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A gem of a record from Nat Adderley – filled with short soulful groovers, and done with an upbeat vibe that rivals some of Cannonball's best of the 60s! Joe Zawinul handled the arrangements, so there's definitely a strong influence here from the Cannon group – and although the players shift a bit throughout the course of the set, there's a really unified feel – thanks to a top-shelf lineup that includes Seldon Powell on tenor and flute, Ernie Royal on trumpet, Benny Powell on bass trombone, and Willie Bobo on percussion! The set features all original material by Nat – with older gems and new favorites that include "Little Boy With The Sad Eyes", "Never Say Yes, "Jive Samba", "Stony Island", "Junkanoo", and "Work Song".

Nat plays with a group that's a bit more far-reaching than the classic Cannonball funk ensembles he cut his teeth on. Players include Ken McIntyre, Onaje Allen Gumbs, and John Stubblefield, and the tracks have a bit more of a spiritual quality to them, although they are not without some of the Adderley trademark funk sound. Includes a great version of Harold Vick's "Don't Look Back", plus "Funny Funny", "I Think I Got It", and "K. High".

A strong showcase for young Nat Adderley's talents on cornet – and an album that's got a different feel that his work with his more famous brother's combo at the same time! The style here is simple – Nat blowing with 2 different quartets – one with Joe Zawinul on piano, Sam Jones on bass, and Louis Hayes on drums (all from Cannonball's group) – the other with the rhythm section of Wynton Kelly on piano, Paul Chambers on bass, and Philly Joe Jones on drums. Despite's Nat's reputation as a gutbuckety soul jazz player, he actually gets in some nicely lyrical licks in this set – blowing in a soulful modern style that almost recalls the work of Carmell Jones at times! Titles include "Chloe", "Images", "Scotch & Water", and "Naturally".

One of the best-ever Nat Adderley albums, and a damn funky set of tracks that has a tight soulful feel! The session's got a similar feel to some of the other rare late 60s Milestone albums (like the 2 killers by Bobby Timmons!) – especially in that it's got a group that plays with the fullness of a larger ensemble, and who race in and out nicely, to support the funky solos of the leader. Of course, some of the other players are pretty darn nice in the solo department too – like Joe Henderson on tenor, Jeremy Steig on fluge, and Joe Zawinu on piano – and they also manage to keep a tight rhythmic groove throughout. Titles include "The Scavenger", "Sweet Emma", "Rise Sally Rise", and "Menlat".

Nat Adderley's playing at the Subway Nightclub in Cologne, where he's working with an excellent group that includes Vincent Herring on alto sax, and some excellent rhythm work from the trio of Rob Bargad on piano, Walter Booker on bass, and Jimmy Cobb on drums! The tunes are all nice and long, and have a stretching, soulful feel that's really great – and which gets past the "classic" soul jazz cliches that can sometimes mar other Adderley albums from later years. Nat's in fine fine form, and Herring seems to help him unwind in a hip groove that's really carried off well. Titles include "The Chant", "Almost Always", "The Big J", "Plum Street", and "The Scene".

A really brilliant little record from Nat Adderley – one that shows him shaking off the groove gotten from brother Cannonball, and finding some great space all on his own! The setting here is tight and funky – at a level that's a bit more arranged than a small combo soul jazz session, but which still has plenty of sharp edges and bold notes! The groove's a bit like Kudu Records from the time, but less electric overall – and Nat's cornet is featured in a hip combo with John Stubblefield on reeds, Onaje Allen Gumbs on piano and keyboards, and Buddy Williams on drums. There's plenty of great funky riffing in the set, but also some wonderfully laidback grooves that really sparkle with electric piano from Gumbs – and titles include a surprisingly wonderful version of "MASH", plus "Hummin", "Midnight Over Memphis", "The Traveler", "Listen To The Rain", and the Latin-tinged "Amor Sonador".

When it comes to soul jazz, you can't get any more classic than this! The title was one of the biggest jazz hits of the 60s – covered by countless other artists, but presented here in all its original brilliance in a group led by its composer, a young Nat Adderley! At the time of the record, Nat was making plenty big waves in the combo of brother Cannonball – but this set has him stepping out strongly as a leader – borrowing Bobby Timmons, Sam Jones, and Louis Hayes from Cannon's group – and also adding in Wes Montgomery on guitar and additional bass and cello work from Keeter Betts and Percy Heath. The tracks are all tight as a drum – and the record features seminal versions of "Work Song" and "Sack O Woe" – as well as the numbers "Scrambled Eggs", "Pretty Memory", and "Fallout" – all great!

A stone killer from Cannonball Adderley's funky brother – one of the best soul jazz sets ever cut by Nat Adderley, and one done with a smoking 60s Atlantic Records groove! Nat's blowing trumpet throughout – and working in 2 different groups – one a larger ensemble with a tight soulful swing, arranged by Jimmy Wisner – the other a smaller combo with tenor from Joe Henderson and piano from Herbie Hancock! The whole thing grooves beautifully – and titles include "Gospelette", "Call Me", "Cantaloupe Island", "Hippodelphia", "The Other Side", and "Manchild".

When it comes to soul jazz, you can't get any more classic than this! The title was one of the biggest jazz hits of the 60s – covered by countless other artists, but presented here in all its original brilliance in a group led by its composer, a young Nat Adderley! At the time of the record, Nat was making plenty big waves in the combo of brother Cannonball – but this set has him stepping out strongly as a leader – borrowing Bobby Timmons, Sam Jones, and Louis Hayes from Cannon's group – and also adding in Wes Montgomery on guitar and additional bass and cello work from Keeter Betts and Percy Heath. The tracks are all tight as a drum – and the record features seminal versions of "Work Song" and "Sack O Woe" – as well as the numbers "Scrambled Eggs", "Pretty Memory", and "Fallout" – all great!

A stone classic from Cannonball Adderley – and a pivotal set that has him continuing the live recording setting of some of his best 60s albums, while also stretching forward to some of the more inventive ideas of the latter part of the decade! David Axelrod produced, and the album's definitely got his ear firmly in place – a great way of bringing together the album's hip instrumentation – Cannon's alto, Nat Adderley's cornet, and the wicked electric piano of Joe Zawinul – played here in a style that would go onto have a huge influence on countless other musicians on the instrument. Rhythm is by Victor Gaskin on bass and Roy McCurdy on drums – and as with other Axelrod live albums, there's some great spoken bits left in the mix – Cannon's charming conversation with the audience, which really opens up the tunes. Titles include the 2 title hits – "Walk Tall" and "74 Miles Away" – plus "I Remember Bird", "Oh Babe", and "Do Do Do".

Fantastic work from the Cannonball Adderley Quintet – one of their greatest performances from the seminal early 60s years! The band at this time includes Cannon on alto, Nat on cornet, Victor Feldman on piano, Sam Jones on bass, and Louis Hayes on drums – and although Feldman's not as strong of a soul jazz player as Bobby Timmons or Joe Zawinul, both of whom also played with the group, his playing on this set is great, thanks to a really lively rhythm section! Includes an 11 minute version of "Sack O Woe", plus "Blue Daniel", "Azule Serape", and "Big P".

Fantastic work from the Cannonball Adderley Quintet – one of their greatest performances from the seminal early 60s years! The band at this time includes Cannon on alto, Nat on cornet, Victor Feldman on piano, Sam Jones on bass, and Louis Hayes on drums – and although Feldman's not as strong of a soul jazz player as Bobby Timmons or Joe Zawinul, both of whom also played with the group, his playing on this set is great, thanks to a really lively rhythm section! Includes an 11 minute version of "Sack O Woe", plus "Blue Daniel", "Azule Serape", and "Big P". CD also includes a bonus track – "Our Delight".

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 classic from Cannoball and producer-partner David Axelrod – truly great stuff and maybe even better than the Zodiac set Cannonball did for Capitol! The formula is similar to that one – with David Axelrod producing, electric keyboards by Hal Galper and George Duke, spacey solos by Cannonball and Nat Adderley, and some very hip recitations by Rick Holmes on love, sex, and the zodiac! Holmes is best known as the chappie who cut "Remember To Remember" years later with Roy Ayers – but this album's got a similar "wisdom and knowledge" feel that's pretty wonderful. Titles include "Aquarius: Humanity Plus", "Cancer: All Sides", "Leo: Rosebud", "Aries: Damn Right", "Gemini: Ecstasy", and "Virgo: For Pam".

Excellent live set from the early 70's, featuring George Duke, Airto, Ernie Watts, and brother Nat. David Axelrod produced, and the LP's got that nice hard funky sound that he did so well during his stint with Cannonball. Includes the 12 minute groover "The Brakes", plus "Oh Babe", "Music, You All", and "Capricorn". Lots of funky drums and bass, and with a lot of space in the arrangements to let things break down!

A swingin' Japanese concert by one of Cannonball's best groups from the 60's. Joe Zawinul's on piano, brother Nat's on cornet, Sam Jones is on bass, and Louis Hayes is on drums. But the real treat here is Yusef Lateef, who does some excellent reed work on tenor, flute, and oboe – and who's playing at this point with that great mix of soul jazz and out-sounds that he was cooking up at the time. There's some great long cuts, including an excellent 12 minute reading of Lateef's "Brother John", plus the title track, "Come Sunday", "Tengo Tango", "Easy To Love" and "The Weaver".

Sweet funky 70s work from Cannonball Adderley – a record that has him revisiting older tunes from his early soul jazz years – but in ways that give them a whole new electric vibe overall! The album's actually Cannonball's last full studio set, but it's also one of his greatest too – a very hip little record that features arrangements that are slightly bigger than before – almost a CTI sort of mode, with a similar CTI sense of space, sound, and timing! There's some great keyboards on the set – courtesy of George Duke and Mike Wolff – and other players include Nat Adderley on cornet, Airto on percussion, Sam Jones and Walter Booker on bass, and Louis Hayes and Roy McCurdy on drums. The keyboards lead off most numbers, but they're followed strongly by Cannon and Nat – both of whom open up wonderfully in the magical setting of the record! Titles include great new takes on "Sack O Woe", "Work Song", "Jive Samba", "74 Miles Away", "Walk Tall/Mercy Mercy Mercy", "Country Preacher", "Domination", and "This Here" – plus "Hi Fly" and "Hamba Nami".

Prime material from Cannonball and David Axelrod – and despite the biblical leanings of the title, the record is pretty darn funky! As they did for the Zodiac, Cannonball and Axelrod take a trip through a host of cultural milestones – stopping along the way to turn each one into a new pillar of soul, working with Rick Holmes, who narrates the set in the same way he did on the Zodiac albums. Brother Nat Adderley and George Duke are among the players in the album's very funky backing – and tracks include "Make Your Own Temple", "Amani", "Space Spiritual", "Eternal Walk", and "Gone". Oh for the days of the double LP concept jazz record!

One of the all-time great ones by Cannonball! This record captures him in the prime of his early soul jazz fame – working with an unbelievably heavy quintet that featured Bobby Timmons on piano (with Barry Harris sitting in on a few tracks), Sam Jones on bass, Louis Hayes on drums, and brother Nat Adderley on cornet. The quintet forged a sound that made them an immediate hit – and which had their tight, jagged, soul-drenched sound getting copied by everyone. The record features some amazing soul jazz standards – like Nat's original version of "Work Song", the first-ever record of Timmons' amazing "Dat Dere", Cannon's slinky "Them Dirty Blues", and the jaunty groover "Jeannine", a wonderful cut by Duke Pearson that never sounded better! The CD features alternates of "Work Song" and "Dat Dere" – for a total of 9 tracks in all!

One of the all-time great ones by Cannonball! This record captures him in the prime of his early soul jazz fame – working with an unbelievably heavy quintet that featured Bobby Timmons on piano (with Barry Harris sitting in on a few tracks), Sam Jones on bass, Louis Hayes on drums, and brother Nat Adderley on cornet. The quintet forged a sound that made them an immediate hit – and which had their tight, jagged, soul-drenched sound getting copied by everyone. The record features some amazing soul jazz standards – like Nat's original version of "Work Song", the first-ever record of Timmons' amazing "Dat Dere", Cannon's slinky "Them Dirty Blues", and the jaunty groover "Jeannine", a wonderful cut by Duke Pearson that never sounded better! The CD features alternates of "Work Song" and "Dat Dere" – for a total of 9 tracks in all!

A really unique little album from Cannonball's all-great late years at Capitol – a session that features some strong influences from Brazilian music – "The Happy People" – and production from the legendary David Axelrod! The mix makes for a really unique little record – a set that isn't really bossa, but isn't regular Cannonball funk either – kind of a special hybrid of the two! Airto plays on the set, and contributed the great groover "The Happy People" – a long bit of funky samba that features George Duke on electric piano, and percussion and vocals by Airto himself. The rest of the album's pretty darn great too – with some long tracks that have a more open-ended groove than the usual Cannon funk – featuring more piano by Duke, percussion by Airto and King Errison, cornet by Nat Adderley, and guitar by David T Walker. Other titles include "Ela", "Maria Tres Filhos", and "Savior" – and the album was recorded live, with a very lively feel!

Like some of the other issues on Trip, this set brings together some great sides that sort of fell between the cracks in an artist's career. These nice rarer sides by Gene Ammons seem to be recorded by Jug during the early 60's, when he was jumping around his contractual agreements with a number of labels, and recording sessions for just about everybody. The first LP features Jug in the studio with Howard McGhee (the set was briefly issued under his name, on Argo) and a guitarist we're pretty certain is Jake Fisher (from other issues of this material), for a cool laidback soul jazz session that's probably one of Jug's most open-ended from the time. The tracks are all long, with a lot of room for solo space, and a round mellow tone. Titles include "Housewarmin", "Nothin' But Soul", "Jivin Around" and "Jug & McGhee". The second set's a hard-hitting blowing session, cut very much in the mode of Gene's late 50s sides for Prestige – and with a very accomplished group of soul jazzers that includes Nat Adderley, Frank Foster, Bennie Green, and Frank Wess. The groove has a nice raw late night sound – and tracks are pretty long and open-ended. Titles include "Litty Ditty", "Sermonette", "Juggin Around", and "Jim Dog".

Spare set of moody out pieces, played by a trio that includes Andrews on reeds, Nana Vasconcelos on percussion, and Nat Adderley Jr. on piano – adding a surprisingly nice sound to the album. Titles include "Vamos Para Casa", "Danca Das Kashala E Sarhanna", and "Um Girrasol".

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

Paris was always a great city for Lionel Hampton – but it seemed like in the mid 50s, it was also a place where he cut some of his best work, too! The French New Sound pair of albums are both classics in Hamp's book – records that take off from the looser, longer-form style that he'd been hitting with his Verve recordings of the early 50s – yet which also retain some of the tighter, fuller elements of his famous large ensembles. Players on the records are great – a lineup that includes travelling American jazz greats like Benny Bailey and Nat Adderley on trumpets, and a young David Amram on French Horn – plus crack Parisian players who include Sacha Distel on guitar, Rene Urtreger on piano, and Guy Pederson on bass. The tracks are simple jamming numbers – long and open-ended, in the mode of some of Hamp's very popular live work at the time, and the vibes are right out front – hard-edged, with that soulful sound that Hamp pioneered on the instrument – and the other players are given very ample room to solo. Titles include "Voice Of The North", "A La French", and "Zebu".

A sweet larger group session from vibist Milt Jackson – proof that he was really trying to stretch his wings, and get into new things during the 60s! The set's got Milt working with some great help from Tadd Dameron and Ernie Wilkins on larger group arrangements – nicely swinging charts that have a nice touch of modern, but lots of straightforward grooving too! Milt's the primary soloist, buoyed by an orchestra built around a rhythm section of Hank Jones on piano, Ron Carter on bass, and either Connie Cay or Philly Joe on drums – plus loads of great horn players like Clark Terry, Nat Adderley, Melba Liston, James Moody and Jimmy Heath among others. Titles include renditions of "Old Devil Moon", "'Round Midnight", "The Dream Is You", "You'd Be So Nice To Come Home To", "Echoes", "If You Could See Me Now", "Star Eyes", "Namesake", "If I Should Lose You", and "Later Than You Think". CD features 2 bonus tracks!

A fantastic bit of spiritual jazz funk – and one of the rarest 70s albums on Fantasy Records! The group's headed up by Nat Adderley Jr (son of the famous Nat Sr) on keyboards and vocals – and the ensemble is a hip, young collective with an approach that reminds us of work by Oneness Of Juju, Gary Bartz, and Weldon Irvine! If those three names aren't enough to prick up your ears for this one – one drop of the needle should be enough, as the record's a real winner all the way through, filled with well-written songs, and a mixture of soul jazz, funky fusion, and vocal tracks that really work great together. The kind of sweet rare 70s album you'll buy from us, and treasure for years – filled with great cuts like "In Search Of Happiness", "Red, Black, & Green", "Variation On Last Night", "Live My Life For You", "Killin' Time", and "Little Dahuoud's Dance".

Trumpeter Louis Smith made only two records for Blue Note, but both of them are great! This set's arguably his most famous – because of a rare uncredited appearance by Cannonball Adderley, working here under the "nom de date" of "Buckshot La Funke" – and blowing with a power that beats most of his other Mercury sessions of the late 50s! But the real credit here should go to Louis Smith – who's got a sense of power and command that should have made him one of THE trumpeters of the 50s – an emerging young talent to stand alongside Lee Morgan, Nat Adderley, and other post-Fats Navarro/Clifford Brown talents on the instrument. Smith sparkles throughout with a mix of soul and modernism we really love – and an earthy way of blowing the horn that doesn't always reach its goals, but which draws even more energy from its ability to try! The rhythm section on the album's also very tight – with Art Taylor on drums, Doug Watkins on bass, and either Tommy Flanagan or Duke Jordan on piano – and tracks include "Ande", "Brill's Blues", "South Side", and "Val's Blues".

One of the rarest albums by this great Texas tenor player – and the kind of album we're very happy to see reissued! This heavy little gem was one of the few sides that Wilkerson cut under his own name – and it was the only one recorded away from Blue Note, as part of Cannonball Adderley's short-lived "Cannonball Presents" series. The core group features Wilkerson's Texas tenor right out front (a lot louder than on the Blue Note sides), set against the piano of Barry Harris, the bass of Leroy Vinnegar, and the drums of Billy Higgins. Nat Adderley plays cornet on a few tracks – and titles include "Jelly Roll", "The Twister", "Morning Coffee", "Idiom", and "Media".

Cannonball Adderley with David Axelrod production – a combination that couldn't miss back in the 60s! In keeping with the success of the Mercy Mercy Mercy album done with Axelrod, Capitol did everything they could to catch Cannonball in a live setting – a great move, given the open, soulful energy his group had in the format – crowd-pleasing, but always plenty darn creative too! Added to the mix here is some nice production by David Axelrod, capturing all the right moments in all the right ways – especially when Joe Zawinul steps up to take some sweet solos on the keys – and the great Charles Lloyd serves up some mighty nice work on flute and tenor sax. Other players include Nat Adderley on cornet, Sam Jones on bass, and Louis Hayes on drums – and titles include "The Song My Lady Sings", "Little Boy With The Sad Eyes", "Work Song", and "Sweet Georgia Bright".

A nice once – certainly not as funky as some of Cannon's other work for Capitol, but with a dark edge that really makes it great! The core Cannonball quintet of Nat Adderley, Joe Zawinul, et al, is set up in string arrangements by Ray Ellis – a bit flowery at times, but in a way that makes for an edgey juxtaposition against the undeniably soulful groove of the quintet, even when they're playing ballads and love songs. Adderley's horn breaks out in these free solos, a bit like some of the Charlie Parker/Ralph Burns work from the early 50s – which makes for a very nice sound to our ears! Titles include "Morning Of The Carnival", "Stella By Starlight", "So In Love", "The Song Is You", and "The End Of A Love Affair".

A stone classic from Cannonball Adderley – and a pivotal set that has him continuing the live recording setting of some of his best 60s albums, while also stretching forward to some of the more inventive ideas of the latter part of the decade! David Axelrod produced, and the album's definitely got his ear firmly in place – a great way of bringing together the album's hip instrumentation – Cannon's alto, Nat Adderley's cornet, and the wicked electric piano of Joe Zawinul – played here in a style that would go onto have a huge influence on countless other musicians on the instrument. Rhythm is by Victor Gaskin on bass and Roy McCurdy on drums – and as with other Axelrod live albums, there's some great spoken bits left in the mix – Cannon's charming conversation with the audience, which really opens up the tunes. Titles include the 2 title hits – "Walk Tall" and "74 Miles Away" – plus "I Remember Bird", "Oh Babe", and "Do Do Do".

One of the hippest albums ever cut by Letta Mbulu – a perfect mix of her Soweto roots and the funky styles of her adopted California home! The album's the only one that Mbulu ever recorded for Fantasy Records – and the style brings together those great sing-song vocal modes perfected on her 60s records, with some of the funky jazz elements that were bubbling in the Fantasy scene during the years of Cannonball Adderley and David Axelrod! No surprise, both Cannonball and Nat Adderley appear on the record, and the set's produced by their own company – with lots of great early arrangements from the great Wayne Henderson. Some of the best tracks have a spacious groove that leaves plenty of room for funky basslines – and titles include "Afro Texas", "Learn To Love", "Never Leave You", "Zimkile", "Setho", and "Saddest Day".

The second go 'round for this Kenny Clarke tribute group, but with Woody Shaw & Nat Adderley up front, along with Joe Henderson & Nathan Davis. The set's also got Idris Muhammad on the traps, and it's easy to forget what a great jazz drummer Idris can be, when you get so used to hear him delivering the funk message – but he does Klook proud here. Mostly originals by the group members, done in the boppish mode of Clarke's classic years, but which also feature many of the soul jazz inflections of the players involved, the six song set includes the title tune, plus "Work Song", "The Man From Potter's Crossing", "Locksley" & "Jamaican Hot Nights".

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".

Late stuff by Cannonball, with a dope spacey electric sound, no doubt due to some very nice keyboards on the session by George Duke. The album's a bit mellower than some of the others on Fantasy, but it makes up for that with a warm snaking mellow funk groove. Brother Nat gives a helping hand on both cornet and production duties, and the group also features Airto, Alphonso Johnson, Jack DeJohnette, and Alvin batiste with guest spots by Flora Purim and Ron Carter. Tracks include "New Orleans Strut", "Salty Dogs", "Lovers", and "Children of Time".

One of the coolest, baddest, funkiest albums Cannonball Adderley ever recorded – a massive suite of tunes based on the signs of the Zodiac, produced to perfection by David Axelrod, and featuring some hip recitations from the mighty Rick Holmes! The double-length set is completely compelling all the way through – a darkly brooding batch of funky jazz that shows a strong Miles Davis electric influence at points, thanks to Nat Adderley's spacey trumpet lines, Mike Deasy's trippy guitar, and George Duke's excellent keyboards! Other tracks are a bit more laidback, fitting the mood of their respective signs – and overall, the whole thing slips and slides wonderfully from cut to cut – taking you through the star signs with a really righteous, soulful approach. Titles include "Cancer", "Sagittarius", "Pisces", "Aquarius", "Capricorn", "Virgo", "Taurus", "Aries", "Libra", and a special "Introduction".

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

An unusual session – Byrd's acoustic guitar meets the cornet of Nat Adderley – along with electric bass from Joe Byrd, drums from Jonny Rae, and percussion from Depo Indetto!

A hard set of soul jazz grooves – recorded under the leadership of the great trombonist Benny Green, and one of his few albums not for Blue Note or Prestige! The sound is very much in the Prestige hardbop mode of the late 50s – and Green heads up a group that includes Gene Ammons and Frank Foster on tenor, Nat Adderley on cornet, Frank Wess on flute and tenor, and Tommy Flanagan on piano– a similar lineup, with a similar sound, to some of the albums recorded under Ammons' name as "blowing sessions". The cuts are long, with laid back laid out solos – and titles include "Jim Dog", "Going South", and "Little Ditty". CD features bonus alternate takes of 4 tracks!

A sweet larger group session from vibist Milt Jackson – proof that he was really trying to stretch his wings, and get into new things during the 60s! The set's got Milt working with some great help from Tadd Dameron and Ernie Wilkins on larger group arrangements – nicely swinging charts that have a nice touch of modern, but lots of straightforward grooving too! Milt's the primary soloist, buoyed by an orchestra built around a rhythm section of Hank Jones on piano, Ron Carter on bass, and either Connie Cay or Philly Joe on drums – plus loads of great horn players like Clark Terry, Nat Adderley, Melba Liston, James Moody and Jimmy Heath among others. Titles include renditions of "Old Devil Moon", "'Round Midnight", "The Dream Is You", "You'd Be So Nice To Come Home To", "Echoes", "If You Could See Me Now", "Star Eyes", "Namesake", "If I Should Lose You", and "Later Than You Think". CD features 2 bonus tracks!

Hard-grooving stuff from JJ – played with a lot more bite than usual, and recorded live with a group that features Nat Adderley, Tommy Flanagan, and Albert Heath. Tracks include "Now's The Time", "Misterioso", "Walkin", and "Tune Up" – jazz standards, mostly, but done very tightly by the group!

A real step forward for Quincy Jones – a record that really shows the jazzman moving into sophisticated new territory – a sound that's just right for the CTI generation! The album's got a vibe that's a bit similar to Quincy's Walking In Space album, but it's a lot deeper too – touched with some of the African elements you might guess from the title – arranged in ways that are often quite spacious, so that the tunes really take some time to find just the right groove! Backings are large, but show the leaner elements that Jones was bringing to his soundtrack work – and instrumentation includes vibes from Milt Jackson, marimba from Don Elliott, flute from Hubert Laws, soprano sax from Jerome Richardson, trumpet from Freddie Hubbard, trombone from Al Grey, and guitar from Eric Gale. Keyboards figure strongly – played by Herbie Hancock and Bob James – and special features include a bit of guitar and whistling from Toots Thielemans, plus some soulful vocals from Valerie Simpson. "Gula Matari" is an incredible 12 minute tribal groove – and other titles include a killer take on Nat Adderley's "Hummin", plus "Walkin" and "Bridge Over Troubled Water".

One of the coolest, baddest, funkiest albums Cannonball Adderley ever recorded – a massive suite of tunes based on the signs of the Zodiac, produced to perfection by David Axelrod, and featuring some hip recitations from the mighty Rick Holmes! The double-length set is completely compelling all the way through – a darkly brooding batch of funky jazz that shows a strong Miles Davis electric influence at points, thanks to Nat Adderley's spacey trumpet lines, Mike Deasy's trippy guitar, and George Duke's excellent keyboards! Other tracks are a bit more laidback, fitting the mood of their respective signs – and overall, the whole thing slips and slides wonderfully from cut to cut – taking you through the star signs with a really righteous, soulful approach. Titles include "Cancer", "Sagittarius", "Pisces", "Aquarius", "Capricorn", "Virgo", "Taurus", "Aries", "Libra", and a special "Introduction".

Two great ones as a leader from bassist Ray Brown – back to back on a single CD! All Star Big Band is a standout session from Brown – one of a few 60s big band sessions recorded for Verve, featuring some searing solo work from Cannonball Adderley! Brown's name as a leader is possibly more as a compadre than the main driving force of the record – as the arrangements here are by Ernie Wilkins, often in the tightly soulful bag he was laying down at the time – and Adderley's presence as the main soloist certainly gives a Cannonball flair to the record. But there's definitely plenty of Brown's warmth guiding the whole session – and other players include Nat Adderley, Clark Terry, Melba Liston, Budd Johnson, and Yusef Lateef. Some tracks have Brown's bass right out front in the arrangements, dipping nicely and adding into the groove – and titles include "Tricotism", "Cannon Built", "Thumbstring", "Two For The Blues", and "Work Song". Ray Brown & Milt Jackson is a really hip record from the team of bassist Ray Brown and vibist Milt Jackson – a swinging large group record that has them fronting arrangements from Oliver Nelson and Jimmy Heath! Nelson and Heath are both mighty hip cats at this point in their career – and bring a soulful swing to the record that really takes off – a groove that's lively, but tuned with lots of cool colors and tones too – shifting effortlessly while things move forward – but always with the right soulful appeal for older fans of both leaders. Milt's especially great in this setting – even more on fire than some of his other collaborations with Brown – and titles include "Dew & Mud", "Lined With A Groove", "Lazy Theme", "In A Crowd", and "Now Hear My Meaning".

2 early 60s sessions by tenorist Sal Nistico – a great player who spent most of his life in bigger bands, but who also knew how to shine on small group settings like these! They sure got the title right on the CD, as Sal's playing tenor in groups that feature many heavyweights, and soul jazz heavyweights too, we might add! Players on the albums include Nat Adderley, Barry Harris, Sam Jones, Bob Cranshaw, and Walter Perkins – all of whom make Sal cook a lot more than usual, and who give the set an early 60s soul jazz groove that was typical of the best work coming out on the Jazzland label at the time. The set features 13 tracks from both albums – with titles that include "Shoutin", "Mamblue", "Seconds Anyone", "Cheryl", "Ariescene", "Comin On Up", "Down", and "Samicotico". CD omits the track "Just Friends", due to space limitations.

A pair of great albums from Overton Berry – 1972's TOBE and 1970's Live At The Doubletree Inn – 2LPs in a double vinyl set from Light In The Attic! TOBE is an amazing little groover from the combo of pianist Overton Berry – and one of THE 70s funk classics from the Pacific Northwest! The record's really just a simple trio outing, but other elements drift into the mix as the record grooves on – including vibes, guitar, and even a bit of vocals on a few tracks! The core sound is a bit like that of the Monty Alexander group at their MPS funkiest – but the bottom here is a lot heavier, and the production really maximizes the sound of the bass on the record – taking full advantage of both the acoustic and electric uses of the instrument! Highlights include a gritty take on Nat Adderley's "Black Bottom", a famous drum break in a take on "Jesus Christ Superstar", a loping rendition of "Compared To What", and a great laidback version of Roland Haynes' cut "Eglise" – one we like almost as much as his original on the Black Jazz label! The other LP is The Overton Berry Trio At Seattle's Doubletree Inn – The funky piano trio's captured live at the start of the decade. Berry's got a nice groovy style on the piano here, andthe drummer and bassist play with a nice round sound that keeps the whole thing cooking nicely. This set's a mix of covers and originals by Berry, and includes the cuts "Oden", "Guacamolian Shuffle", "Aquarius", "Waterboy", "MB Blues", "Feeling Good", and "Hey Jude".

One of the most revelatory albums ever cut by reedman James Clay – a player who's often lumped into the "hard blowing" camp because of his Texas roots, but one who emerges here with a great deal of sensitivity and imagination! The record features Clay playing both tenor and flute – clearly a "double dose of soul" – and on the latter instrument, he's got a really wonderful style that's a bit like Yusef Lateef, still hardbop and swinging, but touched with a sense of exoticism that really makes for a unique sound to the record. And even on tenor, Clay's got a looser, more introspective sound here – one that catches the mood set by the rest of the group – with Victor Feldman on vibes, Gene Harris on piano, Sam Jones on bass, and Louis Hayes on drums – plus a bit of extra cornet from Nat Adderley on a few tracks. The album has a good modal feel in parts, and a stronger soul jazz groove in others – and it's one of the great sets put together as part of the "Cannonball Presents" series for Riverside in the early 60s. Tracks include "Lost Tears", "Pockets", "New Delhi", and "Linda Serene". CD also features 2 bonus tracks!

A set that's right on target, right from the start – and one that has the young Cannonball Adderley really coming into his groove! The set's a lot more soul jazz-oriented than some of Cannon's records from a few years before – played by a rock-solid group that includes brother Nat Adderley on cornet, Junior Mance on piano, Sam Jones on bass, and Jimmy Cobb on drums – hitting a groove that's got plenty of nascent elements of that Cannonball sound that would virtually take over jazz in the 60s! Yet there's also a nicely different vibe going on here too – a bit less structure, and a looser approach to the mode – spun out with some modern moments too, on titles that include "Straight No Chaser", "Jubilation", "Our Delight", "Fuller Bop Man", and "Stay On It".

Arguably the best album that Philly Joe Jones ever cut as a leader – and a straight ahead set of soulful hardbop tunes played in the company of an excellent group! The set fits with with some of the super-hip soul jazz sides coming out on Riverside and Jazzland during the late 50s – and the sextet on the album features players who also made their mark for the label, like Julian Priester, Johnny Griffin, and Nat Adderley, who play here with Tommy Flanagan and Jimmy Garrison. The interplay between Garrison and Jones is worth the price of the record alone, and Jimmy pushes Philly into territory that's a bit more sophisticated than his usual groove. Tracks are all pretty long – and titles include "Blues For Dracula", "Ow", "Tune Up", and "Fiesta", written by the great Cal Massey!

A hardbop classic from Cannonball Adderley – and one of his harder to find albums from the Riverside days! The set has Cannon playing without his usual group, in the context of an all-star batch of players that includes Wynton Kelly, Paul Chambers, and Jimmy Cobb – who he worked with in his time with Miles Davis – plus occasional guest rhythm work by Albert and Percy Heath. The set's strong and straight ahead – a good bridge between Cannon's early Mercury recordings, and his later albums for Riverside and Capitol – tightly crafted solos with a good deal of soul, Adderley holding down all the horn work on the record. Titles include "If This Isn't Love", "Serenata", "Poor Butterfly", "I Remember You", and "I've Told Ev'ry Little Star". CD also features 2 bonus alternate tracks!

4th volume in this excellent series – and the groovy grooves are still running strong! As the title implies, the set's a blinding batch of rare bossa and samba tracks, mostly all of 60s vintage, from a blend of American and Brazilian sources. There's loads of great cuts on here that have gotten lost on LPs over the years – and titles include "Groovy Samba" by Cannonball Adderley, "Bossa Nova Ova" by Billy Mitchell Quintet, "Sambou Sambou" by The G/9 Group, "Os Grilos" by Walter Wanderley, "Onde Anda O Meu Amor" by Bossa Tres, "Vai Pr'a Frente" by Os Copa Vips, "Caminho De Casa" by Joao Donato, "Oo Oo Bossa Nova" by Milt Jackson, "Boranda" by Sergio Mendes, "Mas Que Nada" by Oscar Peterson, and "Batucada Sergiu" by Luiz Carlos Vinhas. The CD also contains the bonus tracks "Bossa" by Donald Byrd, "Corcovado" by Stan Getz and Laurindo Almeida, and "Sausalito" by Dave Pike.