Esaie Cid on alto saxophone and clarinet, Benjamin Dousteyssier on baritone and soprano saxophone, Alex Gilson on bass, and Paul Morvan on drums. CD

A warm and sexy score from Stelvio Cipriani – penned with a beautiful blend of woodwinds, keyboards, and sweet bossa-styled grooves! There's a bit more fullness here than in some of Cipriani's more erotic work, and a bit more groove too – although most of the music moves at a wonderfully mellow pace, and just steps around with lots of great jazzy inflections – even though the music itself isn't really jazz! The blend of softness and fullness is wonderful – and the whole thing's easily one of the more captivating scores from Cipriani during these very vital years. CD features 23 tracks from the film – plus notes in English and Italian too! CD

This comprehensive collection features all four Classix Nouveaux albums and includes all sorts of extended/instrumental/7" versions and unreleased tracks! – 67 tracks in all! CD

A fantastic second album from this ultra-hip French combo – a group who effortlessly mix up jazz, funk, and global elements in the best cross-cultural tradition of the Parisian scene! Cotonete have been around for many years, even though they haven't given us many records – and it's clear from this set that their sound has gelled and evolved even more than before – no gimmicks or easy tricks on the record, and instead this really cohesive blend of keyboards from Florian Pellissier with trumpet, saxes, guitar, trombone, bass, and plenty of percussion! Guests include Omar, Leron Thomas, and Sabrina Malheiros – each of whom sing on a single track – and titles include "Satori", "La Derniere Guitare", "Bebete Vaobora", "Venezuela", "Cinq Pour L'Aventure", and "What Did You Run For". CD

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A huge amount of work from the French duo of David Jisse and Dominique Marge – two singers who come together here in surprisingly hip ways – very much their own mode of the time, and quite different than some of the more commercial French pop of the period! A few years before, and these guys might have been a folk duo – but instead, they seem to take the bohemian inspiration of that generation and blend it with a whole host of hip styles – bits of jazz at some points, Brazilian elements at others, groovier soul sometimes, and maybe even a bit of the more experimental styles you'd hear from the team of Areski & Brigitte Fontaine! This 2CD set presents the complete work of the duo – a massive 48 tracks that are a huge musical discovery – work that includes material from a variety of singles and albums, and even one obscure recording done with Luc Ferrari. Titles include "Nemo", "Juliette", "Tu Vas Je Vais", "Et Se Reveiller", "Petit Hommage Au Jazz", "Retrospective", "Sirop D'Orgeat", "Piegon Vole", "Mimi Tant Pis", "Cache Cache", "Mamie Nina", "Babar", "Oh Les Enfants", "Tu M'Fais Rever", and "Ces Mots Qui Te Touchent". CD

One of the first great Italian cop movies of the 70s – and a superbly-scored film with a really wonderful soundtrack! The DeAngelis brothers are clearly drawing heavily from an American tradition initiated by Lalo Schfrin – using heavy guitar, funky undercurrents, and even some soulfully righteous touches to really set this one apart from other Italian films of the time. Yet the approach here is also a bit more different, touches with some of the darker modes and more redemptive themes of Italian westerns – a sense of suspension and drama that's incredibly powerful, and heard to best effect on the solo instrumental passages – which include guitar by Maurizio and flute by Guido. CD features notes in both English and Italian, great images from the film, and even a number of previously unreleased tunes! 20 tracks in all – with titles that include "Festa A Genova", "Gangster Story", "Chicca", "The Life Of A Policeman", "Il Libanese", "Casa Di Moda", "Rock Al Porto", and "La Storia Comincia". CD

Spacey piano work from Jordan De La Sierra – material that's clearly informed by the 60s experiments of La Monte Young and Terry Riley, but which also has a more open, spiritual quality too! The piano has a nice sense of tuning – one that's almost watery at points – and Jordan's in no rush to let the notes unfold, as he often waits for one to resonate out before starting the next – which creates this very spacious, meditative quality throughout – a mode that's also inspired by Indian music, but much more laidbck and North California! The package reproduces the original 2LP set – complete with artwork and original notes. CD

The mindblowing debut of De La Soul – a set that's inarguably one of the most important records in hip hop history – overflowing with playful, endearingly oddball trio rhymes and Prince Paul production at it's most sprawlingly sampled and creative! The set has classic songs that stand out well enough on their own – but they're all also wonderfully linked together as a whole, making the album one of the first really well-thought out full length albums in hip hop – filled with loosely connective skits with recurring characters that are vital to the experience of listening to the record as a whole! Additionally, the set is especially fascinating given its 1989 release year – a time when so many of the contemporaneous crews and solo MCs on both the east coast and west coast were going grittier, darker and more profane – but it doesn't feel like a conscious reaction to that, as much it feels like sharp trio and a brilliant producer carving out their own damn creative niche. Includes "Me Myself & I", "The Magic Number", "Plug Tunin", "Say No Go", "Tread Water", "Eye Know", "Buddy" and much more! CD

The mindblowing debut of De La Soul – a set that's inarguably one of the most important records in hip hop history – overflowing with playful, endearingly oddball trio rhymes and Prince Paul production at it's most sprawlingly sampled and creative! The set has classic songs that stand out well enough on their own – but they're all also wonderfully linked together as a whole, making the album one of the first really well-thought out full length albums in hip hop – filled with loosely connective skits with recurring characters that are vital to the experience of listening to the record as a whole! Additionally, the set is especially fascinating given its 1989 release year – a time when so many of the contemporaneous crews and solo MCs on both the east coast and west coast were going grittier, darker and more profane – but it doesn't feel like a conscious reaction to that, as much it feels like sharp trio and a brilliant producer carving out their own damn creative niche. Includes "Me Myself & I", "The Magic Number", "Plug Tunin", "Say No Go", "Tread Water", "Eye Know", "Buddy" and much more! CD

The mindblowing debut of De La Soul – a set that's inarguably one of the most important records in hip hop history – overflowing with playful, endearingly oddball trio rhymes and Prince Paul production at it's most sprawlingly sampled and creative! The set has classic songs that stand out well enough on their own – but they're all also wonderfully linked together as a whole, making the album one of the first really well-thought out full length albums in hip hop – filled with loosely connective skits with recurring characters that are vital to the experience of listening to the record as a whole! Additionally, the set is especially fascinating given its 1989 release year – a time when so many of the contemporaneous crews and solo MCs on both the east coast and west coast were going grittier, darker and more profane – but it doesn't feel like a conscious reaction to that, as much it feels like sharp trio and a brilliant producer carving out their own damn creative niche. Includes "Me Myself & I", "The Magic Number", "Plug Tunin", "Say No Go", "Tread Water", "Eye Know", "Buddy" and much more! CD

The mindblowing debut of De La Soul – a set that's inarguably one of the most important records in hip hop history – overflowing with playful, endearingly oddball trio rhymes and Prince Paul production at it's most sprawlingly sampled and creative! The set has classic songs that stand out well enough on their own – but they're all also wonderfully linked together as a whole, making the album one of the first really well-thought out full length albums in hip hop – filled with loosely connective skits with recurring characters that are vital to the experience of listening to the record as a whole! Additionally, the set is especially fascinating given its 1989 release year – a time when so many of the contemporaneous crews and solo MCs on both the east coast and west coast were going grittier, darker and more profane – but it doesn't feel like a conscious reaction to that, as much it feels like sharp trio and a brilliant producer carving out their own damn creative niche. Includes "Me Myself & I", "The Magic Number", "Plug Tunin", "Say No Go", "Tread Water", "Eye Know", "Buddy" and much more! Expanded edition contains a second bonus CD packed with alternate versions and rare 12" single remixes! CD

A rock-solid effort from De La Soul at the start of the 21st Century – a record that really has the group coming back into their own! On previous records, it had been a little difficult to tell if De La Soul has been trying harder to please their critics, or simply finally being true to themselves by expelling all traces of the perceived hippy-isms of their earlier work – and the answer is probably somewhere in between, but leaning towards their autonomy. They've been a new group all together since Stakes Is High, and Bionix is certainly their best work since – with the Wu Tang-like piano driven beat of the title track, the catchy soul of "Baby Phat" and "Simply", both of which should be nice club hits, and more than a few subtle nods to the Prince Paul years, especially on the "Simply Havin" interlude. "What We Do (For Love)" makes great use of a Slick Rick guest spot – complete with the horny fanfare. Cee-Lo shows up on "Held Down", and B-Real appears on "Peer Pressure" – both of which suggest that De La spent a little time in Stankonia last year. Other tracks include "Watch Out", "Special", "The Sauce", "Pawn Star", "It's American", and "Trying People". CD

A rock-solid effort from De La Soul at the start of the 21st Century – a record that really has the group coming back into their own! On previous records, it had been a little difficult to tell if De La Soul has been trying harder to please their critics, or simply finally being true to themselves by expelling all traces of the perceived hippy-isms of their earlier work – and the answer is probably somewhere in between, but leaning towards their autonomy. They've been a new group all together since Stakes Is High, and Bionix is certainly their best work since – with the Wu Tang-like piano driven beat of the title track, the catchy soul of "Baby Phat" and "Simply", both of which should be nice club hits, and more than a few subtle nods to the Prince Paul years, especially on the "Simply Havin" interlude. "What We Do (For Love)" makes great use of a Slick Rick guest spot – complete with the horny fanfare. Cee-Lo shows up on "Held Down", and B-Real appears on "Peer Pressure" – both of which suggest that De La spent a little time in Stankonia last year. Other tracks include "Watch Out", "Special", "The Sauce", "Pawn Star", "It's American", and "Trying People". CD

All hits and almost no misses – starting with "Oooh", easily the best single of the '00, featuring some nice quotes from classic hip hop tracks ranging from the Funky 4 + 1 to Mos Def, and some of Redman's best verses in a while. De La Soul basically started the whole skits-between-songs concept, or at least they perfected it, and (unlike too many other artists) here they get it right again – even the three hilarious "Ghostweed" skits featuring cameo appearances from Pharoahe Monch, Q-Tip, and Black Thought hold up to repeated listenings. Also includes "My Writes", "Thru Ya City", "All Good?", 'Words FromThe Chief Rocker" and the "Art Of Getting Jumped" – 17 tracks in all. CD

All hits and almost no misses – starting with "Oooh", easily the best single of the '00, featuring some nice quotes from classic hip hop tracks ranging from the Funky 4 + 1 to Mos Def, and some of Redman's best verses in a while. De La Soul basically started the whole skits-between-songs concept, or at least they perfected it, and (unlike too many other artists) here they get it right again – even the three hilarious "Ghostweed" skits featuring cameo appearances from Pharoahe Monch, Q-Tip, and Black Thought hold up to repeated listenings. Also includes "My Writes", "Thru Ya City", "All Good?", 'Words FromThe Chief Rocker" and the "Art Of Getting Jumped" – 17 tracks in all. CD

An insanely wonderful record from De La Soul – a set that's sometimes eclipsed by its legendary precursors, but which would easily stand as the best record in the catalog by any other group! Prince Paul's production is impeccable – leaner than before, likely due to new restrictions on samples – but with a focus that really hones in on the incredible word play that De La have developed even more strongly than before! That strong sense of whole album presentation the group really helped forge in hip hop is definitely in place here – on titles that include the classics "Ego Trippin' (Part 2)" and "Breakadawn", "Eye Patch", "En Focus", "Patti Dooke", "I Be Blowin'", "3 Days Later", "Area", "I Am I Be", "In The Woods", and "Stone Age". CD

If De La Soul took the world by storm with their groundbreaking debut, they definitely pushed hip hop even farther ahead with this killer second album – a record that refines all the best impulses of the first set, and has the trio coming across with an even greater command of the space of a full length set! After a decade or more where most hip hop albums were just a string of singles and other cuts, De La (along with Public Enemy and a select few others) really helped the medium move into the realm of the album – weaving together cuts that are killer enough to be singles with all sorts of skits and album tracks, all with a vibe that has the whole thing flowing together wonderfully! The humor and wit of the group in their youth is still very much on point, as is the production work of Prince Paul – and the album bubbles over with longform imagination and careful execution that many groups could still hope to match! The samples are superb, nice and funky – and titles include "Oodles Of O's", "Talkin Bout Hey Love", "A Roller Skating Jam Named Saturdays", "Millie Pulled A Pistol On Santa", "Ring Ring Ring", "Keepin The Faith", "Bitties In The BK Lounge", "Pass The Plugs", "Pease Porridge", and "Fanatic Of The B Word". CD

The first post-Tommy Boy De La Soul album – and it's a winner! We've been on board with De La throughout their long career – anyone with open ears must know that even their spottiest records (and this is NOT one of those) feature at least a handful of treasure tracks. Grind Date is easily the best later De La Soul album, and brevity is as key to the album as the group's proven longevity. 12 tracks, 49 minutes, no skits. Two songs in you'll find the stellar "Verbal Clap", one of J Dilla's finest productions ever, with precise on beat rhymes by De La. Other highlights include "He Comes" with Ghostface, a soulful track that would sound just as great on Ghost's Supreme Clientele. Is Grind Date the new sound for the mid 00s? Will it blaze trails and be co-opted by the next hot producers? Are the lyrics as solid as they could be? Probably not in each scenario, but that's not the point – these guys are consummate musicians, molding their rhyme schemes to the tracks with focus and precision. Most critics will say this is De La's best album since Stakes Is High. We'll say it's better! Featuring production by Dave West, J Dilla, Madlib and 9th Wonder – plus guest appearances by Yummy, Ghostface, Carl Thomas, MF Doom, Common and others. Other tracks include "The Future", "Much More" feat Yummy, "The Grind Date", "Shopping Bags", "Days Of Our Lives" with Common, "Come On Down", "Rock Co. Kane Flow" featuring MF Doom and more. CD

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De La Soul take on the world of hip hop with a record that's very much at the top of their game – leaner in production than before, but at a level that also brings a bit more bite to their rhymes – a good thing too, as the group take on some of their contemporaries as they assess the state of hip hop in the shadow of the 21st Century! The shift from previous records is almost like that taken by Tribe Called Quest on Low End Theory – focusing their music, while still throwing in some of their trademark skits – and maybe even making the group sound more serious, yet never in some of the "too hard" styles that they rail against on the set. The set has two key moments for the up-and-coming generation – great cut "The Bizness", with a guest appearance by Common, and "Big Brother Beat" with help from Mos Def – next to other tracks that include "Supa Emcees", "Itzsoweezee", and "Betta Listen". CD

Legendary drummer Tullio De Piscopo is all by himself on the cover, and that's how he sounds on the record – just playing solo, but with amazing grooves that hardly make you miss the other instruments at all! Tullio's got a long legacy in both jazz and club music – yet this set may be one of his most unique, and one of the purest demonstrations of his talents as a musician – as he manages to serve up these solo tracks that are all rhythmic and very groovy, with a melodic command of the drum kit that fills in all the other elements you might miss – on tracks that move between classic hip hop break cuts, to Brazilian-inflected groovers, to some other rhythmic masterpieces that were certainly years ahead of their time back in 1974! Titles include "Afro Cubano", "Samba Carnival", "Rocking Special", "Afro Jazz", "7/4 Rock", "Fast Afro Samba", "Drum Fantasy", "Onda Nueva 3/4", "Moderato Swing", and "Dodiciottavi". CD

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One of Blossom Dearie's fantastic albums for Verve – all of which stand as some of the best recorded work she ever did! The album features Blossom in a warm intimate group, which gives great focus to her endearing voice, and lively piano. She's backed by Ray Brown and Herb Ellis, and she sings some nice groovy numbers that hearken back to her days in France – including "The Riviera", "Plus Je T'Embrasse", and "Give Him The Ooh-La-La", plus an alternate take of "Give Him The Ooh-La-La". Nice stuff, and with a groovy cover to boot! CD

Very cool! This CD is a compilation of 2 albums by the groovy Blossom Dearie – one rare, and one not so rare. The rare one's Blossom's 1970 record cut for Fontana UK, entitled That's Just The Way I Want To Be, and featuring some amazing Brit easy arrangements that are right out of the Sound Gallery/Sound Spectrum scene! The style of the record is very different than others by Blossom, and the swinging groovy orchestrations are a perfect accompaniment for her lively sing-song voice. Titles on that one include "Long Daddy Green", "Inside A Silent Tear", "That's Just The Way I Want To Be", and the great "I Like London In The Rain". Plus, the CD also includes the record Give Him The Ooh-La-La, which was issued over here by Verve, and which also adds 9 extra cuts to the CD, for a total of 21 tracks in all. Buy it for the rare Fontana LP – and savor the extra 9 cuts as a bonus! CD

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A nice dose of work from one of the greatest harmony soul groups of all time – the mighty Delfonics, a trio who took high-end vocals to a whole new level! The package does a good job of mixing hits up with a few lesser-known gems from the group – showing their full vocal potential, and wonderful approach to the music – stellar harmony soul that really redefined the genre at the time, and which remains some of the best male group work you could ever hope to find! 20 tracks in all – including "Hey Love", "Delfonics Theme", "Over & Over", "Funny Feeling", "Loving Him", "Somebody Loves You", "Break Your Promise", "La La Means I Love You", "I'm Sorry", "Walk Right Up To The Sun", "Think It Over", "I Told You So", and "Lying To Myself". CD

Amazing work by The Delfonics – their first 2 albums, back to back on a single CD! La La Means I Love You is a landmark album in harmony soul – one of those records that pushed the genre to a whole new level! The Delfonics emerge fully formed here as one of the most compelling groups of their time – a tremendous trio with a really unique approach to soul music – one that's heartfelt and heartbreaking, but never too sweet to be cloying or poppy – definitely just the right groove to keep things hip while also cracking the charts! The album's their first full collaboration with legendary producer Thom Bell – and it's got a sound that's summed up perfectly in the quintessential cut "La La Means I Love You" – and which is followed through beautifully on a batch of tracks that includes "Losing You", "Can You Remember", "You're Gone", "I'm Sorry", and "Break Your Promise". Sound Of Sexy Soul is an equally groundbreaking album of vocal group soul – right from the first note! The record kicks off with the sublime "Ready Or Not, Here I Come" – which starts with fierce stepping strings that are actually funky, then soars into some of the best harmonies the group ever put to record, superbly arranged by the great Thom Bell, who also wrote the track. As the album progresses, the sound expands further to encompass many elements that would become the blueprint for vocal groups over the next few years – like twangy electric sitar, cascading orchestrations, and pinched lead vocals that take a lot more chances than most group singers had been taking for years! There's still a bit of a 60s soul sound to some of the cuts, but the album's a watershed – not only for Thom Bell and the group, but for harmony soul as well! Titles include "Ready Or Not Here I Come", "My New Love", "Loving Him", "With These Hands", "Somebody Loves You", and "Everytime I See My Baby". CD also features the bonus track "You Got Yours & I'll Get Mine". CD

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Teddy Edwards on tenor, Alain Jean-Marie on piano, Christian Escoude on guitar, Thomas Bramerie on bass, and Alvester Garnett on drums – plus Spanky Wilson on vocals. CD

Sublime early work from the legendary Tal Farlow – the kind of sides that show by he was one of the most important jazz guitarists of the 50s! The bulk of the 2CD set features LA sessions recorded for Norman Granz during Farlow's early years at Verve – dates from 1954 and 1955 that often feature Tal's hollow body guitar right out front in the mix, over backing from Gerald Wiggins, Claude Williamson, Red Mitchell, Chico Hamilton, and others. One session features some added horn work by Bob Enelvoldsen, Bill Perkins, and Bob Gordon – and the package features 29 mid 50s titles that include "Tal's Blues", "Little Girl Blue", "Autumn In New York", "I Like To Recognize The Tune", "I Remember You", "It's You Or No One", "Tenderly", "Lullaby Of The Leaves", "Tea For Two", "This Is Always", "Walkin", "Will You Still Be Mine", and "Lorinesque". Added to these are a handful of earlier tunes recorded when Tal was in the Red Norvo trio – really beautiful work that features Farlow's guitar next to bass from Charles Mingus and vibes from Red! Titles include "Godchild", "This Can't Be Love", "Move", "Swedish Pastry", and "Cheek To Cheek". CD

A sweet little score from Italian composer Nico Fidenco – best known round these parts for his sultry work for some of the 70s Emmanuelle films, sounding equally groovy on this more obscure album from the time! There's a light groove throughout the album – sometimes a slinky Euro sex sort of vibe, other times a much more pronounced approach to funk – with a mix of electric and acoustic elements that includes vibes, keyboards, flute, piano, and other great touches – all recorded with the spaciousness and care you'd expect from the generation. Titles include "La Ragazzina", "Speed", "Monica's Love", "Sandra's Dream", "Monica's Mirror", "Sandra", "Motor Ship", "Duello In 3/4", "Sandra In Love", and "Monica's Flight". CD features 15 tracks from the original promo-only album – plus 12 more previously-unissued numbers! CD

A late entry in the Black Emanuelle series starring Laura Gemser and featuring music by Nico Fidenco – La Via Della Prostituzione – featuring a mix of sulty Fidenco sounds and more funky and disco oriented grooves! Much of the material here has never been released before this great CD from Beat Records – and it's full of funky 70s dancefloor styled sounds with spacier touches, clapping rhythms and evocative wordless vocals. Great stuff – benchmark late 70s erotic soundtrack grooves after the international dancefloor sounds seeped into the style! Titles include "Run Cheetah Run", "A Modern Reportage", "Performing Joy", "Red Room", "Lady Surprise", "Reporter In Action", "Strange Hospital", "Lady Fighting", "Too Much AgaiN" and more. CD

Sublime 70s work from Darrow Fletcher – a singer we mostly know for his early soul singles in Chicago – but one who really hits his stride on these rare sessions from LA! The music was mostly recorded for Ray Charles' Crossover label – although a few singles also appeared on Atlantic too – and the work has Fletcher's wonderful sweet soul vocal approach coming into play with these warmly flowing grooves that are mighty nice – almost a west coast take on the style that Leroy Hutson was doing in Chicago on Curtom! In the setting, Fletcher's even more appealing than before – a mature singer with a hell of a balance between class and soul, poise and swing – more than enough to rival his hippest contemporaries. Production on most tracks was done by Joel Webster – who also recorded for Crossover – and titles include "The Rising Cost Of Love", "Honey Can I", "Try Something New", "Secret Weapon", "Let's Get Together", "It's No Mistake", "Election Day", "Improve", and "Wind Up Toys". CD

Two rare albums from this great pianist – back to back on a single CD! First up is Jazz Argentino – key work from Ruben Lopez Furst, a wonderful pianist from the Argentine scene of the 60s – heard here on one of his greatest albums ever! Despite the local placement in the title, the set's got a really universal appeal – a quality that easily puts Baby Lopez Furst in the company of Bill Evans, Hampton Hawes, or a rare few imaginative pianists from up north! Furst's sense of color and timing are wonderful – ringing out fluidly, yet always with a sense of surprise that keeps us hanging on each new note – nothing that's ever hokey or heard-before – handled here with a vibrancy that's simply stunning. Many numbers are trio tracks, but the set also features guest trumpet and tenor on two tracks – and titles include "Israel", "Un Abajea Duriente", "Los Viejos", "Al Este Del Sol", "Sometime Ago", and "Cartas De Amor". Next is Jazz En La Universidad – one of the real highlights of the Argentine jazz scene of the 60s – a seminal album from pianist Ruben "Baby" Lopez – easily one of that country's greatest jazz musicians in the decade! Ruben's got a sound that opens up with the lyrical sense of space and tone first introduced by Bill Evans, but he's also more note-full at other moments – playing with a command of the piano that would have made him huge, had he recorded on the American or European scenes of the time! There's a warm balance between his instrument, the bass of Jorge Gonzalez, and drums of Nestor Astratta – one that goes past conventional piano trio modes, and which really reminds us of our favorite Saba/MPS sessions of the period. Titles include "Un Poco Alegre", "Hombre Amaestrado", "En Tu Dulce Modo", "Hermosoa Amor", and "Necesitare Alguien Mas". CD

A wonderfully groovy soundtrack – one we'd never heard before, and a set that's filled with great little numbers in a range of different styles! The main theme is filled with percussion – really hard-driving drums that are chased by this echoey piano bit that's totally cool, and very unique! Some other sweet tracks have a gentle bossa-styled groove – including one with wordless vocals from Edda Dell'Orso – and other numbers have a different vibe, one that's a bit gentler, and almost sentimental at times, but pretty great too. There's also a few cuts that are more stark and moody – a bit towards Morricone horror fare, but not entirely – and the reissue features a whopping 27 tracks in all, most of which are short, compelling numbers! CD

A very cool sci fi soundtrack from Marcello Giombini – as sexy as the image on the cover might imply, but also pretty darn electric and spacey as well! The album echoes some of Giombini's earlier electronic sound library material – and is often spare, with heavy use of keyboards – in ways that are more like late 60s sci fi scoring than some of the more disco keyboards you'd hear in other space soundtracks from the time! The spareness really works well, and creates an evocative mood on both the mellower tracks and some of the more action-oriented ones – which even get slightly funky at points. CD features 16 tracks from the film – all of them pretty great! CD

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Jerry Gonzalez on trumpet, flugelhorn and congas, Javier Masso "Caramelo" on piano, Kiki Ferrer on drums, Alberto "Chele" Cobo on claves, and Alain Perez on bass. CD

A fantastic soundtrack that's maybe even more legendary than the unusual animated film for which it was created – a funky French classic that stands strong in the best tradition of work by Serge Gainsbourg, Jean-Claude Vannier, and Michel Colombier! No surprise, Alain Goraguer is part of the same generation, and did some great early jazzy backings for Serge – but here, his style is much funkier, with lots of sweet keyboard lines, wah wah guitar, and soaring larger orchestrations that really put the whole thing together – clearly one of Alain's best musical moments – and filled with great tunes that include "Le Bracelet", "Deshominisation", "Mort De Draag", "La Femme", "Mira Et Ten", and "Ten Et Medor". Plus, this great reissue is mixed from the original tapes – and features 10 more bonus tracks – all appearing here for the first time ever! CD

Two very playful soundtracks – both composed by Lallo Gori, who we mostly know for more serious action work! Scusi Ma Le Paga Le Tasse is from the start of the 70s, and begins with a vocal number from Franco Fanchi, but soon moves into much groovier territory with a blend of funky jazz and dreamier moments of the sort that you might be likely to hear from some of the bigger Italian composers of the period. There's occasional light piano, ala Stelvio Cipriani – and even an appearance from the Nora Orlandi singers over the course of the 17 tracks from the film. Come Rubammo La Bomba Atomica is from 1967, and the music has some slight currents of spy spoof scores of the period – that nice comedic/dramatic mix of jazz and dynamic pacing, blended with a few exotic elements too. The set features two vocal numbers sung by Elsa, and the rest of the 12 tracks from the film are instrumental. CD

Two cool Italian spy spoof comedy soundtracks from the 60s – both served up at a level that may well top American film scores of the type from the time! Lallo Gori does wonderful work on Come Svaligimmo La Banca D'Italia – very different than some of his other soundtracks, with a much more jazz-based approach – served up with swinging rhythms, organ lines, flute, and even some great chorus vocals from the very groovy I Cantori Moderni! The tunes are all pretty jaunty and groovy – lots of mod 60s modes – and the soundtrack features 17 titles in all! Next up is the soundtrack for Il Lungo Il Corto Il Gatto – music that's equally groovy and filled with plenty of jazzy elements too – as well as more of those great vocals, this time sung by the chorus of Nora Orlandi. 30 titles in all on the CD – and a well-done collection of tracks that never saw the light of day on record at the time! CD

The Great Jazz Trio really stretch out here – taking each of the album's four songs at a mighty relaxed pace – which allows even more room than ever for the creative expression of Hank Jones on piano, Ron Carter on bass, and Tony Williams on drums! The cover's got a slick look that might be more at home on a fusion record – but the set's all acoustic, and has this warm, personal vibe that's really tremendous – that special sound that the three legendary musicians brought to their great run of albums in this format! Titles include "Satin Doll", "My Funny Valentine", "Night In Tunisia", and "Round Midnight". CD

The Great Jazz Trio really stretch out here – taking each of the album's four songs at a mighty relaxed pace – which allows even more room than ever for the creative expression of Hank Jones on piano, Ron Carter on bass, and Tony Williams on drums! The cover's got a slick look that might be more at home on a fusion record – but the set's all acoustic, and has this warm, personal vibe that's really tremendous – that special sound that the three legendary musicians brought to their great run of albums in this format! Titles include "Satin Doll", "My Funny Valentine", "Night In Tunisia", and "Round Midnight". CD

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A wonderful bit of hipster tracks from the early 60s! Mel Henke was part Esquivel, part Pete Rugolo, part Ken Nordine, part Kenyon Hopkins – and one of the best, and most underrated of the late 50s/early 60s bachelor pad arrangers! This album's most likely his best – and it's a mad mix of tracks with a slinky jazzy sound. Some have strange narration, others have strange instrumentation, and nearly all of them have a wild cartoony sound that's just great. Listen for strange vocals from Beverly Ford, electric violin by Elliott Fisher, and lots of percussion by Larry Bunker and Milt Holland. Titles include "The Lively Ones", "Let's Put Out The Lights", "Famer John", "All That Meat", and "Woman In Space". CD

A really fantastic trio outing from pianist Fred Hersch – working here in a fluid style that really makes the album a standout classic in his career, thanks in part to superb work on bass from Steve La Spina, alongside drums from Jeff Hirschfield! La Spina has this round, warm tone that really complements Fred's piano lines – and the group choose some material that really allows them to show off their strengths in all the best ways – on titles that include Frank Foster's "Simone", Wayne Shorter's "Black Nile", Miles Davis' "All Blues", and a great take on the classic "The Dolphin", penned by Luiz Eca of the Tamba Trio! CD features two bonus tracks – "Unit Seven" and "Sometime Ago". CD

The ETC trio is expanded here in a wonderful way – with the tenor of Jerry Bergonzi adding a special sort of soulful vibe to the already-great sounds of Fred Hersch on piano, Steve La Spina on bass, and Jeff Hirshfield on drums! Bergonzi recorded some of his best material for the Red Records label – and he really continues that legacy here, by blowing superbly throughout – often with that slight edge that makes his sound in this period so unique – almost a later answer to territory first explored by Joe Henderson on his early Blue Note recordings. The set features material written by all members of the group – and titles include "Hank", "Without You", "Evanessence", "April Nights", "Conclusive Evidence", and "Splurge". CD

Brilliant live work from trumpeter Freddie Hubbard – a set of well-recorded, long and open tracks that really lets him stretch out on his solos – and direct a majestic group of musicians as a leader! We already love Freddie Hubbard in the studio, but on a live record like this he always seems to find deeper, more powerful currents in his music – soaring out with a lineup that includes George Cables on Fender Rhodes, Junior Cook on tenor and flute, Kent Brinkley on bass, and Michael Carvin on drums – mostly playing tunes from the CTI years, but with a very different, more spontaneous vibe. Each track runs the length of the side of a record – and titles include long takes on "Sky Dive", "The Intrepid Fox", "Povo", and "First Light". CD

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This one plays more like a Roc posse LP than a Jay album, with Memph Bleek and the ever rugged Beanie Siegel prominently featured throughout the album. 16 tracks in all from the height of the "hot" sound, with the breakout Neptunes hit "I Just Wanna Love U (Give It To Me)", "Streets Is Talking", "This Can't Be Life" featuring Scarface, "Parkin Lot Pimpin", "1-900-HUSTLER", and "Squeeze 1st". CD

Juan De La Cruz is a band, not a guy – and they're one of the hardest rocking combos of the far east in the early 70s! The trio's propelled strongly by some razor-sharp guitar from Wally Gonzales – a player who stands mightily with some of the biggest British names of a few years before – but who's all the more compelling because of his lack of commercial fame in this scene. Vocals are often in that same blues-into-rock mode initiated by the Rolling Stones – but are often taken to weirder, wilder territory overall. Titles include "Round & Round", "I Wanna Say Yeah", "Take You Home", "Shake Your Brains", and "Big Boss Man". CD

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Khruangbin are well on their way to becoming superstars with this set – a package that revisits scraps of songs they'd never been able to work just right in the past, and has a way of making them all shine freshly in a very different light! Sure, the funk trio at the core are still in place – but the music has this more expansive quality, and almost a sunny vibe that fits the image of the window on the cover – as things are warmed up with a bit of smoothness that really complements their groove – almost a nod to mellower soul at times, which will really surprise listeners of some of their other work. Yet at the same time, Khruangbin never stop reworking themselves – either through collaborations with others, or fresh projects like this – with tracks that include "May Ninth", "Three From Two", "Juegos Y Nubes", "Todavia Viva", "Pon Pon", "Farolim De Felgueiras", and "Les Petits Gris". CD

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With Laurindo Almeida on guitar, Bud Shank on alto and flute, Ray Brown on bass, and Jeff Hamilton on drums. CD

One of the later, post-Fantasy albums by the LA Boppers – a great one for Mercury! Bop Time has some of their nice smooth two step harmony vocals set amidst jazz-tinged arrangements – with plenty of funk in the mix, too – especially in those killer basslines! Augie Johnson produced for At Home productions, so the jazzy moments blend nicely with the dancefloor funky soul. Tracks include "You're On My Mind", "If It Is That Way", "Dreamer", and "You're No. 1". Also features a very tasty remake of "La La Means I Love You"! CD

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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". CD

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Wonderful work from this really unique west coast combo of the 70s – a quartet that draws plenty from key contributions of each of its members – but which also has a very special sound in the acoustic guitar of Laurindo Almeida! Almeida's a player who'd already been working in LA for two decades or more, but finds a whole new way to express himself here – in the company of past partner Bud Shank on reeds – who really opens up with some soulful solos on the record, which step boldly past some of the guitar passages that sometimes lead off the tracks. Ray Brown's bass is wonderful too – well-shaped, and given some great space to help work alongside Laurindo's guitar – and the album's completed by some very sensitive work on drums by Shelly Manne. Titles include "Softly As In A Morning Sunrise", "Django", "Romance De Amor", and "Recipe Of Love". CD

Wonderful work from this really unique west coast combo of the 70s – a quartet that draws plenty from key contributions of each of its members – but which also has a very special sound in the acoustic guitar of Laurindo Almeida! Almeida's a player who'd already been working in LA for two decades or more, but finds a whole new way to express himself here – in the company of past partner Bud Shank on reeds – who really opens up with some soulful solos on the record, which step boldly past some of the guitar passages that sometimes lead off the tracks. Ray Brown's bass is wonderful too – well-shaped, and given some great space to help work alongside Laurindo's guitar – and the album's completed by some very sensitive work on drums by Shelly Manne. Titles include "Softly As In A Morning Sunrise", "Django", "Romance De Amor", and "Recipe Of Love". CD

A beautiful group, and one with a very unique sound – a style that draws from the early 50s experiments in Brazilian jazz by Bud Shank and Laurindo Almeida – but which also moves the approach into even more sophisticated 70s territory! The quartet features Almeida on acoustic guitar and Bud Shank on some wonderful reeds – plus bass from Ray Brown and drums from Shelly Manne, but players who are open to all the new ideas of Bud and Laurindo, but who can also throw in a stronger groove when needed. The album's a wonderful experiment in really pushing the envelope of jazz expression further – but never in any sort of outside ways – and titles include a reading of Ravel's "Pavane Pour Une Infante Defunte", plus "C'Est What", "Corcovado", "Autumn Leaves", "Samba De Orfeu", and "Reveil". CD

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Tripped-out grooves from this legendary combo from Uruguay – a mix of candomble roots and wilder rockish touches – but also served up with a bit of Latin in the mix too! There's some great heavy percussion on the bottom of most tracks – and even when the guitars are fierce and fuzzy, the overall sound is nicely rhythmic, and often a bit funky – a great blend of global elements, and coming across with the same sort of power as the best Latin funk albums from Peru! There's perhaps a bit more psychedelia here than on those records, but never in a way that's too indulgent or dated – thanks to some lean, clean arrangements. Titles include a cover of Tito Puente's "Guayaba", plus "Adios A Jimi Hendrix", "Cajon De Castanas", "Llamada Del Sur", "Buscado", "Donde Esta El Doctor", and "Mas Alla Del Sahara". CD

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Pretty amazing work from one of the greatest under-rated talents of 50s modern jazz! John LaPorta was a brilliant multi-instrumentalist who's probably best known for his work with Mingus in the mid 50s Jazz Workshop years, and for his earlier sides with Woody Herman – but it's on records under his own name that LaPorta really begins to shine. This great set features 14 tracks that were recorded in the 50s, but never issued before – and 9 more that were from the album Conceptions, issued briefly in the 50s by Fantasy Records. The first 14 tracks form a long suite of jazz-based compositions, handled with a modernist chamber-type approach – and based around some really great solo work on trumpet, baritone, tenor, and bass. The feel is almost like a 50s jazz soundtrack – with lots of moody moments paired with others that break out in a stronger swinging groove. The remaining tracks are equally nice – in a similar style, and showing LaPorta as a composer who could have handled just about any ambitious jazz project of the time. Titles include "Forward Motion", "Jazz Canon", "Images", "Lucidity", "Little Fantasy", "Ferme LaPorta", "En Rapport", and "Triplets You Say". CD

One of the few albums that drummer Pete LaRoca ever made as a leader – and a gem through and through! LaRoca had a touch on the drums that was unlike anyone else – free, but never "out" – and in a flowing, progressive style that pointed the way towards the sound of jazz in the 70s, but which was still firmly rooted in the soulful style of the 60s. The album's filled with beautiful flowing waves of sound – and features lead solos by Joe Henderson, strong piano lines by Steve Kuhn, and some great round basswork by Steve Swallow. The feel of the set's somewhere in the vein of Larry Young's work at the time – never too "out", but much more flowing and free than the typical Blue Note. Tracks include "Basra", "Tears Come From Heaven", and "Candu". A fantastic album, with a unique approach! CD

One of the few albums that drummer Pete LaRoca ever made as a leader – and a gem through and through! LaRoca had a touch on the drums that was unlike anyone else – free, but never "out" – and in a flowing, progressive style that pointed the way towards the sound of jazz in the 70s, but which was still firmly rooted in the soulful style of the 60s. The album's filled with beautiful flowing waves of sound – and features lead solos by Joe Henderson, strong piano lines by Steve Kuhn, and some great round basswork by Steve Swallow. The feel of the set's somewhere in the vein of Larry Young's work at the time – never too "out", but much more flowing and free than the typical Blue Note. Tracks include "Basra", "Tears Come From Heaven", and "Candu". A fantastic album, with a unique approach! CD

One of the few albums that drummer Pete LaRoca ever made as a leader – and a gem through and through! LaRoca had a touch on the drums that was unlike anyone else – free, but never "out" – and in a flowing, progressive style that pointed the way towards the sound of jazz in the 70s, but which was still firmly rooted in the soulful style of the 60s. The album's filled with beautiful flowing waves of sound – and features lead solos by Joe Henderson, strong piano lines by Steve Kuhn, and some great round basswork by Steve Swallow. The feel of the set's somewhere in the vein of Larry Young's work at the time – never too "out", but much more flowing and free than the typical Blue Note. Tracks include "Basra", "Tears Come From Heaven", and "Candu". A fantastic album, with a unique approach! CD

One of the few albums that drummer Pete LaRoca ever made as a leader – and a gem through and through! LaRoca had a touch on the drums that was unlike anyone else – free, but never "out" – and in a flowing, progressive style that pointed the way towards the sound of jazz in the 70s, but which was still firmly rooted in the soulful style of the 60s. The album's filled with beautiful flowing waves of sound – and features lead solos by Joe Henderson, strong piano lines by Steve Kuhn, and some great round basswork by Steve Swallow. The feel of the set's somewhere in the vein of Larry Young's work at the time – never too "out", but much more flowing and free than the typical Blue Note. Tracks include "Basra", "Tears Come From Heaven", and "Candu". A fantastic album, with a unique approach! CD