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The Originals are hitting more of a dance-oriented groove here – a mix of disco, soul, and uptempo funk arrangements, but still maintaining their harmony sound, in the manner of other Detroit groups at the time, like The Fantastic Four or Detroit Emeralds. Titles include "Call On Your Six Million Dollar Man", "Hurry Up & Wait", "Been Decided", and "Down To Love Town".

Titles include "Baby I'm For Real", "I'm Your Man", "The Magic Is You", "Share Your Love With Me", "Let Me Dance", and "Waiting On A Letter/Mr Postman".

A compilation of pivotal mid 90s Dilla productions and remixes – classics and rarities from the Pharcyde, N'Dea Davenport, and the Brand New Heavies with guest appearances by Q-Tip and Mos Def – great stuff from the prime Delicious Vinyl years! It's full of bedrock jazzy funk from Jay Dee – a 3 LP set with vocal versions on the first 2 LPs and instrumentals on the 3rd. This is a great refresher course on Jay Dee's golden age pedigree – especially if you came on board with Dilla in the later Stones Throw years – featuring his earlier genius productions plus a second disc featuring instrumental versions. Proceeds from the LP are to go to Ma Dukes. Titles include "Runnin'" (plus instrumental), "Somethin' That Means Somethin'" (plus instrumental), "Bullsh*t" (plus instrumental), Y? (remix)" (plus instrumental) by Pharcyde, "Sometimes (remix)" (plus remix instrumental) by Brand New Heavies feat Q-Tip, "Saturday Night (remix)" (plus remix instrumental) by Brand New Heavies feat Mos Def, "Whatever You Want (remix)" by N'Dea Davenport and more.

Vintage dancehall sounds from the early 80s! Listen Up! Original Dancehall puts together some classic dancehall numbers from the earlier part of the 80s – before the digital beat started to really take a stronger hold at around the midpoint of the decade – and it features cuts by Don Carlos, Cornell Campbell, Johnny Clarke, Dennis Brown, Linval Thompson and many more. 14 tracks on the vinyl version: including "Laser Beam" by Don Carlos, "Love Trap" by Cornell Campbell, "Tribal War" by Ronnie Davis, "Prophecy" by Neville Brown, "Satisfaction" by Johnny Clarke, "Mr Babylon" by Robert French", "King Of The Arena" by Johnny Clarke, "Mr Landlord" by Micheal Palmer, "Time And Place" by Dennis Brown and more.

Nice and rarely seen trio side from under-recorded Chicago pianist Anderson. He plays here with Bill Lee and either Walter Perkins or Philly Joe Jones on drums, in a trio that made the core of the rhythm section on Frank Strozier's excellent Jazzland date, Long Night. The group is in fine form here, running through both standards and originals, and though Anderson's name isn't as well known as many other pianists, it ought to be, and he was no stranger to other Windy City jazz greats such as Johnny Griffin. Imagine a cross between Bill Evans and Elmo Hope, and you might get a picture of where he's coming from, though Anderson's voice is all his own, weaving some nice sinuous lines on a set that leans heavily on ballads here, including "You'd Be Nice To Come Home To", "My Funny Valentine" and the originals "See You Saturday" & the title track.

Groovy groovy Latin soul from Willie, with the requisite mix of originals and pop/soul covers that you'd find on the best of his Verve albums. There's a nice instrumental version of "It's Not Unusual", plus other groovers like "Spanish Grease", "Blues In the Closet", and "Nessa". The band is small and tight, with guitar/trumpet/sax in the frontline.

Maybe the greatest album we've ever heard from trumpeter Till Bronner – a beautiful tribute to the 70s sound of Freddie Hubbard – recorded with instrumentation that's heavy on Fender Rhodes, and these soaring solos that are simply the greatest we've ever heard Bronner play! There's a perfection to the record that may well even go past Freddie's classics for CTI – a sense of solid, soulful sounds throughout – with not a moment of filler, and a great mix of originals from Bronner that really capture the Hubbard vibe – mixed with a few others that further the essence. The whole thing's wonderful – a killer contemporary set, but with a richly vintage feel too – no vocals, no remixes, or any of the other things that you might find on other Bronner albums. Titles include "Will Of Nature", "FFH", "Return To The Fold", "Gibraltar", "Once Upon A Summertime", "Condor", "Pegasus", "Red Street", "Wacky Wes", and "The Gate".

The first LP by this stormin' organ jazz combo from Chicago, featuring the great Odell Brown on organ, Artee (Duke) Payne on alto, and Thomas Purvis on tenor. Includes loads of great tracks, like their originals "Enchilada Joe", "Raising the Roof", and "A Cool Senorita" – plus groovy covers of "Day Tripper" and "Maiden Voyage". A classic in the combo lounge scene, with the kind of firey playing that you'd only find in a place like Chicago.

Great work from Ray – and very much in the formula of his best Cadet records! The formula is simple – stick in 2 great original groovers, and fill the record with a few other covers of pop and jazz standards. Thanks to Richard Evans, who produced the sessions for Cadet, the grooves are great on nearly every track – and Ray sounds better here than on any other sides that we remember! In this case the originals are "Stick With It" and "Sound Ray" – both hard piano jams with a great downbeat and a nice dose of funk. Covers include "Song For My Father", "Con Alma", "Look Of Love", and "Scarborough Fair" – all very very nice!

A collection that Milestone issued in 1973 that includes tracks from three of Byrd's early 60s Bossa Nova records – Latin Impressions, Bossa Nova Pelos Passaros and Once More/Charlie Byrd's Bossa Nova. Byrd and his unamplified guitar are joined by Keter Betts on bass and Bill Reichenbach on drums and Latin percussion; other players are also featured. The tracks are mainly composed by the big names of Bossa Nova – Jobim, Powell, Caymmi, Lyra – but there are several Byrd originals as well such as "Socegadamente (Softly)", "Cancao De Nimar Para Carol", "Three Note Samba", and "Ela Me Deixou". Other tracks include "Samba Triste", "Desafinado", "Saudade Da Bahia", "Carnaval" and many others.

Excellent work from Betty Carter – much more sophisticated than some of her 60s work! Betty's captured here in her hip trio format that she developed to fantastic heights during the 70s. Betty sings standards and originals with a warmth an imagination that we can hardly describe accurately – bringing emotion into the songs that we'd hardly heard in earlier recordings, and using a trio in ways that we'd never heard before with a vocalist. Incredible stuff all the way through, very much on a par with any of Betty's later work, with "Do Something", "My Shining Hour", "What's New", "Round Midnight" and "I'm Pulling Through".

An excellent bit of Latin groove – one of our favorite crossover boogaloo sets from the 60s, and easily some of the greatest work ever by Jimmy Castor! And yes, this is the same Jimmy Castor who's known for his funk albums of the 70s – but back in the day, he was open-minded enough to work in genres that included doo wop, harmony soul, and Latin – the last of which he does surprisingly well! The album's got a wonderfully earthy Spanish Harlem groove throughout – heard most famously on the title hit – "Hey Leroy", a fierce romp with a heavy piano groove that's clearly inspired by the work of Joe Cuba – but burning hard throughout on a variety of groovy covers and hard-hitting originals! Lots of piano, searing sax, snapping percussion, and humorous lyrics – and tracks include "Ham Hocks Espagnole", "Our Day Will Come", "Hey Willie", and "Southern Fried Frijoles".

Although the cover of the record includes a picture of Eddie's wife, Dinah Washington, and the "Friend" in the title would seem to imply that she's on the album, the set's really just a bunch of hard jazz cuts that showcase Eddie's screaming tenor sax, and which don't include Dinah's vocals. Not that that's a problem, though, because the record's a great one, and it's a good peek at player who was one of the biggest in Chicago during the 50's, and who had a loud hard R&B sound, in a mode that was similar to other Chicago players, such as Gene Ammons and Red Prysock. The record's got a number of originals by Chamblee, plus a few tracks written by Julian Priester and Dinah Washington (but did she really write them?). Titles include "Back Street", "Strollin Sax", "Village Square", and "Swing A Little Taste".

Great early genius from the Clarke Boland Big Band – proof that Kenny and Francy were onto something great, right from the start! The album really has the group hitting the heights of their MPS years – stretching out way past earlier big band modes, into the hip mix of rhythms and soulful solos that made the ensemble unlike any other group in the 60s – a really groundbreaking approach to their music, delivered by a range of top-shelf players! Arrangements are by Boland, who also plays piano – and other group members include Benny Bailey and Jimmy Deuchar on trumpets, Derek Humble on alto sax, Carl Drewo and Zoot Sims on tenor, Sahib Shihab on baritone sax and flute, and Ake Persson on trombone – plus rhythm from the rock-solid duo of Jimmy Woode on bass and Kenny Clarke on drums. Titles include the Latin-tinged "Los Bravos", and more great originals by Boland – including "Volutes", "The Styx", "Charon's Ferry", and "Box 703 Washington DC" – plus versions of "Gloria" and "Last Train From Overbrook".

A stunner! You'll probably never find this rare first Dennis Coffey album in the original, so you owe it to yourself to snatch up this funky funky reissue of stripped down guitar breakbeat jams! The record has Coffey playing his trademark fuzzy guitar, along with his early group that included the legendary Lyman Woodard on organ and Andrew Davis on drums. As the title implies, some tracks are versions of cuts from Hair – with great Galt MacDermot grooves like "Let The Sunshine In", "Sodomy", and "Aquarius" – plus other excellent covers and originals, like "Hair & Grits", "Hey Jude", "Do Your Thang", "Iceberg's Thang", "It's Your Thang", and "Electric Thang". Clearly, it's a very thang-heavy LP, with all the funkiness that might imply! There's some excellent drum breaks, and more than a boatload full of fuzzy guitar riffs to groove groove groove you away!

Alain Mion leads a new Cortex – grooving nicely, too – doing it live in Paris! Mion is at the grand piano for a good deal of the first side, energetically leading a great group on some stellar, timelessly jazzy numbers. The second half of the set has him on Fender Rhodes, for tracks that fully dive into the jazz funk vibe of classic Cortex. The musicians are fantastic, too! Patrik Boman on bass, Gerard Prevost on electric bass, Adeline De Lepinay on percussion and some vocals, Michael Kersting on drums,and a great lineup of soulful saxes: "Loic Soulat Pietro Tonolo, Greg Deletang, Romano Pratesi and Phil Brohet. Includes a nice set of Mion originals including "Phila Nite Song", "The Wrong Soul Blues", "When The Ship Sails Away", "East St. Louis, 1917", "The Tap Tap", "Green Street" and more.

The first-ever release of this lost soul treasure – a rare session from a late 70s group from Tulsa, recording in LA at the studio of Sly Stone! The set's got a groove that's way more than you'd expect from any Oklahoma combo – a mature, modern soul sparkle that's totally great – almost the sort of vibe you'd find from some of the best groups of the time on labels like Elektra or Capitol, but handled here with a bit more indie charm overall! The tracks are all originals, and they balance out mellow steppers and tighter groovers nicely – which makes for an album that's amazingly deep in conception, and way more than just a slap-dash batch of tracks from the studio. We're sure that Sly would have been proud of the work here – and our hat's off to the folks at Lotus Land for finally getting this one released! Titles include "Funky Sounds", "Accept The Truth", "Keep On Smiling", "If You Dance Tonight", "I Love Everything About You", "On A Lovely Night Like This", "I Hope You'll Be", and an untitled track.

A cool jazz classic from altoist Paul Desmond and guitarist Jim Hall! The album was recorded under Desmond's name, but Hall's the guitarist throughout, and his playing lends an indescribably wonderful edge to the set, making the album a real team effort! Unlike other RCA sides by Hall and Desmond, this one features the pair with larger string backings by Bob Prince, which create a dreamy pillow for alto and guitar to solo across. Titles include the Desmond originals "Late Lament" and "Desmond Blue" – plus "Ill Wind", "My Funny Valentine", and "Like Someone In Love".

From the title, to the cover, to the gritty grooves way down in the wax – this has got to be one of the funkiest Blue Note albums ever – a real landmark from the legendary Lou Donaldson! The set kicks off with a hard and heavy groove from the very first note – thanks to some super-tight drumming by a young Idris Muhammad – still billed under his birth name of Leo Morris on the sleeve, but already hitting the kit with that snapping post-Popcorn style that would revolutionize funky jazz in years to come! Donaldson's plenty smoking himself on electrified alto sax – played with that great mix of flatness and echo that you'd hear in Eddie Harris' albums of the same time – and the rest of the lineup is equally cooking, with Melvin Sparks on guitar, Charles Earland on organ, and Ed Williams blasting away on funky trumpet! Titles include killer remakes of "It's Your Thing" and "Who's Making Love" – plus Donaldson originals "Hot Dog" and "Turtle Walk" – all nice and long, and with a really raw sound!

An excellent groover from Kenny Dorham – possibly one of his best ever albums for Blue Note – a record that shows how much he was pushing past his bop roots in his later years! The tracks are extremely long, and with a Latiny feel that's surprising when you look at Dorham's earlier material. He's helped along in his endeavors here by a fresh group of modernist geniuses that includes Herbie Hancock on piano, Joe Henderson on tenor, Butch Warren on bass and Tony Williams drums – and the album's got 3 long, incredible Dorham originals: "Una Mas" fills up side one, and "Straight Ahead", and "Sao Paulo" cover the flip.

A heavy record with a heavy pedigree – a smoking set of funky instrumentals, all recorded directly to tape, then pressed directly on heavy colored wax! The trio has a hard-burning sound that takes us back to the Prestige records jazz funk sound of the early 70s – the sort of groove you might have heard from Leon Spencer or Melvin Sparks – with Mike Flanigin on sweet Hammond, Jake Langley on smoking guitar, and Kyle Thompson driving the whole thing with some mighty fierce drums! Titles are mostly originals – and include "The Turtle", "Malibu Classic", "KC", "Moto Guzzi", and "Leon's Thing". 6 killer tracks on the vinyl version.

Sublime spiritual soul from Dyson's Faces – a mid 70s east coast group headed by singer/songwriter Clifton Dyson, an ensemble that was equally well suited to uptempo groovers and mellow harmony soul! The vocals here are especially great – handled beautifully by the group with an earnest, honest quality that reminds us a lot of the harmony soul coming out of the Philly and New Jersey scenes a few years before, but which is presented here with a professional approach that only adds to the sweetness of the lyrics. Most numbers step along in a mellow or midtempo mode – with the vocals lifting beautifully up alongside full arrangements – and the more uptempo tracks hit kind of an ensemble funk style that still also works great with the group's approach. Tracks are all originals, and include the spacey "Wait A Minute Girl", which also has a great monologue – plus "We're Two Fools In Love", "Ole Jose What You Gonna Say Today", "Happy Days Again", "Welcome To All This Love Again", and "Don't Worry About The Joneses".

Duke Ellington and Mary Poppins? Sounds like a terrible combination – but it's actually pretty darn great! You see, the key words in the title are "plays with" – as Duke takes the core score of the film and, working with Billy Strayhorn, comes up with some groovy little tunes that really depart from the originals – and become perfect backdrops for the modern Ellington genius of the 60s. Solo work on the set is by Jimmy Hamilton, Johnny Hodges, Paul Gonsalves, Cootie Williams, and Harry Carney – and overall, the album's got that nice punchy feel of Ellington's other Reprise sides – and makes especially nice use of the modal quality of some of the tunes from the film. Titles include "Jolly Holiday", "The Life I Lead", "I Love To Laugh", "Stay Awake", "Chim Chim Cheree", and "Feed The Birds".

Gil Evans plays an electric grand piano and is joined by a rather large set of musicians who include Masabumi Kikuchi on a variety of synthesizers, Billy Cobham on drums, Lou Soloff on trumpet, George Lewis on trombone and many others. Tracks include some Evans originals – "Anita's Dance", "Jelly Rolls", "Alyrio", and "Variations On The Misery" plus others like Gershwin's "Gone, Gone, Gone" and Jimi Hendrix's "Up From The Skies".

Gil Evans plays an electric grand piano and is joined by a rather large set of musicians who include Masabumi Kikuchi on a variety of synthesizers, Billy Cobham on drums, Lou Soloff on trumpet, George Lewis on trombone and many others. Tracks include some Evans originals – "Anita's Dance", "Jelly Rolls", "Alyrio", and "Variations On The Misery" plus others like Gershwin's "Gone, Gone, Gone" and Jimi Hendrix's "Up From The Skies".

Gil Evans plays an electric grand piano and is joined by a rather large set of musicians who include Masabumi Kikuchi on a variety of synthesizers, Billy Cobham on drums, Lou Soloff on trumpet, George Lewis on trombone and many others. Tracks include two Evans originals – "Copenhagen Sight" and "Zee Zee" plus others like "Sirhan's Blues", a Jimi Hendrix song "Stone Free", and Mingus' "Orange Was The Color Of Her Dress".

Oh, the feeling here is more than good – as the album's a stunner from the legendary Jose Feliciano, the kind of set that never fails to make us smile when we hear it! Jose's really evolved here from his earliest days – going even farther past the genius of his late 60s work for RCA, and picking up a host of more righteous soul influences in the process – really coming up with a great sound for the 70s! The record is filled with surprising gems – the kind of cuts that will make you go "damn!", and have you digging for other Feliciano records from the same time. Highlights include an excellent remake of Stevie Wonder's "Golden Lady", with loads of jazzy changes – plus the originals "Virgo", "Hard Times In El Barrio", and his classic theme to "Chico and the Man" – a cut that sounds especially great on this album, in ways we never appreciated when watching the show. Other numbers include "Essence Of Love", "Stay With Me", "You're No Good", and "I've Got To Convince Myself".

An early 80s classic from Richard Dimples Fields – one of the most unique talents in soul music of his generation – with an appeal that's both down home, and smoothly sophisticated at the time! In a way, Fields' music represents many changes his audience was going through at the time – classing things up a bit, and heading into the mainstream – yet still very much concerned about the same issues and challenges of years past. The approach is almost southern soul by way of southern California – rough edges polished out, but still earthy enough to hang out with the crowd from back home. Almost all titles are originals, and Richard handled most of the production too – on tracks that include "If It Ain't One Thing It's Another", "After I Put My Lovin On You", "Baby Work Out", "Mr Look So Good", "Taking Applications", and "A Freak On The Side".

An amazing album by the great guitarist Eddie Fisher – and completely unlike his later funk records! Eddie plays stripped down jazz with a small combo that includes organ by Robert Selby, bass by Paul Jackson, and some rhythm guitar by Phil Westmoreland – and the twin-guitar approach creates this super-dope style that's light years ahead of its time, with a sophistication that points the way to later mid 70s work on labels like CTI and Kudu! Eddie's guitar work is an incredible exercise in spareness and soulfulness – best heard on the fantastic "Third Cup", a long drawn-out jazz stepper that's got to be heard to be believed. The cut's been a favorite on the Chicago jazz stepper's scene for years – and it alone is worth the price of the album. However, the record features some other wonderful stuff – like a sublime version of "Shadow Of Your Smile" that runs for a bubbling 12 minutes – plus the originals "Shut Up", "Scorched Earth", and "Two By Two".

An amazing album by the great guitarist Eddie Fisher – and completely unlike his later funk records! Eddie plays stripped down jazz with a small combo that includes organ by Robert Selby, bass by Paul Jackson, and some rhythm guitar by Phil Westmoreland – and the twin-guitar approach creates this super-dope style that's light years ahead of its time, with a sophistication that points the way to later mid 70s work on labels like CTI and Kudu! Eddie's guitar work is an incredible exercise in spareness and soulfulness – best heard on the fantastic "Third Cup", a long drawn-out jazz stepper that's got to be heard to be believed. The cut's been a favorite on the Chicago jazz stepper's scene for years – and it alone is worth the price of the album. However, the record features some other wonderful stuff – like a sublime version of "Shadow Of Your Smile" that runs for a bubbling 12 minutes – plus the originals "Shut Up", "Scorched Earth", and "Two By Two".

An explosive late 70s moment of brilliance from trombonist Curtis Fuller – and one of his greatest albums of the time! The set's got Fuller working with an unusual group – Pepper Adams on baritone sax, making for a nice "bottom" alongside Fuller's trombone, plus James Williams, borrowed from Art Blakey's group of the time – and really stepping out here with some great soaring piano lines. The rest of the quintet features Dennis Irwin on bass and John Yarling on drums – but the real boss of the set is clearly Fuller, who's contributed some wonderful originals to the session, and is clearly working with a re-kindled spirit at this point in his career. Titles include "Four On The Outside", "Suite Kathy", "Little Dreams", "Ballad For Gabe-Wells", and "Corrida Del Torro".

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

One of Slide Hampton's greatest records of all time – a totally hip batch of tracks recorded with a large group that reminds us of some of Max Roach's ensembles of the early 60s! No surprise, Roach is a key part of the album – pounding away with frenzy on Hampton's 5-part "Drum Suite", and working well here on other tracks with players that include Yusef Lateef and George Coleman on tenor, Freddie Hubbard and Hobart Dotson on trumpet, Tommy Flanagan on piano, Eddie Khan on bass, and both Hampton and Benjamin Jacobs-El on trombones. There's a righteous, majestic energy to most of the tracks – not just the pivotal "Drum Suite" in five parts, but also the originals "Gallery Groove" and "Fump" – plus versions of "Lover", "Our Waltz", and "Stella By Starlight".

Herbie Hancock is certainly Takin Off at this point in his career – stepping into the limelight with an excellent batch of soul jazz tunes, including the first recording of his classic "Watermelon Man", the one track that probably put all his kids through school! Although that one went on to become a standard within a few short years in 60s jazz, it still sounds great here in the original – a very fresh take on the sound of soul jazz in the 60s – offered up here in a 7 minute version that has more sharp soloing than most other takes on the tune! The group here is great too – with Dexter Gordon on tenor, Freddie Hubbard on trumpet, Butch Warren on bass, and Billy Higgins on drums – and the tracks are all also originals by a young Herbie – including "Watermelon Man", "The Maze", "Driftin", "Three Bags Full", "Alone & I", and "Empty Pockets".

The first full length collaboration between blues, soul and rock slide guitar eclecticist Ben Harper and harmonica master Charlie Musselwhite – and it's win for both – with a vibe that's rooted in many traditions, but feels right at home in both Harper's and Musselwhite's wheelhouses. We expected a blues & soul covers set when we first heard that this project was in the works – and while the prospect of these 2 fellows working together on the classic Americana songbook sounds like a pretty good idea to us – we're actually all the more impressed with this all originals take on classic styled craft. A bit of blues and blues rock, a bit of gospel, and a bit of southern styled folk soul – and a bunch of great songs! It's a full band set up for the most part, too, as opposed to a spare duos set – and the titles include "Don't Look Twice", "I'm In I'm Out And I'm Gone", "We Can't End This Way", "You Found Another Lover (I Lost Another Friend), "I Ride At Dawn", "Get Up!", "She Got Kick", "Blood Side Out" and "All That Matters Now".

Bizarre is right – and incredibly hip too! This was the group's second album – and while it has a lot of similarities with the first, it's also a lot deeper of an expression of their strange blend of harmony vocals, sweet 60s pop, and the nostalgia for the early 20th century that was running through the Burbank Warner scene that included a young Van Dyke Parks, Randy Newman, Lenny Waronker, and other LA underground of the mid 60s. The whole record fits together beautifully – beginning with an old-timey radio kind of announcer, then sliding into sublimely crafted harmony tunes that include originals from the LA luminaries and the group, plus a few other surprising covers. Titles include the hit version of "Anything Goes", plus "The Biggest Night Of Her Life", "Milord", "Virginia City", "High Coin", "Jessie", "This Is Only The Beginning", and "You Need A Change".

One of the funkiest Isaac Hayes albums for Stax – thanks mostly to the extended title cut! The tune "Joy" is a monster – running for nearly 16 minutes long, and starting with a killer drum break on the intro – then full, proud, bad-stepping Isaac Hayes grooves throughout! It's hard to believe that a track that runs so long could be such a delight – but the whole thing's a joyous as the title might imply! Other tracks are pretty darn great too – and include the slightly shorter "I Love You That's All", "A Man Will Be A Man", and "The Feeling Keeps On Coming" – plus the 11 minute "I'm Gonna Make It Without You". All tracks originals by Isaac, with stone backings by The Movement, and some super-dope use of strings and horns!

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".

The brilliant bluesy side of Hendrix – great stuff recorded from '66-'70 – including his most blues based originals and incredible covers! Bluesy it is, but it's also Jimi – with the soaring, loose and massively influential lead guitar grooves and many of which went unreleased until the 90s – and remains among the most essential of posthumous Hendrix releases. Includes "Hear My Train A Comin'" (acoustic and electric versions), "Born Under A Bad Sign", "Catfish Blues", "Red House", "Voodoo Chile Blues", "Mannish Boy", "Once I Had A Woman", "Jam 292" and "Electric Church Red House".

A trio set with Hicks on acoustic piano, plus bass by Walter Booker and drums by Idris Muhammad – the three of them stretching out in that soulful mode of the best work on the Theresa label. Features three Hicks' originals, "Naima's Love Song", "Mind Wine", and "Peanut Butter in the Desert". Also includes "Ghost of Yesterday", "Some Other Time", "With Malice Toward None", and "Dark Side, Light Side". Produced by John Hicks.

One of the rare few albums cut by 50s tenor star Joe Holiday – and a gem of a session that has him fronting a larger group, blowing lean well-cut solos on a number of very hip original tunes! The group's a large one, but the sound's still quite tight and swinging – a great follow-up to Joe's previous recordings on Prestige, showing an even more mature side of his talents. Holiday's got a great tone here – slightly echoey in its own right, and almost with some of the presence of bolder tenor players in the R&B world – yet still all jazz all the way through. Other players on the sessions include Thad Jones, Blue Mitchell, and Art Farmer on trumpets; Eddie Bert on trombone; Cecil Payne on baritone sax; and Duke Jordan on piano – and some of the arrangements are by Hal Mitchell. Titles are all originals by Joe – and include "Mimi The Champ", "Hello To You", "Opening Night", "Timmy's Tune", "Cousin Nino", "Skeetie", and "Tiny Mite".

Pivotal work from Freddie Hubbard – a tight, edgey quintet side with a sound that approaches the Blue Note "new thing" sound, but which stays just this side of the fence to keep in line with Freddie's other soulful work of the 60s! The group features some great work by James Spaulding, who gets a lot of solo room on alto and flute – and Ronnie Matthews is on piano, effortlessly shifting between rhythmic and soulful lines, and passages that get a bit darker and deeper. The tunes are nearly all Freddie Hubbard originals, except for the classic "Mirrors", written by drummer Joe Chambers. Other tunes include "Breaking Point", "Far Away", "Blue Frenzy", and "D Minor Mint".

Very nice Irakere album, and one that's on a par with their 2 Columbia albums from around the same time. The lineup's expanded a bit more than usual, and players include leader Chucho Valdes, Arturo Sandoval, Paquito D'Rivera, Oscar Valdes, and Jorge Varona. Tracks are long, with 4 originals by Valdes, including "Cha Cha Cha", "Camaguey", "La Semilla", and "Quince Minutos".

Obscure organ jazz record by the player who's probably best known to people from the good records he made with Willis Jackson on Prestige. This set's a nice stripped down set of tracks, with Ivory on organ, Paul Renfro on tenor, and Bill Nicks on drums. Good spare organ and tenor lines, with a mix of originals and jazz standards. Tracks include "The Monkey Woman", "Thank Heaven", "Do It To Death", "So What", and "Lonely Avenue".

Jackie & Roy are definitely getting bit wilder here – hitting an electric early 70s CTI mode, and really growing a lot in the process! The session has the vocal pair working with CTI players who include Hubert Laws on flute, Joe Farrell on saxes, Roy Pennington on vibes, and Steve Gadd on drums – all working with arrangements from Roy that are every bit as hip as the Don Sebesky treatments they previously got on CTI. The tracks are all longish, with plenty of room for complex vocals and great interaction with the instruments – and the titles are all originals, sounding really great and creative! Titles include "Good & Rich", "The Way We Are", "Waltz For Dana", "Niki's Song", and "A Wilder Alias".

One of our favorite albums of all times – and a legendary testament to the greatness of the Chicago music scene in the late 60s! Melvin Jackson was the bassist in Eddie Harris' very successful group of the time – and his playing on Eddie's trippy and funky records for Atlantic is one of the factors that made them so great. Here, he's working with an acoustic bass, amplified with electronics like a Varitone sax – and this strange-sounding instrument is set up in a hip group that mixes Cadet funky studio players (Phil Upchurch, Morris Jennings, Jody Christian) with some of the brighter young players of the AACM (Roscoe Mitchell, Lester Bowie, and Leo Smith.) Jackson's bass is looped through all sorts of crazy effects, and the result is this amazing blend of avant garde playing and groovy rhythms that is beyond compare! The album includes great reworkings of two Eddie Harris funk tracks – "Bold and Black" and "Cold Duck Time" – plus monster originals like "Funky Doo", "Say What", "Dance Of The Dervish", and "Funky Skull (parts 1 & 2)".

A great album from Willis Jackson – a real sleeper, and with a very groovy feel! Willis smokes with an organ combo that has Butch Cornell at the keys, and which also features Vince Corrao on guitar and Franklyn Robinson on trumpet. The tracks are a mix of originals and Beatles covers (believe it or not!), and Willis is in that playful mid-60s mode, where he's working with so much profiency on the tenor that he can take some groovy chances on the solos. The rhythm's got a great Cadet soul jazz vibe to it – and the album fits nicely with some of Jack McDuff's work on the same label. Titles include "Yesterday", "Hard Day's Night", "Goose Pimples", and "Doin' The Mudcat".

One of the strangest albums ever issued on Philly International – a set of tunes by Dick Jensen, who was part blue-eyed soul singer, part easy male vocalist – sounding here as if he'd almost hit the market about 5 years too late to make a difference. The record's the kind that would be more at home on late 60s Capitol than early 70s Philly – but they must have had big plans for it, as all the tracks are originals by Gamble & Huff, who also do the production with Thom Bell and Bunny Sigler. Bobby Martin, Vince Montana, and Norman Harris all arrange, so the backings are top-shelf too – it's just that Dick can't seem to figure out what he wants to be from track to track on the record. Titles include the funky "Fat Mama", plus "Peace Of Mind", "Going Up To The Mountain", "I Don't Want To Cry", "32nd Street", and "Tamika".

An amazing album that's one of the greatest-ever descarga sessions to come out of the New York scene! The album's supposedly a tribute to pianist Noro Morales – but it's got a fire and energy that goes way beyond even Morales' best work, one that has the group recording in a long-format approach that was very different, and much harder-jamming than any of Morales' recordings from the 50s. The tracks are mostly Morales originals, but you'd hardly recognize them in the way the band takes off from their simple structure – using the room of the full recording to groove hard on the album's best long tracks – "Mi Guajira", "Ponce", and "Vitamina" – all of which are the kind of Latin jammers you buy reissues like this for! Players include Louie Ramirez, Charlie Palmieri, Cachao, and Hector Rivera – and other tracks include "Perfume De Gardenia", "Desvelo De Amor", and "Malditos Celos".

Pure genius from tenor saxophonist Richie Kamuca – a magical exercise in tone and balance, played by Richie with that warm and raspy style that we love so much in his work! Kamuca's probably best known for his bigger group work of the 50s, but on a session like this he steps out as a marvelously creative soloist – working at a good bop-inspired clip, but also taking the time to explore deeper, more personal ideas through his well-voiced solos on the set. Even on more familiar numbers, Richie steps out with a sense of personality that transforms the tunes to his own way of thinking – and he's very well aided in this work by a crack rhythm section that includes Carl Perkins on piano, Leroy Vinnegar on bass, and Stan Levey on drums. Titles include originals like "Fire One", "Early Bird", "Rain Drain", "My One & Only Love", and "What's New".

Great early work from Johnny Keating, not the hokey sound of the "high road" you might expect from the cover, and instead a well-crafted batch of large ensemble tracks that really shows Keating deepening his sound! There's echoes here of some of the best modern work on the west coast scene of the 50s – the legacy of Kenton's tones and colors, taking into nicely swinging territory – and tracks are played by differing groupings of Keating's players from cut to cut. Titles include "Loch Ness Monster", "Kiltie", "Double Scotch", "Tam O Shanter", "Headin North", and "Down South Blues" – all originals by Keating!

Watch what happens – and what happens is very groovy! Ken plays alto sax, Beverly sings – and the rest of the album features small combo backing that includes Vic Feldman on piano and Joe Pass on guitar. The tunes are an assortment of 60s groovy pop tunes, soundtrack gems, and a few great originals – and Beverly alternates between singing straight lead vocals and scatting in a light, breezy, and rhythmic way – ala Jackie Cain, of Jackie & Roy fame, or Vicki Hamilton, on her great Impulse recordings! Titles include "Nothing Left To Do But Follow You", "The Face I Love", "Theme From Harper", "Man & A Woman", "Captain Jack", and "Watch What Happens".

Roland plays moody jazz versions of some of the biggest soul hits of the early 70's – including tracks like "What's Going On", "Mercy Mercy Me", and "Ain't No Sunshine" – plus some other nice originals which sum up his take on "blacknuss". Titles include "Blacknuss", "Which Way Is It Going", and "One Nation". Billy Butler is on guitar, and the great Sonelius Smith is on piano on a number of tracks. Roland even sings a bit, too!

One of the rarest Roland Kirk albums – and a great one! The record features Kirk in his prime early years – before he got totally nutty, and when he would still play straight soul jazz/hard bop, but with kind of a mad twist, and with strange instrumentation. Horace Parlan's on piano, and his work on the keys, as always, is a real treat – and it keeps the album grooving along at a nice pace. Most tracks are originals, written with Kirk's unique sense of whimsy and humor – and titles include "Blues For C&T", "Hip Chops", "Gifts & Messages", "Vertigo Ro", and "Where Does The Blame Lie?"

Very hip vocal work from singer Janet Lawson – an under-discovered vocalist with a very groovy sound! Janet's got a soaring, breezy feel that's a bit like some of the best Bay Area or European work from a few years before – inflected with some Brazilian influences, but also delivered with an American approach overall – all in a mix of sung and scatted vocals! There's a vibe here that's a bit like Monica Linges or Rimona Francis, but perhaps even freer and harder grooving, as Janet never stops for a ballad, and likes to riff away on the hippest work she can find. This long out of print set features vocal versions of "Better Get It In Your Soul" and "Hot House" – plus the originals "Dreams Can Be" and "Break Free" – all supported by acoustic small combo instrumentation, with some great work on sax and flute from Roger Rosenberg.

Very groovy work from Peggy – a set of tunes tone with a nice little Latin flair! The tunes themselves are all Broadway hits of the late 50s and early 60s, but they're redone wonderfully here – so that they often bear little resemblance to the originals. Jack Marshall handled the arrangements with a swinging and jazzy sound – really throwing in some tight syncopated rhythms to make the album crackle more than most of Peggy's other work from the time. Titles include "Hey There", "I Am In Love", "Heart", "On The Street Where You Live", "The Party's Over", "Dance Only With Me", and "I Enjoy Being A Girl".

A stone laidback set from O'Donel Levy – one of the greatest soul jazz guitarists of the 70s, and a player who sounds fresher and fresher to us over the years! This album's a bit more laidback than some of Levy's other sets for Groove Merchant – with larger arrangements that feature Charles Covington on electric piano and organ, Fats Theus on tenor and flute, and Billy Skinner on trumpet – but the approach actually works well, as the slow-moving tracks trip out over a lot of space, giving O'Donel plenty of room to craft his uniquely spacious and chromatic solos. Titles include versions of "Watch What Happens", "Love Story", "Call Me", "You've Made Me So Very Happy", and "Didn't I Blow Your Mind This Time", plus the originals "Granny" and "Nature's Child", both of which have a nice little groove!

A classic late 50s side from the Mode label – and one of those great LA sessions that was almost more noteworthy for the sidemen than the leader! Drummer Mel Lewis heads up the group, sure, but the real strength of the set is in its three piece frontline – which features Charlie Mariano on alto, Bill Holman on tenor and baritone, and Jack Sheldon on trumpet – all of whom come together perfectly in a strong mix of ensemble chorus playing and breakout solo work. Mariano's horn really shines, as it always manages to do in such a setting – and brings a deeper level of soul to the set than you might expect. Piano is by Marty Paich, and tracks are a bit longer than usual – with tunes that include the originals "Grey Flannel", "Jazz Goes To Siwash", and "Charlie's Cavern".

We don't know much about CM Lord, and this record's the only one we've ever seen from her, but she's got a nice deep soul voice, and the record's a great mix of southern-styled vocals and smoother LA backing. There's some slight country soul tinges to the cuts, but the best parts of the album feature CM opening up in a strong deep soul mode that's a bit like Doris Duke or Candi Staton. All the tracks are originals, and titles include "Steal Your Love Away", "Moody Woman", "The Peace", "Lovin' You Is So Easy", and "All I Need Is Your Sweet Love".

Sounds for the 60s indeed – and a great set of jazzy instrumentals that step out with a lean Capitol groove! Onzy's on piano and at the head of the group – and the record features some nice solo work by Curtis Amy and Clifford Scott, both of whom bring a surprising dose of soul to a set that might have some lighter edges otherwise. The tunes are a nice batch of covers, plus originals – all played with that sweet Capitol bounce of the mid 60s. Titles include "Ray On Blues", "Mexicali Brass", "White Gardenia", "Ballad For Orchestra", and a really great take on "Moon River".

A great Latin groove from the mighty Les McCann – a smoking set that adds in extra percussion from Willie Correa – who gives the record a sound that's quite a change from the usual McCann groove! The percussion is wonderful throughout – and given that the great Paul Humphrey is already playing drums in the trio, the whole thing's got a rhythmic zest that never lets up – way different than just the usual "with conga" style you'd hear on a Prestige Records piano trio record – and instead a groove that's definitely dedicated to the boldest Latin piano modes of the time! The track list includes a lot of originals, such as "McCanna", "Zulu", "Bastuto Baby", "Shaam-Pu II", and "Narobi Nights" – plus versions of "Que Rico" and "It Had Better Be Tonight".

A full blown duets album by Bonnie Prince Billy and Dawn McCarthy of Faun Fables – co-headlining a straight-up beautiful set of tunes once sung by The Everly Brothers! They're not going for the hits here, rather taking on some of the more unusual Everly originals and covers – which include tunes written by Kris Kristofferson, Jackie Edwards, John Denver, King/Goffin and others. As longtime fans of The Everlys at their wierdest and most adventurous, we can't recommend this enough! Billy & Dawn clearly love the songs, and deliver with genuine warmth and affection – and go all in with the production, too! It's sweet and intimate, yet beautifully textured with steel, electric and acoustic guitars, mandolin, harmonium, flute, cello and keyboards – even a sousaphone and tuba! It's mostly got some leftfield country charm, but there's a chugging rocker or 2 in the mix, too. Titles include "Breakdown", "Empty Boxes", "Milk Train", "What Am I Llivng For", "My Little Yellow Bird", "So Sad", "Omaha", "Poems, Prayers And Promises", "Just What I Was Looking For", "Kentucky" and more.

Obscure batch of jazzy pop originals by this obscure singer from Indianapolis. Jimmy's clearly trying for a Lou Rawls Capitol sort of style, but he's also got a voice that's a bit raspier and blusier than Lou. Most of the tracks are originals by Jimmy, and titles include "Searching", "Quiet", "Sorry About That", "Nothing's Gonna Change My Mind", and "Cat Walk".

A Windy City classic – from Vee Jay Records! The MJT grooves like nobody's business, thanks to a core rhythm group that includes Harold Mabern on piano, Walter Perkins on drums, and Bob Cranshaw on bass! Add to the mix a young Frank Strozier on alto, fresh from Memphis (he made the trip to Chi-town with buddy Harold Mabern), and the smoking trumpet of Willie Thomas, and you've got one of the tightest combos to never make it in the big time – a killer little group that was almost a Chicago secret back in the day, but one that's well worth discovering if you've got any sort of a love for hardbop or soul jazz! This oft-overlooked gem is one of the best hardbop albums to ever come out of Chicago, and it's got some great originals by Mabern – like "Richie's Dilemma" and "Make Everybody Happy" – plus a nice version of Booker Little's "Sweet Silver".

Simply astounding! Soul Station is a deceptively simple album that has tenor giant Hank Mobley playing standards and originals in a quartet with Wynton Kelly on piano, Paul Chambers on bass, and Art Blakey on drums– a spare and simple group, but one with a direct energy that's really amazing – in a way that makes for some of Mobley's best solos on record! The tracks here are all relatively basic in construction, but this territory allows all players to really relax and open up – especially Mobley, who really dominates the proceedings with some well-blown lines on tenor. Blakey's work is great too – nicely restrained, and the date marks one of his last sessions ever as a sideman. Titles include "Soul Station", "Split Feelin's", "Dig Dis", and "This I Dig Of You".

Simply astounding! Soul Station is a deceptively simple album that has tenor giant Hank Mobley playing standards and originals in a quartet with Wynton Kelly on piano, Paul Chambers on bass, and Art Blakey on drums– a spare and simple group, but one with a direct energy that's really amazing – in a way that makes for some of Mobley's best solos on record! The tracks here are all relatively basic in construction, but this territory allows all players to really relax and open up – especially Mobley, who really dominates the proceedings with some well-blown lines on tenor. Blakey's work is great too – nicely restrained, and the date marks one of his last sessions ever as a sideman. Titles include "Soul Station", "Split Feelin's", "Dig Dis", and "This I Dig Of You".

Two classic Riverside Monk LPs, reissued together in one nice set! Brilliant Corners was a real comeback for Monk from the late 50s, and a record that features some of his best writing for horns! The group is incredible – bringing together Clark Terry, Sonny Rollins, and Ernie Henry – in a bracing front line that takes Monk's angular piano compositions, and forges them into a horn sound that would have an undeniable influence on modern jazz for years to come! The whole thing's brilliant, and titles include "Brilliant Corners", "Ba-Lue Bolivar Blues Are", "Pannonica", and "Bemsha Swing". Five By Monk By Five is a certified classic of modern jazz, with a lively quintet that includes Thad Jones, Sam Jones, Art Taylor, and the amazing Charlie Rouse, here just beginning a very fruitful association with Monk – and really adding a lot to the session with some incredible tenor work that's as angular and modern as needed for Monk's work, yet with a soulful edge that really brings a lot to the music. The original album's got 5 long tracks – hence the title – and they're all Monk originals: "I Mean You", "Ask Me Now", "Jackie-ing" and "Straight No Chaser", plus this set includes two takes of "Played Twice".

The one astounding studio album of proto punk/abrasive psych genius from the Monks – a true masterpiece if their ever was one, a record that's been ripped off by myriad more famous groups in both the mainstream and rock underground of the past 40 years! The group's status as discharged G.I.'s informs some of spewed vitriol, but beyond that there's little connection to any trends or scenes, the Monks are true originals in a world of imitators, and that adds a layer of excitement to an already mind blowing listen. The album's wild organ washes, primitive drums and guitar, and harsh, bizarre vocal rants prefigured everything from the Stooges, to Rocket From The Tombs, to the more predictable punk stuff that arrived 18 years later – yet it still grooves. Outrageous and incredible! 12 tracks in all: "Monk Time", "Shut Up", "Boys And Boys And Girls And Girls", "Higgle-Dy-Piggle-Dy", "I Hate You", "We Do Wie Du", "Drunken Maria", "Blast Off", "That's My Girl" and more.

One of our top 5 favorite Blue Note records of all time – a bold and powerful session from trumpeter Lee Morgan, but one that sat in the vaults for 15 years before release! The session was recorded around the same time as Morgan's hit The Sidewinder (which eclipsed its release at the time) – but it's got the soaring, searching energy of later Morgan work on records like Sixth Sense or Charisma – a whole new groove at the time, and one that's explored perfectly by a group that includes Jackie McLean on alto sax, Curtis Fuller on trombone, McCoy Tyner on piano, Bob Cranshaw on bass, and Art Blakey on drums. Modal lines come into play with older hardbop and soul jazz modes – and the result is an explosive batch of tunes that resonate with bold power throughout! Nearly all tunes are incredible originals by Lee Morgan – and titles include "Tom Cat", "Exotique", "Twice Around", and the completely captivating "Rigor Mortis". A treasure, and one not to pass up!

Fuzzy Texas work from the 60s – music that's got a mighty strong influence from Bob Dylan – but which is done with a sound that's way more garagey than Bob would have every attempted! There's a vibe here that almost offers an early look at the Dallas scene that gave the world some headier psych – a style that still has one foot in folk rock, but another even more strongly pointed towards reverb and distortion – often with really cool results! Tunes are mostly originals, and mix jingle jangle leanings with some darker tones – on titles that include "A Public Execution", "Cryin Inside", "Lie Beg Borrow & Steal", "Look At The Sun", "Promises Promises", "Do The Best You Can", and "Maid Of Sugar Maid Of Spice".

A full LP that collects together earlier recordings by Mulligan – done in the years 1952 and 1953, with a quartet that features Chet Baker, and bass by either Carson Smith or Bob Whitlock, and drums by either Larry Bunker or Chico Hamilton. Both Mulligan and Baker recorded together a number of times after this, in a "reunion" style that hearkened back to the fame of these sides – but the originals are still the best, and feature a magical pairing of two gentle jazz talents in a laidback piano-less setting. Titles include "Frenesi", "Swinghouse", "I May Be Wrong", "Tea For Two", and "Jeru".

The first-ever dub album from Niney The Observer – based around rhythms he'd cooked up for Dennis Brown, Max Romeo, and Delroy Wilson – all transformed completely in the studio by King Tubby! The sounds here are often very abstract – light years away from the originals – and given these spacey, repetitive cycles that seem to trip out even more than conventional dub! A landmark little record, and one that sounds even darker all these many years later – with cuts that include "Casanova Dub", "Rebel Dance", "Jam Down", "Parade Dub", "Turntable Dub", "Corn Man", "Mister D Brown Skank", and "Youth Man".

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

One of Kellee's smoother soul records, recorded after her initial jazz funk work, and with a more slickly produced vibe that's handled by Gene Russell. The record features a uptempo remake of "All The Things You Are", plus originals "Let Go, Let Go", "Nice Girl", "How I Love Your Smile", and "Fancy Dancer".

Oh Baby is right – as the album's one of the best John Patton albums for Blue Note – a perfect mix of funky organ and burning hardbop! The tracks hare are all originals penned for the album – mostly by Patton, but also by other group members – the kind of fresh grooves that made John's organ work for Blue Note really stand out from the rest of the 60s Hammond generation – very creative stuff, with occasional modern touches, and a rhythmic conception that's not only unusual, but which also really lets the soloists stretch out on their grooves! Players include Harold Vick on tenor, Blue Mitchell on trumpet, Ben Dixon on drums, and Grant Green on guitar – and the album's about as sharp as you can get for a Blue Note organ session. Titles include "Fat Judy", "Each Time", "One To Twelve", and "Night Flight".

One of the best things to ever happen to The Persuaders – a wonderfully rich album that has the group still sparkling strongly, long after their early hits! The harmonies are wonderful – very much on par with the bigger names at Philly International at the time – and recorded with sweet Sigma Sound production, and arrangements by Tony (not Thom) Bell that are a perfect blend of sweet and soulful – strings at some points, but a bassy bottom at others – so that the group manage to hit some even more righteous moments than before. Tunes are great, too – with some killer originals by Phil Hurtt – and the whole set's a no-filler gem that's kept us coming back for years! Titles include "Some Guys Have All The Luck", "Hold On (Just A Little Bit Longer)", "All Strung Out On You", "Stay With Me", "That's The Way She Is", and "We're Just Trying To Make It".

Another one of the post-Europe Dave Pike recordings, with a sound that's a bit straighter than usual, but still with his usual great take on jazzy vibes playing. The title track's a nice breezy groover, and the LP also includes two more originals, one with a Latiny feel called "Set the Stage", the other with the usual Pike goofiness, called "Jumpy the Snail".

An excellent session of exotica-tinged Latin jazz – put together by pianist Don Ralke, and featuring some great work from flute player Buddy Collette – in a spirit that's very similar to Collette's own classic Jazz Heat Bongo Beat album! The set's also got some great bongo work by Jack "Bongo" Burger – plus congas from Tom Wofford – and although both players aren't the most autentico of Latin percussionists from the west coast scene at the time, they've got a really evocative approach here that makes for a great little set. Colette's flute is wonderful too – really shading in some great tones and colors –a nd titles are all fresh originals that include "Afro Mambo Alegre", "Mgombo", "Pasion Calienta", "Bembe Negro", "Calypso Cubano", and "Afro Bop".

One of the grooviest albums to come from the godlike hands of Emil Richards – a hip LA vibist who touched equally the worlds of jazz, soul, rock, and easy! This album's got a bit more punch than some of Richard's more jazz-based sessions – with Emil playing a wide range of percussion instruments, plus vibes and marimba – all backed by some incredibly groovy work on organ and piano by Dave McKay! Arrangements are by Tom Scott and Paul Beaver – and the record's got the jaunty, swinging quality of some of Scott's best early work of the time – particularly his early gems for Impulse! Titles include a great version of Tom Scott's oft-recorded "Blues for Hari", a very groovy number with a great 60s eastern feel – plus originals "Hot Fudge Sundae" and "Here", and versions of the tracks "Girl Talk", "Sunny", "Take Five", and "Call Me".

A stunner from the Ruffin Brothers – their one album as a duo, 1970's underappreciated I Am My Brother's Keeper! Here Jimmy and David Ruffin lay down a warm, wonderful set of great late 60s Motown grooves – emotive covers and a bunch of great originals with nice touches of righteousness in the lyrics. The arrangements are by David Van De Pitte, Wade Marcus, and Paul Riser – bringing an emotional sweep and a bit of grandeur to some uncommonly gritty performances for a nice dual fronted approach. Titles include "Didn't I (Blow Your Mind This Time)", "I Am My Brother's Keeper", "The Things We Have To Do", "Set 'Em Up (Move In For The Thrill)", and "Steppin' On A Dream".

Mod grooves from The Satin Chaps – a group that's heavy on organ lines and horns, and who play in a soulful 60s groove! The cuts are mostly instrumental, and they cook along strongly with a sweet blend of sounds from the groove – horns that pack plenty of punch, but which are really sent home by the deft work on guitar and keyboards – the latter of which mostly comes across with a vintage Hammond-style feel! All cuts are originals, and mighty fresh too – different than the usual funk combo mode – and titles include "Funky Matador", "Cry Baby", "Dry Rub", "Jump Shout Shake", "Wet Leather", "Catch On Quick", "Hot Chocolate", and "Pigtail Park".

Fanstastic LP! Produced by Nathan Davis, and released on the same label as his first two U.S. albums (after his return from Europe), this is a mad mix of breezy jazz and breakbeats. Break fans will looooove the cuts "Lunar Invasion" and "Fonky First", which both have a tight break sound, and combine fuzzy distorted vibes with guitar, for a very unique sound. Other tracks have a cool jazzy swingin' vibes sound, with female vocals, and kind of an LA Now Sound feel that's a bit like the Dave MacKay/Vicki Hamilton LPs, but with more of a jazz basis. Very very groovy stuff, and one of the freshest albums we've heard in a long time. With versions of "Norwegian Wood" and "Sally's Tomato", plus more good originals. An excellent LP, and just the kind of hard-to-find reissue you'd expect from Dusty Groove!

A swinging east coast set featuring the reeds of Zoot Sims, Al Cohn, and Tony Scott. Trigger Alpert is actually the leader on these sides, in spite of the way the album is billed, and he plays bass in a piano-less rhythm section alongside Ed Shaughnessy on drums. The front line also includes Joe Wilder and Urbie Green, making for an horn heavy ensemble that blows nicely over Dick Hyman, Tony Scott and Marty Paich arrangements of standards and a handful of originals that include "Looking At You", "I Don't Want To Be Alone Again", "Trigger Happy", "Tranquilizer", "Where's That Rainbow?", "Treat Me Rough", "Triger Fantasy" and "Love Me Tomorrow".

Lots of percussion – and loud! Slatkin's normally a bit sleepy, but this record's filled with drums and chimes and vibes and loads of exotic percussion instruments – and swings with a groove that's in the best of the Liberty easy styles from the late 50s. Titles include "Night Train", "Caravan", "Blue Tango", "Opus 1", and "The Happy Hobo". The tracks are less originals than they are oddly-worked (or worked-over) versions of more familiar tunes.

A stone killer from organist Lonnie Smith – one of his completely cooking early albums for Blue Note, and a hard-burner all the way through! Smith's working here with a really great group that includes Idris Muhammad on drums and Melvin Sparks on guitar – both of whom give the album a really heavy bottom, and almost make the set feel like one of those classic Prestige jammers from the same time. But added to them is a great horn section of Lee Morgan on trumpet, Julian Preister on trombone, and Bennie Maupin on tenor – all of whom give the record a slightly hipper, more modern feel – in keeping with the Blue Note groove of the time. Tracks are all nice and long – and titles include the originals "Turning Point" and "Slow High" – plus versions of "See Saw", "People Sure Act Funny", and "Eleanor Rigby".

One the all time great funky albums of the 70s – a mad little record with a sense of rhythm and timing that was years ahead of its time! The Soul Searchers (along with Chuck Brown) later became known for their heavy-hitting Go Go work at the end of the decade – but here, they're a really free-thinking outfit with a lot of jazz in their funk – and a willingness to change up the beats and timings in ways that push the record miles ahead from an average funk outing. Tracks swirl around with an amazing intensity – supported by guitar work from Brown, organ from Hilton Felton, and some really great horns from Don Tillery and Lloyd Pinchback. The album features a wonderful remake of "Think" – plus the great originals "1993", "Soul To The People", "Blowout", and "We The People".

Late 70s soul fusion from masters of the groove – perhaps the best ever by the late 70s supergroup Stuff – featuring a core group that includes Cornell Dupree, Steve Gadd, Eric Gale, and Richard Tee! This time out the smooth sound is vibrantly top notch – all produced by Steve Cropper into a sweet blend of soul and jazz that has some of Aja-era Steely Dan's super tight sophistication – with a big, warmhearted soul groove in place of the Dan's more icy veneer! Many of the tracks are covers – augmented by chorus vocals – like "Mighty Love", "Dance With Me", "Since You've Been Gone", and "Love Having You Around" – but the record's also got some originals like "Stuff It", "Do It Again", and "Gordon's Theme".

Groovy groovy sitar pop – played by Big Jim Sullivan, also known as Lord Sitar! This set is a great session of 60s pop tunes, turned Eastern, in the mode of work by Ananda Shankar or Vince Bell – with a blend of original compositions, mixing sitar, tabla, and all manner of baroque 60s arrangements. The tracks include some excellent originals – like "Ltts" and "The Koan" – plus groovery covers like "She's Leaving Home", "Sunshine Superman", and Donovan's great "Trans Love Airways"!

Funky soul covers from a host of hit blacksploitation films – played in fresh new versions by the mysterious Super Dudes! Most of the tracks here follow the originals pretty closely, but have some different elements that we really appreciate – slight changes in rhythms or instrumentation, and a slightly rougher feel from the studio polish of the hits! We're not sure who the players are at all – but there's lots of heavy drums, great keyboards, and funky guitar – plus some occasional vocals on a few tracks. Titles include "Symphony For Shafted Souls", "Slaughter", "Time Is Tight", "Bumpy's Lament", "Bumpy's Blues", "Theme From Shaft", and "Trouble Man". Also issued in a 2LP form – but this is the single LP format.

Early work by the James Taylor Quartet – one of the group's first hard-hitting Hammond-driven albums, and a killer batch of retro funky tunes with a 60s R&B instrumental feel! James is really wailing on the Hammond on this one – blowing out some hip solos that romp with a mod late 60s London groove, stomping his way through hip covers of tunes that include "Blow Up", "Mission Impossible", "Alfie", "Mrs Robinson", and "Goldfinger" – and laying down some great originals like "Be My Girl", "The Stooge", and "Untitled No 1". A really great album – and the kind of record that shows the raw roots of James' early career, the ones he's returning to in his recent excellent funk recordings!

Pete Terrace challenges Pete Rodriguez for the title of "King Of The Boogaloo" in this live set recorded at Chez Jose in New York! The album's got a few tracks that say boogaloo, but which aren't – but that's still ok with us, because the bulk of the set is a hard grooving batch of uptempo groovers that would make anyone proud – and the record's easily one of Pete's best from the 60s! Includes covers of "El Pito", "At The Party", and "Bang Bang" – plus Marty Sheller-penned originals like "Do The Boogaloo", "I'm Gonna Make It", "Here Comes Pete", and "No! No! No!". Pete's vibes sound mighty nice, and the pianist in the group is nice and firey!

A fantastic record, and one of our most treasured Latin Soul albums from the late 60s! Ray Terrace leads a totally sharp little Latin combo through a host of originals and soulful covers, and the real highlight of the record is Willie Torres, who sings English vocals in a very deep soulful style that groovers perfectly with Ray's tight arrangements. The whole thing swings, and there's never a dead minute. We love this one all the way through – and it's a treasure to finally see reissued on vinyl! Tracks include "You've Been Talking 'Bout Me Baby", "Half Way Down", "Listen To Me", the totally great "I Make A Fool Of Myself", "Wade In The Water", "Get On Up", "Wiggle, Waggle", "There Is A Mountain" and more. Nice!

A surprisingly nice set that brings together Clark Terry and Thelonious Monk! Given Terry's bright approach to jazz, it's a bit hard to imagine him and Monk working well together – but at the time of this session, Clark still had a fair bit of an edge – with roots in a number of modern styles of the 50s, and a flair for crafting a compelling line on his horn. The set's got a number of nice originals – and titles include "In Orbit", "Pea Eye", "Argentina", "One Foot In The Gutter", and "Buck's Business". (Also issued under the name Clark Terry In Orbit.)

Clark Terry's breezy trumpet is paired with Don Butterfield's tuba for a real "top and bottom" session of brassy jazz. The two of them are backed by a sharp rhythm section that includes Jimmy Jones on piano, Sam Jones on bass, and Art Taylor on drums. The set's got a lot of nice originals, and despite what you might think, this is actually one of Terry's harder sessions. Cuts include "Top N Bottom", "Mardi Gras Waltz", "Blues For Etta", and "Mili-Terry".

A very sweet little album by this great Motown group! The record was produced by Norman Whitfield, and it's a perfect example of the rumbling funky soul sound that he was developing at the time – a mixture of heavy bass, rumbling percussion, fuzzy guitars, and a stone righteous sound that pushed soul music firmly into the 70s! The songs are mostly all originals written by him and Barrett Strong – and the band is filled with great players like Dennis Coffey, Earl Van Dyke, Johnny Griffith, and the great Melvin "Wah Wah" Ragin. Titles include "Ungena Za Ulimwengu (Unite The World) Friendship Train", "What It Is?", "Don't Let Him Take Your Love From Me", "What's Going On", and "You Make Your Own Heaven & Hell Right Here On Earth".

A landmark album of electric piano grooves from Hysear Don Walker – the keyboardist on some of Young-Holt Unlimited's best albums! This album's much more in a jazz vein than some of the Young-Holt titles – with Walker playing electric keys on slower funky numbers that burn along at a sweet Kudu or CTI-styled pace – kicking back and letting the keys really open up as the tunes progress – putting equal emphasis on rhythm and solo space as Walker goes for the groove in an amazing way! All tracks are originals, save for one nicely placed Beatles cover – and titles include "Hydel", "Fat Flower, Skinny Stalk", "Durham Queen", "Inner Face", and "Jade Silhouettes".

The second trip into the studio for Cedar Walton's mighty Eastern Rebellion ensemble – and every bit as great as the first! This time around, the lineup's a bit different – with Bob Berg in on tenor, and Curtis Fuller expanding the group on trombone – but the groove is still the same – wonderfully in the pocket soul jazz, swinging with a gentle and fluid glide that's really tremendous. The work ranks up there with the best of Walton's recordings ever – and the tunes are all originals with a rich imagination for tone, soul, and color – and plenty of space for strong solo work. Titles include "The Maestro", "Sunday Suite", "Ojos De Rojo", and "Fantasy In D".

One of the best 70s albums by this funky organ player – quite different than his work for Blue Note, with a messier funkier edge that's very nice! Reuben Wilson's working with an all-hip lineup, with players who include Melvin Sparks on guitar, Garnett Brown on trombone, Bob Cranshaw on bass, Mickey Roker on drums, and Ray Amando on conga. The groove has a nicely choppy approach to rhythm, which you'll hear on the nice remake of "Cisco Kid", a big sample hit over the years – plus the sweet originals "Groove Grease" and "Snaps", both of which are hard and funky! The album's also got a great cover of "Superfly" – and other tracks that include "The Look Of Love", "We've Only Just Begun", and "Last Tango In Paris".