A great group – much better than their name! Forget the "dub" part – because there's no reggae jams, or bargain basement Kingston sounds on here. Instead, the group's a really warm and jazzy combo – a quintet of 5 Japanese musicians, all playing in a lovely, laidback fashion. The instrumentation includes flute, violin, acoustic guitar, bass, and percussion – and the style is a gentle blend of bossa, jazz, and acoustic swing – really sparkling with a fresh take on all the genres, and coming together with a confidence that's really compelling. A really lovely little record – almost lost in the wash of current work – and packaged here with a bonus CD of remixes! Titles include "Ama No Hamaguri", "Sayonara No Kodoma", "Sabara", "Ham & Egg", "Musik Liebe & Daisy", and "Rensa Hannoh" – plus remixes by Daishi Hisakawa, Takeshi Habu, Gak Sato, and Paine.
Excellent analogue electronics by this groovy modern combo! The record reminds us of some of our favorite late 60s compilations of tracks from the obscure electronic music centers of American universities – with loads of bubbling, fuzzing, and repetitive wave forms. Tracks include "Inevitable Fast Access", "Aphine Repetition", "A Very Uncomfortable Status", and "Meetings In Compact Boxes".
A totally great set by Cannonball Adderley – one of his funkiest albums ever, recorded live at Operation Breadbasket under the supervision of Jesse Jackson, and a session in which the band is cooking a lot more than on some of their other albums from the time! The set grooves hard with some tight electric piano from Joe Zawinul – amazing snakey lines that not only set the tone for the whole record, but which really make for a strong evolution from the Mercy Mercy Mercy era of the group a few years before. Cannon's alto and soprano work are beautiful – a masterpiece of soul jazz expression – as is the cornet from brother Nat – and the group's completed by bassist Walter Booker and drummer Roy McCurdy. The album's a bucketful of great jazzy sample tunes – and tracks include "Walk Tall", "Country Preacher", "Hummin", and the extended "Afro-Spanish Omlet".
A jazzy portrait of Cannonball Adderley in his early soul jazz prime – oddly one that doesn't feature his regular quintet lineup, but which more than makes up for that lack with a batch of players that includes Blue Mitchell on trumpet, Bill Evans on piano, Sam Jones on bass, and Philly Joe Jones on drums! Given the personnel, the record's almost kind of a transition from Cannon's brief time with Miles Davis into his tighter more soul-inflected group to come – and Evans' piano provides an especially spacious sensibility here, one that marks the time spent with Miles nicely. Titles include "Nardis", "A Little Taste", "Minority", and "Blue Funk". CD features 3 bonus tracks!
4 early Cannonball Adderley albums on 2 CDs! The package is a brilliantly put-together look at Cannon's early style – forged at Mercury in the years before he settled into soul jazz fame in the 60s, a mix of hardbop styles that shows his genius even as a young player, working with players that include brother Nat Adderley, Junior Mance, Jimmy Cobb, and Sam Jones, as tight a combo as Cannon had in the 60s, and a bit more versatile too! The set features a total of 36 tracks, some great notes, and a wealth of excellent titles that will have you rediscovering why you like Cannonball Adderley all over again! Titles include "Bimini", "Porky", "Another Kind Of Soul", "Jubilation", "Our Delight", "Stay On It", "Fuller bop Man", "That Funky Train", "Sam's Tune", "Miss Jackie's Delight", and "Cobbweb".
At this point, things were getting better from Cannonball – as he was getting a lot more of a handle on his style as a soloist, and began sticking to the tight little combo sound that would make him a star in the 60s. This album was recorded slightly before Cannon's classic lineup would begin to gell – but it features some very able company in the form of Art Blakey, Wynton Kelly, and Milt Jackson, with a tight hard bop sound to the group. The title cut's a near-classic, and other tunes include "Sounds For Sid", "Groovin High", "Serves Me Right", and "Blues Oriental".
One of their early classics, and still one of the greatest groups with roots in the Chicago AACM scene. Henry Threadgill, Fred Hopkins, and Steve McCall play modern experimental versions of compositions by Jelly Roll Morton and Scot Joplin – plus Threadgill's own "Paille Street".
A beautiful later set from Lorez Alexandria – produced by Houston Person, and put together with a sensitivity that really stands out! Although Lorez always sparkles on tunes that swing, she really rises to the occasion even more here on the ballads – really gentle tunes that are taken in a laidback, personal sort of way – sometimes stretching out to the 10 minute mark, and presented by Lorez in a way that's open, unhurried, and a far cry from the usual quick take on an evergreen standard. The group features the great Gildo Mahones on piano – plus Herman Riley on tenor, Grant Geissman on guitar, Andy Simpkins on bass, and Sherman Ferguson on drums. Mahones handled the arrangements – always a plus – and titles include "I Should Care", "Love Walked In", "I'll Never Stop Loving You", "No Moon At All", "All My Life", "For All We Know", and "In The Wee Small Hours Of The Morning".
A real turning point in the career of Gene Ammons – a record that almost returns Ammons to his earthier roots, and in the process helps build up a whole new sound in soul jazz for the 60s! The "Jug" nickname in the title is kind of a joking way to help Ammons stand alongside "Miles", "Trane", "Diz", and other one-name monikered stars in jazz – but even without that gimmick (which somehow lasted for years), the album's got a depth that more than gets Gene back on top, thanks to a gritty soulfulness and good sense of feeling in the grooves! Players here include Richard Wyands on piano on most numbers – plus a rare appearance by Clarence "Sleepy" Anderson on 2 numbers – one on organ, one on piano. Rhythm is by Doug Watkins on bass and JC Heard on drums – and Ray Barretto makes one of his great soul jazz appearances on drums – rolling the groove along with a nice bit of bounce throughout! Titles include "Tangerine", "Ol Man River", "Easy To Love", "Seed Shack", "Miss Lucy", and "Namely You".
A great second album from India Arie – sweet, smooth, soulful, and one we like even better than the first! The style is wonderful – a mix of warm vocals, spare production, and acoustic guitar – which gives the set a folksy quality that really offsets the smooth backings nicely. Songs are very well written, and linked together with a sensuous musical approach that makes the whole album drift nicely along – beating with the heart of underground soul set, but handled with a high level of class! Titles include "Beautiful Surprise", "Little Things", "Growth", "Talk To Her", "Headed In The Right Direction", "Good Man", "Complicated Melody", and "The One". Limited CD features the bonus track "Interested".
A landmark set from the German prog scene – the first amazing utterance of Ash Ra Tempel, and a standard-setting album that few others could ever hope to match! The sound here builds beautifully – coming out of abstract, noisy territory, then finding shape as the record goes on – a perfect blend between the instruments and new studio modes that really help the textures and tones come to the forefront! The group features Klaus Schulze on drums and electronics, Manuel Gotsching on guitar, and Hartmut Enke on bass – and Conny Plank worked the knobs, to help the whole thing come together like magic! Each song takes up a side of the record – and titles include "Amboss" and "Traummaschine".
The third album from Maya Azucena and here debut for the Half Note label – brilliant true soul from one of our favorite voice of the past decade – really at her best here! Maya may be drawing from a more diverse stylistic spectrum here – there's some classic brass backed soul numbers, more stripped down acoustic instrumentation, strains of hip hop soul and other touches – but it flows perfectly thanks to her straight up beautiful voice and her own songwriting anchoring it all tightly. We wondered if she was going to move more towards a jazzy style with the move to Half Note, but this is soul music through and through! Includes "Cry Love", "Shine", "Near", "Change My Mind", "Belong To The Sun". "Run Into The Light", "Warriors", "Live On", "Little Ghetto Boy" feat Chris Rob and more.
The punk-metal crossover classic. Very nearly as deserving of watershed status as the unbridled Rock For Light set. Burning jams from top to bottom: "I Against I", "House Of Suffering", "Re-Ignition", "Secret 77", "Let Me Help", "She's Calling You", "Sacred Love", "Hired Gun" and "Return To Heaven".
A landmark album – even if it was the only session that Cannonball Adderley ever cut for Blue Note! The album was recorded at a time when Adderley was working with Miles Davis – and as such, the session features a group that includes Miles, blowing in a cool tone that's a perfect offset to Cannonball's more soulful style. The rest of the group includes Hank Jones, Sam Jones, and Art Blakey – and like John Coltrane's Blue Train, the record's more of an "special session" than the usual Blue Note album, but the strength of the players make it one of the more memorable records of its day! Titles include "Somethin' Else", "One For Daddy-O", and a nice moody take on "Dancing In The Dark".
A landmark album – even if it was the only session that Cannonball Adderley ever cut for Blue Note! The album was recorded at a time when Adderley was working with Miles Davis – and as such, the session features a group that includes Miles, blowing in a cool tone that's a perfect offset to Cannonball's more soulful style. The rest of the group includes Hank Jones, Sam Jones, and Art Blakey – and like John Coltrane's Blue Train, the record's more of an "special session" than the usual Blue Note album, but the strength of the players make it one of the more memorable records of its day! Titles include "Somethin' Else", "One For Daddy-O", and a nice moody take on "Dancing In The Dark". Includes bonus track "Alison's Uncle".
Afro Soultet —
Afrodesia ... CD
Banyon/Luv N' Haight,
Late 60s/Early 70s. Used ....
The wildly diverse, heavily percussive global jazz, soul, and exotica inspired Afrodesia from the late 60s combo Afro Soultet – a crazy rare one, too! The group purportedly has roots in Texas, but incarnations of it were gigging around LA a bit earlier as Afro Latin Blues Quintet +1 and a bit later as Afro Latin Soultet. Here they play with boundless inspiration from around the globe. Afro Latin percussion and rhythms hold it all together, but they bring in strains of Latin soul, African rhythms, straighter jazz and madly percussive instrumental rock. Producer/composer/arranger/raconteur Jack Millman plays drums in the group as Johnny Kitchen, and other players include Joey Dubreau on vibes, Frank Morris on guitar and harmonica, Eddie Paris on drums, Dean Elliot on percussion, William Quinn on flute & sax, and Bill Collins on keys. Includes "Afrodesia", "Mozamba", "Soul Rockin'", "Afro Revolt", "Torrid Zone", "Oom Gowa", "Slave Traders", "Drumbouie", "Aphro Bugaloo", "Chocolate Drop", "Le Berber" and "Sand, Sun And Sea".
Nelson Angelo —
Caterete ... CD
2000/2003. Used ....
A pretty darn great record from Brazilian singer and guitarist Nelson Angelo – an artist we haven't heard from since his early 70s album with Joyce! Angelo clearly hasn't missed a beat in the time that's gone by – and he's working here in a compelling mode that blends small combo instrumentation with adventurous songwriting – but which also has lots of jazzy touches in the phrasing of the vocals and instruments. There's a lightly breezy feel to some of the best tracks – reminding us almost of early Ivan Lins at his best – but the album also has a more personal approach that comes through in most of Angelo's original compositions. Titles include "Lingerinho", "Caterete", "Delirios Do Mar", "Radio Universe Pedal", "Vera's Frevo", and "Trombone".
(Barcode has a cutout hole.)
Angelo & Veronica —
Change ... CD
1999. Used ....
(Out of print. Barcode has a cutout hole.)
Antiguo Automata Mexicano —
Kravt Slvt ... CD
Static Discos (Spain),
2007. Used ....
An incredible debut – and the birth of a genre! India Arie burst upon the Neo Soul scene with this sweet little set a few years back – and her career's been burning up ever since! The set's got all the best elements of some of the best indie soul of recent years – sweet beats, honest vocals, and warm instrumental touches – but the best aspect is the "acoustic soul" use of guitar to give some tracks a slightly folksy feel – one that sets India apart from some of her contemporaries with a really personal approach! The whole thing's great – overflowing with wonderful tracks that include "Video", "Brown Skin", "Back To The Middle", "Part Of My Life", "Always In My Head", and "Nature". CD also features a bonus Stevie Wonder dedication – "Wonderful"!
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".
(Out of print Verve Masters Edition digipack version.)
Great stuff! From Motown songwriters to world-class superstars, the trip was a well-deserved one for Valerie Simpson and Nick Ashford – and this album's perhaps their crowning achievement in sophisticated club soul! The record's got a great groove that offers a more soulful version of disco than most of the competing albums on major labels at the time – a perfect summation of the care and craft that Ashford & Simpson had always put into their music right from the start! The pair handle all production on the record, and also contributed all the songs too – and the whole thing's so wonderfully tight, right, and on the money, the album soars to the top even before the vocals come into the mix. Titles include more than a few club classics, like "Found A Cure", "Stay Free", and "Nobody Knows" – plus the cuts "Dance Forever", "Crazy", "Follow Your Heart", and "Finally Got To Me".
(Out of print, promotional stamp on booklet cover.)