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Titles include "A Jah Jah", "That's The Way", "Good Morning Jah", "Easy Sailing", and "Play Play".

Easily the best record so far from Maria Rita – a set that really pushes her talents a lot, and reaches for a wider range of expression! The vocals are still very much at the forefront – that great legacy from mother Elis Regina, with a similar heavenly approach that works with just about any sort of lyric – but the backings shift things around a good bit, too – moving between full, lush orchestrations, and some gentler, jazzier modes – and even a few cuts that have a lively sense of rhythms. Maria's great throughout – clearly standing strongly on her own, even without the family pedigree – on tunes that include "Santana", "Conceicao Dos Coqueiros", "So De Voce", "A Outra", "Nem Um Dia", and "Pra Matar Meu Coracao". US version features the bonus track "Coracao Em Desalinho".

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

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".

Sweet English vocals from this overlooked Dutch singer – a jazzy session recorded in the early 70s, but issued here for the very first time! The tracks have a great blend of jazz and groovy – in ways that recall some of the cooler singers on the Scandinavian scene of the time – or maybe work you might find on MPS from a few years before. Cees Schrama adds some great Fender Rhodes and Hammond to the backings – which also include the great Ferdinand Povel on tenor and flute. Titles include a killer funky version of "I Feel The Earth Move" – plus "The Fool On The Hill", "For Every Man There's A Woman", and "Mr Bojangles".

Easily the best record so far from Maria Rita – a set that really pushes her talents a lot, and reaches for a wider range of expression! The vocals are still very much at the forefront – that great legacy from mother Elis Regina, with a similar heavenly approach that works with just about any sort of lyric – but the backings shift things around a good bit, too – moving between full, lush orchestrations, and some gentler, jazzier modes – and even a few cuts that have a lively sense of rhythms. Maria's great throughout – clearly standing strongly on her own, even without the family pedigree – on tunes that include "Santana", "Conceicao Dos Coqueiros", "So De Voce", "A Outra", "Nem Um Dia", and "Pra Matar Meu Coracao".

Hard to deny the lasting power of this crucial album from The Beatles – a set that unleashed some of their trippiest sounds and most tender moments too! The mix of wit and honesty is wonderful – and the sonic range is dynamic as the archetypal cover image – a package that's had an undeniable impact on modern music for the past few decades! Titles include "With A Little Help From My Friends", "Lucy In The Sky With Diamonds", "She's Leaving Home", "Lovely Rita", "When I'm Sixty Four", "A Day In The Life", and "Fixing A Hole".

Hard to deny the lasting power of this crucial album from The Beatles – a set that unleashed some of their trippiest sounds and most tender moments too! The mix of wit and honesty is wonderful – and the sonic range is dynamic as the archetypal cover image – a package that's had an undeniable impact on modern music for the past few decades! Titles include "With A Little Help From My Friends", "Lucy In The Sky With Diamonds", "She's Leaving Home", "Lovely Rita", "When I'm Sixty Four", "A Day In The Life", and "Fixing A Hole".

Rare solo material from pianist Leo Cuypers – a really wonderful set that gives us a chance to hear his talents in a completely unfettered setting! We know Cuypers best from some of his efforts in groups, and it's a great change to hear him here on his own – working through some amazing original compositions that are filled with life and feeling! At some points, he's got all the wit, energy, and sharp edges of contemporary Misha Mengelberg – but at other times, there's this lyrical cohesion to his music that almost reminds us of the most tuneful moments of Steve Kuhn or Keith Jarrett – an obvious great range of sounds to come from one player in such a small space – which makes the album possibly the greatest illustration of Cuyper's genius we've ever heard. Titles include "Lovely Rita", "Monk's Raus", "Het Cowboylied Van Ome Piet", "One Million Dollar Song", "Tristano Song", and "Lovely Rita". CD also features 3 long bonus tracks too!

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

Spacey hip hip soul production from Portformat – with compelling beats and electronics – and bringing in a diverse roster of guest vocalists who all work well in the format! Guests include Georgia Anne Muldrow & Dudley Perkins, Miles Bonny, Colonel Red, Stan Smith, Eagle Nebula, Alicia Renna, Amalia and more. Includes "Bitter Sweet" with Eagle Nebula & Trezure Empire, "Cosmic Rays" with Pursuit Grooves, "It's Been A Long Time" feat Astrid Engberg, "Scream & Shout" with Miles Bonny, "The Bear", "So Good" by Stan Smith, "Move On Up" with Colonel Red, "Dream" with Shuanise, "Science Fiction" with Distant Star, "King Smiles" with Alex Rita Bramsen, "These Haters" with Georgia Anne Muldrow & Dudley Perkins and more.

Brilliant stuff – the follow-up to Sesame Street, a hipper show that was aimed at older kids, and which kind of played up the groovier aspect of the music a bit more at times. The soundtrack features performances by Rita Moreno, Morgan Freeman, June Angela, and Skip Hinnant – as well as many others – and the tunes are a groovy groovy batch of tunes written by Joe Raposo in the same mode as his best work for Sesame Street. If anything, there's a bit more hippie in this one – as well as a bit more Multiplication Rock goofiness – as you'd guess by tunes with titles like "Giggles Goggles", "Silent E", "Easy Reader", "Clam Song", "Sign Song", "D", and "Punctuation".

Great late 70s work from Jimmy Smith – two albums back to back on a single CD! One of our favorite later albums from organist Jimmy Smith – and a set that cooks heavily in a wicked blend of jazz, funk, and soul! The style's a bit like the groove that Johnny Hammond hit during his Gears period – arranged by Eugene McDaniels and Alan Silvestri, with an approach that's somewhere between Larry Mizell and Skip Scarborough – tight grooves, bits of vocals, yet plenty of room for Smith's keyboard solos to take off over the top! Players include Herbie Hancock on piano, Alan Silvestri on guitar, and Lenny White on drums – but the main star is Jimmy – who's grooving massively over the top of the album, with soaring solos that are some of his best work from the late 70s. Our favorite track on here is a masterful take of "Can't Hide Love", but there's a lot of other nice funky tracks like "Slippery Hips", "My Place In Space", and "Give Up the Booty". Unfinished Business is mighty soulful business from the great Jimmy Smith – a set for Mercury Records that updates his sound slightly, yet also hits some classic Hammond lines too! Jimmy plays a bit of acoustic piano and keyboards in addition to his classic organ – and works here in a setting that's tightly arranged, yet mostly small combo – with work from Ray Crawford on guitar, Nolan Phillips on tenor and flute, and added percussion from Buck Clarke and Stephanie Spruill. Rhythms step along nicely in kind of a 70s take on 60s soul jazz modes – leaving lots of room for Jimmy to open up on his solos – but there's also a few other more ambitious moments, including a great take on "Serpentine Fire" arranged by Ronnie Foster – and a warmly wonderful "Stevie" – which is a suite of tracks dedicated to Stevie Wonder. Other titles include "8 Counts For Rita", "Blues For Charlie", "Until It's Time For You To Go", and "Norristown PA".

A great full-length set from Dandy Teru – a producer who's been making a fair bit of waves in the underground in recent years – finally stepping into the limelight here himself! Teru's got a great ear for a crispy beat and cosmic keyboard line – often fusing the two together in a trans-spatial way that creates a nice undercurrent of older soul and funk, yet which still retains a really contemporary vibe! This approach works really well for the range of talents helping Dandy out on the set – including Ty, Moka Only, Rita J, Quiet Dawn, Count Bass D, Tchad Unpoe, and Sarah Gessler – all different voices that help shape the sound of the record, and really unleash the variety in Teru's approach. Titles include "Fragile Things", "Below", "Wake Up Now", "Burned", "Waters", "Clouds Catcher", and "Rwvnll" – plus a few remix tracks too.

The music of John Lennon, but handled by a host of different Brazilian artists – on this cool set of tracks pulled together from albums of the 60s, 70s, 80s, 90s – plus a few tracks from more recent years too! The set shows a really lasting influence of this Beatle's music on Brazil – from early takes that echo a more direct relationship to Lennon's recordings, to later MPB reworkings that have things really running deep, and coming out in rich new ways! Titles include "Come Together" by Wilson Das Neves, "Because" by MPB4 & Quarteto Em Cy, "Norwegian Wood" by Milton Nascimento, "Love" by Ivan Lins, "How Do You Sleep" by Kadu Mota, "Meu Bem" by Ronnie Von, "Demais" by Veronica Sabino, "My Life" by Leila Pinheiro, "Child Of Nature" by Daca, and "In My Life" by Rita Lee.

The music of Paul McCartney – not only given a Brazilian twist, but a feminine one as well! The set features a host of fresh reworkings of Paul's best compositions – mostly Beatles' tunes, and really done in some compelling new versions – hardly covers at all, and more like completely new ideas that are formed from the original songwriting! Some tracks are vintage, and a lot more are more recent recordings – and all are pretty darn great – hardly what you'd expect at all on an album like this. Titles include "Eleanor Rigby" by Cassia Eller, "I Will" by Erika Martins, "And I Love Him" by Rita Lee, "My Love" by Leila Pinheiro, "Girlfriend" by Liah, "I Am Your Singer" by Hevelyn Costa, "Suicide" by Twiggy, "Here There & Everywhere" by Gal Costa, and "Ob La Di Ob La Da" by Pato Fu.

Recorded live at the Reggae Sunsplash festival in 1981, with a tremendous line up paying tribute to Bob Marley: Steel Pulse ("Sound System" & "Handsworth Revolution"), Rita Marley & I Threes, the Melody Makers & the Wailers, Eek A Mouse with the Wailers, Denis Brown ("If I Had the World"), Black Uhuru ("Guess Who's Coming to Dinner"), Sheila Hylton, Gregory Isaacs ("Soon Forward"), Carlene Davis, the Mighty Diamonds ("Right Time") & Third World.

A beautiful illustration of the sound of Studio One Records – that unique quality that makes the legendary label one of the most soulful sources of Jamaican music ever! The package is a surprisingly great treat – one that's still amazingly essential, even if you've got other Studio One collections – as it really has an unusual approach – one that seems to get past all the sub-genres of Jamaican music, and focus on the core genius of Studio One! In that respect, there's a very deep soul vibe to most of these tracks – almost a Kingston echo of Memphis or Muscle Shoals, not in the style of music – which is usually early reggae or rocksteady – but in the way all the core elements of the tunes come together perfectly, even before the singer's great vocals come into the mix! Once again, Soul Jazz prove that they've got a magical set of ears – as you'll hear on this collection of tracks that includes "Happy Feelings" by Dub Specialist, "Live Up To Your Name" by Prince Lincoln, "Happy Valley" by Reuben Alexander, "There's A Fire" by Larry Marshall, "Rolando Special" by Roland Alphonso, "Homeward Bound" by Freddie McGregor, "Hip Hug" by Slim Smith, "Good People" by Ras Michael & The Sons Of Negus, "Keep On Moving" by Lord Tanamo, "Trouble Maker" by Wailing Souls, "Call To Me" by Rita Marley, and "Double Minded Man" by Anthony Ellis.

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!

A great tribute to the concept of the "wants list" – that crumpled piece of paper that nearly every record collector carries around with them, a listing of hard to find recordings that they're always trying to track down! The set is a great mix of obscure 60s and 70s soul, with a real focus on the kinds of cuts that are all pretty darn important – but also equally hard to track down on their own. Mellow soul is the dominant groove here, making the package a winning set of some killer tunes that are equally appealing now as they were back in the day! Titles include "Touch Me Take Me" by Rita Wright, "Light My Fire" by Erma Franklin, "This Feeling's Rated X-Tra" by Carl Carlton, "One Girl Too Late" by Brenda & The Tabulations, "Let Me Be" by The Duncans, "Mon Belle Amour" by Ann Pebbles, "I Think I'm Falling In Love With You" by Natural High, "I Just Got To Know" by Bennie Johnson, "City Of Brotherly Love" by Soul Survivors, "I'm Always Dancing To The Music" by Benny Golson, "Making Love" by Lou Ragland & GLO, "Hearts & Flowers" by GC Cameron, and "Beware" by Lou Courtney.

A seminal set from Jorge Ben – one that mixes samba soul with more baroque arrangements from the legendary Arthur Verocai! The record's got a different feel than some of Jorge's other work – almost a wider vision of music that ties his usual funky style to some of the more ambitious modes being explored by Marcos Valle and Edu Lobo at the time – expressed here in some larger instrumental passages that shade the tunes lightly, while still letting Jorge step out strongly on vocals and the usual mix of tight percussion and raspy guitar. Titles include "Que Maravilha", "Rita Jeep", "Comanche", "Porque E Proibido Pisa Na Grama", "Cassius Marcelo Clay", "Palomaris", "Maria Domingas", and "Negro E Lindo".

Zeze Motta sings songs by Rita Lee, Gilberto Gil, Caetano Veloso, and Chico Buarque. Arrangements were done Liminha. Songs include "Baba Alapala", "Pecado Original", and "Trocando Em Miudos".

One of the hardest rocking albums ever cut by Os Mutantes – a record that's got a slightly ironic take on rock and roll styles of the time – still performed with the sense of drama and humor that always made the band so great! Rita Lee and Arnaldo Baptista are still in the group at this point, and they're working amidst a heavy wave of guitars that echo out with a bit of keyboards and some rhythms that are chunky enough to almost be called funky at times, but sweet and dreamy at others – all produced with a flanged-out finish that makes the whole thing sound great! Titles include "Balada Do Louco", "Todo Mundo Pastou II", "Cantor De Mambo", "Dune Buggy", "Rua Augusta", and "Posso Perder Minha Mulher, Minha Mae, Desde Que Eu Tenha, O Rock and Roll".

Film recording – with Natalie Wood, Rita Moreno, and Richard Beymer.

The second set of madness from the legendary Os Mutantes – and like the first, an album done in close collaboration with arranger/producer Rogerio Duprat, whose talents add a new level of genius to the record! The album's got a compelling mix of styles that strikes out on the very first tune – a playful pastiche that's partly postmodern, partly psychedelic, and still tremendously powerful decades later – even if you can't understand most of the lyrics! Styles are just about impossible to pin down, but that's what makes the record so unique and essential – and if you ever needed one album to convince you of the mindblowing energy taking place during the Tropicalia years, this one may well be it! A few tracks are written by Tom Ze, and titles include "Dom Quixote", "Dia 36", "Magica", "Rita Lee", "Algo Mais", "Qualquer Bobagem", and "Fuga No II".

Mighty soulful business from the great Jimmy Smith – a set for Mercury Records that updates his sound slightly, yet also hits some classic Hammond lines too! Jimmy plays a bit of acoustic piano and keyboards in addition to his classic organ – and works here in a setting that's tightly arranged, yet mostly small combo – with work from Ray Crawford on guitar, Nolan Phillips on tenor and flute, and added percussion from Buck Clarke and Stephanie Spruill. Rhythms step along nicely in kind of a 70s take on 60s soul jazz modes – leaving lots of room for Jimmy to open up on his solos – but there's also a few other more ambitious moments, including a great take on "Serpentine Fire" arranged by Ronnie Foster – and a warmly wonderful "Stevie" – which is a suite of tracks dedicated to Stevie Wonder. Other titles include "8 Counts For Rita", "Blues For Charlie", "Until It's Time For You To Go", and "Norristown PA".

A great full-length set from Dandy Teru – a producer who's been making a fair bit of waves in the underground in recent years – finally stepping into the limelight here himself! Teru's got a great ear for a crispy beat and cosmic keyboard line – often fusing the two together in a trans-spatial way that creates a nice undercurrent of older soul and funk, yet which still retains a really contemporary vibe! This approach works really well for the range of talents helping Dandy out on the set – including Ty, Moka Only, Rita J, Quiet Dawn, Count Bass D, Tchad Unpoe, and Sarah Gessler – all different voices that help shape the sound of the record, and really unleash the variety in Teru's approach. Titles include "Fragile Things", "Below", "Wake Up Now", "Burned", "Waters", "Clouds Catcher", and "Rwvnll" – plus a few remix tracks too.

One of our favorite Cal Tjader albums ever – and one of the first to have his vibes working alongside Fender Rhodes! The record's a surprising little set from the start of the 70s – one that almost has Cal picking up some of the New York sounds of a few years before, then mixing them up with a hipper west coast electric style in the end – a Fantasy Records vibe that meshes together a few different modes, and comes up with a rich new style in the process! There's a bit of vocals on the set – somewhat unusual for Cal Tjader, and often used to augment the soulfully snapping grooves of the best tunes – but even more amazing is the heavy use of Fender Rhodes, played here by the amazing Al Zulaica, who's work on the album really ranks right up there with the best early 70s keyboardists on the coast! Zulaica's piano is amazing next to Cal's warmly chromatic vibes – and other instrumentation includes saxes from Bill Perkins, flute from Mel Martin, trumpet from Luis Gasca, moog from Rita Dowling, and percussion from both Pete and Coke Escovedo. Titles include the killer "Aqua Dulce (Cool-Ade)", a fantastic version of "Gimme Shelter", a sublime of Clare Fischer's "Morning", and the cuts "Ran Kan Kan", "Descarga Cubana", "Curacao", and "Somewhere In The Night".

An incredible compilation of dancefloor soul & disco from the early 80s – rare, extended and previously unreleased mixes by NYC legend John Morales – featuring essential material from Logg, Universal Robot Band, Tony Adderly, Class Action, Inner Life and more! Morales was a part of the DJ remix scene that made club ready soul gems out of a bunch of the pop and soul hits of the day, but this compilation on BBE goes deeper than that for the cream of the crop of the post disco grooves of the day, most running on the long side for that unstoppable dancefloor approach, while keeping the song based soul sound fully in place. Essential! CD version has 19 tracks on 2CDs: "Ain't No Mountain High Enough Part I" (JM 4AM mix), "Breaking Down (Sugar Samba)" (JM After-Session M&M mix) by Julia & Company, "Barely Breaking Even" (club version) by Universal Robot Band, "I Ain't Mad At You" (JM extended M&M mix) by Tony Adderly, "Never Can Say Goodbye" (demo version) by La-Rita Gaskin, "All Over Your Face" (JM After-Session M&M mix) by Ronnie Dyson, "(Knock Out) Let's Go Another Round" (JM After-Session M&M mix) by Inner Life, "You Got (That Something)" by Logg and more, "Down For Double" (JM After-Session M&M mix) by Cubie Burke and more.

An incredible album from tenor giant Frank Foster – one of his best records ever, with an impeccable soul jazz groove that's light years beyond his earlier work! The record has a bit of the feel of Frank's album with Richard Davis for Impulse, but takes off in a slightly different direction – tightly grooving, with a bit of a searching feel that points towards Foster's Coltrane-inspired later years. Frank's on tenor, and the rest of the group includes Virgil Jones on trumpet, Al Dailey on piano, Bob Cunningham on bass, and Alan Dawson on drums. The rhythmic component of the session is tremendous, and titles include "Disapproachment", "Baby Ann", "Janie Huk", and a great version of his "Raunchy Rita".

A sweet overview of work from the second stretch of the career of Gilberto Gil – and a set that's worth it alone for two of the five albums in the package! The set begins with Refazenda and Refavela – both fantastically funky albums that have Gilberto Gil hitting a soulful style that's very different than before – a mode that's more Jorge Ben than any of Gil's previous work – yet still with some of the sharper, more creative edges that always made him one of the leading lights of 70s MPB! Realce manages to capture a lot of the warmth and imagination of Gil's earlier work. The production's a little smooth in parts, but Gil's beautiful voice and guitar playing are still right out front, especially in some of the more stripped-down tracks. Raca Humana is pretty compelling stuff – almost a new wave album of sorts, recorded with lots of tight guitar work by producer Liminha, and plenty of catchy tunes that sparkle like some lost gems from early 80s radio. And Kayangandaya is a real surprise – an album of reggae tracks, mostly by Bob Marley, recorded in Kingston at the Tuff Gong Studios, with help from the Rita Marley, Marcia Griffiths, Judy Mowatt, Sly & Robbie, and others. The record's actually pretty nice – a good blend of the dub-heavy sounds of Jamaica, with some of the rougher soul stylings that Gil was crafting in earlier years – a combination that shouldn't work, but which does nicely.

A pretty great record from one of the coolest school teachers you could ever hope to have – the lovely Miss Rita Abrams, a hippie who was teaching in Marin County at the start of the 70s! The set's a project done by Abrams with her fourth grade class – a set that mostly features original tunes penned by Rita, filled with joy, hope, and the sort of optimism that characterized the Marin County scene of the post-Haight years – and performed with a cool blend of acoustic instrumentation next to Abrams keyboards – with some larger arrangements from Ed Bogas, who'd later work on hip soundtracks for Fantasy Records, across the Bay. There's nothing hokey about the set at all – as the tunes are great, and the kid-quality of the vocals is really kept to a minimum – more used to underscore the warmth in Rita's lead, and surprisingly never cloying at all – a lot like some of the best singer/songwriter projects on Reprise at the time, especially given Rita's cool electric keyboards. Titles include the cool single "Mill Valley" – plus "Floating Away", "Wonder", "Building A Heaven On Earth", "Running In The Green Grass", "Sweet Summertime", and "I Never Asked". CD also features three bonus tracks – "Sad Night", "The Happiest Day Of My Life", and "America Let's Get Started Again".

The glorious return of Os Mutantes – a recent live performance that marks the group's first new album in many many years! The show was recorded before a very enthusiastic audience in London – at a time when the city was in the throes of a recent new wave of interest in Tropicalia – clearly the inspiration for the group's performance here, which is heavy on work from their best years! The lineup features Zelia Duncan in place of Rita Lee on vocals – alongside founders Arnaldo Baptista and Sergio Dias – and the overall sound is pretty great, with some very focused and full-on guitar work throughout. Titles include "Don Quixote", "Ave Gengis Khan", "Tecnicolor", "Virgina", "Cantor De Mambo", "Baby", "El Justiciero", "Balada Do Louco", and "Ave Lucifer".

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".

A seminal set from Jorge Ben – one that mixes samba soul with more baroque arrangements from the legendary Arthur Verocai! The record's got a different feel than some of Jorge's other work – almost a wider vision of music that ties his usual funky style to some of the more ambitious modes being explored by Marcos Valle and Edu Lobo at the time – expressed here in some larger instrumental passages that shade the tunes lightly, while still letting Jorge step out strongly on vocals and the usual mix of tight percussion and raspy guitar. Titles include "Que Maravilha", "Rita Jeep", "Comanche", "Porque E Proibido Pisa Na Grama", "Cassius Marcelo Clay", "Palomaris", "Maria Domingas", and "Negro E Lindo".

Raw raspy work from Don Cavalli – a weirdly offbeat singer that grooves in sort of a 60s mix of blues and soul and rock! There's some nicely rootsy touches to the music, but things are still pretty groovy too – almost mod in execution, yet never with a straight 60s feel – almost as if Mose Allison and Georgie Fame are being filtered through the aesthetics of an earlier generation, then thrown back into some weird sci-fi version of mid-century! The approach is a bit hard to describe in words (in case you can't tell!), but it's pretty catchy throughout – especially when the tunes bubble with keyboards, steel guitar, and even a bit of banjo. Titles include "Birthday Suit", "You & My Zundapp", "Gonna Love You", "The Greatest", "Santa Rita", "Me & My Baby", and "Garden Of Love".

Late live material from the great Art Pepper – working here with Milcho Leviev, Tony Dumas and Carl Burnett – caught at Ronnie Scott's in June of 1980! Blues For The Fisherman features motherlode of material, with both energetic, roof shaking numbers and more delicate, subtle ones. The 4CD set is especially cool in it's inclusion of Art's avuncular stage banter, really making us feel like we're there in the audience and making us wish we were! It's Vol 6 in the Unreleased Art Pepper series, and it's a heck of a lot of music from a legendary session in one package. Includes "Blues For Blanche", "Ophelia", "Make A List", "Anthropology", "Rhythm-A-Ning", "Rita San", "I'll Remember April", "True Blues", "Red Car", "Un A Mellow Tone", "Blues For The Fisherman" and much, much more.

A very cool set of tracks written by Ustad Vilayat Khan – for this early Merchant-Ivory production that starred Rita Tushingham and Michael York. All tracks are sitar-tabla based – some short, some quite long – save for one number that has vocals by Michael York. Titles include "Tom's Boat Song", "Train Journey", "The Pupil & His Master – Rag Bilawai", "The Haunted Palace", "Tom's Arrival", and "Concert In The Haunted Palace – Rag Yamani".

Fantastic funkiness! Although Les Baxter's best known for his easy listening work in the late 50s/early 60's, this 1969 biker flick soundtrack is a motherlode of funky funky tracks, and a veritable cornucopia of breakbeats! Highlights include the classics "Hogin' Machine" and "Hot Wind", but there's lots of other nice ones like "Soul Groove" and "Scoobee Doo". The drums are nice and hard, and there's plenty of fuzzy fuzzy guitar to go around nicely! A few tracks have vocals, but the instrumentals more than make up for any weak spots. Essential.

Fantastic funkiness! Although Les Baxter's best known for his easy listening work in the late 50s/early 60s, this 1969 biker flick soundtrack is a motherlode of funky funky tracks, and a veritable cornucopia of breakbeats. The drums are nice and hard, and there's plenty of fuzzy guitars to give a razor sharp edge to the groove! A few tracks have vocals, but it's the funk rock instrumentals that drive this one into pulp soundtrack classic status. Highlights include the classics "Hogin' Machine" and "Hot Wind", but there's lots of other nice ones like "Soul Groove", "Chain Fight", "Dan's Theme", "Scoobee Doo" and the killer "Wheels (Main Title Theme)". This great limited edition CD version has a 4 bonus tracks made up of the full version of the end title song, medleys of shorter cues from the film, instrumental bits and more. "Travelin' Man", "Take It From Me (Source)/Gila Monster/Cathy Left Behind /Mongoose Gets Beans", "Gang Rides Through The Hills/Tosses Bike Over Bank/Snake Or Rope" and more.

A really bold step forward for this cool Chilean combo of the late 60s – a set that still has all the raw garagey energy of their previous work, yet which also has them taking a lot more chances in the studio too! The album has this great core sound that's heavy in twang and fuzz – yet also frequently couches the music in larger ideas around the frame of the songs – not exactly Sgt Peppers material, but with a trippy aesthetic that really echoes the generation! At their core, these guys are still Anglo-inspired rockers, but it's great to hear what they're percolating on their own as well. Titles include "Civilizacion", "Obertura En Sol Mayor", "A Margarita", "La Tierra De Las Noches Largas", "Rodolfo Valentino", and "Postal No 56".

Classic work by one of our favorite pop singers ever – the full-voiced Cilla Black, a vocalist we'd trade for Petula Clark or Dusty Springfield in a minute! During the 60s, Cilla was working in a strongly Bacharach-influenced mode – a style that picked up a lot of uptown touches from the New York scene, but which infused them with the more belting mode of Brit female singers of the time. The result is an incredibly powerful approach to pop – one that showcases Cilla's incredible voice, but which also has her wrapped up in beautifully full arrangements, and rhythms that often have that slightly syncopated gentle groove that we love from Bacharach's work with pop singers. CD features 25 tracks in all – including 6 making their CD debut – titles that include "Yo Yo", "A Man & A Woman", "Anyone Who Had A Heart", "You're My World", "Love Letters", "One Little Voice", "Alfie", "Baby I'm Yours", "A Lover's Concerto", "Step Inside Love", "Liverpool Lullaby", "Forget Him", "Little Pleasure Acre", and "Rule Britannia".

A beautiful tribute to the legendary Joao Bosco – a celebration of his forty years in Brazilian music – put together with help from a host of guests who include Joao Donato, Milton Nascimento, Toninho Horta, and Chico Buarque! The presence of these equal legends is a great reminder of the way that Bosco's music has influenced generations of MPB – perhaps not as famous on a global scale as these other artists, but always very well-respected by his peers – who often recorded many of Joao's compositions, and made them their own. The music's got all the acoustic charm of Bosco's best 70s recordings – and with some of his other recent sets, there's a sense of depth and growth that really shows his tremendous evolution as an artist over the years. Titles include "Agnus Sei", "Tanajura", "Fotografia", "Plataforma", "Jimbo No Jazz", "Drume Negrita", "Tarde", and "Caca A Raposa". DVD features four more tracks than the CD – and has a bonus "making of feature"

One of the hippest records ever to come out of Chicago – the sole recording by Boscoe, a group who was even more obscure and experimental than contemporaries like The Pharoahs or Artistic Heritage Ensemble! Like those groups, Boscoe has a very unique, very visionary approach – one that's not content just to echo the standard post-Coltrane modes that other spiritual jazz groups around the country were hitting – but which instead moves into territory that touches on the darker sides of funk, soul, and spoken word of the time – all with a message that's incredibly powerful, and conception that's wonderfully fresh throughout! The group's lineup features tenor, trumpet, trombone, guitar, bass, and drums – but they way they're put together is often far different than other funky combos – and it's clear that the group had as much of a sensibility about the overall sound of their record as they did their freer grooves. At times, there's a righteousness here that recalls the best of the early Westbound Records scene from Detroit – but there's an even higher agenda too, which is more in keeping with the spiritual aspriations of their Chicago contemporaries, and which really show up in the lyrics. The whole album's a masterpiece from start to finish – unlike anything that we can think of, still ripe for rediscovery today, and just the kind of set that makes us prouder than ever of our Chicago heritage! Titles include "We Ain't Free", "Money Won't Save You", "Now and Den", "He Keeps You", "I'm What You Need", and "Writin' On The Wall".

The first LP by this stormin' organ jazz combo from Chicago, featuring the great Odell Brown on organ, Artee (Duke) Payne on alto, and Thomas Purvis on tenor. Includes loads of great tracks, like their originals "Enchilada Joe", "Raising the Roof", and "A Cool Senorita" – plus groovy covers of "Day Tripper" and "Maiden Voyage". A classic in the combo lounge scene, with the kind of firey playing that you'd only find in a place like Chicago.

Led Zeppelin and "The Untold Story Of Houses Of Holy" is the cover feature – commemorrating that most classic of rock album's 40th anniversary! The tales behind Bowie's landmark Aladdin Sane are also featured, along with a look back at the brief, but legendary Axl Rose vs. Kurt Cobain feud, prog torch carrier Steven Wilson, forgotten grunge supergroup Mad Season, metal survivors Saxon and "20 Things You Didn't Know About Dark Side Of The Moon". Also includes a free CD – Hobgoblin Unleashed – 15 Of The Hottest New Bands In Britain. Includes tracks by The Graveltones, Rumhoney, Pearl Handled Revolver, Electric River, Chris Buck, Silver Arm, Voodoo Vegas and more.

One of the most beautiful records we've ever heard from the legendary Phil Cohran – a previously-unissued performance from 1993, and one that's every bit as wonderful as his rare albums of the late 60s! The set was recorded at the planetarium in Chicago – and for the date, Cohran comes up with a really cosmic sound – a small combo that's heavy on string sounds from guitar, bass, and harp – layered together beautifully to create these Alice Coltrane-like undercurrents – over which the group solos with flute, trumpet, and trombone! There's less players here than on some of Cohran's older Artistic Heritage Ensemble sets, but the sound is exactly like those records – right down to some key moments in which Phil plays his amazing Frankiphone – an electrified kalimba with a tremendous tone. Titles include "White Nile", "Cohran Blues", "The Dogon", "Sahara", "Kalahari", and "Kilimanjaro".

A rare and beautiful treasure from Chicago's Phil Cohran and his legendary Artistic Heritage Ensemble – material recorded at the end of the 60s, but only issued here for the first time ever! The sound on the record is amazing – much deeper, and more forceful than anything else we've ever heard from Cohran – almost in Sun Ra Arkestra territory at times, given the group's out-there playing, and bold collective action! The lineup is similar to other Cohran recordings from the time – Phil on cornet, Henry Gibson on congas, Pete Cosey on guitar, Louis Satterfield on bass, Charles Williams on alto, Don Myrick on tenor, Charles Handy on trumpet, Willie Woods on trombone, and Aaron Dodd on tuba – a group that's a wonderful bridge between the two important Chicago generations headed by Sun Ra and Earth Wind & Fire. Armageddon is an extended piece, divided up into five different musical acts – conceived by Cohran in the late 50s, and recorded here in 1968 – with some great help from The Spencer Jackson Family on the leadoff track "Motherless Child". Other titles include "Creation Of The Beast", "The Warning", "The Window", and "Armageddon" – a clear reference to the power of the atom bomb!

Great lost work from the legendary Phil Cohran and his Artistic Heritage Ensemble – a composition that was recorded during the group's late 60s years on the Chicago scene – but which has never been released until now! The album stands beautifully alongside the group's self-titled classic and their tribute to Malcolm X – and like those amazing records, this one has a feel that's all its own – an exploration of Moorish elements in Spanish culture – which comes off as a Latin-inflected sound with African roots! The lineup here is similar to other Cohran classics – Donald Myrick on baritone sax, Charles James Williams on alto, Eugene Easton on tenor, Charles Handy on trumpet, Willie Woods on trombone, Aaron Dodd on tuba, Pete Cosey on guitar, Henry Gibson on congas, and Louis Satterfield on bass – a mix of musicians that includes members with Sun Ra and Earth Wind & Fire listed in their resumes! Cohran's vision in the suite is wonderful – and the music has all the depth and righteous energy of his self-titled record, but a bit more Latin fire too – a beautiful blend that really makes us appreciate his genius even more than before, and which finally gives us another record of his to love after all these years.

An amazing bit of music – and an incredible document of generations of creative jazz energy as well! The legendary Phil Cohran teams up here with Hypnotic Brass Ensemble – a collective made up of Cohran's sons, who follow strongly in the rich legacy of his own Artistic Heritage group – yet in a very different way! Hypnotic Brass have caught the ear of many during their bright rise to fame – with a fluid, horn-heavy groove that's really amazing – echoes of Sun Ra and other Chicago creative legends – yet played almost entirely on brass instruments, which gives them an even bolder vibe. Here, working with their progenitor brings the group even more depth than before – an excellent sound that really spins things out wonderfully – percussion layered underneath the horns, solos taking jazzy flight, and an overall righteous vibe that holds things together beautifully. The album's way more than the sum of its parts – and those parts are already rich indeed – and titles include "Stateville", "Cuernavaca", "Ancestral", "Spin", "Zincali", "Apsara", and "Frankincense & Myrrh".

An amazing bit of music – and an incredible document of generations of creative jazz energy as well! The legendary Phil Cohran teams up here with Hypnotic Brass Ensemble – a collective made up of Cohran's sons, who follow strongly in the rich legacy of his own Artistic Heritage group – yet in a very different way! Hypnotic Brass have caught the ear of many during their bright rise to fame – with a fluid, horn-heavy groove that's really amazing – echoes of Sun Ra and other Chicago creative legends – yet played almost entirely on brass instruments, which gives them an even bolder vibe. Here, working with their progenitor brings the group even more depth than before – an excellent sound that really spins things out wonderfully – percussion layered underneath the horns, solos taking jazzy flight, and an overall righteous vibe that holds things together beautifully. The album's way more than the sum of its parts – and those parts are already rich indeed – and titles include "Stateville", "Cuernavaca", "Ancestral", "Spin", "Zincali", "Apsara", and "Frankincense & Myrrh".

A brilliant tribute to the late Malcolm X – served up by Chicago's legendary Artistic Heritage Ensemble! The record's got an even farther-reaching sound than the group's self-titled effort – a flowing style that unfolds as their tribute to Malcolm rolls on – starting spare and earthy at first, then picking up a fuller, prouder, much more righteous groove as things really get going! As before, there's plenty of heavy percussion at the bottom of most tracks – topped by complicated horn passages that often verge on the exotic – and which have a tremendously captivating sound. The ensemble's led by the great Phil Cohran, who played with Sun Ra for a bit, and also plays cornet on the record – the rest of the group includes Charles Williams, Don Myrick, Louis Satterfield, Pete Cosey, Henry Gibson, Willie Woods, and Aaron Dodd – a lineup of players who also worked with Sun Ra, The Pharoahs, and Earth Wind & Fire! The LP's a suite of 4 tracks dedicated to Malcolm X, each capturing a period of his life, "Malcolm Little", "Detroit Red", "Malcolm X", and "El Hajj Malik El Shabazz".

Amazing work from the legendary Phil Cohran – and a much-needed collection of his rare singles on the Zulu label! The work here is contemporary to the sides issued by Phil's Artistic Heritage Ensemble on their two famous records – but the sound is often a bit tighter, and funkier too – kind of the 45 distillation of sounds the group was working out in larger format on the full albums! As with those classics, the approach is amazing – a hip blend of jazz, soul, and African elements – very much in the spirit of Sun Ra, Cohran's predecessor on the Chicago scene – but often with a lot more groove, and a lot less avant garde elements. Players on the set include Charles Williams on alto, Don Myrick on baritone, Charles Handy on trumpet, Louis Satterfield on bass, Pete Cosey on guitar, and Henry Gibson on timbales and conga – all working at a level that easily rivals the best from Ra, Salah Ragab, Mulatu, and other space jazz legends from the time! Titles include "The African Look", "Loud Mouth", "New Frankiphone Blues", "Frankiphone Blues", "Detroit Red", "El Hajj Malik El Shabazz", and "Black Beauty".

A landmark moment in the New York scene of the 70s – and a mindblowing document of the energy and lifestyle of the city's growing Latin scene at the time! The film combines live performances from the legendary Cheetah nightclub with amazing street footage – woven together in a rich tapestry of music and culture that documents the reality of life in Spanish Harlem at the time. Musicians featured include a veritable "who's who" of the New York Latin world – such as Ray Barretto, Willie Colon, Larry Harlow, Johnny Pacheco, Bobby Cruz, Ricardo Ray, Bobby Valentin, and Hector Lavoe – but even without the music, the documentary footage alone makes the film an instant treasure! Approximately 86 minutes.

One of a handful of great recordings by this second generation AACM group. The group's a trio featuring Kahil El'Zabar, Ed Wilkerson and Joseph Bowie, with a sound that rolls along nicely with a firm, afro-centric rhythm at its core. The compositions are beautiful and spare, with light melodies and extended improvisations by Wilkerson and Bowie on tenor and trombone over the pulsing rhythms. Six numbers in all "Papa's Bounce", "Loose Pocket", "Three And A Half", "Kahil's Blues", "Ancestral Song" and "Mamma's House".

It's hard to believe the Ethnic Heritage Ensemble is 35 years old – especially when Kahil El'Zabar looks so young on the cover, and when the group's sound is fresher than ever! The album's got a really beautiful, timeless sort of feel – spiritual jazz that few groups can play this well – balanced between El'Zabar's percussion and kalimba, the trumpet of Corey Wilkes, and the saxes of Ernest Dawkins – all key players in the Chicago scene, carrying on a rich tradition of AACM expression and other spiritual sounds. The album's wonderfully free from gimmicks – some of the most back to basics work we've heard from Kahil in years, and a great reminder of why we first fell in love with his music a few decades back – and the balance of the two horn players over percussion really creates a strong sense of power in the record – a bold vision that comes through beautifully! Titles include "Barundi", "Kari", "Oof", "All Blues", and "Ornette".

Very groovy stuff from Nino Ferrer – France's answer to the 60s beat group scene that was shaking big in Britain and Germany! Ferrer has a style that's greatly influenced by American R&B singers, and he's backed by a tight little combo that has a hard Hammond and guitar sound that works very well with his shouted soulful vocals! You might know his work from the Get Easy compilation – and a lot of the material on this great 1966 album has a similar sound – hard vocals, swinging instrumentation, and a groovy soulful groove – easily some of the most upbeat romping work from the French pop scene of the 60s! Titles include "Les Cornichons", "Oh He Hein Bon", "Je Veux Etre Noir", "Mirza", "C'Est Irreparable", "Shake Shake Ferrer", and "Le Millionnaire".

Essential work from Eddie Henderson – one of the trumpeter's hippest albums of the 70s, and a key link between his early righteous days and his later smoother sound! The set's a near-perfect blend of all elements involved – tight funky rhythms, spacey soulful instrumentation, and wicked production work from the mighty Skip Drinkwater in the studio – a record that's as essential to his legacy as Gears is to that of Larry Mizell! Henderson's trumpet work is totally great – often muted, and always snakey inside the rhythms – and other players here include Julian Priester on trombone, Hadley Caliman on flute and soprano sax, Patrice Rushen on keyboards, Paul Jackson on bass, and Headhunter Mike Clark on drums. Titles include the excellent groover "Inside You", plus "Kudu", "Acuphuncture", "Time & Space", "Dr Mganga", and "Dark Shadow".

A great German combo, and one with almost as much jazz as funk in the mix – quite a nice change from the usual group of this nature! There's a warm glow to the record right from the start – a vibe that comes from the tight trumpet lines of Michael Voss, who also sings a bit – and even more so from the vocals of Koko Kay, who sings on some of the best tracks – and gives things a slow-burning sound that's mighty nice. The style's kind of a blend of deep funk with jazzier overtones – and titles include "Life Shines", "Hifivin Time", "Awesome Change", "It Ain't That Bad", "The Heritage", and "Global Tribe".

Sparely funky, yet heavily atmospheric hip hop productions from unsung titan Kankick – made up mostly of late 90s material – and it's right up with some of our favorite leftfield producers of the period! Kankicks was perhaps best known as a Lootpack affiliate around this time, and sure enough, it's the kind of thing that would have sounded right at home on Stones Throw in the label's infancy. This ain't baby stuff, though, and it's aging quite well! Raw beats laced by vinyl grit, occasional hazy vocals and trippy atmosphere to spare. Relatively little heard excellence from an unsung producer! Includes "The A-1 Sound", "Witness Truthful Mystics", "One Reason Why", "A Song For My Forefathers", "Look At That", "Amplified Dynastical", "Lady Slick" feat Unorthodox, "Unpredictable", "To All The Duck Rap Radio DJs", "FLS (Do You Like)", "Night Shine", "Oodles Of Ounces", "Aquarian Meditation", "The Blowfly" (Kancritic feat Medaphoar), "Dig The Transition", "Bread And A Rolls Royce" and more. Also includes 2 bonus tracks. 27 tracks in all!

A contemporary cut, but one with the older flavor you might expect from the cover – a sweet break-heavy rhythm with a nicely funky feel for the clubs – topped with keyboards and a soulful sampled spoken part! The non-Smoove version is actually our favorite here – even more stripped-down, with an acoustic guitar, acoustic piano, and no sampled vocals – creating lots of nice instrumental interplay!

A really nice batch of early 80s soul from Loose Ends – one of the best remembered groups who were making strong soul music in Britain in the period – and who actually recorded this excellent first album at Philadelphia's Alpha Studios! Making the record in Philly was a wise decision – the sounds range from classic level slow jams, to solid modern soul to touches of electro and more dancefloor geared groovers – and it sounds like work of deft scene veterans rather than a full length debut for the group! The songs were written by the band who, at that time, included Jane Eugene, Carl McIntosh and Steve Nichol. Tracks include "Hangin On A String", "Choose Me", "Music Takes Me Higher", "Dial 999", "Tell Me What You Want", "A Little Spice", "So Much Love", and "Let's Rock". This great Soulmusic.com CD edition has wealth of bonus tracks: seven in all, including "In The Sky (UK Single – Long Version)", "Only A Day Away", "No Stranger To Darkness (UK Single)" and more.

If you can forgive the title of this one, you'll find it to be a very groovy record! The album's a killer batch of funky instrumentals ("black sound") recorded in Italy in 1972 by Augusto Martelli ("white people") – and it's got the groove and swing of some of the best Italian soundtracks from the time, no surprise, as Martelli had his hand in a few from that era! The music is really great, with some excellent sax and flute work that takes the tracks into a jazzier mode than usual for this sort of thing! Loads of great percussion too – and titles include "Loco Love Motor", "Mondo No", "Krypto Blues", "Ma ne Vale La Pena", "90th Compleanno", and "Sara Stato Il Futuro".

Playful pop from Mina – a great Italian singer who made some really wonderful records from the late 50s onward! This early set is a real gem – a sprightly mix of larger arrangements with rock and pop inflections – all served up in this optimistic blend that really fits the mood of Rome after the initial postwar period! You can really feel Italian pop culture coming into its own here – and the tunes have a charm that's undeniable – and a compelling quality that comes through right away. Titles include "La Verita", "E Vero", "Whisky", "My Crazy Baby", "Nessuno", "Folle Banderuola", "Piangere Un Po", and "La Luna Ed Il Cowboy".

An incredibly spiritual session from percussionist Louis Moholo and his ensemble Viva La Black – recorded on the occasion of a series of concerts in Moholo's homeland of South Africa – and done in a way that's as much a document of the group's trip as it is a recording of the music in the concerts. Many of the tracks are shorter passages that flow together with longer ones – piecing together the warm spirit and soulful expression allowed to the group during the tour. And the music itself shares in a heritage that runs back through the 60s work of Mingus and Roland Kirk, the 70s experiments of the AACM, and the rich jazz-in-exile work of Moholo himself! Instrumentation includes percussion, trumpet, saxes, piano, and bass – plus vocals from all the members of the group – and titles include "Use Less Sugar & Stir Like Hell", "Volunteered Slavery", "Woza", "Nikosi", "End Of Man", "Dudu P", "I'll Look All Over Afrika For You", "Drum Choir", and "Joyful Noise".

Two classics from the legendary Idris Muhammad! Black Rhythm Revolution is one of the first records ever as a leader from funky drummer Idris Muhammad – a set that was cut right at the same time Idris was burning up the kit on his classic jazz funk sessions with other Prestige label players! The groove here is tight, funky, and very much in the mode that Muhammad laid down for other bigger soloists – a solid, socking sound that was the early 70s inheritance of the "Popcorn" funk groove of the late 60s. Players here are all great – and include Melvin Sparks on guitar, Harold Mabern on electric piano, and Virgil Jones on trumpet – and tracks include great covers of "Express Yourself" and "Super Bad", plus "Wander" and "Soulful Drums". Peace & Rhythms is a wonderful departure from Muhammad – and proof that he could do a lot more than just provide heavy breaks for Lou Donaldson and Melvin Sparks! This set is surprisingly spiritual and righteous at points – with a groove that's almost more like Strata East than some of Muhammad's previous work as a sideman on Blue Note and Prestige. Side one features the extended "Peace and Rhythm Suite" – a beautiful cut that's filled with searching, soaring energy – and side two includes two vocal cuts "Brother You Know You're Doing Wrong" and "I'm a Believer", both sung by Sakinah Muhammad – plus "Don't Knock My Love". Players are all great – and a nicely different lineup than the usual Prestige jazz funk gang.

Includes the tracks "Charleston Fever", "Switch It Miss Mitchell", "The Joys", and "Everybody Pile".

A beautiful lost relic, and a monster batch of long jazzy grooves! The album was recorded in the great tradition of "musicans in prison" albums, like those by The Escorts in the early 70s, and it features an incredibly soulful band made up of jazz musicians in lockdown at the Ohio State Penitentiary during the mid 70s! We don't recognize any of the names on the album, but the players work with a hell of a lot of soul and spirit – on longer tracks that almost have the feel of 70s work by The Pharoahs or Phil Cohran's Artistic Heritage Ensemble. Way better than anything you'd usually get of this nature – and definitely light years beyond any school or army band recording – and much more like a 70s underground spiritual jazz set. All of the material was written and arranged by Logan Rollins, and the tracks have a large group feel, with long drawn out grooves, and plenty of room for nice nice solos – and titles include "Psych City", "Mantra Dance", "Counterry Bosa Davan", and "Java Man".

A beautiful lost relic, and a monster batch of long jazzy grooves! The album was recorded in the great tradition of "musicans in prison" albums, like those by The Escorts in the early 70s, and it features an incredibly soulful band made up of jazz musicians in lockdown at the Ohio State Penitentiary during the mid 70s! We don't recognize any of the names on the album, but the players work with a hell of a lot of soul and spirit – on longer tracks that almost have the feel of 70s work by The Pharoahs or Phil Cohran's Artistic Heritage Ensemble. Way better than anything you'd usually get of this nature – and definitely light years beyond any school or army band recording – and much more like a 70s underground spiritual jazz set. All of the material was written and arranged by Logan Rollins, and the tracks have a large group feel, with long drawn out grooves, and plenty of room for nice nice solos – and titles include "Psych City", "Mantra Dance", "Counterry Bosa Davan", and "Java Man".

Amazing sounds from this really unique ensemble – a group with a feel that's much looser than you might expect from the orchestra in their name – and a wonderful blend of electric and acoustic instruments, all with a feel that's as exotic and evocative as some of the best Ethiopian sounds from the same time! The tunes have some really wonderful flute and trumpet lines, which often snake around the vocals by taking a different path themselves – but which are also layered with spare guitar lines that often have a cool watery sort of texture – not nearly as tight as in highlife, and used more to fill in little sonic corners between the rhythms. The approach is hard to describe in words, but is wonderful on record – and especially great when mixed with the soulful lead vocals of the tunes too. The package features a booklet of notes in English – and titles include "Souga Sosso", "Chabab El Bilad", "Mauritanie Mon Pays", "Senam Mosso", "Kamlat", and "La Femme Mauritanienne".

Group soul from The Philly Devotions – a key group in the evolution of the Philly sound who were then and are to this day greatly overlooked in the city's soul heritage – but it's truly beautiful stuff! This is vocal group with talent that should have gotten them over in big way, but thankfully, it's never to let to get on board. They might be best known for a couple of early Philly disco singles that were issued by Columbia – but even better are the earlier, more soaring and emotional numbers with stirring strings, but really fly higher thanks to the perfectly arranged vocals – we're hearing a number of those for the first time ever on this set! The group features Morris Taylor, Ernest Gibson, Gregory Davis, George Patterson and lead singer Matt Covington. 15 tracks in all: "Didn't Anyone Ever Tell You I Love You", "Makin Up", "I'll Never Color You A Rainbow", "Yeah, Yeah Girl", "I Just Can't Make It (Without You)", "We're Gonna Make It", "I Just Can't Say Goodbye", "I Was A Lonely Man", "Hurt So Bad", "Isn't It A Dream Come True", "It's Gotta Be This Way" and more – plus extended mixes of "I Just Can't Make It (Without You)" and "Hurt So Bad" and the instrumental version of "I Just Can't Say Goodbye".

Some of the tightest funky 70s jamming ever – a lost gem from Ray & His Musical Court, a group that perfectly fuses JB/Horny Horns funk with beat-heavy Afro-Cuban groove! Ray and the group are one of the more obscure funky combos of the era, and it's a damn shame, because the group's tight-as-can-be amalgam of JB's style horn riffing and thumping Afro-Cuban percussion is some of the absolute best of its kind. This group seriously smokes any of the current funk bands on the road! On these sessions Ray wrote, produced, played "organ flute" and provided some vocals in a large group that includes three trumpets, bass clarinet, sax, two drummers, congas, electric bass, and a line of mostly Spanish vocalists. Amazing 70s super funk with a very proud Latin edge – and featuring tracks that include "Sunny", "Soul Freedom", "Cookie Crumbs", "De Eso Nada Monada", "Lo Sabia", "Venimos Acabando", "La Pena", and "La Senorita Lola".

The third in a really great run from Rhythm Heritage – a group who continued to hold up a strong level of instrumental quality, despite the fact that they'd topped the charts, and were smack right in the middle of the LA studio scene at the time! Part of the credit goes to producer/arranger Michael Omartin – who also plays keyboards on the album, giving it one of its best characteristics – but the whole assortment of talents is pretty darn great too, and includes work by Victor Feldman, Ray Parker, and The Waters – who bring in some nice soulful vocals on a few cuts. Keeping their success with TV themes, the group do a great job with "Theme From Starsky & Hutch" on this one – taking the tune in a nice moogy sort of way – and other cuts include "Float On By", "Hedge Hog", "Skippin", "Language Of Love", "Holdin Out", and "Sail Away With Me".

New wave opera space elf Klaus Nomi (Bowie collaborator), remembered by friends and fans. The story of Sylvester ("Mighty Real", "Do Ya Wanna Funk"), with listeners guide, bibliography and amazing fotos. Esquerita centerfold. Chicago r&b eccentric Bo Dudley interviewed. Mayo "Red Crayola" Thompson talks at length. Shonen Knife interviewed. Acid jazz legends Pharaohs tell it like it is. Sammy Davis Jr. Chili mix reviewed by Mark Robinson. Plus: Eazy E, Fountains of Wayne, eight shining Shebrews, Ricky Wilson, Queen, Peter Allen, Liberace.

Quite possibly THE greatest Sonny Rollins album of the early years – or at least the one that has received the most accolades over the years! The record is a brilliant batch of quartet tracks that reinvents bop through Sonny's complicated, yet seemingly automatic solos – an excellent showcase for his razor-sharp talents for improvisation and invention, played with effortless ease, yet still one of the great bar-setting performances of 50s jazz. The group features Tommy Flanagan, Max Roach, and Doug Watkins – and tunes include an original reading of the perennial Rollins' standard "St. Thomas", plus a great version of "Moritat (Mack The Knife)", and the cuts "Strode Rode" and "Blue 7".

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".

The group's second album for Jive, and a batch of 80s African tracks that have a surprisingly jazzy edge to them. The sound here is quite different from the Celluloid approach to New African grooves – a bit more soulful and standard, but with strong use of instruments in a fusiony way, one that takes the tracks past the obvious cliches, and certain pitfalls that were plaguing much African funk of the time. Titles include "Night Dance", "Suite Soweto", "African Heritage", "Joyous Sound", and "Song For All".

Some of the best tracks ever from the pair of Gil Scott-Heron and Brian Jackson – some of most righteous, authoritative and thematically heavy soul music ever created – compiled in one incredible set! Messianic, emotive vocals from Gil and stunningly restrained, magical soul jazz arrangements from Brian – words can't express how dynamic these tunes are! Great stuff from classic LPs such as Winter In America, It's Your World, First Minute Of A New Day, Secrets and more! 15 tracks in all: "The Bottle", "It's Your World", "Johannesburg", "Winter In America", "The Liberation (Red, Black & Green)", "Home Is Where The Hatred Is (Live)", "We Almost Lost Detroit", "Angel Dust", "Show Bizness", "Madison Avenue", "Shut 'Em Down", "Alien (Hold On To Your Dreams)".

A late 50s stormer from Japanese drummer Hideo Shiraki – caught here at a great point in his early career! The album's got a bit more of a swing-based feel than some of Shiraki's later sides – a bit more Verve-like energy than Blue Note style – which is a-ok with us, because the sound of the set is so great! But even more than Hideo's work on drums, the real star of the album is almost saxophonist Akira Miyazawa – who gets in some great solo moments on nearly every track, blowing tenor with a great sense of soul that really lights up the record and makes things shine. Titles include "The Man I Love", "Moritat", "Night In Tunisia", "Drum Boogie", "Around The World", and "I Got Rhythm".

Beautiful duets between vocalist Milton Suggs and pianist Willie Pickens – two Chicago generations coming together beautifully in a very intimate setting! Unlike some of Sugg's other work, which is all self-penned, this set features some Ellington standards – done in a wonderfully laidback style that makes all the best use of Pickens' bluesy tones on the piano – while showing a whole new side of Milton's vocal talents, too! There's a proud, timeless, heritage-sensitive approach to the record – and the pair really make magic with tunes that include "Come Sunday", "Rocks In My Bed", "I'm Just A Lucky So & So", "Day Dream", "Solitude", and "Sophisticated Lady".

Not singles as in the world of "hits" – but a really cool collection of rare work from Sun City Girls – mostly tracks issued on 7" singles for the Majora label, plus a few bits from other sources too! Together, the tracks provide a perfect illustration of the wide-ranging aesthetic of the group – some of the exotic tones that would be explored much more fully in their Sublime Frequencies label – mixed with some raspy, trippy elements that marked these guys as some of the few psych experimentalists of their generation! And honestly, this stuff sounds way better than we remember it – really compelling after all these years, especially in light of the later accomplishments of the Bishop brothers. Titles include "Soar/The Flower", "Esoterica Of Abyssynia", "Eye Mohini", "Sun Damaged My Ass", "Borungku Si Derita", "It's Ours", "Abydos", "Kickin The Dragon", and "Kal El Lazi Kad Ham".

Historic recordings by the opratic tenor.

The funk-tinged, pyschedelic soul album from Muddy Waters – one that irritated many a blues purist in its day – but it's finally reaching its earned status as a leftfield gem! You know, in the immediate years after this one (and similar funky blues albums on Chess/Cadet) was released, it was downplayed as a cheap attempt to sell out Muddy's classic blues sound. These days, it's treasured by many of us as a unique funky session that merged the best of Chicago's funk, soul, and blues worlds – taking Muddy's sound way past earlier records and into uncharted waters. It's similar to some of the work on Chess at the time by Bo Diddley and Etta James – and it includes lots of nice updated groovers like "I'm A Man", "I Just Want To Make Love to You", "Hoochie Coochie Man", "Same Thing", "She's All Right", and "Tom Cat". Arrangements are by Charles Stepney, too!