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A collaborative effort between Black Spade & Nato Caliph – on a limited edition cassette! Force Majueure features appearances by Count Bass D, Shorty Live of the Alps Cru, and scratches by DJ Crucial and DJ Alejan. Sharp, solid and smart hip hop from the St. Louis underground scene – with a timeless vibe. Another fresh release from F5 – a superior force in midwest indie hip hop! Includes "Distance Unlimited", "FrankenHop" with Shorty Live "Impression X", "The Best Part", "Coitus Magnetic" feat Teresa Jenee, "Complete" with Black Spade and "Distance Unlimited" (SP Remix) with Count Bass D.

A really rich document of the charms and talents of reedman Lol Coxhill – a set that features music from a wide range of scenes and settings in Lol's long career – including bits of hardbop from the 50s, R&B from the 60s, and a wide range of great performances from later years too! Coxhill's a hell of a player who always seems to shine, no matter what the setting – and this package is almost like a combination of the sharp edges of the Emanem recordings, the moodier feel of the Virgin albums and some of Lol's rockish work, and the charming whimsy of the Nato years too – all topped off with a few historic elements that only add to the color and tone of the package – especially given that the tunes aren't always presented in chronological order. We're under the impression that most music is exclusive to this set – and tracks include "Bad Boy", "Autumn In New York", "Vermillion Sands", "Three Go To Letchworth", "Out Of Nowhere", "Uptown Top Ranking", "Magic Buffalo", "A Brief Introduction To Sax", "Murder In The Air", and "Resonance".

A great one from trombonist Steve Davis – a set that not only showcases his skills on his instrument, but also his increasingly great ear for a composition as well! The album's sub-titled "The Hartford Suite" – and features a set of original tracks commissioned by that city, and penned by Davis with a wonderfully fluid mix of lyricism and swing – that quality he's always got in his own solo work, carried forth here by a hip sextet that features Josh Evans on trumpet and flugelhorn, Mike DiRubbo on alto, David Bryant on piano, Dezron Douglas on bass, and Eric McPherson on drums. The music is beautifully vivid right from the start – a host of fresh compositions given wonderful treatment from the group – and titles include "Twain's World", "Nato", "The Modernist", "Club 880", "Kenney's", "Park Street", and "Mode For Miantonomoh".

A beautiful solo record from pianist Ulrich Gumpert – quite different than some of the more offbeat or avant sounds he recorded with other players – and instead, a great illustration of his more personal, poetic style on piano! Parts of the record resonate strongly with Gumpert's recordings of Erik Satie material for Nato Records – very spare and careful, with notes that come slowly, yet fit perfectly next to each other. Yet different points of the record show a more freewheeling style – echoes of Monk or other modernists, yet still with a great sense of space and sound. Tracks are all originals, and titles include "Iphigenie", "N Tango Fur Gutti", "Hier Und Anderswo", "Dave", and "Corinth Ritzen Roller".

The minimalism of Erik Satie, handled by the maximalism of the Vienna Art Orchestra – at first glance a seeming mismatch, but instead a record that really opens up Satie's music strongly – and also makes for one of the Vienna Art Orchestra's most memorable moments! The large group is broken out into much smaller ensembles for most of the album – often just duos or solo players, working through some of Satie's most inventive compositions – varying instrumentation throughout, in ways that almost make for different refractions of the music through differing lenses – a bit like the excellent Satie project issued around the same time on Nato. Players include Wolfgang Puschnig on flute, Christian Radovan on trombone, Woody Schabata on vibes, Wolfgang Reisinger on tarabuka, and Lauren Newton on voice – and titles include "Reflections On Aubade", "Vexations 1801", "Gnossienne No 3", and "Reflections On Idylle".

A great setting for the creative percussion of drummer Han Bennink – a really well-balanced trio that features piano from Simon Toldam and a range of reeds from Joachim Badenhorst – a player with a nice sense of warmth amidst his freedom, and an artist who seems to bring out the same in Bennink as well! The set's still got some of the bold energy you'd expect from Han's classic work on the European free jazz scene – but there's also an inherent tunefulness at most spots too, and a personal mix of melody and lyricism that really humanizes the record – and makes it one of the best things we've heard from Bennink in years! The shift is almost the same as when Lol Coxhill and a few of his contemporaries recorded for the Nato label in the 80s – a performance that still holds strong to all the territory that Han has gained over the years, but which also has a soulful personality that really stands out. Titles include "Klein Gebrek Geen Bezwaar", "Meet Me Tonight In Dreamland", "Dog", "Lauren", "Inside Inside", "Ganz", and "Kiefer".

Mellow warmth from the great Monty Alexander – one of his best for MPS, and a trio set cut with Senator Eugene Wright on bass and Bobby Durham on drums! The roundness of Wright's bass makes the best cuts on the album even better – as he rolls around with a subtle sense of soul that really helps Alexander step into the 70s nicely – getting past some of the stiffness of 60s albums and even hitting a few funky notes at times! Titles include the jazzy dancer "Monticello", a classic reading of "We've Only Just Begun", and the tracks "Blue Alexander", "Love Story", and "Summer Of 42".

A contemporary set, but one that sparkles with all the best brilliance of the 70s scene in Brazil – and that includes such heady company as Marcos Valle, Azymuth, and Joao Donato! As with all those artists at the time, Lucas Arruda has a groove that's strongly based on Fender Rhodes – warm keys that are underscored with some great acoustic percussion that gives the whole thing an earthy core at the bottom, and a vibe that's quite different than any American fusion of the time! The music is completely sublime throughout – very jazzy in its inflections, but also with a more freewheeling approach – as you'd hear on classic keys from Jose Roberto Bertrami. The set's got a bit of vocals, but really focuses on the keyboards – and titles include "Physis", "Rio Afternoon", "Batuque", "Alma Nova", "Sambadi", "Carnival", and a sweet cover of "Who's That Lady".

A contemporary set, but one that sparkles with all the best brilliance of the 70s scene in Brazil – and that includes such heady company as Marcos Valle, Azymuth, and Joao Donato! As with all those artists at the time, Lucas Arruda has a groove that's strongly based on Fender Rhodes – warm keys that are underscored with some great acoustic percussion that gives the whole thing an earthy core at the bottom, and a vibe that's quite different than any American fusion of the time! The music is completely sublime throughout – very jazzy in its inflections, but also with a more freewheeling approach – as you'd hear on classic keys from Jose Roberto Bertrami. The set's got a bit of vocals, but really focuses on the keyboards – and titles include "Physis", "Rio Afternoon", "Batuque", "Alma Nova", "Sambadi", "Carnival", and a sweet cover of "Who's That Lady".

A lost Italian gem from the 60s! Bassist Giorgio Azzolini was one of Italy's best players during the postwar years, and this handsome reissue brings to light one of his rarer sessions from the 60s. The record's a lyrical septet session, with Azzolini's warm round basslines right up front, and beautiful solo work by a young Gato Barbieri on tenor, Franco Ambrosetti on trumpet, and Renato Sellani on piano. The session has the warmth and sensitivity of some of Horace Silver's best early 60's Blue Note work, and the tracks include "Tribute To Someone" by Herbie Hancock, "Sometime Ago" by Sergio Mihanovic, "The Stroller" by Benny Golson, and "Hiroshima" by Gato Barbieri. Very nice stuff – and with the usual high level of Rearward packaging!

An historic 35th Anniversary show from Maria Bethania – recorded wonderfully, with some really sensitive musical backdrops that perfectly follow the rich mood of the set! The presentation is very personal – as Maria's a bit reflective about her years in music – and the undercurrent of sentimentality brings a warmth to the record that you don't always find from Bethania – even as great as her other albums can be! Arrangements are by Jaime Alem, who also directed the group – and the set also features guest appearances by Ana Carolina, Chico Buarque, Renato Teixeira, Moreno Veloso, Edu Lobo, Dori Caymmi, and Nana Caymmi! Titles include "Noite De Estrelas", "Sem Fantasia", "A Moca Do Sonho", "Alegria", "Maricotinha", "As Cancoes Que Voce Fez Para Mim", and "Juntar O Que Sentir".

Nicely-structured performances between pianist Ran Blake and guitarist David Knife Fabris – done with plenty of free-thinking elements, including those bold-ringing tones that we've always loved in Blake's recordings – yet still based around some relatively tight song structures overall! Most numbers are relatively short, but benefit from that fact – as they let Fabris bring in a flurry of chromatic sounds from his instrument, and Blake hit those almost bell-like notes on the piano – often doing a lot with just a little. And the setting sometimes has one player handling all the work on a track, then shifting to the other on the next one – and coming together on duets on others. Titles include "Watch What Happens", "Desafinato", "My Cherie Amour", "Sontagism", "Driftwood", "In Pursuit", "Cry Wolf", and "Shlof Manyn Kind".

A beautiful tribute to the legendary Joao Bosco – a celebration of his forty years in Brazilian music – put together with help from a host of guests who include Joao Donato, Milton Nascimento, Toninho Horta, and Chico Buarque! The presence of these equal legends is a great reminder of the way that Bosco's music has influenced generations of MPB – perhaps not as famous on a global scale as these other artists, but always very well-respected by his peers – who often recorded many of Joao's compositions, and made them their own. The music's got all the acoustic charm of Bosco's best 70s recordings – and with some of his other recent sets, there's a sense of depth and growth that really shows his tremendous evolution as an artist over the years. Titles include "Agnus Sei", "Tanajura", "Fotografia", "Plataforma", "Jimbo No Jazz", "Drume Negrita", "Tarde", and "Caca A Raposa". DVD features four more tracks than the CD – and has a bonus "making of feature"

A beautiful return to straighter jazz playing from German trumpeter Till Bronner – heard here in an album of quiet beauty and really subtle moods – played with a depth that goes beyond some of his smoother soul sets! Bronner's honed his trumpet into one of the most pointed sounds in current mainstream jazz – an instrumental voice that resonated beautifully on the Mark Murphy album that Bronner produced and played on – and which steps out into the lead here in a set of mellower small group numbers that include some great piano and organ from Larry Goldings. 4 tracks feature vocals – Carla Bruni on "In My Secret Life", Madelene Peyroux on "I'm So Lonesome I Could Cry", Luciana Souza on "Pra Dizer Adeus", and Till himself on Nick Drake's classic "River Man". Other tracks are instrumentals, and include "Bumpin", "Love Theme From Chinatown", "The Peacocks", and "A Distant Episode".

A wonderful mid 70s album by Chico Buarque – proof that he was still one heck of a songwriter, and a pretty decent singer, despite the fact that he'd grown a silly-looking moustache! The production's very nice, too – with that excellent compressed sound that was being used on some Brazilian vocal albums at the time, like work by Joao Donato. Includes the "O Que Sera", a sublime duet with Milton Nascimento that's one of the best versions we've ever heard of the song. Other tracks include "Vai Tabalhar Vagabundo", "Voce Vai Me Sequir", "Corrente", and "Passaredo".

A wonderful combination of music and sound effects – very similar to some of the bigger label work from artists like Jack Fascinato or Dean Elliott over at Capitol Records in the late 50s, but an even more sonically-sensitive session done for the smaller Cook imprint! Jimmy Carroll leads an assortment of vibes, bells, harps, toys, percussion, and other odd instruments – all in a weird and playful mix of melodies that almost come across like mini-cartoons in sound! There's not much in the way of larger or conventional instrumentation – which makes Jimmy's work even different than bigger label experiments like this – and the recording quality from Cook really makes all the odd sounds come through with great clarity!

Early jazz material – with Charlie Shavers on trumpet, Herbie Haymer on tenor, John Simmons on bass, and Buddy Rich on drums.

Gal Costa runs through a set of Dorival Caymmi's classics, with a good set of 70's arrangements, and some excellent accompaniment by Joao Donato, Roberto Menescal, and Antonio Adolpho. Donato also did a number of the arrangements, and the tracks include "Sao Salvador", "Vatapa", "Nem Eu", "O Vento", and "Pescaria".

An overlooked gem from 80s Brazil – a rare bit of indie samba work from Luiz Carlos Da Vila – and a record that's definitely a cut above the usual material in the genre! There's a wonderfully rich sound to the record right from the start – soulful vocals from Luiz Carlos, and some rootsy percussion – but also these warmer backings that almost have jazzy changes at times – of the sort that you might get if Joao Donato ever arranged a samba record. The original was issued on the small Arca label – so has escaped the attention of global ears for years – but the set's a record well worth seeking out. Titles include "Morro Molhado", "Diamante", "Das Origens", "Bracos De La", "Notavel Amiga", "A Flor Da Esperanca", and "Tudo Se Ilumina".

A wonderful tribute to the mighty talents of trombonist Raul De Souza – a package that features individual DVD and CD performances by the musician, brought together in one cool little set! Both formats feature recent material, ostensibly recorded for this package – and all tracks on the CD are not on the DVD – and vice versa – which means that you'll get an even broader picture of Raul than you might expect! The performances are great, too – very jazzy, with a style that focuses heavily on De Souza's lead trombone lines and solos – without much other instrumentation getting in the way. Given the many styles that Raul's used over the years, it's great to hear such a back to basics jazz-based set – echoed by guest work on the DVD from Joao Donato on piano and Hector Costita on tenor sax. DVD titles include "Spiritual", "A Vontade Mesmo", "St Remy", "Funky Man", "Bossa Eterna", "Jumping Street", and "Violao Quebrado" – and CD titles include "Alibi", "Ligia", "10 Minutos", "Voila", "Viva O Rio", "Up Jumped Spring", and "Todas As Tribos". Comes in an oversize package – with notes in English and Portuguese!

An overlooked gem from keyboardist Joao Donato – cut in a mid 80s stretch when he was hardly doing any recording at all! The set's almost more of a jazz record than some of Donato's previous work – recorded with a warm vibe that's right up there with the best Brazilian fusion of the time – and by that, we mean the real deal coming from Brazil – not the American variant! Donato's still got a wonderful way of handling the keys – coming up with these subtle turns of phrase and gentle colors that hold us spellbound throughout – alongside other instrumentation that includes Mauro Senise and Ze Carlos on saxes, Serginho on trombone, and Paulinho on trumpet. Joao sings just a bit at a few points, but the overall vibe is instrumental – kind of a nice extension from the mellow cuts on the Quem E Quem album. Titles include "Leila XIII", "Leila VIII", and "Leila VI (Lua Dourada)".

Beautifully mature work from Brazilian piano legend Joao Donato – an album that draws on his rich legacy of musical expression from the bossa years onward, presented here with a few surprising twists and turns! The core format is piano trio – Joao on the acoustic keys, with Luiz Alves on bass and Robertinho Silva on drums – yet the sound is quite changed from the early days when Donato recorded heavily in this way, inflected with some really complicated rhythms at points, and turned towards these soulful undercurrents we especially love. Instrumentation includes a bit of guest strings on one track – plus vocals from Zeca Pagodinho, flute from Ricardo Pontes, and cavaquinho from Paulinho Soares – artists who each appear on a track in the set. Titles include "Sambolero", "E Menina", "A Ra", "Jodel", "Sambou Sambou", "Amazonas", "Quem Diz Que Sabe", "Surpresa", and "Brisa Do Mar".

Beautiful! Joao Donato has long been one of our favorite-ever Brazilian songwriters, and this tasty series from Lumiar finally pays him the rich tribute he deserves! The series, like the others on Lumiar, features some of Brazil's greatest artists ever, paying tribute to Donato with loving renditions of his best songs. This third volume features "Lugar Comum" by Leny Andrade, "Minha Saudade" by Gilberto Gil, "Everyday" by Ed Motta & Joao Donato, "Luo Dourada" by Os Cariocas & Joao Donato, "Fonta Da Saudade" by Elza Soares, "A Paz" by Rosa Passos, "Depois Do Natal" by Djavan & Joao Donato.

A really warm and wonderful little record – one that features the collaborative talents of these four bossa nova giants, all coming together in a really relaxed, intimate setting! Although most of these artists didn't work together in the 60s, they all share a very similar spirit, and come together beautifully here – all four working together on the first and last track in the set, then splitting apart to work in smaller duos, and each take a track or two on their own. Instrumentation is mostly small combo, and warmly jazzy – and Valle, Lyra, Menescal, and Donato all handle the arrangements too – furthering the collaborative spirit of the set. Titles include "Balansamba", "Ate Quem Sabe", "Tereza Da Praia", "Ate O Fim", "Bewitched", "Sextante", "Gente", "Vagamente", "De Um Jeito Diferente", and "Ciume".

The legendary meeting of the two biggest Brazilian keyboard talents of the 70s – Joao Donato and Eumir Deodato – coming together in beautifully funky formation! The sound is a great blend of the moody electric work of Donato's classic Quem E Quem album, and some of the fuller, funkier grooves on Deodato's work for CTI – served up here in a double-keyboard blend with help from a host of great guest musicians! Other players include Randy Brecker on trumpet, Romeo Penque on flute, Mauricio Einhorn on harmonica, and Michael Gibson on guitar – plus plenty of percussion from Airto and Ray Barretto, who both join in to round out this all star session. Tracks are nicely long, and very jamming at times – and titles include the funky "Whistle Stop", plus "Where's JD", "Capricorn", "Nightripper", and "Batuque".

A range of rare recordings from singer Doris Drew – a vocalist we only know from one full album, but who also made some of these appearances as a guest on other instrumental dates! Doris has a great approach – one that's slightly warmer than the ice blondes of the west coast scene of the 50s, yet which often carries some of the same modern elements too – supported here by work from players who include John Williams on piano, Don Fagerquist on trumpet, and Herb Geller on alto – plus arrangements from Williams, Jack Fascinato, David Caroll, and Lew Raymonde. Titles include "He's My Guy", "Tea For Two", "I Cried For You", "Pennies From Heaven", "Put The Blame On Mame", "You're The Cream In My Coffee", and "Be My Lovin Baby".

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

A mix of storming instrumentals and vocal tunes by The Eliminators – one of the great 60s studio creations tailor-made to rip it up on surf, drag and any kinda thematic grooves! This one includes some takes on the Liverpool sound, as well – and the players include a few soon-to-be legends like Leon Russell – who serves as the musical arranger here! A nice mix of groovy and seedy stormers. Includes "Can't Buy Me Love", "Twist And Shout", "Needles And Pins", "Classy Lotus Chassis", "Surfing Iguana", "Malibu Wipeout", "The Challenger", "Hillclimb Hilda", "Red Hot Scrambler – Go!" and more.

A beautiful jazzy score by Duke Ellington – and a fitting companion to this classic Otto Preminger film! The record captures Ellington at a perfect moment – right during his Indigos period of increased sophistication, when his band was at an all-time level of perfection – and really shaking free of the too-familiar modes of the past. Ellington's music has a wonderful range of feeling here – even more so than usual, given the shifting scenes of the film – and the players are an all star lineup that includes Clark Terry on trumpet, Paul Gonsalves on tenor, Johnny Hodges on alto, and Jimmy Hamilton on clarinet. Titles include "Upper & Outest", "Almost Cried", "Sunswept Sunday", "Happy Anatomy", "Flirtibird", and "Low Key Lightly".

A sublime little set – quite possibly the greatest album ever from Brazilian keyboardist Manfredo Fest! Manfredo first cut his teeth on the bossa scene of the 60s – but by the time of this rare indie session, he'd moved up to the US – and was working with sweet keyboards to really electrify his groove! The record's a wonderful blend of 70s Brazilian fusion modes and just a dash of American soul – and in addition to Manfredo's wonderful work on Fender Rhodes, the set also has these brilliant vocals from Roberta Davis – a singer who works wordlessly, using her voice as an instrument in this really cool way – sliding along with the grooves, and making the album sound unlike anything else we can think of. The overall feel is a bit like Joao Donato's excellent Quem E Quem album – and titles include "Jungle Cat", "Facing East", "Who Needs It", and "Brazilian Dorian Dream".

Tight!! Lee Fields, one of the great criminally under appreciated funky geniuses of the 70s is back with another pounding, raw funk classic that still finds the man at the peak of his powers, decades after he first made mark on the funk landscape! This is Lee's first full length effort for Soul Fire, a label that we all know goes to painstaking lengths to carefully carry the torch lit by the People Records scene in the 70s into the future, and it's great to see a titan like Lee do amazing work for a great label that does it purely for the love! Lee is absolutely on fire on all 10 of these tracks, with a Godfather like delivery that knocks us out of our chairs every time, whether it's that fiery funk howl that we love so much, or a smooth, soulful glide on the occasional ballad. He's backed up by a bona fide funky orchestra at Soul Fire Studios that includes TONS of hot drums, propulsive percussion, and some driving conga work that steers things into an afro funk groove on several of the tunes. The group MVP, other than Lee himself, could be multi instrumentalist Leon Michels, whose work on flute, keys, tenor and baritone sax, as well guitar and bass not only helps keep the classic 70s feel going, but keeps things crackling at breakneck speed. This isn't newfangled funk revival, this is the real deal from one of the originators – a 33-minute funk maelstrom that will knock you right out of your chair, and have you restarting it the second it ends! Includes "Problems", "The Right Thing", "Rapping With Lee", "I Don't Know Where I'm Going", and "Honey Dove". Oh, if only all of our heroes remained this vital!

10 hip hop instrumentals from one of the originators, DJ Mark the 45 King. Includes a bonus double copy with the same tracks, so you can get busy on the 1's and 2's. Includes "Killer Strings", "Overture", "Mad Fat Beat", "Sexy Lady", "Greedy Beats", "Magic Dust", "Pop Up", "TV Tune", "Coyote" and "Pyramids".

A strong little set of post bop tracks from saxophonist Lenny Hambro – one of two rare albums he cut for Columbia during the 50s, and a tight session with Wade Legge on piano, Dick Garcia on guitar, and Clyde Lombardi and Mel Zelnick on rhythm. The tracks are short, and Hambro's sax work is angular and a bit boppish – almost in the mode of Herb Geller's work from the time, but not as fluid. Titles include the Legge originals "Slave Girl", "Message In Minor", "Moon Slippers", and "Hoof Beats" – plus Hambro's "Thanatopsis" and "The Lonely One".

A true classic by Jimi with the original Experience lineup – the third of three straight up masterpiece LPs to comeout in just over a year's time by the group! You could call the leftfield astral effects in the mix experimental if you had to – innovations in the studio with echo, that hallucinatory backwards sound effect and other stranger bits – but the passionate, naturally expressive playing and singing by Jimi makes it all fell just right, and the Noel Redding and Mitch Mitchell still don't get enough credit for being at the heart of such greatness. A massive 2LP effort that include s"Voodoo Chile", "Crosstown Traffic", "Electric Ladyland", "Little Miss Strange", "Moon Turn The Tides", "Still Raining Still Dreaming" and "All Along The Watchtower".

A true classic by Jimi with the original Experience lineup – the third of three straight up masterpiece LPs to comeout in just over a year's time by the group! You could call the leftfield astral effects in the mix experimental if you wanted to – innovations in the studio with echo, that hallucinatory backwards sound effect and other stranger bits – but the passionate, naturally expressive playing and singing by Jimi makes it all feel just right. Noel Redding and Mitch Mitchell still don't get enough credit for being at the heart of such greatness. A massive 2LP effort that include s"Voodoo Chile", "Crosstown Traffic", "Electric Ladyland", "Little Miss Strange", "Moon Turn The Tides", "Still Raining Still Dreaming" and "All Along The Watchtower".

A Belgian take on the Congotronics vibe – not done in the same musical style necessarily, but definitely grabbing that great spirit for homemade instruments and unique stylistic hybrids! There's a punky, funky sort of vibe going on here – but one that also has more laidback qualities too – almost as if the Beastie Boys spent a lot of time dabbling in world music – coming up with their own unique instruments and sounds, and delivering them with a brash, youthful sort of approach! And while the approach doesn't always hit home, there's plenty of playfully creative moments on the set – almost an update of older European experiements by Aksak Maboul. Titles include "Beni B", "Otanato", "Stoemp", "Bruges", "1815", "Couque De Dinant", and "3 Regions 3 Communautes".

Trippy Turkish rock from Erkin Koray – rarities and singles recorded in Istanbul, and every bit as brilliant as the work on his famous self-titled albums! The music is awash in a blend of buzzing, hypnotic folk sounds of Turkey – mixed with western and otherwise globally resonant psychedelia – a wicked blend that's right up there with the best Anatolian grooves of the time! It's wild stuff, but done with passionate vocals and tuneful melodism that's pretty amazing – English and American rockers who brought Middle Eastern errata into pop music made millions and became superstars for it, but we really must say, that creative reach works even more brilliantly in reverse! Includes "Mechul", "Kendim Ettim Kendim Buldom,", "Gun Dogmuyor", "Goca Dunya", "Kraller", "Cumbur Cemaat", "Hadi Hadi Ordan", "Dusunus", "Olmayinca Olmuyor" and "Sevdigim".

With Leduc on piano, Michel Donato on bass, and Emile Normand on percussion. A rare Canadian jazz treat!

A landmark bit of Brazilian from Europe – and a sweet groover from guitarist Agustin Pereyra Lucena! The set was recorded in Oslo, but it's got the warm sound of a Brazilian jazz set from the time – with Agustin on acoustic guitar and percussion – backed by a quartet that features bass, sax, flute, and piano. The sound's kind of an extension of the Baden Powell groove of the early 70s – but with a deeper, more contemplative approach at times – and Lucena sounds equally great on the mellower tracks as he does on the album's standout groovers! Includes the killer cut "La Rana", a remake of Joao Donato's "The Frog" – plus the tracks "Tema Barroco", "Pra Que Chorar", "3 Horas Da Manha", and "Encuentro De Sombras".

An overlooked 70s treasure from the great Carlos Lyra – and quite a different set than his more famous work of the bossa nova generation! The album's got some really wonderful electric piano – used in ways that help soften and deepen the feel of Lyra's aging vocals – similar to the early 70s music of Joao Donato, yet pitched with a different vibe overall. Some tunes are deeply personal, while others are upbeat and groovy – and titles include "Tem Do De Mim", "Feio Nao E Bonito", "So Mesmo Por Amo", "Quando Chegares", "Amar E Vivre", "Barquinho De Papel" and "Cante Uma Cancao".

Later than Tim Maia's classic soul years, but a set with a nice focus on older bossa material – sung to backings by a small group arranged by Almir Chediak, and featuring Antonio Adolfo on piano and Wilson Das Neves on drums! Given the richness of Tim's vocals, there's a style here that's quite different than other bossa revival sessions – as the Maia sound still goes deep and soulful, even on the mellower cuts. Titles include "Folha De Papel", "Minha Namorada", "Wave", "Samba De Pergunta", and a great 2 part reading of Joao Donato's "A Ra" – plus an English language version of "Inutil Paisagem (Useless Landscape)".

Bossa nova from Herbie Mann – one of our favorite albums ever from the famous flute player – cut for United Artists, and a one-off session that's arguably better than most of his Atlantic work of the time! There's a groove here that's undeniable – a sense of swing that grabs us right from the get-go, and makes us totally love each new track before Mann's flute even comes into the mix! These grooves come from some great interplay between Dave Pike on marimbas, Haygood Hardy on vibes, Billy Bean on guitar, and a host of hip percussionists who include Willie Bobo, Carmen Costa, and Carlos Patato Valdez! Tracks are long, with a Joao Donato-like sense of space – similar to Pike's excellent bossa work for Prestige around the same time – which makes a perfect settion for Herbie's soulful flute. The whole thing's wonderful, and titles include "Me Faz Recordar", "Minha Saudade", "Copacabana", "Brazil", and "BN Blues".

A lost set of crime jazz from the 60s – originally released as a rare sound library set by composer Gino Marinuzzi! The music here has a quality that's more like American jazz scoring of the early part of the decade – with lots of sharp woodwinds and plenty of highly percussive moments that more than live up to the title – but there's also a few moodier, more evocative passages that really show the growing Italian ear for an unusual sound in a scene! The whole thing is easily some of Marinuzzi's best music ever – played by a great, but uncredited lineup – on titles that include "Senza Respiro", "Rebus", "Ombre Notturne", "Alta Tensione", "Banditi A Chicago", "Ostinato Ossessivo", "Quiz", and "Penitenziario". CD features a few bonus alternate versions too!

A really beautiful set of South American vocal work – a set that draws equal parts inspiration from the styles of Venezuela and Brazil – with a touch of Chilean influence as well – all wrapped up in a style that's warm and slightly jazzy, but with a real edge as well! Maria Marquez has a real undercurrent of darkness in her vocals – not really tristesse, but sort of a deeper layer of feeling that really comes through over the course of the record, but in a very subtle way. The instrumentation really helps work with this approach – gentle bits of accordion, slide guitar, cuatro, and a range of different keyboards – all used to inflect the tunes in these really unusual ways. Titles include "Cancion De Cuna", "Tonada", "El Catire", "Entre Copa Y Copa", "Volver A Los 17", and a nice take on Joao Donato's "Amazonas".

Early in the career of Italian singer Mina – but a record that's filled with the sort of well-sung pop numbers that made her huge on the European scene of the 60s! The style here is a bit fuller than some of Mina's later work – arrangements that sometimes echo American pop modes of the late 50s, but other times have a swinging 60s mod feel – with some rockish touches you don't always hear on other Mina records! Titles include "Rapsodie", "Que No Que No", "Amore Di Tabacco", "Renato", "Dindi", "Chihuahua", "Ollalla Gigi", "Just Let Me Cry", and "Si Lo So".

Great pop sounds from the lovely Mina – an Italian singer of the 60s whose powers easily rival those of French chanteuses like Francoise Hardy, Brigitte Bardot, or France Gall! The tunes here have a nice undercurrent of rock and pop elements under larger arrangements that often allow Mina to show off her jazz chops too – and the record definitely represents a turning point in the singer's career – a move towards some of the deeper sounds that she'd explore even more strongly at the end of the 60s! Titles include "Chopin Cha Cha", "Renato", "Eclisse Twist", "Sabato Notte", "Da Chi", and "Improvvisamente".

A beautiful batch of work from pianist Jovino Santos Neto – a very wide range of duets, spread out over one CD recorded in the US, and another in Brazil! Neto's sound here is quite rich, and quite varied – changing up nicely to fit the mood of the artist he's paired with on each track – a great range of talents that runs from Brazilian artists like Joyce, Joao Donato, Airto, Paula Morelenbaum, and Monica Salmaso – to American musicians and singers like Joe Locke, Tom Lellis, Gretchen Parlato, and Bill Frisell! Titles include "Aquelas Coisas Todas", "Insensatez", "Cruzando O Sertao", "Ahie", "Sonora Garoa", "Feira De Mangaio", "April Child", and "Gloria".

The first record in years from these Afro Funk giants – but don't hold it against them, as the whole thing's pretty darn wonderful! There's a rich, vibrant sound here that really lives up to the group's legacy from years back – and production is right on the money to keep things right – recorded in Paris with a relatively stripped-down quality – just right for bringing all the tight rhythms of the set right to the foreground, without any overdone mass market cliches to hold things back! Even the appearances of a few famous guest stars can't get in the way of the energy of the Orchestre – and this new album should be more than proof that the originators are still alive and well. Titles include "Pardon", "Von Vo Nono", "Oce", "Koumi Dede", "Tegbe", "Lion Is Burning", "Ne Te Fache Pas", and "Gbeti Madjro".

The rare Space Probe sent out to the cosmos by Sun Ra in the mid 70s – with material recorded from the early 60s onward – the heart of it being Sun Ra's first ever recordings on a moog synthesizer in 1969, and it's one heck of a trip! This excellent edition on Art Yard includes the material from the original Saturn release – the epic, nearly 18 minute interstellar trip that is the title track – with Sun Ra crafting hallucinatory moog magic throughout it. He shifts gears on "Earth Primitive Earth" (the complete version), an earlier recording, as much influenced by ancient sounds as futuristic ones, with hand drums for the beat and bass clarinet by John Gilmore. The closing "Conversion Of JP" is the other holdover from the earlier Space Probe LP and it's another gem steeped in primitivism, believed to feature Marshall Allen on flute (sure sounds like him to us). Art Yard includes some really incredible unissued material here from sessions that produced the Secrets Of The Sun and When Sun Comes Out sets – titles including "Solar Symbols II", "Dance Of The Wind", "Recollections Of There" and "Destiny". Other players include James Jacson on log drums, Nimrod Hunt on hand drums and vocalist Thea Barbara.

The always-great team of Jim Rotondi and Eric Alexander bring their special magic to the European scene – working here in a Hammond quartet that came from Jim's teaching work overseas – in a date that may well be one of the most cooking we've heard from both players in years! Rotondi's trumpet has this bold sound that's mighty nice – more deeply soulful here in the setting of Renato Chicco's Hammond lines – and trading beautifully back and forth with Alexander's tenor, in a soulful spirit that's wonderful all the way through! Tracks are quite long, and the album's kind of a wonderful blend of the tightness that Alexander and Rotondi have crafted in studio sessions in recent years, with the burning energy that Eric first had when working in the group of Charles Earland. The set sports some great original tunes – and titles include "Summit Meeting", "Higher Calling", "Blue Moon", "The Loop", and "Amsterdam After Dark".

A gem of a record from pianist Renato Sellani – and a set that cooks with all of the best energy of the Italian scene in the 70s! Like some other classics on the Carosello label, this record's got a vibe that mixes strong acoustic leads with a slight touch of electricity in the mix – not as in a fusion album, but just in the basslines from Julius Farmer, which often feel as if they're handled on an electrified version of the instrument, yet still with the straight ahead grooves you'd get from an acoustic bass! The sound makes for a great undercurrent to Sellani's acoustic piano, especially when mixed with the sensitive drumming of Giancarlo Pillot – who helps the record move strongly through a warmly lyrical space. Titles include "Funky Billard", "A Nostro Modo", "Sete Di Bene", "Brother Man", and "Tribute To Someone".

A wonderful little record from Canadian pianist Bernie Senensky – his first as a leader, and an incredibly strong debut that's filled with life, love, and a keen sense of imagination! The tracks are all originals penned by Bernie, and the set's recorded in a spacious, open style that's very much in keeping with other jazz work at the time on the PM label – but done in a mode that's gentler and sweeter than some of the heavier-hitting jams that PM was known for. Senensky's got a wonderful ear for a lyrical tune – and many of the numbers on the set leap along in a lively mode that gives the album a few great jazz dancers. Bass is by Michel Donato, drums are by Marty Morell – and titles include "Poochie", "Lolito's Theme", "Little Waltz For A Little Boy", "BB", and "Another Gift".

Groovy genius from German arranger Peter Thomas – a sweet little follow-up to his soundtrack for Chariots Of The Gods! This time around, the setting's a bit more funky – a great mixture of mid 70s grooves with some of the trippier touches you'd know from Peter's previous space scores – all wrapped up with impeccable German production that really makes the whole thing sparkle! Some cuts are heavy on keyboards, while others mix up modes nicely – and as usual with Thomas, there's a really rich array of great sounds that keeps things delightful throughout. Daisy Door sings on the one vocal cut – "Dankeschon Fur Das Wiedersehn" – and other cuts include "Power Boost", "Mysteries Of Humanity", "Gamblin Ostinato", "The Eyes Of The Golden Mask", "Gods & Natives", and "Crystal Skull".

2 totally great Cal Tjader electric albums – both recorded originally for the Skye label, and back to back on one CD! Cal Tjader Plugs In is a beautifully plugged-in, turned-on session from Cal Tjader – one that features the funky vibist alongside some sweet Fender Rhodes! The session was recorded live, but it's got a flowing, modal quality that rivals Tjader's best work in the studio for Verve and Fantasy at the end of the 60s – a soaring, spacious sound that comes from the interplay between Cal's ringing vibes and the Fender Rhodes and acoustic piano work of Al Zulaica – an excellent player we only know from a few of Tjader's albums. Armando Peraza provides some tight conga work on the set – and titles include "Spooky", "Tra La La Song", "Morning Mist", "Alonzo", "Nica's Dream", and "Get Out of My Way" – a great instrumental take on the Latin soul hit from Joe Torres! Solar Heat is even better – a record that features Joao Donato on organ and Gary McFarland on vibes! The record is a brilliant extension of Cal's styles at Verve – a bit of Latin, a bit of jazz, with some easily grooving numbers that have just the right dose of funk! Donato's organ sounds especially great, and there's also some added electric piano and electric harpsichord on the record, which expands the electricity even more! Loads of great numbers – including "Mambo Sangria", "Fried Bananas", "Solar Heat", "Ode to Billy Joe", and Donato's great "Amazonas".

A great solo set from Heidi Vogel – a vocalist you may know from previous work with the Cinematic Orchestra – stepping out here in a bossa-heavy set that's a perfect fit for the Far Out label! Heidi's style is deeper and more expressive than before – not a voice as part of larger instrumental backdrops, but a lyrical presence first and foremost – often supported with lighter instrumentation that echoes an older bossa era – with strong use of acoustic guitar, light percussion, piano, bass, and cello – all with very melancholy shades of sound. There's a light glow to the record that's really beautiful – mellow, yet soulful enough to have some subtle power – and the set also features guest vocals on two tracks by Cleveland Watkiss, and guest piano on two other numbers by Austin Peralta. Titles include a nice version of Joao Donato's "The Frog" – plus "Inutil Paisagem", "Chelsea Bridge", "Love Dance", "Bonita", "Juazeiro", "Black Narcissus", "Copacabana", and "Modinha". CD also fatures three remix numbers – "Black Narcissus (Cinematic Orchestra rmx)", "Black Narcissus (Emanative rmx)", and "Turn Up The Quiet (IG Culture rmx)".

A massive collection of work from the lovely Wanderlea – all her key albums from the 70s, presented with bonus tracks too – in a box that also contains a full extra CD of rare material as well! Wanderlea's got a style that's maybe a bit more sweet than some of the usual Brazilian singers we stock – not really commercial, at least not from an American 70s pop perspective – but a bit more towards the Brazilian mainstream of the period. Yet there's still a nice edge here – kind of a female pop evolution from the EMI/Odeon style of the start of the decade – with arrangements that still sound refreshing, and songs written by some of the better talents of her generation – including Egberto Gismonti, Gonzaguinha, Caetano Veloso, Joyce, Joao Donato, and Roberto and Erasmo Carlos. The box is a wonderful introduction to her work – and features the full albums Maravilhosa, Feito Gente, Vamos Que Eu Ja Vou, Mais Que A Paixao, and Wanderlea – plus the especially nice Raridades CD – which brings together unusual singles and odd recordings!

A cool tribute to the music and lyrics of Bob Dylan – served up by a host of hip Brazilian performers, all of whom come across with a very different feel than you might expect! The lyrics are mostly in English, and the inflections are definitely Dylan-esque – but the range of artists and style of performance really make the tunes way more than simple cover versions – and instead show just how deep the spirit of Robert Zimmerman has penetrated Brazilian culture! Titles include "It's All Over Now Baby Blue" by Gal Costa, "Jokerman" by Caetano Veloso, "Man Gave Name To All The Animals" by Ruy Maurity, "Mr Tambourine Man" by Daniel Lopes, "Don't Think Twice It's All Right" by Jomar Schrank, "If Not For You" by Luen, "It Ain't Me Babe" by Mallu Magalhaes, and "If You See Him Say Hello" by Renato Russo.

A blistering set of bossa-tinged jazz – truly the cream of the crop of the Brazilian scene from the 60s and early 70s! The package is great both as an introduction to bossa jazz, and as a capper if you've ever heard any of the genre – an essential collection that not only features key tracks, but some rare gems as well – beautifully packaged, and remastered with sound that's way better than any of your old scratchy records! The approach here is wonderful – quick-stepping rhythms, soaring instrumentation, and a way of putting together a groove that's quite different than American or European jazz at the time – even during those eras when bossa was having a strong influence upon those scenes. And sure, in later years, some Brazilian-inspired projects from other territories could sometimes be a bit weak – but these cuts are the originals, and are filled with life, imagination, and originality that oozes forth from the very first note! 2CD package is beautifully put together, with a nice booklet too – and titles include "Birimbau" by Dom Um Romaeo, "Xibaba" by Airto, "San Salvador" by Tamba 4, "A3" by Som Imaginario, "Solo" by Meirelles E Os Copa 5, "Improviso Negro" by Sambalanco Trio, "Vento Bravo" by Edu Lobo, "Batucada" by Luis Carlos Vinhas, "Consolacao" by Tenorio Jr, "Like A Rainy Night" by Salinas, "Zazueira" by Balanco Trio, "Das Tardes Mas Sos" by Paulo Moura, "Bebe" by Eumir Deodato, and "Patumbalacunde" by Joao Donato.

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.

More Lost Legends Of Surf Guitar put together by Sundazed – absolutely killer tunes from the crème of the underground crop! These are the inventors and originators of the seedy surf garage sound – including The Trashmen, The Belairs, Jan Davis, The Gladiators, The Avengers VI and many more. All the hallmark elements of classic surf are here in full force – the reverb guitar sound, heavy sax, shouted vocals and the all around rumbling vibe. Sundazed gives it the reverent treatment these tunes deserve, but it's still presented in a fun, unfussy way. Incredible! 28 tracks on 2LPs – including a few previously unissued tunes – and it's all in the original mono mixes. Includes "Time Bomb" by The Avengers VI, "Surfbuster" by Jan Davis, "Volcanic Action" by The Belairs, "The Hearse" by Al Casey, "(They Call The Wind) Maria" by PJ And Artie, "Surfbeat" by The Surfriders, "Istambul" by The Gladiators, "Moon Race" by The Citations, "Strange Fever" by Thom Starr And The Galaxies, "The Truant" by The Truants, "Raw-Hide" by The Pastels.

Don't judge a CD by its cover, because this one is incredible – all-solid, filled with rare soul tracks all the way through, with a quality level and depth of material that runs way way past the strange appearance of the cover image! The package was put together by the author of the book The Soul Of New Orleans – and it's a wonderful trip through a sound of that city that's not always featured on reissues: the more upbeat, uptempo soul recordings of the 60s – faster tunes that easily fall within the Northern Soul style. The Crescent City soul scene is usually represented with slower, sleepier tunes that build off the "triplets" heavy sound of 50s New Orleans R&B – and although that stuff is great, and really unique, it's wonderful to hear this different side of the New Orleans scene, especially when it's represented by music this great! 18 tracks in all – packaged with a book that has great notes on the music – and titles include "Please Don't Go" by Willie Tee, "Who Can I Run To" by Gerri Hall, "Being Without You" by Maurice Williams, "Do You Love Me" by Senator Jones, "I Caught You In A Lie" by Robert Parker, "Lucky Fellow" by The Jades, "Take Me Home" by Donna King, "Mean Man" by Betty Harris, "You Don't Mean It" by Curly Moore, "Omar Khayyam" by The Rubaiyats, and "In My Corner" by Ray Algere.

A masterpiece of obscure jazzy groovers – the excellent 2nd entry in the Tempo Jazz series, and every bit as wonderful and eye-opening as the first! The vibe is incredible – soulful, spiritual, and free-thinking – with just the right touches of modernism to keep things sharp, but enough of an emphasis on the groove to help a few of these cross over to the dancefloor! The set's filled with great numbers you'll never find in the original – like "Funky Billard" by Renato Sellani, "Bankok" by Giorgio Azzolini, "Bloom" by Gianni Basso, "Eskimo Fakiro" by Cladio Fasoli, "Tin Tin Deo" by Tullio de Piscopo – and the fantastic "Duke" by Roberto Mussolini, which has a beautiful mellow electric groove, and this haunting whistling throughout. One of fave tracks ever, and the rest of the stuff's excellent too!

Excellent 70s electric album by Joao Donato, with a funky samba groove that sets it apart from the earlier Quem E Quem, recorded around the same time. Joao handled all the arrangements, and played some nice electric keyboards – and the rest of the instrumentation includes flute, sax, and percussion, plus drums by Wilson Das Neves. Features the funky classic "Bananeira", plus "Patumbalacunde", "Lugar Comum", "Tudo Tem", and "Naturalmente".

A sweet little pairing of the keyboards of Sergio Mendes and the early arranging styles of Dave Grusin – and a set that's quite different than some of Sergio's vocal albums with Brasil 66! The style here is all instrumental – and Mendes plays both piano and electric piano, plus a bit of harpsichord too – working with a hip LA group that features Grusin on organ, Tom Scott on flute and soprano sax, and John Pisano on guitar – plus a bit of Brazilian percussion from Joao Donato and Moacir Santos! The result is a heavenly 60s groove – some slight larger backings, plus great work from the jazzy group at the core – and titles include a stunning version of "Ponteio" – plus other Brazilian groovers like "A Banda", "Veleiro", and "Tempo Feliz". There's also a few tracks of US material like "I Say a Little Prayer" and "Comin' Home Baby", done with a nice bossa groove!

A great groover from Vikki Carr – one of the biggest voices on Liberty Records after Julie London – and one with a heck of a great style for the 60s! Carr has a strong range in her vocals, but always holds back from the heavy trills you might have heard a decade before – and instead packs all her punch into the rhythmic elements of the songs, which often makes the music sound plenty darn groovy! Of course, it helps that arrangements are by Bob Florence and Mort Garson – both of whom really recast things in a cool 60s mode. Titles include "Heartaches", "Them There Eyes", "Everything I've Got", "Put On A Happy Face", and "That's All".

A beautifully building score from Ennio Morricone – one that's filled with tracks that start out slow, then layer on elements in a really wonderful way! The main theme is a bit dreamy, but some others are a bit dark – and are done in an arry of jagged sounds and offbeat instrumental tunings that reminds us a bit of Morricone's brilliance on the score for The Burglars (Gli Scassinatori). As with that one, piano figures strongly on some of the tunes here – recorded with spare, echoey qualities – but in ways that are hardly the sweeter tones of Morricone's more famous scores of later years. CD features a total of 19 tracks in all – a nicely expanded version of the soundtrack!

The first single from YBT. We're not sure what Bill Stephney and Hank Shocklee were up to here, but we'd guess that the group has been mentioned in dozens of dissertations on hip hop and race. Production by Terminator X.

Beautiful Brazilian jazz from guitarist Mario Adnet – an artist with a sound that recalls some of our favorite work from the great indie fusion explosion in Brazil during the 80s! Mario plays acoustic guitar in a lightly dancing way that's initiated by bossa, but has stronger ties to the more complicated fusion modes of the post-Hermeto Pascoal years – never too over the top, but with a sense of sophistication and rich colors that make the album incredibly captivating, even in the mellower moments! As in some of Hermeto's most fluid work, there's a blend of soaring rhythms and more angular instrumentation going on here – and Mario's guitar is joined by flutes by Teco Cardoso, electric guitar by Ricardo Silveira, piano by Marcos Nimrichter, trombones by Vittor Santos, and trumpet by Jesse Sadoc – all working in shifting lineups from track to track. Joao Donato plays piano on one title, and a few others feature lightly jazzy vocals – and tracks include "From The Heart", "Ocean Range", "Paulistiana No 1", "Danca Negra", "Northern Landscape", "Music Inside", "Baiambe", and "Salsatlantic".

Beautiful work from Franco Cerri – a really unique guitar jazz session that features his talents in a host of different settings! The players vary throughout the set – so that one number only features a duo with bass, but others feature larger lineups that include Gianni Basso on tenor, Dino Piana on trombone, Oscar Valdambrini on trumpet, Renato Sellani on piano, and Giancarlo Barigozzi on flute – all key Italian players of the 60s who really get room to sparkle on the record! Cerri's tone runs from smoothly jazzy on the group numbers to a bit more raw and personal on some of the more stripped-down ones – and titles include "Chit Car", "Blues For Jo", "Bassezza", "New Nova", "Stardust", and "Blues Dei Framasteni".

Amazing! Earth Wind & Fire's ultimate moment of the 70s – and a perfect blending of all their influences that stands as a lasting tribute to their super-huge effect on soul music! The record features all aspects of the band coming into perfect cohesion – bassy funk, mellow soul, and afrocentric jazz – all expertly handled by the great Charles Stepney, who still has the same rich talent for blending styles that he had while working at Chess/Cadet during the glory days of the late 60s. Some of these songs have been played to death (and covered so much) over the years that it's often easy to forget what a crowning moment this was for former underground soul heroes Earth Wind & Fire – but we'll never cease to be amazed at the power of their mid 70s work, and this album's the best of the best. Titles include "Shining Star", "That's The Way Of The World", "Reasons", "Africano", "See The Light", and "Happy Feelin". CD also features 5 bonus tracks – "Shining Star (future star)", "All About Love (first impressions)", "Happy Feelin (anatomy of a groove)", "Caribou Chaser (jazzy jam)", and "That's The Way Of The World (Latin expedition)".

Another great record from the Ex.

An excellent session that was one of Herbie Hancock's first free-flowing fusion records of the 70s! Herbie's playing Fender Rhodes with a sound that's at once cosmically beautiful, soulfully fragile, and spacily grooving – and he gets some excellent accompaniment from an all-hip group of players that includes Benny Maupin on bass clarinet and flute, Buster Williams on bass, Eddie Henderson on trumpet, and Julian Priester on trombone – plus percussion from Jose Areas and Ndugu Chancler. The roots of later classics like Sextet and Flood all start with this session – and the album contains 3 long tracks – "You'll Know When You Get There", "Ostinato", and "Wandering Sprit Song".

Seminal sides from Herbie Hancock – amazing material recorded for Warner Brothers in the years between his time at Blue Note and his big fame at Columbia Records – all sides that definitely show Hancock as one mighty righteous cat! Herbie's really stretching past his more conventional jazz of earlier years here – working both with a bit more electricity in his keys, and some larger arrangements that have a wonderful sense of flow and funk – a groove that definitely puts Hancock on a par with Quincy Jones at his funky best during the early 70s! The album's filled with great grooves pulled from the Warner Brothers albums by Hancock – including some quite long numbers – titles that include the funky nuggets "Wiggle Waggle", "Lil Brother", and "Tell Me A Bedtime Story" – plus "Sleeping Giant", "Crossings", "Quazar", "Ostinato", and "You'll Know When You Get There".

Chaka Khan steps off her smoother sets from the early 80s here – into a groove that's a bit chunkier, funkier, and with some key 80s groove touches! Arif Mardin's still in charge of the whole project here, but he's opened the door to a host of other producers to update Chaka's sound for the dancefloor – including John Robie, Russ Titelman, James Newton Howard, and others. The title hit – "I Feel For You" – is a vocoder bumping classic from back in the day – and other tracks include "Chinatown", "This Is My Night", "La Flamme", "My Love Is Alive", "Hold Her", "Through The Fire", and "Stronger Than Before".

A classic underground Latin jazz album from the 70s – a wonderfully warm session that beautifully mixes older rhythms and a range of soulful jazz styles! The album's one of the few cut as a leader by bongo player Jose Mangual – whose sweet-stepping rhythms really make the set groove – and the session also features great work from Tito Puente on timbales and vibes, Patato Valdez on congas, Luiz Ortiz on trumpet, Dick Meza on tenor, and Kimmy Knepper on trombone. Most tracks are in an acoustic mode, but slight electric touches warm things up nicely – making for a really unique Latin jazz groove that was years ahead of its time – and a vibe that still makes this album one that we go back for time and time again! Titles include the funky groover "Black & Brown Boogie" – which features guest work on keyboards by Richard Tee, plus a bit of vocals – and other instrumental tunes include "Mai Kinshasa", "Summit", "Chinatown", "Dreamy", "Bamba A Puerto Rico", and "Sunrise Prince".

A sweet little pairing of the keyboards of Sergio Mendes and the early arranging styles of Dave Grusin – and a set that's quite different than some of Sergio's vocal albums with Brasil 66! The style here is all instrumental – and Mendes plays both piano and electric piano, plus a bit of harpsichord too – working with a hip LA group that features Grusin on organ, Tom Scott on flute and soprano sax, and John Pisano on guitar – plus a bit of Brazilian percussion from Joao Donato and Moacir Santos! The result is a heavenly 60s groove – some slight larger backings, plus great work from the jazzy group at the core – and titles include a stunning version of "Ponteio" – plus other Brazilian groovers like "A Banda", "Veleiro", and "Tempo Feliz". There's also a few tracks of US material like "I Say a Little Prayer" and "Comin' Home Baby", done with a nice bossa groove!

A sweet funky classic from 70s Brazil – one of those records that's found thousands of funky fans over the decades – and which still continues to please! The set's the best-eer from Orlandivo – a soulful singer whose set up perfectly here with funky backings from the great Joao Donato – working on organ and Fender Rhodes for the set, and hitting the same soulful styles as his own great 70s albums! Grooves have a sunny feel, but these jazz funk undercurrents that are completely infectious – wicked interplay between the bass and drums, guitar and keyboards – set to vocals from Orlandivo that clearly borrow some of Jorge Ben's soulful influence too. Other players include Sivuca on accordion, Durval Ferreira on guitar, and Helcio Milito on percussion – and titles include "Um Abraco No Bengil", "Palladium", "A Felicidade", "Tudo Joia", "Juazeiro", and "Bolinha De Sabao" – plus the great "Tamaco No Samba", which is a thinly disguised version of "Samba Blim".

A sweet funky classic from 70s Brazil – one of those records that's found thousands of funky fans over the decades – and which still continues to please! The set's the best-eer from Orlandivo – a soulful singer whose set up perfectly here with funky backings from the great Joao Donato – working on organ and Fender Rhodes for the set, and hitting the same soulful styles as his own great 70s albums! Grooves have a sunny feel, but these jazz funk undercurrents that are completely infectious – wicked interplay between the bass and drums, guitar and keyboards – set to vocals from Orlandivo that clearly borrow some of Jorge Ben's soulful influence too. Other players include Sivuca on accordion, Durval Ferreira on guitar, and Helcio Milito on percussion – and titles include "Um Abraco No Bengil", "Palladium", "A Felicidade", "Tudo Joia", "Juazeiro", and "Bolinha De Sabao" – plus the great "Tamaco No Samba", which is a thinly disguised version of "Samba Blim".

A sweet funky classic from 70s Brazil – one of those records that's found thousands of funky fans over the decades – and which still continues to please! The set's the best-eer from Orlandivo – a soulful singer whose set up perfectly here with funky backings from the great Joao Donato – working on organ and Fender Rhodes for the set, and hitting the same soulful styles as his own great 70s albums! Grooves have a sunny feel, but these jazz funk undercurrents that are completely infectious – wicked interplay between the bass and drums, guitar and keyboards – set to vocals from Orlandivo that clearly borrow some of Jorge Ben's soulful influence too. Other players include Sivuca on accordion, Durval Ferreira on guitar, and Helcio Milito on percussion – and titles include "Um Abraco No Bengil", "Palladium", "A Felicidade", "Tudo Joia", "Juazeiro", and "Bolinha De Sabao" – plus the great "Tamaco No Samba", which is a thinly disguised version of "Samba Blim".

Their massive second album, and the one with the mindkillin' tracks that shot Public Enemy from an imposing threat to cultural force! There's little we can add to the pantheon in regard to this album. Just know that it's as essential as any album of the era! "Bring The Noise", "Don't Believe The Hype", "Prophets Of Rage" and "Rebel Without A Pause". A landmark LP, that still sounds great today. Also includes "Cold Lampin With Flavor", "Terminator X To The Edge Of Panic", "Louder Than A Bomb", "Caught, Can We Get A Witness", "She Watch Channel Zero", "Night Of The Living Baseheads", "Black Steel In The Hour Of Chaos", "Prophets For Right To Fight" and more.

An unbelievably fantastic album, and perhaps the greatest one that Dom Um Romao ever did! Dom recorded this one in America with a blend of Brazilian and New York musicians – creating an incredible sound that's unlike anything else we can think of! We'd place this record next to the best electric work by David Axelrod, the dopest funk on CTI, and a rare few other jazz funk albums from the 70s – and the whole thing's completely sublime all the way through! Includes the spare spacey groover "Dom's Tune", the lively dancer "Cinnamon Flower", the jazzy "Family Talk", a great version of "Ponteio", and a take on Sivuca's "Adeus Maria Fulo" with Joao Donato on electric harpsichord! Loads of samples, and players include Joe Beck, Dom Salvador, Sivuca, Mauricio Smith, Portinho, Richard Kimball, and Lloyd McNeill.

A beautiful Rebirth for the Tribe Records scene in Detroit – a set that brings together older players whose work illuminated that famous label – Phil Ranelin on trombone, Wendell Harrison on saxes, and Marcus Belgrave on trumpet – all working here with younger musicians who include Amp Fiddler on keyboards, John Arnold on guitar, and Carl Craig on keyboards and production! The mix of generations is amazing – every bit as mesmerizing as the Detroit Experiment session from years back – and the tunes have this soulful, spiritual sensibility that really holds up to the promise first laid down by Tribe back in the 70s – a righteous reworking of familiar jazz ideals, stretching forward with cosmic energy that's really amazing! Craig's presence on the set makes for a bit of electricity at times – but the rhythms are all live and acoustic – and if anything, the whole project marks a real growth in Carl's own music, almost more than that of the originators whose sound here is every bit as great as we could have hoped! Titles include "Son Of Tribe", "Livin In A New Day", "Deneka's Chant", "Jazz On The Run", "Ride", "Lesli", "Where Am I", "13th & Senate", and "Glue Fingers".

A great solo set from Heidi Vogel – a vocalist you may know from previous work with the Cinematic Orchestra – stepping out here in a bossa-heavy set that's a perfect fit for the Far Out label! Heidi's style is deeper and more expressive than before – not a voice as part of larger instrumental backdrops, but a lyrical presence first and foremost – often supported with lighter instrumentation that echoes an older bossa era – with strong use of acoustic guitar, light percussion, piano, bass, and cello – all with very melancholy shades of sound. There's a light glow to the record that's really beautiful – mellow, yet soulful enough to have some subtle power – and the set also features guest vocals on two tracks by Cleveland Watkiss, and guest piano on two other numbers by Austin Peralta. Titles include a nice version of Joao Donato's "The Frog" – plus "Inutil Paisagem", "Chelsea Bridge", "Love Dance", "Bonita", "Juazeiro", "Black Narcissus", "Copacabana", and "Modinha". CD also fatures three remix numbers – "Black Narcissus (Cinematic Orchestra rmx)", "Black Narcissus (Emanative rmx)", and "Turn Up The Quiet (IG Culture rmx)".

Incredible music from a very groovy Italian cartoon – the early 70s La Linea, based around a simple line figure with a very talkative approach to life! The CD brings together music and sound effects from the La Linea cartoons – including some prattling from the main character himself, set alongside groovy tunes that have lots of jazzy flourishes! Much of the work on the set was done by Franco Godi, who also handled the great Signor Rossi cartoon music – and the style here is a similar frenetic blend of jazz, scat vocals, bossa rhythms, and just about anything else that appealed to the cooler side of Italian listening at the end of the 60s! Titles include "Linea Cinque Ipaziente", "Linea Cinque Originale", "Sonatore Di Wild West", "Linea Cinque Bossa", "Baiubadu Breve", "Linea Cinque Chitarra", and "Trazom AW Edit". This pressing of the CD features 7 bonus tracks too – material that wasn't on the previous version!

Don't judge a CD by its cover, because this one is incredible – all-solid, filled with rare soul tracks all the way through, with a quality level and depth of material that runs way way past the strange appearance of the cover image! The package was put together by the author of the book The Soul Of New Orleans – and it's a wonderful trip through a sound of that city that's not always featured on reissues: the more upbeat, uptempo soul recordings of the 60s – faster tunes that easily fall within the Northern Soul style. The Crescent City soul scene is usually represented with slower, sleepier tunes that build off the "triplets" heavy sound of 50s New Orleans R&B – and although that stuff is great, and really unique, it's wonderful to hear this different side of the New Orleans scene, especially when it's represented by music this great! 18 tracks in all – packaged with a book that has great notes on the music – and titles include "Please Don't Go" by Willie Tee, "Who Can I Run To" by Gerri Hall, "Being Without You" by Maurice Williams, "Do You Love Me" by Senator Jones, "I Caught You In A Lie" by Robert Parker, "Lucky Fellow" by The Jades, "Take Me Home" by Donna King, "Mean Man" by Betty Harris, "You Don't Mean It" by Curly Moore, "Omar Khayyam" by The Rubaiyats, and "In My Corner" by Ray Algere.

One of the most beautiful albums we've ever heard from Mario Adnet – a set done with some great expanded orchestrations – and key help from guests who include Roberta Sa, Monica Salmaso, and Lenine! The tunes have this spacious, expansive feel that really lives up to the Amazon promise of the title – beautifully poetic, but with the orchestrations, full of fire too – in ways that really take us back to some of the best Brazilian scoring of the early 70s – especially that time when folks like Tom Jobim and Edu Lobo were really hitting their most sophisticated levels. Many numbers have vocals – from Roberta Sa, Vincente Nucci, Monica Salmaso, Lenine, and Mario himself – and titles include "Boto", "Rio Amazonas", "Canoa Canoa", "Trilhas Da Floresta", "Borzeguim", "Saci", and a killer vocal reading of Joao Donato's "A Ra".

Blundetto's groove is even nicer than before – honed through their work on singles and remix efforts – and turned towards a rich array of global roots that really deepen the sound of this album! There's as much 70s African and Jamaican influence going on here as there is a spiritual jazz side – both filtered through 21st Century modes that rework the primal elements, and come up with a fresh new groove – yet one that's always respectful to the originators! Guests on the set include the Akale Horns, Shawn Lee, Tommy Guerrero, and Jahdan Blackkamoore – and titles include "Hercules", "Rocroy", "It's All About", "Walk Away Now", "Treat Me Like That", and "I'll Be Home Later".

An amazing live performance from the legendary Joao Donato – captured here at the height of his 70s revival years, but with a spirit that hearkens back to his classic work of the bossa generation! The setting is spare and stark – classic Ensaio footage from TV, with a strong focus on Donato's face and hands as he sings and plays piano – and even a bit of accordion on a few tracks too! Tunes are a mix of older bossa compositions and some of the new grooves Donato was cutting in the 70s – but all tracks are done in this spare mode that's really wonderful – and quite different from Joao's studio work of the period. Titles include "A Ra", "Carangue Jo", "Ate Quem Sabe", "Lugar Comum", "Chorou Chorou", "Outra Vez", "Mini", "Levanta Poeira", "Flor De Maracuja", and "Que Besteira".

Rarely are such "meeting of the minds" sessions worth any fuss at all – but in this case, the masterful talents of the players turn what should be a snoozy "common denominator" session into a modernist classic that still crackles with excitement after all these years! The real success factor here is Ellington, who was hitting a point in his career when he was really beginning to experiment again – as you'll hear in the beautifully angular piano lines that he lays next to Mingus' bass and Roach's lively drums. The set's nearly all originals, and titles include "Money Jungle", "Le Fleurs Africaines", and "Wig Wise". Very nice!

One of Astrud Gilberto's greatest albums of the 60s – a classic session produced for Verve by Creed Taylor, and featuring sweet gentle arrangements from Marty Paich, co-arranged with Antonio Carlos Jobim, who also plays guitar on the session next to the piano of Joao Donato! That's a mouthful of heavy-hitters, we know – but the result is a totally great session that has Astrud's light and gentle vocals drifting over some of the most magical bossa backings you'll ever hear. The whole thing's great, stuffed with bossa classics done in English – and titles include "Once I Loved", "Aqua De Beber", "O Morro", "Dindi", "Dreamer", and "Photograph".

A true classic by Jimi with the original Experience lineup – the third of three straight up masterpiece LPs to comeout in just over a year's time by the group! You could call the leftfield astral effects in the mix experimental if you had to – innovations in the studio with echo, that hallucinatory backwards sound effect and other stranger bits – but the passionate, naturally expressive playing and singing by Jimi makes it all fell just right, and the Noel Redding and Mitch Mitchell still don't get enough credit for being at the heart of such greatness. A massive 2LP effort that include s"Voodoo Chile", "Crosstown Traffic", "Electric Ladyland", "Little Miss Strange", "Moon Turn The Tides", "Still Raining Still Dreaming" and "All Along The Watchtower".

A pretty great follow-up to the original Hair soundtrack – featuring tracks that were outtakes from the musical, presented here with notes, a cool gatefold package, and backings conducted by Galt MacDermot himself! The tracks are all pretty great – lots of them short and really messed up, a lot more down and dirty than the tracks that did make the musical, with subject matter that's a lot raunchier too. Not really that funky, but with plenty of nice moments – and vocalists that include Melba Moore and George Tipton. Titles include "Hello There", "I'm Hung", "Climax", "Washing The World", "Manhattan Beggar", "Exanaplanatooch", "One Thousand Year Old Man", "Dead End", "Mess O'Dirt", and "The Bed".

An amazing set by Lee Morgan – and one that was recorded in the 60s, but not issued until many years later! The album has this really weird sound, which is a combination of Morgan's trumpet, Wayne Shorter's tenor, Herbie Hancock's piano, and Bobby Hutcherson's vibes – the last of which gives the record a uniquely angular quality, and a stark modernist sound that's different from other Lee Morgan albums. This odd sound is possibly one reason why Blue Note didn't release the album at the time – and it's also a quality that makes the finally-issued record a real treasure – an even more wonderful chapter in the great later years of Morgan's all-too-short jazz career! The title track "The Procrastinator" is amazing – and other titles include "Soft Touch", "Dear Sir", "Stopstart", and "Rio".