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If you've ever needed a definition of hardbop, this is it! The set's a crack quartet session for Blue Note, recorded in the mid 50s by a young Johnny Griffin – fresh in from Chicago, and playing with tons of fire and loads of imagination! Wynton Kelly's on piano and Max Roach is on drums – and the excitement never stops as the group rolls their way through the tightly-crafted tunes on the set. And don't mistake the session as just a head-blowing album with no creativity – because the whole thing's incredibly precise, and the real charm is the way in which the razor-sharp group manages to twist and turn so deftly – yet still always plays with creative imagination and thoughtful solos! Cuts include "Mil Dew", "Chicago Calling", "These Foolish Things", The Boy Next Door", "Lover Man" and "It's Alright With Me".

The full length debut of Mayer Hawthorne for Stones Throw – with both classic Motown and 60s & 70s Detroit indie soul influences, done the right way, and all of it wonderful and true to his heroes – after some promising early singles, we can now say emphatically that Mayer Hawthorne is indeed the real thing! On some of this material, Hawthorne is a one man soul band, with the tunes stripped to a gritty, raw soul essence – and on other tunes he gets some assistance on brass, strings and keys – pulling off a number of modes with equally excellent results. He evokes Curtis Mayfield when he gets the falsetto going, but other touchstone influences are apparent – a couple of the more uptempo tunes sound like they could be late 60s Temptations b-sides. Mayer may look like Dwight Schrute on the cover, but don't be fooled – his love for soul music is true and unironic, and he has the chops to pull it off! Titles include "A Strange Arrangement", "Just Ain't Gonna Work Out", "Maybe So, Maybe No", "Your Easy Lovin' Ain't Pleasin' Nothin'", "I Wish It Would Rain", "Make Her Mine", "One Track Mind", "The Ills", "Shiny & New", "Let Me Know" and "Green Eyed Love".

Fantastic harmony soul from Philly! This set features work by two lost Philadelphia groups – The Royal Five and The Informers – both 60s ensembles with a tight harmony approach that's in the best style of the city's rich soul heritage – staying strong on the uptempo cuts, and hitting some heavenly highs on the sweeter and ballad tracks. The package is wonderful – with great notes, excellent sound, and an overall approach that shows a real love for the music, and that the producer has been in contact with the artists in recent years. Both groups never issued any full LPs – and the CD brings together rare singles and unreleased tracks that will hopefully make both of them bigger names in the annals of soul music! The set features 9 tracks by The Royal Five – including "Gonna Keep Loving You", "Don't Stop", "Nobody Else", "Five Miles", "Ain't No Big Thing", and "Peace of Mind" – plus 12 more by The Informers – including "Think About It", "Lady of The Night", "Love You", "I'd Rather Do It Myself", "If You Love Me", and "Baby Set Me Free".

A real stormer! This was one of the few albums ever cut as a leader by the great hardbop drummer Art Taylor – and it's one of the best from the Blue Note catalog at the time! The band is a heavily smoking one – with Dave Burns on trumpet, Stan Turrentine on tenor, and Wynton Kelly on piano – and Patato Valdez backs them up on conga on a number of tracks, too. The whole thing is perfectly put together, with an insanely tight rhythm line, and perfectly placed solos by Turrentine and Burns – really cooking with an intensity that matches some of the best Jazz Messengers albums of the time. Features a great version of Coltrane's "Syeeda's Song Flute", plus the tracks "Cookoo & Fungi", "Blue Interlude", and "Move".

One of the greatest soul groups from the UK in the 80s – a real bright spot in the years before Soul II Soul and the rise of acid jazz – and a set we'd rank right up there with Sade's best work of the time! Working Week have a very jazzy sound at their core – acoustic rhythms, and a strong commitment to jazz at the core – no surprise, given that two of the group's three members were previously involved with Weekend! The third member is the lovely Juliette Roberts – easily one of the best Brit soul singers of the time – and an artist who really helps push some of the more American influences in the group's music – while still giving the whole thing a bit of a London sparkle, too. The mix is sublime, and the whole album's great – full of classic cuts that include "Autumn Boy", "No Cure No Pay", "Sweet Nothing", "Who's Fooling Who", "Thought I'd Never See You Again", and "Venceremos".

A tasty sampling of tracks from a label that's really starting to get our attention! Dome started out quite a few years back as one of the few strong UK indie soul labels, but early releases didn't grab us nearly as much as some of their excellent recent work – a range of tracks pulled from hard-to-find sources all over the globe, all unified in a real commitment to underground Neo Soul styles! The set features 17 tracks in all, with titles that include "Now You Know" by India T, "Can't Wait" by Kelli Sae, "If You Want My Love" by Incognito, "Keep On Blessing Me" by Donald Lawrence & The Tri-City Singers, "Hey Young World" by Andreus, "The Real Thing" by Avani, "Something Special" by Donna Gardier, "It's Over" by Sinclair, "Sad Days (acoustic)" by Angela Johnson, "Wherever Love Is Found" by Richard Darbyshire, "Nostalgia (VRS rmx)" by Hil St Soul, and "Stories" by Full Flava with Carleen Anderson.

We never stopped ourselves to ask what "stonking" means – but with tunes this great, who cares! The set's the third in a really great batch of Northern Soul compilations from EMI UK – featuring rare tracks pulled from EMI-owned labels like Capitol, Liberty, and other companies that don't necessarily jump to mind when thinking "classic soul" – but who cut some really great singles back in the 60s! The set's a real treasure trove – and features tons of tracks we'd never heard before. Titles include "Kissin Her & Cryin For You" by The Checkmates, "River Of Tears" by Barbara Banks, "I Feel Good" by Bettye Lavette, "One Day Love" by Tommy Dodson, "60 Minutes Of Your Love" by Homer Banks, "Good Little You" by Joey Dee, "I Hurt On The Other Side" by Jerry Cook, "In The Same Old Way" by Scotty Williams, "Turn Around Baby" by Lena & The Deltanettes, "My Heart Is In Danger" by Alder Ray, "She Blew A Good Thing" by Donald Height, "It's A Sad Thing" by Ray Pollard, "Why Did You Do It To Me" by The Thieves, and "I Can't Do It" by Eddie & Ernie.

The beginning of an empire! This was the first solo album cut by the now-famous Kenny "Babyface" Edmonds – cut after years of work in the music business that included stints in the groups Manchild and The Deele, and lots of production work for other LA soul acts. The record's kind of a rougher version of the modern R&B style that you'll know from Babyface's big hits of the early 90s – more in the style of some of the Solar Records acts of the early 80s, and some of the other big keyboard/bass pedal bands on the market at the time. The real contribution, though, is Kenny's ability to infuse the whole thing with soul – taking these tinny little tracks and making them come out kind of sweet, not only through his famous production, but through his faltering vocal style, which is about the most honest-sounding aspect of the record. Titles include "Lovers", "Marry Mack", "If We Try", "Take Your Time", and a cover of "You Make Me Feel Brand New".

From the title, to the cover, to the gritty grooves way down in the wax – this has got to be one of the funkiest Blue Note albums ever – a real landmark from the legendary Lou Donaldson! The set kicks off with a hard and heavy groove from the very first note – thanks to some super-tight drumming by a young Idris Muhammad – still billed under his birth name of Leo Morris on the sleeve, but already hitting the kit with that snapping post-Popcorn style that would revolutionize funky jazz in years to come! Donaldson's plenty smoking himself on electrified alto sax – played with that great mix of flatness and echo that you'd hear in Eddie Harris' albums of the same time – and the rest of the lineup is equally cooking, with Melvin Sparks on guitar, Charles Earland on organ, and Ed Williams blasting away on funky trumpet! Titles include killer remakes of "It's Your Thing" and "Who's Making Love" – plus Donaldson originals "Hot Dog" and "Turtle Walk" – all nice and long, and with a really raw sound!

The cover's a silly one, but the record is rock-solid all the way through – a wonderful blend of funky jazz and warmer soul, and a real lost treasure from the 70s TK Records empire! Fat is Fats Gallon – who plays drums on the record, and also sings lead vocals a bit too – with this raspy southern soul style that's a great counterpoint to the smoother sounds on the set! Things get plenty funky and tough throughout – and the small combo lineup ensures that the record steers quite clear of the more commercial styles that were coming out of the Miami scene in the 70s. There's a jazzy inflection to most of the instrumentation, which makes for some compelling changes that have kept this set going strongly with new generations over the years – and the instrumentation includes loads of great guitar and keyboard bits too. Titles include "Doing Bad", "Tip Of My Tongue", "How Can I Explain", "Magician Man", "Life Is A Beautiful Thing", "Satan's Dream", and "Free My Mind".

Early early work from Lee Fields – a set originally issued at the end of the 70s, but with a raw funky power that's much more like music from a decade before! The set was a real anomaly at the time, and was passed over for years – but through the decades, it's earned Lee legendary status as one of the few cats who were keeping things hard and funky when the rest of the country was going disco – a reputation that's definitely held up strongly by the gritty tracks in the set! There's a strong echo of southern soul in the music – again the feel of something from years before – and the raw production only seems to make the whole thing sound even better – with an edge that's even different than Fields' better-known work of recent years. The album was done for the tiny Angle 3 label – a company so small that it opted for one of the "stock" images that was given the album by the pressing plant, which gave the album a very unspectacular cover – corrected on this deluxe reissue by the great cover image here. This reissue also features loads of bonus tracks too – other rare Lee Fields singles from over the years – making the package a true testament to his pre-revival genius! Album tracks include "Everybody Gonna Give Their Thing Away (parts 1 & 2)", "Flim Flam", "Wanna Dance", "She's A Lovemaker", "Mighty Mighty Love", and "Let's Talk It Over". Bonus tracks include "Fought For Survival", "Funky Screw", "The Bull Is Coming", "Take Me Back", "You Been Cutting Out On Me", and "Bewildered".

The hippest comeback album to date from Al Green – a massively soulful set that we might well rank right up there with his classics from the 70s! Green's got some very hip help in the studio here – production help from James Poyser and Ahmir "?uestlove" Thompson – both of whom push the record past cliche, but also almost help Al sound even more classic than before! There's still a warm Memphis glow to most of the music, but the sound is somewhat leaner too – with a real focus on the best sort of elements that have always made Al Green sound so great – preserved perfectly in these years of his recent return to secular music. The album's got some great guest spots too – horns by The Dap-Kings, drums by ?uestlove, and vocals from Anthony Hamilton, Corinne Bailey Rae, and John Legend – but the show's still clearly all Al's, all the way through – because none of the younger talents ever get in the way of the man doing his thing – and doing it beautifully, too! Titles include "Lay It Down", "Take Your Time", "Too Much", "Just For Me", "You've Got The Love I Need", "Standing In The Rain", "I'm Wild About You", "What More Do You Want From Me", and "No One Like You".

If you've ever needed a definition of hardbop, this is it! The set's a crack quartet session for Blue Note, recorded in the mid 50s by a young Johnny Griffin – fresh in from Chicago, and playing with tons of fire and loads of imagination! Wynton Kelly's on piano and Max Roach is on drums – and the excitement never stops as the group rolls their way through the tightly-crafted tunes on the set. And don't mistake the session as just a head-blowing album with no creativity – because the whole thing's incredibly precise, and the real charm is the way in which the razor-sharp group manages to twist and turn so deftly – yet still always plays with creative imagination and thoughtful solos! Cuts include "Mil Dew", "Chicago Calling", "These Foolish Things", The Boy Next Door", "Lover Man" and "It's Alright With Me". CD features 2 bonus tracks – "Cherokee" and "The Way You Look Tonight".

Quite possibly our favorite album ever from pianist Andrew Hill – a really unique outing that features the vibes of Bobby Hutcherson and a rare non-Sun Ra appearance by tenorist John Gilmore! The presence of Hutcherson brings a real "new thing" energy to the album – a feel that's similar to Bobby's classic Dialogue album, of which Hill was such an important part. But the searching tenor of Gilmore also brings a striking new level to the session as well – and his solos open up with a raw, earthy quality that really shades in the album with a great deal of feeling. Gilmore's role here is a bit like that of Joe Henderson on his freer Blue Note material – but his sound still undeniably unique, at a level that really makes us wish he'd recorded more albums like this at the time. The tracks are all originals by Hill, and include the titles "Duplicity", "Black Monday", "The Griots", and "Le Serpent Qui Danse". CD features 2 bonus alternate takes too!

An amazing album – simply groundbreaking, and a key turn for Jackie McLean! The record features a group of hip young players – including a very young Tony Williams, plus Grachan Moncur III, Bobby Hutcherson, and Eddie Kahn – all playing in a spare contemplative modernist mode that would soon become known as "new thing" jazz. The four tracks on the album – "Frankenstein", "Ghost Town", "Blue Rondo", and "Saturday & Sunday" – are extremely stark, and even Hutcherson's often-warm vibes sound harsh and metallic, especially next to McLean's razor-sharp tone. The record's a real treasure – and never too out to be unenjoyable by fans of McLean's more inside work. Extremely compelling – and we sure wish they were making them like this again! Also includes a bonus alternate of "Saturday & Sunday".

A great title for this Wayne Shorter set – given the free flights and soaring lines served up throughout! There's no need for a net, since Wayne's hardly likely to touch the ground – really loose and free right from the start of the album – less driven by the rhythms than pulling them along with his own boundless energy on tenor and soprano sax! But the rhythm players are plenty great, too – and definitely add to the sound of the set – with Danilo Perez on piano, John Patitucci on bass, and Brian Blade on drums – all players with just the right sort of boundless drive to match Shorter's imagination. The whole thing's great, less dark and obtuse than some of Wayne's other work of the past decade or so – and titles include "Orbits", "SS Golden Mean", "Plaza Real", "Flying Down To Rio", and the extended "Pegasus", which features a guest wind quintet!

Amazing sounds from Witch – a Zambian group of the 70s, and easily one of the heaviest things happening in Africa at the time! Witch stands for "we intend to create havoc" – and the group's style here definitely gets that vibe right – serving up a heady brew of fuzzy guitars, rumbling bass, and dark rhythms – all very much in the best mix of psych and funk you'd find in the Zamrock scene of the time – but with an even prouder, louder feel overall – as if the group were poised to dominate the global market of the 70s – even though it's taken them decades longer to finally get the attention of ears in the Northern Hemisphere! The mix of sharp rhythms and deep bottoms puts the group somewhere in the territory of Cream or T Rex at their best – but they've also got a looser, freer, and more honest vibe that almost pre-figures 80s indie rock in the US – a vibe that's almost Homestead moving into Sub Pop, yet with a rougher production style that really keeps things interesting. A few of the group's albums have been reissued over the years, but this full-length package is simply mindblowing – a box set, with detailed notes, featuring their complete mid 70s recordings – including the albums Lukombo Vibes, Introduction, In The Past, Lazy Bones, and Including Janet – plus a whole bonus set of rare 7" single material too. Now again have really raised the bar with this sweet package – and trust us, the whole thing's an amazing discovering in 70s rock – a real special event of Mojo-like proportions!

One of the best collections of southern funk we've ever heard! The set has a cover that's a bit inconspicuous, but the music is excellent – an extremely well-selected, all-funky batch of tunes that blows away most other sets of this nature we've heard. The tracks start out in the New Orleans scene, then run northward with a hard and heavy sound – all funky 45-style numbers all the way through, with a quality level that's extremely high, and which blows away most of those bootleg-styled packages on the market. The folks at Grapevine are really getting their goods together for these full compilation releases, and this set's their first real funk outing – and a real killer! Titles include "Four Corners (part 2)" by Lee Dorsey, "Mama Said We Can't Get Married" by Warren Lee, "Goobah" by Soul Continentals, "Funky Lu" by Al Trahan, "Hung Up" by Salt, "Junk" by The Fantoms, "Coffee Pot (part 1)" by Bo Jr, "That Thing" by Pee Wee Ellis, "Katty's Thing" by Anthony Butler & The Invaders, "Squeeze Me (parts 1 & 2)" by Dynamic 7, "Down In A Bag" by BB Daddy, "Let The Groove Move You" by Gus The Groove Lewis, and "Hot Tamales (part 1)" by Prime Mates. 20 tracks in all – and all great!

New and old Blue Note collide in this jam-packed 2CD set of tracks! Forget the "chillout" in the title, because a good portion of the set is real jazz from the old days, and the rest is newer material, based around the older ideals of the Blue Note idiom. Together, the music makes for a nice little package of tracks, shifting with ease from classic to future, stepping through a wider array of catalog than you might expect. Titles include "More Than This" by Charlie Hunter with Norah Jones, "Loungin" by Guru with Donald Byrd, "She's A Lady" by Patricia Barber, "Sun At Midnight" by Jason Moran, "Slow Bombing The World" by Marc Jordan, "Flute Down" by Karl Denson, "Off The Record" by Ronny Jordan, "Harvest Moon" by Cassandra Wilson, "God Bless The Child" by Stanley Turrentine, "Cantaloop (inst)" by US3, "Light My Fire" by Julie London, "Ashes" by Greg Osby, "Slow Drag" by Donald Byrd, "Soul Manifesto" by Rodney Jones, "Everything I Do Gonna Be Funky" by Lou Donaldson, and "It's Your Thing" by Grant Green. 24 tracks on 2CDs!

An incredible batch of hillbilly boogie tunes from the 50s, and a stray couple of honky tonk and outlaw jukebox gems from the 60s & 70s – a fantastic sampler of rockabilly and country nuggets put together by the saints at Bear Family – at an incredible price, to boot! The Bear Family label has been exhaustively compiling this kind of thing for decades now, God bless 'em, and they're celebrating their 33rd Anniversary with a series of CDs featuring 33 tunes for an unbelievably friendly price. A real gift to all of us who've shelled out hundreds of dollars for those completist Bear Family box sets over the years! Features fly-by-night obscurities, great stuff from cult heroes, rare ones by legends, and each and every track is a jewel. Includes an uptempo Cash style reading of "Blue Moon Of Kentucky" by Johnny Seay, the jarring "Border City Call Girl" by Ben Hewitt, "Big Family Trouble" by Skeets McDonald, "The Girl Can't Help It" by Rusty York, "The Fool" by Sanford Clark, "Houn' Dog" by Homer & Jethro, "All I Can Do Is Cry" by Johnny Bond, "Don't Stop Now" by Roy Hall, "Juke Joint Boogie" by Freddie Hart, "First Class Second Class Woman" by Eddie Cletro, "Candy & Women" by Bill Haley and tons more!

A beautifully-done collection of work from The Intruders – a brilliant package that follows the group from early harmony days into some of their more sophisticated grooves for Philly International in the 70s! The Intruders have a sound that's unlike anyone else we can think of – a sound that's sweet, but which has a kind of rasp at the back too – a really human, almost hesitating quality to the vocals that makes just about anything they do come out sounding wonderful. And while we're normally not fans of best-of collections over full LPs, we've got to tip our hat to the compilers on this one – because the track list is superb – filled with gems that include "A Love That's Real", "Cowboys To Girls", "Together", "United", "Love Is Like A Baseball Game", "Slow Drag", "Sad Girl", "Me Tarzan You Jane", "When We Get Married", "She's A Winner", "Mother & Child Reunion", "I'll Always Love My Mama", "I Wanna Know Your Name", "Hang On In There", "A Nice Girl Like You", "Plain Ol Fashioned Girl", "To Be Happy Is The Real Thing", and "Save The Children".

An album of dance-oriented tracks by The Miracles – recorded to cash in on the big early success of their hit "Mickey's Monkey"! The set leaps and jumps with the same sort of energy as that great track – a side of The Miracles' talents that's a bit more upbeat than usual. And while we miss the ballads and mellower cuts that we love from the group in their early years, we really love the full-on Holland & Dozier production – which pushes the tunes along strongly with a real wall of sound! Titles include "Mickey's Monkey", "Dance What You Wanna", "The Wah-Watusi", "Dancin Holiday", "Land Of 1000 Dances", "Do You Love Me", and "The Groovey Thing". Away We A Go Go is a fantastic album from Smokey and the crew! The record features insanely wonderful lead vocals by Smokey, on a lot of tracks that are less familiar than the big hits – but still really really wonderful. Backing by the group is great, too – and the overall sound is extremely sweet harmony soul, with a perfect Motown set of arrangements behind the band. Titles include "Can You Love A Poor Boy", "Baby Baby", "I'm The One You Need", "Save Me", "Oh Be My Love", and "Swept For You Baby".

Cheekily-titled, totally invigoring live material from Japan's great avant jazz sax player Akira Sakata, never-predictable soundscape crafter Jim O'Rourke (on guitar, harmonica and electronics here) and the Chikamorachi duo of drummer Chris Corsano and bassist & percussionist Darin Gray – recorded during a 2008 tour of Japan! Disc One features 2 nearly half hour long pieces titled for the city being visited: "Kyoto" and "Hanamaki". Sakata's sax is a thing of grace and beauty in solo moments, and he digs in with the tense, noisy dynamic of the more heated passages with O'Rourke, Corsano and Gray in real heated way. Disc Two features "Nagoya 1" (a 22 minute tumult), "Nagoya 2" (slow-building with an intense Sakata solo) and "Nagoya 3" (another ascending, increasingly dynamic effort that runs north of 15 minutes).

One of the few live recordings ever done by Horace Silver during his Blue Note years – a real surprise, considering what a crowd pleaser he was at the time! The set catches Horace working with that great quintet that graced most of his best early Blue Notes – with Blue Mitchell on trumpet, Junior Cook on tenor, Gene Taylor on bass, and the always-amazing Roy Brooks on drums. The groove is tight tight tight, and the live set crackles with the same sort of energy as the live sessions by the Jazz Messengers on Blue Note – rolling soul jazz, but with a bit of a lyrical touch to flesh things out. Because of the live setting, tracks are a bit longer than the usual Silver session – which makes for freer soloing, and a bit of a rougher edge that keeps things lively throughout. Titles include "The Gringo", "Filthy McNasty", and "Doin' The Thing".

A brilliant album by Monk – a real comeback from the late 50s, and a record that features some of his best writing for horns! The group is incredible – bringing together Clark Terry, Sonny Rollins, and Ernie Henry – in a bracing front line that takes Monk's angular piano compositions, and forges them into a horn sound that would have an undeniable influence on modern jazz for years to come! The whole thing's brilliant, and titles include "Brilliant Corners", "Ba-Lue Bolivar Blues Are", "Pannonica", and "Bemsha Swing". Includes 3 bonus tracks.

An incredible debut – and the birth of a genre! India Arie burst upon the Neo Soul scene with this sweet little set a few years back – and her career's been burning up ever since! The set's got all the best elements of some of the best indie soul of recent years – sweet beats, honest vocals, and warm instrumental touches – but the best aspect is the "acoustic soul" use of guitar to give some tracks a slightly folksy feel – one that sets India apart from some of her contemporaries with a really personal approach! The whole thing's great – overflowing with wonderful tracks that include "Video", "Brown Skin", "Back To The Middle", "Part Of My Life", "Always In My Head", and "Nature". CD also features a bonus Stevie Wonder dedication – "Wonderful"!

A great second album from India Arie – sweet, smooth, soulful, and one we like even better than the first! The style is wonderful – a mix of warm vocals, spare production, and acoustic guitar – which gives the set a folksy quality that really offsets the smooth backings nicely. Songs are very well written, and linked together with a sensuous musical approach that makes the whole album drift nicely along – beating with the heart of underground soul set, but handled with a high level of class! Titles include "Beautiful Surprise", "Little Things", "Growth", "Talk To Her", "Headed In The Right Direction", "Good Man", "Complicated Melody", and "The One". Limited CD features the bonus track "Interested".

A landmark set from the German prog scene – the first amazing utterance of Ash Ra Tempel, and a standard-setting album that few others could ever hope to match! The sound here builds beautifully – coming out of abstract, noisy territory, then finding shape as the record goes on – a perfect blend between the instruments and new studio modes that really help the textures and tones come to the forefront! The group features Klaus Schulze on drums and electronics, Manuel Gotsching on guitar, and Hartmut Enke on bass – and Conny Plank worked the knobs, to help the whole thing come together like magic! Each song takes up a side of the record – and titles include "Amboss" and "Traummaschine".

The slimmed-down, single LP effort that Capitol issued after the collapse of the legendary Smile album – and a pretty sublime set nonetheless! Sure, some might argue that you can't enjoy Brian Wilson's genius until you've listened to 20 bootlegs of the sessions with dozens of takes on the tunes – but honestly, this slim little set is more than enough to prove to us that the man's a genius – and it's filled with really wonderful tunes that still stand as some of the most incredible moments in 60s pop! Production is amazing, vocals are wonderful, and the quick changes of theme and setting really keep things interesting – all without making us feel like we're getting hit over the head with some cheap gimmicks. Titles include "Vegetables", "Heroes & Villains", "Fall", "Little Pad", "With Me Tonight", and "Wind Chimes".

George Benson more than earns the title on this one – given that most of the tracks feature backings from the Count Basie Orchestra under the direction of Frank Foster – a great ensemble who really help keep things soulful throughout! Despite the date of the set, the feel here is a bit more classic than most of Benson's work from the time – as the group bring a full acoustic soul to the record – a swelling, swaying brace of horns that seems to push George's vocals a bit more than usual – past that simply sweet style that was the usual Benson bag. There's a range and depth here that's really surprising – a quality that goes past the hokey title, which might make you expect less from the record – and although there's a few brief moments that get slightly contemporary, these pass quickly in favor of a classic groove. Titles include "On Green Dolphin Street", "Without A Song", "Ready Now That You Are", "Basie's Bag", "Skylark", and "How Do You Keep The Music Playing".

The first ever album from smoothly soulful jazz guitarist Norman Brown – produced by Norman Connors, and a really nice, tight set that stands up as a shining example of what smooth jazz could and should have been in the early 90s! The tight sound and the crisp, clean production is near perfect – and the performances bring genuine emotion and real soul. Players include Herman Jackson and Ziggy Linsey on keys, Paulinho DaCosta on percussion, Ronnie Laws on soprano sax and Chuck Morris on drums. Titles include "Stormin'", "Just Between Us", "East Meets West", "Love's Holiday", a nice take on the Stevie Wonder classic "Too High", "Something Just For You", "Here To Stay", "Moonlight Tonight", "Sweet Taste" and "Inside".

Like Dave Brubeck's legendary Time Out set? Try this one – a great record that takes off from the concept of the first, but which goes in some very fresh new directions – using the same great group with Paul Desmond on alto, Eugene Wright on bass, and Joe Morello on drums! Dave's still working out some nutty time signatures here – but apart from the science, the thing that really makes the record cook is Desmond's alto – icy, edgey, floating, and always a treat – almost even more amazing in the space of some of these offbeat numbers. Titles include "Maori Blues", "Far More Drums", "Bluetee", "Far More Blue", and "It's A Raggy Waltz".

Great earlier stuff from Natalie Cole – actually her third great album in a row – a tremendous early creative and commerical winning streak for Natalie! Thankful has her sweet, soulful voice out from of prodcution by Chuck Jackson and Marvin Yancy of the Independents, and they give her a nice jazzy sound that made the record one of her best of the 70s. Richard Evans and Gene Barge arranged, which probably had something to do with that, too – but Natalie truly deserves most of the credit of the strength of this set. It includes the standout groovers "La Costa" and"Annie Mae", but the whole record is really sweet – with "Lovers", "Our Love", "Be Thankful", "Just Can't Stay Away" and "Keeping A Light".

A classic collection of grooves from the legendary Cortijo – most of which feature lead vocals from Ismael Rivera – mixed with a few other great tracks from later years too! Cortijo's combo was one of the leading lights of the pre-salsa scene – and his firey percussion really keeps things going here – helping to lay down some excellent rhythms that are perfect for the soaring vocals from Rivera, and other singers who include Azuquita, Pepito Negron, Jorge Millet, and Nacho Sanabria. Titles include "Sacame De Aqui", "Fuerza E Cara", "Coje Pa La Cola", "Calambre", "Bombon De Canela", "Agua Que Va A Caer", "Se Escapo Un Leon", "Aqui Estoy Ya Llegue", and "Arrecotin Arrecotan".

Miles Davis' first-ever performance in Japan – a really unique concert that featured the quintet with Herbie Hancock, Ron Carter, and Tony Williams – augmented by a young Sam Rivers on tenor! The presence of Rivers really gives the set an edge – and although Miles is holding Sam a bit more in check than on some of his "new thing" albums from the time, there's an overall quality here that's different than the other Davis quintet albums of the time. The set was one of a number of important Miles Davis live sessions from the period – including albums from Berlin, Antibes, and Chicago – and titles include "If I Were A Bell", "My Funny Valentine", "So What", "Walkin'" and "All Of You".

Delegation really hold onto their groove in this rock-solid second set – an album that burns with vibrant energy right from the start – but all in ways that are really a cut above the usual uptempo soul of the time! Rhythms are a key part of the sound, but it's the trio's vocals that really hold us rapt – a warmly glowing approach to the lyrics, and one that still keeps things plenty soulful, even when tunes are upbeat, catchy, and very firmly aimed at the dancefloor! These guys were never huge at the time, but they've got a near-perfect sound throughout – a sense of funk that rivals some of the large-member ensembles, and a warmth with their vocals that matches some of the solo acts of the period. Titles include the sublime "In Love's Time", which has a great Earth, Wind & Fire kind of groove – plus "Singing", "Feels So Good", "In The Night", "Gonna Keep My Eyes On You", "12th House", "Turn On To City Life", and "I Wantcha Back".

Damn great work from Raheem DeVaughn – the full promise of his soulful sojourn in the underground mixtape scene! Raheem first got his start laying down vocals over beats and other folks' tracks on self-crafted CDs that changed hands covertly in the east coast scene – and that experience gave him plenty of time to grow and mature, quietly developing his sound to a point where he can really burst forth with power on a record like this! There's still a bit of the old mixtape feel going on here – a range of older musical influences that inform Raheem's tunes – and a personal, almost casual approach that has DeVaughn speaking intros to some tracks, almost as if he's spinning them out with a personal, conversational style. Yet the production is also much better than before too – quite warm, with some great beats and keys in the mix – proof that stepping out of the underground can often be a good thing for a soul artist. Titles include "Customer", "Hello Love", "Woman", "Love Drug", "Friday", "Can We Try Again", "Empty", "Four Letter Word", and "Woman I Desire". Includes guest appearances from Floetry, Big Boi, and Malik Yusef.

The third in The Drifters' early 70s revival run in the UK for Bell Records – and possibly the strongest album of the bunch! The lineup of the group has changed a bit, but the sound here is still the same – a nice 70s update of the group's earlier sound – in a way that still keeps all the lilting moments of the early 60s Drifters' style on Atlantic, but which also brings in some fuller, smoother production too – handled by Roger Greenaway, who also wrote a number of tracks for the record too. The wealth of original material really keeps things fresh – and has the group stretching past a simple rehash of the early days – and titles include "The Juggler", "Harlem Child", "Hello Happiness", "I've Got You On My Mind", "Don't Cry On A Weekend", "Can I Take You Home Little Girl", "There Goes My First Love", and "You Chose A Fine Time". CD also features 2 bonus tracks – "It Looks Like I'm The Clown Again" and "Closely Guarded Secret".

A double disc CD & DVD package showcasing one of our favorite souful acts on the contemporary landscape – Nicolay & Phonte's brilliant and ever-evolving Foreign Exchange project! Dear Friends showcases an acoustic concert performed for a private audience –- the great touring lineup that includes Zo!, Sy Smith, and singer/songwriter Jeanne Jolly. From the get go, we've been impressed by both the original songwriting from Foreign Exchange as well as the way they filter diverse influences into their own unique vibe – and this acoustic setting really gets to the heart and soul of it. This is an essential document for fans of the group, but it's also a fine intro if you're just now coming aboard! The live set includes "Fight For Love", "All Roads", "Take Off The Blues", "Lose Your Way", "Greatest Weapon Of All Time", a nice cover of James Taylor's "Something In The Way She Moves", "Laughing At Your Plans", "Daykeeper", "House Of Cards", Zo!'s "Greatest Weapon Of All Time" and "I Wanna Know". Also includes 2 new studio tracks: "Steal Away" feat vocals by Jeanny Jolly and piano by Zo! and "All The Kisses" feat Amber & Paris Strother of KING.

Surprisingly great work from Full Force – a set that seems to only get better with the passage of time, set apart nicely from most of its 80s soul contemporaries with a good deal of homegrown charm! Sure, there's some pretty heavy beats here – and sure, the sound is a few notches towards commercial/crossover territory – but there's also a really honest appeal to the record, a kind of intimate group feel that's an update of 70s funky groups – taken more strongly into an electric 80s style! Vocals come through nicely on some of the best tracks, and relax into the groove on some of the others – and titles include "Unfaithful", "Never Had Another Love", "Temporary Love Thing", "Old Flames Never Die", "Child's Play (parts 1 & 2)", and "Chain Me To The Night". CD also features lots of bonus tracks – including "Only Temporary", "Temporary Bow Legged Theatre", "Unfaithful (faithful rmx)", "Old Flames (My Desire My Burning Fire)", "Love Scene (12" mix)", and "Unfaithful (doctor no na na no no no)".

For some odd reason, the Collectables label chose to release albums by two different artists on one CD. We should be mad at them for that, but we can't get that angry, since we're extremely happy to have this Jimmy Giuffre album back in print again! Travelin' Light is one of Giuffre's best albums of all time, and the record is a perfect realization of his piano-less/bass-less trio style. The group is simply Bob Brookmeyer on trombone, Jim Hall on guitar, and Giuffre on reeds – and the sound is amazing! Notes hang in mid-air, slowly sliding around one another, flying freely from the players, yet still managing to swing in a beautiful way. The titles are a mix of standards and originals – but all tracks sound completely unique, with a sound unlike anything else we can describe. Cuts include "Swamp People", "Lonely Time", "Green Country", and "Travelin Light". The Mabel Mercer album? Consider it a bonus!

Fantastic stuff! This was one of Grant Green's first ever sessions, and it's a winner all the way through! Dave Bailey and Ben Tucker back up the young Grant in a set of impeccably played guitar grooves that showcase the brilliant technique of this young genius – straight and to the point guitar jazz, with a soulful feel that gives the album a really warm finish. The whole thing's great – and the album's got some great original titles that include "No 1 Green Street", "Grant's Dimensions", and "Green With Envy" – all of which sound a lot better than they're titled, too! Also includes two alternate takes.

Surprisingly fantastic bit of funky sitar tracks! The project's a recent one, but it's got a classic 70s global crossover funk sound that's very much in the vein of the weird Indian-funk work of Ananda Shankar or The Dave Pike set. The record's got a raw Meters-esque groove at the base – which makes for a very tight funky sound – and Ravi plays these cool sitar licks over the top, in some very tasty riffs! Includes a bunch of great originals, like "Funky Sitar Man", "Path of the Blazing Sarong", and "Ravi's Thing" – plus great covers like "Look A Py Py", "Same Beat", and "Pass the Peas". Really good stuff, and way better than we expected it to sound!

The darkly brooding image of Hampton Hawes on the front cover of this one is a real standout in the mostly-sweet cover lineup of the Contemporary label – but it's also a great indication of the sound of the record, which is something different than most of its contemporaries! Hawes is working here at his top-shelf early best – stepping around the keys of the piano with a sense of grace and spaciousness – but also a hard-hitting, highly rhythmic mode on the left – a bit soul jazz at times, mixing earthy elements with the sweeter, lyrical moments in his solos. Rhythm is by the team of Red Mitchell and Chuck Thompson – and titles include "Yesterdays", "Blues For Jacque", Stella By Starlight", "Steeplechase", "Round Midnight", "Autumn In New York" and "Section Blues".

A young group, but one with a great take on an older aesthetic in jazz – the chamber styles of the late 50s modern scene, recast here with a hell of a lot more energy than before! The group play together in differing formations – from trio to septet – and their vision here is really wonderful – hardly just a copycat of the more academic modes of the RCA or west coast scenes of the 50s, and instead a really great style that shows the evolution of that genre through other modern generations that include the AACM and loft jazz scene of the 70s. These guys are great, and really onto something good – and the lineup includes John Beard on guitar, David McDonnell on alto and clarinet, Nick Broste on trombone, Patrick Newbery on trumpet, Nate Lepine on flute, Greg Danek on bass, and Dylan Ryan on drums and vibes. Titles include "The Sparrow", "Italian Ice", "Lavender Panther", "Mahogany", "Red Dawn", and "Eyeball".

A real standout in the early career of trumpeter Freddie Hubbard – a very unique session that has him working with some larger arrangements in the background – blowing these magical solos over the top, while still hitting a great edge with the rest of the musicians as well! There's a sound here that's unlike anything else we can think of – including other big band trumpet dates of the time – partly because the set features a fair bit of arrangements by Wayne Shorter – a very rare side of his talents, but one that's equally as soulful as his sublime small group albums of the time. The record has an undeniable depth right from the start – magical, mystical, and very soulful – with a group that includes Eric Dolphy and Wayne Shorter on saxes, Curtis Fuller on trombone, Cedar Walton on piano, and Reggie Workman on bass. Tracks include "Chocolate Shake", "Thermo", "Clarence's Place", and "Aries".

A soaring set of solo piano from Weber Iago – music that bubbles and flows with a beautifully spontaneous quality – almost in the mode of a lost ECM session from the 70, but with all the warmth we've come to love from the Adventure Music label! The set may well be the best so far in the label's piano masters series – and presents Weber Iago at a level that's wonderfully compelling – spinning out these original tunes that are filled with deft changes and surprising angles, yet which always have a sense of soulful color and personal timing that really keeps things from getting overindulgent. Titles include "Stairway To Us", "It Dawned On Me", "Mirrors", "From I To Z", "Carmela", and "Happiness Is A Choice".

Wonderfully sophisticated soul from Etta James – a real departure from the raw shouting R&B of earlier years, and perfectly set to sparkling arrangements by the great Riley Hampton (who'd had similar success with Walter Jackson, Lorez Alexandria, and other Chicago soul stars.) Hampton's dark use of strings brings out a whole new side of James' brilliance – a quality that raised Etta James up out of the R&B ghetto, and forever put her into the legions of legendary 60s soul stars! Titles include the perennial classic "At Last", plus "All I Could Do Was Cry", "Tough Mary", "Sunday Kind Of Love", "Anything To Say You're Mine", and "Trust In Me".

Hard wailing! Poppa Lou's caught right at the height of his early Blue Note powers here – recorded in 2 different groups on this set of unreleased sessions from the early 60s! Both sets have Lou in a guitar/organ soul jazz setting – with backing by Grant Green on guitar, and either Jack McDuff or John Patton on organ. The McDuff set features the great Joe Dukes on drums, and the session sparkles like one of McDuff's best Prestige albums from the time. The other session has the classic Patton/Green lineup augmented by trumpeter Irwin Stokes, a lesser-known talent who really opens up the sound nicely. There's a total of 9 tracks in all – a number of them ballads, but done with a lively soulful tone that keeps the whole thing nice and fresh – even after sitting in the vaults for nearly 40 years! Titles include "Star Dust", "Hippty Hop", "Please", "Man With A Horn", and "Cherry Pink & Apple Blossom White".