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One of Grant Green's best funky records for Blue Note! The group's cut from the same cloth as Lou Donaldson's great ones from this period – like Hot Dog or Say It Loud – with Idris Muhammad on drums, kicking up lots of those chunky funky breaks that we always love so much! Green's work on guitar is especially nice – stretched out, but never trippy, with a tight single note style that really gets the most out of the grooves. Neal Creque plays keyboards on the set, and contributed 2 tracks – "Windjammer" and "Dracula" – and the album also sports a great long version of James Brown's "Ain't It Funky Now", and a sweet cover of "A Day In The Life"!

A rare early chapter in the career of guitarist Grant Green – local material, cut in his hometown of St Louis – in the years before Lou Donaldson picked him up and delivered him to Blue Note Records! Amazingly, though, the Grant Green heard here is every bit as great as the guitarist who emerged strongly on his early Blue Note dates as a leader – a smoking soloist with a strong talent for single-line grooving – working here in a hip organ combo that features Sam Lazar on Hammond and Bob Graf on tenor sax! Lazar's got a mean bite to his organ, and pairs beautifully with Green – and together, the players hit a groove that's gritty, yet which has surprisingly strong fidelity – more than enough to make the record an essential piece of Grant's catalog. The CD's hardly a muddy live recording, and instead has surprisingly great fidelity – and lots of long tracks with open solos, on titles that include "Deep", "Blue Train", "Holy Barbarian Blues", "Caramu", "Grovvin High", and "Out Of Nowhere".

A wicked session by Grant Green – one that's very different than any of his other Blue Note records! Here, Grant's going for a "Latin bit" – adding in a trio of percussionists to spice up the groove with a bit of bossa rhythms, and some harder jamming styles that feel a lot like those used in some of the better Cal Tjader albums of the time. Willie Bobo's in the group on drums, and the only other accompaniment is piano, bass, and percussion – letting Grant run out nice and long on his solos, on a very hip set of tracks that includes "Tico Tico", "Mama Inez", "Besame Mucho", and "Mambo Inn". CD reissue also includes 3 bonus cuts, not on the original album – "Grenada", "Blues For Juanita", and "Hey There".

A wicked session by Grant Green – one that's very different than any of his other Blue Note records! Here, Grant's going for a "Latin bit" – adding in a trio of percussionists to spice up the groove with a bit of bossa rhythms, and some harder jamming styles that feel a lot like those used in some of the better Cal Tjader albums of the time. Willie Bobo's in the group on drums, and the only other accompaniment is piano, bass, and percussion – letting Grant run out nice and long on his solos, on a very hip set of tracks that includes "Tico Tico", "Mama Inez", "Besame Mucho", and "Mambo Inn". CD reissue also includes 3 bonus cuts, not on the original album – "Grenada", "Blues For Juanita", and "Hey There".

A fantastic mid 60s album from Grant Green – but one that never got its due originally, because it was unreleased at the time – and didn't come out until a Japanese version in the late 70s! Despite that oddly long gap, Matador is truly one Grant's best ever records – a really inventive session that goes way past his standard soul jazz roots – and which really shows the guitarist stretching out towards future styles of jazz! The session's a spare quartet date – with Green's guitar playing modal grooves over rhythm by by his incredible combo – with Bob Cranshaw on bass, Elvin Jones on drums and the incomparable McCoy Tyner on piano – blocking out bold changes that really drive the record strongly. Cuts are long, and there's a freewheeling quality to the material that's only ever matched by some of the Grant Green/Larry Young sessions from the same time – especially the Street Of Dreams Record. Titles include "Matador", "Bedouin", Green Jeans", and a killer version of "My Favorite Things", done in a very Coltrane-esque style.

A great spray-on cleaner to use for your records – a lot better than soaking them in the kitchen sink, and much easier to use than a record-cleaning machine! The cleaner sprays on easily – letting you soak a dirty record, then wipe off the grime with a lint-free cloth – and it leaves no residue at all, so you won't have to worry about deadening the sound in the grooves. As groovy as the name implies – and one to reach for when you hear a crackle coming from the turntable!

Massive uptempo two-part funk track from Chicago, with arrangements by Leroy Hutson, and a heavier sound than on his own records. Very nice approach, with a good choppy "bump" groove to it!

A beautiful record of light, lyrical piano jazz – and one of the best-selling jazz albums ever on Fantasy Records! Vince Guaraldi started the set as a tribute to the film Black Orpheus – and some of the album features his nice renditions of Jobim/Bonfa tunes like "Manha De Carnaval" and "Samba De Orpheus". However, Guaraldi also managed to pen his own amazing track – "Cast Your Fate To The Wind" – a lyrical romping piano instrumental that went onto become a huge charting instrumental hit during the 60s. The track's been heard a million times over the years, but it's still pretty darn great – and it's surrounded in a nice set with other tunes that have the same feel – including "O Nosso Amour", "Alma-Ville", "Since I Fell For You", and "Moon River".

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".

A very groovy set of pop-jazz guitar tunes – originally recorded by Metronome Records in Sweden, but issued here by Atlantic. The core of the recording is Gustafsson's guitar trio, but the record also features some larger backing by Georg Riedel that have a nice airy feel to them. While the record isn't totally funky, it's got a nice slightly funky easy sound that's very nice. Includes a good version of "California Soul", plus "Waltz A Nova", "The Look Of Love", "Witchita Lineman", and "Me On The See Saw".

Guttorm Guttormsen certainly isn't a household name around these parts – but with music this great, that certainly might change! The set brings together material from two rare 70s sessions by this Norwegian reedman – both of which feature him on soprano sax and flute, alternating between each instrument with a really sweet sound – stretching out soulfully with a searching sort of quality, but never in the overdone way of some of his contemporaries on the European scene. The rhythms are equally great – often quite blocky and modal – with a building sort of energy that really matches Guttormsen's solos, and which have made both of these records sought after by groovehounds in recent years. Players include either Brynjulf Blix or Rune Kakegg on piano, Jorgen Naess or Espen Rud on drums, and Carl Morten Iversen on bass – and the LP version features the most groove-heavy tracks from the two LPs Soturnudi and Albufeira – "Daimi", "Sol Fa", "Ny Latin", "Soturnudi", "I Ro Og Mak", "Sang Til En Katt", and "Sors Samba".

A rocketing bit of South African funky soul – and of the few great records released on Ahmad Jamal's short-lived Jamal label! The session's a lot hipper than some of the South African work that was issued in the US around the same time – and the feel here is almost more in a London post-colonial mode, with a strong criss-crossing of elements, but also a good sense of roots. There's an undercurrent of funk, too – tightly vamping rhythms, killer percussion, and it's peppered with sharp jazz solos from Gwangwa on trombone and Du Du Pukwana on sax – an overall groove that's almost like some of the Perception/Today label jazz funk of the early 70s! Some cuts feature vocals from Mamsie, and titles include "Dark City", "Switch #2", "Switch #1", "Szaba Szaba", "Kwatula", "Chant", "Who", and "African Sausage".

One of the greatest moog albums ever – all original sounds and tunes from the legendary Bruce Haack! Haack had spent most of the 60s doing small label kiddie records on his own, but this late 60s gem on Columbia is probably his best known work – a masterpiece of short and groovy little songs that are heavy on analogue electronics and special effects! There's a really fuzzy feel to most of the work here – heavy echo and reverb that give the album a very dark feel, even when the songs are a bit light and playful. Haack's lyrics are great too – quite conceptual, with a spiritual undercurrent that's surprisingly great – and which adds a further layer of meaning to the set! The whole thing's a bit like the Silver Apples, but more experimental – and there's a love of sound, shape, and texture that Haack never matched again on later albums. A key predecessor to Suicide, Stereolab, and countless others – with titles that include "Electric To Me Turn", "Cherubic Hymn", "Program Me", "War", "Incantation", "Angel Child", "Super Nova", "Requiem", "Song Of The Death Machine", and "National Anthem To The Moon". CD features the previously unreleased "Electric To Me Turn (alternate version)", and a Canadian radio interview interspersed with songs!

A wonderful step forward for the team of Hall & Oates – and a set that has them moving more into soul than ever before! The album's a tremendous collaboration with the legendary Arif Mardin, who takes the pair's well-crafted vocals into territory that's much more slinkily soulful than some of their previous records – that sound that was always lurking in the background, never quite right, but which emerges here fully in that classic 70s Hall & Oates mode. Daryl and John seem to harmonize more here than before, and the backings are still somewhat rockish, but have a warmth that really suits their singing. We can't argue with the sublime brilliance of "She's Gone", one of those tracks that we've heard a bazillion times, but never cease to respect – and other titles include "Everytime I Look At You", "Had I Known You Better Then", "When The Morning Comes", and "Laughing Boy".

A lost bit of funky vibes and Fender Rhodes – one of those few records that's as sublime as it is rare – like work by Billy Wooten or Lyman Woodard! The Bobby Hamilton Quintet were an obscure combo from upstate New York – but they've lived on in our hearts (and ears!) with this rare gem from the 70s – a killer set that features Bobby on Rhodes, vocals, and percussion; Mike Gipson (aka Brother Fundi) on vibes, percussion, and electronics; and additional trumpet, tenor, and percussion – used to just the right effect in these totally great arrangements. Most of the tunes on the album are instrumentals – with a very cool, ultra-hip soul jazz approach that's somewhere between the very early Polydor work of Roy Ayers, and the funky electric grooves of the Nineteenth Whole – and the tracks are long, and have a really deep, soulful feel! Titles include "Pearl", "Priscilla", "In The Mouth Of The Beast", "Roll Your Own", and "Dream Queen".

One of the best records that Chico Hamilton cut during the 50s – and one that features Eric Dolphy, who was with Chico's group for a short while! The record's got the quintet (which also includes the excellent Dennis Budimir on guitar) fronting larger string arrangements by Fred Katz (no longer their cellist, but still a key force here) – and the approach is a great expansion on the earlier styles that Chico forged for Pacific Jazz. The strings here are never sleepy, and instead have a dark and modern feel overall – similar to Ralph Burns' best work of the time, but a bit more restrained – and Eric Dolphy's reed work really keeps things interesting, with sharp-edged notes give most of the tracks a fair bit of depth. Titles include "Modes", "Strange", "Don's Delight", "Andante", "Fair Weather", "Something To Live For", and "Pottsville USA".

A great compendium of album and 45 cover art for always fun to look at, often horrible to listen to records released by actors, athletes and other celebrities! Feast upon the cover art for records by Don Johnson, Morton Downey Jr, The Chicago Bears, John Schneider, Alyssa Milano, Eddie Murphy, David Hasselhoff, The Brady Bunch, Ed McMahon, Goldie Hawn, Anthony Quinn, John Davidson, Mister Rogers and many more. Paperback, 127 pages.

An overlooked gem from the equally-overlooked Clay Hammond – a sweet 70s groover that offers up a great mix of modern and deep soul modes! Clay's vocals are still every bit as great as on some of his earlier soul singles, but the arrangements push things into tighter territory that's mighty nice – a lot like some of the later Hi Records work from Al Green – or even better, like that great sound that Otis Clay hit at the end of the 70s! Like Otis Clay's best records from the time, Clay's vocals stay nice and real – wrapped up in a sweet mix of blues and soul – and although the backings often hit a warmer midtempo groove, they're never overdone or commercial at all – just a maturation of southern soul modes – in ways that kind of point towards the later Malaco scene, while avoiding any of its cliches. Titles include "Tuning Up", "Rap On Wood", "Don't Stop Your Love", "Come Into These Arms Of Love", "Part Time Love", "Love Won't Let Me Stay Away From You", and "Women Are Human".

An incredible session from the legendary Tribe Records scene – an equal effort from leader Doug Hammond and keyboardist David Durrah, who contributes some groundbreaking Fender Rhodes and moog work to the set! Hammond handles drums plus a bit of vocals and synthesizer on the session – working alongside Durrah in a groove that mixes electric and acoustic instrumentation into a totally righteous sound with lots of heavy Afro Jazz leanings. A number of tracks feature great vocals from Hammond – righteous, and with a beautifully souful message-oriented approach – and a few other tracks, such as the classic "Space I" and "Space II", feature a sparer all-electric sound. The whole thing's wonderful – skittishly rhythmic, warmly flowing, and righteously beautiful. Titles include "Sea Of Nurnen", "Fidalgo Detour", "Reflections", "Space II", and "For Real".

Although Lionel Hampton's always best remembered for his storming swing days in the early 40s, we love him on records like this one – an easy open-ended straight jazz session from the 50s, with lots of room for soloing in a much more jazz-oriented vein than you'll hear on Hamp's early records. The group's a small all-star combo that features Roy Brown, Buddy Rich, and Oscar Peterson next to Hamp's vibes – and the set list includes long takes of "Midnight Sun", "That Old Black Magic", and "Blues For Norman".

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".

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".

The brass is definitely dynamic here – arcing, curving, and grooving in the best Sharps & Flats mode! The group's at their late 60s best on this well-titled set – really moving past conventional big band styles, and hitting a very groovy sound throughout – one that rivals the best instrumental modes at A&M Records in the US, or some of the tighter jazzy projects from MPS too! There's a fair bit of horns in the lineup, but the arrangements are nice and lean – and the players really come together strongly – never trying to blow things too out of line, and really letting the rhythms direct their hip energy here. Titles include "Moneypenny Goes For Broke", "Scarborough Fair/Canticle", "Fool On The Hill", "Hold On I'm Comin", "Amen", "Gumba Gumba", "Wave", and "The Look Of Love".

A great revolution in record cover art – the early 90s rise of the hand-made package in the punk rock underground! 7" singles were a key force in punk and other underground styles of the time – and these small pressings were often hand-assembled by the bands themselves – sometimes printed one by one, or hand-stickered – sometimes glued together from other images, and sometimes made from old record covers themselves! The approach also infected a lot of album cover art of the time too – in ways that would make even multiple copies of a record seem very individual – thanks to the variations in the packaging. This well-done book lovingly documents this moment in musical packaging – and has a look that's quite like the records themselves – a beautiful approach to the cover and binding which really lives up to the full color images inside. 142 pages, hardcover.

Beautifully understated work from trumpeter Roy Hargrove – an open, laidback session that's easily one of the best he's done in years! Gone are the urban sounds of his RH Factor records, and the more cerebral modes of some of his other jazz sets – and instead, this time around Roy's hitting a warm, fluid groove with plenty of classic overtones and a wonderfully soulful feel! The album's one that would settle in nicely along some of Freddie Hubbard's best later work, and it features a strong quintet with Justin Robinson on alto and flute, Gerald Clayton on piano, Danton Boller on bass, and Montez Coleman on drums. Roy plays flugelhorn as well as trumpet, and titles include "I'm Not So Sure", "Strasbourg/St Denis", "Starmaker", "Joy Is Sorrow Unmasked", "Mr Clean", "Rouge", "Style", "Divine", and "To Wisdom The Prize".

Fantastic work from one of the most unique talents in jazz! Rufus Harley plays bagpipes – yes, that's right, bagpipes – in a modal Coltrane-esque way that's simply got to be heard to be believed. He uses the drone capability of the instrument to explore reed patterns in the same way that Coltrane did, inspired a bit by Eastern sounds, especially Indian music, but also working in an Afro-centric mode that reclaims the bagpipes as an instrument rooted in the middle east (where it was first picked up by soldiers during the crusades, and brought north to Scotland.) The whole thing might sound incredibly silly, but when you hear the music, you'll be convinced – and this CD is set up to do just that. The collection takes 9 tracks from Rufus glory days at Atlantic Records during the late 60s – and features Harley not only on bagpipes, but on tenor, soprano, and flute – playing in groups that feature players like Roy Ayers, Herbie Mann, Sonny Stitt, James Glenn, and Don Patterson. Titles include "Feelin Good", "Flute Bag", "Taurus The 20th", "More", "Sufur", and "Pipin The Blues".

A 60s classic from the great Eddie Harris – and proof that his move to Atlantic Records was a very good thing! There's a punch here that Harris didn't have in his earlier sides for Vee Jay – a bite that shows an even stronger focus than before – a willingness to mix soulful undercurrents with some of the more exotic styles in his music – all in a blend that's completely captivating all the way through! The set features some wicked work from Cedar Walton on piano, adding in some lyrical lines that are mighty nice – and other players include the mighty Melvin Jackson on bass, the great Ray Codrington on trumpet, and Sonny Phillips on organ – adding in some sweet electricity to the set. Harris goes a bit electric at times – bringing in some great sounds on the Varitone – and titles include an early take of "Listen Here", with Eddie on electric piano – plus "Goin' Home", "Blues In The Basement", and "Mean Greens".

A masterpiece from Gene Harris – an album that's probably been his biggest influence on the sound of soul in the 21st Century, and for good reason too! The set moves way beyond both Harris' acoustic piano roots in the Three Sounds, and his other electric sides of the 70s – into sublime spacey territory that's wrapped up in soul – as much a pinnacle of his musical vision as early 70s records were for Herbie Hancock or George Duke! The vibe here is a bit between the looser styles of Duke's MPS recordings, and the tighter grooves of the Mizell generation – and arrangements are by Harris, Harvey Mason, and Jerry Peters, the latter of whom really adds some great elements to the record. Harvey's drums make for a great funky undercurrent – and the album features the funky break track "Higga-Boom", the great groover "Losalamitoslatinfunklovesong", and the cuts "Rebato Summer", "Don't Call Me N*gger, Whitey", "Love Talkin", "I Remember Summer", "Green River", and "My Roots".

Gene Harris in three different periods – the past, present, and future – served up here in a record issued under Gene's name as a leader, but which still continues the vibe of the later records by the Three Sounds! Most of the work is trio material – with just Gene on acoustic piano, John Halton on acoustic and electric bass, and Carl Burnett on drums and percussion – but there's a fluid, reaching sort of feel that definitely echoes some of the larger productions that Harris was recording at the time – not full strings or heavy electrics, but a really complex approach to the material nonetheless! Tracks on this volume include "On Green Dolphin Street", "Hymn To Freedom", "Love For Sale", "Trieste", and "Something".

Gene Harris in three different periods – the past, present, and future – served up here in a record issued under Gene's name as a leader, but which still continues the vibe of the later records by the Three Sounds! Most of the work is trio material – with just Gene on acoustic piano, John Halton on acoustic and electric bass, and Carl Burnett on drums and percussion – but there's a fluid, reaching sort of feel that definitely echoes some of the larger productions that Harris was recording at the time – not full strings or heavy electrics, but a really complex approach to the material nonetheless! Tracks on this volume include "Judy Judy Judy", "How Insensitive", "Sawin Wood", "After Hours", "Monk's Tune", and "Lil Darlin".

One of the best 70s mellow soul talents at Atlantic Records – sounding completely sublime here in a full set of Philly arrangements! The set was recorded at Sigma Sound – and is a great reminder that even during the disco years, the studio was still a great place to cut a heartbreaking ballad – the sort of number that younger Philly groups would have done for indie labels at the start of the 70s – polished up and given some real maturity here by The Major! There's also a few great groovers on the record too – but with that Philly poise that also still holds onto all the personality of the singer – and the arrangements are great throughout – handled by Norman Harris, Ron Kersey, and Bobby Eli – a perfect Philly team. Titles include "Walkin In The Footsteps", "Jealousy", "I Got Over Love", "Tynisa", "It's Got To Be Magic", and "What's The Use In The Truth".

Genius work from the Detroit underground of the 70s – one of the greatest records ever on the now-famous Tribe Records label, and a masterpiece of soul, jazz, and righteous spirit! The session's headed by tenor player Wendell Harrison – and it's got an all-star Motor City lineup that includes Marcus Belgrave on trumpet, Phil Ranelin on trombone, Jeamel Lee on vocals, Charles Eubanks on electric piano, and Charles Moore on flugel horn. The tracks have a spacious spiritual approach that recalls some of the later Archie Shepp on Impulse – a blend of soul jazz with slight touches of electric instrumentation, some vocals, and a very progressive spirit overall – stepping proud in the new freedoms of the 70s, yet still swinging and very groovy. Titles include "Angela's Dilemma", "What We Need", "How Do We End All Of This Madness", "Merciful", and "Benificent".

A weird and wonderful album from Tribe Records giant Wendell Harrison – an obscure electric set from the start of the 80s! There's still a strongly spiritual feel on the record, but Wendell also adds some Fender Rhodes and vocals to his work on tenor and flute – bringing in the same sort of spacey soul vibe you'd find on work from the time by Oneness Of Juju! The overall sound is still quite soulful – a great extension of the early Tribe spirit from Detroit – and some cuts feature a bit more acoustic piano and sweet earthy percussion. Other cuts have more of a soulful bounce – thanks to vocals from Miche Braden and Kathy Simmons – and titles include "The Wok", "Ginseng Love", "Love Juice", "A Green Meadow" and "Peace of Mind".

A weird and wonderful album from Tribe Records giant Wendell Harrison – an obscure electric set from the start of the 80s! There's still a strongly spiritual feel on the record, but Wendell also adds some Fender Rhodes and vocals to his work on tenor and flute – bringing in the same sort of spacey soul vibe you'd find on work from the time by Oneness Of Juju! The overall sound is still quite soulful – a great extension of the early Tribe spirit from Detroit – and some cuts feature a bit more acoustic piano and sweet earthy percussion. Other cuts have more of a soulful bounce – thanks to vocals from Miche Braden and Kathy Simmons – and titles include "The Wok", "Ginseng Love", "Love Juice", "A Green Meadow" and "Peace of Mind".

Hampton Hawes isn't exactly the first pianist we think of when it comes to bluesy lines in his music – but there's definitely a blue-tinged undercurrent to most of the work in this set – a well-chosen batch of tracks from Hamp's early years as a leader on Contemporary Records! The album features work in a variety of settings – with players who include Red Mitchell, Ray Brown, or Scott LaFaro on bass – Shelly Manne, Chuck Thompson, or Frank Butler on drums – and some occasional work by Harold Land on tenor sax, and either Jim Hall or Barney Kessel on guitar. Titles include "Blues The Most", "Hamp's Blues", "Hip", "Soul Sign Eight", "The Sermon", "For Real", "Hampton's Pulpit", "Takin Care", "Up Blues", and "Blues For Jacque".

One of Hampton Hawes' last sessions for Contemporary Records – a wonderful little date that's filled with the bright tones and bold confidence that marked Hamp's piano work in later years! The style here is simple, but effective – and Hawes has a way of ringing out the notes without overdoing his thing – a balance that was never present in his earlier work, and which made him a more and more compelling player as the years went on. Titles include "Morning", "Blue In Green", "Sunny", "Soul Sign Eight", and "Killing Me Softly".

One of the best David Axelrod-assisted albums from the early 70s – a sweet batch of funky cuts with arrangements and backings handled by Axe! The record really bubbles with the warm and soulful approach Axelrod was using at Fantasy – kind of a step off his stark modern sound at Capitol, but still done with just the right amount of space and appreciation of a funky rhythm. The great Carol Kaye is on bass, and Hawes plays some totally sweeeeeeeet electric keys on the set – really stretching out on tracks that include "Sierra Morena", "Go Down Moses", "Web", "Tune Axle Grease", and "C&H Sugar".

An amazing set throughout – not just for the musical growth of Coleman Hawkins, but also for the development of the tenor sax in jazz, too! These sides could very well be said to be THE seminal recordings for tenor – the records that helped transform the instrument from a bit of a trick noisemaker into one of the most dominant voices in jazz during the 20th century – the beginning of a rich legacy that went onto encompass Lester Young, Stan Getz, John Coltrane, and so many others! The package captures Coleman Hawkins right at the start of his career – with vital early 78rpm recordings that move from trad to swing to some of the modern combo sounds that Hawkins would blow in the postwar years. And the range of settings is amazing, too – not a loose collection or mish-mash of material, but a really thoughtful progression that has Hawkins working with Mamie Smith, Fletcher Henderson, Clarence Williams, The Chocolate Dandies, and McKinney's Cotton Pickers in the early years – then moving up to work as a leader on his own – as well as material with Lionel Hampton, Benny Goodman, Benny Carter, and Count Basie. Most of the later material is for small labels – like Baronet, Cont, Meritt, Neatwork, and others – and the early sides are for Okeh, Columbia, Vocalion, Brunswick, and other smaller imprints. Features 190 tracks in all, and very copious notes, too – an amazing package from Mosaic!

Great material from the 78rpm years of Savoy Records – early singles by Coleman Hawkins, Ben Webster, Illinois Jacquet, Ike Quebec, and John Hardee – sides that nicely skirt the worlds of bop and swing!

Amazing stuff from Isaac Hayes! Although Ike had first appeared on LP with the album "Introducing", this was the first record to really expose his true soul genius – and it was also the first release on Ike's successful sub-label at Stax, Enterprise Records. The record shows that for all the years Ike was working away on other folks' songs for Stax, he was carefully cooking up his own style of soul that would forever change the way we think about the music. Back in 1969, the album must have blown more than a few minds for its incredibly baroque approach to soul music – taking common elements like strings, piano, and funky rhythms, and stretching them out into long waves of sound that cycle over and over, working a sly subtle magic along with Ike's super-sexy vocals, and his monologue-heavy approach to popular tunes. The album features incredible remakes of pop hits "Walk On By" and "By The Time I Get To Phoenix" – both of which run for over 10 minutes, and which completely transform the songs into something way more than simple radio fodder. Also features the psychedelic soul masterpiece "Hyperbolicsyllabicsesquedalymistic", which has this crazy funky piano, and a messed-up sound that would make even George Clinton weep!

Stellar soul from Isaac Hayes – just the sort of overblown masterpiece that made his early solo work on Stax Records so great! The record features only 4 long tracks – all of which go on in that slow-building style that Ike forged at the time – a mode that takes a few simple musical elements, slowly adds more instrumentation, then builds the whole thing up subtly and slyly while Hayes is talking rapturously over the top! There's a feel here that's nicely dramatic, but never in a kitschy, cloying way – a new statement of male soul masculinity, just right for the sophistication of the 70s. Titles include Ike's 12 minute covers of "Something" and "I Stand Accused", plus "One Big Unhappy Family", and "I Just Don't Know What To Do With Myself".

A landmark album that hardly needs any introduction – as it's one of the most famous soundtracks, if not soul records, of the 70s! Isaac Hayes had already surprised music fans with the sophistication of his first few solo albums, which had been issued before this one – but with Shaft, he did the inconceivable, as the album was one of the first times a pop musician had scored, not just sung on, an entire soundtrack. Plus, the soundtrack's super-huge – running as a double-length batch of tracks that was a rarity for the often-slim soundtrack market. Includes many great funky numbers – both vocal and instrumental – including "Theme from Shaft", "Cafe Regio's", "Walk from Regio's", "Bumpy's Lament", and "Do Your Thing", in the nice 19 minute long version!

A great album that Brit tenor giant Tubby Hayes recorded on a trip to the U.S. during the early 60's. The set's a great batch of hard bop tracks recorded during the same time that Epic was doing great stuff like the Dave Bailey LPs, or some of the Charlie Rouse solo records. Dave Bailey's on drums, Horace Parlan's on piano, Clark Terry plays trumpet, and Eddie Costa plays vibes. The LP is magnificent, and perfectly captures Hayes' genius on the tenor in a way that few of his other recordings ever do. Tracks include "Pint Of Bitter", "Opus Ocean", "Soon", and "You For Me".

One of the rarest Lee Hazlewood albums ever – a mid 70s set recorded for Polydor in Sweden, and one that represents a really unique chapter in Lee's career overseas! At times, the album's got a very strong country feel – more so than even other Hazlewood records, which always had a bit of twang – yet at other points, the record moves into more familiar vocal work – recalling some of the modes that Lee had laid down on his best work of the late 60s. Not all songs are originals, but Lee definitely makes all the music his own – and the arrangements by David Whitaker and Lars Samuelson move around in good ways to match the spirit of Hazlewood's mood on each tune. This reissue features some really great notes – filled with the kind of personal recollections that make Lee's life seem like it was always a blast to live – and titles include "The Rising Star", "Come On Home To Me", "It's For My Dad", "Paris Bells", "Hello Saturday Morning", "Wait Till Next Year", "LA Lady", "I've Got To Be Moving", "Mother Country Music", and a great version of "It Was A Very Good Year".

Genius, pure genius! (Have we said that about Lee too many times before?) The work of Lee Hazlewood is beyond description – a bit of vocals, a bit of country, a bit of lounge, and a bit of rock – all wrapped up with a sinister edge that has you believing that this was the man who used to refer to his frequent musical partner as "Nasty" Sinatra over the headphones during recording sessions! The set features 35 tracks from Lee's obscure years at MGM records – wonderful vocal tunes that rank with some of his best ever, plus a few weird instrumentals, recorded by Lee Hazlewood's Woodchucks. Insanely wonderful stuff – records that we come back to again and again and again over the years – finally presented in their entirety, with a great set of notes on the music! Tracks include "Hands", "Mannford Oklahoma", "This Town", "Sand", "Child", "Little War", "Fort Worth", "Summer Wine", "I Move Around", "After Six", "Batman", "Summer Nights", "Suzi Jane Is Back In Town", "In Our Time", "When A Fool Loves A Fool", and "So Long Babe".

Amazing sounds from the SF scene of the 70s – previously unreleased work that really opens up a whole new chapter of jazz on the west coast! The HE3 Project is the brainchild of keyboardist Herman Ebertizsch – who plays lots of Fender Rhodes and moog on this sweet little record – really driving some amazing lines for a wickedly soulful group that also features Coke Escovedo on timbales and Linda Tillery and Johnny Lovett on vocals! Supposedly, these sessions were the genesis of the groove that Escovedo later laid down on Mercury Records – but the sound here is a lot more open-ended and funky – a beautiful combination of jazz and soul elements, put together in ways that are quite different than any other Bay Area acts of the time. Titles include "Rapture Of The Deep", "Funk Punk", "Appreciation", "Life Is A Tortured Love Affair", "Make It Sweet", "We All Have Our Own Lives", "In A Soft & Subtle Way", and "Easy Come Easy Go".

Very hip work from a young Jimmy Heath – a relative newcomer to the scene at this point, but breaking out with a firm conception and tone, exercised strongly here in a set of large group arrangements worked out in collaboration with Tom McIntosh. McIntosh's work in this format is well known from albums by Dizzy and James Moody – and as with those records, this one has an edgey quality that really keeps the music fresh, and which provides a good foil for solos by Heath, McIntosh, Pat Patrick, and Cannonball Adderley. Titles include "Big P", "Mona's Mood", "Nails", and "The Picture Of Heath".

The return of The Heavy – the UK funky soul and rock combo who put out a couple of catchy records before unexpectedly delivering an advert/sporting event smash hit with their "How You Like Me Know" single! The Heavy have been at it for a few albums now, serving up a punchier, brasher brand of funk-rock-soul than most of their contemporaries – and their still doing just that! They're as eclectic as ever, too, with slick modern takes on old school rhythm & blue along with the kind of anthemic funk pop that made "How You Like Me Know" so inescapable. Includes "Can't Play Dead", "Curse Me Good", "The Big Bad Wolf", "Be Mine", "Same Ol'", "Just My Luck", "Don't Say Nothing", "Blood Dirt Love Stop", "The Lonesome Road" and more.

The return of The Heavy – the UK funky soul and rock combo who put out a couple of catchy records before unexpectedly delivering an advert/sporting event smash hit with their "How You Like Me Know" single! The Heavy have been at it for a few albums now, serving up a punchier, brasher brand of funk-rock-soul than most of their contemporaries – and their still doing just that! They're as eclectic as ever, too, with slick modern takes on old school rhythm & blue along with the kind of anthemic funk pop that made "How You Like Me Know" so inescapable. Includes "Can't Play Dead", "Curse Me Good", "The Big Bad Wolf", "Be Mine", "Same Ol'", "Just My Luck", "Don't Say Nothing", "Blood Dirt Love Stop", "The Lonesome Road" and more. Vinyl version includes the bonus instrumentals LP!

Three different slices of work from Julius Hemphill all served up over the course of five albums for the Black Saint/Soul Note label! The first two records in the package – Raw Materials & Residuals and Flat-Out Jump Suite – both have Hemphill coming off the New York loft jazz years – working on the first record in open improvisatory format with cellist Abdul Wadud and percussionist Don Moye – and on the second set with Olu Dara on trumpet, Wadud on cello, and Warren Smith on percussion. Both records have a very loose, open feel that's mighty nice – and darn soulful at times! Next are two early 90s albums – Fat Man & The Hard Blues and Five Chord Stud – both done with a sextet of reed players, with no other instrumentation at all – in a style that's a lot like the World Sax Quartet, but even more complicated. Reedmen include James Carter and Andrew White on tenor, Marty Ehrlich and Carl Grubbs on soprano and alto sax, Tim Berne on alto, and Fred Ho on baritone. Chile New York is the last album, and quite possibly the most intimate – beautiful duets that feature Warren Smith on percussion, plus Julius Hemphill on alto, tenor, flute, and even a bit of voice! The music is wonderfully evocative – and although released in the late 90s, was actually recorded in 1980 – with a loose, loft jazz sort of feel throughout.

Funky fusion doesn't get any funkier than this – and the album's one of the greatest 70s recordings by jazz funk trumpeter Eddie Henderson! The album's got a harder edge than a lot of Eddie's other records of the decade – razor sharp rhythms crackling away underneath a sublime space-heavy mix of keyboards, bass, saxes, and Eddie's funky trumpet. The group includes work by Bennie Maupin on reeds, George Duke on keyboards, Julian Priester on trombone, and Harvey Mason on drums – and the great Skip Drinkwater is at the production chair, cutting the grooves here with a lot more fire than in some of his later work! The whole thing's great – and titles include "Involuntary Bliss", "Galaxy", "Kumquat Kids", and "Explodition".

A great lost session from tenorist Joe Henderson – recorded in 1980 for MPS Records, in a mellower, more easy-going style than some of his electric sides of the 70s! Joe's blowing in a really fluid style – almost like Stan Getz at times, but with a darker, edgier approach – and he's working here with a Getz-like group that includes Chick Corea on piano, Ron Carter on bass, and Billy Higgins on drums. The set features some great originals by Corea and Carter, and in a way, we're tempted to make a comparison to Getz's Sweet Rain album – which shares a similar mellifluous modern quality to this one. Titles include "Joe's Bolero", "Candlelight", "Mirror Mirror", and "Keystone".

One of Joe Henderson's greatest albums ever – a real treasure from his electric years at Milestone Records, and a set that showed he really had a lot more to offer for the scene of the 70s! The sound here is quite different than Joe's earlier work for Blue Note – a style that's sometimes soaring, sometimes mellow – but always moving forward with a tremendously fluid approach to the tenor sax. Joe's sense of phrasing and timing is impeccable – quite subtle at times, with these dark notes that hang beautifully in air on the ballads – and some sharper-edged qualities that really burst out strongly on the more upbeat tunes. The group's a great one too – and features Herbie Hancock on both acoustic and electric piano, Ron Carter on bass, and Jack DeJohnette on drums – plus additional trumpet by Mike Lawrence on 2 tracks. Titles include "Black Narcissus", "Isotope", "Afro-Centric", "Forsight & Afterthought", and "Power to The People".

One of the few records ever cut by this fantastic alto player from the mid 50s! Henry most famously worked with Monk, but his albums as a leader are great – and this one features Kenny Dorham, Kenny Drew, Wilbur Ware, and Art Taylor, all components of a totally solid Riverside lineup. Titles include "Orient", "Active Ingredients", "Checkmate", and "Free Flight".

A groovy late 70s outing from the Hi Los – done at the same time that group member Gene Puerling was having a great run for MPS with his group The Singers Unlimited! The style here's a bit like the Hi Los of old, but it's also got some of the smoother, sweeter tones that Puerling developed with the Singers Unlimited – that near-perfect approach to sound, with the vocals wrapped up nicely in pure harmonic bliss! Backings are directed by Rob McConnell, and vocal arrangements are by Puerling – on titles that include "Misty", "Everything Must Change", "I Remember You", "Seems Like Old Times", and "When Sunny Gets Blue".

A great little album of southern funk from the 70s – cut by the team that provided musical backing on many of the classic Hi Records sessions from the time! The groove is a bit different than usual for Hi – not compressed, burning deep soul – but tight, funky, and flanged-out – a bit like what classic P-Funk might have been like, had it been recorded in Memphis! The group's super sharp in their playing – with great bass and electric keyboards – but they've also got kind of a trippy feel that's very surprising, given the more restrained soul quality of much of the stuff on Hi. The album's all original material, and most cuts have cool vocals slinking in and out of the funk – and titles include "On The Loose", "Skinny Dippin'", "Superstar", "Purple Raindrops", and "You Got Me Comin".

A great little album of southern funk from the 70s – cut by the team that provided musical backing on many of the classic Hi Records sessions from the time! The groove is a bit different than usual for Hi – not compressed, burning deep soul – but tight, funky, and flanged-out – a bit like what classic P-Funk might have been like, had it been recorded in Memphis! The group's super sharp in their playing – with great bass and electric keyboards – but they've also got kind of a trippy feel that's very surprising, given the more restrained soul quality of much of the stuff on Hi. The album's all original material, and most cuts have cool vocals slinking in and out of the funk – and titles include "On The Loose", "Skinny Dippin'", "Superstar", "Purple Raindrops", and "You Got Me Comin".

Early genius from Eddie Higgins – a pianist who was a big thing on the Chicago scene of the 60s, but is probably best known to most folks for his revival records of the past decade or two! The younger Higgins has more of an edge than the later one – and this self-titled debut is a cooker of a hardbop album – thanks not only to work from Eddie's core trio, but also some great horn interplay from Frank Foster on tenor and Paul Seranno on trumpet! Eddie wrote some of the best cuts on the record – some really fresh numbers – and he gets rhythmic help from either Richard Evans or Jim Atlas on bass, and Marshall Thompson on drums. Higgins titles include "Foot's Bag", "Zarac The Evil One", and "AB's Blues" – and the album also features versions of "Blues For Big Scotia" and "Falling In Love With Love".

The smoking return of Martha High – a singer who worked famously with James Brown during his funk years, but who never got the same shot at full-length fame as Lyn Collins or Marva Whitney! Martha's every bit as great – and although she did cut later records in the disco years, it's only recently that folks have finally discovered the true depths of her talents – as she's returned to the fold with amazing vocals, and strong support from the global funk underground! After a previous set with Shaolin Temple Defenders, Martha breaks out even more strongly here with backing from Speedometer – a UK combo who've played together for years, and are already razor-sharp on their own – making for the perfect sort of groove to restore High to the sound of her years with James Brown. The album's brilliant all the way through – not a rehash of older modes, but a rich union of two very strong talents – coming together in an effort that's definitely greater than the sum of its parts. Titles include "I'd Rather Go Blind", "No More Heartaches", "No Man Worries", "Never Never Love A Married Man", "You Got It", "You Got Me Started", "Dragging Me Down", and "Trouble Man".

The smoking return of Martha High – a singer who worked famously with James Brown during his funk years, but who never got the same shot at full-length fame as Lyn Collins or Marva Whitney! Martha's every bit as great – and although she did cut later records in the disco years, it's only recently that folks have finally discovered the true depths of her talents – as she's returned to the fold with amazing vocals, and strong support from the global funk underground! After a previous set with Shaolin Temple Defenders, Martha breaks out even more strongly here with backing from Speedometer – a UK combo who've played together for years, and are already razor-sharp on their own – making for the perfect sort of groove to restore High to the sound of her years with James Brown. The album's brilliant all the way through – not a rehash of older modes, but a rich union of two very strong talents – coming together in an effort that's definitely greater than the sum of its parts. Titles include "I'd Rather Go Blind", "No More Heartaches", "No Man Worries", "Never Never Love A Married Man", "You Got It", "You Got Me Started", "Dragging Me Down", and "Trouble Man".

An 80s groove classic – and a killer bit of Captiol Records soul from High fashion! Of all US major labels, Capitol was probably putting out the best soul in the early 80s – and this is a tight modern batch of up-tempo tracks, right up there with other contemporary classics on the label, like work by BB&Q Band, Taste Of Honey, and TS Monk! The tunes all manage to have a great groove without sounding cheesy – thanks to some nice jazzy touches in the arrangements, good hooks in the songs, and some great soulful vocals. Very, very nice – and nearly every cut's a winner! Tracks include "Feelin Lucky Lately", "Next To You", "Hold On", "When The Lover Strikes", "I Want To Be Your Everything", and "You're the Winner".

An 80s groove classic – and a killer bit of Captiol Records soul from High fashion! Of all US major labels, Capitol was probably putting out the best soul in the early 80s – and this is a tight modern batch of up-tempo tracks, right up there with other contemporary classics on the label, like work by BB&Q Band, Taste Of Honey, and TS Monk! The tunes all manage to have a great groove without sounding cheesy – thanks to some nice jazzy touches in the arrangements, good hooks in the songs, and some great soulful vocals. Very, very nice – and nearly every cut's a winner! Tracks include "Feelin Lucky Lately", "Next To You", "Hold On", "When The Lover Strikes", "I Want To Be Your Everything", and "You're the Winner".

A pair of gems from High Fashion – back to back on a single CD! Feelin Lucky is an 80s groove classic – and a killer bit of Captiol Records soul from High fashion! Of all US major labels, Capitol was probably putting out the best soul in the early 80s – and this is a tight modern batch of up-tempo tracks, right up there with other contemporary classics on the label, like work by BB&Q Band, Taste Of Honey, and TS Monk! The tunes all manage to have a great groove without sounding cheesy – thanks to some nice jazzy touches in the arrangements, good hooks in the songs, and some great soulful vocals. Very, very nice – and nearly every cut's a winner! Tracks include "Feelin Lucky Lately", "Next To You", "Hold On", "When The Lover Strikes", "I Want To Be Your Everything", and "You're the Winner". Make Up Your Mind offers up more sweet modern soul tracks from High Fashion – a short-lived combo who cut a few high quality sides for Capitol at the beginning of the 80s, part of that imprint's strong commitment to R&B at the time. The group here features lead vocals by Alyson Williams, caught at a very young point in her career, plus other leads by Eric McClinton, who's on most of the best tracks on the set. At their best, the group hits a smooth stepping modern sound that's really nice – a toned-down approach for the clubs, infused with a bit of quiet storm soul. Titles include "Show Me", "A Little More Time", "Pump On The Pipe", "Just A Little More Love", "Love", and "Make Up Your Mind".

The title's a bit misleading – as the set's not exactly the stuff of hits – but it is a wicked collection of material that ZZ Hill recorded for United Artists Records in the early 70s – sublime southern soul, finally getting its due in this reissue package! Hill's style here owes a lot to some of the Memphis singers of the 60s – especially Otis Redding and Bobby Blue Bland, both of whom would be welcome references here – although ZZ's also stepping out strongly with his own bad self as well – putting in a bit more punch, and hipping things up for a 70s market that had southern soul audiences stretching way up north and out west too. There's also none of the blues modes that Hill adopted in later years – which is great if you've only heard his Malaco dates – and titles include "Bad Mouth & Gossip", "I Created A Monster", "I Don't Need Half A Love", "Ain't Nothing You Can Do", "Am I Groovin You", "Look What You've Done", "That Ain't The Way You Make Love", "Snap Your Fingers", "Can I Get A Witness", and "Dream Don't Let Me Down".

A very dubby remix of this tune by Tony Allen – one that features plenty of brooding basslines amidst the percussion! The track almost takes us back to some of the first few Tony Allen singles during his Comet Records comeback years in the 90s – and Moritz Von Oswald brings a nicely abstracted feel to the music. "Ise Nla" is fairly dubby too – but in a very different way, and one that has all the Jamaican flavors you might guess from the title – including a bit of echoey horns over the top!

Beautiful record by the Art Ensemble, and one of the few truly great records that they made after returning from Paris. Recorded in Chicago in 1973, the record features a guest appearance by Muhal Richard Abrams, who brings his excellent piano playing to the session, and adds another level to the ensemble's sound. The set includes the usual mix of reeds, percussion, vocals, and the beautiful bass work of Malachi Favors. Tracks include "Nonaah", "The Key", "Tnoona", and "Fanfare For The Warriors".

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

An expanded edition of an earlier 10" LP – featuring a group led by bassist Max Bennett, one that includes Charlie Mariano on alto, Stan Levy on drums, Claude Williamson on piano, and Frank Rosolino on trombone! Helen Carr makes a vocal appearance on a track or two, and the album's got a nicely schizophrenic style that pushes it past simple expectations – really cooking with a mean Mariano solo one minute, and laying back for a mellower vocal passage the next – all proof that Bennett was one of the cooler leaders of his time, and it's a damn shame he didn't make more records like this! Titles include "Rubberneck", "Just Max", "They Say", "TK", "Do You Know Why", and "I'll Never Smile Again".

One of the earliest albums on Arhoolie Records – an amazing document of steel guitar bluesman Black Ace! Ace plays just like he sits on the cover – really leaning into the instrument in ways that bring out all these cool, deep inflections – completely hypnotizing on their own, with almost an unworldly feel at points – and accompanied by vocals on most tracks. Titles include "Drink On Little Girl", "Bad Times Stomp", "Farther Along", "Evil Woman", "Fore Day Creep", "Little Augie", and "Golden Slipper".

Funky Entertainment is right – as Brainstorm move into a bass-heavy groove that's every bit the sound of late 70s mainstream funk! The group still have some of the smooth dancefloor style of earlier records, but the emphasis here is much more on the bottom of the groove – popping and snapping with a heck of a lot of energy, forging a funky ensemble groove that became the group's calling card. Jerry Peters produced, and the whole thing's pretty soulful – and titles include "Popcorn", "Funky Entertainment", "A Case Of The Boogie", and "You Put A Charge In My Life".

One of the most excellent records ever on Prestige, and one of our favorite LPs ever! The great reed player George Braith lays down a set of moody dark tracks with backing by a group that includes a lot of percussion, electric guitar, electric bass, and, on one track, backing by a choir of female voices. Braith get's an excellent sound from his assortment of horns (C-melody sax, alto, and soprano), and his playing here is unlike that on any of his other records (although all of those are great as well!) He's moved past the Roland Kirk vibe he had, and isn't playing that funky. Instead, he's got this great moody sound, with a really searching quality to his solos, and an emotional tone throughout. The set is filled with incredible tracks that have a nice laidback groove, assorted percussion, and haunting edgey solos by Braith. Cuts include "Del's Theme", "Musart", "Evelyn Anita", and "Splashes Of Love".

Easily one of the top 5 female southern soul albums of the 70s – a landmark record that Shirley Brown never matched again! The record's got an open, honest quality that's far deeper than even other work from the time on Stax Records – a style that's partly Memphis, but which also has some of the rougher edges of other southern indies – not just in the way the songs are put together, but also in the open-handed emotion that Shirley brings to her work. The standout track is the classic "Woman To Woman", which begins with a great monologue that started off a whole slew of answer songs at the time! (In case you don't remember it, it's the one that goes "Girl, I was diggin' through my old man's pockets last night, and I came across your number...") Other tracks include "Stay With Me Baby", "Long As You Love Me", "Between You And Me", "So Glad To Have You", and "Passion".

An excellent compilation of raw Memphis soul – from one of the rarest singers on the famous Hi Records label! In the years before Hi Records had big hits with singers like Al Green and Ann Peebles, and when they were still mostly messing around with pop instrumental tunes, the label was fortunate enough to have the talents of the great singer Don Bryant – a rich-voiced southern singer with a mix of styles who could easily slip into the styles of singers like Tyrone Davis, Otis Redding, Johnny Taylor, and Wilson Pickett. Bryant cut a number of singles for Hi, plus one album entitled Precious Soul – and all his released work is contained here, as well as a number of rare demos, unissued tracks, and titles cut as duets with singer Marion Brittnam. The massive 52 track set is a key glimpse at the career of this underrecognized talent – and the 2CDs worth of material span nearly 10 years of Bryant's work. Titles include "It's So Hard To Put You Down", "Slip Away", "She's Lookin Good", "You're A Wonderful One", "Did You Ever Have The Blues", "The Call Of Distress", "My Baby", "Star Of Love", "You Cause Me To Wonder", "It's So Lonely Being Me", and "What Are You Doing To My World?".

Wonderful sounds from the great John Carpenter – one of those records that reminds us that his music is often just as important as the images he puts on the screen! Carpenter's music for The Fog follows nicely in his work for other films – particularly Halloween – in that it's got this slow-building style that often makes great use of keyboards – often used sparely, with a really spooky sort of energy – and even more space, and at slower speed than his other horror soundtracks! The style really fits the "fog" theme of the film! Includes bonus vinyl of the original movie cues which have never been made available on vinyl before.

One of the biggest records ever from The Chi-Lites – thanks to the "Oh Girl" title hit that's referenced on the cover! But apart from that ballad classic, the record's actually got a heck of a lot more to offer – some incredible harmony soul tracks that show that even during their hit years, The Chi-Lites were one of those groups who could still stay true to their roots – and still come up with amazing tunes again and again! Mainman Eugene Record is at the helm producing and writing most of the tunes on the set – and some of the best numbers have that little gentle groove that was the best Chi-soul contribution to the sound of the 70s – that lilt or bounce from the 60s, turned towards slightly more sophisticated modes for the new generation. Titles include "Being In Love", "Love Is", "Coldest Days Of My Life", "Living In the Footsteps Of Another Man", "Ain't Too Much Of Nothing", and "A Lonely Man" – and a cover of "Inner City Blues".

A whole new sound for Mark De Clive-Lowe – and a great one too – a completely different approach than any of his other previous records, and one that mixes his core cosmic grooves with a heavy dose of jazz! The set has Mark working with the Rotterdam Jazz Orchestra – who provide bigger band backing to his sweet keyboards and rhythms, making for a wonderful blend of acoustic and electric that almost takes us back to some of the best MPS sessions of this nature in the 70s! Most tracks feature at least one horn solo out from the larger group – and there's no vocals at all on the record, which further gives the whole thing a fresh vibe compared to some of Mark's recent releases. EP features 4 tracks – titles include "Money", "Take The Space Trane", "Caravan", and "Filthy Fingers".

A fantastic cover, and some great music to match – a key early classic in Chris Connor's late 50s run for Atlantic Records! As on her debut for the label, Ralph Burns handles the arrangements here – in a mode that's somewhat modern, but never too academically so – with just the right pitch to create an additional sense of edge next to Connor's vocals, but never overwhelm them too much. There's a new sense of expression going on here – one that perfectly illustrates why Chris' approach was so different than some of the more emotive singers from years before. Tracks include "Why Can't I", "About The Blues", "Thursday's Child", "High On A Windy Hill", and "Round About".

One of the most mindblowing albums ever recorded – anywhere, anytime! This 1969 set stands as one of the greatest records ever cut by Gal Costa – done at the height of the Tropicalia movement, and featuring a sublime mix of styles that really gets the spirit of the movement right. Arrangements are by the legendary Rogerio Duprat – who effortlessly shifts the backings between stark electronics, sweet bossa, gliding strings, jazzy piano, and baroque orchestrations that dance around with a surprising amount of grooves! Tunes include some classics by Caetano Veloso, Jorge Ben, and Gilberto Gil – served up in amazing new versions by Gal and Duprat! Titles include "Nao Identificado", "Lost in the Paradise", "Que Pena", "Sebastiana", "Namorinho De Portao", "Divino Maravilhoso", and "Deus E O Amor".

Mindblowing – and like a dream come true! This is undeniably one of the most important records ever in hip hop – and now, it's lovingly reissued (on both CD and LP), with a quality level that pushes it over the top! The sound is great, the package is wonderful, and the music sounds even fresher than ever! All the cuts are here – "Me, Myself & I", "3 Is the Magic Number", "Plug Tunin", "Say No Go", "Tread Water", "Eye Know", "Buddy", and soooooo much more! LP is reissued as double vinyl – making it sound a heck of a lot better than the overly-compressed original vinyl, which could never handle all the music on the album!

An incredible batch of Brazilian fusion – cut by keyboardist Manfredo Fest, and one of the few records he ever waxed in the US during the 70s! The record mixes Fest's soaring Brazilian groove with a tight soulful set of arrangements by Jerry Peters – a bit club-oriented, with a similar sound to some of the other records on the Tabu label at the time, but always sensitive to Fest's playing and writing – especially his Brazilian roots! The record features wonderful vocals by Roberta Davis – a very soulful singer who had a hip wordless style that was similar to Tania Maria's at the time – breezy, scatting, and very nice. Her work really makes the record sparkle, working perfectly with Fest's jazzy electric keyboards in a perfect way! Titles include "Jungle Kitten", "Koko & Leeroe", "Arigo", and "Who Needs It".

One of our favorite all-time records, and a real lost album on Blue Note! Eddie Gale leads this group of righteous singers and musicians through five fantastic tracks of soulful chanting and hard jazz playing that never goes too far out, but always threatens to break free of its own chains – soaring to the skies on wings of freedom and spirituality! Gale's trumpet rings hard and loud, and the vocal arrangements never verge on sentimentality, but manage to convey a ton of soul with an incredibly righteous approach that's never been duplicated again! Imagine Donald Byrd's vocal group albums recorded for Strata East – or a hipper version of Billy Harper's Capra Black – and you've only got part of the picture! Titles include "The Rain", "Fulton Street", "The Comign Of Gwilu", and "A Walk With Thee".

One of the most heavenly albums ever recorded – a sublime post-60s session by Joao Gilberto, one with even more fluid grace than his original bossa nova classics! The setting here is extremely spare – Joao on vocals and acoustic guitar, backed by only a slight bit of percussion – and recorded with an sound that's incredibly clear and incredibly precise – so that each gentle note, each slight rasp of the guitar comes through beautifully – as do Joao's breathily personal vocals! There's a sense of poise and presence here that Gilberto hardly matched again – and that's saying a heck of a lot, given how great most of his other records already are. The whole thing's tremendous – a true treasure, and easily one of the top classics in Brazilian music from the 70s. Titles include a landmark version of "Aguas De Marco", plus "Undiu", "Falsa Baiana", "Avarandado", "Na Baixa Do Sapateiro", "Izaura", "E Preciso Perdoar", "Valsa", and "Eu Vim Da Bahia".

A massive look at the mighty pairing of Cannonball Adderley and David Axelrod – a partnership that's way more than just jazz musician and producer! Axelrod's talents in the studio are many, but his greatest heights were possibly reached in collaboration with Cannonball – a relationship that spawned an amazing run of singles and albums that allowed the saxophonist to expand his music to amazing new levels, and touch audiences that few other jazz musicians could reach! Axelrod's sense of sound and timing are a perfect match for Cannonball's intrinsically funky approach to the saxophone – and no matter what the setting here, from big band to small combo, studio recordings to live date, high concept records to relaxed jazz sessions, there's an undeniable groove in the music that never lets up. The CD pulls together a very wide range of work from key Axelrod/Adderley Capitol recordings – and offers a double-length look at their pairing that's as soulful as it is essential. Titles include "The Black Messiah", "Space Spiritual", "Do Do Do", "Gone", "Ndolima", "Up & At It", "Hummin", "Make Your Own Temple", "Tensity", "Fun In The Church", "Khutsana", "Price You Got To Pay To Be Free", "Walk Tall", "Music You All", and "Dialogues For Jazz Quintet & Orchestra".

One of Airto's greatest records ever – a really hard hitting batch of tracks that mix sharp-edged fusion lines with some earthier Brazilian percussion touches – all in a way that nicely steps off of Airto's first few American releases, and warms the groove up with a nice dose of California soul! Flora Purim joins in here on both vocals and percussion – and the rest of the group features Hugo Fattoruso on keyboards and harmonica, Jorgte Fattoruso on drums, and David Amaro on both electric and acoustic guitars – shifting nicely between both instruments in a way that further underscores the blended vibe of the record! Most of these tracks are Airto classics – like "Tombo in 7/4", "San Francisco River", "Romance Of Death", "Ringers", and "Wind Chant" – and the record has a very sweet CTI production style, but is still rough enough around the edges to keep things nice and real!

One of the only blues records you'll ever find on Motown – and a mostly straight blues affair with a hard electric sound to it. The album's mostly in the early Alligator Records camp – but there's a few nice funky cuts, like "Now You Got It" and "Into My Life", which both have strong rhythm backing, and a smoother groove that kind of cuts the blues quotient a bit. That's a good thing for us, in case you couldn't tell!

An incredible package – and one that features three of the most important records ever cut by the Art Ensemble Of Chicago! All three albums were recorded at the Saravah Studios in the summer of 1969 – during a time when the Art Ensemble of Chicago were making big waves on the Parisian scene (including their work in the film Les Stances A Sophie) – and finding a way to refine their new Chicago sound in the world away from the Windy City! These were the albums that really put the Art Ensemble on the map – letting them find new freedoms, and reach new heights in expression – in a mode that even surpassed previous recordings by individual members back home. The lineup is very heavy on reeds – with a variety played by Roscoe Mitchell and Joseph Jarman – and features bold trumpet from Lester Bowie, warm basslines from Malachi Favors, and a range of percussion and other instruments by all members of the group! The set comes in a nice book-like cover, with a booklet inside – and titles include "Reese & The Smooth Ones (parts 1 & 2)", "Rock Out", "Brain For The Seine", "Dexterity", "Jackson In Your House", "The Waltz", and "Song For Charles".

A killer collection of grooves from Harvey Averne – one of the most soulful forces in Latin music at the end of the 60s – finally given his due in this wonderful set! The package pulls together grooves from three of Harvey's classic albums – Harvey Averne Dozen, Brotherhood, and Harvey Averne's Barrio Band – records that really show him deepening his sound over a very short time, by moving from strongly soul-based Latin modes, into some of the headier, heavier sounds of the Chicano rock generation. Marty Sheller handles arrangements on all three records – and players are a mix of Latin musicians and hip jazz players who include Idris Muhammad on drums, Joe Beck and Eric Gale on guitars, Barry Rogers on trombone, Nick Marrerro on timbales, and Jimmy Owens and Luis Gasca on trumpets. Averne plays vibes – and the set features 20 tracks that include "Gotta Do My Number", "Girl From The Mountain", "Cucaraca Macara", "Stablishment", "Got To Have Brotherhood", "Make Out", "The Micro Men", "Never Learned To Dance", "Come Together", "Struttin Slow", "Can You Dig It", "Accept Me", "Stand", and "Central Park". Includes great notes and photos too – a full history of Harvey's career!

A nice one from Badu – one with a depth of feeling and genuine soulful vibes that live up to its title, despite the fact that she records for one of the world's biggest media conglomerates! It's all about the vibe here. Erykah rolls her syllables, scats and emotes feelings more than an actual narrative in the strongest of these cuts. It's not that she's forgone lyrics; but it's all about the ambience, not radio sing-a-longs. She also dives head first into her organic soul and hip hop hybrid sound a little more sparingly, but still better than any of the ladies that followed her lead after Baduizm. She channels Donald Byrd on the great "Think Twice", which is pretty indicative of the vibe as a whole. The groove is sorta mellow, but in a very tripped-out way, with deep organ washes and synth tones, scratchy soul guitar, and crisp organic beats. There's an appearance by Dead Prez on "Steady On The Grind", and a really sweet old school flavored remake of the great "Love Of My Life" track from the Brown Sugar soundtrack with Queen Latifah and Bahamadia, but for the most part Erykah is sweating soul on her own spiritual plane here. It's gonna take a little while to sink in, but this may be her best album (despite whatever naysaying BS you may read in mainstream reviews.) Tracks include "Bump It", the great single "Danger", "Woo", "Back In The Day" and "I Want You".

A sweet little pre-Philly single from Archie Bell! "Dancing To Your Music" is produced by Prince Phillip Mitchell, and it's got a lightly swinging groove that brings out a really soulful side of Archie. The group's got some excellent harmony vocals in the background, and there's still a bit of the tight guitar from earlier records. "Count The Ways" is a great one too, with a heavy funk sound that's quite different for the group – and which gives them a really righteous groove, plus there's a nice psychedelic break towards the end too!

One of the earliest albums on Arhoolie Records – an amazing document of steel guitar bluesman Black Ace! Ace plays just like he sits on the cover – really leaning into the instrument in ways that bring out all these cool, deep inflections – completely hypnotizing on their own, with almost an unworldly feel at points – and accompanied by vocals on most tracks. Titles include "Drink On Little Girl", "Bad Times Stomp", "Farther Along", "Evil Woman", "Fore Day Creep", "Little Augie", and "Golden Slipper".

A classic killer from trumpeter Tom Browne – a smoking set that still has all the jazz funk touches of his earlier records, yet which also picks up a bit of an electro vibe as well! The move here is a bit like that taken by some of Browne's labelmates on GRP at the time – particularly Bobby Broom and Bernard Wright – and offers up a great mix of jazzy roots and some of the newer sounds hitting the streets in the early 80s – a vibe that's maybe one of the first moments when older genres of music were beginning to show an influence from hip hop! Maurice Starr handles most of the production, and really makes things tight throughout – but Tom himself does a great job of keeping things interesting with the solos, augmenting the electric vibe with some rock-solid acoustic playing. Titles include "Rockin Radio", "Angeline", "Brighter Tomorrow", "Never My Love", "Mr Business", "Cruisin", and "Feel Like Makin Love". CD features bonus tracks – "Bye Gones (12" version)", "Rockin Radio (special 12" mix)", and "Cruisin (dub)".

Smooth modern duets from one of our favorite ladies in soul music! Jean Carne's a heck of a singer – with a career that stretches back to early soul jazz recordings with (then) husband Doug Carn, to solo recordings on Philly International in the late 70s, to appearances on records by other artists – sessions from the 70s, 80s, and 90s in which Jean lent her vocals to a wealth of great recordings! This great collection focuses on work in that category – uncollected sides from a three decade period, brought together in one album that shows just how great Jean can sound when she's singing with other artists. Many of these titles are quite hard to find otherwise, and haven't even shown up on other collections of Jean's work – and tracks include "Good Thng Goin On" with Billy Paul, "Holdin On" and "Dreams Of Tomorrow" with Dexter Wansel, "Keep In Touch" and "The Look Of Love" with Grover Washington Jr, "Lean On Me" with Nathan Heathman, "If You Don't Know Me By Now" with The Temptations, "Love Is Beautiful" with Universe, "Star Flower" with Lonnie Liston Smith, "Let's Stay Together" with Bobby M, "I'm Back For More" with Al Johnson, "You Might Be Surprised" with Roy Ayers, "Mother Of The Future" with Norman Connors, and "Valentine Love" with Michael Henderson. Also features the bonus solo track "Trust Me" – never on CD before!

Always brilliant work from the great June Christy – an album that's got a lot more darkness than you might think from the title and the bright-colored cover! The style is very booze-soaked and sad – with plenty of echoes of the classic Something Cool album – and like that set, this one features sublime arrangements from the great Pete Rugolo – who has a perfect way of shading things in with the dark tones and modern elements that always work best for Christy's vocals! One of our favorite-ever records from June – with titles that include "Let There Be Love", "When Sunny Gets Blue", "I Want To Be Happy", "Imagination", "No More", "Better Luck Next Time", and "The Best Thing For You".

Amazing lost sounds from Detroit – a previously unissued album from pianist Kenny Cox – best known for his late 60s albums on Blue Note, but working here in a really righteous style, and using a fair bit of Fender Rhodes as well! The album's a lost gem from the Strata label – home to Lyman Woodard's Saturday Night Special album – and there's definitely a side to this record that's shared with that one – a bit more laidback, definitely, but equally soulful, and mixed with spiritual jazz elements that echo the style of Kenny's Tribe Records contemporaries on the Detroit scene. Other players include Charles Moore on flugelhorn, Buzz Jones on soprano sax and flute, Ron English on bass, and Skeets Curry on electric guitar – and in addition to Fender Rhodes, Cox also plays clavinet, mellotron, and Arp as well! The set's got a bit of vocals – from Fito Foster and Nengue Hernandez – but the main focus is instrumental, and the long tracks really have the group spinning out beautifully. Titles include "Clap Clap The Joyful Noise", "Samba De Romance", "Island Song", "Lost My Love", and "Beyond The Dream".

Great keyboard funk from Deodato – one of his excellent mid 70s sessions for MCA, all of which are sometimes eclipsed by his CTI work, but still equally groovy! As with most of the other MCA records, the songs here are shorter than before – but in a way that allows for even more punch in the groove – especially on the bottom end of the tracks, which hit hard in a space that's somewhere between 70s soundtrack funk and more conventional fusion. The style's not nearly as slick as some of D's contemporaries were going at the time – and there's a nice range of material here that really makes for a complex vibe! Titles include "Theme From Star Trek", "Peter Gunn", "I Shot The Sherriff", "Black Widow", "Amani", "Juanita", and "Univac Loves You".

It's nice to hear a new MC these days that rhymes largely on beat and can create thought provoking rhymes that go beyond the sort of lowest common denominator topics of ass and money you hear not just on the radio and in the club, but even on supposedly undeerground records. Chicago's own Diverse rhymes over simple, tight beats, with a mellow jazzy feel, and gets remixed by fellow traveller J Rawls of the Lone Catalysts on the flip.

Pre-Voidoids and Pre-Ramones hard rock band featuring Marc Bell, aka Marky Ramone – with their self-titled and Hard Attack records – together in a 2LP set! Dust's 1971 is a mix of pummeling, though accessible rockers and a suprising bluesy and psych folk nod here and there – particular in the slide guitar and pedal steel of Kenny Aarronson. It features a mix of those and pummeling rockers – with drums that are way faster than Marc would play after changing his persona to Marky! Titles include "Stone Woman", "Chasin' Ladies", "Love Me Hard", "From A Dry Camel" and more. The follow up Hard Attack – as the the title indicates – streamlines the approach a bit into more of a straight up hard rocking style. Titles include "Pull Away/So Many Times", "Learning To Die", "All In All", "Ivory", "I Been Thinkin", "How Many Horses", and "Suicide".

A real lost chapter in the career of singer Georgie Fame – mid 70s material recorded for Island Records! The sound of Fame during these years is a bit of an extension of his previous work at Columbia – not really the jazz or R&B of his roots, and more a complicated blend of hip pop modes, all inflected with some of the Jamaican sensibilities you might expect from Island – yet never in a way that's too cliched, or a silly pop take on reggae. Instrumentation is often a bit laidback and stripped-down – and there's a fair bit of organ and electric piano in the mix, both instruments that help bring out the hipper qualities of Georgie's vocals, and set him up nicely for the 70s.

A real early moment of genius from reedman Sonny Fortune – a classic set cut for the Strata East label, and one that's got a lot more depth and edge than some of Fortune's later records! Don't get us wrong, we always love Sonny to death – but there's really something special going on here – a quality that has Fortune breaking from some of the straighter scenes he was working in a few years before, and going for a righteous style he'd never create this well again – a rich approach to the music that's very much at home on Strata East! Tracks are long, and graced not only with wonderfully searching solos from Sonny on alto, soprano sax, and flute – but also features trumpet from Charles Sullivan, Fender Rhodes and piano from Stanley Cowell, bass from Wayne Dockery, drums from Chip Lyle, and percussion from the heady trio of Richard Landrum, Mario Munoz, and Angel Allende. The percussion is quite heavy at times, and gives the record a really rootsy feel at some of the best moments – and tracks include the massive 15 minute "Long Before Our Mothers Cried", plus "Tribute To A Holiday", "Wayneish", "Sound Of Silents", and "Five For Trane".

One of our favorite all-time records, and a real lost album on Blue Note! Eddie Gale leads this group of righteous singers and musicians through five fantastic tracks of soulful chanting and hard jazz playing that never goes too far out, but always threatens to break free of its own chains – soaring to the skies on wings of freedom and spirituality! Gale's trumpet rings hard and loud, and the vocal arrangements never verge on sentimentality, but manage to convey a ton of soul with an incredibly righteous approach that's never been duplicated again! Imagine Donald Byrd's vocal group albums recorded for Strata East – or a hipper version of Billy Harper's Capra Black – and you've only got part of the picture! Titles include "The Rain", "Fulton Street", "The Coming Of Gwilu", and "A Walk With Thee".