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Get down with the sound of Peter Brown – one of the funkiest white cats on the Miami soul scene of the 70s! Peter originally hailed from the Chicago area, but he got the call down to Miami with his classic club groover "Do Ya Wanna Get Funky With Me" – a compelling blend of snappy rhythms, soulful horns, weird keyboard bits, and sweet female vocals. That track instantly set Peter up large – reputedly the first 12" single to sell a million copies – and Brown followed the groove with a whole host of other clubby classics cooked up in the Miami TK studios! This set brings together 9 of Peter's extended dancefloor cuts from the 70s – plus 2 more remixes from later years – for a total of 11 tracks that include "Do Ya Wanna Get Funky With Me", plus "Dance With Me", "Love In Our Hearts", "Stargazer", "Fantasy Love Affair", and "You Should Do It".

Sweet 80s disco from Peter Brown – proof that man still wants to get funky, even after most of his contemporaries had long left the dancefloor! The style here is as compellingly crossover as before – lots of lively rhythms that percolate with pop-inflected hooks – soul at the core, definitely, but with enough winning elements to keep Brown moving through the wider audiences that brought his initial fame. A few sweet moments almost seem to echo some of the best Euro club styles of the time – and titles include "Rock With Me", "Double Or Nothing", "Love Is Just The Game", "Classical Dancing", "Hot Flash", "They Only Come Out At Night", "Zie Zie Won't Dance", and "Electric Shoes". CD features lots of bonus mixes – including "Love Is Just The Game (inst)", "Love Is Just The Game (12" mix)", "They Only Come Out At Night (12" mix)", "They Only Come Out At Night (inst)", "Zie Zie Won't Dance (12" rmx)", and "Zie Zie Won't Dance (inst)".

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".

Surprisingly nice work from Peter Brown – a groover who still managed to hit on all burners after his early years at TK Records! Brown's definitely got a crossover feel here – clubby rhythms, but topped with vocals that belie his look on the front – and which, along with the catchy grooves, should have done more than enough to get Peter some wider play with early 80s audiences. Yet there's also some key dancefloor craft here – no-nonsense approach to the bottom of the tunes, and never too much cloying production up top – which serves to keep things nice and lean, and plenty clean too. Titles include "Give Me Up", "Heaven In Your Eyes", "Shall We Dance", "Danger", "The Love Game", "Satisfaction Guaranteed", and "Baby Gets High". CD features bonus tracks – "Baby Gets High (7" mix)", "Baby Gets High (12" mix)", "Overnight Sensation (12" mix)", and "Overnight Sensation (inst)".

Many years after his huge club hit "Do You Wanna Get Funky With Me?", but still a nice club groover, with more of an 80s jazzy feel and some nice production assistance from Jellybean Benitez.

One of the few albums ever as a leader from alto saxophonist Pete Brown – a less-remembered talent of his times, but a key link between the generations of bop and swing! The set was only issued as a 10" LP, but packs the full punch of most longer albums – sublime alto from Brown with a crisp tone firmly in place – sitting somewhere between older bop players and some of the emerging Tristano-ites from the east coast – a vibe that's almost like Charlie Mariano or Dick Johnson in their best younger years, but with a bit more soul too. The group's a hip sextet – with trumpet from Joe Wilder, guitar from Wally Richardson, and piano by Wadde Legge – and the album includes a great version of "The World Is Waiting For The Sunrise", plus the nice originals "Delta Blues" and "Used Blues".

A wealth of unusual records – not just under Oliver Nelson's name, but material for other artists too! The set features the Oliver Nelson-led sessions for Full Nelson, Fantabulous, Jazz Interactions Orchestra/Jazzhattan Suite, Kennedy Dream, and Sound Pieces – plus music from Jimmy Smith albums Who's Afraid Of Virginia Wolff, Peter & The Wolf, Hoochie Coochie Man, Bashin, Hobo Flats, Jimmy Smith & Wes Montgomery. Also features work from the albums Roll Em by Shirley Scott, Ray Brown/Milt Jackson, Leonard Feather's Encyclopedia Of Jazz All Stars, and Spirit Of 67 with Pee Wee Russell.

A sprawling set that commemorates the Reggae Golden Jubilee– one that's beautifully put together by VP – and featuring 100 pivotal tracks from the early 60s to the late 00s! Selector Mr. Seaga does a pretty terrific job on the tracklist – which focuses as much on tracks that proved to be among the most trailblazing as it does on big hits. It touches on the styles and subgenres from throughout reggae's history – from ska, to rocksteady, reggae, dub, deejay, dancehall and beyond – with bellwether material by Theophilus Beckford, Higgs & Wilson, Skatalites, U-Roy, Peter Tosh, Jimmy Cliff, Yellowman, Third World, Dennis Brown, Maxi Priest, Sugar Minott, Beres Hammond, Sizzla, Shaggy and many, many more. "Dumplins" by Byron Lee & The Dragonaires, "They Got To Go" by Prince Buster, "Bring Home" by Justin Hines & The Dominoes, "Rough And Tough" by Stranger Cole, "Hypocrite" by The Heptones, "Occupation" by Don Drummond & The Skatalites, "Wear You To The Ball" by U-Roy & The Paragons, "The A Fi Get A Beatin'" by Peter Tosh, "Police And Thieves" by Junior Murvin, "Right Time" by Mighty Diamonds, "Uptown Ranking" by Althea & Donna, "Over Me" by Yellowman, "Pass The Dutchie" by Musical Youth, "Try Jah Love" by Third World, "Wild World" by Maxie Priest, "One Blood" by Junior Reid, "Murder She Wrote" by Chaka Demus & Pliers, "Putting Up Resistance", by Beres Hammond, "You Don't Love Me (No No No)" by Dawn Penn, "Untold Stories" by Buju Banton, "Black Woman And Child" by Sizzla, "Gimme The Light" by Sean Paul, "Pon De River, Pon De Bank" by Elephant Man, "Welcome To Jamrock" by Damian "Jr Gong" Marley, "The Harder They Come" by Jimmy Cliff and more.

Mighty recordings from the funk years of King Records – amazing grooves that follow the initial inspiration that James Brown gave to the label – but take things into wild new territory too! The late 60s & early 70s were kind of a strange and tumultuous time at the longtime Cincinnati operation – which was adapting to the changes in funk, soul and R&B music that James Brown almost single-handedly ushered in – at King and throughout the entire culture! What's most impressive here, beyond the exceptional quality of each song and performer, is the diversity – as the set's not all front-to-back JB-style funk – and also features some funked up bluesy soul, strains of gospel, the convincing move towards funk from veterans such as Hank Ballard & Bill Doggett – all topped off with righteous storytelling, sweet female soul leads, and some amazing grooves down at the bottom! Titles include "Getting Down (With Hoss)" by Kastle, "Love's Sweet Water" by Barbara Burton And The Messengers, "Baby Don't You Know" by The Brownettes, "Clay Tyson (Man On The Moon)" by Clay Tyson, "Cool Jerk" by The Coasters, "The Boo Boo Song" by King Coleman, "Unwind Yourself" by Hank Ballard, "Steal Away" by Leon Austin, "Peter Rabbit" by The Presidents, "Lookin For A Woman" by Robert Moore, "Push & Shove" by Willy Wiley, "Ball Of Fire" by Connie Austin, "Sad But True" by Elaine Armstrong, and "You Keep Me Hanging On" by Bonnie & Sheila.

A mighty dip into the legendary vaults of King Records – and one that manages to come up with a motherlode of funky grooves, even though none of them feature James Brown! The package is an essential look at the hinterland of King – artists who mostly just cut singles for the label in the 60s and early 70s, but who managed to match the groove of some of the bigger talents who charted more successfully for the company. There's plenty of gritty, funky cuts on the set – some done as soul numbers with a funky undercurrent on the bottom – others done as heavy funk cuts with a few nice soul touches on the vocals! The set was hand-picked by Mr Finewine – well known for his genius on the Vital Organs collection – and tracks include "Peter Rabbit" and "Which Way" by The Presidents, "Soul Jerk It Baby" by Jeb Stuart, "How Do You Feel" by Peggy & Artie, "Book Of Love" by Clarence Murray, "I Got It Made" by James Duncan, "Football" by The Swinging Seven, "Jo Ann" by Robert Moore, "You've Got To Be Strong" by James Duncan, "Fat Gal" by Mickey Murray, "Your Key Don't Fit Anymore" by Marie Queenie Lyons, "Let Me Be A Steppin Soul" by Charles Spurling, "Thunder" by Lord Thunder, and "Chopper 70" by Wayne Cochran.

A well-done documentary on "the music known as free jazz" – one that features interviews and performances from some key avant jazz figures of the 60s and 70s! The ESP association with the movie is no coincidence – as the film features interviews with old ESP stalwarts such as Marion Brown, Roswell Rudd, John Tchicai, Alan Silva, and Burton Greene – as well as Joseph Jarman, Baikida Carroll, William Parker, and Matthew Ship. Performers include Denis Charls, Joseph Jarman, Wilber Morris, Peter Brotzmann, John Tchicai, and the Sun Ra Arkestra – and the film also features some great incidental music too. Directed by Alan Roth, in color.

A stunning disco classic from Dan Hartman – maybe an unlikely talent for the dancefloors, given his image on the cover – but an artist who definitely went onto shape the sound of the clubs at the end of the 70s! The album's got the Hartman groove really hitting hard, and right on the money – a tightly compressed approach to disco that really lays heavily on the hooks – in a style that's similar to where Peter Brown was going at the time, with a similar compressed sensibility that gets past any of the fluff that was drowning others in the disco generation! In fact, it could well be argued that the approach here really helps focus a dancefloor sound towards the modes of the 80s – while still allowing for the fluid soul of the disco years too – a style that's summed up perfectly in the album's extended classic "Vertigo/Relight My Fire", which features famous vocals by Loleatta Holloway! Other titles are all sweet too – and include "Free Ride", "I Love Makin Music", "Just For Fun", "Love Strong", and "Hands Down".

A stunning disco classic from Dan Hartman – maybe an unlikely talent for the dancefloors, given his image on the cover – but an artist who definitely went onto shape the sound of the clubs at the end of the 70s! The album's got the Hartman groove really hitting hard, and right on the money – a tightly compressed approach to disco that really lays heavily on the hooks – in a style that's similar to where Peter Brown was going at the time, with a similar compressed sensibility that gets past any of the fluff that was drowning others in the disco generation! In fact, it could well be argued that the approach here really helps focus a dancefloor sound towards the modes of the 80s – while still allowing for the fluid soul of the disco years too – a style that's summed up perfectly in the album's extended classic "Vertigo/Relight My Fire", which features famous vocals by Loleatta Holloway! Other titles are all sweet too – and include "Free Ride", "I Love Makin Music", "Just For Fun", "Love Strong", and "Hands Down". CD features some nice bonus tracks too – "Boogie All Summer (single)", "Relight My Fire (single)", "Hands Down (12" version)", "Hands Down (Hands Up)", "Relight My Fire (historical 1979 rmx)", and "Vertigo/Relight My Fire (progressive instrumental rmx)".

A mighty great album from reedman Joe Lovano – one of his greatest records in years, and proof that he's still got plenty of fire – when given the chance to burn! The group here is wonderful – and half the tracks feature bass work from Esperanza Spaulding, reminding us that she's still quite rooted in jazz – working alongside James Weideman on piano, Otis Brown III on drums, and Francisco Mela on additional percussion and balafon. Peter Shaw plays bass on the other half of tracks on the set – but the real surprise is Lovano – who's not only mindblowing on tenor, but also plays other reed instruments and percussion as well helping push things towards the cross cultural elements promised in the title. These are served up especially well on the few cuts that feature Lionel Loueke on guitar – and titles include "Drum Chant", "Blessings In May", "Myths & Legends", "In A Spin", "Star Crossed Lovers", and "Journey Within".

Jayne/Wayne County by Peter Crowley. Cyndi Lauper interview and beautiful comic. A lenthy converstaion with jazz/soul vocal genius Oscar Brown, Jr. Ass kickin' rockabilly/country diva Wanda Jackson interviewed. Little Jimmy Scott comic. 10 seconds with John Doe and Ron Kittle. #1 fans section with tales of George Strait's luckiest fan, an Olivia Newton John obsessed mormon and a Lou Christie fan who practices "Christie-anity. Serge Gainsbourg by David Grubbs. Plus: Ozzy Osbourne, Van Morrison, Elvis, more.

Vintage album covers from the 70s – all hand-picked by Aubrey Powell of Hipgnosis – a company responsible for some of their own classic images back in the day! Powell does a great job with the package – and manages to go way beyond just Hipgnosis covers, to include a really wide-spanning set of images that really sums of the depth of 70s music! You'll find covers here from artists that really run the gamut – Sex Pistols, Rolling Stones, Kate Bush, The Damned, Be Bop Deluxe, Boz Scaggs, The Cramps, Joe Jackson, The Slits, Pop Group, Peter Gabriel, David Bowie, and dozens of others – all laid out in a full-color book that's about 10" square – which makes for a great read as you're flipping through the pictures. The book is divided into years – showing a great evolution of style during the decade, matched with key news moments from each period too. 191 pages, full color, and nice and heavy!

A funky explosion of dancefloor grooves – key 70s club cuts from Capitol, Blue Note, and TK Records – all packaged together in a massively upbeat set! Most tracks here move at a pretty quick clip – and represent the funkier side of the 70s disco scene – cuts that draw more from tight instrumental jamming than from smoother tricks in the studio! Almost all numbers have some sort of lyrics, but they usually take second stage to the rhythms – and a fair bit of the numbers are long, with timings that move well past the five minute mark. Titles include "Changin" by Brass Construction, "Do What You Wanna Do" by T-Connection, "Is It In" by Jimmy Bo Horne, "Wrap Your Arms Around Me" by KC & The Sunshine Band, "Freak In Freak Out" by Timmy Thomas, "Singing Hallelujah" by Queen Samantha, "Caricatures" by Donald Byrd, "Pack It Up" by Gonzalez, "Do Ya Wanna Get Funky With Me" by Peter Brown, and "Time Is On My Side" by Maze.

Great disco grooves from the TK Records empire of Henry Stone – home to countless club goodies at the end of the 70s! The package brings together some of the more obscure numbers issued on various TK labels – a nice change from some of the overdone TK hits that have been reissued a lot more heavily over the years – showing that there's plenty left to discover in the Henry Stone archives! Many of the numbers have a soaring Miami disco groove – long tracks with nice instrumental moments in the middle, and lots of great guitar bits, basslines, percussion, and keyboards wrapped up in the mix. Tracks on this second volume include "At The Disco Dance" by Wizdom, "Let's Love" by Foxy, "Danger" by Gregg Diamond's Starcruiser, "Burning Love Breakdown" by Peter Brown, "Beyond The Clouds" by Quartz, "If There's Love" by Amant, "One Love" by Celi Bee, and "Hey Sexy Dancer" by Rocky Mizell.

Gentle-going genius from the later years of Satchmo's career – a session that has Louis on trumpet and vocals, backed by the Oscar Peterson Trio! Peterson's usual group with Herb Ellis and Ray Brown is expanded slightly for this outing – bringing in Louis Bellson on drums to syncopate the tunes a bit more strongly, and give them that gently swinging rhythm that always works well with Armstrong's style. The real surprise, though, is Louis' voice – which is simple, almost elegant at times – and free from some of the gimmicks of other 50s sessions, or the too-playful style of his better-known duets of the period. We really love his gentle, honest approach to the lyrics here – on tunes that include "I'll Never Be The Same", "Moon Song", "What's New", "There's No You", "You Go To My Head", "That Old Feeling", and "Let's Fall In Love". CD also features 4 bonus tracks – including "Let's Do It", "I Get A Kick Out Of You", "Willow Weep For Me", and "Makin Whoopee".

A beautiful package of work from trumpeter Clifford Brown – his complete Emarcy master takes for work with three key singers in the 50s – Helen Merrill, Sarah Vaughan, and Dinah Washington! Brown's trumpet has a fluid, soulful style that's easily one of the most modern of the time – which makes for a really striking accompaniment for all vocalists included – especially Washington, who really breaks out from her bluesier modes on the Clifford Brown sides – making an argument here that the trumpeter really helped take her singing to the next level! The lavish 3CD package is in a cool 7" book-style cover, with a really beautiful full color book inside – and the set features a huge amount of work with Washington (2 of the 3 CDs) – with titles that include "No More", "I've Got You Under My Skin", "What Is This Thing Called Love", "Lover Come Back To Me", "I'll Remember April", and some ballad medley tracks from a jam session. The last CD features work with Sarah Vaughan and Helen Merrill – titles that include "April In Paris", "He's My Guy", "Jim", "I'm Glad There Is You", "I'm Crazy", "You'd Be So Nice To Come Home To", "Falling In Love With Love", and "Yesterdays".

A key bit of jazz funk from trumpeter Tom Browne – still grooving strong here, with a sublime mix of modern soul, funky jazz, and some of the 80s groove touches that showed up on the best GRP titles from the time! The album's got a smooth compressed groove – kind of post-Donald Byrd, with Tom taking solos over the top of most tracks, and occasional vocals , wither from a backing group, or an assortment of different lead singers. Players on the set include Bernard Wright, Dave Grusin, Bobby Broom, and Marcus Miller – and tracks include "I Know", "Midnight Interlude", "Let's Dance", "Night Wind", "Making Plans", "Thighs Hihg", and "Magic". CD features nice bonus tracks too – "Magic (12" UK version)", "Thighs High (single version)", and "Let's Dance (single version)".

Although Lionel Hampton's always best remembered for his storming swing days in the early 40s, we love him on records like this one – an easy open-ended straight jazz session from the 50s, with lots of room for soloing in a much more jazz-oriented vein than you'll hear on Hamp's early records. The group's a small all-star combo that features Roy Brown, Buddy Rich, and Oscar Peterson next to Hamp's vibes – and the set list includes long takes of "Midnight Sun", "That Old Black Magic", and "Blues For Norman".

A cool collection of rare recordings from trumpeter Allen Houser – mostly recorded around the DC scene of the 70s, all with hip small group players and a pretty soulful feel overall! Houser's trumpet is set up in quartet, quintet, and sextet formations – often with a groove that draws from the hardbop years of Blue Note and Prestige, even more so than on some of Houser's commercially released work from the time. Players include Buck Hill on tenor, Reuben Brown on electric piano, Bob Butta on piano, Bob Balthis on valve trombone, and Joe Clark on tenor sax. A few tracks are recorded under the leadership of Julio Miranda or Joe Clark – and titles include "Peace", "Our Day Will Come", "Doxy", "Blues For Philly Joe", "Song For My Father", and "Four".

Mid 80s effort from 2 of the greatest modern trumpeters to have put a horn to their lips. Woody & Freddie run through a set of tunes, all written by trumpeters, like Clifford Brown, Fats Navarro & Kenny Dorham, as well as their own, with a group of the then-young players on Blue Note, like Carl Allen & Kenny Garrett. The playing is crisp & tight, if not as over the top burning as the sides these players cut during their younger years, and includes "Lotus Blossum", "Hub-Tones" and 'Boperation".

Trumpeter Jonah Jones swings nicely with a Broadway theme – yet still manages to keep things in his charming blend of trad, swing, and some groovier elements too! The set's mostly instrumental, although Jonah sings on a few numbers with that warmly raspy voice of his – and as with most of the Capitol dates, a mute is used often – compressing the sound down into the grooves, which are almost upbeat and lively. Other players include George Rhodes on piano, John Brown on bass, and Harold Austin on drums – and titles include "Baubles Bangles & Beads", "Hey There", "Just In Time", "You're Just In Love", "Just My Luck", and "You're So Right For Me".

A trio of classics from the Thad Jones/Mel Lewis Orchestra! First up is the initial Presenting album – great music by one of the hippest large American ensembles of the late 60s – almost a US equivalent to the groovy sound of the Clark Boland Big Band over in Europe! Trumpeter Thad Jones and drummer Mel Lewis had already made some great music together on their own – but once they came together in a record like this, they really found a great new direction for their energy – a bold musical force that's strong enough to also encompass the rich talents of players who include Pepper Adams on baritone sax, Joe Farrell on tenor, Jerome Richardson on soprano sax, Richard Williams on trumpet, Bob Brookmeyer and Tom McIntosh on trombones, Hank Jones on piano, and Richard Davis on bass! The sound is full, but never overwhelming – and like the Clark Boland group, this one has a great way of breaking open to allow key soloists to have some great space on their own – a modern approach, and one that still never has the band losing its groove. Titles include "ABC Blues", "Mean What You Say", "Three & One", and "Once Around". The next album was recorded live in the Thad Jones/Mel Lewis home turf at the Village Vanguard! The group at this point was a freshly-created outfit filled with some of the best large group jazz soloists of the time – players that included Jerome Richardson, Joe Farrell, Eddie Daniels, Pepper Adams, Richard Williams, and Bob Brookmeyer – not to mention Jones and Lewis themselves! The style here is very much in the mode that the Clarke Boland Band was crafting in Europe during the same period – a redefinition of the larger jazz group, in a way that allowed it to swing with the dynamic energy and soul of some of the smaller combos of the 60s. And while the Jones/Lewis group had many years over which to hone their craft, they've never sounded better than on these initial recordings – as you'll hear on tracks that include "Samba Con Getchu", "A That's Freedom", "Bachafillen", and "Little Pixie". On the last album in the set, Ruth Brown joins the big band of Thad Jones and Mel Lewis – in a set that's a real standout in the career of all three artists! Thad and Mel already have a pretty great groove going at this point – a large ensemble approach to jazz, yet one that's swingingly soulful – very much on a par with some of Gerald Wilson's hip work of the same time at time. And adding in Ruth Brown's vocals is a great choice – as she not only needs a great showcase like this for her amazing voice, but also because she really helps unlock a soulful sort of energy that the group always had in their instrumental music. The approach is a bit like some of Etta Jones' best 60s recordings – a nice shift for Brown – and titles include "Black Coffee", "Fine Brown Frame", "You Won't Let Go", "Trouble In Mind", and "Be Anything (But Be Mine)".

Trumpeter Joe Magnarelli's got a hell of a trio on this cooking live date – Mulgrew Miller on piano, Dwayne Burno on bass, and Jason Brown on drums – all of whom craft the tunes with a rhythmic intensity that really seems to set Joe's horn on fire! Magnarelli's always had a great way with a tone, but here he also seems to have a sense of swing that comes through even in the mellower moments – a bit like Art Farmer at times, with maybe a few echoes of Freddie Hubbard in his later years too. Yet Joe's clean, clear approach is still very much at the forefront of the album – and titles include the originals "Third Set" and "Skee" – plus "My Ideal", "Invitation", and "I'll Find You".

One of Oscar Peterson's most sophisticated albums of the 60s – an extended suite of tracks dedicated to the soul and spirit of Canada! The tunes are all originals, and have a really lush, vivid sort of feel – one that still has undercurrents of Peterson's usual soulful style, but which also has Oscar painting these very vivid images in sound! The material is performed by a trio with Ray Brown on bass and Ed Thigpen on drums – and although the tunes aren't familiar, we'd rank this one right up there with Peterson's most inventive material of the time. Titles include "Laurentide Waltz", "Ballad To The East", "Blues Of The Praries", and "Wheatland".

If you ever needed proof of Oscar Peterson's genius on the piano, this CD may well be it – as it captures Peterson in a set of different early live performances at Carnegie hall – all of them mindblowing! The tunes here are a bit longer and looser than some of Oscar's studio work for the time – and display a majestic command of the keyboard that rings out from the very first note – never too overdone or showy, but jaw-droppingly incredible in its sense of timing, and trademark mix of poise and invention in the same deft stroke. Accompaniment on 4 of the tracks is only by Ray Brown on bass – and the rest feature either Barney Kessel or Herb Ellis joining in on guitar to complete the classic sound of the 50s Peterson Trio. Tracks were recorded at JATP performances in September of 1949, 1950, 1952, and 1953 – and the CD features 15 titles that include "Gai", "Padovane", "Fine & Dandy", "Carnegie Blues", "Cheek To Cheek", "Tenderly", "Lollobrigida", "Pompton Turnpike", and "Love For Sale".

Mellow magic from Oscar Peterson – recorded for MPS during the mid 60s, but "secret sessions" that didn't get issued until later! The album features Oscar working some incredible wonders on the piano – working with either Sam Jones or Ray Brown on bass and Bob Durham or Louis Hayes on drums. The tunes are simple and elegant, but Peterson's work on the keys takes them to a whole new place – taking off even farther than his American sides at the time with the freedom allowed him by MPS. The set includes a 17 minute reading of "I'm In The Mood For Love", plus shorter takes on "Girl Talk", "Moon River", and "On A Clear Day".

Cole Porter's tunes are great enough on their own, but Oscar really opens them up on this set – picking up the inherent rhythms in the numbers and really working them over – in a way that makes the outing one of the most lively in Peterson's songbook series for Verve! Oscar's fluid touch on the keys is perfect throughout – taking lots of chances, but always strongly following the melody – and rhythm accompaniment is from the usual team of Ray Brown on bass and Ed Thigpen on drums. Titles include "In The Still Of The Night", "Love For Sale", "It's All Right With me", "Just One Of Those Things", "Night & Day", "It's De-Lovely", and "I Love Paris".

One of the classic Verve series of recordings from the 1957 Newport Jazz Festival, and an album that features one side of the Oscar Peterson trio with Ray Brown and Herb Ellis, plus a side of the trio joined by Jo Jones, Sonny Stitt and Roy Eldridge. 8 tracks in all, including "Will You Still be Mine", "Joy Spring", "Gal In Calico", "52nd Street Theme", "Monitor Blues", "Willow Weep For Me", "Autumn In New York" and "Roy's Son".

A near-lost gem in Oscar Peterson's mid-50s catalog for Verve – and a sparkling set of trio numbers recorded at the Shakespeare Festival in Ontario! Despite the literate setting of the recording, the work's never stuffy or academic – and Peterson swings things mightily with his trio that includes Herb Ellis on guitar and Ray Brown on bass. The recording quality is wonderful – deep, rich, and luminous – at a level that almost makes us say "why didn't they stop here, since Oscar sounds so perfect?" Titles include "Love You Madly", "52nd Street Theme", "Flamingo", "How About You", and "Noreen's Nocturne".

Clean, clear, and incredibly soulful – a wonderful rare live performance that's way more than just another muddy concert record – and instead a key addition to the Oscar Peterson catalog that stands proudly with his best Verve albums of the time! This 1960 performance features Ray Brown on bass and Ed Thigpen on drums – a pair who've already reached rhythmic vitality in the company of Peterson, and fill the album's long tracks with loads of creative interplay – shifting sounds that move way past the obvious, and create grooves that really set Oscar's piano lines on fire! Titles include "Jordu", "Cubano Chant", "Con Alma", "Daahoud", and "Politics & Poker".

The West Side Story score – but handled here by the great Oscar Peterson Trio – in ways that really push the tunes past their Broadway roots! The approach is tight, soulful, and filled with strong lines from Peterson on piano – plus bass by Ray Brown and drums from Ed Thigpen – that classic trio from the early 60s that came together in different ways than Oscar's group of the 50s. The set features an especially nice long take on "Jet Song" – plus versions of "Something's Coming", "Somewhere", "Tonight", "Maria", and "I Feel Pretty".

Oscar Peterson takes on two famous scores – back to back on a single CD! West Side Story features music from the famous musical – but handled here by the great Oscar Peterson Trio – in ways that really push the tunes past their Broadway roots! The approach is tight, soulful, and filled with strong lines from Peterson on piano – plus bass by Ray Brown and drums from Ed Thigpen – that classic trio from the early 60s that came together in different ways than Oscar's group of the 50s. The set features an especially nice long take on "Jet Song" – plus versions of "Something's Coming", "Somewhere", "Tonight", "Maria", and "I Feel Pretty". Porgy & Bess is less an interpretation of Porgy & Bess than an extrapolation of its themes – one that lets the Peterson trio recraft the music into their own! Given that the Porgy & Bess theme had been explored heavily by many other jazz albums of the late 50s – due to the release of the film at the time – Peterson clearly knows he's got to take a different approach here, and manages to dissect the tunes in really unique ways – bringing in gentleness where it wasn't before, and finding space for new music between notes that are already familiar. Of course, it helps a lot that he's got Ray Brown on bass and Ed Thigpen on drums – as the album's almost a three-pronged melodic attack – with great versions of titles that include "Summertime", "I Got Plenty O Nuttin", "I Wants To Stay Here", "Oh Lawd I'm On My Way", "Bess You Is My Woman Now", and "Bess Oh Where's My Bess".

Oscar Peterson's trio is augmented here by a famous guest – trumpeter Clark Terry, whose horn adds a nice bit of punctuation to the set, and makes the record a strong standout in the 60s catalogs of both players! The addition of Terry to the record is a great one – as Clark's rising fame at the time merges nicely with the popularity of the Peterson group – and since both players share a talent for mixing earthy moments with tighter playing, the whole thing comes off pretty darn nicely! Peterson's piano is supported by rhythm work from Ray Brown on bass and Ed Thigpen on drums – and Terry not only plays trumpet and flugelhorn, but also vocalizes a slight bit too – sometimes at the same point he's playing his horn! Titles include "Mumbles", "Mack The Knife", "Jim", "Blues For Smedley", "Brotherhood Of Man", and "Incoherent Blues".

Really great work from trumpeter Jack Sheldon – a bigger band record that doesn't suppress his horn, and which instead really gives him a tight energy that he doesn't always have on other records! Sheldon's playing here with a pretty nice group of players – including Billy Root, who plays some wonderfully fluid baritone sax solos on a number of cuts, as well as better known west coasters like Art Pepper, Chet Baker, Conte Candoli, Harold Land, and Herb Geller. Tracks are short, and the album's really wonderful overall – truly one of the best of Sheldon's few albums as a leader. Titles include "I'm Also A Person", "Arrividerci", "Brown Cow", "JS", "Aplomb", and "Anyhow". This is the 60s issue of a session from 1957 – presented here with a title and cover image that refers to Sheldon's work in the TV show Run Buddy Run.

Trumpeter Louis Smith made only two records for Blue Note, but both of them are great! This set's arguably his most famous – because of a rare uncredited appearance by Cannonball Adderley, working here under the "nom de date" of "Buckshot La Funke" – and blowing with a power that beats most of his other Mercury sessions of the late 50s! But the real credit here should go to Louis Smith – who's got a sense of power and command that should have made him one of THE trumpeters of the 50s – an emerging young talent to stand alongside Lee Morgan, Nat Adderley, and other post-Fats Navarro/Clifford Brown talents on the instrument. Smith sparkles throughout with a mix of soul and modernism we really love – and an earthy way of blowing the horn that doesn't always reach its goals, but which draws even more energy from its ability to try! The rhythm section on the album's also very tight – with Art Taylor on drums, Doug Watkins on bass, and either Tommy Flanagan or Duke Jordan on piano – and tracks include "Ande", "Brill's Blues", "South Side", and "Val's Blues".

One of Syreeta's deepest albums ever – proud, bold, and wonderfully righteous throughout – filled with a sense of message and purpose that was quite rare for Motown at the start of the 80s! Syreeta's really tapped back into that wonderful energy that made her so great when first working with Stevie Wonder – a warm, jazzy glow that suits her unique vocals perfectly – and which is shaped to perfection here by producers Richard Perry, Hal Davis, and Jerry Peters! The album's got a few funky groovers that are definitely Motown circa 1980, but its best moments are the mellower ones – which hit a Minnie Riperton-like quality that's mighty nice. Sheree Brown sings with Syreeta on a few cuts – and titles include "Blame It On The Sun", "Let Me Be The One", "Love Fire", "Here's My Love", and "You Bring Out The Love In Me" – plus "Please Stay" and "One More Time For Love", both duets with Billy Preston.

Lucky Seven in the Gilles Peterson's Brownswood Bubblers series – hand-picked modern soul, tripped out electronic grooves, glitchy clubby psych and otherwise top shelve, avant yet accessible groovers – with tracks by The Stepkids, Jon Phonics, Ivy Chanel, KING, Ratcliffe, Tanya Auclair, Ntjam Rosie and more! One thing we've dug about the series-to-date, including this one, is that as diverse as the material is, and as willfully uncategorizable it is, there's a shared devotion to real songs rather than mere atmospherics – and it's strong stuff all the through. Includes "The One" by Jon Phonics, "Thrum", "La La" by Stepkids, "Shoot The Ducks To Win" by Stealing Sheep, "Sensitive" by Cleveland & Ahmed, "Water No Enemy" by Tall Black Man, "Hey" by King, "Belleville" by The Park, "Mindset" by Ratcliffe and more.

Gilles Peterson's hand-picked Brownswood Bubblers series – which is nine volumes strong with the release of this one – and it's getting better and better! While soulful strains are a common thread in the series to date, diversity has always been the name of the game – and that while that continues to hold true, Vol 9 is anchored pretty strongly with funky soul – with tracks by Truth & Soul signees Lady, modern spacey soul singer/producer Slakah The Beat Child, Belleruche and a few more recognizable names – but it's also a got a bevy of artists ripe for discovery! Includes "Money" by Lady, "Nakamarra" by Hiatus Kaiyote, "Wanna Do" by Slakah The Beatchild, "Forgotten Notes" by Hackman, "Wasted Time (Ross PTH Remix)" by Belleruche, "Make It Good" by The White Lamp, "Private Life Of A Puppet" by Bev Lee Harling, Down Illusion" by Memotone and more.

Rare soul from the legendary King Records – hand-picked by Mr Fine Wine, with a special ear for sharp-edged R&B grooves! Most of the work here is from the same early soul stretch as James Brown's initial work for King – and recorded with an equally raw sound overall – heavy rhythms, powerful instrumentation, and amazing vocals that really stretch out with a bold sound for the new generation! A few of the cuts here are by familiar names, and others are lesser-knowns from the rich King catalog – all wrapped together in a big batch of tracks that's filled with the kind of rare gems that Fine Wine's know for – both as a collector and a DJ. Titles include "Old Faithful & True Love" by Earl King, "She's Mine" by Joe Tex, "Mama Needs Your Lovin Baby" by Linda Hopkins, "Cozy's Mambo" by Cozy Cole, "The Jumpin Bean" by The Mystics, "Harem Girl" by Red Prysock, "I Won't Have It" by The King Pins, "One Buffalo" by Jimmy Peterson, "Thanks Mr Postman" by Bobby King, "Solid Rock" by Eli Pauling & The Royalton, "Nothing But Good" by Hank Ballard, and "Take Your Fine Frame Home" by Billy Gayles.

Rare soul from the legendary King Records – hand-picked by Mr Fine Wine, with a special ear for sharp-edged R&B grooves! Most of the work here is from the same early soul stretch as James Brown's initial work for King – and recorded with an equally raw sound overall – heavy rhythms, powerful instrumentation, and amazing vocals that really stretch out with a bold sound for the new generation! A few of the cuts here are by familiar names, and others are lesser-knowns from the rich King catalog – all wrapped together in a big batch of tracks that's filled with the kind of rare gems that Fine Wine's know for – both as a collector and a DJ. Titles include "Old Faithful & True Love" by Earl King, "She's Mine" by Joe Tex, "Mama Needs Your Lovin Baby" by Linda Hopkins, "Cozy's Mambo" by Cozy Cole, "The Jumpin Bean" by The Mystics, "Harem Girl" by Red Prysock, "I Won't Have It" by The King Pins, "One Buffalo" by Jimmy Peterson, "Thanks Mr Postman" by Bobby King, "Solid Rock" by Eli Pauling & The Royalton, "Nothing But Good" by Hank Ballard, and "Take Your Fine Frame Home" by Billy Gayles. Totally great limited package – 20 tracks on 10 funky 45s – all packaged in a mighty cool box!

Mid 80s effort from 2 of the greatest modern trumpeters to have put a horn to their lips. Woody & Freddie run through a set of tunes, all written by trumpeters, like Clifford Brown, Fats Navarro & Kenny Dorham, as well as their own, with a group of the then-young players on Blue Note, like Carl Allen & Kenny Garrett. The playing is crisp & tight, if not as over the top burning as the sides these players cut during their younger years, and includes "Lotus Blossum", "Hub-Tones" and 'Boperation".

One of Oscar Peterson's most sophisticated albums of the 60s – an extended suite of tracks dedicated to the soul and spirit of Canada! The tunes are all originals, and have a really lush, vivid sort of feel – one that still has undercurrents of Peterson's usual soulful style, but which also has Oscar painting these very vivid images in sound! The material is performed by a trio with Ray Brown on bass and Ed Thigpen on drums – and although the tunes aren't familiar, we'd rank this one right up there with Peterson's most inventive material of the time. Titles include "Laurentide Waltz", "Ballad To The East", "Blues Of The Praries", and "Wheatland".

A pair of Oscar Peterson gems – back to back on a single CD! Night Train is one of Oscar Peterson's biggest records ever – one of those albums we turn up time and time again when digging through classic jazz collections – and for good reason too, given the lasting power of the set! The album's got a rock-solid sound that's filled with soul – almost a bit more down and dirty than some of Peterson's earlier work, very much in the spirit of the group's hit performance of the title track. In a way, the album's almost Oscar's answer to some of the rising younger stars in the soul jazz scene – and is proof that the master still can do things as great as the artists he inspired. Ray Brown is on bass and Ed Thigpen is on drums – and tracks include "Bag's Groove", "Georgia On My Mind", "Easy Does It", "Band Call", and "Night Train". Jazz Soul Of Oscar Peterson is one of the first Peterson albums to ever feature "soul" in the title – added, no doubt, as a way of keeping up with Ray Bryant and other pianists making their name in the growing soul jazz field at the time! There's a groove here that's a bit harder than usual for Peterson on Verve – a heavier approach to rhythm on the keys, and a more focused trio formation – one that clearly sets a pace for albums to come in the 60s, but which must have been relatively striking to Peterson fans at this point. The trio here features Ray Brown on bass and Ed Thigpen on drums – and tracks are longer than usual, with some really great room to stretch out! Titles include "Liza", "Con Alma", "Close Your Eyes", "Maidens Of Cadiz", and "Woody'n You".

Oscar Peterson's trio is augmented here by a famous guest – trumpeter Clark Terry, whose horn adds a nice bit of punctuation to the set, and makes the record a strong standout in the 60s catalogs of both players! The addition of Terry to the record is a great one – as Clark's rising fame at the time merges nicely with the popularity of the Peterson group – and since both players share a talent for mixing earthy moments with tighter playing, the whole thing comes off pretty darn nicely! Peterson's piano is supported by rhythm work from Ray Brown on bass and Ed Thigpen on drums – and Terry not only plays trumpet and flugelhorn, but also vocalizes a slight bit too – sometimes at the same point he's playing his horn! Titles include "Mumbles", "Mack The Knife", "Jim", "Blues For Smedley", "Brotherhood Of Man", and "Incoherent Blues".

Don't pass this one up! Although the record looks like a silly "tribute" album from the title – it's actually a brilliant live set that crackles with some intense energy and a soulful spirit that goes way beyond its simple intentions! The album features a sextet of trumpeters that include Woody Shaw, Blue Mitchell, Bill Hardman, Kenny Dorham, Richard Williams, and Walter Kelly – all coming together on a set of long, drawn out tracks that offer a great contrast to some of the studio playing that the artists were doing at the time. There's a feel here that's a bit like some of the Left Bank recordings of the late 60s – but often harder overall, and in a way that really shows the full talents expressed by the players in such an open-ended and inspirational setting. The rhythm section features Lonnie Smith on piano, Peck Morrison on bass, and Walter Perkins on drums – and the whole thing's got a wonderful sound throughout! There's few echoes of Booker Little, Clifford Brown, or Fats Navarro – but plenty of the underground east coast scene of the time – and titles include very long takes of "Bags Groove", "Confirmation", "What's New", "Blues" and "Sweet Clifford".

A key bit of jazz funk from trumpeter Tom Browne – still grooving strong here, with a sublime mix of modern soul, funky jazz, and some of the 80s groove touches that showed up on the best GRP titles from the time! The album's got a smooth compressed groove – kind of post-Donald Byrd, with Tom taking solos over the top of most tracks, and occasional vocals , wither from a backing group, or an assortment of different lead singers. Players on the set include Bernard Wright, Dave Grusin, Bobby Broom, and Marcus Miller – and tracks include "I Know", "Midnight Interlude", "Let's Dance", "Night Wind", "Making Plans", "Thighs Hihg", and "Magic".

A classic killer from trumpeter Tom Browne – a smoking set that still has all the jazz funk touches of his earlier records, yet which also picks up a bit of an electro vibe as well! The move here is a bit like that taken by some of Browne's labelmates on GRP at the time – particularly Bobby Broom and Bernard Wright – and offers up a great mix of jazzy roots and some of the newer sounds hitting the streets in the early 80s – a vibe that's maybe one of the first moments when older genres of music were beginning to show an influence from hip hop! Maurice Starr handles most of the production, and really makes things tight throughout – but Tom himself does a great job of keeping things interesting with the solos, augmenting the electric vibe with some rock-solid acoustic playing. Titles include "Rockin Radio", "Angeline", "Brighter Tomorrow", "Never My Love", "Mr Business", "Cruisin", and "Feel Like Makin Love". CD features bonus tracks – "Bye Gones (12" version)", "Rockin Radio (special 12" mix)", and "Cruisin (dub)".

A great early demonstration of the bold talents as a leader from trumpeter Maynard Ferguson – heard here in a loose, open-ended performance that's more of a jam session than anything else! The style's almost similar to the Clifford Brown jam dates for Emarcy from the same time – two long tracks that are driven by well-crafted rhythms – and which really soar with open solo work from Ferguson on trumpet, Bud Shank on alto, Bob Cooper on tenor, and Bob Gordon on baritone. The work is nicely boppish and a fair bit more open than most of the players were getting at the time – and Maynard himself is often back a far bit to let everyone get in some good solo space! Each track lasts a side – and titles include "Night Letter" and "Somebody Loves Me".

Classic duets between Ella & Louis – done in a sweet mode that only could have been handled by Verve in the 50s! Backings are in a nice small combo mode, and Ella and Louis carry most of the set with their great vocal interplay – warm, personal, and pretty darn charming – in a mode that should be hokey, but comes across great! Oscar Peterson's group provides backing – with Ray Brown on bass and Herb Ellis on guitar – and titles include "Love Is Here To Stay", "I Won't Dance", "The Nearness Of You", "Cheek To Cheek", "Moonlight In Vermont", "Can't We Be Friends", and "A Foggy Day".

A late 50s album that issues some killer combo material by Bird! One half of the album features work by a group that includes Red Rodney, John Lewis, Ray Brown, and Kenny Clarke – and the other features Parker with Miles Davis, Walter Bishop Jr, Max Roach, and Teddy Kotick. Tracks are short, and include some classics – and the album includes alternate takes of 4 numbers. Titles include "Si Si", "Swedish Schnapps", "Back Home Blues", "Lover Man", "Au Privave", "She Rote", and "Star Eyes".

An unusual set – Swinging Brass With The Oscar Peterson Trio – one of Peterson's few albums with a larger group – featuring some great arrangements from Russ Garcia! Titles include "Blues For Big Scotia", "Con Alma", "Cubano Chant", "OP", and "Little Pea's Blues". On Jazz Soul of Oscar Peterson, there's a groove here that's a bit harder than usual for Peterson on Verve – a heavier approach to rhythm on the keys, and a more focused trio formation – one that clearly sets a pace for albums to come in the 60s, but which must have been relatively striking to Peterson fans at this point. The trio here features Ray Brown on bass and Ed Thigpen on drums – and tracks are longer than usual, with some really great room to stretch out! Titles include "Liza", "Con Alma", "Close Your Eyes", "Maidens Of Cadiz", and "Woody'n You".

A tremendous double-length set by this hip group of legendary players – a quartet lineup that features trumpeter Roy Campbell, reedman Daniel Carter, bassist William Parker, and drummer Hamid Drake – all working together in sounds that definitely reach some other dimensions in music! The format is very loose and open-ended – perfect for the loft jazz-styled improvisations from the combo – working here in a very friendly, supportive setting in front of a Parisian audience – who clearly inspire the musicians to new heights. Some tracks are quite long, but stand as bold statements throughout – and others are a bit shorter, and nicely compact. Titles include "Other Dimensional Space Travelers Hip Bop", "Blues Configuration", "Slam Me Down", "Blues For Baghdad", "Desert Dance", "Suite For Miles Davis", and "James Brown Ascension".

Gilles Peterson does it again – and proves that he's still got one of the best ears around for choosing new music! Even after seven previous volumes, the Bubblers series is still plenty darn incredible – a great place for getting a taste of the best of the contemporary underground – those amazing artists that Gilles always features on his BBC show – always hand-picked, and chosen without any consideration for commercial directions – as you'll hear on the really revolutionary music in the package. There's a nicely laidback vibe this time around – a reminder of Peterson's tastes for more acoustic and jazz-based modes – and some of the tunes almost echo some of the rootsier music that Brownswood has recorded in recent years, too. Titles include "Volver" by Ana Tijoux, "She Was Out In The Water" by One Little Plane, "Crush" by Hello Skinny, "Linha De Frente" by Criolo, "Again" by Def Sound, "Manchild" by Haydn, and "Bout You" by Rainy Milo.

The third in the surprisingly strong Brownswood Electric series – in which Gilles Peterson carefully peruses the leftfield electronic underground and puts together some of the best, brightest and most worthy of discovery! We love both the eclecticism and the overall uniqueness of each track here. Gilles not only has excellent taste in modern sounds, but he has a great ear for odder, genre-defying material that avoid temporary trendiness. It's got some dancefloor ready neo-house, tripped out hip hop indebted instros, spacey keyboard textured tunes and more. Includes "Makin' Magic" by Krampfhaft, "Tiny Concrete Block" by Kidsuke, "Nothing" by Lost Twin, "Tride & Tride" by Anushka, "Girl" by Aftawerks, "Bootney Farnsworth" by Metabeats, "Hot Rain" by Pomrad, "Kick It VIP" by Frank Rodasm, "Never Been (Electr*c VIP" by Dub Phixion feat Fox and more.

Sublime alto work from Benny Carter – a masterpiece of tone and timing that shows him at the height of his powers! Carter's sound alone is enough to sell the record, and it's wonderfully recorded by Norman Granz – but the rest of the group is a good fit too, and features Oscar Peterson on piano, Barney Kessel on guitar, Ray Brown on bass, and Buddy Rich on drums – all of whom lay back nicely to let Benny take the lead.

A triple-trumpet session with a really wonderful sound – the kind of all-star date that only a label like Verve could have done so well! As you'll guess from the title, the record's a showcase for the three trumpeters in the lead – and the tracks are long, with plenty of space for each player to state their case in a very distinct solo voice. Rhythm is by a familiar quartet that features Oscar Peterson on piano, Herb Ellis on guitar, Ray Brown on bass, and Buddy Rich on drums – and the use of guitar in a set like this creates an especially ringing tone at the bottom, one that often seems echoed by the brighter notes of the trumpet over the top. The album's got a great extended "Ballad Medley", plus long takes on "Tour De Force" and "Steeplechase".

An overlooked 60s gem from Oscar Peterson – one of his great sides for Limelight Records, and possibly the most soulful of the bunch! The group's a trio – with either Sam Jones or Ray Brown on bass, and Louis Hayes on drums – and they've got a really great feel, one that's a bit different than some of Oscar's earlier groups of the 60s. Hayes' work on drums is nicely sensitive, and almost takes backseat to Peterson's rhythmic piano lines at times – and Jones' work on bass is always a treat, and kicks some of the best tracks here into a really great groove! The record's got a few great original titles, too – like the midtempo groover "Bossa Beguine", and the groovy "L'Impossible", a cool little instrumental that sounds like it was from a soundtrack by Francis Lai or Michel Legrand, and the title track "Blues Etude". Other titles include "Let's Fall In Love", "Shelley's World", "I Know You Oh So Well", and "Stella By Starlight".

A sprightly mid 60s session from the Oscar Peterson Trio – one of the last live recordings from the famous lineup that featured Ray Brown on bass and Ed Thigpen on drums! The performance was captured at the Tivoli Gardens, in Copenhagen – and recorded in an open style that really gets at the easy-going and fluid feel of the trio at the time. Peterson steps out front on piano on many numbers – starting with thoughtful introductions before the bass and drums come in – and titles include "Children's Tune", "Younger Than Springtime", "Lover's Promenade", "Moanin", and "The Smudge".