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No Mirage here – as the album's got a presence that's impossible to deny – a solid, soulful uttering from this key Chicago combo of the 70s! The group's led by reedman Ari Brown – better known for his later avant work – and they've got a wicked blend of keyboards and horns with lots of complicated touches, played out over funky rhythms that are completely mindblowing! The great Ken Chaney plays keyboards, and in addition to Brown's reeds, the set also features trumpet from Frank Gordon, trombone from Steve Galloway, and bass from Rufus Reid – plus cool percussion from Arlington Davis and Drasheer Khalid. Most cuts are instrumental, and recorded beautifully – but one number, "The Ultimate Frontier", also features vocals from Anita Jefferies. Other cuts include "Slinky", "Mirage", "Just a Little Peace", and "March On".

The Black Jazz recordings of Doug Carn are always a revelation – some of the most powerful, progressive work on the American underground of the early 70s – music that got Carn into way more record collections than you might expect! The sound here is a perfect summation of Doug's early genius – his own work on organ and keyboards, never overdone and mixed perfectly with a righteous array of acoustic sounds from Rene McLean on alto and tenor and Olu Dara on trumpet – both players who soar to the skies on waves of energy begun by Carn! Wife Jean Carn sings on a number of tracks – with this heavenly style that's mighty righteous – every bit as soulful as her later work at Philly International, but in a very different way. The set includes Doug's great reading of "Naima" – plus other wonderful cuts that include "Power & Glory", "Feel Free", "Jihad", "Fatherhood", and "God is One".

Plenty of spirit, and plenty of soul – a 70s classic from organist Doug Carn, and a record that took his instrument, and jazz in general, to a whole new level for the decade! Carn's got this burning, righteous quality on his keys – a vibe that certainly owes something to Larry Young, but also takes off even further – working in a spiritual ensemble that also features his wife Jean Carn on vocals – sounding way more like a righteous jazz singer than on her later soul sides for Philly International! Other players are great, too – and include Charles Tolliver on flugelhorn, Garnett Brown on trombone, George Harper on tenor and soprano sax, Buster Williams on bass, and Alphonse Mouzon on drums. Tracks include "New Moon", "Trance Dance", "My Spirit", "Blue In Green", and "Arise & Shine".

One of the most electric albums on the legendary Black Jazz label – a hip set of funky fusion tracks from bassist Cleveland Eaton, with a vibe that's similar to his album for the Gamble label, and his funky 45 work with The Kats! The record's a good extension of Eaton's roots in the Cadet studio scene working with Ramsey Lewis – and as proof of those roots, the record contains work by loads of key Chicago players – including Ari Brown on tenor, Odell Brown on keyboards and Hammond, Duke Payne on tenor and flute, and Morris Jennings on percussion! There's a wicked groove on most cuts, and the set was also recorded at the Chess studios – which furthers the Chicago vibe – as you'll hear on cuts that include "Chi-town Theme", "Keena", "Moe Let's Have A Party", "Kaiser 405", "All Your Lover, All Day, All Night", and "Hamburg 302".

One of the greatest moments ever from west coast bassman Henry Franklin – a set of soaring, spiritual power – and a key demonstration of his rich energy as a leader! Franklin heads a wicked lineup here – playing both Fender and acoustic bass amidst other players who include Bill Henderson on electric piano, Charles Owens on tenor and soprano sax, Oscar Brashear on trumpet, Kenny Climax on guitar, and Michael Carvin on drums – all coming together with a mix of spiritual vibes and soulful undercurrents, in ways that almost give the record a Strata East sort of vibe! The whole thing is certainly one of the most memorable sessions on the Black Jazz label – and titles include "Outbreak", "Little Miss Laurie", "Theme For Jojo", and "Plastic Creek Stomp".

Brilliant basswork from Henry Franklin – one of the hippest cats handling his instrument on the west coast in the 70s – working here with a wicked ensemble of soulful, righteous players! Franlin's bass sets the tone of the record right from the very first note – but the album's a very collaborative effort, too – and features Oscar Brashear on trumpet, Charles Owens on tenor, Bill Henderson on soprano sax, Ndugu Chancler on drums, and Kirk Lightsey on both piano and flute! The legendary David Durrah plays piano on two tracks – his own "Waltz for "Boobuss" and "Venus Fly Trap" – and the Sisters Happiness sing vocals on the latter cut, too. Other titles include "Blue Lights", "Soft Spirit", and a version of Chick Corea's "What Was".

One of the few albums ever cut by reedman Rudolph Johnson – a hell of a saxophonist, and one with a great ability to combine the spiritual with the searing – a bit like Joe Farrell at his CTI best, but not as freewheeling – nicely focused, and a little bit funky in all the right parts – in ways that make this album one of the real standouts on the legendary Black Jazz label! The groove is nice and hard, and plenty dark – with lots of sharp edges around the offbeat rhythms, and a "bite" that makes the album one of the heaviest titles on the label. Other players include John Barnes on piano, Reggie Johnson on bass, and Ray Pounds on drums – and titles include the great "Diswa", which has sort of of a tight jazzy hip hop sample feel to it, plus "Mr TJ", "Little Daphne", and "Spring Rain".

One of Quincy Jones' best soundtracks of the 70s – filled with some great slick electric funky crime tracks, perfectly played by LA jazzers that include Clare Fischer, Paul Humphrey, Arthur Adams, David T Walker, Milt Holland, and Jerome Richardson. A few cuts feature vocals by Little Richard – but the best tracks are the instrumental ones – like the classic sample cut "Snow Creatures", which has an amazing intro and a very dark mood. Other tracks include "Passin The Buck", "Rubber Ducky", "Money Is", "Do It Do It", and "Money Runner".

No need to be cautious here – as the album's the sort you can jump into right away – thanks to some wicked grooves from legendary guitarist Calvin Keys! Calvin's had a great revival in recent years, but this album's the stuff that first put him on the map – a brilliant early date for the Black Jazz label, done in a unique blend of spiritual and soul jazz modes! Keys' guitar has a sharper focus here than on his other 70s set for the label – and he's working with some beautifully complex arrangements, played by a group that includes Charles Owens on tenor, soprano sax, and flute – plus Kirk Lightey on electric piano, Henry Franklin on bass, Oscar Brasher on trumpet, Owen Marshall on percussion, and Ndugu Chancler on drums. Most titles are originals – and tunes include the nice groover "Aunt Lovey", plus "Tradewinds", "Night Cry", "Renaissance", and "Efflugence".

The early 70s last hurrah for the Mamas & The Papas – who still deliver rich harmonies and a surprisingly creative breadth of styles on this long-delayed final album! The Cali rock scene, and the world at large, were both quite different in 1971 than they were in the late 60s – and to the Mamas & The Papas credit, they're really not out to replicate past glories. The vocals are still sweet and soaring, and there's an upbeat vibe, but it's a more laidback one. It's got a bit of an early 70s soft rock vibe, which we love! Includes "People Like Us", "Pacific Coast Highway", "Shooting Star", "European Bluebody", "I Wanna Be A Star", "Step Out", "Snowqueen Of Texas", ""No Dough", Blueberries For Breakfast" and more. This Now Sounds CD edition has a bunch of bonus tracks: "No Dough (Honeymoon) (Alt. Mix)", "April Anne", "Andy's Talkin' Blues (Demo)". "Revolution On Vacation (Alt. Mix)", "Me And My Uncle (Jack Of Diamonds)" and more.

One of the few solo albums ever cut by organist Chester Thompson – a player who's known to most as the keyboardist in Tower Of Power, but one who's also remembered by a select funky few for this killer record for the Black Jazz label! The album's a stripped-down quartet session – with labelmate Rudolph Johnson on tenor, blowing some beautiful lines alongside long, drawn-out Hammond solos from Thompson! The overall feel is similar to some of the great late 60s Prestige sessions – especially Don Patterson dates – with the group free swinging away in a very live format, just like you might have heard if you caught them in some hip southside club. Other players include Al Hall Jr on trombone and Ray Pounds on drums – and the album features four long jamming tracks, with titles that include "Mr T", "Trip One", "Weird Harold", and "Powerhouse".

A beautiful follow-up to the Snowing On My Piano album from pianist Bugge Wesseltoft and violinist Henning Kraggerud – and a really unique little album that strongly echoes some of Bugge's own solo work in recent years! Wesseltoft has really developed an even stronger sense of space as he's matured – and has this uncanny ability to use just a few notes, often very gently, and sometimes in halting ways – but all with the punch of a player who'd throw in a few dozen more notes in the same musical space – an incredibly quality that we've really come to admire in his playing, and which almost echoes some of the work of Satie or Gurdjieff – but with a more jazz-based approach. Kraggerud plays violin, viola, and viola concorda on the set – but often seems to move from Bugge's lead inspiration – creating some deeper colors with his own sustained notes. Tunes are all based around traditional themes, but really opened up in different ways – and titles include "Hei Hu", "Last Spring", "Byssan Lull", "Den Fyrste Song", "Blamann", "Om Kvelden", and "Wiegenlied".

An excellent bit of slick jazzy soul! The session was headed up B Baker and Lance Quinn, and it's a swirling mix of funky fusion, played by a group that includes Jimmy Ponder, Lonnie Smith, Jimmy McGriff, and Eddie Daniels. Two cuts have lead vocals – "It's Where You're Coming From", which features Lew Kirton, and "Dreamer", which features Gene Scott – but the strongest part is the jazzy playing, very much in the mode of a slick Fantasy Records sound from the late 70s. Includes the jazz funk classic "Snowblower", plus "Carousel" and "Spirit Level".

An excellent funky fusion group from Chicago – and one of the best ensembles to record for the Black Jazz label! The group's made up of hip Chicago underground players – and includes Ken Chaney on electric piano, Ari Brown on saxes, and Frank Gordon on trumpet – a lineup that comes together with the same sort of righteous energy and soulful power as Windy City contemporaries like The Pharoahs or Earth Wind & Fire! On this first LP, they jam with a mix of righteous funk and spiritual soul jazz, mixing electric piano, choppy reeds, and tight horns with a powerful rhythm backing that never goes too over the top, and which stays in a good modal mode that works great for the soloists – soaringly expressive at a personal level, yet coming together with a really righteous group feel in the end. Tracks include "Jupiter", "Brand New Feeling", "Convulsions", and "Kera's Dance".

Beautiful reeds throughout – a sensitive yet striking mix of flutes and clarinet – the former played by Michel Edelin, the latter by Jacques Di Donato, who also handles a bit of soprano sax as well! The instruments often fold over each other nicely as the tunes begin – fluttering in waves of sound that are pushed forward by the rhythmic intensity of Jean Jacques Avenel on bass and Simon Goubert on drums – but also able to find some quieter, more contemplative space at times too. The album's one of the most lyrical we've ever heard on the Rogue Art label, yet still has that highly creative and independent spirit that we like on the company's other discs too. Titles include "Tristezza Della Diva", "Black Snow", "Witches", "Jet Lag", "Tales Of Seven Lizards", "Bailes De Tango", and "Simon's Bubbles".

A stone classic on the Black Jazz label – and one of the most unique guitar albums ever! We're not sure what the title meant originally – but over the past few decades, it's come to stand for some heavy heavy guitar work from the legendary Calvin Keys – a record that's really stood the test of the time, continually rediscovered by new generations of diggers! Keys has a very unique touch here – a mix of open chords and tighter lines – beautifully wrapping up a history of soul jazz guitar that stretches back to the early 60s – then propelling things forward with loads of righteous 70s spiritual jazz energy. The set also features loads of sweet keyboards – played by Larry Nash, and mixed with flute and "hose-a-phone" from Owen Marshall – set to grooves from Lawrence Evans on bass and Bob Braye on drums. A stone classic from the Black Jazz label – and titles include "Gee Gee", "BK.", "BE", and "Shawn-Neeq".

Modal, magical, and mighty soulful too – a killer 70s set from drummer Takeo Moriyama, and one that wonderfully mixes lyrical moments with some more freewheeling energy! Moriyama's got a perfect balance with the group – and the album has some especially nice work on piano from the great Fumio Itabashi – a player who can be bold one minute, personal the next, yet never lose his sense of presence or punch. Katsumi Odagiri serves up some excellent tenor and soprano sax, really shading in the grooves with a lot of soul – and in addition to work from Hideaki Mochizuki on bass, the record also features wonderful guest work on trombone from Shigeharu Mukai, a player whose sensitivity always brings another level to any session he joins. Titles include "Sunrise", "Hush A Bye", "North Wind", "Lover Man, and "Snow Tiger".

Some of the hippest sounds we've ever heard from pianist Gene Russell – an album that features heavy use of Fender Rhodes – and a soulful, solid, rhythmic core that comes from the basslines of Henry Franklin, guitar of Calvin Keys, and drums of Ndugu Chancler! The set's one of the greatest in the legendary Black Jazz catalog – and is a perfect illustration of the righteous ways the label's players helped to update soul jazz styles of the 60s – really reworking things here with a fresh 70s vibe, and a sense of conscious energy that flows effortlessly from Russell's work on the keys! Most numbers feature added percussion, which really furthers the spirit of the session – and titles include the massive "Get Down", plus "Blues Suite", "For Heaven's Sake", "Talk to My Lady", "My Favorite Things", and "Me & Mrs Jones".

One of Walter Bishop's greatest records – an amazing session that's as funky as it is spiritual – and quite different than most of Bishop's other work! The vibe here is wonderful – as Bish plays a host of keyboards, not just piano – and works in the company of other players who include Ronnie Laws on reeds, Gerald Brown on bass, Woody Murray on vibes, and Shakur M Abdulla on percussion – a beautiful mix of cats who help Walter carry off some of his hippest recordings of the time! The use of vibes is especially nice alongside the electric piano – and titles include a great take on Bishop's classic "Soul Village", done here in a nice funky version – plus a version of "Summertime" with Bishop on organ, and the titles "Sweet Rosa", "Those Who Chant", and "N'Dugu's Prayer".

Insanely fantastic! Ananda Shankar was one of the hippest sitar players of the 60s – an artist who was not only steeped in the strongest traditions of Indian music heard in other more mainstream players, but one who also had a keen ear for modder and funkier grooves of the time! This rare American set by Ananda is one of his greatest ever – a brilliant mix of funky backings and tripped out sitar work – done in a way that blends together soul, funk, and rock – all given a particularly cool Indian twist. The vibe is very much in the best funky Bollywood style – but was actually done years before most Bollywood funk – and the set includes great covers of "Jumpin Jack Flash" and "Light My Fire", plus great original tracks like "Sagar (The Ocean)", "Snow Flower", "Dance Indra", and "Metamorphosis".

One of a pair of great late 70s European dates from Japanese percussion master Masahiko Togashi – and a set that features some especially striking trombone from the legendary Albert Mangelsdorff! Given Albert's previous experiments in free, open-ended groups – his talents here are perfectly suited for the spontaneous nature of the set – awash in inventive passages from Togashi on the drums and other percussion, yet also filled with a sense of soul at times too – one that Mangelsdorff really responds to beautifully, showing his ability to step outside and inside at a moment's notice. Other players include Takashi Kako on piano and JF Jenny Clark on bass – and titles include "Snow", "Ballad", "Crystal", "Orange", and "Acting".