All Categories — All Formats  

Some of the most soulful jazz recorded in Europe during the 1960s – and the complete Philips recordings of German saxophonist Klaus Doldinger! Doldinger's probably best remembered for the more dynamic fusion he cut with the Passport group in the 70s, but back in his early years he was full on soul jazz player, steeped in the tradition of Gene Ammons, Lou Donaldson, Sonny Stitt, and others before him – all players that we'd easily rank Doldinger with during these years, given the ultra-high level of his work for Philips! But given his German orientation, Doldinger also picked up on some of the freer influences that were running around the European scene of the 60s – and the tracks here don't just sparkle with American soul jazz sounds, but also show a bit of Brazilian and more progressive jazz influences as well. And alongside Doldinger's tremendous tenor and soprano sax, the recordings here are equally noteworthy for the organ lines of Ingrfried Hoffmann – an ultra-cool player on the Hammond, with the mixture of rhythmic energy and playfulness you might find in the work of Jack McDuff for Prestige at the same time! Doldinger and Hoffmann cook tremendously throughout – so much so, you can easily forget their country of origin, and just put these sides on equally next to your favorites from Prestige or Cadet. 4CD package features material from 4 full albums, plus rare singles – and also includes a full CD of other rare Doldinger recordings from the same time! Tremendous stuff throughout, and easily one of the greatest discoveries in jazz you may make this year. 51 tracks in all – with titles that include "Delilah", "Signal", "Blues For George", "Solar", "Viva Brasilia", "Waltz Of The Jive Cats", "Blue Note Samba", "Negra Sin Sandalia", "Shakin The Blues", "Just A Little Bit Of Soul", "Run Baby Run", "Quartenwalzer", "Praeludium No 3", "That Bluesy Sound", "Watch It", "Pavana The Earl Of Salisbury", "Midnight Session", and "Joe's Blues".

Titles include "Up In A Tree", "Yonder In Molon", "Midsummer Eve", "Far Away Star", and "Loves Me Loves Me Not".

An amazing collection – every single Jorge Ben album recorded for Philips – one hell of a massive legacy in music, packaged here with a bonus CD of rare material too! The albums in the collection are the stuff of legend – amazing discs that forever changed the face of Brazilian music with Jorge's unique blend of samba and soul, plus a touch of funk as the 70s came on – and together, the music is a mindblowingly heavy batch of work that few other artists could ever match! Titles include Samba Esquema Novo, Sacudin Ben Samba, Ben E Samba Bon, Big Ben, Jorge Ben (1969), Forca Bruta, Negro E Lindo, Ben, 10 Anos Depois, A Tabua De Esmeralda, Solta O Pavao, Gil E Jorge, and Africa Brasil. Rarities disc is unique to this set, from what we can tell – and is filled with goodies too!

Wonderful early work from Maria Bethania – an album that's put together with a very sophisticated sound, and a really powerful feel overall! The orchestrations are relatively baroque – sometimes using strings in odd ways, other times bringing in bits of voices – all very much in keeping with the genius that was brewing at the time in albums by Gal Costa or Nara Leao. And oddly, the backings for the album are not credited at all – save possibly to Manoel Barenbein, who's listed as the director of the production – and we're guessing that Maria had a good deal to do with the overall sound of the set, not just the vocals! Titles include a wonderful groover called "Mano Caetano", done as a duet with Jorge Ben, and very much in Ben's best style from the time – and other tracks include "Janelas Abertas No 2", "Jesus Cristo", "Que Me Dera", "Folha Morta", "Mariana, Mariana", and "A Tua Presenca Morena".

Titles include "Mariana Mariana", "Pra Dizer Adeus", "Ronda", "Coracao Ateu", "Olhos Nos Olhos", and "Cheiro De Amor".

Boy, does the heavy slab psychedelic sludge grooves of Blue Cheer ever sound wonderful, even more than 40 years since it originally walked the earth! Outsideinside hit not too long after the classic Vincebus Eruptem, and damned if we can determine why it's not as celebrated as the debut. That fuzzed out stomp of a sound is back in full effect, as are the titanic drums and an overall sound that uses an electric blues influence as a springboard into heavy cosmic space. Includes their ferocious cover of "(I Can't Get No) Satisfaction" plus "Feathers From Your Tree", "Just A Little Bit", "Gypsy Ball", "Come And Get It", "The Hunter", "Babylon" and "Magnolia Caboose Babyfinger".

A lesser-known title in Philips modern music series, and a solo piano work performed by Catherine Collard. The composition is a reworking of Boucourechlieve's "Archipeligo 3", with variations on that pieces original structures.

Some of the earliest work of Jacques Brel – and some of the best as well! The collection is a massive overview of Brel's first recordings in the mid 50s – all original compositions that marked not only a new generation for songwriting in France, but a revision of the role of the male singer as well! Brel is at once sardonic and emotive – carefully balanced between up-close observation and a slight sense of distance that shows in the wit he brings to the topics of his tunes. Arrangements are often simple and stylish – shifting strongly to fit the spirit of the songs, making for a slightly un-definable quality to the overall album – but in a way that also keeps things interesting. The work was recorded between 1953 and 1956, with backings by Andre Grassi, Michel Legrand, and Andre Popp – and the CD features a whopping 34 tracks that include "La Bastille", "La Haine", "Grand Jacques", "Il Pleut", "S'Il Te Faut", "A Deux", "Les Gens", "Saint Pierre", "Quand On N'A Que L'Amour", "La Foire", "Le Troubadour", "C'Est Comme Ca", "L'Accordeon De La Vie", and "L'Ange Dechu".

An overlooked gem from Chico's mid 80s period – a record filled with strong and subtle songs, often backed by some nicely jazz-tinged arrangements from Cristovao Bastos! The album's not as revolutionary as some of Chico's earlier records, but it more than makes up for that with an incredibly solid quality overall – and a mature, sophisticated approach to songwriting that easily matches some of Caetano Veloso's best work of the same time. Titles include "Pleas Tabelas", "Samba Do Grande Amor", "Mil Perdoes", "Vai Passar", "As Cartas", and "Suburbano Coracao".

Billed on the back as a "dynamic new singer", Marilyn's got a style that makes you feel like she's stepped off a stage – nice and swinging, with a bit of a showy approach, but relatively restrained overall. Arrangements have a nice bit of jazz, and were put together and conducted by Bob Florence – and titles include "Will He Like Me", "The Gentleman Is A Dope", "Like Love", "Cross Your Heart", "On The Other Side Of The Tracks", "Dear Friend", and "Since I've Been To You".

Sublime minimal sounds from Italian composer Robert Cacciapaglia – a record we'd rank right up there with the 70s best from Terry Riley, Steve Reich, and Philip Glass! Cacciapaglia follows in a tradition begun by other Italian modernists – like Giusto Pio and Franco Battiatto – but he also adds in phase-oriented playing that really opens things up – a beautifully lyrical vibe that's probably most close to Terry Riley in its hypnotic swell, but which is carried off here through complicated variations of strings, woodwinds, electronics, marimba, and some especially great vocal passages! The cover's as wonderful as the music – and the whole thing's a set we've treasured for years.

Ah for the days when Holland seemed to be filled with hard-jamming fusion combos! Ekseption were one of the country's best – and crossed over big to the rock crowd during the prog years. Here, on their 5th album, the group's actually pretty jazzy overall – taking a few tips from classical influences, but also doing many tunes on their own, and really working out some nice heavy riffing solos. Loads of great organ solos – and titles include "My Son", "Pie", "Midbar Session", "A La Turka", "Siciliano", "For Example/For Sure", and "Virginal".

A beautifully trippy album from the Danish scene of the late 60s – one that's as playful and psychedelic as you might guess from the cover! The tunes are all originals, and all sung in English – and have this great mix of jangle-pop and pop-psych elements that's totally great – clearly inspired by The Beatles in the post-Rubber Soul years, but also coming across with a more personal sort of charm as well – with styles that echo some of the best Hollies material of the period. Some tunes have great baroque backings, others are nice and stripped-down – and the whole thing's the sort of heavy winner that would have made much bigger waves had it gotten issued here in the US. Titles include "Hey Mr Flowerman", "Trusting Mr Jones", "In Every Hand", "Mrs O'Grady", "Nevertheless", "Little Mr So & So", and 'Hush". CD features two bonus tracks from singles – "You Ain't Going Nowhere" and "Open The Door Homer".

Fantastic stuff – and a record that may well be the greatest ever from the mighty Serge Gainsbourg – high praise indeed, considering the greatness of Gainsbourg's other music! The album is one long suite built around a spare, electric bass-driven theme – a slow funk riff that's been sampled countless times over the years, and which has gotten the album continuous play on both sides of the Atlantic for many many years. The mighty Jean-Claude Vannier handles the arrangements, and Serge mutters the lyrics over the top, in a raspy loud whisper – while the funky rhythms dart in and out of odd washes of sound, and unusual eerie sounds. There's a very strong soundtrack feel to the album, as waves of music envelop the lyrics – tripped out in funky beats that have become legendary over the years, thanks to some very famous samples! Titles include "En Melody", "Cargo Culte", "Ballade De Melody Nelson", "Valse De Melody", "Ah! Melody", and "L'Hotel Particulier". Wonderful US version too – with a 40 page deluxe booklet that features extensive notes on the album – and a 1971 interview with Gainsbourg!

Fantastic stuff – and a record that may well be the greatest ever from the mighty Serge Gainsbourg – high praise indeed, considering the greatness of Gainsbourg's other music! The album is one long suite built around a spare, electric bass-driven theme – a slow funk riff that's been sampled countless times over the years, and which has gotten the album continuous play on both sides of the Atlantic for many many years. The mighty Jean-Claude Vannier handles the arrangements, and Serge mutters the lyrics over the top, in a raspy loud whisper – while the funky rhythms dart in and out of odd washes of sound, and unusual eerie sounds. There's a very strong soundtrack feel to the album, as waves of music envelop the lyrics – tripped out in funky beats that have become legendary over the years, thanks to some very famous samples! Titles include "En Melody", "Cargo Culte", "Ballade De Melody Nelson", "Valse De Melody", "Ah! Melody", and "L'Hotel Particulier".

A great Serge Gainsbourg album from 1973 – one that we'd rank right up there with his best work! The record's got a slinky funky groove that's right in a perfect post-Melody Nelson mode – music written by Serge, and played by a hip small combo that includes lots of great guitar from Alan Parker and sweet electric keyboards and organ from the great Alan Hawkshaw – both of whom really help keep the sound great! Many tracks have that mellow funk groove that's become the best-remembered Gainsbourg sound over the years – and as with many of his other albums of the time, this one's brimming over with potential samples and riffs to steal. Titles include "Panpan Cucul", "Sensuelle Et Sans Suite", "Pamela Popo", "Titicaca", and "Par Hasard Et Pas Rase". Nice cover, too, with Serge pictured amidst a bunch of photographs of monkeys!

A record as revolutionary as the French year in which it was recorded – an amazing batch of late 60s grooves from Parisian pop madame France Gall! The set's upbeat and jaunty, with plenty of fuzz – almost a psyche pop sound, with lots of groovy guitars that make the album sparkle with plenty of razor-sharp notes! Gall's vocals are as wonderful as ever, and almost sound a bit more sinister in this setting – thanks to arrangements by Alain Gouraguer and the great David Whitaker. There's plenty of France Gall classics here – including versions of the Serge Gainsbourg tunes "Nefertiti" and "Teenie Weenie Boppie" – plus "Toi Que Je Veux", "Made In France", "Bebe Requin", and "Avant La Bagarre".

Incredibly groovy work from France Gall – easily one of our favorite French singers of the 60s! France has a sound that's really unique – one that comes from the Frenchified pop of the "yeh yeh" generation, but which really packs a lot more punch than her contemporaries – a bold, proud, loud quality that's really wonderful – and which makes just about every number from the time a total killer! Part of the help here comes from Serge Gainsbourg – who wrote a good number of tracks for the young Gall – but the style's also quite different than that of Serge, too – often with an emphasis on punchy drums at the bottom, which creates a hint of funk – bringing a nice nasty feel to France's little girl vocals. The set's a great one – overflowing with key cuts from singles of the 60s – and titles include "Made In France", "Poupee De Cire Poupee De Son", "Laisse Tomber Les Filles", "Quand On Est Ensemble", "Rue De L'Abricot", "Bloody Jack", "Le Temps De La Rentree", "Mon Bateau De Nuit", "Baby Pop", and "Les Sucettes". 22 tracks in all!

Gilberto Gil's first album after a few years exile in England – and a really explosive record that recalls the brilliance of his Tropicalia years! The record's an incredible blend of rootsy percussion, raspy guitar, and tripped-out production – all delivered with an instrumental sensibility that's even more sophisticated than before, and a lyrical interplay that's really amazing – extremely poetic at points, even if you can't understand the language! As with Gal Costa in the early 70s, Gilberto Gil manages to keep some of the best experimental elements of his music burning bright, even after the collapse of the Tropicalia movement – and as with some earlier Tropicalia gems, this album features some great work on bass and guitar from Lanny Gordin, not to mention drums and percussion from Tutty Moreno, who's better known for his later work with Joyce. Tracks include "Back In Bahia", "Expresso 2222", "Oriente", "Chiclete Com Banana", "Pipoca Moderna", and "O Sonho Acabou".

The rare 3rd album by Gilberto Gil, and a key piece of the Tropicalia puzzle – one of the most wildly experimental albums from those years, and Gil's last before going into exile! The sound is much more electric than his other albums from the late 60's – and the production, songwriting, and instrumentation get very crazy at times – but never too crazy to cover up Gilberto's excellent singing, which is still as filled with feeling as ever. Arrangements are by the mighty Rogerio Duprat, who does as great a job here of balancing Gil's sensitivities as he does on Gal Costa's sublime efforts from 1969 – and the instrumentation is a weird and wonderful mix of Bahian rhythms, fuzzy guitar, and crazy electronics – all heartfelt one minute, freaked out the next. Tracks include "Cerebro Eletronico", "Volks Volkswagen Blue", "Futurivel", and "2001", which was written by Tom Ze and Rita Lee – plus the wild cut "Objecto Semi-Identificado", which is sort of a John Cage-esque track of found radio and electronics, with vocals by Gil!

60s cookers from Dizzy Gillespie – back to back on a single CD! New Wave is a lost bossa jazz classic from Dizzy Gillespie – recorded at a time when Lalo Schifrin was working in his combo! The record's got a cool, laidback kind of groove – one that's miles away from Gillespie's earlier bop work, and which shows him opening up his rhythmic conception strongly in the 60s. Rhythms are percolated by the piano of Schifrin, guitar of Bola Sete, bass of Chris White, and some well-chosen added percussion work – and the overall groove is one of the best American takes on the bossa jazz sound of the time, delivered with wonderful horn work from Dizzy on trumpet, Leo Wright on flute and alto, and Charlie Ventura on tenor! Even familiar tunes are transformed by the sound – and titles include "In A Shanty In Old Shanty Town", "Careless Love", "Taboo", "One Note Samba", "Pergunte Ao Joao", and "Chega de Saudade". On The French Riviera isn't really French, but actually a killer batch of Latiny tinged tracks from Dizzy & Co – with with great arrangements by Lalo Schifrin! There's a wonderful 10 minute version of "Chega De Saudade", done as "No More Blues" to start it out, and it's got a great loping Latin vibe, in the manner of Dizzy's best sides from the 60s. Lalo's on piano, and the great Leo Wright is on flute and alto, with Tzigane Elek Bacsik on guitar, Chris White on bass, Ruby Collins on drums and Pepitoo Riestria on percussion. Other nice ones include "Long Long Summer", "Desafinado", and "Pau De Arara". A great album, and one not to pass up!

The classic debut from one of the weirdest concept groups of the 60s – a mime rock band brought together by producer Lew Futterman – who'd also worked on some killer funky jazzy sessions with Brother Jack McDuff! The style here is psychedelic pop through and through – and although the group didn't speak, they do sing (is that really mime?) – and work in a groovy sing-song blend of reeds and rockish rhythms, one that definitely has some of the same sharp changes and funky undercurrents you'd find in Futterman's jazz projects – although honed down here into much shorter Sunshine tunes! The album's a very unique little record – and oddly the group flourished for years. But somehow this first record has a charm that's really undeniable – and is maybe still their best effort ever. Titles include "White Winged Doves","Dream Of Tomorrow", "Pray For Rain", "How Does It Feel To Be Free", "I Ride To Nowhere", "Come & See Me", and "Jelly Jam".

A sweet small group session from Woody Herman – with the man himself on clarinet, plus Nat Pierce on piano, Chuck Andrus on bass, and Gus Johnson on drums.

A pretty wonderful album by Michel Legrand – way better than you'd guess from the title! Sure, the tunes are mostly numbers by Richard Rodgers, but Legrand handles them here with the best of his soundtrack skills – really opening them up with some amazingly deft arrangements, and working with a stellar set of American jazz players to give the tunes a sound that's as jazzy as possible – and swinging them with the inherent lyricism that always makes us love his music! Players are a great lineup – with Clark Terry and Ernie Royal on trumpets, Urbie Green and Bob Brookmeyer on trombones, Paul Gonsalves on tenor, Jerry Dodgion and Phil Woods on alto, Julious Watkins on French horn, Gary Burton on vibes, and Tommy Flanagan and Hank Jones on piano. Titles include "This Can't Be Love", "Falling In Love With Love", "Bali Hai", "Have You Met Miss Jones", "There's A Small Hotel", and "The Lady Is A Tramp".

Two groovy sets from Paul Mauriat – both recorded in the magic year of 1966! More Mauriat really has Paul opening up with some hipper 60s sounds than usual – taking on a whole bunch of American pop tunes of the time, and retuning a French orchestral approach towards leaner, meaner modes – almost a soulful strings sort of vibe at times – although at others, definitely scored by Mauriat with the kind of French soundtrack styles we love in his music – especially in his great use of electric harpsichord on many of the tunes! Titles include "Bang Bang", "Black Is Black", "Sunny", "Guantanamera", "Lara's Theme", and "Reach Out I'll Be There". Prestige De Paris returns Mauriat to the songs of his homeland – classic French tunes from the more romantic previous generation – often done here with full strings and a relatively florid approach that's a bit different than some or Paul's worldwide hits. Titles include "Sous Le Ponts De Paris", "La Mer", "Moulin Rouge", "Les Feuilles Mortes", "La Seine", and "Fascination".

Why the heck don't they make records like this anymore? The whole thing's incredibly groovy – a blend of Sunshine Pop and vocal harmonies – put together with a high-art theory, but grooving with some really cool late 60s backings! There's a great drummer in the group who really makes the tunes kick – taking the mixed male and female vocals of the group and working them into tunes that sound way better than the Paul Klee inspiration might make you think. Things actually get a bit funky at times, and even when they don't, the whole album sparkles with the best Sunshine work from the time! Music is by Chuck Mangione and Roger Karshner – who also brings in some sweet electronic touches too! Titles include "Barbaric Classical Solemn", "Fear Of Becoming Double", "Self Portrait", "Long Hair Soulful", and "Pond With Swans". CD features 2 bonus tracks too – "Long Hair Soulful", in both vocal and instrumental versions!

A beautiful album of jazzy vocal tracks with a definite bossa feel, recorded by the group O Quarteto – a harmony group whose style is very reminiscent of earlier Brazilian ones – like Os Cariocas and The Tamba Trio! The record's a sparkling batch of bossa tracks, produced with an electric groove that's sort of similar to some of the late 70s MPS material – with soaring harmonies, warm keyboards, and a killer mellow jazzy groove – the kind of sound that was probably overlooked at the time, but which really sounds great all these years later! Titles include "Ceu E Mar", "Vo Ceitar E Rolar", "Desafinado", "Moca Flor", "Preciso Aprender A Ser So", and "O Barquinho". Very nice, and one not to pass up!

Elis Regina hits the London scene of the late 60s – with amazing results that make the album one of her best from the early years! The style here is still quite bossa-oriented, but backings are done by Peter Knight – who'd worked with Scott Walker and some of the other hip British singers at the time – so the sound's a bit different than Elis' Brazilian records, too. Knight's quite sensitive to Regina's way of interpreting a tune – and he nicely follows the soaring, jazzy vibe that Roberto Menescal had given her at home. But the groove's also a bit more open and fluid too – with some slight Brit Easy touches that really send the whole album home! Titles include a great version of "Upa Neguinho", plus "O Barquinho", "Zazueira", "Giro", "A Volta", "Corrida De Jangada", "Watch What Happens", and "Wave".

One of the first albums ever by this legendary bossa singer! Even at this young age, Elis Regina diplays a talent for interpretation and an emotional power that few other Brazilian vocalists could match – a way of putting over a tune that brought a whole new level of sophistication to Brazilian music in the 60s! On the set, Elis manages to give the songs a great deal of life, without smothering them in the heavier over-emotional style used by other Brazilian singers at the time – and works with light, lively, jazzy backings that are totally great. The result is a crackling batch of samba and bossa tracks that shines with warmth and imagination. The set includes a lot of tracks by Edu Lobo, and titles include "Sou Sem Paz", "Reza", "Por Um Amor Maior", "Joao Valentao", "Aleluia", "Ultimo Canto", and "Preciso Aprender A Ser So".

One of the first albums ever by this legendary bossa singer! Even at this young age, Elis Regina diplays a talent for interpretation and an emotional power that few other Brazilian vocalists could match – a way of putting over a tune that brought a whole new level of sophistication to Brazilian music in the 60s! On the set, Elis manages to give the songs a great deal of life, without smothering them in the heavier over-emotional style used by other Brazilian singers at the time – and works with light, lively, jazzy backings that are totally great. The result is a crackling batch of samba and bossa tracks that shines with warmth and imagination. The set includes a lot of tracks by Edu Lobo, and titles include "Sou Sem Paz", "Reza", "Por Um Amor Maior", "Joao Valentao", "Aleluia", "Ultimo Canto", and "Preciso Aprender A Ser So".

2 amazing albums from Elis Regina – back to back on a single CD! First up is Elis Como Et Porque – one of our favorite albums ever from the incredible Elis Regina – a record that really has her hitting new levels in her style – moving past simple bossa into a realm of music that's all her own! The backings are arranged by Roberto Menescal, who also moves into some great new territory here – a soaring, spacious mode that's way different than his gentler bossa – and which really has some of the growing complications that were showing up in Brazilian music at the end of the 60s. There's a fair bit of jazz in the mix, but also a fair bit of majesty too – and the tunes soar out with a much livelier feel than some of Regina's later albums. Titles include amazing renditions of "Canto De Osssanha", "O Barquinho", "Giro", "O Sonho", "Casa Forte", and "Vera Cruz" – plus a tasty version of Michel Legrand's "Recit De Cassard", from Umbrellas Of Cherbourg. On Elis Regina In London, Elis hits the London scene of the late 60s – with amazing results that make the album one of her best from the early years! The style here is still quite bossa-oriented, but backings are done by Peter Knight – who'd worked with Scott Walker and some of the other hip British singers at the time – so the sound's a bit different than Elis' Brazilian records, too. Knight's quite sensitive to Regina's way of interpreting a tune – and he nicely follows the soaring, jazzy vibe that Roberto Menescal had given her at home. But the groove's also a bit more open and fluid too – with some slight Brit Easy touches that Really send the whole album home! Titles include a great version of "Upa Neguinho", plus "O Barquinho", "Zazueira", "Giro", "A Volta", "Corrida De Jangada", "Watch What Happens", and "Wave".

A killer concept album from Demis Roussos – his first solo project, but recorded while still working with Aphrodite's Child – and with some of the same dark elements as their legendary 666 album! The songs here are shorter, and sometimes more tuneful – but the overall presentation is very odd – sometimes echoing ancient Greek roots, sometimes a bit more progressive – and often using cool psych production on Demis' vocals – in that way that gives them the same sinister feel as with Aphrodite's Child! The sound is amazing – much more sinister than any of Roussos' later pop work – and titles include "We Shall Dance", "End Of The Line", "Mountains Beyond", "Lord Of The Flies", "Without You", "She Came Up From The North", and "Good Days Have Gone".

A rare Japanese-only album from trombonist Roswell Rudd – one of his few full length statements of genius from the mid 70s! The album's got a very collaborative feel overall – one that takes off from some of Rudd's better-known work of the "new thing" era, but opens things up tremendously with more of a relaxed loft jazz sort of approach. Players shift somewhat throughout the set, and the instrumentation mixes Rudd's work on trombone and percussion with soprano sax from Steve Lacy, trumpet from Enrico Rava, voice from Sheila Jordan, tenor from Tyrone Washington, and electric piano from Patti Brown. There's a deeply personal vibe to the whole record, one that reminds us a bit of the spirit of Rudd's great Flexible Flyer album – and titles include "You Blew It", "Blues For The Planet Earth", "Cement Blues", "Bethesda Fountain", "Street Walking", and "Blown Bone". CD also features one more bonus track – the beautiful "Long Hope", recorded in 1967 with Karl Berger on vibes, Robin Kenyatta on alto sax, Lewis Worrell on bass, and Horacee Arnold on drums.

An unusual albums from the west coast scene of the 50s – recorded under the name of the Lighthouse All Stars, but featuring arrangements and compositions by Bob Cooper – who was the real driving force behind the set. Conte Candoli's in the group on trumpet – and other players include Buddy Colette and Bud Shank on alto and flute, Frank Rosolino on trombone, Victor Feldman on vibes and percussion, Stan Levey on drums, and Cooper himself on tenor. The overall sound is relatively tightly constrained, in a "jazz suite" mode – but there's plenty of room for solo space on the set, and Cooper's writing is as fluid as his ability is strong to bring these players together as conductor. The set's got a really great feel that gets way past some of the more academic west coast work of its sort – with a lot more soul than you'd expect. Titles include "Rain Blues", "Genesis (pt II)", "Architectonics", "Directional Suite", and "The Worker".

A landmark album from Nina – one that broke down countless barriers with the classic tune "Four Women" – a righteous portrait of 4 different women and their struggles, unique for its time, and a key part of the early Women's Liberation movement! The rest of the album has a smiliar political undercurrent – sometimes subtle, but there nonetheless – as Nina works magic on tunes that include "Break Down & Let It All Out", "Either Way I Lose", "Black Is The Color Of My True Love's Hair", and "That's All I Ask".

Groundbreaking work from one of the most unsung heroes of British jazz – tenorist Alan Skidmore, a player with a tone and a talent that took him through many settings in his day! This 1970 album is one of Skidmore's greatest moments in the studio – a blend of jazz styles that includes some of the freer-thinking ideas that were coming out of England at the end of the 60s – styles influenced by European modal jazz, American avant garde, and some of the jazz/rock crossover that many of Skidmore's contemporaries were helping to forge at the time. The group's a quintet with John Taylor on piano and electric piano, Chris Lawrence on bass, Malcolm Griffiths on trombone, and Tony Levin on drums – and on about half the tracks, they're joined by Mike Osborne and John Surman, who expand the group's power for a few full-on "out there" numbers. Titles include "Jack Knife", "Lantern Wood", "TCB", "One On One Off", and "Walk In & Dance Out".

All the great ones – "Stay Awhile", "You Don't Have To Say You Love Me", "Wishin & Hopin", "All Cried Out", "I Only Want To Be With You", and "In The Middle Of Nowhere".

Some of the earliest work from Dusty Springfield!

Groovy groovy stuff from Dusty – and some of her best work! Forget the Memphis sessions, we think this early British material is her best stuff – and the album's got Dusty grooving along in perfectly soulful format, on lots of nice tunes like "24 Hours From Tulsa", "Wishin & Hopin", "Everyday I Have To Cry", "Something Special", and "Stay Awhile".

One of the greatest of all Dusty Springfield albums – a gem of a record that mixes British pop, soul, and some very groovy orchestrations! The whole session has that kind of strident bounce that Dusty had on her best records – but which was possibly never done nearly as well as on this one! Backings are conducted by Alan Tew, Peter Night, Arthur Greenslade, and Wally Stott – Brit Easy giants all of them – and tracks include sublime gems like "Bring Him Back", "Don't Let Me Lost This Dream", "I Can't Wait Until I See My Baby's Face", "Sunny", "Welcome Home", and "Broken Blossoms".

A groovy groovy treasure! The work of The Swingle Singers is well known to any fan of 60s French tunes – as their groundbreaking approach to vocalese had a huge influence on other pop, easy, and soundtrack work of the time. This nicely-done set features jazz scat versions of tunes by all three members of the Bach family, Handel, and Vivaldi – with tracks that include "Air", "Badinerie", "Gigue", "Prelude No 7", "Solfeggietto", "Allegro", and "Preambule".

One of our favorite albums by the Swingle Singers – a really cool batch of tracks that has them working with compositions by French composers – rococo tunes that have a bit more of a flourish for them to work with their vocal trickery! The sound is great, and tunes are short, very groovy, and have a really nice soundtrack feel to them. Titles include "La Couperin", "Concerto For Six", "Presto", "Fugue In D Minor", "Coucou", "Allegro", and "Vivace".

An excellent set that has the vocal talents of the Swingle Singers backed by the sweet and mellow instrumentation of the Modern Jazz Quartet! Given that John Lewis & Co were essentially local residents in Paris for so many years, it's amazing it took them until 1966 to hook up with Ward Swingle's hip vocal group – but the album's more than worth the wait, as the MJQ really help open things up, and take the Swingles into more complicated territory than before. Milt Jackson's vibes are especially great alongside the groovy vocals – and titles include "Little David's Fugue", "Vendome", "When I Am Laid In Earth", "Air For G String", and "Three Windows".

Nearly 3 albums' worth of music from the legendary Tamba Trio – one of the grooviest groups in the 60s bossa years in Brazil! The trio are quite unique – in that they not only play upbeat bossa rhythms, but also harmonize along with their grooves – in a soaringly sublime quality that really electrifies the tunes! Most of their lyrics are jazzy and somewhat scatted – kind of an added layer of music on top of the core jamming of piano, bass, and drums – and the production on these key 60s sides really helps their sound hit just the right level – a heavenly sound that's occasionally augmented by added percussion, flute, or guitar. The CD is one of the best introductions to their work we've ever seen – as it features material from the 60s albums Tempo, Tamba Trio, and Avanco, plus the rare Brasil Saluda A Mexico single – a whopping 26 tracks in all, with titles that include "Reza", "Tamba", "Batida Diferente", "Influencia Do Jazz", "Nos E O Mar", "O Amor Que Acabou", "Tristeza De Nos Dois", "Negro", "Rio", "Yansa", "Moto Continuo", "Barumba", "Danielle", "Pregao", "Boranda", "Consolacion", and "Morte De Um Deus De Sal".

The stuff of legend – and one of the greatest albums ever from Brazil's Tamba Trio! The group have a sound here that goes way beyond standard bossa jazz – in that amidst the piano, bass, and drums, the trio also harmonize vocally too – swirling together the lyrics, which are often wordless, in these cool jazz riffs that are really amazing – soaring out above the instrumentation, to create a whole new layer of grooves! Arrangements are by the group's pianist, Luiz Eca – who really reaches a high point in his musical development here – and titles include the classics "Boranda", "Barumba", and "Consalacao" – plus "Yansa", "Moto Continuo", "Nuvens", and "Pregao".

An early gem from Ghana legend Ebo Taylor – a smoking little set with a really hypnotic feel overall! The tracks here are all nice and long – and build energy with kind of a minimal layering of sound – an approach that's different than some of the longer Nigerian jams you might know from the time, but with a style that's equally compelling – especially give the great use of guitar and keyboards! These instruments are heard to best effect on the sublime "Peace On Earth" – a tune that features this wonderful other-worldly electric piano – ringing out with tones that are almost vibes-like at times, and which almost have a Sun Ra-ish sort of quality. Also great is "Atwer Abroba" – a tune with some funky horns riffing along with the tight percussion, and captivating vocal refrains over the top. The title cut, "Twer Nyame", has wonderfully chromatic guitars – really let loose, and allowed to build slowly – creating this warm electric energy on the tune!

A lively album that mixes Caetano's rich songwriting style with a hard percussive base, which gives the tracks a fast jumpy feel, and gives even more power to Caetano's strong voice. There's little psychedelic bits, with good guitars that get noisy in parts, but there's also a warm MPB feel to the LP. Kind of hard to describe, but another unique bit of brilliance from one of the true geniuses of pop music in the 20th century. Tracks include "Um Frevo Novo", "Chuva, Suor E Cerveja", "Cara a Cara", "Qual e, Baiana?", and "La Barca". This Japanese CD edition has 6 bonus tracks: ""Barao Beleza", "E Coisa Do Destino", "Frevo Do Trio Electrico", "O Bater Do Tambor" and "Samba Da Cabeca".

Over 3 hours of classical piano virtuosity, including performances by Vladimir Horowitz, Artur Rubinstein, Edwin Fischer, Sviatoslav Richter, Glen Gould, Wilhelm Backhaus, Alfred Cortot, and others!

A landmark album – not just in Brazilian music, but in all modern music in general! The set's a legendary manifesto for the Tropicalia movement in Brazil – and features key works by all the leading musical luminaries in the movement – including a few later stars who are heard here at their most edgey! The work is as groundbreaking today as it was at the end of the 60s – a brilliant testament to the power of artists to really break down boundaries in art and music, and find a way to mix the political with the popular at the same time. Titles include a fantastic version of Gal Costa and Caetano Veloso singing "Baby", the "Tres Caravelas" duet between Caetano Veloso and Gilberto Gil, Gil's great reading of "Bat Macumba" with Costa and Veloso, Nara Leao singing "Lindoneia", Os Mutantes performing "Panis Et Circenses", Gilberto on "Geleia Geral, Caetano doing "Coracao Materno, and Rita Lee, Gal Costa, and Caetano Veloso singing "Enquanto Seu Lobo Nao Vem". Brand new remastering – approved by Caetano Veloso himself!

Rare Ethiopian material from the early 70s – ostensibly a set of wedding-related tracks, but with grooves that are every bit as great as classics in the Ethiopiques series! The songs are traditional, but given some great golden age arrangements by Getachew Degefu – who swings most of them with romping rhythms that are perfect for the sing-song vocals of Lemma Gebgre Hiwot, Selamawit Gebre Selassie, and Zenebech Tesfaye – most of whom are backed by joyous singers who really send the message home! Titles include "Hay Loga", "Wondemiye", "Yihe New Wey Mizesh", "Indiyaw Yemiru", "Musherit Lemdallech", and "Yebete Zemedu".

A Latin soul treasure from Bobby Matos – quite different than his straighter jazzy work of recent years, and a stone cooker to rival the best of the New York indies in the late 60s! Like cookers on Fania and Cotique, the set's got a groove that's rooted in descarga – with loads of great percussion and jazzy instrumentation – then mixed with a heady dose of late 60s Spanish Harlem soul, which means that there's some good boogaloo elements on the set that really start things on fire – a massive groove that goes way beyond standard Latin, and which has made the record a treasure for years! Nearly ever cut's a killer – and titles include "Raices", "Mambo Maxims", "Trailo A Casa", "Caliente Y Grasoso", "Up In Alfred's Pad", and "Ritchie's Boogaloo". Essential

A fantastically soulful album from Jorge Ben – one of his greatest records ever, and a key part of Brazilian music in the 70s! The album marks an earthier shift for Jorge – a sound that's still rooted in the samba influences of the 60s, but which also takes on a bit more soul at the bottom – thanks to rhythmic contributions from Trio Mocoto, who work here famously to help Ben shape the overall feel of the set! There's still a bit of larger orchestrations at moments, but these are used sparingly just to sweeten the sound – leaving the main force of the music to come from Jorge's guitar, and the cuica, percussion, and tamborim of the trio. The vocals are wonderful too – slightly raspy, and with a bit more feeling than we ever remember Jorge having on record – sometimes a bit intimate, yet always with an undeniable presence throughout. One of those records that still sends chills up our spines, year after year – with tracks that include "Oba La Vem Ela", "Ze Canjica", "Pulo Pulo", "Apareceu Aparecida", "Terezinha", "Mulher Brasileira", "Forca Bruta", "O Telefone Tocou Novamente", and "Charles Junior".

Strong work by Maria Bethania from the late 70s – a session that has her tightening up her sound a bit more than before, but without any loss of her sense of drama or emotion! The album was recorded with a number of different musical backgrounds, including many small group settings with guitar by Rosinha De Valenca – an artist we love on her own, and who adds in a nicely personal touch to this album's mix of strings, keyboards, and rootsier percussion. The guitar works nicely with Maria's voice, and is perhaps second in the mix behind her singing – giving the songs a nice focus even when the backings are quite large. Songs are a mix of tunes by Gilberto Gil, Chico Buarque, Caetano Veloso, and other likely suspects – and titles include "Calice", "Interior", "De Todas As Maneiras", "O Meu Amor", "Ronda", and "Diamante Verdadeiro".

Beautiful live set from 1971, featuring a very stripped down set of stuff. Gal comes in at first accompanying herself on guitar, then the band slowly joins in, but never really gets in the way of her voice. The sound is spare, and the production rough, and this one has a dark moody feel to it that you don't always get with her LPs. Tracks include "Falsa Baiana", "Coracao Vagabundo", "Como 2 e 2", and "Hotel Das Estrelas".

A wild little concept album from the Four Seasons – one that's packaged in newspaper-style cover, and which presents tunes that almost have that late 60s British "snapshots of life" approach to pop – particularly that put forth by The Kinks on Village Green Preservation Society. The album's a true genius effort from Bob Gaudio – now risen to the ranks of producer for the group, and also the key songwriter for the album too – working here in tandem with the great Jake Holmes, a wonderful choice for a record like this! Arrangements are inventive, playful, and definitely at a level that shows some influence from Pet Sounds or Sgt Peppers – but there's also a focused, all-pop approach to the tunes too – one that's hook-heavy even when trippy, and which shows that the Four Seasons were as great at psychedelic and Sunshine Pop as any of the groups they'd inspired over the years. Titles include "Saturday's Father", "Wall Street Village Day", "Wonder What You'll Be", "Soul Of A Woman", "Something's On Her Mind", "American Crucifixion Resurrection", and "Mrs Stately's Garden".

Fantastic! Normally this sort of "big pop star-meets-big pop star" album is nothing to write home about – but this killer double-length set by Gilberto Gil and Jorge Ben features both artists at the top of their form, playing in stripped-down styles that sum up their best work of the 70s. A highlight of the set is a 14 minute reading of Ben's famous "Taj Mahal" track, done in a sparer studio setting than the original, with a haunting groove, and great vocals by both singers. Other tracks include "Sarro", "Quem Mandou", "Nega", and "Meu Glorioso Sao Cristvao". Great stuff, and very long, too!

A lost bossa jazz classic from Dizzy Gillespie – recorded at a time when Lalo Schifrin was working in his combo! The record's got a cool, laidback kind of groove – one that's miles away from Gillespie's earlier bop work, and which shows him opening up his rhythmic conception strongly in the 60s. Rhythms are percolated by the piano of Schifrin, guitar of Bola Sete, bass of Chris White, and some well-chosen added percussion work – and the overall groove is one of the best American takes on the bossa jazz sound of the time, delivered with wonderful horn work from Dizzy on trumpet, Leo Wright on flute and alto, and Charlie Ventura on tenor! Even familiar tunes are transformed by the sound – and titles include "In A Shanty In Old Shanty Town", "Careless Love", "Taboo", "One Note Samba", "Pergunte Ao Joao", and "Chega de Saudade".

Quite a different album than Nara Leao's other record from 1969 – the one produced by Rogerio Duprat! This one's much sparer and rootsier – almost in a samba mode at times – but even more so in a slightly folksy style that puts Nara's vocals highly upfront in the mix, supported by just a bit of percussion and guitar – in a way that's darker and without the sweetness of her earlier albums, and which has some of the careful presentation and sly interplay that made Leao a surprising force in the Tropicalia generation. Arrangements are by Sidney Miller, with all the depth of his own 60s work – and titles include "La Columbe", "Apanhei-Te Cavaquinho", "Poema Da Rosa", "Little Boxes", "Azulao", "Tambores Da Paz", "Parabien De La Paloma", "Fez Bobagem", and a great version of Caetano Veloso's "Atras Do Trio Eletrico".

One of the loveliest of all the bossa singers is caught here in some superb arrangements by Oscar Castro-Neves, Maestro Gaya, and Dori Caymmi! This loaded compilation of material features the entirety of Nara Leao's classic self-titled Phillips album from 1967 and the album Vento De Maio – both excellent records that showcase a move away from simple bossa nova into the work that would make her one of the key figures of the Tropicalia scene! The tracks have a wonderful feel – with moments that are rootsier than your average bossa record, and others that are baroque enough to hint at the direction Nara would take a year later with Rogerio Duprat. Production is excellent, and Edu Lobo even guests on the track "De Onde Vens". 23 tracks in all! Other titles include "Quem Te Viu Quem Te Ve", "Vento De Maio", "Maria Joana", "A Praca", "Um Chorinho", "Lancha Nova", "Inspiracao", "No Corado Da Saideira", "Camisa Amarela", and "Se Voce Quiser Saber".

The first solo album by Rita Lee – cut back when she was a member of the groundbreaking Tropicalia trio, Os Mutantes! The album's got a very different feel than her work with that group – and has Rita stepping out as a sophisticated pop singer, almost in the way that Nico did on the Chelsea Girl album, after leaving the Velvet Underground. Arrangements have a weird twisted edge – as Rita makes her way through a set of originals and a few covers, in an almost deadpan, ice-blond mode that reminds us of some of Jane Birkin's early work. Arrangements are by the great Rogerio Duprat, and titles include "Sucesso, Aqui Vou Eu", "Prisioneira Do Amor", "Hulla Hulla", "Tempo Nublado", "Precisamos De Irmaos", and "Calma" – plus a nice cover of "And I Love Him".

Broadway is the beat, but the sound has plenty of Parisian touches, too – thanks to arrangements from the mighty Michel Legrand! Legrand's in a mode here that's somewhere between his earliest soundtracks, and the European-themed records he cut for Columbia in the late 50s – styles that are a bit more warm and sentimental than in later years, with evocative elements designed to coax the Broadway-based listener out on a voyage across the Atlantic! Strings are relatively full, and sometimes used with great dynamic energy – and titles include "Bewitched", "There's A Boat Dat's Leavin Soon For New York", "Old Devil Moon", "With A Little Bit Of Luck", "Smoke Gets In Your Eyes", and "Yesterdays".

This groovy pair didn't last long on the pop charts, but they did score relatively big with the swnging "Cinderella Rockefella" – a mad late 60s pop tune that's included here on this US album. The cut's a great one – pretty silly, but always enjoyable, and the kind of stunner that makes you wonder why everyone these days is so serious about pop music. Other tracks include "Hora", "Your Heart is Free Just Like The Wind", "True Love Can Never Die", and "Wanderlove".