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Groovy tunes compiled by the folks who brought us the Soft Sounds For Gentle People compilations of lost late 60s pop psychedelia! He & She takes a novel approach and digs up the deepest nuggets by guy-girl combos -- full of deep sinking hooks, bright counterpart harmonies, and trippy lyricism -- most done in a buzzing Cali sunshine sound! It's full of great tunes by seldom heard groups -- with a big sunshine sound! 22 tracks in all: "Hippy Dippy Funky Monkey Double Bubble Sitar Man" by The Hubbels, "Up Here" by Tony and Siegrid, "Time" by Kathy And Larry, "Circus" by Friend And Lover, "Taxicab" by Bunky And Jake, "Big Dsaddy Blues" by St George And Tana, "Sheridan Square" by Smokey And His Sister, "Rock N Roll Gypsies" by Gypsy Trip and more!

A wonderfully groovy compilation -- filled with sunshine pop tunes we might not have ever heard! The set does a great job of sorting through late 60s albums we might have otherwise missed -- obscure major label pop albums that were released and deleted in one breath, and which have been lost to the shifting sands of time and the vagaries of the record racks. A few of the names on the set are familiar to us, but many of the others are only ones that we've passed by while digging through bins at other stores -- confident in the knowledge that the records had nothing to offer us, now kicking ourselves once we've heard this sampling of groovy pop tunes! Titles include "I Think I'll Just Go & Find Me A Flower" by Moorpark Intersection, "My Buddy Sin" by The Stained Glass, "Naturally Stoned" by The Avant Garde, "9 O'Clock Business Man" by Peppermint Trolley Company, "You're The Biggest Thing In My Life" by Appletree Theater, "Take Me Break Me" by Underground Sunshine, "I'll Cry Out From My Grave" by Brigadune, "Past The State Of Mind" by Jim & Dale, "Flower Smile" by Hyle King Movement, "C'Mon Baby" by Deep Six, and "Groovy Motions" by Fireballs. 23 tracks in all, with reasonably good notes on the music.

A gal-themed set from the great Soft Sounds series -- one that features some incredibly groovy work from the late 60s -- a hip mix of Sunshine Pop, psyche rock, and more! The female vocals really tie the tunes together nicely -- especially as a number of singers seem to share similar modes when approaching their music -- echoes of earlier folk, touches of vocal jazz, and occasional sweet sounds that really flesh things out nicely. Most of the backings are groovy enough to almost be funk at points -- especially when percussion kicks up, or basslines really get going -- and there's also some freakishly fuzzy moments that really stand out too! As with other volumes, there's some great track-by-track notes on the tunes -- and titles include "Psychedelic Movement" by The Ravelles, "Green Plant" by Amanda Ambrose, "The Aquarians" by The Aquarians, "If I Didn't Want To See You Anymore" by Morningstarr, "See The Farmer" by Bunches A Good, "The Lady Barber" by Lynn Castle, "What Do You Do When You've Lost Your Love" by Guardians Of The Rainbow, "Flowers In The Air" by Sally Eaton, "Billy Sunshine" by Sugar Townes, "All I Dream" by Estelle Levitt, "In The Middle Of The Night" by The Pipe Dream, and "Meditation 1968" by Ellen Margulies.

Far out harmonies and psyche pop from the mid-to-late 60s -- and another groovy batch of obscurites from the Cali scene and beyond in the Soft Sounds For Gentle People series from Pet Records! The series has only gotten deeper and groovier since the first one came out -- many singles from groups that were recording for the major labels at the time, but the majority of whom are fresh discoveries to us -- and if labels like Columbia, Warner Bros and Capital provided the opportunity for richer sounds and production, it's used to shoot the grooves even further out, without comprising the catchy grooves and sweetly soaring male and female harmonies. Possibly the best entry yet! 21 tracks in all: Titles include "Take A Bus" by Stix & Stonz, "Nothing Sacred" by The Johnnys, "Look At The Sun" by Mouse, "Hello" by Things To Come, "Kill The Cobra" by Bentley Road, "It's A Groovy World" by The Lollipop Fantasy, "Looking Down" by 1st Century, "Wispy Paisley Skies" by Fraternity Of Man and more.

Dreamy dreamy pop from the late 60s underground -- a wonderful assortment of rare singles and LP tracks, all hand-picked by the genius crew at Pet Records! The set seems to even top their previous excellent volumes -- going beyond even the lesser-known, to come up with 24 tracks that we'd never heard before -- but which easily rank with our favorite Sunshine Pop records ever! The package features a great set of notes that gives you details on each track, and really helps put the music into perspective. Loads of great harmonies, catchy tunes, and sweet California production -- perfectly summing up the huge amount of untapped genius in the post-Pet Sounds era! Titles include "Where Is The Door" by West Coast Branch, "January Girl" by The Pipe Dream, "My Imagination" by PK Limited, "A Scene In Between" by The Stained Glass, "October Rain" by The Cinnamon Ship, "Floating Downstream On An Inflatable Rubber Raft" by The Second Helping, and "Lovin Day" by The Status Cymbal.

The sounds are soft, the people are gentle, and the music is as groovy as groovy can be! The CD is the fab fourth entry in one of our favorite series of all time -- and like the rest, it's a tremendous collection of lost pop treasures from the end of the 60s -- all in a magical space between folkies, hippies, and the mainstream -- served up with the best aspects of all three! The style here is totally great -- and offers up a nice contrast to some of the better-known pop of the late 60s -- not in a way that's more experimental or challenging, but just in a way that's even more unboundedly creative! Tracks are extremely well-chosen, with notes on every single number -- and titles include "Geordie" by The Rooney Brothers, "Sunshine World" by The Cosmic Brotherhood, "Little Faces" by The Luv Birds, "Dancing Girl" by The 1st Century, "When I'm Gone" by Lux, "Donnie" by Chuck Barris Syndicate, "Day In The Sun" by The Fragile Lime, "Land Of Make Believe" by The Fourth Dimension, "When The Sun's Gone Down" by Incredible Fog, "Boston Bay" by Smithsonian Institute, and "When Once It Was Good" by First National Band.

An incredible record -- quite possibly our favorite ever by Marvin Gaye! The album is quite unique -- written by Leon Ware, and recorded in collaboration with him -- done as a "suite" of tracks based on themes of passion, joy, and new love -- all of which were very much on the mind of Marvin during his troubled years of the mid 70s. The whole thing's beautifully put together -- superbly orchestrated with just the right funky touches, and even a sweet bit of electronics to give the set a nice edge. An amazing album -- one of those soul records that goes deeper and deeper than you ever thought pop music could go -- filled with great tracks that include "I Want You", "After the Dance", "Come Live With Me", and "Since I Had You". Genius -- pure genius! Beautifully expanded, too -- with 17 bonus tracks that include a wealth of alternate mixes, outtakes, and demos that get at the Pet Sounds-like production style of this masterpiece -- plus a promo only vocal version of "I Want You", and instrumentals of "I Want You" and "Strange Love".

Revolutionary work from one of the most important talents you never heard of -- 2 jazz/world classics from the amazing Ahmed Abdul-Malik! The CD begins with The Music Of Ahmed Abdul Malik from 1961 -- a record that has the bassist working in a very sophisticated cross-cultural mode -- pulling together many different strands of jazz and Eastern music, forging them into a very unique sound. Unlike some of Malik's other records, which featured a style that was very heavy on Middle Eastern instrumentation, this one's got a very even blend of jazz -- and features excellent work by Tommy Turrentine on trumpet, Calo Scott on cello, Eric Dixon on tenor, and Andrew Cyrille on drums. Malik himself plays bass and oud, and the record's got a snaking mix of jazz and exoticism that's roughly similar to Yusef Lateef's work on Savoy, or some of Sun Ra's work from the time. Titles include "Nights On Saturn", "La Ibkey", "The Hustlers", and "Oud Blues". Sounds Of Africa is one of Malik's greatest -- a combination of both his modern and experimental sides, a mixture of off-key hardbop and odd instrumentation that includes cello, oud, and lots of extra percussion. The fantastic Tommy Turrentine plays trumpet on one cut, Richard Williams plays on all others -- and the percussionists include Chief Bey, Montego Joe, and Andrew Cyrille! Titles include "The African Bossa Nova", "Wakida Hena", "Communication", "Suffering", and "Nadusilma".

Amazing stuff from Ahmed Abdul-Malik -- one of the early 60s most enigmatic jazz talents! Malik was Thelonious Monk's bassist for a few years, but by the time of this record, he was working in a very sophisticated cross-cultural mode -- pulling together many different strands of jazz and Eastern music, forging them into a very unique sound. Unlike some of Malik's other records, which featured a style that was very heavy on Middle Eastern instrumentation, this one's got a very even blend of jazz, and features excellent work by Tommy Turrentine on trumpet, Calo Scott on cello, Eric Dixon on tenor, and Andrew Cyrille on drums. Malik himself plays bass and oud, and the record's got a snaking mix of jazz and exoticism that's roughly similar to Yusef Lateef's work on Savoy, or some of Sun Ra's work from the time. Titles include "Nights On Saturn", "La Ibkey", "The Hustlers", and "Oud Blues".

A beautiful live set from these two legendary A&M Records talents -- united for years at a personal level, and working beautifully here at an artistic one as well! The setting is a small combo one -- a jazz quartet led by Herb's trumpet, and mostly featuring Lani's wonderful vocals in the lead, but with a bit of lyrical support from Alpert on a few tunes! Instrumentation is mostly just keyboards, bass, and drums -- in addition to the trumpet -- and the tracks were recorded live, at a variety of venues, with a sweetly airy sound. Titles include "Anything Goes", "Besame Mucho", "Para-Raio", "Let's Face The Music & Dance", "Dinorah/Morning", "Who Are You", and "Morning Coffee".

Vintage piano work from some boogie woogie giants -- most of it cut before there was even a Delmark Records to issue the material! A good deal of these sides were cut in Chicago in 1939 -- a point when older styles of piano were coalescing into the tightly vamping, highly rhythmic mode that was known as boogie woogie -- a moniker that seems kind of cheesy from our perspective, and which hardly does the power of this music justice! Most tunes feature just solo piano, but that's more than enough -- given that the frenetic action on the keys often more than fills up the space that would normally be taken by bass or drums. Titles include "Pinetop's Blues" by Albert Ammons, "Deep Morgan" and "Pickin Em Out Again" by Henry Brown, "G Flat Blues" by Pete Johnson, "Streamline Train" and "Mistaken Blues" by Cripple Clarence Lofton, "Closing Time" by Meade Lux Lewis, "Dirty Dozens" by Speckled Red, and "Boogie Woogie Prayer" by Ammons, Johnson, and Lewis.

One of the funkiest records ever from Charly Antolini -- the drummer who cut some mighty groovy records for MPS! This album features Charly's drums really kicking hard -- actually hitting some moments that make for some tight breaks in the set, supported by instrumentation that's very much in the best MPS big band mode of the time! The mixture of heavy drums and tight horns reminds us a lot of some of the best funk from Buddy Rich -- although the MPS setting here is a lot groovier -- and players include Dusko Goykovich on trumpet, Armin Rusch on organ, Sigi Schwab on guitar, and Ack Van Rooyen on trumpet and flugelhorn. The whole thing's jumping -- an extremely propulsive little set -- and titles include "Handicraft", "Punching Ball", "Gemma Ham", "Skinny", and "Scratches".

Early 70s prog from Achim Reichel -- aka AR, and working here with a group that's a bit warmer than you might guess from the "machines" in their name! The sound is very much in the best jamming prog mode of the Brain Records years -- simple musical elements on guitar, keyboards, or percussion -- played out at length in ways that fully explore their potential -- occasionally mixed with more tuneful songs that have a slightly softer, more introspective quality. Reichel sings on some numbers -- sometimes just in a chanting way -- and titles include "Warum Peter Nur Noch Ferien Macht", "Die Eigentumer Der Welt", "Wie Ich Mir So Ich Dir", "Alles Geht Nach Goa", "Die Tochter Des Frostriesen", and "10 Jahre Lebenslanglich".

Excellent bit of west coast Latin fusion -- featuring an all star band that includes such massive talents as Pete Escovedo, George Muribus, Paul Jackson, Lenny White, Coke Escovedo, and Victor Pantoja. The groove is nice and smooth, with a Bay Area early 70s sound on the production tip -- and in a way, the record reminds us of some of the excellent work on Fantasy Records from the time, with touches of other 70s CA Latin soul groups, like Malo or El Chicano. Cuts include "Peace Everybody", "Empty Prophet", "Can't Take The Funk Out Of Me", "Azteca", "Ah! Ah!", and "Mamita Linda".

Deep funk from down under -- and the stunning full length debut by The Bamboos! To date, the group's really only had 2 45s to their name -- but those records alone got The Bamboos plenty of attention -- making this record one of the most eagerly-anticipated sets we've stocked in years! The groove is tight small combo funk at its best -- done in the stripped-down, all-classic mode of artists on Daptone or Soul Fire -- and certainly in the best style of supportive labelmates Quantic Soul Orchestra. The combo's a sextet, with Hammond, guitar, tenor, and trumpet all taking heavy lines through the mostly-instrumental session -- hitting a sound that's a slightly jazzier take on styles The Meters or James Brown Band might have cut at the end of the 60s. Alice Russell sings on the cuts "Step It Up" and "Transcend Me" -- but the rest of the album is short, tight, instrumental funk -- with titles that include "Black Foot", "Golden Rough", "In The Bamboo Grove", "Tighten Up", "Eel Oil", "Tobago Strut", "Crooked Cop", and "Another Day In The Life Of Mr Jones".

Genius early work from Pierre Barouh -- the artist best known for his contribution to the film A Man & A Woman, but also the owner of the legendary Saravah Records label -- one of the grooviest imprints around! The set is a real move forward from Barouh's earlier material, which was a bit straighter -- although still pretty hip -- and this time around, he's bringing in a wide range of elements -- Brazilian bits, folksy touches, and more -- all served up with an approach that's as uniquely personal as work by other Saravah artists, like Brigitte Fontaine or Areski! Barouh's a brilliant writer and singer, and his work is a lost link in a tradition that spans Caetano Veloso, Leonard Cohen, Serge Gainsbourg, and others -- crucially overlooked on this side of the Atlantic, and extremely important to us over the years. Titles include "De L'Amour A L'Amour", "Le Courage D'Aimer", "80 AB", "La Foret", "Le Petit Cheval De Bois", "Le Petit Cine", and "Paris Wellington".

A killer soundtrack from Les Baxter -- recorded right after his initial exotica run for Capitol Records, and done with some surprisingly jazzy touches as well! Baxter does a great job of mixing stark drama with some cool mellower moments here -- really expanding his musical palette from before, yet also using lots of those beautiful painterly colors and tones that first came to the forefront in his exotica years! The players on the record are all great -- and include Conte Candoli on trumpet, Harry Betts on trombone, Gene Cipriano on saxes, Tommy Tedesco on guitar, and Milt Holland on percussion -- players well-suited to Baxter's LA approach to the music. This beautiful reissue features very detailed notes, and excellent sound quality too -- and titles include "No Girls/No Civilians/A Boy & His Gun", "Bridge/To The Cave/Atavistic", "The Hoods", "Trigger Happy", "Panic In Year Zero", "Atomic Subdominant", "First Aid", and "Chop Chop".

Two early calypso albums on Capitol Records -- both pretty unique! First up are some of the first-ever recordings by Harry Belafonte -- material recorded in 1949, with Pete Rugolo backings that are really amazing -- as jazzy and modern as anything Rugolo did for other singers of the time, with only a hint of calypso in the rhythms. Belafonte sounds quite different on the sides than in later years -- still with those tremendous vocals, but almost more of a jazz singer at points -- which is a really surprising discovery! This aspect's supported strongly by the choice of tunes -- which includes "Deep As The River", "Farewell To Arms", "Close Your Eyes", "The Didn't Believe Me", and "I Still Get A Thrill". Next up is a full album of straighter calypso material by Lord Flea & His Calypsonians -- but one that also has a bit of a Capitol Records groove! Flea plays acoustic guitar and sings, and percussion is nice and tight -- but there's also a fuller sense of space on the record, one that really sets it apart from other 50s efforts of this type -- kind of a Capitol clarity that really adds a lot of charm. Titles include "Out De Fire", "Mister Give Me De Rent", "It All Began With Adam & Eve", "Jump In The Line", "Run Run Run", "Love", and "Monkey".

A lost classic of the spiritual soulful Detroit/Tribe jazz scene! Initially issued on the Gem Eye label in 1974, in a pressing of only 1000, the record's done nothing but increase in legend since -- and for good reason too! The groove picks up in the same domain as the better Art Ensemble Of Chicago records of the late 60s and early 70s -- with the rubbery funk electric bass lines and celestial groove of the funkier moments, but deeper sounds of more spiritual points too. Trumpeter Marcus Belgrave plays in a beautiful ensemble, packed with Tribe labelmates -- Wendell Harrison on tenor sax & percussion, Phil Ranelin on trombone, and Harold McKinney on electric piano. Roy Brooks and Billy Turner are on drums and percussion, and the expansive vibe is fleshed out with the help of Lorenzo Brown on bongos and Daryl Dybka on mini Moog. The record includes Belgrave's beautiful epic "Space Odyssey", which has a long flowing cosmic groove, nice electronics, and haunting trumpet solos. Other cuts include "Gemini II", "Marcia's Opal", "Glue Fingers (Parts I & II)", and "Odoms Cave". A focused, but still wonderfully loose set of spacey 70s soul jazz!

A lost classic of the spiritual soulful Detroit/Tribe jazz scene! Initially issued on the Gem Eye label in 1974, in a pressing of only 1000, the record's done nothing but increase in legend since -- and for good reason too! The groove picks up in the same domain as the better Art Ensemble Of Chicago records of the late 60s and early 70s -- with the rubbery funk electric bass lines and celestial groove of the funkier moments, but deeper sounds of more spiritual points too. Trumpeter Marcus Belgrave plays in a beautiful ensemble, packed with Tribe labelmates -- Wendell Harrison on tenor sax & percussion, Phil Ranelin on trombone, and Harold McKinney on electric piano. Roy Brooks and Billy Turner are on drums and percussion, and the expansive vibe is fleshed out with the help of Lorenzo Brown on bongos and Daryl Dybka on mini Moog. The record includes Belgrave's beautiful epic "Space Odyssey", which has a long flowing cosmic groove, nice electronics, and haunting trumpet solos. Other cuts include "Gemini II", "Marcia's Opal", "Glue Fingers (Parts I & II)", and "Odoms Cave". A focused, but still wonderfully loose set of spacey 70s soul jazz!

A smoker from Art Blakey's later years -- a killer session that features a reunion of past Jazz Messengers, with a cast that includes Freddie Hubbard on trumpet, Curtis Fuller on trombone, Benny Golson on tenor, and Walter Davis Jr on piano! Buster Williams is on bass, and he brings a nice degree of soul to the set -- rounding and warming things to give the album a progressive soul jazz approach that we really love -- a dose of the slightly more righteous side that Blakey hit during his early 70s Prestige Records years. The group comes together with a magical flourish -- moving past simple "here's my solo" styles, into a unified ensemble that really sounds special here. Titles include the excellent "Dana's Dance" -- penned by Davis, and a really fresh choice for a date like this -- plus "Uranus", "Ala Mode", and "Just By Myself".

One of the rarest Art Blakey sessions of the late 50s -- recorded during that brief time when the Jazz Messengers featured Jackie McLean on alto sax! The set's recorded with an edge that's perhaps a bit rougher than some of the other Blakey records during this "many labels" stretch -- but in a way that seems to also bring out some especially great qualities in McLean's horn! Other members here include Bill Hardman on trumpet, Spanky DeBrest on bass, and Sam Dockery on piano -- and the differences here make for a nice change from the usual Blakey! Titles include "Casino", "Potpourri", "The Biddie Griddies", "Ugh", and "Reflections Of Buhania".

Key proof that Art Blakey was still going strong in the late 70s -- continuing his 60s legacy of working with the best young players he could find, in a setting that was bristling with sweet soul jazz energy! This version of The Jazz Messengers includes some tremendous players -- including a young Bobby Watson on alto, the great David Schnitter on tenor, James Williams on piano, and Valery Ponomarev on trumpet -- all grooving with Art in a style that steps nicely from the soulful Prestige Records years, when Blakey was leading the group with Woody Shaw and Carter Jefferson. Tracks are nearly all originals -- loping and grooving with a soulful finish that's really wonderful, showing off equal parts of writing from nearly all corners of the group. The album's awash in soulful joy and love, and titles include "Reflections In Blue", "ETA", "Mishima", "Say Dr J", and "Stretching".

One of the hippest records ever to come out of Chicago -- the sole recording by Boscoe, a group who was even more obscure and experimental than contemporaries like The Pharoahs or Artistic Heritage Ensemble! Like those groups, Boscoe has a very unique, very visionary approach -- one that's not content just to echo the standard post-Coltrane modes that other spiritual jazz groups around the country were hitting -- but which instead moves into territory that touches on the darker sides of funk, soul, and spoken word of the time -- all with a message that's incredibly powerful, and conception that's wonderfully fresh throughout! The group's lineup features tenor, trumpet, trombone, guitar, bass, and drums -- but they way they're put together is often far different than other funky combos -- and it's clear that the group had as much of a sensibility about the overall sound of their record as they did their freer grooves. At times, there's a righteousness here that recalls the best of the early Westbound Records scene from Detroit -- but there's an even higher agenda too, which is more in keeping with the spiritual aspriations of their Chicago contemporaries, and which really show up in the lyrics. The whole album's a masterpiece from start to finish -- unlike anything that we can think of, still ripe for rediscovery today, and just the kind of set that makes us prouder than ever of our Chicago heritage! Titles include "We Ain't Free", "Money Won't Save You", "Now and Den", "He Keeps You", "I'm What You Need", and "Writin' On The Wall".

One of the hippest records ever to come out of Chicago -- the sole recording by Boscoe, a group who was even more obscure and experimental than contemporaries like The Pharoahs or Artistic Heritage Ensemble! Like those groups, Boscoe has a very unique, very visionary approach -- one that's not content just to echo the standard post-Coltrane modes that other spiritual jazz groups around the country were hitting -- but which instead moves into territory that touches on the darker sides of funk, soul, and spoken word of the time -- all with a message that's incredibly powerful, and conception that's wonderfully fresh throughout! The group's lineup features tenor, trumpet, trombone, guitar, bass, and drums -- but they way they're put together is often far different than other funky combos -- and it's clear that the group had as much of a sensibility about the overall sound of their record as they did their freer grooves. At times, there's a righteousness here that recalls the best of the early Westbound Records scene from Detroit -- but there's an even higher agenda too, which is more in keeping with the spiritual aspriations of their Chicago contemporaries, and which really show up in the lyrics. The whole album's a masterpiece from start to finish -- unlike anything that we can think of, still ripe for rediscovery today, and just the kind of set that makes us prouder than ever of our Chicago heritage! Titles include "We Ain't Free", "Money Won't Save You", "Now and Den", "He Keeps You", "I'm What You Need", and "Writin' On The Wall".

Even at an early age, Anthony Braxton was already experimenting with new forms of jazz composition -- and this 1968 debut as a leader is filled with the imaginative approaches to music that would make him a key shaper of jazz in the next decade! The tracks here are all quite long, and although free-sounding, still have an intrisic logic dictated by Braxton's compositional ideals -- played by himself on alto, soprano sax, clarinet, flute, and a variety of other instruments -- in a quartet that features Leo Smith on trumpet and mellophone, Muhal Richard Abrams on piano and cello, and Leroy Jenkins on violin and viola. In true AACM fashion, all players pick up other instruments as the tunes roll on -- percussion bits, kazoo, slide whistle, bells, and more -- almost more Art Ensemble-like than some of Braxton's more tightly-controlled environments on later records. Titles include two pieces titled in Braxton's equation-like style -- plus "The Bell".

Till Bronner's debut -- and a set that has the trumpeter working in much more jazz-based territory than on some of his later records! Bronner's horn still has plenty of soul here, and it's wrapped up in backings that definitely have the Till touch -- but the album's an all-instrumental affair, with lots more focus on the solo skills of Bronner, plus those of his bandmates as well. Till's got a sweetly compressed style to his horn -- echoes of early Miles or Chet Baker, wrapped up in more contemporary arrangements that bring in keyboards and guitar, and sometimes have a subtle dose of funk as well. The set holds up remarkably well for a mid 90s outing of this nature -- without any of the cliches that often held back similar sets from the period -- and titles include "What's Going On", "Reporting From Rangoon", "Don't You Worry Bout A Thing", "In The Meantime", "Highway To Heaven", "Little Giant's Talking", and "Waiting".

The second album from disco superstar Peter Brown -- and a batch of tracks that's a bit less clubby than before! Brown's emerging here more as a fully-fledged pop singer in his own right -- showing at least a bit of confidence by putting himself on the front cover this time around, even though his back is to the camera! The tunes are catchy, and co-produced with Cory Wade -- who'd helped so strongly with Brown's Fantasy Love Affair classic for TK Records -- and there's plenty of that sweetly compressed production in this set too. Titles include the crossover classic "Love In Our Hearts" -- which almost has a Queen-like chanting groove -- plus "Penguin", "West Of The North Star", "Leadmeon", "Got To Get The Show On The Road", "It's Alright", and "Crank It Up".

After Hours jamming the way it should be -- recorded in a very relaxed, open-ended setting! The album's a classic Prestige Records jam session from the late 50s -- one that features Kenny Burrell on guitar, Thad Jones on trumpet, Frank Wess on tenor and flute, Mal Waldron on piano, Paul Chambers on bass, and Art Taylor on drums -- all players who've got a great ear for material for this, and who really make the session their own when they get a chance! Though Burrell's name got top billing on subsequent issues of this album, and his playing is wonderful, Waldron's the great unsung hero of these sessions, as his playing's consistently remarkable, providing great accompaniment for the horn players. Four numbers: "Steamin", "Count One", "Empty Street", and "Blue Jelly".

Donald Byrd's last Blue Note album with fusion genius Larry Mizell -- and a doozy! The record builds off the style of previous Byrd/Mizell outings -- like Places & Spaces, Street Lady, and Black Byrd -- mixing together a similar blend of heavy rhythms, keyboards, and sweet funky trumpet licks from Donald. The sound here's a bit tighter than on some of the previous records -- showing Mizell as an emerging soul genius, soon to click big on some very important R&B outings of the late 70s. Donald's working with a great group -- and gets help from the likes of Patrice Rushen, Gary Bartz, David T. Walker, and Alphonze Mouzon -- all of whom fit in with the funky program to really kick out some nice grooves! Titles include "Return Of the King", "Dance Band", "Wild Life", "Science Funktion", and "Onward Til Morning".

One of the few albums ever issued as a leader by the great Joe Cain -- a wonderful Latin arranger with a really mad ear for a groove! Cain's approach is often quite choppy in the rhythms -- short, hard, and very very sharp -- then topped with sweeter, jazzier lines -- played on this set by Clark Terry on trumpet, Jerome Richardson on tenor and flute, and Frank Anderson on piano and some especially nice organ lines! Percussion is super-heavy throughout -- played by Jose Mangual, Chocolate, and Marcelino Valdes with a vibe that's just right for the rhythms -- and additional support is from Cachao on bass and Herbie Lovelle on drums. The grooves are incredible -- quite different than anything else on Mainstream Records at the time, and even different than most of the New York scene -- and titles include the amazing "It's A Mad Mad Mad Mambo (parts 1 & 2) (also known elsewhere as "Mambo Au Go Go") -- a cut that sounds like some sort of crazy avant garde percussion banging, all made to keep in time to a mambo beat, with jazzy organ solos over the top. Other titles include "Mongo Mongo Baby", "Papa Bajo", "Que Paso", "Tanga Pa Katanga", and "Chunga A Go Go".

A beautiful early album by Elizete Cardoso -- arguably one of the first bossa nova records ever, and a set that features some great early tracks penned by Antonio Carlos Jobim and Vinicius De Moraes! The record is a haunting showcase for the genius of Jobim and Vinicius, and it includes early recordings of many many tracks that have now become bossa standards -- like "Chega De Saudade", "Outra Vez", "Modinha", "Janelas Abertas", and "Cancao Do Amor Demais". The orchestrations are beautiful -- arranged by Jobim, who also plays piano -- and featuring a bit of guitar from Joao Gilberto, amidst flute, trombone, trumpet, and a bit of strings. Elizete's voice is richer and more emotional than that of most of the later bossa divas -- and the record is a key link in a number of Brazilian musical traditions!

Incredible work from Don Cherry -- a previously unreleased live date from the 60s, but every bit as great as any of his better-known records from the decade! The sound here is really amazing -- a hip blend of Cherry's trumpet with tenor from Gato Barbieri and vibes from Karl Berger -- working here in a piano-less setting that has all three players snaking together beautifully as the tunes unfold -- freed up a bit to explore some really bold new territory, yet always held together with the same sense of inherent rhythm you'd find on Cherry's Blue Note albums from the late 60s. Rhythm is by Bo Stief on bass and Aldo Romano on drums -- both players who really help the tunes take on some great structures -- especially during the group's extended take on "Orfeu Negro", a number taken in very similar ways to Archie Shepp's Fire Music version of "Girl From Ipanema"! Other numbers are great too -- and include "Remembrance", "Spring Is Here", "Suite For Albert Ayler", and "Complete Communion", done in a 22 minute take.

Great lost work from the legendary Phil Cohran and his Artistic Heritage Ensemble -- a composition that was recorded during the group's late 60s years on the Chicago scene -- but which has never been released until now! The album stands beautifully alongside the group's self-titled classic and their tribute to Malcolm X -- and like those amazing records, this one has a feel that's all its own -- an exploration of Moorish elements in Spanish culture -- which comes off as a Latin-inflected sound with African roots! The lineup here is similar to other Cohran classics -- Donald Myrick on baritone sax, Charles James Williams on alto, Eugene Easton on tenor, Charles Handy on trumpet, Willie Woods on trombone, Aaron Dodd on tuba, Pete Cosey on guitar, Henry Gibson on congas, and Louis Satterfield on bass -- a mix of musicians that includes members with Sun Ra and Earth Wind & Fire listed in their resumes! Cohran's vision in the suite is wonderful -- and the music has all the depth and righteous energy of his self-titled record, but a bit more Latin fire too -- a beautiful blend that really makes us appreciate his genius even more than before, and which finally gives us another record of his to love after all these years.

A massive amount of greatness -- the first run of albums by John Coltrane as a leader, recorded for Prestige Records in 1957 and 1958, and packaged here with a huge booklet of notes as well! The 6CD collection features a massive 48 tracks in all -- the long, open-ended grooves that Coltrane recorded for Prestige -- really stepping into the spotlight as a leader on his own, and working with players who include Red Garland on piano, Donald Byrd and Freddie Hubbard on trumpets, Paul Chambers on bass, and Jimmy Cobb on drums. The set features exquisite packaging -- very unique -- plus a beautiful 64 page book that includes album artwork, new liner notes, and a full discography and sessionography too!

An incredible chapter of John Coltrane's early career -- one of a pair of albums he cut with trumpeter Wilbur Harden for Savoy records! The title's a bit misleading, as the sound here really isn't "mainstream" at all -- but more in the longer modal mode that would emerge more strongly in Coltrane's later recordings. The album is really significant -- in that it almost marks the first time that Trane got to express his voice freely, and work through a more visionary sound -- but big credit also goes to Wilbur Harden, who wrote all the longer tracks on the set, and who is coming at the record from kind of a Yusef Lateef exotic perspective. Other players include Tommy Flanagan and Lateef-bandmates Doug Watkins on bass and Louis Hayes on drums -- and titles include "West 42nd Street", "EFFPH", "Snuffy", and "Rhodomagnetics".

They got the "jazz date" right in the title on this one -- as Chris Connor works here with some exceptional small combo backing -- all in a mode that almost takes her back to the earliest sound of her first few records on Bethlehem! Ralph Sharon's the maestro here -- handling all the arrangements for a few small combos with players who include Oscar Pettiford on bass, Sam Most on flute, Eddie Costa on vibes, Joe Puma on guitar, and Lucky Thompson and Al Cohn on tenor -- all modern-minded players who turn out to be a really great fit for Connor on the date. A few numbers even feature added Latin percussion from Mongo Santamaria -- and titles include "All I Need Is You", "Driftwood", "Fancy Free", "It Only Happens When I Dance With You", and "Lonely Town".

A sublime album through and through -- and another essential slice of work from the legendary Nicola Conte! Conte's only given us a few full length sets under his own name, but they've all been amazing, and this album's no exception -- a record that mostly features live jazz instrumentation, turned towards some of the groove-heavy modes that Conte forged from his earliest sides on Schema Records -- a style that was clubjazz before anyone was using that tag, but which also has done plenty to revive a huge range of classic modes from decades past! The record's got echoes of bossa, modal jazz, and more -- served up by combos with players that include Timo Lassy on sax and flute, Fabrizio Bosso and Till Bronner on trumpets, Pietro Lussu on piano, and Conte himself on guitar. Vocals are by Alice Ricciardi, Jose James, Chiara Civello, and Kim Sanders -- and the album's got an even deeper feel than Conte's previous album on Blue Note. Tracks include "Karma Flower", "I See All Shades Of You", "Black Is The Graceful Veil", "Caravan", "Rituals", "Awakening", "The Nubian Queens", and "Like Leaves In The Wind".

A sublime album through and through -- and another essential slice of work from the legendary Nicola Conte! Conte's only given us a few full length sets under his own name, but they've all been amazing, and this album's no exception -- a record that mostly features live jazz instrumentation, turned towards some of the groove-heavy modes that Conte forged from his earliest sides on Schema Records -- a style that was clubjazz before anyone was using that tag, but which also has done plenty to revive a huge range of classic modes from decades past! The record's got echoes of bossa, modal jazz, and more -- served up by combos with players that include Timo Lassy on sax and flute, Fabrizio Bosso and Till Bronner on trumpets, Pietro Lussu on piano, and Conte himself on guitar. Vocals are by Alice Ricciardi, Jose James, Chiara Civello, and Kim Sanders -- and the album's got an even deeper feel than Conte's previous album on Blue Note. Tracks include "Karma Flower", "I See All Shades Of You", "Black Is The Graceful Veil", "Caravan", "Rituals", "Macedonia", "The Nubian Queens", and "Like Leaves In The Wind".

A Bicentennial groover from The Cult -- not the goth group of the 80s, but a funky west coast outfit with plenty of funk! There's a bit of an indie club vibe here, mixed in with the group's riffing and strutting rhythms -- which creates a feel that's somewhere in the territory of the best P&P Records funky moments of the 70s -- although with perhaps a bit of a Cali twist in the production, yet never one that's slick or uptight at all! Vocals are somewhat oddly recorded, almost flatter than the vocals -- but that aspect also makes the album stand out nicely -- as it's clearly not trying to cop any commercial competition, and instead is really going for its own vibe. Titles include "Back Pay", "It's Time", "Don't Give Up", "The Cult Theme", "The Rider", and "The Mail Must Go Through".

Incredible work from this legendary Italian drummer -- a set that bristles with all the sharp edges and soulful moments of some of Art Blakey's best albums from the 50s! Cuppini's working here in a number of different settings, all of them great -- with players who include Lars Gullin on baritone sax, Oscar Valdambrini or Sergio Fanni on trumpet, Gianni Basso or Eraldo Volante on tenor sax, Giorgio Azzolini on bass, and Ettore Righelo on piano. Tracks are short, but nicely hard-edged -- and Cuppini's drums have a blazing boldness we don't always hear on other records -- a great sense of power that really sets the scene for the tunes. The horn solos are all great -- especially some of the Basso-Valdambrini interplay -- and titles include "Duo", "Bernie's Tune", "Il Nord", "Topsy", "L'Uomo Dal Bracco D'Oro", "Lover Man", "Walkin", and "I'll Remember April". Also include "The Drums" -- which is a cool piece with a spoken recitation in Italian!

One of the hippest records ever cut by trumpeter Ted Curson -- and that's saying a lot, because all his records are pretty darn hip! Curson's working in a quartet with Jim McNeely on piano, Cecil McBee on bass, and Steve McCall on drums -- and the group's a lot tighter than some of Curson's other ones from the late 70s, grooving away with a slight nod to freedom, but also a hard jazz swing that never loses its drive. The vibe is great -- soulful and soaring, but very focused too -- and titles include "Dwacki Mun Fudalick", "Blue Piccolo", "Playhouse March", and "Song Of The Lonely". CD also features bonus tracks not on the original LP!

Overlooked genius from reedman Nathan Davis -- a later session that's a bit more straight ahead than some of his 70s work, and a date that really gets back to some of the best soulful energy of his records from the 60s! Davis is recorded here in very sympathetic company -- players who share some of the best energies he picked up on the expatriate scene during his famous time overseas -- Dusky Goykovich on trumpet, Kenny Drew on piano, Jimmy Woode on bass, and Al Leavitt on drums! There's an easygoing soul jazz groove to the whole set, with a slight touch of modernism -- and in addition to tenor, Davis also plays some wonderful soprano sax -- handling the horn with stretched-out soulfulness that makes him one of the undisputed masters of the instrument. Titles include "Noite Em Leblon", "Rio De Janeiro", "Dr Bu", "London By Night", "Shades", "Lament", and "If I Fell".

One of Richard Davis' hippest records of the 70s -- a live session recorded with two very strong hornmen in front -- Clifford Jordan on tenor and Hannibal Peterson on trumpet, both blowing beautifully in very spacious, and open-ended styles! The album only features two long tracks -- each running a side apiece -- and although they're familiar jazz standards, Davis really opens them up with his performance -- letting the group take them in a space that's somewhere between open loft jazz modes, and more familiar bop improvisation -- but definitely at the left fringes of that style! The rest of the group features Joe Bonner on piano and Freddie Waits on drums -- and the album's almost more typical of Clifford Jordan's albums from the time, than it is Davis' more tightly-arranged sessions for Muse. Tracks include versions of "Epistrophy" and "Now's The Time" that both run for over 20 minutes!

Ray Drummond's one of those players we always like to keep an ear on -- because he always brings something unique to the record -- an extra sense of soul and spirit that makes records like these so great! The album's a wonderfully understated 80s date, but it's filled with deep ideas throughout -- tunes that push forward with the brilliance of a 70s soul jazz session -- slight spiritual touches at times, especially in the horns, and a strong sense of bottom from Ray's basslines. Players include Manny Boyd on tenor and soprano sax, Tom Harrell on trumpet and flugelhorn, Niels Lan Doky on piano, and the great Alvin Queen on drums -- and titles include "Maya's Dance", "Little Feet", "Driftin", "You Are My Love", "Dolphin Dance", and "What Is Happening Here".

An amazing package of work from George Duke -- 6 of his legendary fusion albums for MPS Records, including the never-reissued double-length set Solus/The Inner Source! That incredible album is worth the price of the package alone -- as it begins with some sublime trio work from Duke, rooted in jazz but already stretching out in amazing ways -- then moves into some even hipper Latin-styled grooves, with Jerome Richardson on reeds and Luis Gasca on a bit of trumpet! Other albums in the set are equally great -- and trace Duke's evolution from straighter jazz into funky freer fusion and soul -- an incredible musical shift that's presented on the albums Faces In Reflection, Feel, I Love The Blues She Heard My Cry, The Aura Will Prevail, and Liberated Fantasies -- each of them classics in their own right, presented together wonderfully here in this complete MPS package! The set is amazing -- with a whopping 64 titles in all, and complete notes on all the music -- including some recollections from Duke himself.

A stone cold live date from Charles Earland -- recorded in Newark, at just the sort of club where he got his start! The tracks are quite long and openly grooving -- even more so than Charles' killer studio sets from the time -- and there's a bit of a harder edge here too, thanks partly to the live setting -- and to the amazing young tenor work of Grover Washington Jr, who really sounds incredible here -- much harder than in his later Kudu years! Other members of the group include trumpeter Gary Chandler -- playing with a sound that's right up there with his landmark date on Eastbound Records -- plus Maynard Parker on guitar, Jesse Kilpatrick on drums, and Buddy Caldwell on congas. As usual, Charles doesn't need a bassist to help him find a nice chunky bottom on the tunes -- and he really sails out majestically throughout, with those famous long-running solo lines of his on the Hammond! Titles include "Killer Joe", "Milestones", and "Key Club Cookout". Features 2 bonus tracks too -- "More Today Than Yesterday" and "Message From A Black Man".

Not the 5th album from El Gran Combo -- they'd actually released way more records than than by this time -- but a great 70s cooker from this famous Latin group! Tracks have a nice sense of power throughout -- bright horns on the top, and bold rhythms that show the combo were digging the same sort of new Latin vibe as the acts over at Fania and Tico -- new Latin pride for the 70s, which really comes through in the energy of the grooves. Instrumentation includes two trumpets, two saxes, and a trombone -- over lots of great percussion, and topped by vocals from Andy Montanez and Carlos Aponte. Titles include "Villaran Cuenca", "Los Zapatos De Manacho", "Mi Plena", "Eliminacion De Feos", and "Con Guiro Y Pandereta".

A great bit of soulful fusion from drummer Peter Erskine -- one of the few albums he made as a leader of this nature, even though his playing graced lots of other wonderful records at the time! The approach here is tight, but never too much so -- smooth, but never slick -- a warmly electric groove that's really a lot more in a mid-70s sort of style than you'd expect from the early 80s date of the album. Other players here are all well-suited for the set -- and include Randy Brecker on trumpet, Michael Brecker on tenor, Bob Mintzer on tenor, Don Grolnick on electric piano, Eddie Gomez on bass, Don Alias on percussion, and Mike Mainieri on vibes -- and titles include "Leroy Street", "In Statu Nascendi", "All's Well That Ends", "My Ship", and "ESP".

Funky Latin grooves from Sheila Escovedo -- recorded in the decade before she hooked up with Prince and dropped the "scovedo" from her last name -- when she was part of a hip Bay Area scene that also included her brother Pete! The album's got a great blend of funky fusion and Latin styles -- served up with a sound that's right up there with the best on Fantasy Records from the time -- a really unique fusion of modes that shows just how much trading of styles was going on in that scene during the 70s. Billy Cobham produced, with a definite ear for the percussion in the group -- and the rest of the group features Mark Soskin on keyboards, Ray Obiedo on guitar, and some added horns to flesh out the sound nicely. Pete plays timbales, Sheila's on congas, and titles include "Bittersweet", "Clean Air", "Solo Tu", and "Fantasy Junction" -- plus a nice version of Milton Nascimento's "Vera Cruz".

A sublime set of soul instrumentals -- very funky work, and sort of a 70s follow-up to the Soulful Strings albums on Cadet Records from the 60s! Maestro Richard Evans is at the top of his game here -- stepping out with that hip Chisoul mode he first forged at Chess, tuned here towards some even more sophisticated modes for Atlantic Records! Many of Evan's previous players are on board to make the record great -- including Lennie Druss on flute, Paul Serrano on trumpet, Odell Brown on organ, and Phil Upchurch on guitar. Evans himself plays bass for the record -- using a very funky bottom sound -- and the set also features some wicked vibes from the legendary Billy Wooten, working away from his Nineteenth Hole group on a rare major label date! The sound is blacksploitation soundtrack, part Curtom funk -- and titles include the great originals "Pie Daddy's Dream", "Wado City", "Angela My Sister", and the great "Patutu" -- which was done by the Soulful Strings -- plus a few nice covers like "Mercy Mercy Me" and "Ellie's Love Theme", by Isaac Hayes.

A sublime set of soul instrumentals -- very funky work, and sort of a 70s follow-up to the Soulful Strings albums on Cadet Records from the 60s! Maestro Richard Evans is at the top of his game here -- stepping out with that hip Chisoul mode he first forged at Chess, tuned here towards some even more sophisticated modes for Atlantic Records! Many of Evan's previous players are on board to make the record great -- including Lennie Druss on flute, Paul Serrano on trumpet, Odell Brown on organ, and Phil Upchurch on guitar. Evans himself plays bass for the record -- using a very funky bottom sound -- and the set also features some wicked vibes from the legendary Billy Wooten, working away from his Nineteenth Hole group on a rare major label date! The sound is blacksploitation soundtrack, part Curtom funk -- and titles include the great originals "Pie Daddy's Dream", "Wado City", "Angela My Sister", and the great "Patutu" -- which was done by the Soulful Strings -- plus a few nice covers like "Mercy Mercy Me" and "Ellie's Love Theme", by Isaac Hayes.

A fresh new groove from The Fania All Stars -- one that definitely has them picking up some of the Spanish elements mentioned in the title -- the fusing them into the tight mix of Latin, club, and jazz they were doing at Columbia Records in the late 70s! These new elements are often light -- a bit of acoustic guitar here, maracas there, or some slightly different rhythms -- and they're warmed up nicely by the mix of electric and acoustic instrumentation used by the group -- who are definitely at the height of their disco powers here! Core players include Papo Lucca on keyboards, Nicky Marrero on timbales, Johnny Pacheco and Roberto Roena on percussion, and Bobby Valentin on bass -- and other players include Hubert Laws on flute, Eric Gale on guitar, Luie Ramirez on vibes, and Luiz Perico Ortiz on trumpet. Vocals are by Ismael Miranda, Pacheco, and Ruben Blades -- and titles include "Spanish Fever", "Que Pasa", "Space Machine", "Donde", "Your Sereneness", and "Sin Tu Carino".

A fresh new groove from The Fania All Stars -- one that definitely has them picking up some of the Spanish elements mentioned in the title -- the fusing them into the tight mix of Latin, club, and jazz they were doing at Columbia Records in the late 70s! These new elements are often light -- a bit of acoustic guitar here, maracas there, or some slightly different rhythms -- and they're warmed up nicely by the mix of electric and acoustic instrumentation used by the group -- who are definitely at the height of their disco powers here! Core players include Papo Lucca on keyboards, Nicky Marrero on timbales, Johnny Pacheco and Roberto Roena on percussion, and Bobby Valentin on bass -- and other players include Hubert Laws on flute, Eric Gale on guitar, Luie Ramirez on vibes, and Luiz Perico Ortiz on trumpet. Vocals are by Ismael Miranda, Pacheco, and Ruben Blades -- and titles include "Spanish Fever", "Que Pasa", "Space Machine", "Donde", "Your Sereneness", and "Sin Tu Carino".

Hard grooving throwback funk, mod jazz, and 60s r&b flourishes from the mighty Fantastics -- a pretty deft mix of instrumental funk & soul with a mastery of classic styles! The core combo features organ & piano from Greg Boraman, who has roots in fellow UK funk combo the Soul Destroyers and has also sat in with compatriots Reverend Cleatus & The Soul Saviors -- so the pedigree is there -- plus Pete Collision on guitar, Raydn Hutner on bass and James Rule on the kit. Guests include Mark Norton on sax and flute, Matt Wilding on congas, and UK soul vocalists Noel McCoy on "Soul Child". Great stuff -- and another feather in the cap of modern funk & soul flag wavers at Freestyle Records! Other tracks include "Don't Follow Leaders", "Nine Lives", The Doctor Is In", "Kinshasa Five", "Mighty Righteous", "Soul Sucka" and "Blue Sunday". The CD version also includes the track "The White Out", not on the vinyl version.

An overlooked fusion set from the mighty Muse Records -- an early 80s date recorded under the leadership of keyboardist Mitch Farber, and featuring work from Randy Brecker on trumpet, Gary Campbell on tenor and soprano, and Steve Khan on guitar! Given the players, there's almost a major label fusion feel to the set, although the overall sound is more open and laidback -- not slick at all, and a nice reminder that in the farther corners of jazz in the early 80s, fusion didn't always have to be focused on commercial hits. Rhythm is from Mark Egan on bass, Danny Gottlieb on drums, and Sammy Figuera on percussion -- and titles include "Monuments", "Sky Dance", "The Chooser", "Lonely Promises", and "Starclimber". CD also features the bonus track "Theme From Travels" -- recorded in 1990.

A little hippy dippy, but pretty great overall! The album is kind of a soul jazz loft session -- a bit more freewheeling than some of the efforts from the same time on Strata East, but with a similar feel. The group features a lot of modal tracks with a spiritual vibe -- played on flute, piano, bass, sax, and percussion, with some occasional (and beautiful) wordless vocals by Jay Clayton, sung over the top of the grooves. Titles include "Riff For David B", "Friend & Lover", "Esmond", and "The Silver Apple".

Two of the biggest singers who ever worked for Verve Records -- captured perfectly at the Newport Jazz Festival in 1957! Ella Fitzgerald steps out with a strong, lively groove on the first half of the set -- swinging things with a looser, more upbeat quality than on some of her mellower Verve studio sets of the late 50s -- really grooving it up with small combo backing from the trio of pianist Don Abney! Billie Holiday also gets some small combo backing too -- a hip trio with Mal Waldron on piano, Joe Benjamin on bass, and Jo Jones on drums -- often a bit more laidback than the group on Ella's sides, but in a great way that helps Holiday hit a very intimate sound, even before this large audience. Ella sings "This Can't Be Love", "Body & Soul", "April In Paris", "I Got A Crush On You", and "Airmail Special" -- and Billie sings "Nice Work If You Can Get It", "What A Little Moonlight Can Do", "My Man", "Willow Weep For Me", and "Lady Sings The Blues".

Very different work than usual from Frank Foster -- and pretty darn great! The album was put together by arranger Billy Mitchell -- with a warm and sunny take on soul jazz that's every bit the best side of the Catalyst Records sound -- kind of a sweeter, slightly electric take on the genre that's different from the styles going down at some of the other indies during the other part of the decade. Foster's tone is in full force here -- but his overall playing is reigned in a bit from his more frenetic recordings with Elvin Jones -- a good thing by us, as the record allows him to explore sound in much different ways. The rest of the group is equally great -- with players that include Art Webb on flute, Harold Mabern on piano, Roland Prince on guitar, Freddie Waits on drums, and Richard Williams on trumpet. Tunes have an arranged feel that's got some slight sweetness to it -- but they're also long, and with plenty of room for solos. Titles include "Shunga", "Sweet Mirage", "Square Knights Of The Round Table", and "Been Here & Gone".

Lots of organ, trumpet, and tenor here -- some really sharp-edged grooves that take us back to the Prestige Records soul jazz years of the 60s! Saxophonist Mike Frost leads the group on both tenor and soprano -- but the equal stars of the set are trumpeter Steve Frost and organists Tom Vaitas and Demos Petropoulos, each of whom alternate throughout the record -- ensuring that there's some heavy Hammond on every track. Other players include Tim Mulvenna on vibes and percussion, Bil Boris on guitar, and Dave Bernat on drums -- and titles include the originals "Nica's Winter Waltz" and "Aw Geez" -- plus "Buzzy", "Sticky Wicket", "Pent Up House", and "The Happy Blues".

Very free-flowing poetry from a group of artists that includes older beats and younger hippies -- all gathered together for the New York Workshop In Nonviolence! The album's got a bit of an ESP Records sort of feel -- not in an avant jazz way, but in the manner of the freely open style that some of the label's rock and experimental groups were allowed to work -- although here, the sound is relatively free of music and recorded with a sense of starkness that makes the sharper edges of the poetry come through nicely. Performances were recorded at St Mark's Church in 1967 -- and titles include "Auto Poesy To Nebraska" by Allen Ginsberg, "June 20, 1961 Tangiers" by Peter Orlovsky, "From The Black Plague" by David Anton, "Speech" by Jackson McLow", "Elegy, Poems From Oklahoma" by Allen Katzman, "Peace Freak Poem" by Ed Sanders, and "Life Has No Dimension" by Art Berger.

One of the rarest Johnny Griffin albums ever -- a set recorded as a side project when Griff was working with the Clarke Boland Big Band -- in a lineup that features some of the best members from that great ensemble! The style's a bit more laidback and soulful than other CBBB projects -- more in the mode of Johnny's roots in Chicago during the 50s, but still inflected with some of the sharper touches he picked up during his 60s years in Europe. Other players here are all wonderful -- and include Benny Bailey on trumpet, Sahib Shihab on baritone sax, Ake Persson on trombone, Francy Boland on piano, Jimmy Woode on bass, and both Kenny Clarke and Kenny Clare on drums -- seemingly playing together on some tracks, which creates a nicely skittish rhythm in the set! Titles include "The Turk's Bolero", "Deep Eight", "A Handful Of Soul", "Foot Patting", and "Lady Heavy Bottom's Waltz".

A stunning big band session from trumpeter Roy Hargrove -- one that marks his emergence to a whole new level of jazz! The album comes as a real surprise to us -- quite different than both Roy's small combo work, and some of his more groove-based records -- and although you can hear elements of both those styles in these tracks, the overall feel is quite different too -- with almost an early 60s Quincy Jones approach to scoring -- soulful one minute, but also quite sophisticated too -- with a masterful ear for color, tone, and timing that we might never have expected from Hargrove! Roy's trumpet and flugelhorn are in the lead of the large lineup on most numbers, but there's also a few tracks that features guest vocals from Roberta Gambarini -- a singer with just the right undercurrent of sadness to slide into the shimmering charts. Roberta sings on the tracks "La Puerta" and "Everytime We Say Goodbye" -- and other numbers include "Roy Allan", "Tschipiso", "Trust", "Mambo For Roy", "Ms Garvey Ms Garvey", "Velera", and "Requiem".

One of the best-ever Billy Harper records from the 70s -- and one of the rare sessions of his that only ever came out in Japan! Billy is in incredible form throughout -- and plays with a stunning sense of imagination and creativity on the 3 long tracks that make up this LP -- stepping out with brilliant post-Coltrane energy that fires up his tenor, and takes him to the skies on these wonderfully long, creative solos. He's playing here with Harold Mabern on piano, Everett Hollins on trumpet, Billy Hart on drums, and Greg Maker on bass -- and the session's got that warm spiritual sound that characterizes his best work -- but also has a lot of hard-blowing solos with the haunting searching quality that keeps us coming back to Billy's work again and again over the years. Titles include "Loverhood", "Trying to Get Ready", and his classic, the title cut, "Soran-Bushi BH".

Well-crafted work from trumpeter Philip Harper -- a set that's almost got that "jazz plus" feel of some of the Muse Records dates of the time -- an extra undercurrent of soul, even though the album's a pretty straight session overall! The arrangements are especially well-penned -- not as free on the solo parts, but carefully crafted with a nice sense of color -- and Harper's sidemen are especially nice, with Mark Gross on alto, Herb Harris on tenor, and Norman Simmons on piano -- all of whom fall tightly into line when needed. Anna Lisa sings vocals on the track "Almost Blue" -- and other instrumental titles include "Amanda", "Thirteenth Moon", "Candy", "Windmill", and "Lotus Blossom".

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

Killer work from British tenor giant Tubby Hayes -- issued here for the first time ever, and material that's every bit as great as his famous Fontana Records sides from the 60s! These tracks are well-recorded gems from the BBC archives -- material recorded by Hayes for a special program, and featuring a largeish group of top-shelf players who include Jimmy Deuchar on trumpet, Keith Christie on trombone, Johnny Scott on alto and flute, Vic Ash on tenor and bass clarinet, Harry Klein on baritone sax, David Snell on harp, and Gordon Beck on piano -- all regular associates of Hayes, working as tightly here as on some of his best arrangements from studio dates of the 60s. There's a mix of modernism and solid soul that's pure Tubby all the way through -- tremendous on his solo moments, but sparkling throughout as well -- exactly the kind of record that will make you fall in love with his talents. Titles include "Early Morning Afterthoughts", "Down In The Village", "Souriya", "Take Your Partners For The Blues", and "Peace".

A rhythmically complicated set from trumpeter Graham Haynes -- done in that great sensitivity for non-American styles we love in his music! At the core, Haynes cornet work is still strongly jazz-based -- but it's set up here with instrumentation that's heavy on percussion, plus a bit of keyboards, and some bold tenor and soprano sax from Steve Williamson. Given the African origins of some of the drummers, Williamson's British identity, and the Parisian recording site of the album -- the set's got a definite boundary-crossing feel -- a bit like some of the British experiments that were coming from Williamson's scene at the same time, although not nearly as clunky, and with more of a stripped-down Muse Records approach. Titles include "Nocturne", "Les Halles", "Rue St Denis", "The Island", "Stupide Salope Negre", and "Purya Danishri".

A groovy dream come true -- the complete studio recordings of German bandleader Peter Herbolzheimer -- easily one of the funkiest European talents of the 70s! Although Herbolzheimer's got a clunky name, his sound is incredibly fluid and tight -- a large group approach to funk that rivals some of the best American work of his time -- including classics from Lalo Schifrin, Johnny Pate, and other key maestros of the blacksploitation era. Peter's got a way of taking a large group of players and really making them groove -- a sound that's kind of an electrified extension of the styles first laid out at MPS by the Clarke-Boland Big Band, but served up with a hipper, funkier 70s approach to rhythm. Like the CBBB, Herbholzheimer's groups often feature American players -- such as Art Farmer on trumpet or Herb Geller on saxes -- alongside more familiar MPS talents like Dusko Goykovich on trumpet, Dieter Reith on organ, Ferdinand Povel on flute, Jiggs Whigham on trombone, and Sigi Schwab on guitar -- joined by the legendary Sabu Martinez on a few of the best sessions here! The 4CD set is a massive discovery in music -- as it features not only Herbholzheimer's Rhythm & Brass albums for MPS and Polydor, but also records under the group names Certain Lions & Tigers and The Galactic Light Orchestra. The package features a whopping 8 albums in all -- Soul Condor, Time Travellers Galaxis, Waitaminute, Wide Open, Hip Walk, Touchdown, and I Hear Voices -- most of which have never been reissued before -- a whopping 61 long funky jazz tracks!

A beautiful record -- and one of the only two records made by the obscure (but wonderful) JFK Quintet! The quintet have a sound that's unlike any other combo we can think of -- sharp-edged and modern at one moment, but also warmly soulful the next -- all at a level that's years ahead of most other players, and which kind of points the way towards new levels of jazz expression in the early 70s. The group features a very young Andrew White on alto, and his playing is unbelievable -- a fantastic mix of modernist ideas and soulful colorings that really comes out better here than on any of his later albums as a leader. Ray Codrington's on trumpet, playing with a skittish sound that further underscores the edgey sound of the record -- and the great Walter Booker's on bass, working with drummer Carl Newman in a groove that's always compelling. The group plays some startling original compositions -- like "Eugly's Tune", "Aw-ite", "Nairod", and "Cici's Delight" -- and the album's a delight through and through!

One of the most wonderfully lyrical records ever cut for Blue Note! The amazing Thad Jones is in impeccable form here, leading a beautiful little quintet that has his warm trumpet paired with the soulful tenor of Billy Mitchell. The pair are perfect together, and move seamlessly through the session, trading solos with incomparable ease -- yet never getting too perfect, and never lacking the humanity that makes a record like this so great. Barry Harris plays some wonderful piano -- and the tracks include "If I Love Again", "Thedia", "If Someone Had Told Me", and "April In Paris".

2 rare sessions from Prestige Records' Swingville label -- both of which feature work from Ellington trumpeter Taft Jordan! The first date on the set was issued under Taft's own name -- and is a great laidback set that shows Jordan in a completely different setting than the Ellington group -- working here in a small combo with Kenny Burrell on guitar, Richard Wyands on piano, Joe Benjamin on bass, and Charlie Persip on drums. Tracks are shortish, but open and easy-going -- lots of room for Jordan's trumpet to sparkle, plus some nice contributions from Burrell and Wyands as well. Titles include "Warm Valley", "Lost In Meditation", "In A Sentimental Mood", and "I Didn't Know About You". The second set was a one-off date by The Swingville All Stars, a group made up of other leaders on the label, oddly recorded here by the Sound Of America! Jordan's trumpet is joined by the tenor of Al Sears, the alto of Hilton Jefferson, and the piano of Don Abney -- all on laidback, late nite tracks that are almost as much in the Moodsville mode as they are in the Swingville one. Titles include "Lil Darlin", "Willow Weep For Me", "Tenderly", "Rockin In Rhythm", and "New Carnegie Blues".

Fantastic French grooves from the end of the 60s -- a killer set of jazz-based tracks recorded by trumpeter Ivan Jullien, with help from funky arranger Michel Colombier! Jullien recorded a fair bit of jazz and studio work around the time, and his playing here is razor-sharp -- and supported by Colombier grooves that rival his best soundtrack material, his experiments with Pierre Henry, or his backings for singers like Serge Gainsbourg or Brigitte Bardot! Colombier also plays keyboards on the record, as does the great Maurice Vander -- amidst a host of other great French jazzmen who include Pierre Gossez on sax, Roger Guerin on additional trumpet, and Eddie Louiss on organ. Drums are nice and funky on most cuts -- and the whole thing kicks even more than most funky big band records on MPS! Includes the great break cut "I Remember Otis" -- plus "Sonoro", "The Looser", "Talk", "An Oscar For Eddy", "Wake The Monster", "Edith", and "Crescendo".

Fantastic French grooves from the end of the 60s -- a killer set of jazz-based tracks recorded by trumpeter Ivan Jullien, with help from funky arranger Michel Colombier! Jullien recorded a fair bit of jazz and studio work around the time, and his playing here is razor-sharp -- and supported by Colombier grooves that rival his best soundtrack material, his experiments with Pierre Henry, or his backings for singers like Serge Gainsbourg or Brigitte Bardot! Colombier also plays keyboards on the record, as does the great Maurice Vander -- amidst a host of other great French jazzmen who include Pierre Gossez on sax, Roger Guerin on additional trumpet, and Eddie Louiss on organ. Drums are nice and funky on most cuts -- and the whole thing kicks even more than most funky big band records on MPS! Includes the great break cut "I Remember Otis" -- plus "Sonoro", "The Looser", "Talk", "An Oscar For Eddy", "Wake The Monster", "Edith", and "Crescendo".

BB King brings in a sweet dose of jazz to his work -- just a touch of the funkier backings that some of his electric contemporaries were getting at the time -- maybe not as hard-wailing as some of the Chess funky blues records, but definitely somewhere in that direction! Players on the date include Mel Brown and Jesse Davis on guitars, Bobby Bryant on trumpet, Red Holloway on tenor, Plas Johnson on baritone, Clifford Coulter and Victor Feldman on piano, and the great Earl Palmer on drums. Titles include "Help The Poor", "Can't You Hear Me Talking To You", "Midnight", "I Got Some Help I Don't Need", "I've Been Blue Too Long", "Lucille's Granny, and "Can't You Hear Me Talking To You".

An album so heavy, it blew plenty of minds when first released at the end of the 60s! This set's the first-ever utterance from the King Crimson empire -- the initial outing of the group, which featured Greg Lake on vocals, and lots of airy, darkly atmospheric guitar from the legendary Robert Fripp! The song structure is quite unusual -- and the overall feel is less academically tangled than some of the later records -- a feature that makes this album much more sought out by mainstream rockers looking for an intro to the group than some of the later sets. Yet having said that, there's also a pretty amazing approach here -- somewhat obtuse, and definitely not looking for any radio edit hits -- more just magical musings from a very unique ensemble. Peter Sinfield contributed the lyrics, which are sung by Lake -- and Michael Giles handles drums and percussion, while Ian MacDonald plays flute, sax, keyboards, and more. Titles include "Moonchild", "21st Century Schizoid Man", "I Talk To The Wind", "Epitaph", and "Court Of The Crimson King". 2009 2CD edition -- with a full 2009 stereo mix of the album, the Master Edition 2004 mix, plus bonus tracks that include "Moonchild (full version)", "I Talk To The Wind (duo version)", "I Talk To The Wind (BBC session)", "Wind Session", "Epitaph (backing track)", "21st Century Schizoid Man (inst)", "21st Century Schizoid Man (BBC session)", and "The Court Of The Crimson King (parts 1 & 2 -- mono single version)".

One of the last Gladys Knight albums for Motown -- and seemingly a collection of work from a variety of different sessions, possibly put together to compete with her shift to Buddah Records in the mid 70s! The groove here is pretty great, often in a mode that's a bit more uptempo and righteous than some of the mellower Gladys Knight work that was dominating her hits at the time. Arrangements are by Wade Marcus, Artie Butler, Paul Riser, and others -- and the record's got a warm glow without being too sleepy. Titles include "Ease Me To The Ground", "How Can You Say That Ain't Love", "Between Her Goodbye & My Hello", "We've Got Such A Mellow Love", "It's All Over But The Shouting", "Master Of My Mind", and "It Takes A Whole Lot Of Human Feeling".

A killer set of percussion-heavy Latin jazz tracks -- one that brings together two different generations of Latin Jazz, working here in a stripped-down groove that's totally wonderful! The album's a real stunner from the legendary late 70s run of the Latin Percussion label -- the imprint started to showcase the kinds of music that best fit its wide line of instruments -- played here by an amazing lineup that includes Tito Puente on timbales and vibes, Patato Valdez on congas and shekere, Eddie Martinez on piano and Fender Rhodes, Johnny Rodriguez Jr on bongo and guiro, Steve Berrios on drums, and Rene Lopez on trumpet. Rhythms are at the core of each tune -- and many numbers start out in the spare style of the label's drum solo records, then warm things up with a bit of added instrumentation. There's just a bit of vocals at a few points -- sung by Nancy O'Neill & Jeanette Rodriguez -- and titles include "Bernie's Tune", "Latin Funk", "Tito & Patato", "The Opener", "Afro Mood", "Talking Skins", and "Martinez Blues".

Key early work by Abbey -- no so much the "blue" album you'd guess from the title, but a session that's filled with the kind of anger and emotion that makes us love her so much when she's this good! The group here is very hip -- an ensemble brought to the date by her then-partner Max Roach -- with Max on drums, Tommy Turrentine on trumpet, Stanley Turrentine on tenor, and Julian Preister on trombone -- all working with Abbey in a mode that's quite similar to her best appearances on Roach records from the same stretch! Titles include her amazing early version of "Afro Blue", plus "Lonely House", "Come Sunday", "Let Up", and a great version of Oscar Brown, Jr's "Brother Where Are You?"

One of the warmest records we've heard in years from Wynton Marsalis -- a really unique little album that actually features bits of poetry spoken by Wynton in between the tracks! Before you cringe at the thought, give this one a chance -- as the words were penned by Marsalis himself, and have a great deal of charm -- dropped in for just a fraction of a minute here and there, in a poetry-meets-jazz tradition that hearkens back to the work that Langston Hughes did with Charles Mingus. The group really respond to the words with a personal sort of feeling, too -- opening up with a lyrical sensibility that offsets the poems wonderfully -- making the album as musically poetic as it is verbal. Marsalis plays trumpet, in a quintet that features tenor and soprano sax from Walter Blanding, piano from Dan Nimmer, bass from Carlos Henriquez, and drums from Ali Jackson. Titles inlcude "The Razor Rim", "A Train A Banjo & A Chicken Wing", "First Time", "First Kiss", "Zero", "School Boy", and "The Sun & The Moon".

2 killer jazz funk albums -- both rare, and both on one CD! The records were cut for the short-lived Eastbound side of the soul/funk Westbound label, both under the supervision of Bob Porter, who handled some of the best early 70s jazz funk work for Prestige! Both albums also feature drumming by the super-heavy Idris Muhammad -- who keeps things very much in his classic breakbeat mode. Bill Mason was an obscure organ player who performed on the legendary Rusty Bryant funk LPs (Fire Eater & Wildfire), and his session here has the same kind of fierce groove -- with tenor by Hubert Laws, trumpet by Gary Chandler, and guitar by Wilbert Longmire. Titles on that one include "Gettin Off", "Stone", "Mistery Jay", and "Now Run & Tell That". Gary Chandler's album is even better -- and features organ work by Ceasar Frazier, guitar by Cornell Dupree, and tenor by Harold Ousley. The album includes a much-sampled version of "Baby Let Me Take You In My Arms", plus the cuts "Kaleidoscope", "Jet Set", and "Blue Dues". Both records are great -- and together, they'd cost you well over $100 in the original! (Please note that a version of "Let's Stay Together" has been shortened to the 4 minute single edit, due to space restrictions.)

A really great recent concert from this legend of the Detroit Tribe Records scene of the 70s -- a set that's got an incredible depth of imagination and soul, almost as much as Harold McKinney's work of years back! The group here is a wonderfully hip one -- with former Tribe artists Wendell Harrison on tenor and clarinet and Marcus Belgrave on trumpet -- plus additional players who include Kiane Zawadi on trombone, Reggie Workman on bass, Francisco Mora on percussion, and Jimmy Owens on trumpet. There's a bit of vocals on the record, but never that much -- and most tracks are long and open -- freely exploratory, but never too far out or avant-styled -- just soulful and spiritual, in the true Tribe Records tradition! Titles include "Wide & Blue", "Like What Is This", "Waltz For Ima", "Juba", "Libra Ahora", and "Conjure Man".

Sweet jazzy grooves from this hip Italian duo -- Enzo & Gianni Lo Greco, who've also recorded as Quintetto Lo Greco for Schema Records! The sound here is definitely in a Schema groove -- lots of jazzy instrumentation on piano, sax, trumpet, and trombone -- very much in the best 60s Italian jazz mode, but kicked up just a bit with some rhythms aimed at the dancefloor -- never too over the top, and all acoustic all the way through -- a club jazz groove that's perfect for anyone who also digs work on labels like DejaVu or Ricky Tick! There's a bit of vocals on the record -- sung by guests Alice Ricciardi, Felix, Katharine Ruestow, Roxie Ray, and Dionne Charles -- and titles include "Sam Blues", "Feelin Good", "Don't Cry", "Much More", "Broken Rose", "Iperbole", "Please Don't Go", "Sweet Love", "Changes", and "Goodbye".

An early session as a leader from trumpeter Blue Mitchell -- recorded during his glory years with Horace Silver! Unlike his other records, which usually have him in the company of another horn player, this set's got him carrying the full horn solo load by himself -- working in a quartet, and playing in a vein that reminds us of similar Art Farmer quartet sessions from the time. Wynton Kelly's backing him up on piano -- in a group that also includes Sam Jones on bass and Roy Brooks on drums. Some of the titles are quite unique too -- and include "Avars", "Kinda Vague", "Sir John", and "Sweet Pumpkin".

One of the most obscure records from trumpeter Blue Mitchell -- a great session recorded in the 60s, during Blue's classic stretch with Blue Note -- but not issued until 1980, and even then, only briefly! The record's a great example of Mitchell's strong capacity to play well in a larger group -- this time a sextet, featuring Joe Henderson and Leo Wright playing imaginative lyrical lines next to Blue's sweet trumpet. Cuts include "Mamacita", "Andrea", and "Bluesville". Another nice one by Blue, and more of his excellent work for Blue Note that you won't find easily on vinyl!

A killer leap forward for the sound of Montefiori Cocktail -- one that fits their already-groovy style with a range of hip larger backings! The approach is wonderful -- kind of the ultimate realization of the 60s bossa groove the group was always going for -- done here with instrumentation that's even more faithful to the original spirit, and with production that really gets things right! As usual, core instrumentation is handled by Federico Montefiori on saxes and flute, and Francesco Montefiori on keyboards -- but there's also fuller backings too, which supports the tunes with a sound that's almost in Schema Records territory at points. There's a fair bit of vocals on the set -- mostly sung by Lorraine Bowen, but also featuring Rosalia De Souza on one bossa cut too -- and titles include "Pornello 70", "Ze Liberdade", "Another Melody", "Magic Spell", "My Darling Bossanova", "Ispettore Baldazzi", "Dossier K", "Arrivederci A Capri", and "Mucho Gusto".

Great later work from this oft-overlooked member of the Montgomery Brothers -- vibist/pianist Buddy, who's recording here in a really warm west coast groove! The backings are sometimes large, almost in a Fantasy Records sort of mode -- a bit of electric instrumentation in the mix, but used sparingly -- and all recorded in ways that are never too slick or polished. Other players include David Newman on tenor, Claudio Roditi on trumpet, and Billy Higgins on drums -- and Marlena Shaw sings vocals on the tracks "All The Things You Are" and "Ties" -- the latter of which also features Eddie Harris on tenor, who plays a bit on a version of "Stablemates". Other tracks include "Muchismo", "Soft Earth", "Rose Marie", and "Expressions In Blue".

Incredible work from the enigmatic Moondog -- his third, and to that point, possibly most angular record for Prestige to date! The work here is quite different than some of Moondog's later, more serious compositions -- in a mode that's much earthier, personal, and spontaneous -- a little more in keeping with the mostly-jazz catalog on Prestige (although admittedly, all Moondog records are still a strange fit for the company!) There's a spare, stark modern style and a looser, freer sound, with lots of off kilter, but hypnotic percussion. The tracks are largely played on instruments created by Moondog himself, including a triangular drum and a string instrument struck with a clave, and tripod suspended log hit with rubber mallets. Titles include "Up Broadway", "Perpetual Motion", "Gloving It", "Two Quotations In Dialogue", "5/8 In Two Shades", "Moondog's Theme", "Wildwood", "Organ Rounds" and more.

A rare non-Blue Note outing from Lee Morgan -- and a record that's sometimes mistaken as a large group effort because of the "twelve" in the title, but which is a tight small group set that's equally cooking as some of Lee's better known records! As with the best mid 60s Blue Note work from lee, the players here are both soulful and modern -- able to shift easily into some of Lee's most complicated ideas of jazz expression, yet always doing so in ways that are never stiff or academic -- but filled with life and spirit in every note! Clifford Jordan's tenor is a fantastic accompaniment to Morgan's trumpet in the frontline -- and Barry Harris' piano has the warmth and flowing quality of a young Cedar Walton on most tracks. Bass is by Bob Cranshaw and drums are by Louis Hayes -- and titles include "Lee-sure Time", "Second's Best", "Little Spain", and "Waltz For Fran". CD also features 1 bonus track!

One of the rarest albums on the Groove Merchant label -- and one of the best! Ramon Morris has a sweet tone on the tenor that works very well with the electric piano in his tight little combo -- grooving with a style that's like the best Black Jazz funk records of the time -- mixing together bright notes, funky rhythms, and plenty of great chord changes! Cecil Bridgewater's on trumpet, and the band has a really righteous feel -- with lots of real soul and thoughtful playing mixed into the jazz funk grooves of the record. Massive -- with titles that include "Sweat", "Lord Sideways", "Sweet Sister Funk", and a nice version of "People Make The World Go Round".

One of the most open-ended and laidback records ever from Oliver Nelson -- a set that gets away from the tighter arrangements of other albums, and really lets you concentrate on his saxophone work! The album's got a really wonderful feel throughout -- easygoing and soulful, with work by a sextet that includes Eric Dolphy on alto, Richard Williams on trumpet, and Richard Wyands on piano -- all grooving beautifully with immaculate Rudy Van Gelder production -- used here with a slightly echoey quality that really deepens the sound of the set! Nelson plays both alto and tenor sax -- and titles include "Screamin The Blues", "Alto-It is", "The Meetin", "The Drive", "Three Seconds", and "March On March On".

David Newman's really been catching our ears of late -- stretching out way past his familiar "Fathead" roles on records like these -- and hitting a deeply soulful vibe that's totally great! There's a few echoes of Newman's Atlantic Records past at points -- but most of the set is solidly rooted in indie soul jazz territory, and slides along with a subtle groove that's mighty nice -- often hung strongly on the full acoustic basslines of John Menegon, and featuring work from Steve Nelson on vibes, David Leonhardt on piano, Peter Bernstein on guitar, and Yoron Israel on drums. Newman plays both tenor and flute -- and titles include "Smile", "SKJ", "The Blessing", "Whispers Of Contentment", "Chelsea Bridge", "Romantic Night", and "Manha De Carnival".

One of the deepest records ever from Nostalgia 77 -- a set done in close collaboration with Brit jazz legends Keith and Julie Tippett! The album's even more jazz-based than other recent Nostalgia 77 work -- and both Tippetts figure heavily in the sound -- Keith on sharp-edged piano lines that haven't sounded this good in many years, and Julie singing both wordlessly and with lyrics, in dark-toned lines that really remind us what a revolutionary singer she can be! Some tracks have a slow-burning groove, while others get a bit out at points -- and the always-solid basslines of Riaan Vosloo really help ground the whole proceedings. Titles include "Film Blues", "Mice", "Lapis Blue", "You Don't Just Dream When You Sleep", "Sketch For Gary/Billy Goes To Town", "Vienna", "Visions", "Okinawa", and "Four Whispers For Archie's Chair".

Nice record by this great (and overlooked) combo that came out during a flurry of jazz funk work from Japan during the mid 90s. The band's got a style that mixes hip hop samples and beats with funky trumpet riffing, plus other instrumental samples -- and their style is nicely stripped-down, with none of the nonsense that might turn up on an American record from the time. Nice and jazzy -- with a very fresh sound. Titles include "Room 701", "Hide Out", "Fish Dance", "Night Walk", and "Blue Not Blue".

The only full album from OMU -- a very cool Japanese combo from the early club jazz years of the scene! OMU mix together acoustic jazz and programmed rhythms -- an approach that's clearly inspired by the acid jazz experiments on the London scene, but which is taken to fresh new territory here -- as part of the same generation that gave us Nobukazu Takemura and Spiritual Vibes! Instrumentation includes a fair bit of trumpet and keyboards -- plus percussion, turntable, and vibes too -- and tracks are all instrumental, with a lean quality that really gets to the heart of the groove nicely. Titles include "Spy", "Cool Beauty", "Out Loud Of Freedom", "Desert Your Eyes", "Jazz Addiction", and "Night Dance".

The long awaited return of Brazilian iconoclasts Os Mutantes -- featuring original Mutante Sergio Dias and a great new band -- plus songwriting contributions from Tom Ze and Jorge Ben -- a forward looking endeavor, not at all a nostalgia trip! It's been around 30 years since the previous Os Mutantes album, and the never predictable Dias sounds as fresh and energized as we hoped he'd be -- with bright, catchy-as-hell melodies, wildly playful carnivalesque sounds as well as more rootsy acoustic bits, on songs that fearlessly blend genres and influences. It's hard to imagine that we'll ever love records from Mutantes, or anyone else in any genre, as much as we love the late 60s stuff -- but this is excellent, and among the better Mutantes records since the Rita Lee era. Dias sings and plays electric & acoustic guitars, Egyptian oud, organ, percussion, harmonica and handles the string arrangements, and fellow Mutantes this time out include percussion, drums & vocals by Dinho Leme and Bia Mendes, vocals, piano & keys by Henrique Peters and Fabio Recco, percussion & sound design by Simone Sou, bass, flute, strings and string arrangements and more by Citor Trida. Titles include "Hymns Of The World (Intro)", "Querida Qierida", "Teclar", "2000 E Agarrum", "Baghdad Blues", "O Careca", "O Mensageiro", "Anagrama" featuring Tom Ze, "Aamba Do Fidel", "Nada Mudou", "Gopala Krishna Om", "Hymns Of The World (Final)" and more.

Dennis Gonzalez is a player who always seems to seek out fresh new settings for his work on trumpet -- almost new sonic spaces that allow him different modes of expression that always surprise us, such as this album of duets with pianist Joao Paulo! The album's quite a change from some of Gonzalez' other records -- almost poetic at points, especially when Dennis' horn blows out in solo formation, with these beautifully arcing, turning notes that are filled with color. Paulo's piano is new to our ears, but equally nice -- a bolder tone than Gonzalez at times, which makes a nice contrast -- but not without its own sensitivity at a few quieter points in the record. Titles include "Broken Bop", "Tolleymore", "Scapegrace", "Duas Dancas Arcaicas", "First Song", and "Anthem For The Moment".

An amazing set -- the complete early Oscar Peterson recordings for Norman Granz -- packaged in a format that's as lovely as the music itself! The work here is the stuff of legend -- the tracks that first pushed Peterson into the limelight of American music, and which opened up a whole new side of jazz improvisation! Although Oscar's made many great records over the years, we're really partial to these initial tracks -- as they offer up the Peterson genius at its purest, most basic -- often presented with only bass for accompaniment, played by Ray Brown or Major Holley -- so that you get plenty of space to hear Oscar open up on the keys! The 3CDs come wrapped inside a hardcover book, which itself is in a beautiful slipcover -- filled with full notes on the music, and color reproductions of the album covers that originally contained the music -- Oscar Peterson At Carnegie Hall, Tenderly, Keyboard, and An Evening With Oscar Peterson -- not to mention a wealth of smaller 7" and 10" releases that are also featured here. There's a total of 50 tracks in all -- including two previously unissued numbers, and great bonus tracks as well -- a true treasure for fans not only of Peterson, but of jazz piano in general! Titles include "Gai", "Padovani", "Fine & Dandy", "Deep Purple", "Squatty Roo", "Little White Lies", "Debut", "Oscar's Blues", "Tico Tico", "What Is It", "Minor Blues", "The Nearness Of You", "Dark Eyes", "Laura", "There's A Small Hotel", "Fancy Free", and "On The Alamo".

An unusual recording from this all-piano group -- an ensemble that features seven European pianists, all playing together with a really unique sound! The approach is similar to that of the Piano Choir, who recorded two great records for Strata East in the 70s -- and like that group, this one plays in ways that have the acoustic pianos handling both melody and rhythm -- spare on some numbers, ringing out together on others. Titles include "La Java Rouge", "Adi", "After Nerves", "Sept Petits Jeux", "To Fu", and "Beeing Sincere".