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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".

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!

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".

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 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".

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".

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".

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".

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.

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".

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".

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!

Hip vocal tracks from Dutch singer Rita Reyes – recorded with backing by the Pim Jacobs Trio, a lively combo that features Pim's piano, plus bass and guitar – a nicely light rhythmic style that really works well for the vocals! The format is simple, but compelling – and the record's a great chance to hear Rita at her best – singing in a style that made her one of the best European female jazz singers of her day – right up there next to Monica Zetterlund, Karin Krog, and a rare few others to come to prominence at the start of the 60s. Titles include "Summertime", "I've Got The World On A String", "Too Close For Comfort", "But Not For Me", "Thou Swell", "Like Someone In Love", and "No Moon At All".

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!

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".

Amazing music – at an equally amazing price! The set features every studio album ever recorded by Serge Gainsbourg – monumental sounds that completely transformed the world of French music in the 60s and 70s, and have gone on to have a global impact well into the 21st Century! The sounds here are amazing right from the start – a mix of jazz, Latin, and other hip modes – all set to playfully sinister lyrics by Serge – which get even better as the 60s move on, and Gainsbourg dips into fuzz, funk, and other amazing elements to push out some far frontiers in his music! The 70s sees some great electronics, classic collaborations with Sly & Robbie, and gives way to some surprisingly great 80s material towards the end of Serge's too-short career. Box features 14 albums on 12 CDs – with records that include Du Chant A La Une, No 2, L'Etonnant Serge Gainsbourg, No 4, Gainsbourg Percussions, Initials BB, Jane Birkin/Serge Gainsbourg, Histoire De Melody Nelson, Vu De L'Exterieur, L'Homme A Tete De Chou, Aux Armes Et Caetera, Mauvaises Nouvelles Des Etoiles, Love On The Beat, and You're Under Arrest.

A late 60s soundtrack by Serge Gainsbourg – but a record that's easily as great as any of his studio albums from the same time! The bulk of the album has a spare, punctuated groove that's somewhat funky – quite a bit like Melody Nelson in its sense of space and timing – and its sex-heavy groove that bubbles up nicely from the bottom of bassy backings and mod orchestrations. Serge sings a bit – as does Anna Karina and Jean-Claude Brialy, Gainsbourg's co-stars in the film – and the orchestrations on the record were handled by Michel Colombier, and easily rank as some of his greatest work ever! Titles include both vocal and instrumental versions of "Sous Le Soleil Exactement", "Pas Mal Pas Mal Du Tout", "Boomerang", "Un Jour Comme Un Autre", "Ne Dis Rien", "Roller Girl", "GI Jo", "Pistolet Jo", "Photographes Et Religieuses", "Rien Rien J'Disais Ca Comme Ca", and "Un Poison Violet C'Est CA L'Amour".

A rare European gem from Johnny Griffin – recorded in quartet formation with backing from the rhythm trio of the Clarke Boland Big Band! Johnny was working with the trio in the bigger group at the time, but he gets plenty of space to state his case here – stretching out on hard-bitten, almost-modern solos that are some of his most adventurous to date on record – supported strongly on the album's longish tracks by Francy Boland on piano, Jimmy Woode on bass, and Kenny Clarke on drums! There's a quality to Griffin's tone that's incredible – urgent, edgey, but never too far out – completely in command of itself, and able to run free, but without wasting at note at all – unlike some of his over-stretched European solos of later years. The set features beautiful long readings of Boland's "Night Lady" and "Old Stuff", plus Griffin's "Scrabble", and versions of "Summertime", "All The Things You Are", and "Little Man You've Had A Busy Day".

Some of the most beautiful work ever recorded by Caetano Veloso – an album that carries on the style of English language lyrics used on his session in exile in 1971, but which also introduces him back to the world of Brazilian popular music! The album's a great transition for Veloso – a set that's served up with some of the newly personal qualities his music developed in London, but which still has a good ear for experimentation and keeping things interesting. Titles include the wonderful "Nine Out Of Ten" – a haunting tune about his time in exile – plus "Neolithic Man", "Nostalgia", "Triste Bahia", "It's A Long Way", and "You Don't Know Me".

A fantastic Serge Gainsbourg album – and the BB initials in the title belong to Brigitte Bardot! This rare gem from 1968 is a second set of tracks that Serge cut with Brigitte Bardot – and it's a doozy! The record repeats a few tracks from their other effort (Bonnie & Clyde) – but it's also got some incredible cuts that are exclusive to this album, and which have that stone funky groove that makes the best late 60s work of Serge so in-demand these days! The best tracks include "Mustang", "Initials BB", and "Black And White" – all of which have incredible funky intros that are totally sampleable – and the set also includes "Bonnie & Clyde", "Qui Est In Qui Est Out", "Marilu", "Shu Ba Du Ba La Loo Ba", "Hold Up", "Torrey Canyon", "Docteur Jeckyll et Monsieur Hyde", "Comic Strip", and "Bloody Jack".

Fantastic! This classic bit of funky electronic French stuff has been showing up in bits and pieces on various compilations over the past few years (most notably the cut "Psyche Rock", which has some sample history to it), but this is the full release of this amazing collaboration between electronic music pioneer Pierre Henry and Michel Colombier – a soundtrack for a full length ballet of groovy electronic pieces that sounds as fresh today as it did back in the late 60s! It's great all the way through, and many tracks have the same feel as the famous "Psyche Rock" – funky, chunky, and bristling with electric energy. Other tracks have a very spare electronic sound – there's odd bubbling sounds, cool funky beats, and some very groovy melodies.

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!

Wonderful early work from Madeline Bell – a great singer with a sound that's equal parts American soul and British 60s female pop! The recordings on the set are from Madeline's earliest years in the UK – long before she achieved greater fame on crossover rock recordings, at a time when she was just stepping off an early career in gospel, where she'd crafted some great recordings on Vee Jay with Alex Bradford. The sound of the album is wonderful – arranged to production by Arthur Greenslade, and produced by Johnny Franz with the same pop genius he brought to Philips work by Scott Walker and Dusty Springfield. The CD features the full tracks from the Poppin album, plus a number of contemporary singles – for a total of 20 tracks that include "Picture Me Gone", "Beat The Clock", "Can't Get Used To Losing You", "Didn't Want To Have To Do It", "Soul Time", "I'm Gonna Make You Love Me", and "You Won't See Me".

Amazing music from Nara Leao – all of her classic albums for Philips from the 60s, packaged together in one sweet set – along with a bonus 2CD set of rare material, a booklet, and lots of bonus tracks as well! Nara during this time was a completely unique singer – an artist with roots in bossa, but inflected with a folksy depth, and more than enough sophistication to help make her a key figure in the Tropicalia movement as well! This package brings together everything that makes Leao so wonderful – dark albums from the mid 60s that really set a whole new tone for MPB – a few live performances that show Nara's collaborative and spontaneous side, and some important late 60s material that already show a tremendous evolution as an artist. Each album is in its original artwork, with bonus tracks on individual CDs – and albums include Nara (1964), Opiniao De Nara, O Canto Livre De Nara, Show Opiniao, 5 Na Bossa, Liberdade Liberdade, Nara Pede Passagem, Manha de Liberdade, Vento De Maio, Nara (1967), Nara Leao (1968), and Coisas Do Mundo. Plus, the bonus 2CD set features lots of obscure cuts from singles and other unusual sources – 33 more numbers that include duets with Maria Bethania, Chico Buarque, Quinteto Violado, and Fagner – and lots of other solo tracks too.

Continuing proof that Meshell Ndegeocello is one of the most compelling soul singers of the past few decades – as she steps forth here in a tribute to Nina Simone, all with a rich criss-crossing of styles that's unlike any of her previous work! Meshell's vocals are right on the money – with a slight rasp that really suits Nina's spirit well – and the instrumental backings are mighty fresh, and really different than the straighter jazz you might expect from a staid Simone tribute – more in the mix of folk, rock, blues, and jazz elements that Nina used during some of her hippest sides for Philips Records in the 60s! Yet there's also a sparkle that's definitely Meshell's own, too – and the album also features guests work from Cody Chestnutt, Lizz Wright, Toshi Reagon, and others. Titles include "Suzanne", "House Of The Rising Sun", "Turn Me On", "Feeling Good", "Either Way I Lose", "Four Women", "To Be Young Gifted & Black", "See Line Woman", and "Be My Husband".

Overlooked later gems from Elis Regina – some of her late-life albums recorded for Warner Brothers! Essa Mulher is a killer – recorded in the company of arranger Cesar Mariano, whose masterful touch made for some of Elis' best albums of the 70s! Cesar arranged and conducted here, and although the production is perhaps a bit more contemporary than Elis' work for Philips, the vocals are sublime – much more driving and jazzy than a few years before, really working hard to dig deep and get the best sound out of each of the tunes! Saudade Do Brasil is a double-length set – very much in the spirit of Regina's classic work for Philips in the 70s! Like so many of those records, this one features arrangements and keyboards by Cesar Camargo Mariano – and the list of tracks is a stellar blend of work by some of Brazil's finest writers. Elis Por Ela features Regina taking on the music of Milton Nascimento, Antonio Carlos Jobim, and Joao Bosco – really showing her range of vocal strengths, set to backings that are a bit different than she would have received on such tunes a few years before when recording for Philips. Elis Vive is excellent live work – an extremely lively performance that brings out the best of her talents at the time – especially in the vocal department, as her singing comes through in a beautifully raw, vibrant way that differs greatly from her studio recordings of the time.

Two amazing albums from sound library maestro Patrice Sciortino – experimental, but also pretty darn groovy too! Percuplusions features tunes that often mix odd rhythms and weird keyboard parts – sometimes electric harpsichord, sometimes an instrument that may well be prepared piano – used in a way that's every bit as rhythmic as the percussion! There's a core rootsy feel to the music that's almost like some of Moondog's 50s recordings – although the overall approach has more of a French avant style as well – like some of the late 60s records coming out on Philips, issued here on the Limelight electronic series. Titles include "Isogones", "Natcos", "Wood Wood", "Cryptile", "Ronces", and "Matic". Next is Gynorhymies 1 – a record that sounds like it's got sort of a dirty title, but which was actually composed for dance excercises – although exercises of a very offbeat nature! The music is a nice blend of acoustic percussion and some electric touches – the latter of which are usually used sparely, mostly on keyboard, and folded into the percussion – so that the music is very rhythmic throughout! The CD features all the short tracks from the original album – plus some bonus tracks as well – 44 titles in all, and almost 80 minutes of very unusual sounds!

A real standout 70s set from Nina Simone – a one-off date for CTI Records, done with a sound that's different than her earlier work for RCA, Philips, and Colpix! The groove here is often as soul-based as it is vocal jazz – thanks to arrangements from David Matthews, who brings a similar sound here to his other work with Esther Phillips in the decade – another older singer who'd hit some very hip territory at the time. The groove here is very much like Phillips' best for Kudu – smooth and soulful, but in ways that still retain all the rasp and character of the lead vocals. Titles include a sublime reading of Randy Newman's excellent "Baltimore", plus "The Family", "My Father", "Music For Lovers", "Rich Girl", and "Balm In Gilead".

Quite possibly the greatest music that Nina Simone ever recorded – brought together beautifully in one compact yet complete set! Nina Simone recorded some great music before she hit the RCA label in the late 60s – but her time at that company really saw a flowering of her unique talents – a way of hitting a vibe that went way beyond familiar jazz vocals – stretching out into something more righteous, more powerful, and more moving than had ever been recorded before – a wealth of great sounds represented beautifully on the albums in this package! The set begins in familiar territory of her Philips Records years – jazz vocals, but with a folksy depth, and political undercurrent. Yet as things move on, the tunes open up, often get longer, and Simone's vocals get bold and powerful – sometimes with key help from a young Weldon Irvine – who wrote some of the best original tunes, and also worked with Nina on keyboards. The package features the full albums Nina Simone Sings The Blues, Silk & Soul, Nuff Said, Nina Simone & Piano, To Love Somebody, Black Gold, Here Comes The Sun, Emergency Ward, and It Is Finished – all in cool LP-styled sleeves, with a bonus booklet too!

Twenty years of music from this cruical Chicago label – one of the few Windy City imprints to continue to fly the flag of house music in the years since the early days of the 80s! When Cajmere first served up "Percolator" back in the early 90s, we were a bit unsure – almost thinking it was the end of Chicago house, with its frenzied rhythm and gimmicky vocal. Yet over the past two decades, we've come to realize that Cajmere and his Cajual imprint have come to be the saviors of the music that's made our city great – still keeping house music in its core, basic elements – without any of the too-commercial modes that seeped in at so many other corners! The Cajmere groove is always dead-on, straightforward, and plenty darn soulful – proof that great house music continues to flourish if you know where to look. 2CD set features a massive 22 long tracks – with cuts that include "Percolator (orig mix)" by Cajmere, "Brighter Days (Louie's Masters At Work mix)" by Cajmere with Dajae, "Feelin Kinda High (voc)" by Cajmere with Terence FM, "Beyond" by Glenn Underground, "Le Fusion" by Gemini, "Midnight (orig mix)" by Cajmere with Walter Philips, "U Got Me UP (Danny Tenaglia's club version)" by Dajae, "I Can't Take It" by Andre Harris, and "Say U Will (orig mix)" by Cajmere.

Rare work from one of our favorite Dizzy Gillespie groups ever – the quintet that featured Lalo Schifrin on piano and Leo Wright on alto and flute! The combo was easily one of Dizzy's most compelling of the postwar years, and really helped break him into a whole new groove rhythmically – thanks to Schifrin's key influence on rhythms – working here with bass from Bob Cunningham and drums from Mel Lewis. Yet the group only cut a handful of records together, which makes this well-recorded live date a key addition to their catalog – a set you'll proudly stack next to your early 60s Philips recordings from Diz. Titles include "Con Alma", "Willow Weep For Me", "The Mooche", "Kush", "I Can't Get Started", and "Oops Shoo Be Doo Be".

A real standout 70s set from Nina Simone – a one-off date for CTI Records, done with a sound that's different than her earlier work for RCA, Philips, and Colpix! The groove here is often as soul-based as it is vocal jazz – thanks to arrangements from David Matthews, who brings a similar sound here to his other work with Esther Phillips in the decade – another older singer who'd hit some very hip territory at the time. The groove here is very much like Phillips' best for Kudu – smooth and soulful, but in ways that still retain all the rasp and character of the lead vocals. Titles include a sublime reading of Randy Newman's excellent "Baltimore", plus "The Family", "My Father", "Music For Lovers", "Rich Girl", and "Balm In Gilead".

Classic Nina! The longer she recorded on Philips, the more freedom Nina was given to open things up (probably because of the success of her daring "Four Women" track) – and this record, cut later in her years at Philips, features Nina doing a great batch of tracks with a very righteous vibe. Titles include "Come Ye", "I Hold No Grudge", "I'm Going Back Home", "I'm Gonna Leave You", "Take Me To The Water", and "The Gal From Joe's". Also includes one of Nina's many great readings of "Work Song".

A key slice of Scott Walker genius – and his only recording from the 80s, cut on the heels of a re-discovery of his older music, but a far step ahead than anything Walker had done before! Climate Of Hunter is far darker than the famous Philips albums – and carries with it echoes of his last few tunes with the re-formed Walker Brothers in the late 70s – a bleaker look at life than ever before, but one that's still touched with the sense of poetry that Scott always brought to his work, and sung in that godlike voice we love so much! Instrumentation carries a definite feel of the time – with some echoes of British post-punk production, especially in the way the drums and guitar are recorded. Yet there's also a timeless quality to the album here too – and each year past its release settles it more warmly into the classic and better-known Scott Walker catalog. Surprising guest appearances on the set include Evan Parker, Ray Russell, Mark Isham, and even Billy Ocean – and titles include "Rawhide", "Dealer", "Track 3", "Sleepwalkers Woman", "Track 5", and "Track 7".

Funky, soulful, and totally wonderful – a wicked late 70s live set from Jorge Ben – and one of his few post-Philips albums that really holds the energy from earlier years! The date's a live one, and the group grooves in a style that's got plenty of Africa Brasil touches – mixed with some other soulful and funky modes too – always great for Jorge's wonderful vocals, especially on some of the earthier tracks. Titles include "Troca Troca", "Bom Dia, Boa Tarde Boa Noite Amor", "A Banda Do Ze Pretinho", "Denize Rei", "Berenice", "Amante Amado", and "Era Uma Vez Treze".

A Pablo Records release – but featuring material that was originally destined for Verve Records in the 50s – a rare performance in Japan by the Jazz At The Philharmonic! The double-length set is overflowing with goodness, all recorded in the open-ended, warm-hearted style that Norman Granz brought to these classic performances! The album starts with an extended set by the JATP All-Stars – a group that features Roy Eldridge and Charlie Shavers on trumpets, Willie Smith and Benny Carter on alto, Bill Harris on trombone, and Ben Webster and Flip Philips on tenors – with rhythm from the combo of Oscar Peterson on piano, Herb Ellis on guitar, Ray Brown on bass, and JC Heard on drums. JATP titles include a "Ballad Medley", "Tokyo Blues", and "Cotton Tail". The set then features six more tracks by the Oscar Peterson Trio – including "Sushi Blues" and "Up" – and another four by the Gene Krupa Trio – including "Don't Be That Way", and "Cocktails For Two". The set then ends with a long set by Ella Fitzgerald with a quartet – on titles that include "Smooth Sailin", "How High The Moon", "Body & Soul", "Lady Be Good", and "My Funny Valentine" – plus a reading of "Perdido" with the whole JATP group.

The funkiest cuts from the legendary TK family of labels – all perfectly selected and laid out together in one mindblowing mix! The sound here is tremendous – way harder and deeper than the TK sound you might know from their disco tracks, or their top 40 hits – and is proof that down at the bottom, the label had some killer funky material – some of which easily rivals the best funky 45s of the time! Production is great, and the track selection is brilliant – a non-stop blend of killer numbers, put together in a way that packs plenty of punch – yet still respects the integrity of the original song structures too. Titles include "The Fly" by The Kinfolks, "The More Things Change" by King Sporty, "Miss Hot Stuff" by Clarence Reid, "Look What You Can Get" by Funky Nassau, "Keep Me Satisfied" by JP Robinson, "Hey There Jim" by Jimmy Bo Horne, "Life Goes On" by Freak, "Confusion" by Leno Philips, "Funky Pants" by The Oceanliners, "Lay It On Me" by Willie Johnson, "Tears Of The World" by Robert Moore, "Good Love" by The Rising Son, "Sleep On Dream On" by Ralphael Munnings, and "Cramp Your Style" by All The People.