Leaves".

Gutsy tenor work from Jimmy Forrest – a player who was poised to rival Sonny Stitt and Gene Ammons at the start of the 60s, and who could have easily done so, given the strength of his work for Prestige! The record's one of a few that the St Louis player got to cut for the label – and it's a tightly-crafted combo effort that features Hugh Lawson on piano, Tommy Potter on bass, and Clarendon Johnson on drums – plus a bit of added conga from Ray Barretto, bringing in that extra "kick" that pushed off other great soul jazz sessions from the time! Tracks are short, and have a good focus on Forrest's wonderful tone – and titles include "Sonny Boy", "Annie Laurie", "I Love You", "Most Much", "Soft Winds", "Matilda", and "Autumn Leaves".

A great lost chapter in the Larry Mizell story – a record that's not nearly as well known as Mizell-produced jams for Bobbi Humphrey or Johnny Hammond, but which is every bit as great! Roger Glenn's a funky flute player with a really great groove – California groovy, with just a touch of Latin – served up here with some great Mizell-infused touches – that rolling rhythm on the bottom, soaring instrumentation on the top, and some great Latin elements that are wrapped up warmly in the fusion! There's plenty of great keyboards, too – played both by Larry Mizell, and also by Mark Soskin – a range of Fender Rhodes, Arp, mini-moog, and more – all adding in the right sort of warmth to Roger's flute, and the album's rich array of percussion. Titles include "Kick", "Reachin", "Rio", "Gloria", "Overtime", and "Don't Leave".

One of the greatest Italian horror soundtracks ever – and the album that firmly put Goblin on the map! The sound here is virtually a blueprint for countless other film scores in years to come – a sound built out of slow basslines that step around wonderfully – allowing space for sweet keyboard riffs that fill things up with an often-jazzy sort of feel – but usually kick back into a harder, more rock-driven mode on the rhythms. There's plenty of funky bits here, mixed in with mellower, moodier numbers – and titles include "Death Dies", "Mad Puppet", "School At Night", "Profondo Rosso", "Wild Session", and "Deep Shadows". Newly expanded 2CD version features a full bonus disc of alternate takes from the film – 29 more tracks that feature film versions, jazz versions, source music, and lots lots more!

The first full length collaboration between blues, soul and rock slide guitar eclecticist Ben Harper and harmonica master Charlie Musselwhite – and it's win for both – with a vibe that's rooted in many traditions, but feels right at home in both Harper's and Musselwhite's wheelhouses. We expected a blues & soul covers set when we first heard that this project was in the works – and while the prospect of these 2 fellows working together on the classic Americana songbook sounds like a pretty good idea to us – we're actually all the more impressed with this all originals take on classic styled craft. A bit of blues and blues rock, a bit of gospel, and a bit of southern styled folk soul – and a bunch of great songs! It's a full band set up for the most part, too, as opposed to a spare duos set – and the titles include "Don't Look Twice", "I'm In I'm Out And I'm Gone", "We Can't End This Way", "You Found Another Lover (I Lost Another Friend), "I Ride At Dawn", "Get Up!", "She Got Kick", "Blood Side Out" and "All That Matters Now".

The first full length collaboration between blues, soul and rock slide guitar eclecticist Ben Harper and harmonica master Charlie Musselwhite – and it's win for both – with a vibe that's rooted in many traditions, but feels right at home in both Harper's and Musselwhite's wheelhouses. We expected a blues & soul covers set when we first heard that this project was in the works – and while the prospect of these 2 fellows working together on the classic Americana songbook sounds like a pretty good idea to us – we're actually all the more impressed with this all originals take on classic styled craft. A bit of blues and blues rock, a bit of gospel, and a bit of southern styled folk soul – and a bunch of great songs! It's a full band set up for the most part, too, as opposed to a spare duos set – and the titles include "Don't Look Twice", "I'm In I'm Out And I'm Gone", "We Can't End This Way", "You Found Another Lover (I Lost Another Friend), "I Ride At Dawn", "Get Up!", "She Got Kick", "Blood Side Out" and "All That Matters Now". Deluxe edition comes with a bonus making-of DVD with additional live versions of a few of the tunes!

The first full length collaboration between blues, soul and rock slide guitar eclecticist Ben Harper and harmonica master Charlie Musselwhite – and it's win for both – with a vibe that's rooted in many traditions, but feels right at home in both Harper's and Musselwhite's wheelhouses. We expected a blues & soul covers set when we first heard that this project was in the works – and while the prospect of these 2 fellows working together on the classic Americana songbook sounds like a pretty good idea to us – we're actually all the more impressed with this all originals take on classic styled craft. A bit of blues and blues rock, a bit of gospel, and a bit of southern styled folk soul – and a bunch of great songs! It's a full band set up for the most part, too, as opposed to a spare duos set – and the titles include "Don't Look Twice", "I'm In I'm Out And I'm Gone", "We Can't End This Way", "You Found Another Lover (I Lost Another Friend), "I Ride At Dawn", "Get Up!", "She Got Kick", "Blood Side Out" and "All That Matters Now".

A pair of killers from keyboardist Gene Harris – both recorded for Blue Note, and back to back on a single CD! First up is Gene Harris/The 3 Sounds – the last Three Sounds album for Blue Note – and the funkiest too – thanks to lots more electrification than usual, and some killer arrangements from the mighty Monk Higgins! Monk's really at the top of his game here – going past even his great previous work for the group, and working with a tight, sharp edge that recalls his funky 45 brilliance of the 60s – yet tuned a bit more towards the electric Cali jazz of early 70s Blue Note! Gene Harris plays loads of funky piano lines – and in addition to the trio's core electric bass and drums, the set also features some added work on percussion from Paul Humphrey – who really brings in a kick – plus added guitar, congas, and even a bit of Hammond from Higgins too! Some cuts even have a bit of vocals too – sung in this offbeat way that's a wild approach to soul. There's some killer breaks on the set – including the massive "Put On Train" and "What's The Answer" – but the whole set smokes, and other cuts include "I'm Leaving", "You Got To Play The Game", "Your Love Is Just Too Much", "Did You Think", "Hey Girl", and a mad version of "Eleanor Rigby". On the second album – Gene Harris Of The Three Sounds – Gene really steps into the solo spotlight – moving away from his work with the Three Sounds trio, and headed into even more righteous territory – as you might guess from the trippy image on the cover! The set features Harris mostly on acoustic piano, but amidst larger arrangements from Wade Marcus that really round things out with a warm, soulful edge – mixing guitar from Sam Brown and Cornell Dupree with Gene's lines on piano – and giving things an extra kick at the bottom with drums from Freddie Waits, and percussion from Johnny Rodriguez and Omar Clay. The record echoes Harris' older roots at some points, yet comes across with a richer 70s vibe too – a hip 70s style that's strongly due to the contributions of Marcus' arrangements. Tracks include a great remake of "Listen Here", which begins with a great funky break; a sweet steppers version of "Killer Joe"; and the tracks "Lean On Me", "Day In The Life Of A Fool", "Django", "Emily", and "C Jam Blues".

Although the world always remembers Johnny Hartman best for his Impulse recordings with Coltrane, we've always dug some of his earlier stuff – like this album – because the sound's a bit rawer, and the style's got more of a kick! The magical Hartman voice is presented in two great settings – one a small orchestra directed by Frank Hunter, the other an even cooler group headed by Ernie Wilkins – with great horn work from players who include Anthony Ortega, Howard McGhee, Jerome Richardson, and Lucky Thompson! The tracks are familiar, but done with that dusky Hartman style – and titles include "I Could Make You Care", "The Lamp Is Low", "Stella By Starlight", "All Of Me", and a very haunting rendition of "The End Of A Love Affair". CD features 4 bonus tracks too – alternate takes of songs on the album!

Two Verve albums from Johnny Hodges – both relatively obscure, and both pretty darn great! The Eleventh Hour is an overlooked gem from Johnny Hodges – a 60s session that hearkens back to the "with strings" Verve mode of the 50s – but one that also updates the approach strongly, thanks to some well crafted arrangements by Oliver Nelson! Nelson's work in the jazz backings for soloist mode during the 60s was some of the best of the big band genre – and although his work here is much more in the mellow tone mode than his backings for players like Jimmy Smith and Lou Donaldson, Hodges is still getting top shelf treatment, some really wonderful washes of sound and color that show that his tone is still very much alive! A nice preface to the pair's classic set for Flying Dutchman – and with tracks that include "Something to Live For", "Don't Blame Me", "Warm Valley", "The Eleventh Hour", "Guitar Amour", and "You Blew Out The Flame In My Heart". Sandy's Gone is a set that has the sweet alto sax of Johnny Hodges working with great arrangements from Claus Ogerman – a mode that's a bit more groovy and 60s than some of Johnny's previous work – in a setting that offers up a nice change for his sound! Claus is in fine form here – swinging with the same style as his own instrumental records for RCA in the 60s – echoes of his German roots, especially in the use of bass at the bottom – which gives even some of the gentler tunes a nice kick we're not used to hearing in Johnny Hodges material. Johnny's got a sound that's soulful, yet sweet too – almost pop, but still very strongly rooted in jazz – on titles that include "Again", "Sandy's Gone", "Monkey Shack", "Scarlett O'Hara", "Candy's Theme", and "Follow Me".

A split LP by 2 of the better psyche folk bands in modern rock – Hush Arbors and Arbouretum – a team effort that makes sense stylistically on top of the conveniently alliterate band names! Hush Arbors' 5 songs kick it off in timeless, insistently melodic fashion. Arbouretum deliver 3 longer tracks to close, nicely akin to the preceding Hush Arbour tracks, though with more hypnotic vibe. Both bands have a nice bit of fuzz in the guitars. Great stuff! The Includes "Lovely Ghost", "Prayer Of Forgetfulness", "Up Yr Coast", "People & Places" and "The Sleeper" by Hush Arbors. Arbouretum's tracks includes "New Scarab", "The Black Sun" and "St Anthony's Fire".

This is the first full length by underground favorite J-Live. He rhymes like a veteran rapper on this album, although this was actually shelved and in label limbo for some time. Tracks include "Got What It Takes", "Get The Third", "Vampire Hunter J", "Them That's Not", "Braggin Writes Revisited", "True School Anthem", "Wax Paper", "R.A.G.E.", "The Best Part", "Timeless", "Kick It To The Beat", "Play", "Don't Play", "School's In (remix)", and more.

A smoking little set – an album of jazz takes on Curtis Mayfield classics, played by a hip combo that includes a few musicians from Mayfield's old band! The album's a straight jazz effort all the way through – and the interpretations are so soulful and swinging on their own, you might even forget that Curtis provided the inspiration for the tunes – thanks to work from Wallace Roney on trumpet, Ernie Watts on saxes, Phil Upchurch on guitar, Russ Ferrante on piano, Terri Lyne Carrington on drums, and Henry Gibson on congas! The album's one of the last that Gibson ever cut, and his percussion really helps the whole thing find its groove – providing a nice kick to the work of Roney, Watts, and Upchurch over the top. Titles include "Freddie's Dead", "Superfly", "Beautiful Brother Of Mine", "People Get Ready", "Amen", "Gypsy Woman", and "It's All Right".

An incredible album – quite possibly our favorite record by the JBs, ever! The set starts with a wonderful conversational bit – rapping and musing on the idea of "Damn Right, I Am Somebody" – showing the group in a political and righteous mode for the first time ever. The grooves then kick in – with the same heavy funk as on earlier records, but also a nice nod towards experimental production – from strange fade ups and fade downs, to stark time and rhythm changes, and even bits of electronics used to create some very cool moments in the grooves! The whole thing's as dead funky as can be, and is stuffed with insane classics like "Blow Your Head", "Same Beat", "Damn Right I am Somebody", "I'm Payin' Taxes, What am I Buyin'", and a great cover of Marvin Gaye's "You Sure Love to Ball"!

Gene Krupa and Gerry Mulligan – hardly a pairing that we would have thought of – but one that works surprisingly well here, and which showcases Mulligan's increasing fascination for larger group settings! The album features Gene on drums with a set of players that include Kai Winding, Urbie Green, Phil Woods, Hank Jones, and Barry Galbraith – but the real star of the set is Gerry, who's not playing here, but conducting the larger group of jazz players through charts that are all his own, and which display the same love of fluid ensemble horn parts that he used in his own smaller combo work. There's a lot more brass in the mix than you'd usually get from Gerry – which gives the album a bit more of a Krupa kick – and Gene also gets some nice space to show himself on drums. Titles include "Yardbird Suite", "Margie", "Bird House", "The Way Of All Flesh", "Disk Jockey Jump", "Birds Of A Feather", and "Mulligan Stew".

One of the Last Poets greatest albums – and one of their most sophisticated as well! Gone are the rough-hewn rhymes of the group's first album, and in their place are better arranged, more thought-out tracks that mix in a wealth of musical influences – and which expand the group's verbal expression past simple protests, and into the realm of Jazzoetry that became their trademark during the mid 70s. Tracks include "Related to What", "Black Is", "White Man's Got a God Complex", "Black People What Y'All Gonna Do", and "This is Madness" – and a number of tracks are preceded by strong and forceful chants before the lyrics kick in! Reissue of the 80s Celluloid pressing – with a different cover than the original version.

Killer Latin soul! This record is one of the hardest to find from the late 60's boogaloo era, and it's a massive stormer filled with tasty grooves! The band is small and tight, with a 2-sax frontline, for an extra-soulful sound. Vocals are in English and Spanish, and the album wails away like a siren out of control. Things kick off with the organ-heavy instrumental, "Camel Walk" – then they leap into one of the catchiest vocal numbers ever from Fania, the tasty "Afro-Shingaling" – which starts with Ray Ramirez shouting "I just come from Africa – and I learned to do the Shing-a-ling!" Other nice ones include "Chevere", "Guajira", and "Creation" – but the whole thing's great!

Led Zeppelin walk back just a bit on their more stylistically sprawling tendencies for this one – and it's a fine set of hard-grooving rock from these uber-legends! We're not sure if they got some of the more ambitious ideas out of their system with Physical Graffiti, or if they just simply wanted to get out there and kick ass this time, but that's indeed what they do. It's still got some longer songs and complicated changes – this is Led Zeppelin, after all – and the lack of over-played classic rock radio fodder actually makes this one a better listen nowadays than the more iconic albums. Includes "Achilles Last Stand", "For Your Life", "Nobody's Fault But Mine", "Candy Store Rock", "Hots On For Nowhere" and "Tea For One".

One of the strongest early albums by the Ramsey Lewis Trio – especially because it features some great original material! The group – with the usual Redd Holt and Eldee Young lineup – is augmented by Chris White on a few tracks, who plays bass while Young switches to cello, an instrument that he played better in jazz than just about anyone. Apart from the group's great title reading of Cannonball Adderley's "Barefoot Sunday Blues", the record also features original tracks "The Train Won't Wait", "Come On Baby", "I Spend My Life", "Act Like You Mean It", "Salute To Ray Charles", and "Don't Even Kick It Around". Also includes Charles Lloyd's evocative composition "Island Blues".

A killer-diller bit of essential funk – the only full album cut by Maceo with James Brown production! The set's got Maceo coming back strongly into the JB fold, with a fierce array of funky cuts that kick it every bit as hard as the best JBs work of the time. No surprise, the JBs are working with Maceo on the arrangements and backing – letting his funky horn take the lead, but coming up on their own with the impeccably tight rhythms that have forever made them the blueprint for funk forever! Features the great tracks "Soul Power 74" and "Parrty", which you may have on compilations, but also the great album tracks "I Can Play For (Just You and Me)" and "Soul of a Black Man", a 10 minute long, slow soul groove, with vocals by James Brown.

Probably the best track off the second Mantronix LP. The 12-inch version fills out the trademark Mantronix sound with more syth and effects and the Freestyle dub is the more spare version. And then everything drops out but the bass kick and high hat on the 'bonus beat' version.

One of Jack McDuff's first albums as a leader – and a really solid cooker that also features vibes and tenor sax! Given that McDuff hardly ever recorded with vibes again, the session's got a real standout sound that deserves to be heard – as Jack's smoking work on the Hammond comes into play with the leaner vibes of the great Lem Winchester, and gets topped off by some deeply soulful tenor sax from the great Jimmy Forrest. The group's rounded out by drummer Bill Elliott – a player who knows how to hit that right "kick" on the kit to fit the McDuff groove, and titles include "Yeah, Baby", "Tippin' In", "Smooth Sailing", "Mean To Me", "Autumn Leaves", and "Tough Duff".

A beautiful title, and a record that really lives up to it too – filled with evocative piano lines from Murray McNabb – a really great player with a strong sense of flow! The session's an overlooked one – finally out now – and it's got the feel of some lost classic from the Bill Evans school, although maybe with a bit more bite – given that Murray's got an inherent modal groove to his work on the piano, especially when rhythms kick in strongly – from Ron McClure on bass and Adam Nussbaum on drums. Tunes are all McNabb originals – and are some really beautiful compositions that ring out with soul and feeling throughout – real gems that include "Instant Bossa", "Dark Windows", "Recurring Dream", "The Long Walk Home", "Memorial", and "Song For The Dream Weaver".

This is the kind of funky rock record we can get behind! Although Melting Pot are ostensibly one of the many drum-heavy rock groups of their generation, the band manages to kick it very well with a strong commitment to funk – a commitment that outweighs their rock-based lyrics much more than other bands of the type. The core of the group is a nice drum/organ/guitar groove – but there's other added instrumentation, including some tight horns. The record's got a nice funky instrumental version of the track "Kool & The Gang", by the group of the same name – plus vocal tracks that include "Tell Me The Truth", "Feeling Alright", "Await The Coming Day", "Welcome To The Party", and "Sunday Tree".

A nice one! The MJQ record for the Beatles' famous Apple label, and the album's one of their most interesting of the 60s! The production's pretty straight, but the group's playing in a cool open-ended style that still has elements of their earlier work, but which really makes things a lot more interesting than some of the Atlantic recordings. Milt Jackson's vibes have a bit more of a bell-like quality on some parts, and the rhythm team of Percy Heath and Connie Kay kick it with a soul jazz vibe on a few numbers – a nice change from the sleepier rhythms of earlier albums. Titles include "The Blue Necklace", "Exposure", "Jasmine Tree", and "Three Little Feelings".

Mr Drum, you're one heck of a funky player – a mysterious Japanese musician from the early 70s, and one who really knows how to kick into a groove! The drums are definitely at the forefront here – breaking hard right at the start of the record, and mixing with raw guitar and freaky big band backings – all in one of the hippest hybrids of styles we've heard from the Japanese scene at the time! Tunes are mostly familiar numbers from American pop – but their reworked in styles that run from funky to trippy to mod – all as instrumentals with a mighty sharp edge. Titles include "The Drum", "Want Ads", "Lowdown", "Brown Sugar", "It Don't Come Easy", "Indian Reservation", and "Never Can Say Goodbye".

The second outing from this west coast, tripped out, drugged up, funky jazz act – and arguably better than their first! The album's got a sound that will appeal to fans of the more progressive end of grooving – with plenty of long tracks that have the band jamming in a kick-back mode that's reminiscent of the style of some of the European jazz rock groups of the early 70s. Titles include "Sonia & Sony", "What's The Deal With Q?", "Brian Felix & The Trinity", "Are We Being Taped?", "Theme Song For Stereo Steve", and "4 Men With Beards".

Biggie's second LP, and while the production on some of the tracks features a fair bit of Puff Daddy's gloss, they'll still get your head nodding along to Biggie's incomparable flow. It was definitely hard to follow up Ready To Die, but the best cuts here manage to live up to the promise of his debut album. 24 tracks, including "Hypnotize", "Kick In the Door", "Mo Money Mo Problems", "Miss U", "Ten Crack Commandments", 'What's Beef?" and "Nasty Boy".

A great groover from Don Patterson – cut in a trio format, with an open-ended style that lets the players kick back and play, in the sort of free and easy setting you'd hear in a hip small club. Patterson's organ is backed by his usual drummer Billy James, and 4 of the album's 5 tracks feature tenor work, either by Booker Ervin or Sonny Stitt. The last track, "Theme For Dee", is a spare mellow ballad that features mostly just organ by Patterson, with some subtle drum fills by James. The other tracks groove a bit harder, and include "Love Me With All Your Heart", "42639", and "Sentimental Journey".

An amazing set of music – two rare albums from Ohio funk legend Lou Ragland, plus bonus tracks, and a whole set of unreleased sessions too – a huge amount of new music, even if you've got some of the previous reissues! First up is the legendary Hot Chocolate album – one of the greatest lost funk records of all time! The group is not the British pop band, but an Ohio funk group led by the great guitarist Lou Ragland. The album's originally from Canada, which makes it super rare – and these guys are funky funky funky, and kick some major booty with a heavy guitar sound that's just great! Some of the cuts are instrumental, and some of them have some excellent soul vocals that are produced with a nice deep sound that's brought out nicely by the excellent quality of the reissue. The record's got a bit of Sly Stone, a bit of Grant Green, and a bit of Mike James Kirkland – with a tasty raw indie soul vibe – and the original album was only pressed up at 500 copies. Titles include "So Dam Funky", "Ain't That A Groove", "Sexy Moods Of Your Mind", "Messin With Sly", and "What You Want To Do" – plus 8 more tracks from the same vintage – "Good For The Gander" by Hot Chocolate, "I Travel Alone" and Big Wheel" by Lou Ragland, "Red Robin" and "I've Got Something Going On" by Volcanic Eruption, and "I Can't Take It" and "What The Doctor Prescribed" by Lou Ragland & Hot Chocolate. Next is The Conveyor – the second album from Lou Ragland, stepping out here in a great set of mellow soul tracks! The album's quite different from the heavy funk of the Hot Chocolate album – more of a message-oriented approach to soul, in the vein of similar 70s indie work by Mike James Kirkland. The arrangements are also bigger – not smooth, but ambitious, in a style that perfectly matches the higher vision Lou's going for in tracks like "Understand Each Other", "What Should I Do?", "The Next World", and "It's Got To Change". Conveyor also comes with bonus tracks too – "Tend To Your Business" by Wildfire, plus "Since You Said You'd Be Mine" and "I Didn't Mean To Leave You" by Lou Ragland. And last up is an incredible batch of unreleased material – maybe the biggest and best so far from Ragland – tracks that have this really ambitious quality that mixes soul, funk, and larger orchestrations – especially some light strings, which really expand the sound, and push the music into this righteous territory that reminds us a lot of the creative experiments in Chicago during the Cadet/Concept years! Lou's vocals are great, and the message is totally righteous – and even though the tape quality is slightly aged, the soulful vibe really comes through – on cuts that include "Understand Each Other", "It Ain't My Fault", "Could It Be I'm Falling In Love", "Spend My Life Loving You", "Until I Met You", and "Brother Louie". Lovingly packaged by Numero – with a huge booklet of photos and history – and cool mini-LP sleeves too!

A great vehicle for the Smokey Robinson sound in the 80s – and a record that helped Smokey kick off the decade with a really massive hit! "Being With You" still let Smokey stay in an older style of soul-based vocals, without slipping into the adult contemporary sound that would hurt so many other artists of the time – and most of the record has Smokey still stepping around some mellow grooves arranged by Sonny Burke, of the sort that let his sweetly cracking voice come to the forefront. Titles include "Being With You", "You Are Forever", "Can't Fight Love", "As You Do", "If You Wanna Make Love", "Food For Thought", and "Who's Sad".

Organist Rhoda Scott takes on the Bach jazz groove of the French jazz scene – using her Hammond with just a bit of drums in the background, all in a style that's pretty darn spacious, and which shows a tremendous command of the instrument! Given the setting, there's certainly some echoes of pipe organ work in Scott's tones – but as on her other albums of the time, she still manages to swing at the right moments, which usually kick in as the tunes roll on! Most numbers mix up an initial theme from Bach with a groovier contemporary song – in ways that make for a pop/classical medley mode that's quite unique. Titles include "Symphonie Du Noveau Monde/Sitting On The Dock Of The Bay", "Prelude En Sol Mineur/Moanin", "Toccata En Re Mineur/Les Feuilles Mortes", and "Prelude En Si Bemol Majeur/The Preacher".

Fierce funky electronics from Sign Of Four – a record that almost sounds like Malcom Catto's jamming with Jean Jacques Perry! "Jumping Beans" starts off with these really cool percolating moogy bits – but then drums come in and really kick things large – and the electronics only seem to increase to match the intensity – very nice! "Samba Electronico" isn't really a samba tune, but has these batucada-like electronic percolations – moving fast, and with distorted electronics over the top – plus a bit of piano line that gives the whole thing a sweet 60s twist!

One of Sinatra's greatest records ever – pure genius all the way through! Frank's backed here by the orchestra of Count Basie, with some incredible arrangements by Quincy Jones that really have a jazzy, syncopated kick to them. The move seems to be an unintentional way of covering for Frank's slightly failing pipes – but it also picks up on a seminal beat change in 60s pop, the same sort of gentle snapping groove that you'd find in the best work by Bacharach, a shift that really infuses Frank's vocals with a whole new sound, one that shows that he's ready to keep on growing and growing after being stuck in a Nelson Riddle rut. All tracks are superb – hip 60s pop and showtunes, like "I Believe In You", "Fly Me To the Moon", "More", "The Good Life", "Wives & Lovers", and "I Wanna Be Around".

The second great session from two of Verve's biggest jazz stars of the 60s – organist Jimmy Smith and guitarist Wes Montgomery – an unlikely pair, to be sure, but one who work great together on the set! The real change here is in Wes' playing – as it's shifted from the mellower style used over larger backings on most of his Verve sets, back to the rootsier soul jazz tone of his earliest recordings from his days on the Indianapolis scene. Jimmy and Wes are working with a core combo that includes Grady Tate on drums and Ray Barretto on conga – making for a lean organ/guitar groove that's only got percussion to kick it along. Titles include "Call Me", "OGD", "King Of The Road", "Mellow Mood", and "Maybe September" – plus a great version of "Milestones" that features some hard swinging larger backings from Oliver Nelson!

The second great session from two of Verve's biggest jazz stars of the 60s – organist Jimmy Smith and guitarist Wes Montgomery – an unlikely pair, to be sure, but one who work great together on the set! The real change here is in Wes' playing – as it's shifted from the mellower style used over larger backings on most of his Verve sets, back to the rootsier soul jazz tone of his earliest recordings from his days on the Indianapolis scene. Jimmy and Wes are working with a core combo that includes Grady Tate on drums and Ray Barretto on conga – making for a lean organ/guitar groove that's only got percussion to kick it along. Titles include "Call Me", "OGD", "King Of The Road", "Mellow Mood", and "Maybe September" – plus a great version of "Milestones" that features some hard swinging larger backings from Oliver Nelson!

One of the greatest tunes ever from the legendary Lonnie Liston Smith – a cosmic number for the dancefloor – with a bassline and conga bit that kick things off, then a keyboard line that soars to the heavens – all while the vocals stay righteous all the way through! "A Chance For Peace" is jazzy funky too – with keyboards vamping all over the top, and these hip vocals layered in next to the horns – stating a message that meant plenty to listeners back in the day – and during these days too!

Rare soul from singer Bill Spoon – an artist who only ever issued a few singles, but steps out here with a wealth of previously-unissued tracks! Bill hails from Alabama, but also ended up in Memphis and LA – and the styles here definitely showcase that journey – an evolving approach to soul that's rooted in deeper modes, yet which takes on some great modern aspects as the music moves on – a quality that's not online the shift made by Lamont Dozier in the 70s! The package is only available on vinyl, and features some newly mixed versions of older singles, some previously unissued recordings, and some full length takes too – titles that include "I Can't Wait Until The Weekend", "Kick Back", "Watcha Doin With Your Time", "Be Concerned", "Love Is On The Way", "Thank You Baby", "No way To Live", "After All We've Been Through", and "I'll Always Love You".

Titles include "Sugar Daddy", "Don't Be Afraid", "Love Walks Out", "Blessed Is The Man", "Kick That Habit", and "Save Black Music".

One of the first full albums from the Sugarhill Gang – and a good sampling of their early tracks for Sugarhill! Includes the group's classic remake of "Apache" – complete with breaks stolen from the Incredible Bongo Band – plus the cuts "Funk Box" and "On The Money", which both have a compressed 80s groove soul sort of approach. Also features "Showdown", a classic old school battle track, recorded with the Furious 5 – plus the cuts "8th Wonder", "Hot Hot Summer Day", and "Kick It Live From 9 to 5".

Groovy late 60s work from Diana Ross & The Supremes – a record that has them breaking the Motown mold a bit, and hooking up with a nice variety of modder soul and pop modes! Tracks on the set include a few Motown-penned numbers, but the trio also tackle hits like "Everyday People", "Hey Western Union Man", "Let The Music Play", and a great Hair-inspired medley of "Aquarius/Let The Sunshine In"! But the Motown material here is almost even better – and titles include the slightly funky "No Matter What Sign You Are", which has a nice kick in the bottom – as well as "Discover Me", "The Composer", and "What Becomes Of The Brokenhearted".

Heavy fusion from southern Wisconsin – a pretty tasty little set by a group we know nothing about! The lineup includes bass, drums, guitar, keyboards, and saxes – played in a style that's somewhere between some of the jamming, frenetic European groups of the time, and some of the tighter American groups. A few tracks on here really go over the top in a free-for-all fusion kind of style – but there's some better ones that kick back a bit more and are a bit more open to flowing with the rhythms. Titles include "Her", "Slave Trader", "Veena Deva", "Angels Of The Deep", and "Amazon Ritual".

Funky soul from Johnnie Taylor – a set that mixes tight core grooving with some larger arrangements from Bert Keyes and Rudy Robinson – a perfect blend that shows why Taylor easily stood out from some of his bluesy contemporaries! It's clear that Johnnie's just the right guy to handle a setting this hip – and since he's got Marvell Thomas on keyboards, Steve Cropper on guitar, Donald Duck Dunn on bass, and Al Jackson on drums, there's more than enough kick at the bottom to keep things grooving. Titles include the great originals "I Had A Fight With Love", and "Separation Line" – plus hip takes on "Testify", "It's Your Thing", "Games People Play", and "Love Is A Hurtin Thing".

Tracks include "Check The Rhime", "Bonita Applebum", "Award Tour", "Can I Kick It?", "Scenario", "Buggin' Out", "If The Papes Come", "Electric Relaxation", "Jazz (We've Got)", "I Left My Wallet In El Segundo", "Hot Sex", "Oh My God", "Stressed Out", "Luck Of Lucien", "Description Of A Fool", "Keeping It Moving", "Find A Way", "Sucka Ni**a", and "Vivrant Thing".

Very hip work from one of the coolest cats of the 50s – the amazing Bobby Troup, heard here at the height of his powers in a very sweet setting! The group's actually a quartet – given that Bobby's on piano, alongside Howard Roberts on guitar, Bob Enevoldsen on bass, and Don Heath on drums – and all players have a sweet, spare groove that leaves plenty of room for Troup's wonderfully charming vocals – sung in that uniquely personal way that always seems to transform a tune with its playfulness. Titles include "That's All", "I Get A Kick Out Of You", "Dream Of You", "The Hucklebuck", "Yes Sir That's My Baby", "Thou Swell", and "They Didn't Believe Me".

A stone smoker from the great Stanley Turrentine – an album that's got a lot more of an edge than some of his other Blue Note dates from the time – yet, for some odd reason, wasn't issued until the end of the 70s! The group's a crackling septet – yet still put together relatively loosely, not with the tighter arrangements that would show up so often in Turrentine's years. Stan's got a nice raw tone on tenor – and other players include Blue Mitchell on trumpet, Curtis Fuller on trombone, and Herbie Hancock on piano – plus great rhythms from Bob Cranshaw on bass, Otis Finch on drums, and Mickey Roker on percussion. The percussion brings in a nice extra kick – almost a bit of a Latin vibe at times – and titles include "Make Someone Happy", "In Memory Of", "Niger Mambo", "Fried Pies", and "Jodi's Cha Cha".

A rare non-Blue Note 60s date as a leader from Stanley Turrentine – recorded for Impluse when his (then) wife Shirley Scott was contracted to the label – and featuring the talents of both players on some very groovy tracks! The quartet features both Stan's tenor and Shirley's Hammond – with bass by Ron Carter and drums from Mack Simpkins – all in an easy-going groove that recalls some of the best Turrentine/Scott pairings on Prestige! There's a quality here that's relaxed, but never lazy – professional, but never slick – and the album's great proof that although both players could be great on their own, they often sounded even better together at this point in their careers. The album features a cool version of "On a Clear Day", which Shirley always manages to kick into a nice groove – plus the tracks "Good Lookin Out", "Let It Go", "Sure As You're Born", "T'Aint What You Do", and "Ciao Ciao".

One of the all time great albums from Tom Waits – possibly the pinnacle of his earlier drunken poet style of songcraft – and with some of the most achingly beautiful songs he ever laid down! It features the classics "Tom Traubert's Blues" and "Step Right Up" to kick it off, followed by boozy ballads and sly, bedraggled ne'er-do-well tales, and old school strip club-dweller love songs like no others. Other tracks include "I Wish I Was In New Orleans", "The Piano Has Been Drinking (Not Me)", "Invitation To The Blues", "The One That Got Away", "Small Change" and more.

Excellent work from Dee Dee Warwick – Dionne's more soulful sister, and a heck of a singer! The record's got a mix of uptown soul production and deeper soul styles, with a sophisticated style that reminds us of Chicago work by singers like Joann Garrett, Marlena Shaw, or Ruby Andrews – totally tight and sophisticated up top, but with a nice kick on the bottom that really deepens up the groove! The sound is really wide-ranging – similar to what you might find on Shaw's Cadet albums from the time – and production is by some top shelf talents throughout – including Lou Courtney to Ed Townsend to Jerry Ross to Gamble & Huff – all of whom leave their own impressions on the record. Titles include "Foolish Fool", "You Taught Me To Love", "Thank God", "That's Not Love", "Thank You Love", and "When Love Slips Away". Great bonus tracks from singles, too – including "Ring Of Bright Water", "Next Time You Fall In Love", "All The Love That Went To Waste", "I Who Have Nothing", and "I Haven't Got Anything Better To Do".

A fantastic early recording from the great French tenor saxophonist Barney Wilen! The session's a monster – cut with rhythmic backing by Milt Jackson on piano (!?), Percy Heath on bass, and Kenny Clarke on drums – and two cuts feature additional percussion by Gana M'Bow, which gives the set a wonderful kick. We can't remember the last time this material was reissued – and the set's a unique opportunity to hear one of Europe's greatest jazz players ever in the prime of his early years. Wilen's tone is one of the best we've ever heard on tenor – and the quality of the set is incredible! Titles include "Nuages", "Swing 39", "Epistrophy", "Minor Swing", "Swingin Parisian Rhythm", "J'Ai Ta Main", "La Route Enchantee", and "Menilmontant".

A Record Kick's 10th Anniversary split single – with a deep soul gem from Hannah Williams & The Tastmakers – backed by the rocksteady groove of Susan Cadogan! "I'm A Good Woman" is a heavy soul groove – thanks largely to Hannah's mastery of the powerhouse funky soul diva style! The flip is a stellar rocksteady groover from Susan Cadogan & The Crabs Corporation – a whole diifferent style than the funk tune on the flip – which is nice little snapshot of the diversity of the Record Kicks label.

Incredible work – 2 of Bobby Womack's best albums ever in one set! Understanding is killer 70s work from Bobby – reinventing himself here in a great style that keeps all the warmth and soulfulness of his Minit recordings, and gives it a healthy dose of 70s soul production. The result is a great batch of tracks that includes classics like "I Can Understand It", "Woman's Gotta Have it", and "Harry Hippy" – as well as a nice version of "Sweet Caroline", and Jimmy Lewis' great "Got To Get You Back". On Communication, Bobby says thanks to Sly Stone on the back of the album cover – and it's clear that he's gotten a good dose of Sly's funky soul to kick things up a bit from earlier albums. Part of the record was cut in Muscle Shoals, and it's still got that rootsy southern style of Bobby's late 60s work – but there's also a slicker LA funk sound in the mix, with lots of electric guitar solos and funky electric keyboards. Features the righteous "Communication", plus "That's The Way I Feel About 'Cha", "Everything Is Beautiful", "Come L'Amore", and a monologue-heavy version of "Close To You" that's a bit on the Isaac Hayes tip. And hey, Pam Grier's on backup vocals, too!

A killer couple of Danish freakout records from Young Flowers – '68's Blomsterpistolen and No. 2 from '69 – a pair of outstanding albums for Sonet and a slew of bonus tracks in a 2CD set! Blomsterpistolen kicks off with a couple minutes-long "Overture" of guitar noise that mimics radio static as much as it does bugged-out rock & roll, but the punchier psych-styled grooves kick in soon after. From there it moves into to spookier, piano-led bits, to a psych funk version of Dylan's "Down Along The Cove" and beyond! Other titles include "The Moment Life Appeared", "To You", "April '68" and more. Bonus tracks on disc one include "Like Birds", "City of Friends", "Party Beat" and more. Disc two features the group's appropriate-titled No. 2, another tripped out experience with a loose, lumbering bluesy psych style with raw edge and some eerie acoustic numbers. Includes "You Upset Me Baby", "And Who I Should Be 4", the kinda Kinks-y "Calypso 4", "Slow Down Driver", "Kragerne Vender" and more, plus bonus tracks "Hey Princess", "Tonight I'll Be Staying Here With You" (another killer Dylan cover) and "Won't You Sit Down".

An amazing little set – far greater even than the already-excellent first volume, and a treasure trove of modern dancefloor jazz that includes a fair bit of previously unissued numbers! The vibe here is very firmly in the Schema records old/new blend of jazz and grooves – but it's also expanded nicely to include work from key combos on the current global club jazz underground – that spreading scene that's finally getting around to playing real jazz with real soul, instead of just noodling around with samples of saxophones! The feel throughout is tremendous – a near-classic blend of acoustic instrumental approaches to jazz, with just the right electric augmentation to kick things up a notch or two without dampening the soul. Titles include "Lead The Way" by Soulstance, "1974" by Jukka Eskola, "My Love Samba" by Luis Ferri, "Solifer Lento" by Dalindeo, "Some Kind Of Blues (jazz mood inst)" by S-Tone Inc, "Heroes of The Conquest" by The Invisible Session, "Stars" by Paolo Fedreghini & Marco Bianchi, "Mr Bond" by Quartetto Moderno, and "Yes & No" by Quintetto Lo Greco. 11 tracks in all.

An amazing little set – far greater even than the already-excellent first volume, and a treasure trove of modern dancefloor jazz that includes a fair bit of previously unissued numbers! The vibe here is very firmly in the Schema records old/new blend of jazz and grooves – but it's also expanded nicely to include work from key combos on the current global club jazz underground – that spreading scene that's finally getting around to playing real jazz with real soul, instead of just noodling around with samples of saxophones! The feel throughout is tremendous – a near-classic blend of acoustic instrumental approaches to jazz, with just the right electric augmentation to kick things up a notch or two without dampening the soul. Titles include "Lead The Way" by Soulstance, "1974" by Jukka Eskola, "My Love Samba" by Luis Ferri, "Solifer Lento" by Dalindeo, "Some Kind Of Blues (jazz mood inst)" by S-Tone Inc, "Heroes of The Conquest" by The Invisible Session, "Stars" by Paolo Fedreghini & Marco Bianchi, "Mr Bond" by Quartetto Moderno, and "Yes & No" by Quintetto Lo Greco. 9 tracks on 2LPs.

One of the best funky compilations ever! The folks at Stones Throw Records – home of some of the most funk-inspired hip hop of the past decade – have dug through the crates to come up with this incredible batch of 19 tunes, all well-researched, nicely remastered, and offered up here on a 100% legit basis! But even more than that, the selection of music is incredible – killer funky tunes of the sort that you'd shell out plenty for on 45, moving way past the standard loud funk mode, into a hip realm of jazz-tinged expression, complicated enough for today's beatheads, yet straightforward enough to keep the groove going! Titles include "Fish Head" by Slim & The Soulful Saints, "The Dump" by Soul Vibrations, "What About You" by Co Real Artists, "The Kick" by The Rhythm Machine, "Kashmere" by Kashmere Stage Band, "Tighten Up Tighter" by Billy Ball & The Upsetters, "Beautiful Day" by Spider Harrison, "Southside Funk" by Soul Seven, "In The Rain" by The Wooden Glass with Billy Wooten, and "Go To Work" by Revolution Compared To What.

So Cal garage rock stormers of the 60s – lost 45s from the vaults of Downey Records – featuring fuzzy little gems by the Sunday Group, Bud & Kathy, Pat & The Californians, the Bel Cantos, the Last Words, the Barrracudas and others! The guitars are good and buzzing with only the hint of the surf rock you might be expecting, the vocals are chorus heavy and catchy, and theirs a pulpy kick to just about each one – you've probably never heard most of these but their just as much pop as all those famous one hit wonders of the era! Titles include "Edge Of Nowhere" by Sunday Group, "Hang Out To Dry" by Bud & Kathy, "Be Billy" by Pat & The Californians, "What I Want You To Say" by the Barracudas, "Oh My Baby" by Kicks, "Drifty" by Craig & Michael and much more! 24 tracks in all.

A legendary set of sound library grooves – and actually one of the first to kick off the genre! The package brings together rare tracks from the small Italian Octopus label – not nearly as well-known as De Wolfe, KPM, or other sound library giants – but an equally great source of rare funky jazz cuts that were never issued to the public at the time – recorded as part of the huge wave of studio activity in Italy during the 60s and 70s! Given that the set was collected by Schema, you can bet that the tracks are right on the money – and titles include "Curly" by Stellio Subelli, "Sculturea Beat" by Angelo Baroncini, "Diacromeico" by Sandro Brugnolini, "Games" by Pasquale Castiglione, "First Black" by Mario Molino, "Maze" by Roberto Conrado, and "Verso L'Infinito" by Alessandro Alessondroni.

Soul sounds that work perfectly together – on a set that's maybe the most compelling of the Soul Togetherness series so far! There's loads of great contemporary numbers here – some nuggets from the underground, a few more mainstream tracks, and even a few mixes that really transform the tunes – making their key appearance here in CD format. The vibe is deeply soulful throughout – as the set's put together by folks who also have a strong ear for classic soul and funk – and titles include "Turn It Up" by Kenny Thomas, "Don't Give Up" by Aaries, "Taking It Too Far" by Big Brooklyn Red, "Don't Wanna Wait" by Lew Kirton, "Save Our Freedom" by Bah Samba, "Running Around" by Cool Million, "1960 What (Opolopo kick & bass rerub)" by Gregory Porter, "Woo" by Anthony Hamilton, "Let It Go" by Jazzanova, "Thinking About You" by Maurissa Rose, "Share My Love" by R Kelly, and "You Did It Again" by Soulpersona & Princess Freesia.

The record's subtitled "Groovy 60s Sounds From The Land Of Smile" – and we'd be hard-pressed to argue! Volume 2 in the Thai Beat series takes a firmly groovy tack – it's filled with the bubbly energy, moddish drum kick, and all-around day glo go go feel of sunniest American kitsch of the era – as portrayed in Thailand! 20 tracks in all: "Yok Yok (Jump Jump)" by Viparat Piengsuwan, "Ding Dong" by SURAPON, "Mia Chaa (My Darling)" by Waipot Petsuwan, "Shimmy Shimmy Ko Ko Pop" by The Reasons, "Nai Teum (Cool Guy)" by Viparat Piengsuwan, "Lady Madonna" by Sodsai Chaengkij, "Funky Broadway" by Suda Chuenbarn and tons more!

More proof that the Prestige blowing session style worked perfectly for Gene Ammons – as he's right at home on the album's long relaxed tracks, cut in the company of expert players like Art Farmer, Jackie McLean, Duke Jordan, and Art Taylor. Candido's also along for most of the ride, giving the record a nice kick – and the set list includes four long tracks, "Madhouse", "Happy Blues", "The Great Lie", and "Can't We Be Friends".

A great soundtrack to a very strange film – a late Richard Burton/Elizabeth Taylor vehicle, with a very weird-sounding plot! The album's got some wonderfully groovy numbers that have a real kick to them – bass and drums dancing away on the bottom, with nice use of guitar and organ to soup up the groove! The mellower numbers are also really nice too – with a slinky sexy 70s groove that's got the feel of some of the best Italian work of the time. Sally Stevens sings on the track "For Openers", and other titles include "Cookout Society", "Under The Bridge", "Topless Rock", "Kiddo", "Get Me Out Of Here", "Snake Dance", and "Hammersmith Is Out".

A real landmark of bad-walking soul – one of 2 rare albums cut by vocalist Esther Marrow, easily one of the hardest singing sisters of her generation! Esther's got roots in gospel, but she's singing here in a righteous mode that features plenty of funky undercurrents in the backings – a style that hits harder than work by Aretha Franklin or any of the better-known female singers of the time – and which holds up beautifully over the years! Many tracks here are obscure ones, arranged tightly by Artie Butler and Gene Page, both of whom do a great job of blending fuller orchestrations with tighter drums on the bottom – giving the record a good kick on most tracks, but still shading in the tunes with enough sophistication to match Esther's interpretation of the work. As hard-hitting as Marlena Shaw during her best years at Cadet – with titles that include "No Answer Came", "Money Honey", "Walk Tall", "Peaceful Man", "Hello Brother", "Chains Of Love", "It's A Long Night", and "He Don't Appreciate It".

So much guitar – but never too much, given that Wes was the real master of sound and space, even at this early point in his career! The album's one that tries to break Montgomery from some of his smaller combo albums for Riverside, and pair him with a few bigger names – Hank Jones on piano, Ron Carter on bass, Lex Humphries on drums, and Ray Barretto on congas – who gives the album that bottom "kick" sort of groove that was used often on soul jazz sessions from the time. The tune's lope around leanly and cleanly, giving plenty of focus on Wes' work on guitar – and titles include "Twisted Blues", "Repetition", "Somethin' Like Bags", and "While We're Young", which is a solo track by Wes.