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A one-off studio group, but a really great one -- the team of Moses Dillard and Jesse Boyce, teamed to serve up this sublime blend of keyboards, vocals, and strings! The album's one of the biggest crossover club hits from the Prelude catalog of the 70s -- but it's also a set that's got a lot more depth than most other pop disco records of the time. The tunes are all originals, and all nice and long -- in that Prelude focus on live instrumental interplay -- especially nice between the keyboards of Boyce and riffing guitar of Dillard! Strings slide in and buoy the whole thing up, and vocals are by the trio of Vicki Hampton, Donna McElroy, and Clyde Tucker -- mostly in a chorus mode. Titles include "Funk Encounter", "Dancing Angel", "Perfect Love Affair", and "Cosmic Melody".

Herbie's still in electro-grooving mode here -- not groundbreaking as earlier records, but still handled by Bill Laswell, and with a tackhead groove pretty firmly in place. The tracks are a bit more complicated than before, with vocals by Sugarfoot, and bass by Bootsy Collins. Titles include "Vibe Alive", "Perfect Machine", "Chemical Residue", "Beat Wise", and "Maiden Voyage/P Bop".

Three tracks from his first solo LP. Unlike most BDP/KRS material, KRS brings in outside producers on all three: Muggs, Commisioner Gordon, and Domingo.

A dream come true -- Minnie's first two solo albums for Epic, back to back on one CD! Perfect Angel was one of THE albums that helped define the sound of female soul in the 70s -- a record that moves past the baroque soul of Minnie's early years with Rotary Connection and Charles Stepney -- and hits a mix of mellow compressed LA styles and slicker funkier numbers that do the same thing for her Chicago-trained vocals that Rufus' backing did for that of Chaka Khan. Of course, it helps that she's got some superbly sensitive writing and arranging help by husband Richard Rudolph -- and Stevie Wonder's definitely lurking in the background, too. Includes Minnie's huge crossover hit "Loving You", a perfect showcase for her beautiful 5 octave voice, plus the tracks "Our Lives", "Every Time He Comes Around", "Perfect Angel", and "Reasons". Adventures In Paradise is even better -- and may well be Minnie's greatest album ever! The album's a sparkling work of jazzy soul, with touches of the heavenly production that Minnie got in years past, and lots of smooth mellow songs that are perfectly suited to her other-worldly voice. Includes the massive track "Baby, This Love I Have" -- a slow funk number that's be sampled many times over the years -- plus the spacey tunes "Minnie's Lament", "Inside My Love", and "Alone In Brewster Bay", remade from Minnie's first LP! 19 tracks in all -- and an essential CD for any fan of 70s soul!

Magnificent stuff -- an a treasure trove of lost harmony soul! This is the kind of compilation that really gets us going -- 24 super-mellow soul tracks from the late 60s and early 70s, all of them done by male harmony groups with a stellar vocal approach. Some of the groups are ones you'll know, singing in a style that you may not recognize from their earlier years -- and others are obscure ensembles, the kind we treasure even more on a set like this! Vocals are wonderful throughout -- smooth, yet deeply soulful -- and often with the kind of sad and honest quality that we look for in harmony soul. Titles include "What Did I Do Wrong" by The Mayberry Movement, "I've Been Trying" by Reggie Saddler Revue, "Friends Or Lovers" by Act One, "Hearts Were Made To Love" by The Pretenders, "Please Don't Leave" by Tuxedo, "Baby It's You" by The Masqueraders, "You Send Me" by Ponderosa Twins Plus One, "I Am So Glad I Took My Time" by the Floaters, "Let Your Heart Be The Judge" by Gods Gift To Women, "What Am I Guilty Of" by The New Cymbals, and "Maybe So Maybe No" by The New Holidays.

Minnie's first album for Epic -- and the record that broke her from a hip Chicago underground artist into one of the seventies' biggest soul divas! The record moves past the baroque soul of Minnie's early years with Rotary Connection and Charles Stepney -- and hits a mix of mellow compressed LA styles and slicker funkier numbers that do the same thing for her Chicago-trained vocals that Rufus' backing did for that of Chaka Khan. Of course, it helps that she's got some superbly sensitive writing and arranging help by husband Richard Rudolph -- and Stevie Wonder's definitely lurking in the background, too. Includes Minnie's huge crossover hit "Loving You", a perfect showcase for her beautiful 5 octave voice, plus the tracks "Our Lives", "Every Time He Comes Around", "Perfect Angel", and "Reasons".

Harmony soul -- our favorite kind of soul -- served up in a sublime batch of 24 rare tunes from the late 60s and early 70s, presented in an all-legit package with great sound and well-done notes! As with the first volume, there's a strong influence here from mid 60s Impressions -- a crackling vocal approach that's honest, personal, and heartfelt -- and never too smooth, even when the sound is sweet and warm. There's also a few well-chosen female group soul tunes on the set -- nicely offsetting the mostly-male approach to harmony with some key cuts that remind us that the girls could often go a deep in the genre as the guys. The whole thing floats along on a heavenly cloud of vocals and lightly-done backings -- perfect late nite listening, and a must-have set for any fan of the genre! Titles include "Keep On Trying" by The Invincibles, "Chapel Bells Are Calling" by The Insiders, "You're Gonna Make It" by The Festivals, "Daydreamer" by CC & Company, "I Like The Way You Love Me" by Foxy, "So Glad You're Home" by The Superbs, "Things Will Be Better" by The Just Brothers, "I'm Still Here" by The Notations, "Never Will I" by The Magnificent Seven, and "Someone Else's Arms" by Channel 3.

A funky fusion of post-millenium Brazilian club groove and contemporary hip hop from Marcelo D2! MD2 does a great job of demonstrating the all inclusive groove at the core of disparate musical elements. Almost every tune has a sound rooted in percussive samba, but the vibe stretches through programmed and organic beats, bass, keys and scratches -- courtesy of Mixmaster Mike! The album was produced by "fourth Beastie" Mario Caldato -- who really brings his hip hop pedigree to the sound in ways that he did not when he produced Seu Jorge's album! The groove has nu samba feel, with traces of electro, house, and hip hop love that stretches from Sugarhill to Shaolin. Instrumentals album features 8 tracks in all -- include "Vai Vendo", "A Maldicao Do Samba", "Qual E?", "Re: Batucada", "Batidas E Levadas", "Profissao MC", and "Polotando O Bonde Da Excursao".

A killer collection of cosmic soul -- just the sort of set that first drew us to the Sonar Kollektiv label many years back, and quite possibly the strongest work so far from the mighty Matt Chicoine! The set's a bit more song-based and focused than before -- upbeat tunes with compelling hooks, yet all still filled with the keyboard-heavy modes we know from Matt's other music. Rhythms are often a bit funky, but in kind of a cosmic way -- and the set draws strongly from an array of guest stars who include Joe Dukie, Rachel Fraser, Justin Chapman, and Tyna. Titles include "Catch A Leaf", "So Cool", "Can It Be", "Emotional Funk", "Red Road", "Deeper Waters", "The Sanctuary", and "Daydream".

GQ and Atlantic scribe John Seller's rambling ode to indie rock, chronicling his complicated, funny, and often kind of puzzling (but amusing) personal connection to all the biggies of the inconoclastic rock scene, from patron saints such as Joy Divison, Sonic Youth, Pavement and Sellers' beloved Guided By Voices, and well beyond. Sometimes funny, generally incisive, and a bit to knowing cute and naval gazing in spots, like many of his favorite bands, but still a fun read. Paperback, 213 pages.

Stunning work from Hipnosis -- an album that's far greater even than their debut -- and we loved that one a lot! The sound here is all jazz all the way through -- done in a lively, dancing, soaring groove that makes the album feel like a lost modal jazz classic on MPS or Saba -- and which easily puts Hipnosis at the top of a very elite group of club jazz artists that include Sleepwalker and Nicola Conte! 2 of the album's tracks have female vocals -- in a cool, breezy, Karin Krog-styled mode -- but the bulk of the set is instrumental, and takes its energy from rhythmic piano and Fender Rhodes lines, rolling acoustic bass passages, and some especially great angular work on sax and trombone! There's an energy here that we totally love -- and the album crackles with life from the very first note -- and never ceases to delight as it rolls through a brilliant set of tracks that includes "Soul Search", "Mad Angel", "Opposite Of Hamburg", "Dewendiana", "Nova Express", "Carrousel", and "Nimm Mich Mit".

A brilliant album of cosmic jazz from this up and coming German group! Hipnosis work in a territory that's half 70s fusion, and half underground club jazz -- in a style that kind of feels like what would have happened if Herbie Hancock recorded for Compost Records! The group boasts some excellent work on Fender Rhodes and reeds -- and most of the rhythms of the set have a loping, romping, modal feel -- giving the record that warmth and grooveness of a classic album on MPS -- showing that the European scene is still quite alive and well, and that all the years of sampled jazz records have finally lead to a great real jazz outing! File this one next to recent work by Sleepwalker and Koop -- and prepare to be quite impressed. Titles include "My Words", "Black Forest Stomp", "Faery Song", "Helio Kop", "Moonflower", and "Half & Half".

A brilliant album of cosmic jazz from this up and coming German group! Hipnosis work in a territory that's half 70s fusion, and half underground club jazz -- in a style that kind of feels like what would have happened if Herbie Hancock recorded for Compost Records! The group boasts some excellent work on Fender Rhodes and reeds -- and most of the rhythms of the set have a loping, romping, modal feel -- giving the record that warmth and grooveness of a classic album on MPS -- showing that the European scene is still quite alive and well, and that all the years of sampled jazz records have finally lead to a great real jazz outing! File this one next to recent work by Sleepwalker and Koop -- and prepare to be quite impressed. Titles include "My Words", "Black Forest Stomp", "Faery Song", "Helio Kop", "Moonflower", and "Half & Half".

Don't pass these guys up -- because they're a really great little group -- especially if you enjoy the jazzy soul of some of the recent releases on Sonar Kollektiv! Like the best SK groups, these guys work in a mode that combines soulful vocals, jazzy riffing, and a bit of electronics into a cosmic 21st Century groove -- one that's surprisingly organic, and which features a fair bit of live instrumentation on the set -- blending together electric keys and reeds, in a mode that gives the record plenty of nice 70s touches! There's a depth here that we really appreciate -- and we'd rank this one right up there with work by Georg Levin, Benny Sings, and maybe even Deyampert! Titles include "Sky Bird", "Loading", "Nu Words", "Beautiful Giants", "Crazy Baby", "Reset", "Mrs McCoy", and "Silverstar".

A nice amalgam of club beats, funky fusion and jazz groove from Mokadi -- another fine record from the ever-reliable Perfect Toy label! The group is centered around the lovely vocals of Dita von Aster, and wonderful work on keys by Ralph Kiefer, who worked similar magic with Hipnosis. There's a genuine group vibe to the proceedings, too -- which lends the groove an appeal that stretches well beyond the club jazz/dancefloor circuit! This record will sit well with similarly strong albums on labels like Compost and Schema! Tracks include "Voodoo Chant", "Human Natures", "My Favorite Things", "A 1000 Times", "Always Now", "Butterflies", "Rock The House" and more!

Laidback beats with an unusual feel -- a bit dubby at times, but with rootsy elements too -- almost in the modes we used to hear from Boozo Bajou a few years back! Gritty guitar, harmonica, and violin slide in and out of the beats and keyboards -- and most tracks feature English language vocals, some of which are sung by Earl Zinger -- others by Hugo Race, Bev Lee Harling, and Farda P. The whole thing's pretty moody and atmospheric -- almost a late nite trip through the sideshow promised in the title -- and cuts include "Crime Baby", "Telephone Call", "Rising Star", "No Deposit", "Foreign Woman", and "Underground".

The first full length set from Zero Crossing -- an album of stark electronics and jagged rhythms that follows nicely in the spirit of their earlier singles! The sound here is definitely steeped in some of the colder waves coming from the German scene of late -- that style that's explored more heavily by Compost and Sonar Kollektiv in the 21st Century, a real move away from warmer jazz influences into a groove that mixes 80s experimentalism with influences from a wide range of hip hop production. Guests include Kool Keith, Jaymz Nylon, and Ann & Marva Hershey -- and titles include "Mindhunter", "Da Game Is On", "Rhythm Of Life", "Darkness", "Interlude B", "Touching You", "Dancin With Brock", "Choose The Moose", and "Nu Funk".

An incredible batch of funky jams -- a seemingly disparate range that burns together beautifully! The set kicks off in appropriately grimy fashion with Jimmy Lynch's "F**king Up" -- a gutterfunk blast that would make the JBs blush -- and the energy carries throughout the rest of the set! Curator Florian Keller's track list features powerhouse soul, percussion & keys instrumentals, psychedelic flourishes, soul grunts, and leftfield numbers from funky funky Europe! 19 tracks in all, including "Candy Man (edit)" by Josephine James, "Momma Momma" by Betty Barney, "You're Blowing My Mind" by "Bobby Wayne", "Give Me Mercy" by Ruff Francis, "Manifesto" by James Lewis, "Somethin' Going Wrong" by Malcouns, "And I Love You" by Darling Dears, "Love Is All You Need" by Madeline Bell, "Galaxy Medley" by Frank Hatchett and more!

Don't let the title or the bunny on the cover put you off, because there's nothing toy-like about these tunes -- and the package is an excellent batch of rare German grooves put together with the same high level as other collections on the Perfect Toy label! Ex-Spinning Wheel mainman Marcus Hacker put together this one -- and the grooves remind us a lot of some of the older SW sound library compilations -- all awash in flavors borrowed from Brazilian bossa, American funk, Brit easy, and other genres -- remodeled into a German economic miracle mode by a variety of jazz and studio players! The sound here is really really fresh -- funky, but with lots of odd little touches and unusual instrumentation -- a bit in the In Kraut mode, but more direct overall, and slightly less kitschy (although the set does have a few charming moments in that respect.) A number of tracks have vocals -- some sung, some scatted -- and titles include "Photographs" by Swegas, "Cameleon" by Kaate Frits Quartet, "Drift" by Orchester Heinz Kiessling, "Soul Samba" by The Earthquakers, "Guarana Guaranar" by Grupo Veneno, "Sara" by The Voices, "I Mimi" by Idili Tsaliki, and "Memories Of Yesterday" by Othella Dallas.

A second turn in the Movements series on the Perfect Toy label -- some of the most blazingly funky 45s you'll hear -- put together by the Tobias Kirmayer of Tramp Records! Once again we're floored by how great all of this stuff sounds -- some of the deepest, tightest funk material we've ever heard -- with snapping drums, perfectly timed horn blasts -- and some hard psychedelic soul touches of organ and wailing vocals -- while never falling short of unfailingly funky! 15 great tracks: "If It Feels Good" by Phil Flowers, "There's A Wrinkle In Our Time" by 1984, "Don't Chain My Soul" by Carlton Basco, "My Mind Set Me Free Pt 1" by House Guests, "Now Is The Time" by Sisters Love, "Southern Fried Chicken Pts 1 & 2" by Bill Thomas & The Fendells, "Warm Daddy's Choice" by River Front Band, "Bring Out Yourself" by Emperors Soul 69, "Bahama Soul Stew" by Funky Nassau, "Motherless Child" by Harmonica Paul, "Arabian Funk" by Ray Anthony and more!

The Berlin wall's been down for over a decade, but it's taken years for the western club scene to finally notice the great grooves coming out of the Eastern Block scene! For years now, artists in nations formerly locked off from more familiar European circuits have been dabbling in styles that not only share some of the best styles of work by artists like those on the Compost and Schema labels, but which also bear some unique traces of the strands of jazz and funk that percolated through the once-Soviet nations in the 60s and 70s. This package does a great job of pulling together the best bits from the Eastern scene -- and focuses on tracks that share a warm, jazz glow -- and which bubble out with a soulful finish that will certainly have us looking for more work from these artists in the future! The set features tracks from Warsaw, Lubljana, Zagreb, Budapest, and Prague -- and features a number of titles exclusive to this release! Titles include "Gold" by Innocent Sorcerers, "Tinkle Bells" by Electric Brother, "It's Just A Joke" by Rough & Ready, "Happy Dayz" by Klascik, "Free Climbing" by Painkiller Septet, "Bagdance" by Yannah, "Flyin Down To Rio" by Crate Soul Brothers, "Soul Oriental" by Onbeyond, and "Drop The Bomb (ZKA4T ft DJ Tall rmx)" by The Second Whorl.

The Berlin wall's been down for over a decade, but it's taken years for the western club scene to finally notice the great grooves coming out of the Eastern Block scene! For years now, artists in nations formerly locked off from more familiar European circuits have been dabbling in styles that not only share some of the best styles of work by artists like those on the Compost and Schema labels, but which also bear some unique traces of the strands of jazz and funk that percolated through the once-Soviet nations in the 60s and 70s. This package does a great job of pulling together the best bits from the Eastern scene -- and focuses on tracks that share a warm, jazz glow -- and which bubble out with a soulful finish that will certainly have us looking for more work from these artists in the future! The set features tracks from Warsaw, Lubljana, Zagreb, Budapest, and Prague -- and features a number of titles exclusive to this release! Titles include "Gold" by Innocent Sorcerers, "Tinkle Bells" by Electric Brother, "It's Just A Joke" by Rough & Ready, "Happy Dayz" by Klascik, "Free Climbing" by Painkiller Septet, "Bagdance" by Yannah, "Flyin Down To Rio" by Crate Soul Brothers, "Soul Oriental" by Onbeyond, and "Drop The Bomb (ZKA4T ft DJ Tall rmx)" by The Second Whorl.

Latin funk & jazz from Cesar's Salad -- bringing the Latin Beat and lots of it -- killing it on a percussion heavy set of numbers from the Latin, jazz, and Brazilian canons with their own hard grooving style! The sound is fully steeped in the classic influences, but those influences are quite diverse, and Cesar & co do a fantastic job of blending them into a tight package. It's small combo with a big sound, featuring Cesar Granados on congas, Hajo Von Hadeln on drums, Jerker Kluge on bass and Jo Junghanss on piano. Half the group is percussion & drums, giving it an inherent hip shaking groove, but the tunes with piano out front have a great sound, too -- with titles including "Jamilah", "Afrolypso", "Liberated Brother", "Manteca", "Bolivia", "Nana", "Afrodisia" and "Batucada Surgiu".

An album that's every bit as hip as you'd expect from its Sam Rivers-inspired cover image -- a beautiful tribute to the modal jazz scene of the 60s, particularly the work of John Coltrane and some of his followers on Impulse Records! Apart from a cover of "Naima", though, the set's hardly a simple rehash of Coltrane modes -- as all other tunes are originals, and the band delivers them with a core piano trio groove, then adds in flute, tenor, and soprano sax on different tracks! Rhythm is at the heart of the record, and bassist/leader Jerker Kluge really moves the group with a pulsating sound on his instrument -- a deep, soulful tone that's matched beautifully by the brightly soaring piano lines of Jo Junghanss. A few cuts feature vocals by Julia Fehenberger, who further deepens the soul of the record -- and the whole thing's a massive killer -- like finding some lost Saba/MPS gem from the late 60s, with all the European jazz genius you'd expect from such a reference. Titles include "Heaven & Earth", "Naima", "Orange Flower", "Red Smoke", "Starlings Talk", and "Black Tiger".

An album that's every bit as hip as you'd expect from its Sam Rivers-inspired cover image -- a beautiful tribute to the modal jazz scene of the 60s, particularly the work of John Coltrane and some of his followers on Impulse Records! Apart from a cover of "Naima", though, the set's hardly a simple rehash of Coltrane modes -- as all other tunes are originals, and the band delivers them with a core piano trio groove, then adds in flute, tenor, and soprano sax on different tracks! Rhythm is at the heart of the record, and bassist/leader Jerker Kluge really moves the group with a pulsating sound on his instrument -- a deep, soulful tone that's matched beautifully by the brightly soaring piano lines of Jo Junghanss. A few cuts feature vocals by Julia Fehenberger, who further deepens the soul of the record -- and the whole thing's a massive killer -- like finding some lost Saba/MPS gem from the late 60s, with all the European jazz genius you'd expect from such a reference. Titles include "Heaven & Earth", "Naima", "Orange Flower", "Red Smoke", "Starlings Talk", and "Black Tiger".

A totally great collection of grooves with a real range of material -- nearly all fresh to our ears, and the kind of record that really makes us sit up and take notice! The set's got a loose approach to the selections -- in that it features tracks from American and European sources, and easily blends together tunes from soul, jazz, funk, and easy records -- but that's what makes it so great, and so fresh, as the tracks stand wonderfully back to back, sounding like a hip club night at some far-away place, the kind of all-great set that has you keep getting out of your chair, walking up to the DJ, and saying "Sorry to bother you again, but what's that track you're playing?" Titles include "Creative Musicians" by Lyman Woodard, "Stop" by Lonette, "Shabazz" by Rhoda Scott, "Don't Boom Boom" by Lillian Hale, "The Barracuda" by Leonard King & The Soul Messengers, "Questions (parts 1 & 2)" by Pat Stalworth, "Concentrate" by Willie Tee, "Mabusso" by Orchester Ambros Seelos, "Jumping" by Charlie Antolini, and "Highway 101" by John Barry.

Don't pass these guys up -- because they're a really great little group -- especially if you enjoy the jazzy soul of some of the recent releases on Sonar Kollektiv! Like the best SK groups, these guys work in a mode that combines soulful vocals, jazzy riffing, and a bit of electronics into a cosmic 21st Century groove -- one that's surprisingly organic, and which features a fair bit of live instrumentation on the set -- blending together electric keys and reeds, in a mode that gives the record plenty of nice 70s touches! There's a depth here that we really appreciate -- and we'd rank this one right up there with work by Georg Levin, Benny Sings, and maybe even Deyampert! Titles include "Sky Bird", "Loading", "Nu Words", "Beautiful Giants", "Crazy Baby", "Reset", "Mrs McCoy", and "Silverstar".

A smooth bit of funky jazz from 76 Degrees West -- a cool combo with a nice sort of bounce in their groove! The group are clearly inspired by 70s funk, but take things towards a more contemporary vein -- often using some tight horn lines in the lead, and snapping rhythms at the bottom -- sometimes in an instrumental groove, sometimes with guest vocals from singers that include Angela Johnson and Gordon Chambers. The sound's much better than other contemporary smooth sets of this nature -- and titles include a remake of "School Boy Crush", plus "Be Careful", "Latin Jam", "Can't Keep Runnin", "Baby Come On", "Your Love Is Real", "This Summer", and "What About That".

Way more than just a tribute to Cuba -- and instead, a set of work that's just about as spiritual and soulful as any of Idris Ackamoor's other recordings! The great Chico Freeman's on board this time around -- blowing tenor and soprano sax with Ackamoor's ensemble for the record -- a group that features percussion from Baba Duru, piano from Frederick Harris, and vocals from Daria Nile. There's a touch of Cuba in the rhythms, but most of the tunes follow in the same warmly righteous mode as other work by Idris -- a groove first forged back in the 70s during his time with The Pyramids, evolved wonderfully by the time of this recording, but still delivered with all the right sort of classic elements. Instrumentation is all acoustic, and production is perfect for the album's warmly-flowing vibe -- on titles that include "Guanabo", "Cubana", "Angels Of Cuba", "Santeria", "Ode To The Orishas", "Santiago De Cuba", and "Old Havana".

An obscure soul group, but a great one -- equally at home with a fragile harmony tune as they were with more uptempo groovers for the dancefloor! This one and only album from Act One is a perfect illustration of the best two sides of the east coast indie soul scene of the early 70s -- because some tunes are spare, simple, and heartbreaking -- really building off the best qualities of 60s harmony soul, but with a lot more sophistication -- while others are bolder, more upbeat, and positive -- really using the new studio modes of the time to send a few tunes really over the top! The mix is quite similar to Black Ivory at their best -- although the album's more under-discovered treasure -- and although it's the only record ever by the group, it's got a solidity that should have made them as big as any of the 70s stars on Atlantic or Philly International! Titles include "Goodbye Love", "Friends Or Lovers", "Tom the Peeper", "Party Hardy People", "I Don't Want To Know What You Do To Me", "Still Waters", "It's The Same Old Story", and "Love's Got Your Mind". CD also features the bonus tracks "I Never Had A Love Like Yours", "A Whole Love Of Love Makin", and "It Takes Both Of Us".

Rock-solid live material from the classic Cannonball Adderley Sextet -- a combo who could usually groove even better on a concert date then they could in the studio! The album's one of a number of key live sides from Cannon in the 60s -- and although it pre-dates his work on Capitol, it's done in a similar spacious mode -- with plenty of longish tracks that build upon the core groove set down by Joe Zawinul's piano, Sam Jones' bass, and Louis Hayes' drums -- a perfect backdrop for the creative and complicated solos of Cannon on alto, Nat Adderley on cornet, and Yusef Lateef on tenor, flute, and oboe! The date was recorded live at the Village Vanguard in 1962 -- and titles include "Gemini", "Planet Earth", "Dizzy's Business", "Syn-anthesia", "Scotch & Water", and "Cannon's Theme".

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

A tremendous album from Air -- recorded in their native Chicago, but one of the landmark 70s sessions on Japan's Why Not label! The trio is in wonderful formation here -- very focused, with a sharpness that you don't always get in some of their other recordings -- a perfect balance between the reeds of Henry Threadgill, bass of Fred Hopkins, and drums of Steve McCall! There's a tightness here that we really love -- a bold sense of power that takes the AACM tradition, and fuses it with more of a 70s spiritual jazz approach at times -- still experimental enough to live up to Air's reputation, but with occasional rhythmic elements that really push things forward. The album only features 4 tracks -- but all of them are long, and stepped in soul -- with titles that include "The Great Body Of The Riddle Or Where Where The Dodge Boys When My Clay Started To Slide", "Untitled Tango", and "Dance Of The Beast".

A long-overdue session of ballads from modern tenor giant Eric Alexander -- a player we've always loved for his soaring, leaping lines on soul jazz sets -- but who also has just the right tone to carry off an album of mellow tunes and ballads! Alexander's tone reminds us a lot of the Sonny Rollins sound of the mid 60s -- that perfect, yet never too-polished style that Sonny was using when re-interpreting standards in a masterful demonstration of space and economy. The tracks on this set are a well-chosen lot -- and include 2 classic Mal Waldron ballads, "Left Alone" and "Soul Eyes", plus 2 takes on Earl Hagen's "Harlem Nocturne", and Alexander's own track "Gently". The group's a quartet, with Mike Le Donne on piano, John Webber on bass, and Joe Farnsworth on drums -- and the session's recorded with impeccable sound, in the Venus Records mode.

A dynamic sextet outing from tenor saxophonist Eric Alexander -- easily one of the best straight jazz albums recorded by the Delmark label in the 90s, put together with a rock-solid sound all the way through! Alexander's tenor would be enough to make the record great, but the album also features piano from perfect partner Harold Mabern -- once Eric's teacher, but a player who's set on fire anew by his presence on dates like these. Other members of the group include trumpeter Jim Rotondi -- nicely focused in the frontline here, and matching Alexander and trombonist Steve Davis on the heads with a classic sort of Blue Note energy. Bass is by John Webber and drums are by George Fludas -- and titles include a great modal reading of "Naima", plus "Mode For Mabes", "Sugar Ray", "Erik The Red", "Love Thy Neighbor", "Stay Straight", and "For Heaven's Sake".

An overlooked set from the Bay Area scene -- one of the only albums cut by Lillian Alexander, a vocalist who'd previously worked with both the Grateful Dead and Marvin Holmes & The Uptights! Don't let her work with the Dead put you off, because this set's all-soul, all the way through -- a surprisingly well-produced record for a small indie label -- with a great sort of polish on the ballads, and some nice tight instrumentation on the groovers! Overall, the sound's almost more late 70s than the early 80s date of the set -- not so much boogie, and a bit more funky soul overall -- including some bass-heavy groovers that are perfect for the dancefloor. Titles include "Can You Feel It", "It's Not Love", "Relays", "Sweet On You", "A Dream Without You", "Let Love Take A Holiday", "Love For Sale", and "You're Gone".

An overlooked set from the Bay Area scene -- one of the only albums cut by Lillian Alexander, a vocalist who'd previously worked with both the Grateful Dead and Marvin Holmes & The Uptights! Don't let her work with the Dead put you off, because this set's all-soul, all the way through -- a surprisingly well-produced record for a small indie label -- with a great sort of polish on the ballads, and some nice tight instrumentation on the groovers! Overall, the sound's almost more late 70s than the early 80s date of the set -- not so much boogie, and a bit more funky soul overall -- including some bass-heavy groovers that are perfect for the dancefloor. Titles include "Can You Feel It", "It's Not Love", "Relays", "Sweet On You", "A Dream Without You", "Let Love Take A Holiday", "Love For Sale", and "You're Gone". CD features 5 bonus tracks too -- the previously unreleased "Lillian's Boogie", a TM Juke mix of "Love For Sale", and instrumentals of "A Dream Without You", "Love For Sale", and "Sweet On You".

A beautiful mix of gospelly soul and heavy Memphis production -- and the kind of heavy soul album that made Rance Allen one of Stax's best new artists during the 70s! David Porter produced and arranged, and the album has some great electric keyboard work by Rance that provides a perfect counterfoil for his rich baritone voice. The album's a lot more stripped down than later efforts -- with a rootsy sound that should have made Rance even bigger with the crossover crowd. Titles include "Talk That Talk", "The Painter", "Ring My Bell", and "Harlem Heaven".

A fantastic album from Gerald Alston -- a tribute to the mighty Sam Cooke, but one that's sung with lots of Alston's own charm as well! We're normally not big fans of tribute sets like this, but the setting turns out to be a perfect one for Gerald -- a batch of classic tunes, recorded with a classic style of production -- just the right fit for Alston's always-great vocals, and a new grounding in vintage soul territory! There's plenty of warmth in the set -- that soulful glow that Cooke first brought to his music -- and Gerald Albright adds in some great sax solos on most tracks, creating a bit of a jazzy vibe at points. Titles include "You Send Me", "For Sentimental Reasons", "Twistin The Night Away", "Cupid", "A Change Is Gonna Come", "Good Times", "That's Where It's At", "Bring It On To Me", and "Having A Party".

Cosmic jazz recast as cosmic electro groves by DJ Altz -- remixing the underground classic Isophonic Boogie Woogie LP by Roland Young! The original LP, an unusual blend of organic sounds and slight electronics, provides an excellent foil for Altz to playfully mutate into more of an electronic groover! Roland's original instrumentation -- electric bass clarinet with kalimba, bells, chimes, soprano sax, and a bit of "electronic drone" -- tripped out, jazzy sounds -- perfect to be recast as ambient dance music and also more of an eccentric chill out mode. Titles include "Crystalized Sky", "Magenta Loops", "Velvet Dreamin", "Fly Times", "Stillness" feat DJ Kensei (D 'n' B version) and "Funks".

One of the greatest albums to come from the New York underground of the early 80s -- even if it was a relatively big "hit" on a major label! Laurie Anderson is in perfect form here -- drawing on a strong tradition of avant garde performance, but without any of the indulgences that would mire down performance art in years to come. Instead, she's got a clean, clear style that's simply amazing -- spoken passages that are poetic and pointed, but which also have a slight undercurrent of wit -- a charming quality that never takes itself too seriously, even when the sounds and styles are somewhat dark. Instrumentation includes some great rhythm passages from David Van Tieghem, plus surprising performances from Rufus Harley on bagpipes and George Lewis on trombone. Titles include "From The Air", "Big Science", "O Superman", "Born Never Asked", "Walking & Falling", "Example #22", "Let X = X", and "It Tango". Expanded version also features the video for "O Superman" and the bonus track "Walk The Dog".

A rare Leny Andrade album -- one that's pulled from her early bossa years, but recorded in Mexico with a slightly different feel! The group's a small one, and features some really great vibes from Breno Sauer -- played over lively bossa rhythms, that are always spare and jazzy -- a perfect setting that really brings out the best in Leny's voice! Group members sometimes harmonize behind Andrade's lead, making for an even groovier sound -- but Leny herself is usually more than enough, as she takes off here with a lot of youthful energy to keep things grooving. Titles include "Sarava", "Canto De Chegar", "Estamos Ai", "Noite Do Meu Bem", "Capoeira De Oxala", and "Samba Sarava".

Chapter two, and an even deeper set than India Arie's first Testimony album -- a record that shows a lot of growth in India's music, and a style that's even more mature and righteous than before! Arie's acoustic guitar is a key part of the instrumentation, and the album features a fair bit of mellower tracks too -- so that there's a sense of intimacy in the music that's really great -- the perfect setting for India's positive thinking and spiritual growth, which is documented somewhat in her copious notes inside the album's booklet! Most tunes have a warm glow, but one that's never smooth or commercial -- and guests on the album include Musiq Soulchild, Gramps Morgan, Dobet Gnahore, and Terrell Carter. Titles include "Long Goodbye", "Chocolate High", "Ghetto", "Therapy", "River Rise", "Pearls", "Better Way", "Yellow", and "He Heals Me".

Chapter two, and an even deeper set than India Arie's first Testimony album -- a record that shows a lot of growth in India's music, and a style that's even more mature and righteous than before! Arie's acoustic guitar is a key part of the instrumentation, and the album features a fair bit of mellower tracks too -- so that there's a sense of intimacy in the music that's really great -- the perfect setting for India's positive thinking and spiritual growth, which is documented somewhat in her copious notes inside the album's booklet! Most tunes have a warm glow, but one that's never smooth or commercial -- and guests on the album include Musiq Soulchild, Gramps Morgan, Dobet Gnahore, and Terrell Carter. Titles include "Long Goodbye", "Chocolate High", "Ghetto", "Therapy", "River Rise", "Pearls", "Better Way", "Yellow", and "He Heals Me". Includes 2 bonus tracks ; "A Beautiful Day" & "Beautiful Flower".

One of the Art Ensemble Of Chicago's all-time classics! If you've ever bought an Art Ensemble album and said "Hmm, what's all the fuss about?", get this one. It'll change your mind. The band is in perfect form -- and hits an incredible blend of free thinking modernism and soulful soloing, peppered with a healthy dose of humor. The tracks are shortish, and very tight -- and titles include "Jackson In Your House", "Song For Charles", "The Waltz", and "Get In Line".

The title's certainly right on this one -- because Atlantic Starr serve up a really brilliant blend of electro funk and mainstream soul -- balanced with that near-perfect sound that made them one of the best groups of their generation! Despite the size of the combo, the sound is relatively lean -- a very focused balance of basslines, keyboards, and some tightly snapping 80s groove rhythms -- served up with vocals that warmly cascade over the tops of the tunes, but usually take a second seat to the extremely compelling instrumentation. The sound is polished, but never too slick -- and the group are a great example of how well soul from this time could sound when done just the right way! Titles include "Love Me Down", "Sexy Dancer", "Circles", "Love Moves", "Your Love Finally Ran Out", and "You're The One".

Radiant grooves indeed from Atlantic Starr -- a group who really make things sparkle throughout this magnificent set! The group are at the height of their powers here -- skirting a perfect line between mainstream soul and upbeat club -- never falling too much into one style or the other, and never sounding as commercial as some of their contemporaries! There's a relaxed, easygoing feel to most of the grooves on the set -- never too much fake bass, nor too many electric touches -- and the vocals shift a bit from track to track, taking good advantage of singers Wayne Lewis, David Lewis, and Sharon Bryant. Titles include "When Love Calls", "Think About That", "Mystery Girl", "Under Pressure", "My Turn Now", "Does It Matter", and "Send For Me".

Snapping beats and a really great 80s groove make "Checking You Out" one of Aurra's best tracks! The tune starts out slow, in a way that's perfect for bringing up out of a mix -- then the vocals come in with some nice electro undercurrents -- really making for a catchy appeal to the tune! Shep Pettibone mixed, too!

A great little album by Roy Ayers -- one that features none of his hits, but which has great examples of both sides of Roy's talents at the time. The dancefloor side of Roy kicks in with "Love Will Bring Us Back Together", an extremely catchy groover that's very much in the mode of "Running Away", with plenty of choppy funky riffs, and a good soul base at the core. Even better, though, is the mellow spacey side of Roy -- which shows up wonderfully in the cuts "Is It Too Late To Try" and "If You Love Me" -- two overlooked gems that float along in a perfect blend of jazz and modern soul, with great breathy vocals and vibes, very much in the spirit of stuff on the You Send Me album.

An archetypal album by Roy -- and one that really shows him at the turning point of his sound! Gone are the trippier jazz funk moments of earlier albums -- and in their place are some tight grooves and wonderfully spacey soul. Roy hits the dancefloor with one of his first up-tempo funk numbers "Brother Green", a catchy groover with lots of clavinet, and the massive "Life Is Just A Moment", a storming 2-part number that rolls along with a pounding almost house-like groove. "Mystic Voyage" shows the sweet jazzy side of Roy -- as it's a vibes-heavy instrumental with a light stepping groove, perfect for the mellow direction he'd take on other records. The album also features some great off-beat funk numbers that recall earlier albums -- including the break-heavy "Spirit Of Doo Doo", plus "Funky Motion" and "The Black Five".

Seminal early funk work from Roy Ayers! The record catches him at that perfect point when he was turning from a straight jazz player into a sinister force in 70s funk -- and the group on the session includes super-hip soul jazz giants like Charles Tolliver, Sonny Fortune, and Harry Whitaker, running through short hip soul tracks that were very different than the style of music they were laying out on albums of their own. Roy's on organ, piano, vibes, and vocals -- and he also handles the arrangements, with extra help on strings by William S Fischer, whose usual dark touches come across very well here. The album features some great soul covers -- like "Ain't No Sunshine" and "Day Dreaming" -- plus the original tracks "Cocoa Butter", "Rhythms of Your Mind", and "Red Black & Green".

Seminal early funk work from Roy Ayers! The record catches him at that perfect point when he was turning from a straight jazz player into a sinister force in 70s funk -- and the group on the session includes super-hip soul jazz giants like Charles Tolliver, Sonny Fortune, and Harry Whitaker, running through short hip soul tracks that were very different than the style of music they were laying out on albums of their own. Roy's on organ, piano, vibes, and vocals -- and he also handles the arrangements, with extra help on strings by William S Fischer, whose usual dark touches come across very well here. The album features some great soul covers -- like "Ain't No Sunshine" and "Day Dreaming" -- plus the original tracks "Cocoa Butter", "Rhythms of Your Mind", and "Red Black & Green".

One of the best early soul albums by Roy Ayers! Roy's working here with Dee Dee Bridgewater, Edwin Birdsong, William Allen, Harry Whitaker, and other hip players -- a perfect crew to forge Roy's unique blend of jazz and soul. This is perhaps the first record to really have Roy stretching out in this mode -- moving more fully away from funky jazz, into a ream of vocal tracks that would make him one of the most unique artists of the 70s. This mid 70s period of Roy's career was remarkably fertile, creatively as well as for sheer productivity -- and Tears To A Smile is one of them that shows some the most artistic growth, and also a deeper sense of soul! Features righteous cuts like "2000 Black", "Ebony Blaze", "Time & Space", and "A Tear To A Smile" -- plus the mellow "Magic Lady", and a great remake of Earth Wind & Fire's "That's The Way Of The World".

One of the best early soul albums by Roy Ayers! Roy's working here with Dee Dee Bridgewater, Edwin Birdsong, William Allen, Harry Whitaker, and other hip players -- a perfect crew to forge Roy's unique blend of jazz and soul. This is perhaps the first record to really have Roy stretching out in this mode -- moving more fully away from funky jazz, into a ream of vocal tracks that would make him one of the most unique artists of the 70s. This mid 70s period of Roy's career was remarkably fertile, creatively as well as for sheer productivity -- and Tears To A Smile is one of them that shows some the most artistic growth, and also a deeper sense of soul! Features righteous cuts like "2000 Black", "Ebony Blaze", "Time & Space", and "A Tear To A Smile" -- plus the mellow "Magic Lady", and a great remake of Earth Wind & Fire's "That's The Way Of The World".

One of the best early soul albums by Roy Ayers! Roy's working here with Dee Dee Bridgewater, Edwin Birdsong, William Allen, Harry Whitaker, and other hip players -- a perfect crew to forge Roy's unique blend of jazz and soul. This is perhaps the first record to really have Roy stretching out in this mode -- moving more fully away from funky jazz, into a ream of vocal tracks that would make him one of the most unique artists of the 70s. This mid 70s period of Roy's career was remarkably fertile, creatively as well as for sheer productivity -- and Tears To A Smile is one of them that shows some the most artistic growth, and also a deeper sense of soul! Features righteous cuts like "2000 Black", "Ebony Blaze", "Time & Space", and "A Tear To A Smile" -- plus the mellow "Magic Lady", and a great remake of Earth Wind & Fire's "That's The Way Of The World".

Warm, wonderful, and incredibly far-reaching in scope -- possibly the most ambitious record cut by Azymuth in recent years -- a perfect blend of jazzy fusion, Brazilian rhythms, and some of the London broken beat culture that the group have come into contact with through their label, Far Out. The sound is clean and spare -- a dance between percussion and keyboards that reminds us how great Azymuth can sound when they keep things simple. A few cuts have vocals, but the overall approach is instrumental -- and the record features production and programming by Roc Hunter, and was recorded by Kirk Degiorgio. Titles include "Tempo Classico", "Em Marica", "Partido Novo", "Sudade Do Doutor", "Nome Dele E Joan", "Algoado Doce", and "Rede De Espera". CD has 12 tracks in all.

A classic album of vocal tracks from Chet Baker -- working here with a core group that features piano by Russ Freeman and flute by Bud Shank -- plus additional arrangements on some tracks by the likes of Johnny Mandel, Marty Paich, and Frank Campo. The album's classic Chet all the way through -- cool but fragile -- summed up in the set's perfect take on the stone classic "Lets Get Lost" -- plus titles that include "Just Friends", "Grey December", "I Remember You", "Long Ago & Far Away", "Someone To Watch Over Me", "I Wish I Knew", and "Daybreak".

Massive work from Darrell Banks -- two tracks from his rare album for Stax Records -- both of them a perfect example of his unique talents! Banks was one of the deepest soul talents working on the Detroit scene of the 60s -- a singer who could hit a motor city groove like the best of his contemporaries, but with raw vocal power that was much more at home alongside the best singers of the southern scene of the time. Both of these cuts show that balance beautifully -- and come from some key Don Davis productions for Stax -- almost the first step of that Memphis/Detroit bridge that Davis would forge even more strongly in the 70s.

Early soul jazz brilliance from a young Gary Bartz -- music that pre-dates his Ntu Troup, and his work with Larry Mizell! Libra is fantastic early work from Gary -- and probably his rarest record ever! The album was cut at a time when the young Bartz was first coming to prominence in the hip late 60s soul jazz group of Max Roach -- and Bartz's playing at the time is a perfect model of mid-Coltrane searching with some of the tighter sides of soul jazz that were being forged at labels like Blue Note by players like Hank Mobley or Lee Morgan. The record's a masterpiece of youthful soulful energy -- and the group includes Jimmy Owens on trumpet, Richard Davis on bass, Albert Dailey on piano, and Billy Higgins on drums, all players who are perfectly matched to fit Bartz's stridently creative vision. His solos on alto are impeccable -- some of the most meaningful we've ever heard on the instrument from the time -- and the album's a great one all the way through! Titles include "Air & Fire", "Eastern Blues", "Libra", "Freedom Of The Day", and "Cabin In The Sky". Another Earth is amazing too -- one of the first that Gary Bartz ever cut -- done during a time when he'd been working with Max Roach and a super-hip group of younger soul jazz players who would go onto shape the sound of the 70s. Bartz leads a group that includes Stanley Cowell, Freddy Waits, Charles Tolliver, Pharoah Sanders, and Reggie Workman -- and the music sounds like it was lifted from one of the best albums on Strata East from the 70s. There's no funk, no vocals, no weird rhythms -- just pure spiritual jazz, played to perfection, and filled with a creative vitality that most of the players had lost a few years later. Tracks include the album-side "Another Earth", plus "Dark Nebula", "UFO", and "Perihelion & Aphelion". Note: CD omits the track "Disjunction" from Libra -- due to space restrictions.

A landmark set of recordings -- both of Gary Bartz's Harlem Bush Music albums, back to back on one CD! After a few years as a modern-tinged soul jazz saxophonist, Bartz broke strongly into the 70s with this pair of sessions -- working in a mode that brought together rhythmic percussion, funky bass, and some incredibly righteous vocals from singer Andy Bey! Bey's presence on the record really marks them as a departure for Bartz -- as it's the first time that Bartz used vocals on his recordings, in a style that was neither straight jazz, nor sellout soul -- but rather a progressive approach that set a whole new tenor for the voice in jazz! Gary plays both soprano and alto sax -- blowing in a rhythmic mode that's a perfect match for the chunky rhythms of the tunes -- and which seems to often take on the same tone as Andy Bey's unique approach to the lyrics. There's an earthy, organic, almost tribalistic quality to some of the tracks -- and titles include "Rise", "People Dance", "Drinking Song", "Taifa", "Parted", "Uhuru Sasa", "Vietcong", "Celestial Blues", and "The Planets". (Note, the CD omits one tune from the albums -- "Du (Rain)", from Taifa -- due to space limitations.)

A harmony heaven way to enjoy the Holiday! The group's version of Christmas has to be one of the best-ever recorded in rock and roll -- and given the undercurrent of sadness that was coming forth in their non-Holiday hits of the period, the style here is perfect to fit the melancholy mood of the Christmas tunes -- even some of the more upbeat numbers! Production is great too -- beautiful enough to hold up strongly after all these years -- and titles include "Blue Christmas", "Merry Christmas Baby", "Christmas Day", "Little Saint Nick", "The Man With All The Toys", "Santa's Beard", "Auld Lang Syne", "Frosty The Snowman", and "I'll Be Home For Christmas".

An expanded version of the Beach Boys' legendary Christmas album -- a harmony heaven way to enjoy the Holiday! The group's version of Christmas has to be one of the best-ever recorded in rock and roll -- and given the undercurrent of sadness that was coming forth in their non-Holiday hits of the period, the style here is perfect to fit the melancholy mood of the Christmas tunes -- even some of the more upbeat numbers! Production is great too -- beautiful enough to hold up strongly after all these years -- and titles include "Blue Christmas", "Merry Christmas Baby", "Christmas Day", "Little Saint Nick", "The Man With All The Toys", "Santa's Beard", "Auld Lang Syne", "Frosty The Snowman", and "I'll Be Home For Christmas". CD features 15 tracks in all -- including "We Three Kings" and "Melekalikamaka".

A magical assortment of music from Archie Bell & The Drells -- the legendary Texas funk who first got on a Philly groove with early help from the team of Gamble & Huff on Atlantic -- here returning the favor with 3 really wonderful albums done for the pair's Philly International label! If you only know Archie's rougher roots, you're really in for a great surprise here -- because Mr Bell and the Drells are a perfect fit for the warmly soaring sound of Philly in the late 70s -- a style that still lets the group work on wonderful vocal interplay in their tunes, but also hit a more sophisticated, more adult level of themes that were perfectly in keeping with changes in vocal group styles at the time. The 2CD set is overflowing with great tunes both uptempo and mellow -- but especially midtempo, in the mode that seemed to work best for the group during these years! Titles include "Don't Let Love Get You Donw", "Real Good Feeling", "Nothing Comes Easy", "It's Hard Not To Like You", "I Can't Get Enough Of Your Love", "Where Will You Go When The Party's Over", "Right Here Is Where I Want To Be", "Show Me How To Dance", "How Can I", "We've Got Something", and the bonus track "Old Folks".

A magical assortment of music from Archie Bell & The Drells -- the legendary Texas funk who first got on a Philly groove with early help from the team of Gamble & Huff on Atlantic -- here returning the favor with 3 really wonderful albums done for the pair's Philly International label! If you only know Archie's rougher roots, you're really in for a great surprise here -- because Mr Bell and the Drells are a perfect fit for the warmly soaring sound of Philly in the late 70s -- a style that still lets the group work on wonderful vocal interplay in their tunes, but also hit a more sophisticated, more adult level of themes that were perfectly in keeping with changes in vocal group styles at the time. The 2CD set is overflowing with great tunes both uptempo and mellow -- but especially midtempo, in the mode that seemed to work best for the group during these years! Titles include "Don't Let Love Get You Donw", "Real Good Feeling", "Nothing Comes Easy", "It's Hard Not To Like You", "I Can't Get Enough Of Your Love", "Where Will You Go When The Party's Over", "Right Here Is Where I Want To Be", "Show Me How To Dance", "How Can I", "We've Got Something", and the bonus track "Old Folks".

Boogaloo -- and nothing but! This is the kind of groovy Latin soul record you always hope to find when digging for Latin sides -- and it's got that perfect mix of soul vocals and sock-boogaloo grooves that some of the best young combos were turning out in the late 60s. Bennito and crew have a tight firey lineup -- one that features vibes and piano over percussion, with good English vocals, and a nice penchant for catchy grooves. Titles include "Psychedelic Meditation", "Rhythm & Soul", "My Sherry", "Dignora's Guaguanco", and "Jumping With Me".

Elmer Bernstein's score for the sexy late 50s film based on Erskine Caldwell's book -- done with a mix of southern styles, jazzy bits, and fuller orchestrations! Bernstein's music of the 50s is all just about as perfect as you can get for soundtrack scoring -- and like some of his other classics, the music here works wonderfully well away from the images on screen -- quite vivid overall, with an illustrative quality that's really amazing -- lots of moody moments, tense action, and haunting themes -- a perfect companion to Man With The Golden Arm or Some Came Running. Titles include "Gold Hunt", "The Fight", "God's Little Acre", "Diggin In The Morning", "Will's Blues", "The Love Scene", and "The Funeral" -- and the CD also features the bonus "Suite".

Damn great stuff from Big Robb -- an artist who really knows how to get the right sound for a record like this! Robb was a member of Zapp back in the day, and he definitely brings a lot of Ohio funk into play on the set -- an unabashedly 80s style of the genre, put together with just the right sort of lean production and non-nonsense rhythms to win over anyone who's got an ear for a Troutman-inspired groove! There's also a surprising undercurrent of deep soul, too -- some really great mellower tracks that have Robb laying down vocals that have a really solid, soulful approach -- perfect proof that he's got way more to offer than just some wicked basslines, killer keyboards, and sweet vocoder bits. A record that really won us over right away -- with guests who include Kurtis Blow, Shirley Murdock, and The Bar-Kays! Titles include "Party 2 Nite", "If I Get Drunk", "Money", "Sexy Lady", "I Wouldn't Beg", "Chocolate Puddin", "Jerri Curl Muzic", "Any Man Can Make A Baby", "Who Is Bigg Robb", and "Grown N Sexy".

The fourth nearly flawless album of heavy genius from Black Sabbath -- featuring some of the mightiest rock riffs ever! Vol 4 is just the tiniest of notches below Master Of Reality and Paranoid in overall greatness -- which is the tiniest of possible complaints given that those previous two albums are among the few truly perfect rock and roll albums ever recorded! But this one has "Supernaut". Enough said. Other titles include "Wheels Of Confusion", "Tomorrows Dreams", "Changes", "FX", "Snowblind", "Cornucopia", "Under The Sun" and more.

2 classics from The Blackbyrds -- back to back on a single CD! City Life is a fantastic album from the legendary jazz funk combo -- a bit smoother than their first, but that's the great thing about it! The record has the band getting even tighter than before -- coming up with an amazing jazz-inflected funk groove that still leaves us breathless after all these years -- and which is the perfect fusion of jazz and soul that was going down with the best groups in the mid 70s. The best example of this sound can be heard on the massive cut "Rock Creek Park" -- which begins with a wonderful bass on the intro, a killer moogy keyboard bit, and a super-catchy chorus that goes "doin' it in the park," which you should recognize in about 30 seconds! The rest of the album is great too -- and titles include the classic sample track "Love So Fine" -- plus "Happy Music", "Hash and Eggs", "Thankful Bout Yourself", and "All I Ask". Unfinished Business has The Blackbyrds are at the top of their game -- working in a sweet blend of jazz, funk, and soul -- all produced to perfection by their mentor Donald Byrd! The groove is quite similar to some of Byrd's best from the time -- a bit fuller than the first few records by The Blackbyrds, thanks to the addition of larger horns -- and put together in ways that really has them soaring towards the skies on waves or righteous soul! There's vocals on most tracks, but they really take equal place next to the group's wonderful instrumentation -- especially the heady keyboards of the mighty Kevin Toney, still a key member of the combo at this point. Titles include "Party Land", "In Life", "Time Is Movin", "Lady", and "You've Got That Something".

Well, "album of the year" might be a hard claim to live up to -- but this is a heck of a great record! The album's one of Blakey's real sleepers -- cut years away from his time at Blue Note, with a fluid soulful approach that steps off his work at Prestige quite nicely. The real strength of the set is the group -- as even at this point, Blakey's got an insanely perfect ear for picking young talent. Every player's a star, and the group features work by Bobby Watson, James Williams, Bill Pierce, Charles Fambrough, and even a young Wynton Marsalis, who still sounds pretty nice at this point. The set list include some great tracks, too, originals by group members that include "Soulful Mister Timmons", "Little Man", "In Case You Missed It", and "Ms BC".

The start of a tremendous run from Blue Magic -- easily one of the greatest harmony groups of the 70s, a quintet we'd place in a rare class with heavy hitters like The Stylistics or The Moments! The album's smooth and sweet, but never slick -- perfectly arranged by the great Norman Harris, who makes the vocals sound equally great on mellow tracks and uptempo numbers -- setting a new Philly standard with the album, and one that few other groups could match so well! Every piece of the core 70s Philly harmony sound is in place here -- from the near-perfect (but wonderfully human) vocals of the group, to the full yet subtle backings by Sigma players who include Vince Montana, Earl Young, Bobby Eli, and Harris himself -- and if you've ever needed a record to prove the genius of the east coast harmony sound, this may well be it! Titles include "Look Me Up", "What's Come Over Me", "Tear It Down", "Sideshow", "Stop To Start", "Welcome To The Club", and "Just Don't Want To Be Lonely".

The start of a tremendous run from Blue Magic -- easily one of the greatest harmony groups of the 70s, a quintet we'd place in a rare class with heavy hitters like The Stylistics or The Moments! The album's smooth and sweet, but never slick -- perfectly arranged by the great Norman Harris, who makes the vocals sound equally great on mellow tracks and uptempo numbers -- setting a new Philly standard with the album, and one that few other groups could match so well! Every piece of the core 70s Philly harmony sound is in place here -- from the near-perfect (but wonderfully human) vocals of the group, to the full yet subtle backings by Sigma players who include Vince Montana, Earl Young, Bobby Eli, and Harris himself -- and if you've ever needed a record to prove the genius of the east coast harmony sound, this may well be it! Titles include "Look Me Up", "What's Come Over Me", "Tear It Down", "Sideshow", "Stop To Start", "Welcome To The Club", and "Just Don't Want To Be Lonely".

Philly soul magic -- recorded in New Jersey! This unique little set offers a wonderfully different look at the hit Philly sound that was bubbling strongly on Atlantic Records during the 70s -- as it features 3 of the label's best acts in the genre, caught live in a special performance at New Jersey's Latin Casino -- often singing together on the same songs, in really special combinations that make the album way more than just a typical live set! Although backings were handled by Vince Montana, and production is by Norman Harris, the overall sound of the record is much earthier, more open, and spontaneous than any of the artists' work coming from Sigma Sound studios -- and the album's a great illustration of the "real" world in which these singers lived and performed, which is somewhat different than the near-perfect Sigma studio albums. Blue Magic, Major Harris, and Margie Joseph join together on a version of "I Love Music" at the start -- then Margie steps off for solo versions of "Ridin High", "My Love", and "Feelings" -- followed by a duet with Major Harris on "You're A Special Part Of Me". Harris then sings solo on "Loving You Is Mellow", "Love Won't Let Me Wait", and "I Got Over Love" -- and Blue Magic take over with a great run of tunes that includes a few medley numbers of other 70s soul hits, plus versions of "Haunted", "Bad Luck", "Sideshow", and "Chasing Rainbows". Margie Joseph then comes back to duet with the group on the numbers "What's Come Over Me", "I'm Gonna Make You Love Me", and "Funny Guy Funny Girl Funny Love". Phew! That's a heck of a lot of music -- and all of it great!

Modern Memphis soul from the Bo-Keys -- a group who play in the same spirit as classic acts from Stax and Hi Records! The sound's no surprise, as the record was recorded in the studios of legendary producer Willie Mitchell -- a perfect fit for the warm Booker T-inspired grooves of the set. The core group includes organ, guitar, bass, and drums -- plus incidental vocals -- and some tracks feature additional trumpet, tenor sax, and percussion. Titles include "I Remember Stax", "Seven & 7", "Spanish Delight", "Under The Table", "Coming Home Baby", and "Back At The Chicken Shack", which features guest performances by Memphis legends Calvin Newborn and John Gary Williams!

Incredible work by Willie Bobo -- a slamming record of hard funky instrumentals, one that sounds different than any of his other albums! The record's a killer all the way through -- a mixture of Latin and deep 70s funk, one of the few perfect fusions of the styles, held up beautifully all the way through the set. We've always liked Willie a lot, but honestly, we don't know how he managed to make a record this funky -- but we're also not arguing, just enjoying the grooves with tremendous delight and surprise. Great all the way through, and includes the break cuts "Do What You Want to Do", "Broasted or Fried", and "Soul Foo Young" -- plus a version of "Dindi", which, for some reason, Willie seemed to record every chance he got! Other titles include "Shut Up & Pay Attention", "Come Together", and "Never You Mind".

Incredible work by Willie Bobo -- a slamming record of hard funky instrumentals, one that sounds different than any of his other albums! The record's a killer all the way through -- a mixture of Latin and deep 70s funk, one of the few perfect fusions of the styles, held up beautifully all the way through the set. We've always liked Willie a lot, but honestly, we don't know how he managed to make a record this funky -- but we're also not arguing, just enjoying the grooves with tremendous delight and surprise. Great all the way through, and includes the break cuts "Do What You Want to Do", "Broasted or Fried", and "Soul Foo Young" -- plus a version of "Dindi", which, for some reason, Willie seemed to record every chance he got! Other titles include "Shut Up & Pay Attention", "Come Together", and "Never You Mind".

Sweet jazzy soul from Angie Bofil -- recorded in 1979 with Dave Grusin, who gives the album a smooth edge that really works perfectly with her vocals! The set's a perfect blend of the more soulful elements in the fusion scene of the late 70s, combined with Angie's warm vocal style and some excellent songwriting. Titles include "I Try", "Angel Of The Night", "What I Wouldn't Do", "Rainbow Child", "The Voyage", and a great cover of "People Make The World Go Round".

Sweet jazzy soul from Angie Bofil -- recorded in 1979 with Dave Grusin, who gives the album a smooth edge that really works perfectly with her vocals! The set's a perfect blend of the more soulful elements in the fusion scene of the late 70s, combined with Angie's warm vocal style and some excellent songwriting. Titles include "I Try", "Angel Of The Night", "What I Wouldn't Do", "Rainbow Child", "The Voyage", and a great cover of "People Make The World Go Round".

Taka Boom really sounds great in this set of 80s grooves -- tunes recorded in the middle part of the decade, but with some of the leaner styles of a few years before -- that near-perfect blend of beats and keyboards that sums up early 80s soul at its best! Taka's vocals have a strong sense of force here, but are never too over the top -- just right in line with the punch in the rhythms, and a bit of a change from her disco years. Titles include "Rock Yo World", "Middle Of The Night", "Butter Me Up", "Climate For Love", "Love On The Side", "Wait & See", "Love Bank", and "Pleasure Unit". CD features 3 bonus tracks -- "Love Party (ext mix)", and dub and extended mixes of "Middle Of The Night".

Massive work from Bootsy Collins -- one of his best-ever solo albums, and a perfect summation of the P-Funk groove -- focused strongly through Bootsy's own sense of stardom! George Clinton worked with Collins on production, and the album's as tight as the best Parliament or Funkadelic work of the time -- particularly the latter on their killer 70s sides for Warner, which was also the home for Bootsy. The Horny Horns are helping out on this one, which gives the album a strong instrumental drive -- but the real star is Bootsy, whose sexy vocals and good sense of soul keep things firmly on track throughout. Features the cuts "What's A Telephone Bill?", "Munchies For Your Love", "We Want Bootsy", "The Pinocchio Theory", and "Rubber Duckie".

Classic styled funk mastery from Breakestra -- back in the Stones Throw family with this incredible 12-inch single on the Now Again imprint -- and as fiercely gritty and funky as ever! "Lowdown Stank" is a 9+ minute killer that truly sounds like a lost funk treasure. Music Man Miles somehow handling bass, drums, organ and guitar in the studio -- and his production is so solid, we're seriously stunned that it's not a straight up live recording! The monstrous drum heavy middle section and the horny horns are pure JBs style, and Mix Master Wolf's vocals are the perfect kind of gravelly and gritty. The flip "Miss Funky Soul" is just as funky and has more organ in the mix, and a shorter "Lowdown Stank" instro fill out the B-side.

No splashdown here -- as Breakwater are every bit as soaringly soulful as they were on their debut set! The groove here is that perfect blend of jazz and soul that only a few groups in the 70s really got right -- maybe Pleasure, or The Blackbyrds -- and most certainly Breakwater, who were one of the reigning champions of the scene! Rhythms are often upbeat, but not in a disco or club-oriented way -- and the instrumentation is tight, but never slick or smooth -- always nicely funky with a nice little crackle, even on the mellow cuts -- in a way that's opened up this album to new audiences for many years. This set's got a nice bit of moog that wasn't on the group's first -- used almost in Mizell-like to further enhance the sound -- and titles include the classics "Say You Love Me Girl", "Let Love In", "Time", and "The One In My Dreams". Great stuff, and with a really beautiful vibe!

A tremendous bit of harmony soul from Chicago -- one of the few cases where the Windy City really gave the east coast a run for its money -- and the landmark album from teen soul quartet Brighter Side Of Darkness! Although young, Brighter Side managed to bring a depth to their work that was way more than kiddie soul -- a heartfelt, heartbreaking quality that was all adult, no matter how youthful the themes -- and their vocals are a perfect contrast to the fuller arrangements from producers Clarence Johnson and Johnny Cameron. The set contains the group's classic "Love Jones", still one of the best fragile harmony tracks of the early 70s -- plus loads of other great numbers like "I Owe You Love", "I'm A Loser", "Just A Little Bit", and a superb remake of "Summer Ride".

A smokin bit of salsa from 70s Brooklyn -- one of a rare few albums cut by The Brooklyn Sounds, a totally great group with a really firey spirit! The set grooves hard from the first moment -- with tight horn blasts over fast rhythm, and soulful vocals that really capture the spirit of the time. Lyrics are in Spanish, but the appeal of the grooves is international -- and caught at that perfect moment when 60s Latin soul was giving way to 70s salsa -- with all the youthful energy of both genres firmly in place. Titles include "Calma Tu Llanto", "Las Margaritas", "Guaguanco Tropical", "Libre Soy", "Chango Santero", and "Esta Vida".

One of the greatest albums ever for Blue Note -- and the only album recorded by tenor player Tina Brooks that was issued during his lifetime! The album's nearly perfect -- and features Brooks' edgey tenor set in an all star group that includes Duke Jordan on piano, Freddie Hubbard on trumpet, Sam Jones on bass, and Art Taylor on drums. Brooks had blown on other Blue Note sessions before, but here, working as a leader, his sound is tremendous -- vaguely to the left of center of some of his other tenor counterparts on the label, but with an equally impeccable approach to soul and rhythm. Titles include "Miss Hazel", "Good Old Soul", "Up Tight's Creek", and "Theme For Doris".

One of the greatest albums ever for Blue Note -- and the only album recorded by tenor player Tina Brooks that was issued during his lifetime! The album's nearly perfect -- and features Brooks' edgey tenor set in an all star group that includes Duke Jordan on piano, Freddie Hubbard on trumpet, Sam Jones on bass, and Art Taylor on drums. Brooks had blown on other Blue Note sessions before, but here, working as a leader, his sound is tremendous -- vaguely to the left of center of some of his other tenor counterparts on the label, but with an equally impeccable approach to soul and rhythm. Titles include "Miss Hazel", "Good Old Soul", "Up Tight's Creek", and "Theme For Doris".

Clifford Brown in Paris -- working here with some great help from Gigi Gryce! The first half of the album features material recorded with a largeish group led by Gryce -- a really strong modernist ensemble that's a perfect showcase for the sparkling sort of arrangements that Gigi was penning at the time. Brown's trumpet is in the lead on most numbers -- alongside other trumpeters who include Art Farmer and Quincy Jones -- and players in the group also include Jimmy Cleveland on trombone, Gryce and Anthony Ortega on altos, Henri Bernard on tenor, and Henri Renaud on piano -- on titles that include two takes of "Brown Skins" and "Keeping Up With Jonesy" -- plus "Deltitnu". Remaining material is from a small group, a sextet co-led by Gryce and Brown -- with Henri Renaud on piano, Pierre Michelot on bass, Jean-Louis Viale on drums, and guitarist Jimmy Gourley on about half the tracks. Titles include two takes on "Conception" and "All The Things You Are" -- plus "I Cover The Waterfront" and "Goofin With Me".

Excellent funk from the JBs! The single -- featuring parts 3 and 4 of the track -- is a perfect example of the "party" style that James would use in the studio. Side one cuts right into the band, who've clearly already been jamming for a few minutes before the record starts. Side two does the same thing -- and continues the very raw, hyper-live feel of the record!

Two killers from Randy Brown -- sublime 70s soul, back to back on a single CD! Welcome To My Room is a mellow soul masterpiece from Randy Brown -- a crucially-overlooked talent from the late 70s, working here with a totally put-together vibe! The album's got the mature, mellow feel of some of the best work by better-known 70s contemporaries -- like Leroy Hutson or Lamont Dozier -- polished, but never slick -- and flowing out with a sensual groove that's especially nice on the more laidback or midtempo cuts. Randy's vocals have some great deep soul echoes -- much more so than other singers of this type -- and mixed with the warm production from Homer Banks and Carl Hampton, they give the album a rich quality that totally grabs us -- a bit like some of Teddy Pendergrass' best mellow work with The Blue Notes. Titles include "I Love You Baby", "Love Is All We Need", "Do It Baby", "Too Little In Common", and "I'd Rather Hurt Myself". Midnight Desire is a sweet, smooth stepper from the great Randy Brown -- and a record that's got the same sublime mix of mellow grooves and earthy vocals that you might find on some of Tyrone Davis' best late 70s work for Columbia! Tunes are all plenty darn fresh -- written by the team of Homer Banks and Chuck Brooks, who also produced the album -- and Randy's got this way of hitting a groove that's confident, but never arrogant -- a perfect late 70s masculine mode, of the sort only a handful of singers could handle this well! Titles include "Without You (I Can't Make It Through The Night)", "We Ought To Be Doin It", and "Do You Love Me?" -- all of which have great hooks -- plus "Do You Love Me", "Love Be With You", and "Love Formula".

Heavy Latin funk from Brownout -- a group who've really carved out their own unique space in the deep funk underground -- a rich blend of Latin rhythms, funky instrumentation, and razor-sharp production -- never slick, but totally tight all the way through! One of the group's key members is Adrian Quesada, who we totally dug with Ocote Soul Sounds -- and the feel here is very similar to that group's work, but even better -- a more perfect realization of that massive 70s vibe that Ocote hit so well -- done here with even headier grooves overall! Instrumentation includes Quesada's guitars, plus trombone, flute, trumpet, keyboards, and loads of hard percussion -- on cuts that include "Slinky", "Another Fire", "Aguilas & Cobras", "Ayer Y Hoy", "Framed By Death", "Semi Futuristic Love Affair", and "Chanclas De Ninja".

Beautiful later work by the Dave Brubeck Quartet -- an overlooked gem from their 60s Columbia sessions, and an album that features interpretations of tunes written by the great Matt Dennis! Dennis had a way with a tune that often put dark corners in the back of lovely melodies -- and this subtle sense of emotion is a perfect foil for the understated talents of Paul Desmond's alto work on the set. Brubeck himself is nice too -- less trick-oriented than usual, in a way that lets us focus on the colors of his tone -- and drummer Joe Morello and bassist Eugene Wright are in top form, as usual. Titles include "Violets For Your Furs", "Let's Get Away From It All", "Little Man With The Candy Cigar", "Will You Still Be Mine", and "Everything Happens To Me".

One of Chico's strongest albums of the late 70s -- a masterful set of sophisticated tunes, recorded with some great guest help from Milton Nascimento, Zizi Possi, and Elba Ramalho! The album's got a slightly melancholy feel overall -- not completely somber, but a slightly world-weary sound that makes the album a bit different and more mature than some of Chico's earlier work -- and which beautifully unlocks a new chapter in his tremendous talents. The style is great -- perfect for Buarque's growing international fame at the time, but not in a way that's ever too commercial. Titles include "Calice", "Feijoada Completa", "Tanto Mar", "Apesar De Voce", "Pequena Serenata Diurna", and "Ate O Fim".

A perfect title for a perfect record -- especially given all the love we've felt from Build An Ark over the years! The album's a masterpiece through and through -- easily the greatest statement ever from this already-amazing band -- a contemporary ensemble, but one that we'd seamlessly rank right next to our righteous favorites on labels like Impulse Records, Tribe, or Strata East -- with all the political power and sense of social mission those references would imply! The song titles alone will give you a great idea of the beautiful vibe behind Build An Ark -- tunes like "Celebrate", "How Do We End All This Madness", "Love Is Everywhere", "World Peace Now", and "This Prayer For The Whole World" -- which re-ignite the Love Supreme candle first lit by John Coltrane in the 1960s -- burning brightly again in the 21st Century, and almost even more inspiring -- given the youthful energy of the group. As always, mainman Carlos Nino deserves a hell of a lot of credit for getting something this great, this right -- but the group is also very clearly a collective, and draws amazing energy from members who include Dwight Trible, Kamau Daaood, Miguel Atwood-Ferguson, Damon Aaron, Jim Lang, and others. In addition to above-mentioned titles, other tunes include "Sweet Thing", "World Music", "More Love", "In The Park", and "Play The Music".

A perfect title for a perfect record -- especially given all the love we've felt from Build An Ark over the years! The album's a masterpiece through and through -- easily the greatest statement ever from this already-amazing band -- a contemporary ensemble, but one that we'd seamlessly rank right next to our righteous favorites on labels like Impulse Records, Tribe, or Strata East -- with all the political power and sense of social mission those references would imply! The song titles alone will give you a great idea of the beautiful vibe behind Build An Ark -- tunes like "Celebrate", "How Do We End All This Madness", "Love Is Everywhere", "World Peace Now", and "This Prayer For The Whole World" -- which re-ignite the Love Supreme candle first lit by John Coltrane in the 1960s -- burning brightly again in the 21st Century, and almost even more inspiring -- given the youthful energy of the group. As always, mainman Carlos Nino deserves a hell of a lot of credit for getting something this great, this right -- but the group is also very clearly a collective, and draws amazing energy from members who include Dwight Trible, Kamau Daaood, Miguel Atwood-Ferguson, Damon Aaron, Jim Lang, and others. In addition to above-mentioned titles, other tunes include "Sweet Thing", "World Music", "More Love", "In The Park", and "Play The Music".

An album of stunning beauty, and one of Solomon's best-ever! He's recording here in a vein that's more in keeping with the smoother Southern soul sound that began to dominate later in the generation -- with weeping guitars, soaring strings, and smooth keyboards -- and the sound is a perfect accompaniment to Solomon's raspy voice, and actually brings out a lot more soul than his rootsier recordings. The title cut is a stunning love song that taps into the natural force of magnetism, and which shows that Solomon hasn't lost an ounce of his talent. Other cuts include "Stand", "No Man Walks Alone", "Bridge Of Life", and his weird medley of Elton John tracks, called "Three Psalms of Elton".

An incredible record -- a real standout in Solomon's career! This set features him working with arrangements that are smooth, mellow, and sexy -- very much in the Barry White and Isaac Hayes mode, a style that's a perfect fit for Solomon's voice, which was warm and deep back when White and Hayes were just kids! Gene Page did some of the arrangements with Solomon, and the record's a wonderfully unified session with a mellow 70s soul feel that's just great. Titles include "Everlasting Love", "Music To Make Love By", "Midnight & You", "You & Your Baby Blues", and "Let Me Wrap My Arms Around You".

One of the best blowing sessions on Prestige -- and proof that Kenny Burrell could hit a nice groove when he wanted to! The record is a very open-ended set, and players include Burrell, Donald Byrd, Frank Foster, Tommy Flanagan, Doug Watkins, and Art Taylor. Side one features a great long track called "All Day Long", with loads of space and plenty of great soloing -- a cut that is quite possibly THE blowing session tune from Prestige -- as it's a perfect example of the label's work in that style, and one of the longest ever recorded in that format. Side two features shorter cuts "Slim Jim", "Say Listen", and "AT" -- all a bit tighter, and still very nice!