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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.

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.

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".

Most of two early sessions that featured Cannonball Adderley -- both recorded for Savoy Records in 1955! First up are tracks from Kenny Clarke's album Bohemia After Dark -- an excellent hardbop session from the glory days of the Savoy label -- easily one of the label's key 50s classics! Drummer Kenny Clarke's at the front of the group -- but all players are great, and the set features work by Cannonball Adderley on alto, Jerome Richardson on tenor, Donald Byrd on trumpet, Nat Adderley on cornet, Hank Jones or Horace Silver on piano, and Paul Chambers on bass. The Adderley brothers sound especially great -- and the young Cannonball has a quality here that's more soulful and sharp-edged than his work on Mercury -- much more in a Prestige blowing session style! Titles include "Late Entry", "Chasm", "Bohemia After Dark", and "Hear Me Talkin To Ya". Next is four tracks from Presenting Cannonball Adderley -- one of Cannonball's first albums, done with a free and open style that's a nice contrast to his tighter sides for Mercury! The album's very relaxed -- that hardbop blowing session mode that Savoy virtually pioneered -- letting the players open up in comfortable studio space, working together almost as they would on a hip live date. Cannon's in the lead on alto, and the group also features Nat Adderley on cornet, Hank Jones on piano, Paul Chambers on bass, and Kenny Clarke on drums -- a classic Savoy rhythm section for the two horn players. Tracks are long, and titles include "Spontaneous Combustion", "Still Talkin To Ya", "Caribbean Cutie", and "A Little Taste".

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.

Quite an interesting session from the Art Ensemble Of Chicago -- and exactly what it says in the title! The group pay tribute to the Chicago blues masters of their hometown -- but somehow manage to do so in a way that gives the work a style that pushes the tunes with plenty of Art Ensemble touches! Material was recorded live in performance in Switzerland in 1993 -- at a point when the group still featured Lester Bowie on trumpet -- and for the performance, the core ensemble is expanded by Frank Lacy on trombone, James Carter on tenor sax, Amina Claudine Myers on organ and vocals, and Herb Walker (of Saturn Records fame) on guitar. But even more important is the return of Chicago Beau, who'd worked with the group during their heady Paris days -- and whose work here represents the key "blues" component of some of the tunes. Titles include "Blues For Zazen", "Erika/Carefree", "Odwalla", "The Blues", "Tin Pan Alley", and "Got My Mojo Workin".

Incredible, indelible guitar instrumentals from the early years of Chet Atkins -- later to conquer civilization with his 60s Nashville Sound -- here with mid 50s guitar exotica that really is eclectic and well ahead of its time! Chet's 60s production work ranges from absolute genius, with interesting writers and vocal talent (Bobby Bare, Roger Miller), to sappy mediocrity with less adventurous artists -- but his own records hardly ever lacked imagination. These countryish & jazzier early recordings are by no means an exception! Recorded in both Chicago and Nashville and pulled from his wonderful early LPs for RCA, titles include "Sunrise Serenade", "Honeysuckle Rose", "Caravan", "Mister Sandman", "Minute Waltz", "St Louis Blues", "Alice Blue Gown", "Waltz In A-Flat", "Petite Waltz", "Tenderly", "Intermezzo", "Indian Love Call", "Gavotte In D" and much more.

Classic work from Danish pianist Bent Axen -- a set that includes some late 50s trio material, plus a number of quintet and sextet tracks done with associates in the Jazz Quintet 60! The set begins with Bent in a trio that includes Niels Henning Orsted Pedersen on bass and Finn Fredericksen on drums -- but it then moves into some even better work with horns -- including 4 tracks with Allan Botschinsky on trumpet and Bent Jaedig on tenor, plus 8 more that feature both of those players with additional tenor from Frank Jensen. Axen's sound is great throughout -- sharply modern at points, but without any sense of coldness at all -- and as with the best records from the Jazz Quintet 60, the style here is often swinging and soulful, with a very fresh edge! All material was originally issued on the Debut label -- and the CD features 19 titles that include "Cosper", "Laverne Walk", "Haig's", "More Peace", "Star Eyes", "Sivle", "Mr Cushmaker", and "Let's Keep The Message".

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".

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".

Cindy Blackman's looking a bit foxy on the cover, but her sound here is solidly soulful -- a forceful batch of tunes that really match the best energy of the Muse Records soulbop scene of the early 90s! There's a nice blend of modern ideas and straight jazz energy here -- sounds that grow strongly from the contributions of quintet members Steve Coleman on alto, Wallace Roney on trumpet, Kenny Barron on piano, and Lonnie Plaxico on drums -- almost all Muse Records labelmates of Blackman, working here with energy that reminds us a lot of Roney's excellent sides for the company at the time. Blackman's the real boss, though -- guiding things forcefully with her work on drums, and contributing a wealth of original numbers to the set -- tunes that include "Code Red", "Anxiety", "Green", "Face In The Dark", and "Circles".

A brilliant celebration of Blue Note Records -- one that features some key songs from the label's classic years, interpreted by a sharp-edged group of younger players! The lineup here is wonderful -- Nicholas Payton on trumpet, Steve Wilson on alto and flute, Ravi Coltrane on tenor, Peter Bernstein on guitar, and rhythm from Bill Charlap on piano, Peter Washington on bass, and Lewis Nash on drums -- all players who are great in their own right, but who really come together with a classic sort of sound here -- a vibe that really respects the Blue Note leaders of years past, and which really gets their energy right! The rhythms are tremendous -- no surprise, given how great Nash and Washington can be -- and the tunes have a soulful, soaring quality that draws on all the joy Blue Note's given the world over the years -- proclaimed boldly by the horn solos in the set. Titles include "Little B's Poem", "Inner Urge", "Mosaic", "Dolphin Dance", "Criss Cross", "Search For Peace", "The Outlaw", and "Idle Moments".

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

A trio of amazing records from the legendary Francy Boland -- sessions done away from his big band work with Kenny Clarke, and in a groove that breaks nicely from that group's more famous style! The sessions here are still very much in Clarke/Boland Big Band territory -- as Francy's working with a large group of familiar players, and is produced by CBBB impresario Gigi Campi -- but the overall sound is quite different too, and features a range of sensitive and sophisticated tones and colors! Boland plays piano, electric piano, and mellophone -- and other players include Benny Bailey and Dusko Goykovich on trumpets, Frank Rosolino and Nat Peck on trombones, Fats Sadi on vibes, and some especially great reed work from Ronnie Scott, Tony Coe, and Sahib Shihab -- all players with the right balance between ensemble strength and standout solos to really make these tunes sparkle! There's a richness here that's really great -- a hint of the driving Clarke/Boland sound, but also a fuller feel too -- almost a soundtrack-like depth at points, with shimmering tones that are filled with life and imagination. Some tunes are originals by Boland, mixed in nicely with other jazz standards that are really transformed by his arranging touch. 2CD set features 18 titles in all -- including "Clair Obscure", "Yesterdays", "Hopeless", "Dancing In The Dark", "Off The Top Of My Head", "Stella By Starlight", "Daffodils", "East Of The Sun", "Nargileh", "A Gal In Calico", and "The Son Of Sax No End".

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".

A great take on the music of John Coltrane -- and a setting that really seems to bring out an extra layer of soul in these hip Italian players! We're big fans of tenorist Gianni Basso and trumpeter Fabrizio Bosso -- almost as much as we are of older records by Coltrane -- so we approached this album with our ears wide open, and were plenty happy with what we heard! Big credit's due to the rhythm section -- the trio of pianist Andrea Pozza -- as all tunes start out on really solid grounding, and with a groove that's different from any standard Coltrane copy -- a nice change that allows both horn players a chance to start out fresh in their interpretations of the tunes. Titles include "Bass Blues", "Naima", "Some Other Blues", "Mr PC", "Whims Of Chambers", "Blue Train", and "Nancy".

A great little album from Ruby Braff -- simply blown in a small combo setting, with a strong focus on Braff's sparkling tone on the trumpet! The groups vary throughout the course of the set, but all players are pretty darn great -- and tunes include guitar from Steve Jordan, vibes by Don Elliott, and even some nice tenor work from Coleman Hawkins. Braff's own playing is a bit free of the overly-sentimental tones that sometimes mar his other records -- and he's got a clarity and charm here that makes the record one of his best full length sets ever. Titles include "Stardust", "Indian Summer", "Here's Freddie", "Just One More Chance", "You're Lucky To Me", "Too Marvelous For Words", and "It's Been So Long".

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".

We're not sure what a neck-peckin jammie is, but drummer Cecil Brooks really makes us want to know more -- as the sound of this set is solidly soulful, and way deeper than you might guess from the cartoony image on the cover! Brooks has some very sharp help here in the group -- Craig Handy on tenor and soprano sax, Justin Robinson on alto, and Terell Stafford on trumpet -- a really bold frontline that steps out beautifully with Cecil's strongly rhythmic insistence -- supported even further in these efforts by Geoff Keezer on piano and Christian McBride on bass. Tracks are easygoing and soulfully flowing -- just the sort of soul jazz that Muse Records always got so right -- and tunes include "In Jody's Corner", "Hill District", "Yvette", "Creepin", "One By One", "Blues Citizens", and "Mood Swings".

Cecil's smoking on the cover, and he's smoking on the record too -- really cooking things up in the best old school soul jazz style of his Muse Records years! The album was recorded live in New Jersey, and it's proof that plenty of great jazz was still coming from west of the Hudson in the early 90s -- a time not nearly as documented as earlier years on the Jersey scene, but still a time of great players and hip local nightspots like the Trumpets club in which the album was recorded. Brooks' tight work on drums is very firmly at the helm of the set, and other players include Antonio Hart on alto, Ravi Coltrane on tenor, Jack Walrath on trumpet, Stephen Scott on piano, and Lonnie Plaxico on bass -- working with Cecil in a set that also includes a fair bit of original numbers by the group. Titles include "Gordon's Maze", "Fried Bananas", "And Another Thang", "2AM In The Village", "The Third", and "Montclair".

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".

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".

A killer blend of African roots and American rhythms -- and a set that definitely lives up to the disco promised in the title! Buari's working here with a host of New York musicians -- jazzy players who include Randy Brecker and Jon Faddis on trumpet, Barry Rogers on trombone, and Michael Brecker on tenor -- all blowing tightly over the album's quick rhythms and well-crafted string arrangements! The sound is hardly familiar disco -- and the music is much more in the styles of the underground at the time -- almost equivalent to P&P Records productions in the way that Buari works some clever magic with the grooves. The whole thing's got a lot more edge than his better-known set on RCA -- and titles include "Koko Si", "I'm Ready", "Feed My Body", "Hard Times", "Adesa A", "Minyo", "Born With Music", and "African Hustle".

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 "Mambo Au Go Go (parts 1 & 2) (also known elsewhere as "It's a Mad Mad Mad Mad Mambo") -- 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".

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!

A much-needed look at the music of Carl Carlton -- in a set that fully traces his evolution of sound over the years! There's really three major chapters to Carlton's career here -- early recordings for the Backbeat label, bigger sides for ABC Records, and then his stunning collaboration with Leon Haywood on the 20th Century label -- all key passages of Carl's big run in the 70s, with key snippets from the end of the 60s and start of the 80s as well. Early tracks have a great mix of southern soul modes with some sweeter Northern styles -- then the groove picks up a fuller 70s mode as things roll on, to hit the sexier, funkier style of the Haywood years. The set features 22 tracks in all, with notes on each number included -- and titles include "Sure Miss Loving You", "Wild Child", "The Generation Gap", "Competition Ain't Nothin", "Don't Walk Away", "I Can Feel It", "Drop By My Place", "Look At Mary Wonder", "46 Drums 1 Guitar", "Everlasting Love", "Smokin Room", "Morning Noon & Nightime", "This Feeling's Rated X-tra", "She's A Bad Mama Jama", "I Think It's Gonna Be Alright", "Private Property", and "Slipped Tripped Fooled Around & Fell In Love".

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.

One of two great records that Cherry cut for the Sonet label while working in Sweden. The album features Cherry in the company of Swedish players like Bernt Rosengren, Agneta Arnstrom, and Bengt Berger -- all of whom play in a very world jazz vibe, adding in lots of strange percussion, gongs, pianos, and other percussive instruments to the mix. Cherry even vocalizes a bit on one track, and he plays no trumpet at all on the recording -- which shows an even greater commitment to exploring new modes of expression than you might expect. Titles include "Tibet", "Moving Pictures For The Ear", "Love Train", and "Gamla Stan -- The Old Town By Night".

A killer album of 70s New Orleans funk! Chocolate Milk were an amazing funk group in their best moments -- and this album is certainly one of those moments -- a blistering batch of tracks that set a whole new style for the Crescent City scene, and which showed that producers Allen Toussaint and Marshall Sehorn could easily hit the hipper notes of the 70s! There's a tight rhythmic sound at the core of most numbers, but expanded instrumentation over the top -- bits of spacey electrics or jazzier electronics that never would have shown up in Sansu records of years back, but which show that with the right group, New Orleans funk could easily take on the hippest styles going down on both coasts! The title cut, "Action Speaks Louder Than Words", is a slow funk classic -- and the record also includes the incredible electronic-tinged "Time Machine", a perpetual favorite these days. Other nice tracks include "Pretty Pimpin' Willie" and "Ain't Nothin' But a Thing". Arguably the band's best album ever!

June Christy's rarest album -- and one of the saddest Christmas records you'll ever buy! The set features all original tunes written for the album by the team of Connie Pearce and Arnold Miller -- and they're perfectly suited for June's late boozy style, much more lanquid than on earlier bouncier recordings, filled with sadness and darkness, working with these holiday tunes to conjure up all the depression that most of us often feel at the end of the year. Pete Rugolo arranged to perfection -- and titles include "This Time Of Year", "Seven Shades Of Snow", "Winter's Got Spring Up Its Sleeve", "Hang Them On The Tree", "The Little Star", and "Sorry To See You Go".

A real jammer of a record from Billy Cobham -- almost a summation of all the work he'd done in earlier years, smoothed out with a sweet funky late 70s fusion groove! The sound on the set is really tight -- still plenty hard on the instrumentation, but also with a focus that we really appreciate -- one that's aimed as much at the soul-based jazz crowd as it is the headphone groovers who'd dug some of Cobham's trippier records in years past. Players on the set include Mark Soskin and Joachim Kuhn -- both of whom add in some mighty nice keyboards -- as well as guitarist Pete Maunu, whose jamming riffs make the best tunes crackle with electricity! Titles include "AC/DC", "Leaward Winds", "Puffnstuff", "Antares The Star", "Magic", and "On A Magic Carpet Ride". CD also adds in 2 bonus tracks -- "Indigo" and "Guernica".

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!

A 1970 repackaging of the album The Standard Coltrane -- which was issued by Prestige in the late 50s. The title may say "standard", but with Coltrane at the helm, the record is anything but! Sure, the tunes are all familiar ones, but the presentation here is a far cry from mainstream piano jazz of the 50s -- as John's working in a group with the Red Garland trio for rhythm, as well as trumpeter Wilbur Hardin, the slightly off-kilter player who made some great Savoy records with Coltrane. Tracks are all quite long, and really open up with a fair bit of invention -- and even when Coltrane's straight ahead, he's still compellingly creative. Tracks include "Don't Take Your Love From Me", "I'll Get By", "Spring Is Here", and "Invitation".

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 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! CD features a bonus take of Jordan's "Highest Mountain".

Two post-CTI gems from Deodato -- back to back on a single CD! Whirlwinds is sweet keyboard soul from Deodato -- a set that steps off nicely from the strengths of his big hits on CTI, hitting a similarly flowing groove that's really great! The instrumentation here is a bit more expanded than before, but never in a way that buries the keyboards -- and Deodato's right out front on a range of electric keys that get some great support from John Tropea's finely-honed work on guitar! Titles include "Havana Strut", "Whirlwinds", "West 42nd Street", and a nice cover of Steely Dan's "Do It Again". And heck, even the album's version of Glen Miller's "Moonlight Serenade" manages to come off like a funk tune! Artistry is a live set from Deodato -- but one that's very much in the mode of his best CTI studio sessions -- with soaring, over the top keyboard work that's totally great -- backed by some tightly compressed guitar, bass, and drums, with just enough funk in the mix to keep things interesting! As with other Deodato records from the time, there's a mix of moods here that comes together nicely -- a range that goes past his easy hits, and shows Deodato to be one of the hippest, most soulful keyboard talents of his generation. Titles include a great version of "Super Strut" that grooves for over 8 minutes, and which has some firey guitar that really competes with Deodato's work on the keys -- and other tracks include "Farewell To A Friend", "Pavane For A Dead Princess", "Rio Sangre", and "Jivin".

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".

A real standout in the Bill Evans catalog for Riverside -- and that's saying a lot, given how important all of his Riverside albums are! The session's a rare quintet outing for Evans -- one that breaks the mode of the usual trio format by adding in Freddie Hubbard on trumpet and Jim Hall on guitar -- alongside rhythm players Percy Heath on bass and Philly Joe Jones on drums -- already a unique enough match for Evans' talents. In a way, the record's one of those sessions that Riverside would sometimes do -- pairing a key new voice as a leader with others in an all-star group -- but in another way, it's also a return to the sound that first brought Evans' to a wider audience in the 1957 and 1958 years -- when he was working in non-trio groups with more famous players -- adding his unique piano stylings to their (then) better-known solo modes. The pairing of Evans and Hall has been beautifully documented on other records -- and sounds equally great here -- but the real treat is Freddie Hubbard's horn, which often lays back on most of the tracks, then bursts in with a brashness that really ignites some of the tunes! He's playing a bit muted here, trying to go for that Miles/Evans combination from the late 50s -- but that's plenty ok with us, as we love those records a lot. Titles include "When You Wish Upon A Star", "You & The Night & The Music", "I'll Never Smile again", "You Go To My Head" and the Evans original, "Interplay". CD also features a bonus alternate of "I'll Never Smile Again".

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".

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.

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".

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.

One of Art's funkiest records -- a great batch of slow electric numbers with a stretched out feel, and an almost Freddie Hubbard-like approach to the groove! Players include Eric Gale, Steve Gadd, Dave Grusin, and Jeremy Steig -- and although the date of this one is late, the sound is in that prime 1972/1973 CTI mode! The album's only got 4 tracks -- all long -- and titles include "Crawl Space", "Siddhartha", "Petite Belle", and "Chanson".

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".

A sparkling album of spiritual jazz -- one that has a really unique mixture of vocals and instrumentation! Peter Fish is a keyboardist -- one we mostly know from this album -- and he's got a heck of a cool conception here, one that presents the music in a way that's almost more organic than other spiritual jazz sessions of the time! The group really floats into most of the numbers feeling their space a bit at first, then grooving a bit harder -- and weaving together wordless, almost instrument-like vocals from Jay Clayton with keyboards by Fish, plus flutes, saxes, bass, and drums. Titles include "Riff For David B", "Friend & Lover", "Esmond", "Jaquelines Arrival", and "The Silver Apple".

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".

Amazing work from bop trumpeter Joe Gordon! Gordon was a lost talent who only cut a handful of records before his untimely death in 1963 -- but he was a heck of a trumpeter, with a rich talent that we'd rank up there with Lee Morgan and Kenny Dorham. He plays in a group that includes Art Blakey on drums and Charlie Rouse on tenor -- and the overall sound is right up there with the best raw bop on Blue Note or Prestige during the same time. Titles include "Toll Bridge", "Lady Bob", "Grasshopper", "Flash Gordon", "Xochimilco", and "Bous Bier".

Quite an unusual album from Grant Green -- a record that's quite different than his earlier records for Blue Note, but still pretty darn great overall! Grant's working here in a large group -- Kudu style -- with arrangements by David Matthews, but a sound that's still pretty lean overall! There's a fair bit of great players in the lineup -- including Jon Faddis on trumpet, Hubert Laws on flute, and Joe Farrell on tenor -- and the horns soar out nicely to set the scene over some tightly stepping backings -- all served up with plenty of room for Grant to solo spaciously on guitar! The title track -- "The Main Attraction" -- is nearly 20 minutes long -- and the other two tracks, "Creature" and "Future Feature", both approach the 10 minute mark themselves!

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".

An excellent session that was one of Herbie Hancock's first free-flowing fusion records of the 70s! Herbie's playing Fender Rhodes with a sound that's at once cosmically beautiful, soulfully fragile, and spacily grooving -- and he gets some excellent accompaniment from an all-hip group of players that includes Benny Maupin on bass clarinet and flute, Buster Williams on bass, Eddie Henderson on trumpet, and Julian Priester on trombone -- plus percussion from Jose Areas and Ndugu Chancler. The roots of later classics like Sextet and Flood all start with this session -- and the album contains 3 long tracks -- "You'll Know When You Get There", "Ostinato", and "Wandering Sprit Song".

An incredible record -- and virtually the blueprint for countless other keyboard records to come! At the height of his 70s powers, Herbie really takes off into space with this set -- moving away from more commercial music, and hitting a groove that's totally righteous, totally electric, and completely mindblowing! The album's got a bit of a Headhunters vibe, but it also veers off into some very wild analogue electronics too -- a mix of Fender Rhodes, clavinet, melotron, and echoplex processing -- augmented by additional work on Arp from Patrick Gleeson. Other players on the set include Bennie Maupin on reeds, Eddie Henderson on trumpet, Julian Priester on trombone, Buster Williams on bass, and Billy Hart on drums -- and the great Buck Clarke rounds out the combo on percussion. The album only features three long tracks -- "Rain Dance", "Hidden Shadows", and "Hornets" -- but all of them are killers!

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".

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".

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

A bold little set from pianist Lafayette Harris -- a great player who makes an early Muse Records appearance here -- working in the company of some great colleagues who really help the record sparkle! The rhythm section features Lonnie Plaxico on bass and Cindy Blackman on drums -- both early 90s contemporaries of Harris -- and most of the album features horn work from Don Braden on tenor and Terrell Stafford on trumpet, but players who help the record move with the sort of soulful power Harris is going for in his arrangements. The proceedings are nice and tight, but never slick -- and as with many Muse dates from the time, there's a great range of expressions here, given the length of the set. Titles include "ALC", "Escapade", "Gingerbread Boy", "Monique & Andrea", "Chan's Song", "Dearly Beloved", "For The Love Of You", and "Dance Cadaverous".

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".

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

Solid, soulful work from Vincent Herring -- blowing here wonderfully on alto and soprano sax, with a sense of feeling and creative energy that really makes him one of the key players of his generation! The proceedings are relatively straight, but they're also totally great -- open, honest expression that's a nice update of 70s indie jazz modes -- held together tightly by a rhythm section that includes Mulgrew Miller on piano, Ira Coleman on bass, and Billy Drummond on drums on most of the records -- or Keven Hays, Dwayne Burno, and Carl Allen on a few remaining selections. Wallace Roney plays trumpet on the first set of tracks -- Scott Wendholt on the others -- and the whole album has a sharp-edged quintet format with an occasional bite, often rolling out in the kind of upbeat lines that usually make Herring sound best. Titles include "Sound Check", "August Afternoon", "Dawnbird", "Dr Jamie", "Toku Do", and "The Dark Side Of Dewey".

A salsa Christmas from Impacto Crea -- a set recorded right around the same time as Willie Colon's classic Holiday records of this nature! Ismael Miranda and Adalberto Santiago each sing lead on one track -- and the group features Antonio Rodriguez on piano and tres, Alfredo Rios on saxes, Wilfredo Lopez on trombone, and Carmelo Rivera on trumpet. Nelson De Jesus sings lead vocals on other tracks -- and titles include "Navidades En Crea", "El Lechon", "Fiesta En Navidad", "Vamanos De Fiesta", "A Dios Y Los Santos", and "Los Ninos Sin Navidad".

Classic work from vibist Milt Jackson -- opening up his bag a lot for the 70s, in a way that makes for some wonderfully casual grooves! The album's not as moodily funky as some of Jackson's other CTI records, but it is a nice batch of laidback tunes played with a distinctly soulful edge -- handled by a group that features Cedar Walton on piano, Hubert Laws on flute, Ron Carter bass, Steve Gadd drums -- and some guest trumpet from Freddie Hubbard on the track "SKJ". Other titles include "Opus De Funk", "Detour Ahead","Goodbye", and "Old Devil Moon".

Wonderful work from a group who mix jazz performance with a bit of influence from hip hop -- but mostly in a way that still keeps things soulful throughout! At their core, Jaspects are a killer sextet who could have really shone strongly in the soul jazz underground of the 70s and 80s -- a combo with a deep talent for rich colors and sharp-edged solos on tenor, alto, and trumpet -- forged at times with some vocal passages that are either sung or rhymed, and sometimes mixed with hip hop rhythms. But the end result is way more than just the sum of these parts -- as Jaspects really know their stuff, and don't just try to cram hip hop into jazz -- but really find a space where these more contemporary influences can resonate strongly with their best instrumental leanings -- a bit like some of the more righteous work on Muse Records that was recorded in the label's crucially overlooked late 80s and early 90s years. The CD's quite strong throughout -- and titles include "Uppity Negro", "Be Hop", "Please Step Up Your Game", "Chitlins & Chalupas", "Shawty Dead Wrong", and "The Voice Within".

Rare work from Eddie Jefferson -- cut between his early years on Prestige, and his revival on Riverside -- work done for the Festival Records label, but best known in this hip 70s package put together by Inner City! The work here is a great precursor to Eddie's 60s comeback -- and shows him really moving forward strongly, even on a tiny label -- reworking his older vocal style with a hipper modern groove, and really reaching some new territory in the process. The tunes are awash in those charming tones and phrasings that always set Jefferson apart from the rest -- and there's a few R&B undercurrents here, mixed in with the more familiar bop influences. Players are all great too -- and include Johnny Coles or Howard McGee on trumpet, James Moody on tenor, Matthew Gee on trombone, Musa Kaleem on tenor and baritone, and Johnny Acea on piano. Babs Gonzalez and Honey Gordon get in a few licks on versions of "So What" and "Sister Sadie" -- helping Eddie out with their hip vocal talents -- and other tracks include "Memphis", "Baby Girl", "NJR", "I've Got The Blues", "The Preacher", "Night Train", "Sherry", "Body & Soul", and "Workshop".

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!

Great work from the legendary big band of Thad Jones and Mel Lewis -- a live performance recorded in Switzerland at the same time as the group's classic recordings for the Solid State label! Given that the date was recorded by Solid State producer Sonny Lester, the feel here is quite similar -- and the album stands strongly alongside the better-known live dates by the group at the Village Vanguard from the same time. As on those records, there's a tremendous blend of driving energy and lyrical musing going on here -- qualities that are very hard to balance this well in such a big band, but which became the trademark sounds of the Jones/Lewis group as they helped redirect large ensemble jazz towards new ends as the 60s drew to a close. Players are all top-shelf -- with rhythm by Roland Hanna on piano and Richard Davis on bass, alongside the drums of Lewis -- plus saxes from Joe Henderson, Pepper Adams, Jerome Richardson, and Jerry Dodgion; trumpets from Richard Williams, Thad Jones, and Snooky Young; and trombones from Eddie Bert and Jimmy Knepper. Titles include "Second Race", "Don't Ever Leave Me", "Come Sunday", "Don't Get Sassy", "Groove Merchant" and "The Waltz You Swang For Me".

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".

Nothing too trance-like here, but a great little set that draws heavily on the 50s alto style of the legendary Lee Konitz! The set features plenty of Konitz tunes, and a few Tristano numbers too -- and altoist Marco Kegel gets some wonderfully sharp sounds on his horn, recorded here with just the right kind of brilliance to remind us of Lee's best records of the postwar years. The rest of the group's lineup follows strongly in the same mode too -- with Axel Hagen on some warm Billy Bauer-esque guitar, Joep Lumeji on bass that would make Peter Ind proud, and Peter Kahlenborn on drums that hang nicely in the background -- really letting the alto and guitar set most of the rhythmic pulse for the date. Titles include "Kary's Trance", "Sound Lee", "Marionette", "Victory Ball", "Baby", "Palo Alto", and "Our Trance".

One of the earliest albums as a leader from reedman Robin Kenyatta -- and a set that's also one of his most compelling too! There's a definitely freer sound here than on some of Robin's smoother sets from the 70s -- a vibe that's somewhere near the space of Impulse Records in the post-Coltrane years, and which is right at home on Atlantic's Vortex label subsidiary. A few tracks get surprisingly out, but always with a nice sense of focus, especially in the rhythms -- and in addition to Kenyatta's own bold work on alto sax, the album features performances by Roswell Rudd on trombone, Mike Lawrence on trumpet, Walter Booker on bass, Fred Simmons on piano, and Horace Arnold on drums. The tunes have lots of sharp edges -- almost Ayler-like at times, but more inside -- and titles include "You Know How We Do", "Little Blue Devil", "This Year", and "Until".

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".

Two early 70s burners from BB King -- back to back as a 2CD set! LA Midnight has BB King bringing 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". To Know You is a set that has BB King teaming up with southern soul maestro Dave Crawford -- an arranger/producer who helps BB find a whole new groove! Crawford's approach is wonderfully warm and soulful -- almost a Hi Records sort of take on the music, which brings King's traditional blues into much fresher territory -- an update of older Memphis modes, with a really great sound for the 70s. In addition to The Memphis Horns, there's also a bit of Philly help on the record too -- thanks to Vince Montana's vibes, Norman Harris' guitar, Ron Kersey's keyboards, and Ronnie Baker's bass. Stevie Wonder makes a brief guest appearance on keyboards too -- and titles include "Oh To Me", "Love", "Respect Yourself", "I Like To Live The Love", "Who Are You", "I Can't Leave", and "Thank You For Loving The Blues".

Psychedelic keyboards galore -- and rare sound library set that mixes the electric piano of Roland Kovac with the heady organ of Brian Auger -- both jamming here in a batch of long tracks with plenty of freaky production touches! Although recorded for Selected Sound, normally home to more mainstream sound library work, this album's done with the intensity and freedom of some of the most progressive fusion on the German scene of the early 70s -- in a style that's somewhere between MPS electric and Brain Records prog -- really resonating here with the best aspects of both! Sigi Schwab is on guitar, Peter Trunk is on bass, and the lesser-known Keith Forsey gets in a few tight funky licks on drums -- and tracks include "Genesis", "Guru", "Love That", "Sivertime", and "Exploration".

Pretty amazing work from one of the greatest under-rated talents of 50s modern jazz! John LaPorta was a brilliant multi-instrumentalist who's probably best known for his work with Mingus in the mid 50s Jazz Workshop years, and for his earlier sides with Woody Herman -- but it's on records under his own name that LaPorta really begins to shine. This great set features 14 tracks that were recorded in the 50s, but never issued before -- and 9 more that were from the album Conceptions, issued briefly in the 50s by Fantasy Records. The first 14 tracks form a long suite of jazz-based compositions, handled with a modernist chamber-type approach -- and based around some really great solo work on trumpet, baritone, tenor, and bass. The feel is almost like a 50s jazz soundtrack -- with lots of moody moments paired with others that break out in a stronger swinging groove. The remaining tracks are equally nice -- in a similar style, and showing LaPorta as a composer who could have handled just about any ambitious jazz project of the time. Titles include "Forward Motion", "Jazz Canon", "Images", "Lucidity", "Little Fantasy", "Ferme LaPorta", "En Rapport", and "Triplets You Say".

One of the coolest records ever from James Last -- a mid 70s American session, done with styles that are a fair bit different than his other work! Unlike the brassy, bouncing styles of Last's previous records, this one's nicely funky, soulful, and almost a bit laidback at times -- filled with great keyboard lines from Larry Muhoberac, who also helped arranged the album with Last and Wes Farrell. The sound is great all the way through -- sounding much more like a Kudu/CTI sort of session than Last's European dates on Polydor -- and there's a nice jazz component to the music too, thanks to contributions from Ernie Watts on sax, Tom Scott on flute, and Bobby Bryant on trumpet. Titles include the great mellow groover "I Can't Move No Mountains", plus "Love For Sale", "Question", "Theme From Prisoner Of Second Avenue", "Jubilation", and "Summertime".

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 -- not 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?"

A really kicking little set from the great Johnny Lytle -- one of the best of his albums from later years, and a set that's got more than enough soul to live up to the image on the cover! Johnny's vibes are as great as always -- they never seem to dim over the years -- and the rest of the group have a solidly soulful approach that's almost classic in sound, but somewhat different than the approach that Lytle used on his records of the 60s. Rhythm is from the trio of Stan Hope on piano, Peter Weiss on bass, and Michael Carvin on drums -- plus Sammy Figueroa on percussion -- all of whom hit that stepping vibe that works well on Johnny's upbeat tunes, and a really laidback sound that's equally great on the mellow tunes. Houston Person's also in the group on tenor -- and he produced the set with a really great sound overall, no overdone studio touches to ruin the music. Titles include "Milestones", "Possum Grease", "Adoration", "Angel Eyes", "September Song", and "Should I Love You?".

Very jazzy work from M Swift -- much more so than any of his previous projects, and a set we'd gladly rank right up there with the best contemporary club jazz coming from Japan! The sound here is strongly acoustic, and filled with soul -- a masterful blend of tenor, trumpet, and trombone -- all set to some wonderful rhythms that bristle with key sounds from the 60s soul jazz and hardbop generation! There's a few contemporary touches, but these are very slight -- and a very small bit of vocals too, although the set is mostly instrumental -- focused strongly in the groove-heavy territory that makes club jazz records like this so great. This 4 track EP features material from the full Blue In Black album -- titles that include "Moon At Noon", "Cafe Bahia", "Swiftiest", and "Play It On The Floor".

Very jazzy work from M Swift -- much more so than any of his previous projects, and a set we'd gladly rank right up there with the best contemporary club jazz coming from Japan! The sound here is strongly acoustic, and filled with soul -- a masterful blend of tenor, trumpet, and trombone -- all set to some wonderful rhythms that bristle with key sounds from the 60s soul jazz and hardbop generation! There's a few contemporary touches, but these are very slight -- and a very small bit of vocals too, although the set is mostly instrumental -- focused strongly in the groove-heavy territory that makes club jazz records like this so great. Features material from the Blue In Black CD -- including "Disco", "Panama", "Cafe Bahia (Marc Mac 4 Hero rmx)", and "Moon At Noon (Fulgeance ext rmx)".

A real rising star on Schema Records -- composer Alessandro Magnanini, best known for his hit with Mario Biondi -- stepping out here in a beautiful album of his own original music! There's a fresh feel here that really opens up a new chapter at Schema -- still a bit of their old jazz/bossa vibe, but with a more expansive quality too -- one that embraces bits of Bacharach, snaps of 60s soundtracks, and gentler jazzier passages too -- all put together by a group that features key talents from the contemporary Italian scene -- like vocalists Rosalia De Souza and Stefania Rava, trumpeter Fabrizio Bosso, and other instrumentalists on vibes, piano, tenor, and trombone. Most instrumentation is live -- scored nicely, but not enough so that it loses the spontaneity of jazz -- and other vocals are by Jenny B and Liam McKahey. The work is really beautiful -- still mostly upbeat, but hardly just the stuff of dancefloor grooving too -- key proof that Maganini's a big talent to watch in years to come. Titles include "Livin My Life", "Open Up Your Eyes", "Stay Into My Life", "But Not For You", "Greetings From Here", "Something Fine", "Suddenly", "Blind Date Blues", and "So Long Goodbye".

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.)

One of the only early albums as a leader from pianist Ronnie Mathews -- a player who recorded more often in later years, but who really sounds incredible in this rare session for Prestige! Although a lyrical player at heart, Mathews also has a very hard edge here -- more of a soul jazz groove than you'd hear on his later records, and a great example of the sound he was picking up from some of his key 60s work as a sideman. The group is great overall -- with Freddie Hubbard on trumpet and Charles Davis on baritone sax -- both players who bring a Blue Note-like sense of imagination to their solos here. The rest of the group features Eddie Kahn on bass and Albert Heath on drums -- and titles include the killers "The Thang", "Ichi Ban", and "The Orient" -- plus "Let's Get Down", "1239A", and "Prelude To A Kiss".

A killer little set from Les McCann -- one of his greatest records of the 60s, thanks to a fair bit of Latin Soul influences! The album's got a groove that's much grittier than Les' other work -- a solid, soulful emphasis on bottom rhythms -- which are mostly in a boogaloo and shing-a-ling mode -- clearly McCann's nod to the Spanish Harlem scene at the time! The backings here are a bit fuller than usual for Les too -- and his trio with Leroy Vinnegar is augmented with lots of added percussion, plus vibes from Lynn Blessing, sax and flute from Plas Johnson, and trumpet from Lee Katzman. The whole thing's wonderful -- a non-stop party that rivals similar boogaloo jazz sets of the time -- and titles include "Fakeout", "Boo Go Loo", "Hey Leroy", "Bang Bang", "La Brea", and "Music To Watch Girls By".

A killer little set from Les McCann -- one of his greatest records of the 60s, thanks to a fair bit of Latin Soul influences! The album's got a groove that's much grittier than Les' other work -- a solid, soulful emphasis on bottom rhythms -- which are mostly in a boogaloo and shing-a-ling mode -- clearly McCann's nod to the Spanish Harlem scene at the time! The backings here are a bit fuller than usual for Les too -- and his trio with Leroy Vinnegar is augmented with lots of added percussion, plus vibes from Lynn Blessing, sax and flute from Plas Johnson, and trumpet from Lee Katzman. The whole thing's wonderful -- a non-stop party that rivals similar boogaloo jazz sets of the time -- and titles include "Fakeout", "Boo Go Loo", "Hey Leroy", "Bang Bang", "La Brea", and "Music To Watch Girls By".

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".