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A great remake of "I'll Slip Away" – done by Charles Bradley in a style that's even more soulful than the Rodriguez original! The Menahan Street Band provide backings – and are funky, but laidback too – with this nice echoey guitar underneath Bradley's vocals, and a snapping rhythm part that grooves along, yet lets Charles firmly take the lead! The flipside features the original by Rodriguez – a bit moodier, and with a really dark and echoey quality!

An obscure but excellent session – recorded at the end of the 70s with some of the best players in the New York salsa underground! The music is extremely vibrant – and the styles of the tracks range from hard Afro-Cuban percussion grooving to tight Latin jazz in a classic mode – with instrumentation that ranges from pachanga-styled flute and violin, to some harder-jamming grooves with a lot more piano in the lead. Production has that raw, but clear sound that we love so much in the Latin Percussion albums of the time – a groove that's very different than that of Fania or Tico – and Sonny Bravo plays piano, Rene Lopez is on trumpet, Nicky Marrera is on timbales, Dick Meza plays flute, Eddie Montalvo plays conga, and Mario Rivera is on saxes. Includes great Latin Jazz versions of "Tune Up", "Manteca", and "April In Paris" – plus "Jo Ca Nic", "Son De La Loma", and "Konkoina".

The Fania All Stars pay tribute to older Latin great Tito Rodriguez – in a set of shorter tracks that's really the group's first true outing in the studio! The format here is quite different than the earlier live albums cut by the group – a sound that's a bit more focused, and without as much of the free solo interplay as before. Instead, there's a greater presence of the singers – as you might expect in a tribute to Tito – with lead vocals by Hector Lavoe, Ismael Quintana, Ruben Blades, and Justo Betancourt. Instrumentalists on the session include Willie Colon, Ray Barretto, Larry Harlow, Johnny Pacheco, Richardo Ray, and Roberto Roena – and titles include "Fue En Santiago", "Vuela La Paloma", "Cara De Payaso", "Involvidable", and "Tiemblas".

A stellar Latin groover from Johnny Pacheco & Pete Colde Rodriguez – rightfully dubbed a perfect combination – recorded in 1969 and released in 1971, and we can think of no reason to have delayed such a smoking set! It's one of the better albums in the successful series of them that Pacheco cut with vocalist Rodriguez – with styles that stick mostly in a traditional Latin mode, with a few salsa touches that would become much more pronounced in the 70s. Titles include "La Esencia Del Guaguanco", "Blanca", "Sin Cana Y Sin Platanal", "Sonero", "Mi Nuevo Amor", and "Lo Anoro". Nice cover, too – with the pair toasting and playing dice!

Beautiful work from Arsenio Rodriguez – recorded in New York in the early 60s, with a sound and style that's a bit more subtle than some of his other albums – but a sound that's totally great! Singers include Raffi Martinez, Israel Castro, and Chewi Rivera – and the arrangements are sometimes earthy, and sometimes a bit more brassy – but always faithful to an older Afro-Cuban mode, and deeply respectful of Arsenio's musical contributions. His notes on tres echo out strongly on all the best numbers, and titles include "Yambu En Serenata", "No Importa La Distancia", "Pucho Marquez", "Sabor De Pachanga", "Errante Y Bohemio", "Hachero Pa Un Palo", "Linda Cubana", and "Comprendo Que Sufres".

An incredible record and very unique – cut around the same time as Arsenio's rare boogaloo album for Tico Records! Like that session, this one has a style in which Arsenio is featured in a larger group – playing with a raspy edge that really steps out in front of the fuller instruments and voices! The group's a great one – playing here with a few early Latin Soul touches, and in a way that mixes together different modes in a really unusual approach to the grooves. Arsenio's sound is still quite rootsy, but the larger backings are quite tight – and often done with a nod to more popular soul modes of the time. The whole thing was put together by producer Bert Berns, with arrangements by the great Artie Butler – and it's got a freewheeling New York groove that's as close to Latin Soul as Arsenio ever came! Includes Latin Soul versions of "Hang On Sloopy" and "La Bamba", plus the tracks "La Yuca", "Tres Marias", "Randy", "Vaya P'al Monte", and "El Elemento Del Bronx", a groovy guaguanco track!

An ultra-hip Latin session from the mid 70s – recorded up at Woodstock by reedman Bobby Roriguez – a player we know first from his work with Joe Bataan during the Latin soul years, but who is also a heck of a great leader on his own! Bobby plays flute, tenor, and a bit of clarinet – and the rest of the combo includes trumpet, trombone, and some very nice piano work from Al Dorsey – soaring out with almost a Bataan-like groove at times. The group features some great work by Eddie Hernandez, who does the trombone solos, and who also sings English lyrics on the tracks "Sunday Kind Of Love" and "What Happened", a goofy kind of Latin soul track. Also great is the descarga cut "Workout", with nice solos by everyone involved! And as a bonus, the back cover says "Thanks to all the stoned people at Woodstock"!

An amazing second set from Sixto Rodriguez – recorded in the legendary Landsdowne Studios in London, with a groove that's a great extension from his debut! All of Rodriguez's best elements are in place here – his folksy guitar, personal lyrical style, and surprisingly biting approach to a variety of topics – and the London setting provides him with an even more sophisticated backdrop than before, one that creates a rich palette of sounds that takes the music in some really wonderful directions! There's a bit of strings at times, but most instrumentation is by a small combo – which includes Chris Spedding on guitar and Tony Carr on percussion – so that Rodriguez's vocals and guitar are really right up front in the mix, recorded with a brilliant balance between sharpness and compassion. Titles include "Climb Up On My Music", "Silver Words", "Heikki's Suburbia Bus Tour", "I Think Of You", "To Whom It May Concern", "Halfway Up The Stairs", and "Cause".

Amazing sounds from the legendary Rodriguez – the brilliant 70s singer who had a groove that was equal parts soul, funk, rock, and folk – and an overall approach that was pretty darn unique! Most numbers here have some acoustic guitar over slightly funky rhythms – perfectly scored to work with Rodriguez's raspy soul vocals, which have an undeniably heartfelt style – somewhere in a space between Terry Callier and early Jose Feliciano, but very much its own mode too! Titles include "Sugar Man", "Cause", "I Wonder", "Like Janis", "Jane S Piddy", "I Think Of You", "Inner City Blues", and "Sandrevan Lullaby Lifestyles".

A nice little session of Latin jazz – percussive at the bottom, but with an overall jazz mambo feel that's similar to early 50s work by Chico O'Farrill. Tracks are shortish, but have some nice solos by unnamed players – and titles include "Hi Fi Mambo", "Mambo A La Basie", "Willie's Drums", and "Alamac".

An obscure but excellent session – recorded at the end of the 70s with some of the best players in the New York salsa underground! The music is extremely vibrant – and the styles of the tracks range from hard Afro-Cuban percussion grooving to tight Latin jazz in a classic mode – with instrumentation that ranges from pachanga-styled flute and violin, to some harder-jamming grooves with a lot more piano in the lead. Production has that raw, but clear sound that we love so much in the Latin Percussion albums of the time – a groove that's very different than that of Fania or Tico – and Sonny Bravo plays piano, Rene Lopez is on trumpet, Nicky Marrera is on timbales, Dick Meza plays flute, Eddie Montalvo plays conga, and Mario Rivera is on saxes. Includes great Latin Jazz versions of "Tune Up", "Manteca", and "April In Paris" – plus "Jo Ca Nic", "Son De La Loma", and "Konkoina".

A kung fu cover and a dramatic sound to match – a really standout effort from the La Consagracion combo of singer Chino Rodriguez! The style here is New York salsa with plenty of heavy piano – all in supported of a well-arranged horn section that features equal parts tenor, trumpet, and trombone – making for jazzier flourishes than you might find in other records from the time. Andy Harlow guests on flute, sax, and vibes – and the album also features some moog work from Jose Lopez, who's handling the acoustic keys of the piano on most of the other numbers. Titles include the weird salsa-electronica tune "La Computadora", plus "Te Haces", "La Formula Triunfo", "Maestro De Kung Fu", "Una Vez Mas", and "Moonlight Serenade".

A killer album by the self-appointed King Of The Boogaloo! Pete's late 60s sides for Alegre are some really incredible records – and this album's one of the best of the bunch, stuffed with tight groovy tracks that really have the whole band going to town! Percussion steps around piano, bass, and vocals with incredible ease – and most cuts have English lyrics, done in a very catchy, party-type style that makes the album swing instantly. The whole thing's great – and titles include "Guagaloo", "Pete's Boogaloo", and "Do the Boogaloo". If someone asked you what the definition of Latin Soul was, this would be the album to play for them!

An amazing second set from Sixto Rodriguez – recorded in the legendary Landsdowne Studios in London, with a groove that's a great extension from his debut! All of Rodriguez's best elements are in place here – his folksy guitar, personal lyrical style, and surprisingly biting approach to a variety of topics – and the London setting provides him with an even more sophisticated backdrop than before, one that creates a rich palette of sounds that takes the music in some really wonderful directions! There's a bit of strings at times, but most instrumentation is by a small combo – which includes Chris Spedding on guitar and Tony Carr on percussion – so that Rodriguez's vocals and guitar are really right up front in the mix, recorded with a brilliant balance between sharpness and compassion. Titles include "Climb Up On My Music", "Silver Words", "Heikki's Suburbia Bus Tour", "I Think Of You", "To Whom It May Concern", "Halfway Up The Stairs", and "Cause".

Amazing sounds from the legendary Rodriguez – the brilliant 70s singer who had a groove that was equal parts soul, funk, rock, and folk – and an overall approach that was pretty darn unique! Most numbers here have some acoustic guitar over slightly funky rhythms – perfectly scored to work with Rodriguez's raspy soul vocals, which have an undeniably heartfelt style – somewhere in a space between Terry Callier and early Jose Feliciano, but very much its own mode too! This CD features great gems from Rodriguez's years at Sussex Records – including three tracks not on the albums – "Can't Get Away", "Street Boy", and "I'll Slip Away" – plus other titles that include "Sugar Man", "Cause", "I Wonder", "Like Janis", "Jane S Piddy", "I Think Of You", "Inner City Blues", and "Sandrevan Lullaby Lifestyles".

Tito gets in on the Charanga craze of the early 60s – and like everything he does, the album's handled strongly, although perhaps not at the top level of its field. Back cover has dance steps illustrated – and tracks include "El Panuelo", "El Latigo", "Oiganlo", "Que Cocine Caridad", and "La Comparsa".

A fantastic little album of Latin Soul – a perfect example of why Pete was known as the "King Of The Boogaloo" during the 60s! The group's having a non-stop party on the album – breaking it hard with heavy piano lines, rumbling bass underneath the grooves, tight timbales, and some shouted lyrics in English that are always very catchy. The title cut, "I Like It Like That", is the sort of groover that you'll be singing for years – even after hearing it only once – and the album's filled with other great cuts, like "Pete's Madness", "Micaela", and "3 and 1".

One of a handful of enigmatic albums cut in the early 70s by Sixto Rodriguez – a Latin-tinged singer with a style that's a bit like that of Jose Feliciano – but trippier, and with more rock and folk touches! This set's probably his best one – thanks to arrangements and production by Dennis Coffey and Mike Theodore, both of whom give the album a stoned-out feel that sets it up nicely with other work on the Sussex label at the time – and which has made this Rodriguez album a well-sought nugget for crate diggers! The album's got a lot of "deep" cuts with semi-political lyrics – including "Inner City Blues" (not Marvin's version), "Like Janis", "This Is Not A Song, It's An Outburst", and "Crucify Your Mind" – and Rodriguez seems like he must have been one hip cat back in his day! Wonderful reissue version – with great sound and a huge booklet of notes that really gets at the details of the enigmatic Rodriguez story!

One of a handful of enigmatic albums cut in the early 70s by Sixto Rodriguez – a Latin-tinged singer with a style that's a bit like that of Jose Feliciano, but trippier, and with more rock and folk touches! This set's probably his best one – thanks to arrangements and production by Dennis Coffey and Mike Theodore, both of whom give the album a stoned-out feel that sets it up nicely with other work on the Sussex label at the time. The album's got a lot of "deep" cuts with semi-political lyrics – including "Inner City Blues" (not Marvin's version), "Like Janis", "This Is Not A Song, It's An Outburst", and "Crucify Your Mind" – and Rodriguez seems like he must have been one hip cat back in his day!

One of a handful of enigmatic albums cut in the early 70s by Sixto Rodriguez – a Latin-tinged singer with a style that's a bit like that of Jose Feliciano, but trippier, and with more rock and folk touches! This set's probably his best one – thanks to arrangements and production by Dennis Coffey and Mike Theodore, both of whom give the album a stoned-out feel that sets it up nicely with other work on the Sussex label at the time. The album's got a lot of "deep" cuts with semi-political lyrics – including "Inner City Blues" (not Marvin's version), "Like Janis", "This Is Not A Song, It's An Outburst", and "Crucify Your Mind" – and Rodriguez seems like he must have been one hip cat back in his day!

Arrangements by Rene Hernandez and Raymond Santos – on titles that include "Bilongo", "Se Va El Manguero", "Carnaval En Caracas", "Modulando", and "Buscando La Melodia".

A great little record – a heck of a lot nicer than Tito's work in the 50s, with a much more hard driving mambo sound, touched by a bit of jazz. The style here's not dissimilar to Tito Puente's work at the time – and titles include "Ay No No No", "A Little Bit Of Mambo", "El Tunel", "My Reverie", "Oh My Pa Pa", "Why Do I Love You", and "Chika Ni Lambo".

One of Willie Rodriguez's best albums ever – and a record that certainly earns the Descarga title! The first track on this one – "Descarga 71" – is a real jammer – over 8 minutes long, with plenty of heavy percussion, and a rolling fast groove that sounds like a drum kit being dragged down the highway at 60mph – and we mean that in a good way! The rest of the album follows suit with a great deal of energy – mixing in a few mellower vocal numbers alongside some tight instrumental jammers that really illuminate this stretch of Willie's career. Titles include "Descarga 72", "Dame Un Chance", "Dolor Y Pena", "Amores Con La Luna", and "Los Que Lloran Son Los Ninos".

Wonderfully raspy grooves from Arsenio Rodriguez and group – a rough mixture of tres, percussion, and vocals! The arrangements are fairly traditional, but Arsenio's playing shines out nicely, with the raw sound that he practically invented – and the rest of the rhythms really fit the spirit of the music too – and make for one of those rare 60s sessions where Arsenio's sound is actually nicely in step with the rest of the group, and not an isolated element.. Titles include "Balanca Paloma", "Recuerdo Bien", "Mami Me Gusto", "Que Feliz Yo Fuero", "Carraguao Alante", and "Devuleveme La Ilusion". Great cartoony cover too!

A hip mix of Latin Soul, boogaloo, and Latin jazz – all served up by trumpeter Willie Rodriguez in a sharp late 60s groove! The set's one of Willie's best – put together with arrangements by Bobby Marin that really capture the playful, energetic quality of this unique era of New York Latin – a wild time when "anything goes" was the norm – and players like Rodriguez were only happy to rise to the occasion! Vocals are by Sammy Figueroa – and titles include the shing-a-ling title cut "My Dog Soogie", with a very silly vocal; the wild "Paul's Thing", a slow slinky groover, recorded with lots of echo on the percussion, for a great spacey sound; and the storming descarga track "Salsa Con Willie Rodriguez", which has very tasty solos on piano and timbales! Other tracks include "El Chivo", "La Puerto Del Dolor", "Porque Yo Te Amo", and "Al Compas Del Guiro".

Excellent compilation of some of the best tracks recorded by the Alegre All Stars. One of the greatest recording projects in Latin music, the Alegre All Stars was a loose collective of great talents like Charlie Palmieri, Bobby Rodriguez, Chombo, Jo Quijano, Kako, Johnny Pacheco, and lots of others – and the records they made were laidback sessions full of lots of fire, communication, and laughter. Few groups matched their ability to lay down a tightly swinging Latin groove, and you'll hear the proof on tracks like "Manteca", "Estoy Buscando A Kako", "El Sopon", and "El Manicero".

Ruben Blades's first album – recorded shortly after his arrival in New York from Panama, with top-notch backing by the band of Pete Rodriguez! The album's an interesting one, in that it catches Ruben shortly before the salsa era, singing in a mix of styles that reminds us of some of Jimmy Sabater's work with Joe Cuba's group – doing mid and uptempo numbers in Spanish, and laying down a few mellower moments with the occasional English vocal! The style's not entirely Latin Soul, but not far off either – and the work is a nice contrast to the later work of Ruben. Titles include the lively groover "Descarga Caliente", the soulful "When", and the cuts "El Bravo", "De Panama A New York", "Donde", and "Hey Man".

A pair of classics from guitarist Charlie Byrd – back to back on a single CD! First up is Latin Impressions, a set that's more Brazilian than Cuban – and maybe a bit Spanish, too – given the strong use of acoustic guitar from Charlie Byrd! The set's got a laidback, open feel – and Byrd's guitar work is mighty deft, yet without all the frills and flowers of some of the more dramatic, emotive players of the time – a great illustration of the huge shift that the early bossa guitar recordings had at a global level. Byrd was one of the first big American proponents of bossa, and you can definitely hear that influence at work here – amidst additional guitar from Gene Byrd, bass from Keter Betts, and drums from Bill Reichenbach. A few tunes feature Charlie on solo guitar with no backing – and titles include "O Pato", "Homage A Villa Lobos", "Bogota", "Vals", "Samba De Uma Nota So", "Amor Flamengo", and "Azul Tiple". Bossa Nova Pelos Passaros is a landmark, as guitarist Charlie Byrd was one of the first American players to record bossa nova tunes – but although his work with Stan Getz has always been well-documented, some of the titles under his own name can be quite hard to come by. This is one of the best ones that Charlie cut on his own – and it features tight guitar work in a mode that's similar to that used by Baden Powell on his early bossa recordings, augmented by trio rhythms – plus some occasional larger backings by Walter Raim, and some extended group settings that feature Charlie Hampton on alto, Earl Swope on trombone, and Willie Rodriguez on percussion. Tracks include "Ho Ba La La", "Samba Triste", "Yvone", "O Barquinho", "Un Abraco Do Bonfa", and "O Passaro".

Ronnie Cuber's an overlooked monster in jazz – a hell of a player, and has been for decades – and one of the last few cats who can really handle a baritone sax! Cuber was late in a legacy of baritonists that included Pepper Adams, Sahib Shihab, Cecil Payne, and Lars Gullin – a youngster when all those players were getting old, but more than able to swing with the lean energy that made the 50s baritone sax players as important as the giants on tenor! Here, Cuber really demonstrates that legacy strongly – picking up the giant horn and handling it with effortless ease – producing these beautifully-blown solo lines that are nice and long, and filled with imagination – in the company of a combo that features Kenny Drew Jr on piano, Ruben Rodriguez on bass, and Ben Perowsky on drums. The recent date is a great reminder that Cuber can still cook heavily – and titles include "Passion Fruit", "Coco B", "Perpetuating The Myth", "Tell Me A Bedtime Story", and "Arroz Con Pollo".

It's the start of the 70s, but the classic sound of El Gran Combo is still very firmly in place – coming across with almost a timeless feel on this well-known album in their catalog! As before, the group's directed by pianist Rafael Ithier, and vocals are shared by Andy Montanez and Pellin Rodriguez – two singers who sound especially nice when they come together and really push the energy of the tunes. Rhythms are sometimes mellow, but always well played – and titles include "El Negro Feliz", "Y No Le", "Miedo", "Por El Pecho No", "Montuno", "El Maceta", and "Eso Da Fatiga".

It's been a couple years since we last saw a Galactic Zoo Dossier, but Plastic Crimewave, a great group of contributors and publisher Drag City have delivered the best yet – 100+ pages of both legendary and deep underground psych obsessions! It's got interviews with Arthur Brown, Rodriguez, Black Widow, Susanjacks & Craig McCaw of Poppy Family and more – and hand-drawn (natch!) In Memorium section of heroes departed since #8 – Bert Jansch, Gil Scott-Heron, Eugene McDaniels, Alex Chilton and more – and page after glorious b&w page of psych coverage and comics. Pieces on Bob Segar, Moody Blues, Texas Acid Punk, Quo, "Psychedelicanada" and more! Also comes with perforated sheets of trading cards – dozens of "Astral Folk Goddesses" and "Damaged Guitar Gods". Also includes a free CD with 23 tracks by The Revelation, Mainlier, The Goblins, Results, The Joy Poppers, Roscoe, Mission Sisters and many more.

A great burner from Diz – and one that features a large group, long tracks, and some stellar early work from Lalo Schifrin! Schifrin was in Diz's group at the time, playing piano and contributing fantastic Latin-tinged arrangements that gave the band a whole new life. Other players on this session include Candido, Leo Wright, Julius Watkins, and Willie Rodriguez – and the tracks include "Africana", "Blues", and "Panamerica".

A dozen hard early 60s Latin numbers – performed by Rene Grand and his combo, with some occasional vocals by Frankie Rodriguez – but also a number of great instrumentals with a sweet jazzy finish! The groove is very strong, with lots of mambo jazz in the mix, and a hard New York groove that really keeps the set lively – especially on the numbers that feature some smoking sax work! There's a bit of charanga moderna playing by the group, which creates some cool rhythms on the best cuts – and the album's a very unified session overall. Titles include "Cool", "Go Go Mambo", "Siga La Gente", "Sabroson", "Chacho", "Ahora No Pare", and "Going Cha Cha".

A pair of killers from keyboardist Gene Harris – both recorded for Blue Note, and back to back on a single CD! First up is Gene Harris/The 3 Sounds – the last Three Sounds album for Blue Note – and the funkiest too – thanks to lots more electrification than usual, and some killer arrangements from the mighty Monk Higgins! Monk's really at the top of his game here – going past even his great previous work for the group, and working with a tight, sharp edge that recalls his funky 45 brilliance of the 60s – yet tuned a bit more towards the electric Cali jazz of early 70s Blue Note! Gene Harris plays loads of funky piano lines – and in addition to the trio's core electric bass and drums, the set also features some added work on percussion from Paul Humphrey – who really brings in a kick – plus added guitar, congas, and even a bit of Hammond from Higgins too! Some cuts even have a bit of vocals too – sung in this offbeat way that's a wild approach to soul. There's some killer breaks on the set – including the massive "Put On Train" and "What's The Answer" – but the whole set smokes, and other cuts include "I'm Leaving", "You Got To Play The Game", "Your Love Is Just Too Much", "Did You Think", "Hey Girl", and a mad version of "Eleanor Rigby". On the second album – Gene Harris Of The Three Sounds – Gene really steps into the solo spotlight – moving away from his work with the Three Sounds trio, and headed into even more righteous territory – as you might guess from the trippy image on the cover! The set features Harris mostly on acoustic piano, but amidst larger arrangements from Wade Marcus that really round things out with a warm, soulful edge – mixing guitar from Sam Brown and Cornell Dupree with Gene's lines on piano – and giving things an extra kick at the bottom with drums from Freddie Waits, and percussion from Johnny Rodriguez and Omar Clay. The record echoes Harris' older roots at some points, yet comes across with a richer 70s vibe too – a hip 70s style that's strongly due to the contributions of Marcus' arrangements. Tracks include a great remake of "Listen Here", which begins with a great funky break; a sweet steppers version of "Killer Joe"; and the tracks "Lean On Me", "Day In The Life Of A Fool", "Django", "Emily", and "C Jam Blues".

Groovy little record that has this funky tenor giant playing a bunch of tracks with a Frenchy feel to them. Budd's joined by Hank Jones on piano, plus Kenny Burrell on guitar, and a nice Latin rhythm section that includes Joe Venuto on vibes and marimba and Willie Rodriguez on percussion. The groove's even a bit more Latin than French, but you'll recognize some of the tracks as old Parisian standards, like "La Petite Valse", "Je Vous Aime Beaucoup", and "Je T'Aime". Budd wrote two originals, too, and this is a nice tidy little set, and one of his lesser known sessions from the early 60's.

A tasty bit of salsa with a modern charanga twist – a groove that's a fair bit like Tipica 73 at times, but a bit less standard! La Sensual really have a playful sense to their music – one that lets the mix of violin, flute, and piano leap around creatively – sometimes following the rhythms, sometimes moving into spaces that are a bit more offbeat, and which make the record a real standout. The set features vocals by leader Orlando Aviles, plus violin by Jose Chombo Silva, piano by Hector Leguillow, and additional vocals by Mike Rodriguez. The violin snakes in and out of the groove with a sharp 60s-inspired sound – and titles include "Teresa", "Tengo Frio", "Lo Que Traigo Es Salsa", "Camarones Y Mamoncillos", and "Tu Sensualidad".

A funky vibes classic – and a landmark set from Detroit vibist Johnny Lytle! The set's one of the purest examples of Johnny's great early groove – a tightly stepping version of soul jazz that played big in the clubs at the time, and which has forever made Lytle one of the favorites of the mod jazz dance circuit! Lytle mixes his own heavy work on vibes with some great work from his regular trio members Milt Harris on organ and William "Peppy" Hinnant on drums – augmented here by some additional bass from Bob Cranshaw and percussion from Willie Rodriguez. The sound is strong and tight – arguably even more classic than that of Lytle's Tuba recordings – and the title cut "Village Caller" is a wonderfully angular groover that still gets heavy play in Chicago to this day! Other tracks include the modal dancer "Kevin Devin", plus the tracks "Pedro Strodder", "Green Dolphin Street", "Solitude", and "Unhappy Happy Soul".

Percussionist Sabu Martinez is one of the all-time greats of Latin music – and this record is probably the rarest he ever cut! The album came out of Sweden, where Sabu was residing during the 70s – enjoying some success as an expatriot jazz player in the European scene. The album mixes Latin grooves and hard funk in a way that's rarely been duplicated, and which has ensured Sabu a place in the funk hall of fame for all time! Breakbeat fanatics have always sought out the album for the cuts "All Camels Hump" and "My Cristina" – but the whole thing's a stunning batch of hard percussion grooves, and it's well worth its rare reputation! Other tracks include "Para Ti, Tito Rodriguez", "Martin Cohen Loves Latin Percussion", "My Son Johnny & Me", and "Wounded Knee".

Percussionist Sabu Martinez is one of the all-time greats of Latin music – and this record is probably the rarest he ever cut! The album came out of Sweden, where Sabu was residing during the 70s – enjoying some success as an expatriot jazz player in the European scene. The album mixes Latin grooves and hard funk in a way that's rarely been duplicated, and which has ensured Sabu a place in the funk hall of fame for all time! Breakbeat fanatics have always sought out the album for the cuts "All Camels Hump" and "My Cristina" – but the whole thing's a stunning batch of hard percussion grooves, and it's well worth its rare reputation! Other tracks include "Para Ti, Tito Rodriguez", "Martin Cohen Loves Latin Percussion", "My Son Johnny & Me", and "Wounded Knee".

A killer album from Johnny Richards – possibly the best he ever cut! The album sparkles with all the intensity he brought to Stan Kenton's Cuban Fire album – with bits of Latin, jazz, and some of the modernist scoring that Kenton, Richards, and Pete Rugolo were using at the time. However, the main thing about this album is that it swings like a mo-fo – moving past any tricks and gags to hit a strong jazz mode, with excelelnt solo work by players like Frank Socolow, Gene Quill, and trumpeter Burt Collins. Willie Rodriguez brings some nice Latin percussion to the set – and titles include "Cimarron", "Eyes", "Nipigon", and "The Ballad Of Tappan Zee".

Not just 70s New York salsa, but a range of different styles – all packaged together with a focus that's mostly aimed at the Latin dancefloor ! Most of the work here is still relatively rootsy – pulled from the Salsa International/Mary Lou Records catalog – with a sound that's got a bit more grit than contemporaneous work from labels like Fania or Vaya. But that doesn't stop the music from being great – and the racks here really roll out with a very vibrant feel throughout! Titles include "I Regret" by Orchestra Capri, "Aprendelo Como Yo" by Bobby Quesada, "Puerto Rico Guaguanco" by Orchestra Tentacion, "Descarga 72" by Willie Rodriguez, "Salsa Tropical" by Orchestra Capri, "A La Memoria Del Muerto" by Dominica, "Sono Mi Guaguanco" by Raphie Martiniez, "Los Que Lloran Son Los Ninos" by Willie Rodriguez, and "Something Right" by Cucaracha Brass.

Not just 70s New York salsa, but a range of different styles – all packaged together with a focus that's mostly aimed at the Latin dancefloor ! Most of the work here is still relatively rootsy – pulled from the Salsa International/Mary Lou Records catalog – with a sound that's got a bit more grit than contemporaneous work from labels like Fania or Vaya. But that doesn't stop the music from being great – and the racks here really roll out with a very vibrant feel throughout! Titles include "I Regret" by Orchestra Capri, "Aprendelo Como Yo" by Bobby Quesada, "Puerto Rico Guaguanco" by Orchestra Tentacion, "Descarga 72" by Willie Rodriguez, "Salsa Tropical" by Orchestra Capri, "A La Memoria Del Muerto" by Dominica, "Sono Mi Guaguanco" by Raphie Martiniez, "Los Que Lloran Son Los Ninos" by Willie Rodriguez, and "Something Right" by Cucaracha Brass.

Pete Terrace challenges Pete Rodriguez for the title of "King Of The Boogaloo" in this live set recorded at Chez Jose in New York! The album's got a few tracks that say boogaloo, but which aren't – but that's still ok with us, because the bulk of the set is a hard grooving batch of uptempo groovers that would make anyone proud – and the record's easily one of Pete's best from the 60s! Includes covers of "El Pito", "At The Party", and "Bang Bang" – plus Marty Sheller-penned originals like "Do The Boogaloo", "I'm Gonna Make It", "Here Comes Pete", and "No! No! No!". Pete's vibes sound mighty nice, and the pianist in the group is nice and firey!

An obscure session that Clark Terry cut for the mostly-pop Cameo label during the early 60s – and some of the better recording that Terry did during the decade. The group is relatively small – filled with soul jazz players like Buddy Lucas, Seldon Powell, Willie Rodriguez, and Dave Bailey – and Terry's soloing is nice and tight, with a measured economical quality that works will with the tightness of the backing. Titles include "Tread Ye Lightly", "Free & Oozy", "Sweet Juke", and "Sapphire Blue".

Puerto Rican salsa from Zaperoko – a group who weave together strands of traditional rhythms into a sweet new groove! The album's got a rock-solid feel right from the start – the mix of tradition and contemporary energy that makes some of these 80s Montuno sessions so great – with a depth of feeling that's far more than you might expect from the record's slightly cheesy cover. Lead vocals are from Frankie Rodriguez, who has an especially heartfelt feel on some numbers – and the group is quite heavy on percussion, which really steps out and jams on some of the best tunes. Titles include "El Zaperoko", "Azucar Con Aji", "La Olla", "Sigan La Clave", "No Quedo Ni El Gato", and "Se Lo Que Es Rumba".

An overlooked salsa gem from the New York scene of the 80s – one of those great Montuno Records albums that was a lot more rootsy than most other work of the time! The group work here with a blend of salsa energy and deeper Afro-Cuban roots – especially on the percussion, which really helps ground the tunes, and give them a bold sort of vibe right from the start! Instrumentation includes some nice trombone work from co-leader Edwin Feliciano, plus two more trombones as well – and piano and Fender Rhodes from Edy Martinez – and vocals are by Frankie Rodriguez, Angel Palacios, and Edwin Feliciano. Titles include "Zaperoko", "Candita", "Lo Dudo", "Bata Yeye", "Akara", and "Bailare".

A compilation of sorts, but one with a really unified groove – thanks to the fact that most tracks here feature work by all the same players! The album's a project headed up by Lance Ferguson of the Bamboos – and it's a collection of funky 45-styled tunes with a definite old school feel – all billed to different artists, in a mode that's similar to some of the "fake" compilations done by Poets Of Rhythm years back! Like those records, the grooves here are all played by the same batch of musicians, named differently on each track – a combo that features Lance on some super-sharp guitar, and which sounds a lot like the best funky 45 work of The Bamboos. Even cooler, though, is the fact that all the cuts here are older funk classics from the late 60s and early 70s – killer originals that are redone here in versions that are as good, if not better than, the originals. CD features 12 titles that include "Whatcha Feel Is Whatcha Get" by Prince Nafa & His Polynesians, "Yo Yo" by Alvarado Rodriguez Trio + 4, "Honky Tonk Popcorn" by Pacific Rhythm Combo, "Black Feeling" by Luther Harris, "Executive Party" by Zoltar, "Licking Stick Licking Stick" by Rusty Garnett, and "Ghetto Funk" by Queens Community Show Band.

We love Marian Montgomery – and she's a heck of a great singer with a really unusual sound! In an early 60s work of sultry vixens, Marian's got a harder-swinging groove that's almost in a Ray Charles mode – clearly inspired by 50s R&B, but done with enough of a jazz flourish to expand out the sound nicely. Plus, she's got a really rhythmic approach to her work, no matter what the tune – which makes for an uncanny ability to turn even a sleeper into a surprising swinger. Here, it also helps that Dick Hyman's handling the arrangements – playing organ and piano himself on the record, and working with a small combo that includes Kenny Burrell, Joe Newman, Milt Hinton, and Willie Rodriguez. The whole thing's plenty great – and titles include "Breezin Along With The Breeze", "When Sunny Gets Blue", "My Buddy", "The Exciting Mister Fitch", "Deed I Do", and "All By Myself".

Sparkling salsa album that features Santos' vocals set amidst jazzy arrangements by Javier Vazquez, played by a nice little combo with Afredo Rodriguez on piano. Titles include "Y Que Mi Socio", "Virgen Del Cobre", "Palmeras", "El 5 Y 6", and "Salsa Internacional".

Two of Ray Barretto's earliest albums, both recorded for the Riverside label at the start of his career! Latino has an approach to Latin jazz that's certainly informed by the charanga sound of the New York scene in the early 60s – but one that's also opened up a bit more to new ideas – bits of bossa nova, heavy percussion, and some odd instrumental twists that really make the album sparkle! There's some haunting violin work on one track, a bit of odd organ on another, and a very playful mix of flute, piano, and percussion throughout. The great Jose Combo Silva plays tenor on the date – and other players include Jose Canoura on flute, Alfredito Valdez on piano, and El Negro Vivar on trumpet. Ray's on congas, bongos, and timbales – and titles include "Sugar's Delight", "Carnaval", "Descarga La Moderna", "El Negro Y Ray", and "Cocinando Suave". Pachanga With Barretto is a very offbeat little set from Ray – a record that takes the standard pachanga groove of the time, and nicely turns it on its ear with a host of jazzy touches! Hector Rivera wrote all the tracks, and also did most of the arrangements – and the record's got a really playful feel that's far more than just straight Latin for the crowds at the club. Flute and violin are often used in slightly unusual ways – and they're mixed with harder lines on tenor from Frank Mercado and trumpet from El Negro Vivar. Other players include Ray Mantilla on timbales, Jose Canoura on flute, and Willie Rodriguez on percussion – and titles include "Oye Heck", "Pachanga Suavecito", "Pachanga Para Bailar", "Barretto En La Tumbadora", "Pachanga Oriental", and "Ponte Dura".

An early moment of genius from El Gran Combo – just the sort of record to show why the group was such a hit from the get-go! The instrumentation here is great – heavy on saxes from Eddie Perez and hector Santos – mixed with trumpets from Victor Perez and Rogelio Velez – and supported by some hard-hitting percussion, by players who include a young Roberto Roena on bongos! Pianist Rafael Ithier directs the whole thing with a tightness that's right up there with the bigger names on the New York scene – and vocals are handled by Eddy Montanez and Pellin Rodriguez. Titles include "La Muerte", "Cabeza De Hacha", "El Perico", "Sobina", "Cosas De La Vida", "A La Loma De Belen", and "La Mafafa".

An easily-grooving set that features Illinois Jacquet blowing over small combo arrangements with Tommy Flanagan on piano and Kenny Burrell on guitar – plus some added Latin percussion from Willie Rodriguez! The presence of the Latin percussion really adds a nice element to the album – making the tracks dance lightly, in the "conga plus soul jazz" mode that was being employed heavily at the time on labels like Blue Note and Prestige – and in a style that really makes Jacquet hit a few new notes to match the groove! Titles include "Star Eyes", "Blues For The Early Bird", "Lester Leaps In", "Canadian Sunset", and "Desert Winds".

A killer set of percussion-heavy Latin jazz tracks – one that brings together two different generations of Latin Jazz, working here in a stripped-down groove that's totally wonderful! The album's a real stunner from the legendary late 70s run of the Latin Percussion label – the imprint started to showcase the kinds of music that best fit its wide line of instruments – played here by an amazing lineup that includes Tito Puente on timbales and vibes, Patato Valdez on congas and shekere, Eddie Martinez on piano and Fender Rhodes, Johnny Rodriguez Jr on bongo and guiro, Steve Berrios on drums, and Rene Lopez on trumpet. Rhythms are at the core of each tune – and many numbers start out in the spare style of the label's drum solo records, then warm things up with a bit of added instrumentation. There's just a bit of vocals at a few points – sung by Nancy O'Neill & Jeanette Rodriguez – and titles include "Bernie's Tune", "Latin Funk", "Tito & Patato", "The Opener", "Afro Mood", "Talking Skins", and "Martinez Blues".

Killer set that combines both of Johnny's rare albums cut for the tiny Tuba label in the mid 60s! The records both have a great funky vibes sound, with lots of tight drumming, and soulful bubbling organ grooves. These are very sought after in their original pressings, and both LPs usually fetch upwards of $40 when we get them in – and they fly right out the door as soon as they hit the web. Loop is the rarer of Johnny Lytle's two albums for the obscure Tuba label from Detroit. Johnny's classic trio, with Peppy Hinnant on organ, is backed by a larger group that features Wynton Kelly on piano and Willie Rodriguez on conga. New and Groovy is very nicely stripped down - and the focus of the album is on down-and-dirty groovers, perfect for the jazzy stepper set that still digs Lytle loads! Loads of short groovy steppin jazz vibes cuts, like "The Loop", "The Man", "The Snapper", "Selim", and way way more!

Percussionist Sabu Martinez is one of the all-time greats of Latin music – and this record is probably the rarest he ever cut! The album came out of Sweden, where Sabu was residing during the 70s – enjoying some success as an expatriot jazz player in the European scene. The album mixes Latin grooves and hard funk in a way that's rarely been duplicated, and which has ensured Sabu a place in the funk hall of fame for all time! Breakbeat fanatics have always sought out the album for the cuts "All Camels Hump" and "My Cristina" – but the whole thing's a stunning batch of hard percussion grooves, and it's well worth its rare reputation! Other tracks include "Para Ti, Tito Rodriguez", "Martin Cohen Loves Latin Percussion", "My Son Johnny & Me", and "Wounded Knee".

One of the most unique sessions ever cut for Blue Note – an album of very traditional Afro-Cuban jamming, led by percussionist Sabu Martinez! The music on the album's comprised mostly of percussion – plus some occasional guitar, bass, and vocals shouted by Sabu, and group members that include Arsenio Rodriguez, Ray Romero, and Willie Capo. The whole thing's incredibly haunting – and about as different from the average Blue Note hardbop set as you could get! Titles include "Simba", "Aggo Elgua", "Tribilin Cantore", "Asabache", and "Billumba-Palo Congo".

2 different albums from Tito Puente – nicely packaged here in a single set! On Broadway is not really a "Broadway" album, as you might guess from the title – although Tito and group do play a version of the soul hit "On Broadway" on the set – but a nicely-honed set with a strong Latin jazz groove, much more back to basics than some of Tito's work from the 70s. Players include Ray Gonzales, Jorge Dalto, Afredo De La Fe, and Jerry Gonzales – and tracks include versions of Freddie Hubbard's "First Light", Milton Nascimento's "Soul Song", and Toots Thieleman's "Bluesette" – as well as the originals "Jo Je Ti" and "TP's Especial". Mambo Diablo is a stone cooker from Tito Puente's great back to basics years of the 80s – a time when he was really moving towards the Latin jazz of his roots – working without any singers, or any contemporary gimmicks, and letting loose with tight combos and top-line jazz players! This set features Puente on vibes, timbales, and percussion – grooving nicely with the great Sonny Bravo on piano, whose bold lines definitely help shape the grooves – giving them plenty of New York 60s pulse, alongside work by Jimmy Frisuara on trumpet and trombone, Mario Rivera on soprano and tenor, and Ray Gonzalez on trumpet. Bobby Rodriguez handles bass, and Johnny "Dandy" Rodriguez brings in added percussion with congalero Jose Madara – and tracks include "Take Five", "Mambo Diablo", "Pick Yourself Up", "Eastern Joy Dance", "China", and "No Pienses Asi".

Boogaloo in the barrio from trumpeter Bobby Quesada – a player we haven't heard much from over the years, but who we really love for this classic late 60s Fania album! The set's got a joyous groove that's very much in the feel of the image on the cover – a mixture of those darker rhythms that came forth in the Latin Soul generation with some older-styled inflections on the horns – a mode that may well not be pure boogaloo, but which definitely offers up a youthful mix of perspectives. Vocals are all in Spanish, sung by Luiz Rodriguez – and the group also features Ruben Rivera on piano and Ramon Quesada on tenor sax. Titles include the groovy boogaloo track "Bataola Boogaloo", plus straighter Latin tracks like "Ritmo Moderno", "Me Guta La Noche", "A Mi Barrio", and "El Pregon Del Pupilo".

A 2-in-1 Latin jazz spectacular from the mighty Cal Tjader! First up is the album Ritmo Caliente – one of Tjader's first Latin-tinged sessions for Fantasy Records – and a really wonderful batch of tracks recorded with a shifting array of very hip players! In addition to Cal's vibes, and expected Latin percussion – handled by Armando Peraza on congas and bongos – the set also features some totally slamming piano work from Eddie Cano, Manuel Duran, and Richard Wyands – each of whom get a chance at the keys on the set, really helping to bring in a range of different colors and tones. An added bonus is Jerome Richardson on flute – who plays on about half of the album's tracks – in that soulfully snaking way he virtually owned back in the 50s. Tracks are short, and filled with plenty of energy – and titles include "Ritmo Caliente", "Mambo Moderno", "Alegres Timbales", "Buhutu (Nanigo 6/8)", "Cubano Chant", "Goza", "Lamento De Hodi", "Mueve La Cintura", and "Afro Corolombo". On Mas Ritmo Caliente, Cal Tjader's working in a smoking Latin vibe throughout – and has managed to get some great extra help in his efforts! The album was mostly recorded in Chicago and New York, and these different locals seem to give the record a slightly different flavor than some of Tjader's other west coast dates from the 50s – a slightly harder Latin groove, thanks to the presence of players like Jose Chombo Silva on tenor sax, Gerald Sanfino on flute and alto, Bobby Rodriguez on bass, Mongo Santamaria on congas, Willie Bobo on timbales, and Luis Kant on percussion. Vince Guaraldi's on piano on all tracks – bringing in a nice dose of warmth next to Cal's vibes – and titles include "Mongorama", "Ritmo Africano", "Ritmo Rumba", "Tumbao", "Perdido", and "Cuco On Timbales".

A classic collaboration between vibist Cal Tjader and Latin pianist Eddie Palmieri – a really wonderful album that bridges two different worlds of music in the 60s! Cal had always had something of a Latin bent to his music, even working for Fantasy in San Francisco a decade before – but here, teamed up with Eddie Palmieri, his music gets a great New York infusion – and one that's even a bit more contemporary than some of Tjader's previous 60s Latin efforts. Eddie's sharp-edged piano is totally great – ringing out with some especially bold tones – and other players on the set include Julian Priester and Mark Weinstein on trombones, Ismael Quintana on percussion, Bobby Rodriguez on bass, and George Castro on flute. Arrangements are by Eddie and Claus Ogerman – and titles include "Los Jibaros", "Ritmo Uni", "Picadillo", "Unidos", "El Sonido Nuevo", and "Guajira En Azul". CD reissue also includes 6 bonus cuts that weren't on the original LP!

Amazing sounds from one of the greatest periods in Brazilian music – that heady late 60s/early 70s stretch when it seemed like everything was up for grabs – and new genres, new sounds, and new styles were being created all the time! This cooker of a collection focuses on the unique hybrid of funk and samba that took place at the time – a sound also known as Samba Soul, but served up here with a really well-selected batch of tracks that goes way past the obvious – to really reinscribe a whole new version of this musical generation, pulled together from rare wax of the 70s! The groove is bouncy and upbeat, but often has some cool unexpected twists and turns too – with titles that include "Mister Brown" by Bebeto, "Quem Vem La" by Marisa Rossi, "Turma Do Pole" by Arnaud Rodriguez, "16 Toneladas" by Moriel Vilela, "Sou Negro" by Toni Tornado, and "Tatarue" by Giovana.

A killer batch of boogaloo and Latin Soul – and a set that even features 2 unissued gems from the vaults of Fania Records! As with the previous entry in this series, the sound here is plenty darn soulful throughout – lyrics that are often in English, and rhythms that borrow heavily from American funk and soul of the late 60s – mixing African-American musical styles with Puerto Rican and Cuban elements – all to come up with a groove that's as fresh today as it was back in the Spanish Harlem scene of the time! Previously unreleased tracks include "Evil Ways" by Pete & Louie, and the full length version of "O Elefante" by Ray Barretto – and other tunes include "Rise Up" by Orchestra Harlow, "Safari" by Tito Puente, "Revolucionando" by New Swing Sextet, "Times Are Changing" by Jimmy Sabater, "MC2" by Willie Colon, "Crystal Blue Persuasion" by Joe Bataan, "Musica Del Alma" by TNT Boys, "Here Comes The Judge" by Pete Rodriguez, "Ape Walk" by Al Escobar, and "Rat Race" by Ralfi Pagan.

A killer set from the legendary Cachao – recorded during some lesser-known years in the 80s, but done with a rich sound that really hearkens back to his Havana roots! Most tracks are instrumental descargas, with a very bass-heavy groove – recorded in a way that really lets you hear Cachao's key contribution to the music – that way he has of really inspiring other players to give their best! Instrumental solos are great too – jazzy moments from Fajardo on flute, Bobby Martinez on sax, and Roberto Luis Rodriguez on trumpet – but Cachao's clearly the main star of the set, and he gets in some simply amazing lines that show he was not sleeping even at this quiet point in his career. Titles include "Bocachaby", "Panchin", "Walpataca", and "La Pausa De Cachao".

A sweet 70s salsa session from singer Santiago Ceron – served up with some sharp arrangements from New York talents who include Sonny Bravo, Louie Ramirez, and Luis Ortiz! The sound here is often somewhat warm, thanks to some tight horns over the top – a quality that works nicely with Santiago's vocals, and which is sometimes undercut by some sharper piano from Willie Rodriguez. Titles include "Vacio", "Cristiana", "Don Lengua", "Perdon Y Olvido", and "No Hay Tal Cosa".

One of the excellent albums cut by conga player Patato Valdez for the Latin Percussion label – and a tight stripped-down jam session with a very traditional Afro-Cuban feel! The groove is pure New York Latin – with the wonderful "return to basics" sound that LPV was pioneering at the time. Valdez is in great form on the conga – and other players include Virgilo Marti, Nelson Gonzalez, Bobby Rodriguez, and Alfredito Rodriguez. Titles include "La Ambulancia", "Canto A Chango", "To Y Van Hecho", and "Como Suena Mi Son". Tracks are very long, spare, and with a heavy conga groove!

An amazing solo effort from Harrison Kennedy – a record that's quite different than his work with Chairmen Of The Board, and a set that's easily one of the most compelling albums ever issued on the Invictus Records label! The set's nice and funky at times – the heaviest expression of that early 70s Holland Dozier Holland groove – but there's also moments that have kind of a playful, offbeat mode that's almost folksy soul – hard to peg adequately in words, but touched with these acoustic elements that are quite different than Kennedy's work with the Chairmen. The oddity of the record almost puts it in Rodriguez territory – especially given the raspy charm of Harrison's vocals – and titles include "Night Comes Day Goes", "Gimme A Glass Of Water", "Hypnotic Music", "Closet Queen", and "Up The Organization".

An amazing package of Latin Rhythms – 2 CDs worth of work recorded by the Latin Percussion label in the 70s! Volume 1 is one of the very first sessions recorded by the Latin Percussion label – a groundbreaking record that features very heavy rhythms throughout! The group's co-led by Jose Mangual and Carlos Patato Valdez – each of whom handle plenty of percussion, alongside Manny Oquendo on timbales, Milton Cardona on clave, Bobby Rodriguez on bass, and a few other percussion players as well! The sound is tight and jamming – very much in the best LP mode – recorded with a crisp edge that keeps the live, spontaneous sound of the record wonderfully fresh after all these years. One track features a bit of vocals by Ada Charbrier, but all other tunes are instrumental – and titles include "Masacote", "Guaguanco", "Bomba", "Guaguanco", "Mambo", "Shekere", and "Son Montuno". Volume 2 is quite compelling too, and really just features spare percussion jams, mixed with a bit of electric piano – a really cool blend that's unlike anything else we can think of! The session features spoken introductions to different Latin rhythm styles – then moves into percussion interplay between Nelson Gonzalez and Charlie Santiago, plus very stark electric piano lines by Joe Mannozzi – on a keyboard that's quite different than the usual Fender Rhodes. Titles include "Timbale", "Bongo Drum", "Conga Drum", and "Rhythm Ensemble". Also comes packaged with a cool full-sized booklet of notes, photos, and musical notations.

Mojo ranks the "100 Greatest Music Films Ever" for the cover feature – and because it's Mojo we're talking about, it's a damn good list – with Don't Look Back, Searching For Sugar Man, TAMI Show, Hard Day's Night, Fistful Of Dollars, Eraserhead, The Wicker Man – classics both mainstream and cultish! This issue also has pieces on The Flaming Lips, Undertones, Shuggie Otis, Black Sabbath, a look back at Jesus & Mary Chain and Blur's Rollercoaster tour and more! The free CD is Action – 15 Cult Movie Classics – with tracks by Rodriguez, Ennio Morricone, Bobby Womack, Arthur Russell, John Barry Orchestra, Brian Jonestown Massacre and more.

A seminal bit of 70s Latin from Eddie Palmieri – a full, rich session that really earns the "sun" in its title! Eddie's working here in that complicated approach to jazzy rhythms from the later Tico years – inflected by a bit of straighter salsa rhythms – in a style that proved that it never hurt to put a bit of intellectual approach in the grooves! The album's got one wonderful standout track in the 14 minute long "Una Dia Bonita" – a massively complex number that initially features some really dark, spare piano – but then has Eddie stretching out a highly progressive groove. Players on the set include Victor Paz, Ronnie Cuber, and Jose Rodriguez – and the album also features a bit of vocals from Lalo Rodriguez. Other tracks include "Mi Cumbia", "Nada De Ti", "Deseo Salvaje", and "Nunca Contigo".

A lost groover from this obscure soul jazz guitarist – recorded with some pretty interesting backing, and a firey guitar style that makes us wish he'd recorded more! The record sports two main groups backing up Forriest's guitar – one with Ernie Hayes on organ, Bernard Purdie on drums, Willie Rodriguez on conga, and Albert Winston on bass; the other with Grachan Moncur on trombone, Frank Haynes on tenor, Charles Davis on baritone, and Leo Morris on drums. Sonny's guitar work is right out front – very complicated and bluesy, mostly single-note plucked, in the manner of Grant Green, but with a lot more inflection on the strings. Titles include "Minor Blast", "My Soul Is Happy", "Mashin It", "Steppin", "Miss Dee McC", and "Bitter With The Sweet".