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A lost treasure from Antiono Adolfo – keyboard player, arranger, and one of the greatest Brazilian talents of his generation! Adolfo's sound and style is contemporaneous with the best work of Marcos Valle, Edu Lobo, and others – and like them, he has an approach that mixes together jazz, MPB, baroque orchestrations, easy scoring, and a bit of funk – similar to the best work of the Blue Brazil generation on EMI/Odeon Records. The approach is one that's rarely been matched by any other artist – and it's a strong reason why Adolfo's records from this period are extremely sought after in the world of collectors. This beautiful album from 1970 has Adolfo working with the group A Brazuca – who bring some wonderful vocal harmonies to the set, mixing with strings, guitars, and some great electric piano work from Adolfo. Includes the breezy classic "Transamazonica", plus the cuts "Que Se Dane", "Atencao Atencao", "Claudia", "Panorama", "Tributo A Victor Manga", "Caminhada", "Grilopus No 1", and "Cotidiano".

Sublime Italian soundtrack funk – and one of the greatest albums ever from 70s maestro Stelvio Cipriani! The music was scored for a schlocky horror film about a giant octopus – but Cipriani's approach here goes far beyond its roots – beautifully blending together tightly compressed bass and funky drum bits with sweet electric keys and warm string touches – making for a set that slinks along with an infectious groove from start to finish! The sound is incredible – immediately seductive on the first track, and continuing to develop as the set moves on – making for an amazing soundtrack that we'd rank as one of our Italian favorites of the 70s. Titles include "Tentacles", "Small Town Pleasures", "She'll Never Come Back", "San Diego Yellow Cab", "Summer & Winter", and "Scotch For Two". CD features more tracks than the previous version – 7 more bonus tracks that are previously unreleased!

A new wave crossover classic from The Flying Lizards – one of the quirkiest groups of their era! The group were European, but have a sound that resonates strongly with the most playful post-disco work of the New York scene of the time, particularly the acts on Ze Records – a groove that mixes equal part punky and clubby rhythms, often topped with lyrics that are cold, but clever, done in the same ironic arty style of Cristina, or Devo. This album's the group's standout opus – and features their classic covers of "Summertime Blues" and "Money" – as well as originals "The Flood", "TV", "The Window", and "Russia". CD also features "Money (single edit)".

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".

Dreamy hip hop funk from underground production mainstay Kankick – and one that finds him going deeper into a jazz funk inspired realm than ever before – yet still delivering the hazy hip hop beatcraft he made his name on a decade or so earlier! Beats are prominent in the Kankick vibe, often with bit of static attached – a prominent feature of his work that often gives it a fresh from the crates vibe. This particular set pairs that tried-and-true approach with bits of jazzy keys, piano, synth and other sample-centric elements. Title include "The Bomb Butterfly", "Black Women Candle Wax", "This Is A World Export", "Ngiht Time Beauty", "C'mon Love, Let's Dance", "Take My Hand", "Warped Daze", "The Tribes Chant", "Can't Escape Space (Love Quakes)", "Warped Dayz", "Continued Togetherness" and more.

One of the most soul jazz-styled sets ever cut by German clarinetist Rolf Kuhn – a very groovy record that features work from tenorist Klaus Doldinger and organist Ingfried Hoffmann! On their own albums of the 60s, Doldinger and Hoffmann are quite a pair – swinging almost as perfectly as Willis Jackson and Jack McDuff on Prestige, in the US at the same time. So you can imagine the effect they have on Kuhn – a player who can sometimes be a lot more modern, but who here really takes off in an easygoing groove – swinging soulfully on a set of short and groovy tracks, with great rhythm work from Hermann Schoonderwalt on bass and Cees See on drums. Titles include "Rainbow In My Tears", "Opus 90", "Combo Swing", "Scottish", "Swing For Sale", "The Snake", and "L'Amour Sans Espoir".

Perhaps the most beloved of albums by Mercury Rev – and also their most unique! This is a band that was just about the least predictable group to appear on a major label during the early 90s "alternative" feeding frenzy – certainly one of those great bands whose influence and impact extends far beyond however many records they sold at the time. Deserter's Songs has textures picked up from classic ornate pop, waltzy numbers and dreamy atmosphere to spare– paired with off kilter vocals and a freewheeling, creative sensibility. A classic! Includes "Holes", "Tonite It Shows", "Endlessly", "I Collect Coins", "Opus 40", "Hudson Line", "The Happy End (The Drunk Room)", "Goddess On A Hiway", "The Funny Bird", "Delta Sun Bottleneck Stomp".

Fantastic – and one of Mingus' greatest albums ever! This one ranks right up with The Clown and Pithecantropus Erectus for sheer raw power and emotion – and Mingus' writing here is incredibly tight, giving soloists like Charlie Mariano, Jaki Byard, Richard Williams, and Jerome Richardson a real workout. The set's an extended suite of tracks with sort of a semi-ballet form. Don't let this fool you into thinking that the work's some sort of semi-classical snoozer, though – as Mingus uses the structure to hit some brilliant raw emotion, and the "dance" part of the piece gives the work a tight rhythmic form, pushing the soloists into raw urgent grooves, of a nature that never show up on Mingus' other work from the time. Titles include "Trio & Group Dancers", "Solo Dancer", "Group & Solo Dance", and "Duet Solo Dancers".

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

A great take on the music of Charles Mingus – played by a combo with a nicely different flavor than the originals! The combo has a soulful, hardbop sort of energy – yet still also manages all the sharp changes, twists, and turns that make Mingus' music so great – a wonderful blend that almost feels like a 60s Blue Note session dedicated to Charles' music – although oddly, few artists were ever doing sets like that at the time! The lineup features killer trumpet from Jukka Eskola – a player we already love – plus alto and baritone from Mikko Innanen, tenor from Jussi Kannaste, drums from Andre Sumelius, and Hammond from Mikko Heleva. Obviously, the use of organ with Mingus compositions is quite a twist – but a great one too, and it really makes the tunes come alive in new ways! Titles include "Ecclusiastics", "Jump Monk", "Pithecanthropus Erectus", "What Love", "Jelly Roll", and "Fables Of Faubus".

A beautifully full session from McCoy Tyner – one recorded with added horns and voices, and very much in the mode of some of Horce Silver's best 70s experiments for Blue Note! The sound is as bold, dynamic, and soulful as other Tyner albums from the time – and the added elements really help create a unique feeling – horn parts that underscore the power of Tyner's piano, and wordless vocals that rise to the skies, with a feel similar to Donald Byrd or Max Roach sessions like this – but with a bit more 70s vibe overall. Other players include Earl Klugh on guitar, Ron Carter on bass, and Jack DeJohnette on drums – and solos are by Jon Faddis on trumpet, Alex Foster on tenor, and Charles Stephens on trombone. Titles include "For Tomorrow", "Opus", "Festival In Bahia", "Rotunda", and "Uptown".

A stellar batch of Afro funk and native groove from Lagos! Strains of western funk and soulful sounds work their way into the material – thanks again to Fela's mighty influence – but there's a lot more to it! Simmering along with the Afro funk and soul are some truly riveting native folk sounds – filtered through many of the modern influence that make the funk stuff so compelling – but providing a much more natively learned groove. It's a totally fresh perspectived – focused on the Lagos territory – but an incredible listen to anyone, anywhere, with a pair of ears! 15 tracks in all: "Eyi Yato/Elere Ni Wa" by Chief Commander Ebenezer Obey And His Inter-Reformers Band, "Joromi" by Sir Victor Uwaifo, "Sowambe" by Sagbeni Aragbada, "Professional Super Bantous" by Super Negro Bantopus, "Ole Obinrin" by Ambali Adedeji, "Da Wa Lohun" by Harbors Band, "Moonlight Highlife" by Dr Victor Olaiya and more!

A stellar batch of Afro funk and native groove from Lagos! Strains of western funk and soulful sounds work their way into the material – thanks again to Fela's mighty influence – but there's a lot more to it! Simmering along with the Afro funk and soul are some truly riveting native folk sounds – filtered through many of the modern influence that make the funk stuff so compelling – but providing a much more natively learned groove. It's a totally fresh perspectived – focused on the Lagos territory – but an incredible listen to anyone, anywhere, with a pair of ears! 15 tracks in all: "Eyi Yato/Elere Ni Wa" by Chief Commander Ebenezer Obey And His Inter-Reformers Band, "Joromi" by Sir Victor Uwaifo, "Sowambe" by Sagbeni Aragbada, "Professional Super Bantous" by Super Negro Bantopus, "Ole Obinrin" by Ambali Adedeji, "Da Wa Lohun" by Harbors Band, "Moonlight Highlife" by Dr Victor Olaiya and more!

A great counterpart to the first volume of rare 60s Hungarian jazz from Cosmic Sounds – as this one has more of a 70s focus, and an overall sound that's more concentrated in funk! During the 70s, the Hungarian scene picked up a lot of the heavier fusion influences from the rest of Europe at the time – but in a way that often had rock groups hitting a lot more jazzy overtones too, playing instrumentally and jamming nicely on some of the funkiest tracks on their albums. The cuts on this set really get at that sort of groove very well – and demonstrate the surprising amount of funky material that was coming out of Hungary at the time – work that was often driven by a more progressive jazz influence, but which came out stepping with a really in the pocket groove to rival the best American fusion work of the time! CD features 11 tracks in all – including the sublime modal groover "Bamba" by Dimenzio, plus "Ole" by Andor Kovacs, "Kemenysepro" by Kis Rakfogo, "Blue Light" by Bergendy, "Green Wave" by Aldar Pege, "K 14" by Csaba Deseo Quintet, "Stroll In Debrecen" by Debrecen Jazz Group, "Jaguars Humming Birds & Amazons" by Mini, and "Tropusi Laz" by Panta Rhei.

A great counterpart to the first volume of rare 60s Hungarian jazz from Cosmic Sounds – as this one has more of a 70s focus, and an overall sound that's more concentrated in funk! During the 70s, the Hungarian scene picked up a lot of the heavier fusion influences from the rest of Europe at the time – but in a way that often had rock groups hitting a lot more jazzy overtones too, playing instrumentally and jamming nicely on some of the funkiest tracks on their albums. The cuts on this set really get at that sort of groove very well – and demonstrate the surprising amount of funky material that was coming out of Hungary at the time – work that was often driven by a more progressive jazz influence, but which came out stepping with a really in the pocket groove to rival the best American fusion work of the time! LP features 9 tracks in all – including the sublime modal groover "Bamba" by Dimenzio, plus "Ole" by Andor Kovacs, "Kemenysepro" by Kis Rakfogo, "Blue Light" by Bergendy, "Green Wave" by Aldar Pege, "K 14" by Csaba Deseo Quintet, "Stroll In Debrecen" by Debrecen Jazz Group, "Jaguars Humming Birds & Amazons" by Mini, and "Tropusi Laz" by Panta Rhei.

An amazing record – quite possibly one of the greatest jazz albums of all time, and a session that has Charles Mingus stepping boldly forward in a whole new direction! The album shakes loose the sometimes too-academic modern tones of Mingus albums from the previous year or two – and unleashes the bold, raw emotion that would drive him firmly into the 60s – a new sense of freedom in music, filled with poetry, anger, joy, and life! The tracks are all quite long – and played by a sharp quintet with Mingus on bass, Jackie McLean on alto sax, JR Monterose on tenor, Mal Waldron on piano, and Willie Jones on drums. Titles include "Pithecantrhopus Erectus", "A Foggy Day", "Love Chant", and "Profile of Jackie". The whole thing bubbles over with an anger and intensity that you hardly find in other Mingus albums, and if you've ever heard a weak Mingus album, and wondered what all the fuss was about, you owe it to yourself to own this one! We promise that it will never ever let you down.

One of the greatest Milt Jackson albums ever – thanks to an incredible lineup that features Art Farmer on trumpet and Benny Golson on tenor – both of whom give the record a lot more edge than usual for Jackson! The set's almost a maturation of the earliest modern grooves that Milt forged in his earlier sessions for Blue Note and Prestige – a sound that comes across here with a lot more confidence and focus than some of his 50s Savoy sides – with a sharper, edgier quality that comes from Golson's great arrangements for the record. Milt's vibes have a really chromatic feel here, and a sound that's almost louder than usual – and the rest of the group features Tommy Flanagan on piano, Paul Chambers on bass, and Connie Kay on drums. Titles include "Blues For Diahann", "I Remember Clifford", "Thinking Of You", and "Whisper Not".

Easy-going Verve swing at its best – the kind of small group session that let a player like Harry "Sweets" Edison shine in a way that he didn't always get to do in a larger group! For this set, Edison's joined by Ben Webster on tenor sax, Barney Kessel on guitar, Jimmy Rowles on piano, Alvin Stoller on drums and Joe Mondragon on bass – in a format that features tunes that are a bit shorter than on some of the other Verve swing sides of the time, but still very much with a relaxed and open-ended feel. Titles include several Edison originals – including "Hollering At The Watkins", "Used To Be Basie", "Studio Call", "Opus 711", "K.M. Blues", and "Walkin With Sweets".

Excellent early material from Stan Getz – some of his first recordings ever, done when both his tenor sound and bop were in their infancy! There's a roughness here that's quite different than the Verve style of the 50s – but that's a nice change, too – and it's compelling to hear a very young Stan already finding his own sound on the horn. The set features a mixture of master and alternate takes, with a few unissued ones as well – and cuts include "Opus De Bop", "And The Angels Swing", "Running Water", "Loaded", "Stan Gets Along", "Slow", and "Stan's Mood".

One of the best-known 50s jazz sessions from the Savoy label – a laidback classic that's a great illustration of the label's shift in modes after the early bop years! The setting here is relatively informal – with Milt Jackson as the ersatz leader, working almost in blowing session mode with hip players who include Frank Wess on flute and tenor, Hank Jones on piano, Eddie Jones on bass and Kenny Clarke on drums – all players who relax into a groove wonderfully, and really open up on the album's four long tracks. Titles include the classic reading of "Opus De Funk", plus "Opus Pocus", "You Leave Me Breathless", and "Opus & Interlude". A great little set from Milt Jackson – not just for his work on vibes, but also for some great tenor from Lucky Thompson! Thompson's raspy edge brings a nice degree of soulfulness to the set – a sound that adds depth to the sometimes mellower moments set down by Jackson and the rhythm section of Hank Jones, Wendell Marshall, and Kenny Clarke! The small group setting and the longer tracks make the record a good showcase for Thompson's talents at the time – and his way of building a solo gets plenty of room to do its thing here – on tracks that include "Lover", "Angel Face", "Can't Help Lovin That Man", "Sometimes I'm Happy", and "What's New".

A 70s double LP issue of a variety of sides Milt cut as a leader for Prestige and Riverside. The first batch of numbers were originally released as a couple of 10"s, then repackaged under various guises in LP format, and feature a slightly different take on the Modern Jazz Quartet sound of the early years – as the album features Milt Jackson's vibes in the company of MJQ bandmates Percy Heath and Connie Kay, but also includes Horace Silver on piano – in the spot normally reserved for John Lewis! The presence of Silver on piano gives a bit of a harder edge to the set, one that almost recalls some of Jackson's work on Blue Note in the early 50s, yet which is rounded out here by a few lighter and more lyrical touches on rhythm. The set includes a great reading of "Moonray", the Jackson original "Stonewall", and the tracks "Wonder Why", "I Should Care", and "My Funny Valentine". There's also 4 numbers with the same group adding Henry Boozier on trumpet, performing "Soma", "Buhaina", "Opus De Funk" and "I've Lost Your Love". The second LP is from almost a decade on, a very nice little Milt Jackson album – cut in the mode of some of his excellent soul jazz group sides from the mid 60s. This set pushes Milt past the format of much of his other work – especially that of the MJQ – as it features him in a very soulful sextet, working with Tommy Flanagan on piano, Kenny Dorham on trumpet, Jimmy Heath on tenor, Ron Carter on bass, and Connie Kay on drums. The presence of Dorham and Heath give the album a light lyrical swing that really opens things up – and there's a fair bit of modally-oriented tunes on the set that hint at the more soulful playing of most of the players in the 70s. Tracks include a great version of "Invitation", plus "The Sealer", "Poom A Loom", "Ruby", and "None Shall Wander".

An amazing record – quite possibly one of the greatest jazz albums of all time, and a session that has Charles Mingus stepping boldly forward in a whole new direction! The album shakes loose the sometimes too-academic modern tones of Mingus albums from the previous year or two – and unleashes the bold, raw emotion that would drive him firmly into the 60s – a new sense of freedom in music, filled with poetry, anger, joy, and life! The tracks are all quite long – and played by a sharp quintet with Mingus on bass, Jackie McLean on alto sax, JR Monterose on tenor, Mal Waldron on piano, and Willie Jones on drums. Titles include "Pithecantrhopus Erectus", "A Foggy Day", "Love Chant", and "Profile of Jackie". The whole thing bubbles over with an anger and intensity that you hardly find in other Mingus albums, and if you've ever heard a weak Mingus album, and wondered what all the fuss was about, you owe it to yourself to own this one! We promise that it will never ever let you down.

Sublime Hammond from Johnny Smith – a pair of early albums for Riverside, back to back on a single CD! Black Coffee is one of Johnny Hammond's first albums – and a cooking little live set that really has the organist working with some early raw power! The group's a trio, but they seem to burn differently than some of the other organ combos of the time – maybe with that fluid sensibility that Johnny brought to his keys, and which would later open up in even more famous ways. The core group features Eddie McFadden on guitar and Leo Stevens on drums – but they're joined by Seldon Powell on tenor for more than half the album, who really opens things up with his tremendous playing – and shows at an early state that Johnny Hammond always knows the right way to use a horn player. Titles include "Monterey Theme", "Far Away Places", "I Remember Clifford", "He's A Real Gone Guy", and "Rufus Toofus". Mr Wonderful is a record that definitely lives up to its title – reminding us not only that Johnny Hammond Smith is one hell of an organist, but also a great leader with a really unique feel for a groove! The set's noteworthy not just for Johnny's own work on Hammond, but also for the presence of a young Houston Person – blowing tenor here in a way that's breathtaking right from the start – a bold, soulful tone that's a perfect fit for the group – which also includes trumpet from Johnny Williams and guitar from Eddie McFadden. The set includes a lot of tasty originals by Johnny – like "Cyra", "Lambert's Lounge", "Departure", and "Opus 2" – and already shows the way that Hammond was complicating his groove from that of other players of the time!

One of our favorite "lost" albums ever – an amazing small combo jazz session that rivals the best that 60s Blue Note or Prestige had to offer! The group's led by tenor player Hank Bagby – an artist we only know from this record, but who has a rich sense of imagination that comes out right from the start – not just on his well-penned tunes for the record, but also on his inventive arrangements, and his way of leading the sharp combo through the perfect realization of his musical vision! Bagby's tenor solos alone are worth the price of admission – but the record's a cooker that really gets equal energy from the whole ensemble too – trumpeter Chuck Foster, pianist Dave MacKay, bassist Al Hines, and drummer Chiz Harris – perfect throughout on original tunes that include "Dee Dee", "The Great Wall", "Soul Sonnet", "Kiss Me Quigley", "Iborian", and "Algerian Suite".

A beautifully full session from McCoy Tyner – one recorded with added horns and voices, and very much in the mode of some of Horce Silver's best 70s experiments for Blue Note! The sound is as bold, dynamic, and soulful as other Tyner albums from the time – and the added elements really help create a unique feeling – horn parts that underscore the power of Tyner's piano, and wordless vocals that rise to the skies, with a feel similar to Donald Byrd or Max Roach sessions like this – but with a bit more 70s vibe overall. Other players include Earl Klugh on guitar, Ron Carter on bass, and Jack DeJohnette on drums – and solos are by Jon Faddis on trumpet, Alex Foster on tenor, and Charles Stephens on trombone. Titles include "For Tomorrow", "Opus", "Festival In Bahia", "Rotunda", and "Uptown".

One of the best 60s albums ever from the legendary Toshiko Akioshi – a session recorded back in the US, with help from a quartet of American musicians! The album's got a strongly boppish feel overall – as Toshiko's piano comes into play with trumpet from Kenny Dorham, tenor and flute from Lew Tabackin, bass from Ron Carter, and drums from Mickey Roker – all working in a style that has a lot of dark corners and very subtle edges. Hints of Toshiko's later arranging styles creep into some of the tunes, but overall the work is relatively spontaneous and open – quite lyrical and points, especially on some of the original numbers that have some slightly Japanese themes alongside more conventional jazz progressions. Dorham's trumpet is obviously a great asset in a setting like this – and the record is one of his rarest appearances from the time. Titles include "The Night Song", "How Insensitive", "Phrygian Waterfall", "Let's Roll In Sake", and "Opus No Zero".

Maybe the greatest album that Teena Marie ever cut – and that's saying a lot, given the strength of the lady's work for Motown! The set's got this bright, positive bounce that grabs you right from the start – but also moves into a depth that's way different than other funk albums of the time – a way with a ballad and a thoughtful track that almost makes Marie the 80s heir to the Minnie Riperton legacy, especially given the strength of her voice on the set – and the fact that Teena wrote and produced the whole album herself! At a time when so many other female soul singers were at the mercy of other folks' talents and ideas, Lady T steps forth boldly with this classic set – brimming over with greatness on cuts that include the stellar "Portuguese Love", plus "Yes Indeed", "Where's California", "Opus III", "Square Biz", "365", "Revolution", and "Ballad Of Cradle Rob & Me". This expanded CD also includes 2 live tracks recorded in Long Beach – versions of "Deja Vu" and "Someday We'll All Be Free" – plus the bonus track "Square Biz", done in an instrumental version. All written & produced by Teena, too!

A real cooker from Opus 5 – even more far-reaching than their previous collaboration together, with a soaring sort of energy that leaps out right from the start! The group's something of an all-star ensemble – with Seamus Blake on tenor and soprano sax, David Kikoski on piano and Fender Rhodes, and Alex Sipiagin on trumpet and flugelhorn – driven onward by the bass of Boris Kozlov and drums of Donald Edwards. Almost every tune here is an original – and even the few classics are handled with this free-thinking vibe that's wonderful, especially on the tunes that feature Kikosi on Fender Rhodes! Titles include "The Saboteur", "Videlles Dreams", "Sign Of Life", "Three Days Of Maybe", "Danny", "Ducktones", and a sweet version of Freddie Hubbard's "Red Clay".