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Classic party rockin' first school hip hop from 1980 – an elongated jam that holds up incredibly well all these years later! The Sound of Brooklyn is the full name of the track and the label – and it's features Master Jay and Michael Dee dropping straight up classic old school rhymes over an unstoppable, 8+ minute roller skating style groover! "Part 2" on the flip is the instrumental track. A perfect post disco hip hop jam!

A stone killer from Gwen McCrae – a set that's light years past the deep soul of Gwen's Miami roots – and which is given a tight, modern spin by the great Webster Lewis! Lewis produced, and plays plenty of keyboards here – and his fusion-inspired groove really helps unlock a whole new side of Gwen's vocals – a vibe started on her previous "Funky Sensation" work for Atlantic, but a bit different too – with some sunny Cali touches that really mark a strong step forward in her music. There's loads of heavy rhythms on the set, but the sound is way past disco too – and arrangements are handled by Lewis, Fred Wesley, Harold Batiste, and HB Barnum. Titles include "Keep The Fire Burning", "I Didn't Take Your Man", "Doin' It", "Be For Real", "Hang In", and "I Need To Be With You".

A killer diller of a live set from Brother Jack McDuff – a cut that burns with energy that almost beats his studio 60s classics for Prestige! The group is one of Jack's best ever – a lineup that includes the twin tenors of Red Holloway and Harold Vick, plus incredibly sharp guitar from a young George Benson, and some of the most unique soul jazz drum work you'll ever hear – courtesy of the amazing Joe Dukes. Despite their individual strengths, which might make this whole thing an ego-fest – all players fit perfectly into place on the album's hard wailing batch of groovers, and groove together with a sympathetic energy that's simply amazing! Titles include a great remake of "Jive Samba", plus "Dink's Blues", "Grease Monkey", "Passing Through", and "Vas Dis". This is the kind of thing live recording equipment was made for!

The first album by this enigmatic jazz funk trio from New York. Medeski's funky keyboards are firmly in place, and the group's got the usual tight rhythm groove, but the lineup's also expanded with some additional horn players, and some guest guitar by Mark Ribot. The album includes a great version of Coltrane's "Syeeda's Song Flute", plus originals like "Worms", "Sand", "Where's Sly?", and "Wiggly's Way".

Hip trio material from pianist Bettye Miller!

Bubbling 80s soul from Stephanie Mills – a set that has the singer's vocals really working strongly with some catchy rhythms that nicely balance between the clubs and the charts! Stephanie's almost in Deniece Williams territory here – working with a groove that's got plenty of potential to cross over to bigger markets – yet still marked by the really rich, full vocal approach that made her a winner right from the start! The backings definitely have that hook-heavy quality you'd hear in mainstream 80s soul – but Mills' approach more than makes the songs her own – even when things are grooving. Titles include "In My Life", "The Medicine Song", "Edge Of The Razor", "Undercover", and "Rough Trade". CD features three bonus tracks – "Edge Of The Razor (dance mix)", "Edge Of The Razor (dub mix)", and "The Medicine Song (Mark Berry 12" mix)".

An ultra-hip set from bassist Tyler Mitchell – a player who doesn't often record as a leader, but really makes his mark with this live performance from Smalls! Mitchell's group here is a great one – a really cohesive quintet with Josh Evans on trumpet, Abraham Burton on tenor, Spike Wilner on piano, and Eric McPherson on drums – all players who come together on the album's original compositions, and who have the inventiveness to keep things spontaneous and flowing on the very long tracks – all tunes that go well past a dozen or more minutes in length. Wilner's especially nice – bold, yet sensitive – and a great bridge between the leader and hornmen. Titles include "A Time Called Now", "La Tendresse", "Caton", "Taking It With Me", and "Taj's Theme".

A stone classic from the Modern Jazz Quartet – recorded back when the group still featured Kenny Clarke in its membership, but already with some of the more serious, somber tones that would mark the combo's more famous years! Tracks here are from a variety of sessions in 1953, 1954, and 1955 – and trace an evolution of the MJQ style from initial more composed renditions of bop and modern jazz, to some of the more ambitious colors and tones of the Lewis-penned songbook. Titles include longish readings of "Django" and "La Ronde Suite", plus "Milano", "But Not For Me", "The Queen's Fancy", and "Delaunay's Dilemma".

A stone classic from the Modern Jazz Quartet – recorded back when the group still featured Kenny Clarke in its membership, but already with some of the more serious, somber tones that would mark the combo's more famous years! Tracks here are from a variety of sessions in 1953, 1954, and 1955 – and trace an evolution of the MJQ style from initial more composed renditions of bop and modern jazz, to some of the more ambitious colors and tones of the Lewis-penned songbook. Titles include longish readings of "Django" and "La Ronde Suite", plus "Milano", "But Not For Me", "The Queen's Fancy", and "Delaunay's Dilemma".

A rock-solid sextet session from the mighty Lee Morgan – recorded for Blue Note at the height of his mid 60s powers, and carried off in a beautiful blend of soul jazz and some slight modern touches! The group here is top-shelf all the way through – Jackie McLean on alto, Hank Mobley on tenor, Herbie Hancock on piano, Larry Ridley on bass, and Billy Higgins on drums – the last two of whom do a great job of bringing some complex yet swinging rhythms to the set! The horn soloists are all as sharp as you might expect – and the album's a striking soulful date from McLean at a time when he was mostly going out a bit more. Titles include the funky "Cornbread", the searching "Our Man Higgins", and the lyrical ballad "Ceora" – plus "Most Like Lee" and "Ill Wind".

Meli'sa Morgan doing what she does best – pushing the envelope for mainstream soul, but often in really subtle ways! There's a majestic sweep to these tunes that's a real surprise – a class and care that takes Morgan's music past some of her poppier contemporaries, and which always brings a little something extra to the table – maybe a bit of jazz inflection to the vocals at points, or some deeper lines that really help send a lyric home! And although the production is relatively commercial, the end result is a lot richer, too – thanks to work in the studio from Kashif and Lesette Wilson – both of whom leave their mark on the set. Titles include "Love Changes", a duet with Kashif – plus "You're All I Got", "Good Love", "If You Can Do It I Can Too", "Here Comes The Night", "Just For Your Touch", and "I Still Think About You". CD features lots of bonus tracks – including "If You Can Do It I Can Too (club house mix)", "If You Can Do It I Can Too (dub)", "Good Love (ext rmx)", "Good Love (rmx edit)", "Here Comes The Night (special club opus)", and "Here Comes The Night (special club opus 12")".

Switched On funk from Mr Chop! Here's an homage to the innovative Moog-based LPs of the late 60s and early 70s – though the the great UK analog studio wiz Mr Chop is also doing it hard and heavy – it's not a light, airy and bubbly keyboard groove experience – this is spacey, fuzzy avant funk at its modern finest! Produced and engineered by Mr Chop and the players are like-minded geniuses – Malcolm Catto on drums, Coz Litter on bass, guitar, vocoder and more, Glyn Williams on clavinet, Moog, Hammond and Rhodes, Johnny Pop on Hammond organ and Mark Brunley on modular synth. The set includes some covers of funk and avant rock like you've never heard them before, and it's great all the way. Titles include "Hung-Up", "Root Down (And Get It)", "Breakthrough", "Givin Up Food For Funk", "Blow Your Head", "Deep Gully", "Greedy G", "Happy Birthday", "Vitamin C" and "Cortex".

A really cool guide to an under-researched side of the record business – the decades of albums and singles issued for the younger market – served up in a book that's as colorful as the records themselves! The volume is partly a price guide, partly a discography – and it's printed on super-heavy paper, full color, with loads of images of these cool little records! Plus, the front section features a lot of specific details on labels and pressings – a great help, given how unusual some of these were – and how few of the records have survived the passage of time in good condition. Over 400 pages, softcover, and very heavy!

A self-titled set from the mighty Music Machine – a studio ensemble who were as important to the sound of European club music in the 70s as Instant Funk and MFSB were to the Philly scene in the US! The Machine features a host of players who'd previously backed Donna Summer and other Giorgio Moroder projects, stepping out here as an act on their own – grooving tightly with the kinds of stretched-out disco modes that Moroder really helped pioneer, graced by some excellent keyboards from Thor Baldursson! Most cuts have some sort of chorus vocals – sung by Madeline Bell, Sue Glover, and Sunny Leslie – and titles include the extended "Get On The Funk Train", a short remake of "Love To Love You Baby", and the cuts "Spring Affair", "Trouble Maker", "Try Me I Know We Can Make It", and "I Wanna Funk With You Tonight".

A stormer of a set from Nacao Zumbi – really stepping out here with a bold sound that's miles away from the group's run with Chico Science, and which marks them as a strong force to be reckoned with on their own! The production here is really ramped up – not exactly funky, but really heavy on the drums, in a way that makes the whole album bristle with energy throughout – thumping, bumping, and rumbling with an earthy brilliance that's extremely captivating – transcendent of language and cultural affiliation, and punching out with a power to firmly mark a space for Nacao Zumbi on the growing map of global grooves! Guitars and cool electronic touches color the rhythms nicely – and titles include "Pode Acreditar", "Futura", "Vai Buscar", "Na Hora De Ir", "Hoje Amanha E Depois", "Expresso Da Eletrica Avenida", and "Nebulosa".

A full length collabo from Nas & Damien "Jr Gong" Marley – who've worked together in the past on a track two – and overall it's a win that goes well beyond simple hip hop/dancehall fusion! The duo samples Mulatu, collaborate with K'Naan , Dennis Brown, Stephen Marley and others, and bring global dramatic sweep and and timeless funk to Distant Relatives that ends up working better as an eclectic whole than you may have suspected! Titles include "As We Enter", "Tribes At War" feat K'Naan, "Strong Will Continue", "Leaders" feat Stephen Marley, "Count Your Blessings", "Nah Mean", "Patience", "Africa Must Wake Up" feat K'Naan and more.

A great later journey in music from Milton Nascimento – a set that has him faltering a bit in the 90s, then really finding his sound! The first three albums in the set – Angelus, Amigo, and Nascimento – each have a slightly ambitious feel, but are often a bit more restrained than some of the work from Milton's classic years – still filled with the sense of soul and majesty that really set him apart from his contemporaries – but sometimes not finding their mark as much in terms of the production and overall arrangements. Yet Tambores De Minas helps correct that – but putting Milton in a live setting, and really re-exposing his core charm – energy that shines out no matter what the material, in a way that seems to re-seat him on the throne of Brazilian popular music. The set then ends with the majestic Pieta – a record that's warmer and richer than some of Nascimento's other recent albums – and a compelling batch of tunes that shows he's as strong as ever! The album's awash in a soaring, almost spiritual sound – as befits the title – but it's also got some interesting jazzy moments, and a breezy, honest presentation that pushes past the pretension that could mar the record. A surprisingly highlight is a remake of "Cantaloupe Island", done scatting Nascimento-style – with guest piano by composer Herbie Hancock, and guitar by Pat Metheny.

A classic album by this righteous soul collective – and one that shows them taking a strong step away from their work at RCA with Harvey Fuqua. This one has the group (ever-enormous as always!) absorbing some of the other elements of modern soul that were floating around at the time – and they make a nice mark for themselves on the album's mix of ballad tracks and uptempo numbers. Titles include "Blind Man", "Blind Baby", "Dream Merchant", "Forever", "I Remember Well", and "Granddaddy"

Richly creative work from Nu Band – a hip ensemble that features Roy Campbell on trumpets and flute, Mark Whitecage on alto and clarinet, Joe Fonda on bass, and Lou Grassi on drums and percussion! There's a flowing, open feel here that's very much like some of Campbell's best albums recorded under his own name – a strong continuation of the 70s loft jazz spirit – sometimes handled with a loose, open, improvisatory quality – but one that still hangs together with a really coherent sense of soul. Other numbers have a rhythmic intensity that really fits the title – and the live setting makes for some great extended performances, too. Titles include "Camel Caravan", "Seventh Heaven", "Parallel Realities", and "Little Piece".

An incredible debut from Okada Taxi – the kind of future soul classic we'll be digging for years! Okada handles the keyboards and programming on the set – next to an assortment of great instrumentation on trumpet, Wurlitzer, and acoustic bass – plus key guest work by artists that include Kim Hill, Mark De Clive-Lowe, Rich Medina, Abdul Shyllon, and Monique Bingham! The set's got a genre-crossing sensibility that reminds us of the freshness of the Japanese work we first started discovering in the early 90s – but it's also got a future-thinking sound that pushes past any cliché, into a spacious sound that's all its own! Titles include "Come & Live With me", "Tell Her", "Blank In A Term", "The Age Of Aquarius", "Like A Dolphin", "Sunshine", and "Season 2 Season".

A cool collection of singles from this Kenyan group of the 70s – one that focuses on the group's long singles of the time – and features tracks that not only never appeared on full length albums, but which also haven't ever been reissued on CD! Most numbers are well past the five minute mark – despite their origin as singles – and the tunes often have these snakey grooves with beautiful guitar parts ringing out – quite melodic, almost more so than the vocals at points – which themselves engage the rhythmic component of the tunes strongly. Titles include "South View", "Okova", "Amina", "Izabela", "Kingo Mwambe", and "Naleki Na Ba Zone".

Still the Atlanta duo's high water mark – and yes, we did love Stankonia. Relentless hype, Grammys, and the Village Voice be damned! Tracks include "Rosa Parks", "Skew It On The Bar-B" featuring Raekwon, "Aquemini", "Synthesizer" featuring George Clinton, "Mamacita", and "Liberation" featuring Cee-Lo. 16 tracks total.

Given that Chet Baker's a singer himself, it's a bit surprising that he's working here with another vocalist – but that oddity aside, the album's a great little session that's got an intimate feel that's a bit different than Baker's own vocal work! Pace's voice is much fuller and richer than Chet's – with a range that would have been very much at home doing more dramatic pop material of the era, yet which also fits in very comfortably in this laidback small group session. Baker himself plays trumpet on the record, backing Johnny up – and other players include Herbie Mann on flute, Joe Berle on piano, Jimmie Burke on bass, and either Philly Joe Jones or Ed Thigpen on drums. Titles include "All Or Nothing At All", "The Way You Look Tonight", "Yesterdays", "Everything I've Got Belongs To You", "When The Sun Comes Out", and "This Is Always".

Mindblowing funk from one of the greatest combos on the New York scene of the early 70s – Pazant Brothers Eddie & Al, heard here on a host of their greatest recordings! The package goes way past any other Pazant reissues we've seen – and features not only work from the group's famous Vanguard album, but way way more work from a host of early singles for the RCA, GWP, and Vigor labels! The 22 track package is overstuffed with horn-heavy funky grooves that mark the Pazants as one of the hottest things going at the time – snapping on the beat with a tightness learned from their old boss Pucho, but also a willingness to explore brassier grooves in a style that seems to be influenced from the New Orleans and Texas scenes of the late 60s. Producer/arranger Edward Bland had a good hand in much of this work – giving the tracks a gritty, nitty, Perception/Today kind of groove – and a few of the very best numbers on the record even bring in some wicked scratchy guitar into the mix! Includes early and later (Vanguard) versions of "Skunky Juice", "New Orleans", "Toe Jam", "Work Song", and "A Gritty Nitty" – plus "Chick A Boom", "Greasy Greens", "Fever", "Juicy Lucy", "Chicken Scratch", "Fly Vines", and "Back To Beaufort".

A pretty amazing album from vocalist Caroline Peyton – a eclectic set from '77 that manages to cohesively blend pop, country, soul, folk and even a touch of disco-styled funk – but it all holds together masterfully thanks to credible craftsmanship and especially to Caroline's lovely vocals! Caroline has an incredible voice – and she's given plenty of room on these tracks to really fill the room with it. Some of tunes wouldn't be out of place at all in the Laurel Canyon scene, but she also handles a more diverse palette of styles. One track, "Party Line" takes a left turn towards club soul, and despite being a bit of an anomaly, it somehow feels right in place with the rest of it. there's an honest, midwestern aura here that shines through wonderfully. Caroline and songwriter/producer Mark Bingham made impeccable team on the couple of underappreciated records they made together in the 70s, and Intuition is a true gem! Original album tracks include "Still With You", "Together", "Donkey Blues", "Call Of The Wild", "Just As We", "You Too", "Brister", All This Waiting" and "Light Years". Numero/Askerisk goes the extra mile with this well done revisit – with nice liner notes by Edd Hurt, photos, and 7 bonus tracks, including demos, outakes and more – including "Shake Down", "Another Today", "Try To Be True", "Spin" and more.

A wild set of early 70s leftfield folk from Caroline Peyton – a freewheeling batch of tunes that's a little bit more out there than the warmer, sunshine folk soul of the later Intuition album – but a unique gem that's a great showcase for Caroline's stunning voice, and the songwriting of partner Mark Bingham. The duo's creative origins trace back to a hippie commune outside of Bloomington, Indiana – and the tunes often feel like an unselfconscious, artier riff on the Cali folk scene of the time. The arrangements are built around the voice, and piano on many of the tracks. Unconventional, but warm and true – well worth a late discovery. Original album tracks include "The Sky In Japan Is Always Close To You", "Pull", "Don Beggs", "Tuna", "Engram", "Sweet Misery", "Hook", "Gone For A Day" and more. The Numero/Asterisk reissue goes the extra mile with liner notes by Edd Hurt, lots of photos, and bonus tracks including "Breathe (Live)", "Alll This Waiting", "Paths Of Light", "White Teeth" and enhanced video footage – "Call Of The Wild" and "Fishing Blues" live at the Hummingbird Café, in Bloomington, Indiana.

A box set edition of the 90s classic by The Pharcyde – the group's high water mark – and one of the greatest hip hop albums of the era! Along with Del and the Souls Of Mischief, Pharcyde were one of the few west coast units to achieve any kind of widespread popularity using the uniquely loopy, funhouse vibe of De La Soul, Black Sheep and Tribe Called Quest in their lighter moments. The original album tracks include the classics "Passing Me By", "Soul Flower", "Ya Mama", "I'm That Type Of Ni@*a", "Officer", "4 Better Or 4 Worse", "Return Of The B-Boys", and lots more. This box set edition featuring the original album, full instrumentals, remixes & more on 3CDs – plus detailed liner notes & vintage photos – in a great-looking little box! Disc 2 features the full instrumentals. Disc 3 – Remixes/B-Cydes – includes "Pork", "Soul Flower (Remix) (Brand New Heavies Version)", "Ya Mama (Matt Dike Remix)", "Ya Mama (Kenny Dope Remix)", "Other Fish (LA Jay Remix)", "Passin' Me By (Fly As A Pie Mix)" and more.

The early 90s classic by The Pharcyde – the group's high water mark – and one of the greatest hip hop albums of the era! Along with Del and the Souls Of Mischief, Pharcyde were one of the few West Coast units to achieve any kind of widespread popularity using the uniquely loopy, funhouse kinda of vibe of De La Soul, Black Sheep and Tribe Called Quest in their lighter moments. This has always been a tough one to find on wax, particularly in the high quality 2 LP incarnation, so we're thrilled to see this one back on the market! Features the classics "Passing Me By", "Soul Flower", "Ya Mama", "I'm That Type Of Ni@*a", "Officer", "4 Better Or 4 Worse", "Return Of The B-Boys", and lots more!

A key compilation of early Floyd nuggets – with cuts that include "Arnold Layne", "Interstellar Overdrive", "See Emily Play", "Julia Dream", "Careful With That Axe Eugene", "Cirrus Minor", and "Bike".

Gregory Porter's a hip little singer – just the sort we love to discover in jazz, and the type that only comes around once in a blue moon! Like Jon Hendricks, Mark Murphy, or Kurt Elling – all perfect references for Porter's style – Greg has a wonderful way of coming up with his own lyrics for a tune – making him way more than just a singer of standards, and instead a richly expressive voice that has every bit to offer as you might get from a jazz instrumentalist! The arrangements are great, too – handled by Porter with help from pianist Chip Crawford and producer Kamau Kenyatta – bold, soulful, and soaring on the best tracks – all in beautiful declaration of Gregory's rich power and presence. Titles include a great version of Wayne Shorter's "Black Nile", and the original tracks "1960 What", "Lonely One", "Water", "Pretty", "Illusion", and "Magic Cup".

Early Mark Ronson production.

A classic of spiritual jazz! The album is one of the few rare pairings of Sonny Simmons and Prince Lasha from the 60s – and it's arguably the greatest album they ever cut! The set was recorded for the Contemporary label in LA, but it's far far different than the cool jazz that was the label's stock in trade during most of the 50s – done instead with a pulsating spiritual feel that really takes off as the album progresses! The lineup features the twin-reed frontline of Lasha on flute and Simmons on alto, plus an amazing rhythm section that includes 2 bass players (Gary Peacock and Mark Procter), who really give the tunes a pulsating feel overall – plus drums by Gene Stone. Titles include the famous groover "Congo Call", plus the tracks "AY", "Lost Generation", "Red's Mood", and "Green & Gold".

Latinized crossover club from the enigmatic Quando Quango – one of our favorite groups from the Factory Records import years! "Atom Rock" is a catchy New York styled number, remixed here by Mark Kamins with the trebley guitar, conga and electro bits all ducking in and out of the bass heavy mix ina nice dubby fashion!

Wonderful work from guitarist Jimmy Raney – easily one of his standout sets of the 60s, and a record that features some great second guitar from Jim Hall! The pairing of guitars makes for a really unique sort of sound – one that's more languidly flowing than some of Raney's previous work, in ways that opens up with some tremendous tones and colors throughout – almost a guitar-based version of the sort of groove that Clark Terry and Bob Brookmeyer got with their horns while recording for Mainstream at the time. The presence of Zoot Sims on tenor is also a great factor of the record – and there's almost a gentle bossa nova influence going on here, but one that's touched with more modern elements too – in ways that really transform the sound of Sims' horn. Other players in the group include Steve Swallow on bass and Osie Johnson on drums – and titles include"A Primera Vez", "Presente De Natal", "Este Seu Olhar", "Betaminus", "Move It", "All Across The City", and "Coisa Mais Linda".

A nicely-done biography of Louis Armstrong's late life and career – one that takes deep look at the last 25 years of this giant in American musical culture! It's a fascinating period for Satchmo – in which he actually made his highest charting recordings in "Mack The Knife" and "Hello Dolly", arguably reaching a pop icon/living legend status that a lot of his peers didn't get to enjoy in life. It's also a period in which he managed to cement his legacy and ultimate creative importance, while still baiting larger audiences – which is never an easy trick for any artist. A good read and much needed bio of late career Louie Armstrong!

A lengthy discussion with Chris James of the stellar seventies sweet soul act The Natural Four, Nardwuar vs Queens of the Stone Age, interviews with the last living brother of The Maddox Brothers and Rose, Mark Ridlen of 70s/80s Texas punk/psych band Lithium Xmas (also a member of Rapid Fire, the evil band from Ron Howard's "Cotton Candy"), New Orleans musical eccentric Quintron on his return to his ravaged city, Brazilian guitar legend Toquino, and Beach Boys' biographer Domenic Priore. Also, the scrapbook of Black punk legend Neon Leon, a Clancy Eccles tribute, hundreds of novelty celebrity records profiled, and a history of Diabolik. Plus, lots of great comix, including Freaky Bear by Plastic Crimewave, an incredible recreation of R. Kelly's "Trapped in the Closet" starring Batman by K. Thor Jensen, and lost comics and 70s rock writing by Funkadelic's Pedro Bell.

The Equals story (60s brit mod bubblegum soul). Ludicrous Dolly Parton critical discography (over 100 lps reviewed). The mysterious ? (Question Mark and the Mysterians) interviewed and observed. The West Coast Pop Art Experimental Band. 2 Live Crew get the Pedro (Funkadelic lp cover artist) Bell treatment. Johnny Thunders comix. Los Crudos anarchist interview. Roctober #1 reprint with rockabilly behemoth Sleepy Labeef, the Connells, Scott Radinsky (hardcore punk vocalist turned major league pitcher). Plus Runaways, Weird Al, KISS, the Goblins, Godzilla, zillions of comix

New wave opera space elf Klaus Nomi (Bowie collaborator), remembered by friends and fans. The story of Sylvester ("Mighty Real", "Do Ya Wanna Funk"), with listeners guide, bibliography and amazing fotos. Esquerita centerfold. Chicago r&b eccentric Bo Dudley interviewed. Mayo "Red Crayola" Thompson talks at length. Shonen Knife interviewed. Acid jazz legends Pharaohs tell it like it is. Sammy Davis Jr. Chili mix reviewed by Mark Robinson. Plus: Eazy E, Fountains of Wayne, eight shining Shebrews, Ricky Wilson, Queen, Peter Allen, Liberace.

An overlooked Sonny Rollins set from the early 80s – one that has him recording with a fair bit of guitar, but still staying very much in his best form as an improviser! The group here features both Bobby Broom on electric guitar, and Yoshiaki Masuo on acoustic and electric – both players who get in plenty of sound during the set, but always as a follow-up to Rollins' bold tenor voice in the lead. Remaining group members include Bob Cranshaw on electric bass and Jack DeJohnette on drums – and although the electric strings might normally make for a smooth sort of record, Sonny's sharper sound still brings plenty of edge – even when the rhythms of a few tunes get a bit bright. Titles include "My Little Brown Book", "Reel Life", "McGhee", "Rosita's Best Friend", and "Best Wishes".

Funky grooves from Jiro Inagaki and his Soul Media combo – and some cool vocals from 70s Japanese singer Sammy – a pretty enigmatic talent who really makes her mark with this record! The album's less island-styled than you might guess from the title or cover – and instead, it mixes these spacious vocal passages with more forceful backings from Soul Media – a groove that's got the same blend of female lead and funkier elements that you might find in a Serge Gainsbourg/Jane Birkin project – although the lyrics here are mostly in Japanese! The set features a killer version of Aretha Franklin's "Rock Steady", with really wild vocals and drums – plus the cuts "Memories Of That Guy", "So High", "Wanderer's Lullaby", "The In & Outer Stomp & Shouter", "Nobody Loves Me", and "My Sweet Dolls".

Beautiful set of polished soul tracks, sung by Freddie in his deep rich voice, amidst uptown arrangements by Gary Sherman. There's a great batch of cuts that includes Freddie's hit versions of "Hey Girl" and "I Got A Woman", plus "What Do I See In The Girl", "Where Is The Girl", and "Where Does Love Go".

Under-exposed genius from the legendary Raymond Scott – a set of straighter jazz material from the late 40s, but all of it with Scott's undeniable sense of madness still very firmly in place! Most of the work here is small combo – played by either a quintet or sextet – and although the styles aren't as dramatic as in some of Raymond's better-known cartoon work, there's still an undeniably fluid, playful feel to the music! Instrumentation includes Scott on piano and celeste, plus trumpet, tenor, clarinet, bass, and drums – and some tracks even feature great early vocals from Dorothy Collins, who seems much madder than usual in the context of the combo! The work appears to have originally been issued by the Master and Audiovox labels – and titles include "Street Corner In Paris", "The Penguin", "By Heck", "Who", "Bird Life In The Bronx", "Curley Cue", "Somebody Loves Me", "Little Girl", "Ectoplasm", "Question Mark", and "Dedicatory Piece To The Crew & Passengers Of The First Experimental Rocket Express To The Moon".

Some of jazz's most sensitive artists get together in a lyrical set of light-handed ditties. Shearing's piano is a surprisingly nice complement to the vibes/bass/guitar sound of The Montgomery Brothers – and the group is augmented by some nice Latin percussion. Tracks are short, and titles include "Double Deal", "Mambo In Chimes", "Lois Ann", "And Then I Wrote", and "No Hard Feelings".

Think what you want about Dinah Shore, she could serve up some pretty great vocals at her best moments – and this album is definitely one of those moments! The style here is laidback and late nite – with Dinah singing alongside backing from the trio of Andre Previn on piano, Red Mitchell on bass, and Frank Capp on drums – all working in an easygoing mode that comes across with a great small club feel. Previn's piano is especially nice – filled with light flourishes that illuminate the tunes nicely, but in a subtle way that's never too over the top – and usually touched with just a hint of sadness to fit the mood of the songs. Titles include "April In Paris", "Then I'll Be Tired Of You", "The Man I Love", "That Old Feeling", "It Had To Be You", "I'll Be Seeing You", and "If I Had You".

A surprisingly great later album from Horace – with Steve Turre on trombone, Ronnie Cuber on baritone, Claudio Roditi on trumpet, and Michael Brecker on tenor.

Sy Smith and Mark De Clive-Lowe – an amazing combination that makes for an equally amazing record! Sy's always been great, no matter what the setting – but this time around, all instruments and production are handled by Mark, who gives the record a sweetly cosmic groove! The album bristles with excitement from the very first note – and Smith's singing has this wickedly spacious quality – all the depth of soul we've loved from the start, but a new sense of power that slides in perfectly with the crackling rhythms and jazzy keyboards from De Clive-Lowe. Rahsaan Patterson guests on the cut "Nights (Feel Like Getting Down)" – a beautiful remake of the Billy Ocean classic – and other tunes include a version of Teena Marie's "Teena" – plus great Smith originals that include "The Fast & Curious", "Truth", "Personal Paradise", "The Primacy Effect", "Messages From The Stars", and "The Ooh To My Aah".

The third and last album from Special Ed, not as much of a stand out as his first two, but still a great slice of mid 90s hip hop. Guest spots from Bounty Killer and Nine, beats by Special Ed, Akshun, Mark Sparks and Howie Tee. 14 tracks in all, including "Lyrics", "Neva Go Back", "Rough 2 The Endin'", "Walk The Walk", "It's Only Getting' Worse", "Just A Killa", "Rukus", "Freaky Flow", "Won't Be Long", "Crazy", "Here I Go Again", "Just Like Dat", 'Everyday Iz A Gunshot" and "We Rule".

A sweet sweet set from The Spinners – and a record that's more "today" than "yesterday", given the tight 70s arrangements from Thom Bell! Bell's Philly approach is still perfect for the group – unlocking their harmonies in very different ways than back in their Motown roots – and the set's got a wicked balance between these sublime slow ballads and some uptempo numbers that bubble like the best of the group's clubby contemporaries. And in the best Philly style, the set even features a few longer tracks that push the 8 minute mark – kind of soul symphonies, of the sort you'd be much more likely to hear from Gamble & Huff – and which really work well with the group's maturing vocal approach. Titles include "I'm Riding Your Shadow (Down To Love)", "You're Throwing A Good Love Away", "Honey I'm In Love With You", "I Must Be Living For A Broken Heart", "Just To Be With You", "Me & My Music", "You're The Love Of My Life", and "I Found Love (When I Found You)".

A great tenorist, heard here in a wonderfully rich setting – a set of long, open tracks that really let Grant Stewart solo strongly – all with the special sort of energy that seems to take place in these Smalls Live recordings! Most numbers push up towards the 10 minute mark, leaving lots of room for Grant's deep, soulful lines on tenor – served up with perfectly matched rhythmic support from the trio of Tardo Hammer on piano, David Wong on bass, and Phil Stewart on drums. As on other label releases, the presentation is wonderful – very basic, in ways that really let the magic of the performance come through brilliantly – a quality that's made Smalls Live one of our favorite jazz labels of the 21st Century. Titles include "Reflections", "Make Someone Happy", "Mr Lucky", "Get Out Of Town", "Somewhere In The Night", and "Meaning Of The Blues".

Plenty of style here – a great later date from Sonny Stitt – one of those near-perfect gems from the years when he had fallen far from the mainstream of jazz, but could still blow with some of the best! There's a simple, almost understated quality to the date that's really wonderful – especially for 1981 – a lineage that flows right back to Stitt's marvelous work for the Roost label, alongside which this record could stand proudly, with only a slight difference in production technique. Other players include Barry Harris on piano, George Duvivier on bass, and Jimmy Cobb on drums – and titles include "Western Style", "Yesterdays", "Eastern Style", "Is You Is Or Is You Ain't My Baby", "The Good Life", and "Killing Me Softly".

A beautiful project from the contemporary underground scene in LA – a record that shares lots of energy and musicians with recordings by Build An Ark and Life Force Trio! Dexter Story's the main force behind the record, but the set's a strongly collaborative effort – and features keyboards from Mark De Clive-Lowe, flute from Derf Reklaw, strings from Mighel Atwood-Ferguson, vocals from Dwight Trible, and key studio work from Carlos Nino! Story's vocals and overall conception are wonderful – soaring and soulful, with some slight cosmic touches that give the record a bit more crackle than related projects – a sound that's still steeped in spiritual jazz elements, yet which also really opens up as the set rolls on. There's a wonderful sense of variety to the tracks – due to the shifting lineup – but the overall feel is still very cohesive, and an amazing demonstration of Story's bold musical vision. Titles include "Seasons", "Into The Hour", "Love Force Trio (part 1)", "Underway", "Water Bearer", "Paddle Boat", "Bloop Drip", "Gyre Song", "As Is", "God Sun", and "Suijin".

A beautiful project from the contemporary underground scene in LA – a record that shares lots of energy and musicians with recordings by Build An Ark and Life Force Trio! Dexter Story's the main force behind the record, but the set's a strongly collaborative effort – and features keyboards from Mark De Clive-Lowe, flute from Derf Reklaw, strings from Mighel Atwood-Ferguson, vocals from Dwight Trible, and key studio work from Carlos Nino! Story's vocals and overall conception are wonderful – soaring and soulful, with some slight cosmic touches that give the record a bit more crackle than related projects – a sound that's still steeped in spiritual jazz elements, yet which also really opens up as the set rolls on. There's a wonderful sense of variety to the tracks – due to the shifting lineup – but the overall feel is still very cohesive, and an amazing demonstration of Story's bold musical vision. Titles include "Seasons", "Into The Hour", "Love Force Trio (part 1)", "Underway", "Water Bearer", "Paddle Boat", "Bloop Drip", "Gyre Song", "As Is", "God Sun", and "Suijin".

Genius work from a singer who makes us proud to live in the Windy City – vocalist Milton Suggs, who emerges here as a hell of a writer and arranger too! Milton's easily one of the best new voices in jazz we've heard in years – filled with a rich sense of imagination on his lyrics and phrasing, and a depth of soul that makes sure that his music and movements are always right on the money – a sound and style that puts him the company of a rare few in jazz – a short list that might include Jon Hendricks, Gregory Porter, Kurt Elling, and Mark Murphy! Yet like all those talents, Suggs has a sound that's uniquely his own – a way of putting over a tune that's tremendous – especially when he takes musical inspiration from others, and makes it something all his own – as he does here with core compositions by Wayne Shorter, Belly Golson, and Roy Hargrove. The Shorter inspiration is especially strong – which is great with us – and the album also features great instrumental accompaniment as well. Titles include "Jayme's Song", "Walking Out", "Only A Memory", "Side By Side", "Die Laughing", "Will You Fly With Me", and "Joy Enough To Spare".

Even more experimental than the first album from The Swell Maps – a set that features some longer songs and a bit more tunes, but also a lot more weird sounds as well! Instrumentation is often slightly more conventional here, but usually taken to some very unusual places – odd tones and phrases that really mark the Maps as a key link between pre and post-punk sides of the British scene – and which give this record a timeless quality that's kept it essential for years! Epic Soundtracks serves up loads of cool instruments along with his drums – including some toys, violin, typewriter, and even a bit of mumbling – and Nikki Sudden drives the whole thing home with his droney guitar and great vocals. Titles include "Let's Buy A Bridge", "Robot Factory", "Big Maz In The Desert From The Trolley", "Mining Villages", "Collision With A Frogman Vs The Mangrove Delta Plan", "Whatever Happens Next", and "The Helicopter Spies".

Even more experimental than the first album from The Swell Maps – a set that features some longer songs and a bit more tunes, but also a lot more weird sounds as well! Instrumentation is often slightly more conventional here, but usually taken to some very unusual places – odd tones and phrases that really mark the Maps as a key link between pre and post-punk sides of the British scene – and which give this record a timeless quality that's kept it essential for years! Epic Soundtracks serves up loads of cool instruments along with his drums – including some toys, violin, typewriter, and even a bit of mumbling – and Nikki Sudden drives the whole thing home with his droney guitar and great vocals. Titles include "Let's Buy A Bridge", "Robot Factory", "Big Maz In The Desert From The Trolley", "Mining Villages", "Collision With A Frogman Vs The Mangrove Delta Plan", "Whatever Happens Next", and "The Helicopter Spies".

One of Cecil's 2 Blue Note recordings, and a large group session that includes Eddie Gale, Jimmy Lyons, Ken McIntyre, Henry Grimes, and Andrew Cyrille. The record's probably one of the most out recordings ever on the label, and tracks are based on a system of energy and impulses described by Taylor in the notes. The tracks are long, and titles include "Steps", "Enter, Evening", and "Tales (8 Whisps)".

A spacey club track, with some hip rapping from vocalist Mark Murphy! Murphy doesn't really sing or scat on the track, but he does beat-esque monologue in the middle, which breaks the track up nicely. Snowboy plays percussion, and the track's got some nice electric piano too!

One of the sexiest covers ever from Carla Thomas – and one of her most sultry records, too – a set that really has her growing up, stylistically – and coming across with a new sort of boldness in her vocals! The production is prime 60s Stax, with a slightly classy touch for the lady – and Thomas' vocals are definitely center stage – as she leaves her mark on familiar tunes like "What The World Needs Now", "Will You Love Me Tomorrow", and "Yes I'm Ready" – then really takes off on numbers like "Comfort Me", "No Time To Lose", "Move On Drifter", and "Another Night Without My Man".

An early stunner from keyboardist Keith Tippett – served up with a punch and power that's missing from a lot of his later work! The music's a perfect blend of free-thinking jazz and some of the more progressive rock ideas of the time – not exactly jazz rock, not exactly avant jazz – but a really unique blend that flourished briefly in the UK for a handful years, under the guidance of Tippett and some of his key contemporaries! Deeper ideas are given a great sense of shape on the set – as Keith plays both acoustic and electric piano – in a cool combo that also includes Elton Dean on alto, Nick Evans on trombone, Mark Charig on cornet, and Alan Jackson on drums. The tracks have a nice little groove at the best moments – not really funky, but not that far off too – almost an echo of some of the MPS or other European styles. Titles include "This Evening Was Like Last Year", "I Wish There Was A Nowhere", "Violence", "Three Minutes From An Afternoon In July", and "Stately Dance For Miss Primm".

A landmark album from one of the greatest European pianists ever! Stan Tracey first made his mark in the Brit bop scene of the late 50s – breaking out with a fresh style that was infused with modern touches of Monk and Tristano – certainly some of the most striking on his side of the Atlantic at the time. By the time of this 1965 album, he'd honed his sound brilliantly – and is working here in quartet formation on a set of original tunes based around Dylan Thomas' Under Milk Wood. Don't be put off by the source of the album's inspiration, though – as there's no "jazz meets poetry" here, just straight jazz in a fresh modern vein – played by a group that features wonderfully edgey tenor by Bobby Wellins, arcing perfectly with Tracey's angular lines on piano! Drums are by Jackie Dougan, bass is by Jeff Clyne, and the album's one of the key British jazz treasures of the 60s! Titles include "AM Mayhem", "Starless & Bible Black", "Cockle Row", "No Good Boyo", "Penpals", and "Llareggub".

Instrumental guitar great William Tyler's second album under his own name, and his first for indie powerhouse Merge Records – and it's an exceptionally beautiful piece of work from a player who's really just getting started! Tyler strikes a youthful presense, but he's actually been playing around a lot behind the scenes – as a studio and/or touring guitarist for Lambchop, Candi Staton, Charlie Louvin and others wise enough to record with producer Mark Nevers – who's works on this record, too. Tyler is definitely inspired by finger style folk guitarists from the mid 20th Century onward, but he's also got a hypnotic style that feels like it's inspired by more atmospheric country rock and rustic 70s soundtracks. Here he's mixing it all it into a brilliant style all his own, and it's SO good. Guest musicians include fellow youthful Nashville string genius Chris Scruggs, drummer Scott Martin, steel player Luke Schneider and Roy Agee on trombone. Includes "Country Of Illusion", "The Geography Of Nowhere", "Cadillac Desert", "We Can't Go Home Again", "A Portrait Of Sarah", "Hotel Catatonia", "The Last Residents Of Westfall" and "The World Set Free".

A really mindblowing session from McCoy Tyner – perfectly titled "Expansions" to showcase the change in his style at the time! The record is one of Tyner's first larger group efforts – and is a brilliant example of the expansion of his talents in the post-Coltrane years – a searing, soaring batch of longer tunes that dance with joy, life, and a new sense of energy in jazz – carried off perfectly by a lineup that includes excellent contributions from Gary Bartz, Woody Shaw, and Wayne Shorter. The album is as spiritual and swinging as you'd expect from those players – with a sound that's more Strata East than Blue Note – and titles include "Visions", "Song of Happiness", "Smitty's Place", and "Peresina".

A rare US album for this famous Swedish trumpeter – working here with backdrops from the orchestra of Rolf Blomquist!

One of THE disco hits of the 70s – a set that spawned not only a huge hit single for Anita Ward, but which also firmly pushed the Miami scene over the top! The record's a wonderful mix of modes – served up with stone southern soul production from Frederick Knight, but also given plenty of disco touches from arranger Mike Lewis – who famously works in strings and keyboards in ways that really help the vocals soar! The mellower numbers are a great reminder that Anita's way more than just the usual club diva – a singer able to make things work strongly on a ballad front as well – and some of the best tracks here are penned by Sam Dees, who brings a level of songwriting that you normally wouldn't find on a disco record. Titles include the hit "Ring My Bell" – plus "If I Could Feel That Old Feeling Again", "Sweet Splendor", "You Lied", "Make Believe Lovers", and "I Won't Stop Loving You".

One of those great 70s records that really reminds us that, way past Burt Bacharach, Dionne Warwick's a heck of a great soul singer! The album's a bit more polished than some of her other post-Scepter efforts from the decade – yet still comes off quite well, with Dionne really stretching out vocally – and bringing a lot more to the table than might be expected. There's a few uptempo cuts that are a bit off the mark, but Warwick really shines on the mellow and midtempo numbers. Titles include "Who What When Where Why", "All The Time", "In Your Eyes", "Feeling Old Feelings", "Deja Vu", "I'll Never Love This Way Again", and "After You". CD features two bonus tracks – single versions of "Deja Vu" and "After You".

Gina Watson and Alfred Beasley sport a very new wave look on the cover of this one – and the album, although mostly a soul set, certainly echoes with some of the crossover touches that worked big at the time – heavier guitars, a harder sound in the rhythms, and lyrics that are a bit colder than the usual soul set. A few tracks here bounce with a nice 80s groove – including the standout "Don't Let Your Chance Go Bye" – and other titles include "Breakaway", "Darlin I", "Body Free", "Helpless", and "What's On My Mind".

A beautiful little concept for a beautiful little album – a "duologue" in which Lee Wiley sings one track, then Ellis Larkins plays the next, and so on – making for a split LP, but one with a lot of variety along the way! Wiley sings on about two thirds of the tracks on the set – working with a small combo that features Jimmy Jones on piano, Ruby Braff on trumpet, Jo Jones on drums, and Bill Pemberton on bass – all of whom provide gentle accompaniment to Lee's traditionally styled vocals. Ellis Larkins plays piano on the rest of the tracks – solo, with that wonderful late nite style of his – an approach that's more complicated than cocktail piano, but a bit more laidback than straighter jazz. Wiley numbers include "My Heart Stood Still", "Give It Back To The Indians", "My Romance", "You Took Advantage Of Me", and "My Funny Valentine". Larkins numbers include "Perfume & Rain", "By Myself", "Looking At You", and "Then I'll Be Tired Of You".

Side one features a trio set with Teddy Wilson – but side two features Gerry Mulligan joining the trio on "Sweet Georgia Brown" – then a set by a group with Gerry's quartet, which also includes Bob Brookmeyer!

Brilliant, uncategorizable instrumental sounds from Woo! The group is the 2-man brother band of Mark and Clive Ives – with guitars, clavinet, bass and bits of vocals by Mark – and percussion, violin and electronics by Clive. They follow the trail blazed by Eno and others, fusing acoustic instrumentation with electronic experimentation – but there's really nothing quite like Woo out there! It's original and innovative, but at the same time, very warm and inviting. Definitely cozy, or "cosy", if you prefer! Truly wonderful stuff – especially when you factor in how many underground experimentalists found bigger audiences and greater acclaim later on! Titles include "Into", "The Western", "Water Drum", "Downtown Suburbia", "Upside Down", "Wallpaper", "Purple Pussy", "It's Cosy Inside", "Marion", "Did You See", "Final Card", "No More Telly", "End Of The Attic", "Overhead" and more.

It's a little-known fact that Memphis had a huge influence on the sound of late 50s/early 60s soul jazz – probably because most of the city's best players had to leave and go either to Chicago or New York to make their name. This set's a great reminder of that fact, as it brings together an important batch of players, most of them only freshly departed from Memphis at the time of the session – an assemblage that includes Frank Strozier, Phineas Newborn, Booker Little, Louis Smith, George Coleman, and Calvin Newborn. The tracks are long open-ended blowing session tunes – very different than the usual format for just about every player involved, which also makes for quite a striking record. Titles include very long takes on "Blue N Boogie", "Star Eyes", "After Hours", and "Things Ain't What They Used To Be".

An amazing tribute to London's Acid Jazz label – an imprint that's had an undeniable influence on all the things we do here at Dusty Groove! The massive package is way more than just a collection of the label's classics – and instead, it offers up a range of sounds that influenced the acid jazz scene in the UK at the end of the 80s – and others that go on to show the development of funk and soul in London as the 90s moved on. The package features a 52 page hardcover book, filled with Acid Jazz artwork and images; another 20 page book with the story of the label; a DVD with an interview and video footage of Snowboy, James Taylor Quartet, and other label stars; a 7" single with two unreleased tracks – "Never Stop" by The Brand New Heavies with Jan Kincaid and "Rock Steady (inst)" by The Brand New Heavies; and 4CDs worth of music with songs by Alice Clark, Small Faces, Dinosaur L, Charles Earland, Mark Murphy, The Quick, Jose Feliciano, Pharcyde, Forest Mighty Black, Mr Scruff, Paul Weller, Gang Starr, One Creed, Humble Souls, Tribe Called Quest, Nuyorican Soul, Soho, Ballistic Brothers, and many others. 65 tracks in all – and that's just the music!

An incredible document of a key genre in 50s jazz on record – the jam session tradition, recorded beautifully for Verve records by the legendary Norman Granz! The idea of a jam session was nothing new at the time, of course, but it was mostly a live phenomenon – known to players from concerts and club dates, or presented on vinyl by Granz, in his celebrated Jazz At The Philharmonic sessions. These dates mark a move into the studio by Granz – one that captures the same sort of energy and unique pairings of musicians that went down in the live sessions, with the added benefit of studio technology to make the work sound even clearer, and more intimate. The 5CD set brings together all 9 Jam Session albums – packaged beautifully in a slipcase with original album cover art, and a full 72 page booklet on the musicians, sessions, and titles included. Players include nearly everyone who might have worked for Verve in the 50s – Benny Carter, Charlie Parker, Johnny Hodges, Dizzy Gillespie, Stan Getz, Buddy DeFranco, and countless others – and titles include "Jam Blues", "Funky Blues", "Apple Jam", "Blues For The Count", "Jamming For Clef", "Rose Room", "Blue Lou", and "Lullaby In Rhythm" – all in very long versions!

Vintage Argentinian tangos and more by Trio De Cajon – plus contempary club-ready adaptations by many of the finer club soul and downtempo producers, remixers and dance music collectives from around the world – including Mo' Horizons, Mark Farina, Up, Bustle & Out, Flevans, Vigilante, Argenis Brito and more! The double CD package does a great job of presenting the more traditional sounds of Argentina and Uruguay with The Trio De Cajon originals – as well as some great contemporary interpretations. Disc one is the originals – and the titles include "Malena", Carnaval De Mi Barrio", "Mariposita", "Afiches", "Viva Jujay", "Juan Del Monte" and more. Disc 2 is the remixes: with "Viva Jujay" by Stimming, "Carnaval De Santiago" by Mo'Horizons, "Mariposita (GLA mix)" by Mark Farina, "Milonga Sentimental" by Jonny Drop, "Carnaval De Mi Barrio" by Adriano Konialidis, "Viva Jujay" by Flevans, "La Arenosa" by Argenis Brito (Senor Coconut), "Milonga Sentimental" by Jonny Drop and more. 27 tracks on 2CDs.

Remixes of 60s Argentinian tango grooves by Trio De Cajon – as adapted by some of the finer club soul and downtempo producers, remixers and dance music collectives from around the world – including Mo' Horizons, Mark Farina, Orb, Up, Bustle & Out, Flevans, Fede Lijt, Vigilante, Argenis Brito, Adriano Konialidis and more! 16 tracks stretched nicely over 3LPs: "Viva Jujay" by Stimming, "Carnaval De Santiago" by Mo'Horizons, "Mariposita (GLA mix)" by Mark Farina, "Milonga Sentimental" by Jonny Drop, "The Juan Del Monte Story In Three Parts" by The Orb Vs Gaudi, "Carnaval De Mi Barrio" by Adriano Konialidis, "Viva Jujay" by Flevans, "La Arenosa" by Fede Lijt, "Milonga Sentimental" by Jonny Drop and more.

A funky mixed musical travelogue from DJ Nu-Mark – inspired by his global tours and an blend of rhythms and grooves that include samba, cumbia, calypso, rumba, Afro Funk and more – in a continuous mix! It's a sprawling blend for sure – with multiple funky examples of the above mentioned and other strains of vintage global rhythms – flowing one to the next in a continuous groove. No tracklist, but it's a lengthy set, running nearly 80 minutes!

A killer collection of east coast soul from the 70s – work that originally appeared on a handful of different labels, but which was all put together by Robert Hosea Williams – an unsung producer working out of a small studio in Silver Springs – with an incredible ear for up-and-coming talent! The music here is totally deep and righteous throughout – the hippest of the indie label scene on the east coast – and work that really lives up to the progressive, righteous reference you'd get from the Red, Black, & Green in the title! There's plenty of group soul here – of a type that mixes older harmony modes with hipper 70s references – creating a really badass approach to soul music that's simply mindblowing – and way different than the mainstream variants that were hitting the charts at the time. The whole thing's great – one of the best Numero comps in years – and titles include "Phoney People" and "I Really Really Love You" by Father's Children, "Sleepwalking" and "Let's Do It Over" by The Summits, "Don't Worry About The Joneses" and "We're Two Fools In Love" by Dysons Faces, "Day By Day" and "It Must Be Love" by The Exceptions Featuring Mark Greene, "Town Called Nowhere" and "I Need Your Love" by Skip Mahoney & The Casuals, and "Summer In The Parks" and "Generation" by East Coast Connection.

A killer collection of east coast soul from the 70s – work that originally appeared on a handful of different labels, but which was all put together by Robert Hosea Williams – an unsung producer working out of a small studio in Silver Springs – with an incredible ear for up-and-coming talent! The music here is totally deep and righteous throughout – the hippest of the indie label scene on the east coast – and work that really lives up to the progressive, righteous reference you'd get from the Red, Black, & Green in the title! There's plenty of group soul here – of a type that mixes older harmony modes with hipper 70s references – creating a really badass approach to soul music that's simply mindblowing – and way different than the mainstream variants that were hitting the charts at the time. The whole thing's great – one of the best Numero comps in years – and titles include "Phoney People" and "I Really Really Love You" by Father's Children, "Sleepwalking" and "Let's Do It Over" by The Summits, "Don't Worry About The Joneses" and "We're Two Fools In Love" by Dysons Faces, "Day By Day" and "It Must Be Love" by The Exceptions Featuring Mark Greene, "Town Called Nowhere" and "I Need Your Love" by Skip Mahoney & The Casuals, and "Summer In The Parks" and "Generation" by East Coast Connection.

A selection of Warner Brothers-related funk – but featuring some killer numbers that move way past the hits! This is one of the funkiest compilations we've ever heard from a major label – and it's proof that deep down in their catalogs, the majors were working just as hard as the indies to come up with some killer slabs of funk, as you'll hear in this set of 20 gems recorded between the years 1968 and 1974! Many of these numbers were only issued on 45s – or on long out of print LPs – and even though there's a few numbers on here that you may know, the set's also got a number of others that you probably don't, as it even surprised us with some of its funky goodies! Titles include "Getting Uptown" by United 8, "Don't Come Around Here Anymore" by Mark Putney, "Shop Talk (version 1)" by Cold Blood, "Come Little Children" by Donny Hathaway, "Sexy Coffee Pot" by Tony Alvon & The Belairs, "Soul Machine" by The Meters, "Pop Popcorn Children" by Eldridge Holmes, "What So Never the Dance (parts 1 & 2)" by The Houseguests, "Back On The Streets Again" by Tower Of Power, "65 Bars & A Taste Of Soul" by Watts 103rd Street Rhythm Band, "Nobody But You Babe" by Clarence Reid, and "You Gotta Know Whatcha Doin" by Charles Wright.

Part soul music, part Caribbean sounds – and a much-needed look at the lover's rock genre in reggae – that unique blend of Jamaican rhythms and American soul that took place in the British scene of the 70s and 80s – and created some pretty amazing records overall! There's definitely echoes here of the reggae styles you'd know from big Kingston recordings of the 70s – but there's also a mellower, more laidback mode as well – yet one that's warmed up a bit by more soul-styled production – creating a sound that's almost linked to some of the American midtempo soul that was playing big on the steppers scene. Once again, our hat's off to Soul Jazz for doing such a great job with the project – pulling together excellent work from overlooked recordings – and finding a way to help send it all home with great notes and track selection. Titles on this second vinyl volume include "Stop & Think It Over" by Full Wood, "Caught By Love" by Christine White, "Paradise" by Jean Adebambo, "People Make The World Go Round" by The Cool Notes, "Thinking Of You" by Candy McKenzie, "We've Got One" by Wendy Walker, "Even Though You're Gone" by Louisa Mark, and "Goodbye My Love" by The Sadonians.

The first-ever tribute to the legendary American Studios – the late 60s Memphis powerhouse that was as important to the sound of the south as Fame, Stax, and Hi Records! American did work for a number of different labels, and had their own brief imprint as well – and like their better-known contemporaries, they had a core house band who could provide killer backup to just about anyone – as you'll hear from the great range of music in this collection! Like Fame, who started in soul and picked up a lot of rock business as the 60s moved on, American had a great way of crossing barriers between music – and really helping unite the sounds of the time through their legendary production work and super-sensitive instrumentation. The CD's an accompaniment to the similarly-titled book by Roben Jones, but comes with almost enough great notes to make for a book itself – and titles include "Nine Pound Steel" by Joe Simon, "You've Got My Mind Messed Up" by James Carr, "I'm In Love" by Wilson Pickett, "More Than I Can Stand" by Bobby Womack, "Let's Do It Over" by LC Cooke, "Suspicious Minds" by Mark James, "Born A Woman" by Sandy Posey, "The Letter" by The Box Tops, "Shake A Tail Feather" by James & Bobby Purify, "Son Of A Preacher Man" by Dusty Springfield, "Skinny Legs & All" by Joe Tex, "Funky Street" by Arthur Conley, and "Suzy Do It Better Than You" by Clay Hammond.

A tremendous overview of Carribean sounds from the 50s through the 70s – served up with exactly the kind of depth and care we've come to expect from the folks at Soul Jazz Records! The collection goes way past the obvious – and way past any obvious cliches as well – to really dig deep and draw some strong lines between the grooves of nations like Cuba, Colombia, Jamaica, Puerto Rico, Trinidad, and St Thomas – all of whom are represented by really rhythm-heavy and uncommon sounds! Most numbers are heavy on percussion, but also show a bit of jazz and soul influence as well – the continuing influence of American styles on the sounds of the area, but always taken in by the local talents, and made into something new entirely. There's a number of heavy groovers here that lie somewhere in the territory between Jazzman mambo reissues and Honest Jon's compilation cuts – and titles include "I'll Be Right There" by Techniques, "Pa Los Obreros" by Frank Ferrer, "Elegua" by Gina Martin, "Nassau Cha Cha" by Andre Toussaint, "Saturday Night Reggae" by Mark Holder, "My Conversation" by Slim Smith, "The Queen Sings Calpyso" by Lord Brynner, "Chango" by Celia Cruz, "Canela" by Peanuts Taylor, "Repentino" by Grupo De Experimentation, "Pa Coco Solo" by Fajardo, "Don't Blame It On Elvis" by Fabulous McClevertys, "Mambo Caliente" by Bebo Valdes, and "Vitalolgy" by Duke Of Iron. Also includes a great documentary on DVD – Mirror To The Soul, the story of the British Pathe record label in the West Indies!

A tremendous overview of Carribean sounds from the 50s through the 70s – served up with exactly the kind of depth and care we've come to expect from the folks at Soul Jazz Records! The collection goes way past the obvious – and way past any obvious cliches as well – to really dig deep and draw some strong lines between the grooves of nations like Cuba, Colombia, Jamaica, Puerto Rico, Trinidad, and St Thomas – all of whom are represented by really rhythm-heavy and uncommon sounds! Most numbers are heavy on percussion, but also show a bit of jazz and soul influence as well – the continuing influence of American styles on the sounds of the area, but always taken in by the local talents, and made into something new entirely. There's a number of heavy groovers here that lie somewhere in the territory between Jazzman mambo reissues and Honest Jon's compilation cuts – and titles include "I'll Be Right There" by Techniques, "Pa Los Obreros" by Frank Ferrer, "Elegua" by Gina Martin, "Nassau Cha Cha" by Andre Toussaint, "Saturday Night Reggae" by Mark Holder, "My Conversation" by Slim Smith, "The Queen Sings Calpyso" by Lord Brynner, "Chango" by Celia Cruz, "Canela" by Peanuts Taylor, "Repentino" by Grupo De Experimentation, "Pa Coco Solo" by Fajardo, "Don't Blame It On Elvis" by Fabulous McClevertys, "Mambo Caliente" by Bebo Valdes, and "Vitalolgy" by Duke Of Iron. Also includes a great documentary on DVD – Mirror To The Soul, the story of the British Pathe record label in the West Indies!

One of our favorite compilations of all time – a smoking batch of soulful jazz from the 60s, with a slight bit of funk and blues thrown in as well! The set's exactly what's promised in the title – jazz cuts, but with an ultra-cool mod vibe – the kind of soulful sounds that played big with the younger London crowd digging American music in the mid 60s – and also the kind of music you'd be likely to find blasting out of a backroom jukebox on the west side of Chicago! There's loads of rare single mixes of LP tracks on the set, and a number of smoking 45s from artists you might know better from more mainstream work – really hitting hard here, alongside a few special numbers from the indie underground too. Tracks are cool enough for old school hipsters – but appealing enough to bring in a new listener too – and as proof of that, we've given this one away for many years as a Christmas present. The collection features 25 tracks in all – non-stop pleasure throughout – with titles that include "Soul Shoutin" by Shirley Scott, "Tengo Tango" by Cannonball Adderley Sextet, "Whip It On Me" by Billy Hawks, "Yeh Yeh" by Mongo Santamaria, "Black Talk" by Charles Earland, "I'm Ready" by Otis Spann, "Mama Rufus" by Merced Blue Notes, "Theme From NYPD" by Johnny Hammond, "Step Out & Get It" by The Nomos, "Why Don't You Do Right" by Mark Murphy, "Collard Greens" by Freddie McCoy, "Theme From The Carpetbaggers" by Jack McDuff, "Filthy McNasty" by Eddie Jefferson, "Evil Ways" by Cal Tjader, "Kenny's Theme" by Kenny Burrell, and "Games" by Ivan Boogaloo Joe Jones.

Includes music by Joy, I:Cube, Sylk 130 featuring Mark Bell, Erro, and others picked by Gilb-R.

A tasty collection of cuts from Italian 70s police thrillers – written and performed by the likes of Goblin, Stelvio Cipriani, Paolo Vasile, and Franco Bixio. Most of the cuts are lifted from soundtracks that have been reissued on Cinevox on CD – and the overall groove is a mix of guitars, keyboards, and lots of tight funky riffing – the kind of sounds you'd expect to hear behind a fashionable cop in 70s Rome! Titles include "Mark Il Poliziotto", "La Polizia Ha Le Mani Legate", "La Via Della Droga", "Controrapina", "Vai Gorilla", "Trumpet's Flight", "A Pugni Nudi", "Il Giorno Del Cobra", and "Notturno". 13 tracks in all!