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The greatest of Dizzy Reece's 3 LPs for Blue Note – and it's also the hardest to find! The British trumpeter is playing here with a group that is totally classic hardbop Blue Note – and which includes Hank Mobley on tenor, Wynton Kelly on piano, Paul Chambers on bass, and Art Taylor on drums. Mobley's playing is fantastic – as on all of his Blue Notes – and his presence alone takes the set into another level. His solos on the harder tracks are all great, and played with a razor-sharp edge that opens up Reece a lot more than usual. Tracks include "The Rebound", "Groovesville", "The Rake", and "A Variation On Monk". Great stuff, and a true classic lost Blue Note!

A beautiful collaboration between pianist Elan Mehler and vocalist Adam McBride-Smith – the former a talent we've loved on previous albums for Gilles Peterson's Brownswood label, the latter a great singer we're hearing here for the first time! The album's got a laidback vibe that's very much like some of Mehler's previous work – organically soulful, but with a fragile undercurrent too – yet the presence of Adam's vocals also give it a bit more focus and strength – kind of a growing sense of purpose that really comes through in the well-penned lyrics – in weird ways that almost remind us of Dave Frishberg's classic Oklahoma Toad record, but given a contemporary Brooklyn twist. Other instrumentation includes some key acoustic basslines, plus drums, and a bit of tenor and accordion – on titles that include "The Hathaways", "Just To Clear My Head", "Get Me To The Station", "The New Breed", "Sad Mona", "Evensong", "Here On The Plains",a nd "Rake".

Excellent live set from the early 70's, featuring George Duke, Airto, Ernie Watts, and brother Nat. David Axelrod produced, and the LP's got that nice hard funky sound that he did so well during his stint with Cannonball. Includes the 12 minute groover "The Brakes", plus "Oh Babe", "Music, You All", and "Capricorn". Lots of funky drums and bass, and with a lot of space in the arrangements to let things break down!

Lots of complicated lines and rhythms going on here – a session recorded under the leadership of trombonist Jeff Albert, but which features equal energy coming from all members of the quartet – Kidd Jordan on tenor, Josh Abrams on bass, and Hamid Drake on drums! Abrams and Drake offer up way more than rhythms – and lines from all instruments intersect, criss-cross, and parallel each other – creating a rich tapestry of sounds and tones throughout! Titles include a few different installments of "Instigation Quartet" – plus the Fred Anderson songs "The Strut" and "Three On Two".

Although we've been fans of Andy Bey for years (ever since his early 60s recordings with Andy & The Bey Sisters), we've got to admit that we're stunned at how successful his recent revival has been! This CD is probably the main reason for Andy's success – as it's a compelling batch of jazz vocal tracks that show Andy reinventing himself for a whole new generation of jazz listeners. The backing's by a nice small group that includes Gary Bartz, with whom Andy recorded extensively in the 70s – and the album includes a haunting reworking of Nick Drake's amazing song "River Man", plus a version of Dori Caymmi's "Like A Lover", Monk's "Straight No Chaser", and the moody "Dark Shadows", which was a page from Earl Coleman's songbook.

Way more than just a James Bond cash-in record – and instead an ultra-hip jazz session from the west coast scene of the 60s! The James Bond at the helm of the record is actually Jimmy Bond – the great bassist who worked on some key sessions of the late 50s and early 60s as a sideman, and who turns out to be a surprisingly great leader on this rare mid 60s date! The record is more jazz than anything else – played with a crime/spy bent, to be sure – but also flowing with really great solos and a fair bit of a bossa influence in the rhythms! The group here is more than hip enough to make the record work – with Harold Land on tenor sax, Bobby Bryant on trumpet, and Buddy Colette on flute and tenor – all working in a sextet led by Bond, with plenty of round, warm, almost modal lines on his bass – punctuated nicely by piano from Joe Parnello and drums by Joh Guarin. Arrangements are by Dick Groove – who keeps things very groovy – and many of the tracks here are actually original numbers written by Bond and Warren Baker, titled after Ian Fleming books that had not yet been made into movies at the time of this album! Titles include "Casino Royale", "Moonraker", "For Your Eyes Only", "007 Theme From Dr No", "Man With The Golden Gun", "Diamonds Are Forever", and "Live & Let Die".

A really dreamy little set from this hip Brazilian combo – a set that's got a bossa feel overall, but which also seems to draw a bit from folkloric roots too! The instrumentation is nice and warm – a great 60s blend of light percussion, acoustic guitar, and nice bits of jazzy flute and vibes – all really sparkling nicely with the group's blend of male and female vocals – sometimes singing solo, but often coming together in these harmonies that are mighty nice! There's echoes here of some of the other bossa harmony groups – like Tamba Trio or Os Cariocas – but the approach is pretty fresh, too – given all the nice little touches the group uses to make the music here their own. Titles include "Pouca Duracao", "Amor E Ilusao", "Onibus Colegial", "E Assim Foi O Nosso Amor", and "Mandrake".

Quirky Brazilian rock from the late 70s – a bit arty at times, and more straightforward at others – almost post-glam sliding into new wave, if we can bludgeon about so many terms so loosely! There's probably a fair bit of wit in the lyrics here – which we can't get due to our lack of Portuguese – and lead singer Billy Bond seems to be a fairly flamboyant and dynamic type, almost reminding us a bit of the more dramatic New York rockers in the pre punk years. Titles include "O Rape", "Sao Paulo By Day", "Mandrake", "Boeing 723897", "Golden Acapuldo", and "Aeroporto De Congonhas".

Compilation of the earlier years of Deep Purple. Twelve tracks, including "Hey Joe", "Hard Road (Wring That Neck)", "Kentucky Woman", "The Shield", "Hush", "The Bird Has Flown", and "Mandrake Root".

Really righteous work from the Chicago scene – a very hip album that features some especially nice guest work on flute from Nicole Mitchell! The group is headed up by percussionist Hamid Drake, who really sounds great here – almost more relaxed and organic in his handling of drums and tablas than on other records – really settling into a sound that recalls the glory days of the earlier AACM scene. Other players are well-matched for this vibe – and include Ernest Dawkins on tenor and alto, Daniel Carter on saxes and clarinet, Sabir Mateen on saxes and bass clarinet, and Greg Ward on alto and clarinet – all players whose reeds work together beautifully, with tight formations at some points, and much freer solo sounds at others. Titles include "Bindu #2 For Baba Fred Anderson", "Remembering Rituals", "Born Upon A Lotus", "Bindu #1 For Ed Blackwell", and "Do Khyentse's Journey 139 Years & More".

Nick Drake's second album, and a fantastic batch of jazz-tinged folksy tracks that's virtually unlike anything else ever done on this planet! The compositions are amazing, and Drake's execution of the material is masterfully produced by Joe Boyd, who brings out all the rich tonal qualities of the music. Drake's work is impossible to describe adequately, but if you've ever heard him, you probably stopped dead in your tracks the minute you first caught his voice. We still do the same – and it's a pleasure to have this one in stock! Titles include "Fly", "At The Chime Of A City Clock", "Hazy Jane", "Poor Boy", and "One Of These Things First".

A crucial record that introduced most folks to Nick Drake in the early 80s – a cool compilation drawn from his first 2 Island albums – and pretty darn rare! Tracks include "Cello Song", "Northern Sky", "Three Hours", and "Fly".

Not one of Stan's greatest albums, but one that's got some pretty wonderful moments! The album features larger arrangements by Richard Hewson, set to production by George Martin – done in an easy jazzy style, with Stan out front on lead solo, blowing in a mellow way, as he did on albums of the sort done for Verve in the late 60s. A few of the tracks are a bit sleepy, but there's some well-chosen pop tunes that provide a whole new vehicle for Getz's always-great tone. Titles include "Without Her", "Cecilia", "Marrakesh Express", "The April Fools", and "Raindrops Keep Fallin On My Head".

Soulful hip hop soundscapes from Parisian beatmaker and producer Hazel – nice stuff with the beats and bass nice and prominent in the mix – with spacier, more atmospheric elements floating over that solid backdrop. The instrumental atmosphere carries the vibe, but there's a couple tracks with vocals by Drake and Slakah – and the titles include "Lightmares", "Lunchpack McQuack", "Share" feat Drake & Slakah, "3AM", "My Show", "Ninety Eight", "Piano Boy", "The Walk", "Eyes In", "The Mint", "Situation", "The Run", "Can't Get You", "Stevie", "Bosquito", "Love Letters", "Carriacou" and more.

Hu Vibrational brings a pounding instrumental mix of percussion, electronic beats, and African-inspired jazz! The loose group feature multi-instrumentalist Adam Rudolph (who has played with Pharoah Sanders, Herbie Hancock and Don Cherry to name a few) on all types of acoustic drums, shakers, bamboo flutes and well beyond, avant garde drummer Hamid Drake on the trap and more, plus experimental beat makers/left field hip hop figures like Daedelus and Carlos Nino/Ammon Contact. What's really nice about this album is how well it coalesces throughout – the crew really finds a hypnotic groove all the way through, and it's not at all the disconnected mess that lesser figures in the experimental community often come up with! A tight, inventive surprise from the ever reliable Soul Jazz label. Tracks include "Joyous", "We Walk", "Friends And Gardens", "Locomotion", "Feet On A Beautiful Planet", "Walkabout It", "In The Here", "Sunkissed", "Return To Earth" and more.

Some of the coolest work we've ever heard from Chicago flautist Nicole Mitchell – a really wonderful record that shows the full spectrum of her talents! The set's recorded with a trio that includes Hamid Drake on percussion and Harrison Bankhead on bass and cello – both players who can swing things inside one minute, then go freely outside the next! This approach is really important to the album's vibe – as some of the best tracks actually have a tight rhythmic pulse you might not find on other sessions from Mitchell – almost a bit funky at points, with a righteous groove – alongside other tracks that have a more open-ended, improvisatory feel. Bankhead's bass is especially nice – round and soulful throughout – and Mitchell plays flute, alto flute, and piccolo on the record. Titles include "Sho Ya Right", "Beloved's Reflection", "Affirmation Of The One", "Anaya With The Moon", "Wheatgrass", and "Song For Ma'at".

Very nice Irakere album, and one that's on a par with their 2 Columbia albums from around the same time. The lineup's expanded a bit more than usual, and players include leader Chucho Valdes, Arturo Sandoval, Paquito D'Rivera, Oscar Valdes, and Jorge Varona. Tracks are long, with 4 originals by Valdes, including "Cha Cha Cha", "Camaguey", "La Semilla", and "Quince Minutos".

A landmark album from this powerhouse Cuban group of the 70s – their first record issued formally to an American market, and quite possibly their greatest effort of the decade! The sound here is a lot more focused than on the group's Cuban sessions from previous years – not commercial or slick, but free from some of the jarring shifts in styles that occurred before – and more in that sweet combination of rootsy percussion and Latin funk that made them great at their best previous moments! All players are great – and the lineup is almost a who's who of Cuban jazz at the time – with Chucho Valdes on piano and keyboards, Paquito D'Rivera on alto sax, and Arturo Sandoval on trumpet – plus guitar from Carlos Emilio Morales, percussion from Oscar Valdes, and tenor from Carlos Averhoff. The tracks were recorded live at the Montreux jazz festival – and titles include "Adagio", "Ilya", "Juana Mil Ciento", and the long "Misa Negra (The Black Mass)".

One of our favorite Thelonious Monk albums ever – a bare bones, no nonsense session that's filled with great work from tenorist Charlie Rouse! The record's filled with everything that's great about the Monk/Rouse team in these years – an incredible interplay between sax and piano, served up over the sorts of angular tunes that Monk had been putting forth for years, but somehow at a level that's even more perfect, more "Monkish" than before! Other members of the group are Butch Warren on bass and Ben Riley on drums – and titles include "Lulu's Back In Town", "Memories Of You", "Brake's Sake", "Stuffy Turkey", and "Shuffle Boil".

The pair of great pianists don't play together – but are featured on a side apiece of the record, pulled from their Savoy recordings of the 50s. The album's most notable for the work of Nichols – some of the few sides he ever cut, and along with his two Blue Note LPs, and one for Bethlehem, a key to understanding his rare and short-lived talent for modern improvisation. The Nichols sides feature Chocolate Williams on bass, plus a bit of vocals, Shadow Wilson on drums, and (possibly) Danny Barker on guitar. Titles by Herbie include "Who's Blues", "Nichols & Dimes", "My Lady Gingersnap", and "Good Story Blues". The Monk sides are cut with the Gigi Gryce Quartet – and include "Shuffle Boil", "Brake's Sake", and "Nica's Tempo".

The essence of Duke Ellington – but in the hands of William Parker, it's a very different thing than you might expect! The group here is larger than usual for Parker – a great ensemble used in ways that definitely echo some of Ellington's more inventive scoring, especially his mature use of tone and color – yet both the solos and ensemble moments go way way farther than anything the Duke might have imagined – all the bold, righteous brilliance that we've come to love in Parker's own recordings – focused back on one of his greatest inspirations. The lineup is quite impressive – as musicians include Roy Campbell on trumpet, Ras Moshe on tenor and soprano, Rob Brown and Darius Jones on alto, Sabir Mateen on clarinet and tenor, Steve Swell on trombone, Dave Burrell on piano, Hamid Drake on drums, and Parker himself on bass – and titles include "Take The Coltrane", "Essence Of Sophisticated Lady/Sophisticated Lady", "Caravan", "Essence Of Ellington", "Take The A Train/Ebony Interlude", and "Portrait Of Louisiana".

A really unusual project from bassist William Parker – a great tribute to the legendary Godard film Alphaville, done with music that's a surprisingly great fit! There's almost a jazz soundtrack feel to the record at points – a bit straighter than usual for Parker, but still with plenty of edge – although other tracks sometimes get a bit more outside and improvisational, making for a really nice balance in the record. The core group features Parker on bass, Rob Brown on alto, Lewis Barnes on trumpet, and Hamid Drake on drums – which is then augmented by two cellos, violin, and viola – shading in the sound nicely. Parker really does a great job of capturing the quick shifts, bold moments, and striking qualities that make Godard's film so great – and titles include "Alphaville Main Theme", "Interrogation", "Alph 60", "Doctor Badguy", "Oceanville Evening", and "Civilization Of Light" – plus two versions of the great track "Natasha's Theme", a spiritual soulful number with vocals by Leena Conquest!

A book, a CD, and a richly collaborative project – one that brings together the writings of Alexandre Pierrepont and the improvisational work of Didier Petit – with help from a huge host of other musicians as well! The music's the main attraction to our ears – as the set documents collaborations that Petit made on the road during a tour of the US – beautiful improvisations with a huge range of players that includes Joe Morris, Hal Rammel, Nicole Mitchell, Jim Baker, Larry Ochs, Marilyn Crispell, Andrea Parkins, Kamau Daaood, Michael Zerang, Hamid Drake, and others – each of whom gets their time to shine in collaboration alongside Petit's cello – in ways that really show the amazing adaptability of his instrument. The book features a long evocative poem by Pierrepont, in both English and French – and features some nice photos too!

Another great issue from Roctober – one that includes interviews with Neon Leon (great lost New York punk figure), Fred Anderson and Hamid Drake, James Brown, and numerous obscure but amazing Brazilian musicians. Melvin Van Peebles critical discography. Jake Austen and Chris Ware on vaudeville/minstrel legend Bert Williams. The history of Black All Girl Jazz orchestras in the 1930s and 1940s. Archival Pedro "Funkadelic" Bell articles and comics from his early 1970s college newspaper. Comics and articles about Aliyaah, Jimi Hendrix, Jackie Mittoo, Sun Ra, Funkadelic, and Black skinhead Reggae. And, believe it or not, more!

Loose, soulful and swaggering tenor sax from a pair of legends – Hal Singer and David Murray – fellows who busted boundaries for decades! On Challenge, recorded in Paris in Spring, 2010, they play great, mostly original material with passionate conviction and a a boundless sense of intutitive interplay. Singer and Murray communicate masterfully, and their excellent group includes Rasul Siddik on trumpet, Lafayette Gilchrist on piano, Jaribu Shahid and the always great Hamid Drake on drums. Includes Singer's "Challenge", "Hamid's Time" and "Dreams Of Dreams", Murray's "Hong Kong Nights", "Long March To Freedom", "Stressology" and more.

Incredible acoustic folk guitar and vocals from Chicago's Riley Walker – which actually sounds like comes from the late 60s/early 70s British scene! Riley sings and is accompanied on double bass and drums on "Clear The Sky" and the flipside "Joni's Tune" is a solo instrumental. Both are timeless, but definitely feel like they were influenced by some of our favorite Brits, including Nick Drake and Bert Jansch. Honestly, it's truly good enough bring up names that legendary for comparsion. Beautiful stuff!

A well-done look at a key moment in British music – that point when acoustic roots mixed with electric youth, and brought around a huge revival in the field of folk! The UK shifts at the end of the 60s were way different than those in the US – not nearly as simple as Dylan going electric, or folk harmony going pop – and as you'll hear in this set, there's a really progressive, revolutionary feel that runs through the music – one that's both got a great sense of history, yet a mission of personal change as well – quite far from overdone political tropes, yet with undeniable world-changing power in the end. The 2CD package is designed to accompany the book of the same name – and is divided up into Acoustic Eden and Electric Albion discs – each with their own feel. Titles include "Brother John" by Bread Love & Dreams, "Garden Song" by Bill Fay, "Music Of The Ages" by COB, "Diana" by Comus, "Oak Ash & Thorn" by Peter Bellamy, "John Barleycorn Must Die (first version)" by Traffic, "The Lark In The Morning" by Steeleye Span, "Country Road" by Unicorn, "Glasgerion" by Trees, "Glistening Glyndebourne" by John Martyn, and "Voices" by Nick Drake.

A pretty incredible compilation of Cambodia Rock – the best one we've come across – classic original Khmer Rock from scene pioneer Sinn Sisamouth and many more! The set as an effort to present this fun, groovy and yes, spectacular Cambodian Rock as it was originally heard by the people in its pre-Pol Pot heyday – before the original vinyl releases were hidden away and eventually circulated via low quality cassette bootlegs – and it sounds great! Awesome stuff all around, much of it with a raw garage psych vibe with fuzzed out guitars, heavy drums, woozy organ and male & female lead vocals – always with a groovy rhythm. Includes "Do You No Wrong Again" by Thra Kha Band, "Khnyom Jah Karake" by Tet Somnang & Meas Samon, "Pros Chang Reiy" and "Pail Loung Rom (Go To Dance)" by Pan Ron, "Jet Snaeh Theang Nov" and "Yuvachon Yuvatey Samai Tmai (New Generation Youth" by Sinn Sisamouth & Ros Dereysothea, "Duang Netra" and "Satt Thee Thuy" by Sinn Sisamouth, "Bong Rau Roub Khnyom" by Ros Sereysothea, "Youm Os Tirk Pnake" by Pov Vannary and more. 19 tracks on 2LPs in a nice gatefold sleeve with fairly extensive notes on the back cover and inside the gatefold.

Grooviness galore – and a wonderful selection of obscure psychedelic numbers from the deep deep vaults of EMI Records! The cuts here are mostly of British late 60s origin, and they feature a really fuzzed-up approach to pop – complete with odd production techniques, off-kilter arrangements, and a pretty heady brew of guitar, bass, drums, and tripped-out vocals – all served up with top-shelf sound, as proof that even on the bigger labels of the 60s, lots of younger artists were still taking plenty of chances! The package has complete track-by-track notes in a full color book with photos, labels, and album sleeve images too – and the CD features 25 tracks that include "Dandelion Seeds" by July, "Real Life Permanent Dream" by Tomorrow, "Hold On" by Ipsissimus, "Dog Presides" by Paul Jones, "Model Village" by Pennyh Peeps, "Towards The Skies" by The Gods, "Strange Walking Man" by Mandrake Paddle Steamer, "Mr Commuter" by Mike Proctor, "William Chalker's Time Machine" by The Lemon Tree, "Barricades" by The Koobas, "Please Leave My Mind" by Herbal Mixture, "World Of You" by The Aerovons, and "Monday Morning" by Tales Of Justine.

A glorious celebration of the Luaka Bop label – the groundbreaking imprint first started by David Byrne as a way to bring older Brazilian music to the American market! Since that initial release – Brazilian Classics 1 – the label's been covering a hell of a lot of ground – a fair bit of the South American scene, bits from overseas, and even some home-grown treasures too – all of which can be heard on this wonderfully low-priced collection. The package comes with a cool fold-out cartoon – telling the story of the label and its relationship with the majors over the years – and the CD features 15 titles that include "Ponta De Lanca Africano" by Jorge Ben, "Aht Uh Mi Hed" by Shuggie Otis, "Fuzzy Freaky" by David Byrne, "Sexy" by Los Amigos Invisibles, "Rio Longe" by Moreno + 2, "Defeito 2 Curiosidade" by Tom Ze, "Whoever You Are" by Geggy Tah, "Baby" by Os Mutantes, "Samba Sem Nenhum Problema" by Marcio Local, "Bacalao Con Pan" by Irakere, "Sweet Melody" by Zap Mama, and "Heart Of Glass" by Nouvelle Vague.

Nick Drake's second album, and a fantastic batch of jazz-tinged folksy tracks that's virtually unlike anything else ever done on this planet! The compositions are amazing, and Drake's execution of the material is masterfully produced by Joe Boyd, who brings out all the rich tonal qualities of the music. Drake's work is impossible to describe adequately, but if you've ever heard him, you probably stopped dead in your tracks the minute you first caught his voice. We still do the same – and it's a pleasure to have this one in stock! Titles include "Fly", "At The Chime Of A City Clock", "Hazy Jane", "Poor Boy", and "One Of These Things First".

Godlike! This is probably the finest Nick Drake album that you can buy, and it's an incredible mix of folksy vocals, jazzy guitar, and incredible baroque arrangements! The album includes Drake's wonderful "River Man", one of his best-ever songs (and maybe one of THE best-ever songs!) – plus loads of other excellent cuts like "Fruit Tree", "Day Is Done", "Three Hours", "Saturday Sun", and "Time Has Told Me". Fantastic – and essential!

One of Marianne Faithfull's folksiest albums of the 60s – a great batch of tracks that includes a few by 60s folksingers, a few originals, and a few more traditional numbers, done here with a really dark edge. Arrangements are by Mick Taylor and Jon Mark, who also wrote some of the tracks – with a strong mix of acoustic guitar and strings, in a way that almost recalls some of the backings on Nick Drake albums. Titles include "North Country Maid", "Lullaby", "Wild Mountain Thyme", "Green Are Your Eyes", "The Last Thing On My Mind", "The First Time Ever I Saw Your Face", and "She Moved Thru The Fair".

A great funky number from Tony Drake – the kind of tune that builds beautifully in the first few seconds, then soars along on an unstoppable groove until the single runs out! "Suddenly" is the kind of tune that will drop you dead in your tracks – thanks to great arrangements from Willie Henderson! The Chi-soul vibe continues on "It Hurts Me More" – a tune that's slightly sweeter, but has that great Eugene Record/Brunswick mellow groove we love so much!

A classic early 80s groover by Nick Straker – not really as jazzy as you'd expect, but with some nice piano work that hints at use of the instrument in later house singles. "Space Age" is more of an electro track – with vocoded vocals and lots of keyboards.

A beautiful treasure from the legendary Nick Drake – the last album he ever recorded – and a set that may well be his most personal as well! The sound here is even more stripped-down than before – often just vocals and acoustic guitar, but used together in ways that are really unique – inflected with lots of the jazzy phrasing that always made Nick so unique – and light years from any of the folkies who were his contemporaries! There's a very special Drake-like approach to the whole record – a heavenly sound that's never been duplicated again – and titles include the classic "Pink Moon", plus "Place To Be", "Road", "Parasite", "Ride", and "From The Morning".

Secondnd album by this legendary Cuban jazz combo led by the experimental pianist Chucho Valdes. The record's surprisingly great for a Latin album on a major label from the time, and it's got a sense of power and majesty that easily make it one of the group's best sessions. Titles include "Baila Mi Ritmo", "Gira Gira", "Anung Anunga", and "Por Romper El Coco".

An ambitious project from David Murray – one that features an expanded string ensemble working with his core quartet – performing a set of original material that includes the long "Pushkin Suite" and some shorter numbers that revel in Murray's own soulful spirit. While the "Pushkin Suite" is supposedly the main focus of this effort, we're more partial to the shorter tracks – as they dance, glide, and soar with the freely exploratory spiritualism we love so much in Murray's earlier years – and get past the headier mode of the longer suite. Titles include "Waltz Again", "Dark Secrets", "Steps", and "Sparkle" – and players include Lafayette Gilchrist on piano, Jaribu Shahid on bass, and Hamid Drake on drums.

A pretty bold little album – even if its title sounds like some after-school special about teenage love! There's definitely a lot of exploration in the music – as each of the key players finds a way to state their presence, while still moving in the company of the others – finding the best space for strong individual moments, but always with an ear towards the overall sound of the group! The drums from Hamid Drake are some of the most complicated we've heard from him in years – and punctuate the trombone lines of Conrad Bauer beautifully, as William Parker brews the whole thing up from the bottom. Titles include "Drake", "Parker", and "Bauer".

Genius work from Pearls Before Swine – the haunting folk rock combo that was headed by singer/songwriter Tom Rapp! We'd place Rapp in a unique category with Tim Hardin, Leonard Cohen, Nick Drake, and a rare few other talents who could mix together styles and come up with a sound that transcended their generation. There's a wonderfully dark quality to both albums on the set – a really timeless feel that blends together strains of avant instrumentation underneath the gentler sound of Rapp's voice, and an undying sadness that resonates throughout. Both albums are tremendous, and titles include "Another Time", "Playmate", "I Shall Not Care", "The Surrealist Waltz", "Trumpeter Landfrey", "There Was A Man", "Guardian Angel", "Ring Thing", "Lepers & Roses", "Florence Nightingale", and "Morning Song".

Some of the best tunes cut in the 50s by Jimmie Rodgers – the rockabilly and folk/country cat Rodgers, not the vaunted Singing Brakeman of decades past – splitting the difference between hiccuping rockabilly hip shakers and soaring vocal pop! This self-titled debut LP has some fiery uptempo rhythm numbers but also some mellow ballads, folklore story songs, and others that find Jimmie singing out in a big way, a la Marty Robbins. Titles include "Women From Liberia", "Better Loved You'll Never Be", "Water Boy", "The Ballad Of Black Gold", "Hey Little Baby", "The Mating Call", "I'm Just A Country Boy", "Honeycomb" and more.

Thoughtfully-crafted work from Adam Rudolph's Moving Pictures – a group who draw partially from the global influences of Rudolph's past, but also come across with some more angular modern jazz touches! Players include Graham Haynes on cornet and flugelhorn, Ned Rothenberg on clarinet and flutes, and Hamid Drake on drums and percussion – and other members of the group bring in a host of more exotic instrumentation – including oud, tarija, bamboo flute, and cajon – in addition to Rudolph's own host of world percussion. Tracks are sometimes quite sort and thematic, at other times more long and ambitious – and titles include "Oshogbo", "The Violet Hour", "Mood", "A Vision Of Pure Delight", "Cousin Of The Moon", "Scintilla", "Happiness Road", "The Sphinx", and "Walking The Curve".

A classic early 80s groover by Nick Straker – not really as jazzy as you'd expect, but with some nice piano work that hints at use of the instrument in later house singles. "Space Age" is more of an electro track – with vocoded vocals and lots of keyboards.

An excellent album of spare Latin jazz, played by the legendary leader of the Cuban group Irakere! Chucho Valdes is playing here with a small combo that only features bass, drums, and percussion – plus some additional vocal accompaniment by Mayra Caridad Valdes. But the main focus is on Chucho's lively piano talents – some of the best-ever in Afro-Cuban jazz, and graced by a stunning style that's at once starkly modern, yet stepped in a rich Latin tradition. Tracks are nearly all very long – and titles include "Ponte La Clave", "Drume Negrita", "Anabis", "Punto Cubano", "To Bud Powell", and "Lorraine's Habanera".

Small combo work from 1950 – with Pres on tenor, Jesse Drake on trumpet, Kenny Drew on piano, Aaron Bell on bass, and Jo Jones on drums.

A great collection of work that represents one of the best sides of early 80s soul – the roller boogie groove, hand-picked and mixed up by Kenny Dope himself! The set features 18 tracks from the laidback post-disco years – all done in a style that's got plenty of soul, nice jazzy touches, and the kind of mellow two-stepping rhythms that made the roller boogie sound so great! We love every single cut on the set – as does Kenny, we're sure – and the whole thing's put together with a gentle approach to the mixing that leaves pretty much every cut intact. Titles include "Mama Used To Say" by Junior, "Over Like A Fat Rat" by Fonda Rae, "All Night Long" by Mary Jane Girls, "Don't Look Any Further" by Dennis Edwards, "Funky Sensation" by Gwen McCrae, "Walking Into Sunshine" by Central Line, "I Want To Thank You" by Alicia Myers, "I'll Do Anything" by Denroy Morgan, "A Little Bit Of Jazz" by Nick Straker, "Come Let Me Love You" by Janet Lady Day, and "Rock Your World" by Weeks & Co. 18 cuts in all!

Nice, nice 70s material by this oft-overlooked AACM member from Chicago, one of the few documents of hismind blowing playing from that era. Anderson's hefty tenor is captured live at the Moers festival of new jazz in a quartet setting with other great Chicago players like the equally underheard Billy Brimfield on trumpet, a young George Lewis on trombone, Brian Smith on bass, and a then young Hank (Hamid) Drake on percussion in what is probably one of his earliest recording dates. The nice, lengthy titles include "Saxoon", "The Bull", and "Another Place".

A great performance by the Chicago trio of Ernest Dawkins on reeds, Harrison Bankhead on bass, and Hamid Drake on drums and percussion – dedicated to their late scene-mate Fred Anderson, and played with an open, exploratory sound that Anderson would have loved! At times, there's a very unstructured quality to the recording – the most unfettered approach forged by the AACM – with Dawkins especially stretching out, on soprano, alto, or tenor sax. At other points, though, Bankhead's wonderful basslines pull things in, and give them a soulful solidity that underscores the spiritual elements of the music – that element in his sound we always appreciate, and which seems to bring Drake's percussion strongly into focus too – creating a groove that's almost like the Ethnic Heritage Ensemble at times. Titles include "One For Fred", "Waltz Of Passion", "Jah Music", "Down N The Delta", "The Rumble", "Sweet 22nd Street", and "Woman Of Darfur".

A seminal set from Eric Dolphy – one of his most perfectly realized moments at the head of a larger ensemble – and a record that definitely set the tone for countless spiritual jazz sessions of the 70s! Dolphy recorded this session for Alan Douglas in 1962, and it features a larger array of players than you'll find on most of his records for other labels – the cream of the "new thing" players that were around New York at the time, including Bobby Hutcherson on vibes, Woody Shaw on trumpet, Prince Lasha on flute, Sonny Simmons on alto, and even Clifford Jordan on soprano sax – making a rare appearance on record on that instrument! Together, the players create a set of soundscapes that lies somewhere between Dolphy's Out To Lunch album, and some of the more modernist work by Mingus – a stunning batch of tracks that go out, but never too far. Titles include "Ode to CP", "Burning Spear", "Iron Man", and "Mandrake".

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

An amazing little book – quite possibly one of the first-ever graphic novels, and an amazing hybrid of pulp crime and postwar comics! This unique volume was originally designed as a comic-style paperback – no full text at all, just black and white images from the amazing Matt Baker – well-known for his lusty images of the late 40s and early 50s – and words by Arnold Drake, who later went onto fame in a range of superhero settings. There's a wonderful edge to the whole thing – very much like the best pre-code comics – and this replica volume brings the whole thing back to life on even better paper stock than the original. 136 pages, black and white, with an afterward by Drake.

Soulful hip hop soundscapes from Parisian beatmaker and producer Hazel – nice stuff with the beats and bass nice and prominent in the mix – with spacier, more atmospheric elements floating over that solid backdrop. The instrumental atmosphere carries the vibe, but there's a couple tracks with vocals by Drake and Slakah – and the titles include "Lightmares", "Lunchpack McQuack", "Share" feat Drake & Slakah, "3AM", "My Show", "Ninety Eight", "Piano Boy", "The Walk", "Eyes In", "The Mint", "Situation", "The Run", "Can't Get You", "Stevie", "Bosquito", "Love Letters", "Carriacou" and more.

Hu Vibrational brings a pounding instrumental mix of percussion, electronic beats, and African-inspired jazz! The loose group feature multi-instrumentalist Adam Rudolph (who has played with Pharoah Sanders, Herbie Hancock and Don Cherry to name a few) on all types of acoustic drums, shakers, bamboo flutes and well beyond, avant garde drummer Hamid Drake on the trap and more, plus experimental beat makers/left field hip hop figures like Daedelus and Carlos Nino/Ammon Contact. What's really nice about this album is how well it coalesces throughout – the crew really finds a hypnotic groove all the way through, and it's not at all the disconnected mess that lesser figures in the experimental community often come up with! A tight, inventive surprise from the ever reliable Soul Jazz label. Tracks include "Joyous", "We Walk", "Friends And Gardens", "Locomotion", "Feet On A Beautiful Planet", "Walkabout It", "In The Here", "Sunkissed", "Return To Earth" and more.

The most sparely beautiful of Nick Drake's legendary three albums – the immortal Pink Moon – and as perfectly suited for the 33 1/3 classic albums biography series as any album could ever be! After the comparably ornate Five Leaves Left and Bryter Later, Drake's songs are stripped her to the bare essentials of voice, acoustic guitar and just a bit of piano – and oh, how essential it is. Author Amanda Petrusich's name appears on some of best-written and smartest reviews in Pitchfork Media's history and has an especially keen ear for folk-based music. She does a terrific job here profiling Nick Drake's one-time obscure, now uber-classic Pink Moon.

Basslines, keyboards, and plenty of beats – all stepping out strongly in a sweet selection of clubby numbers from the early 80s! The set's not really disco, but is definitely funk – of the lean, clean style that groups were serving up in the post-disco years – kind of a refinement of the earlier ensemble sound of the 70s, taken to a tighter rhythmic focus for the next decade! Titles include "Can't Judge A Book By Its Cover" by Cookie, "Turn Me Down" by Nick Straker, "Love Is What I'm After" by Richard Jon Smith, "Please Come Back" by Dean Edwards, "Time For Some Fun" by Central Line, "Cash Play (rmx)" by Yvette Cason, "This Time" by Funk Deluxe, "I Can't Forget You" by California Executives, and "How Do You Feel Tonight" by Bobby M with Jean Carn.