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Landmark work from Sun Ra – a rare 1964 performance that features some very early work from Pharoah Sanders, a good deal of which is appearing here for the first time ever! The material was recorded at Judson Hall, and only half the tracks came out on a rare Saturn LP – making this CD collection that first time that all 11 titles appear in their entirety. Ra and the group recorded the set on New Year's Eve, 1964 – at a time when John Gilmore had left the Arkestra to work with Art Blakey – leaving Pharoah Sanders to come and take his place on tenor. Also noteworthy is the presence of Black Harold (Harold Murray) on flute – blowing with a dark edge alongside other group members who include Al Evans on trumpet, Teddy Nance on trombone, Marshal Allen on alto sax, Pat Patrick on baritone sax, and both Alan Silva and Ronnie Boykins on bass. The performance starts with a relatively fierce sound, but then moves into some beautifully lyrical moments – and titles include "Gods On A Safari", "The New Tomorrow", "The Second Stop Is Jupiter", "Cosmic Interpretation", "The Other World", "Dawn Over Israel", and "Space Mates".

An adventurous side from Sun Ra – recorded in 1962, when the Arkestra had recently moved to New York City – with Ra playing a bit of percussion and electric celeste on one track, and an overall freer approach by the rest of the group! Players include the classic lineup with Pat Patrick, John Gilmore, Marshall Allen, and Ronnie Boykins – and titles include the haunting originals "Dimensions In Time", "Dancing Shadows", "The Rainmaker", "We Travel The Spaceways", and "Calling Planet Earth".

A rare American release from British baritonist Ronnie Ross – working here in the sharp-edged company of drummer Allan Ganley! The group's got a really tight sound throughout – that best sharp-lead mode of the Brit scene of the 50s – but with a looser feel on the solos, which are handled especially well by Ross and tenorist Art Ellefson – a player we hardly know at all, but who cuts some really imaginative lines on the set. The overall feel's a bit like the Jazz Couriers work of Tubby Hayes and Ronnie Scott – or a bit like some of Don Rendell's best – and the rest of the group features Stan Jones on piano and Stan Wasser on bass. Tracks are mostly originals, and titles include "The Country Squire", "The Moonbather", "The Real Funky Blues", "Blues For The Five Of Us", "I Won't Fret If You Don't Get The Blues Anymore", and "Pitiful Pearl".

Stone funky Latin soul from the younger member of the Santamaria family! Black Out is one of Monguito's greatest – a hip album of groovy late 60s tracks that perfectly blend the Latin and soul sides of the Spanish Harlem scene. Marty Sheller handled arrangements on some of the album's best cuts, giving them the same tight funky feel as his best work with the senior member of the Santamaria clan – and Ronnie Marks sings English language lyrics on the tracks "All Your Talk", "I've Got To Find", "Crying Time", and "You Need Help". Other tracks are Latin, and titles include "Guarara", "Sueno Contigo", and "Todo Es Todo".

A rough-edged batch of spiritual jazz tracks from trumpeter Charles "Cha Cha" Shaw (not to be confused with Charles "Bo Bo" Shaw) – recorded in an open-ended loft jazz mode with a really open, echoey feel! The album's a rare 70s jazz date on the Folkways label, and it's almost got the freer, open sound of an ESP session from a decade before – experimental jazz that's very much at the fringes, but also played with some of the spirituality of the post-Coltrane generation. Shaw's trumpet has a really earthy sort of feel – blown with a great sense of personality, and a sound that's almost heart-wrenching at times – especially on some of the more modal numbers. Other players include Brian Ross on tenor, Billy Lyes on piano and guitar, and Ronnie Boykins on bass. Boykins is really the only player we know here from other records – and titles include the nicely grooving "KZ", plus "Juggety", "Super Slik", and "Eternal".

A rough-edged batch of spiritual jazz tracks from trumpeter Charles "Cha Cha" Shaw (not to be confused with Charles "Bo Bo" Shaw) – recorded in an open-ended loft jazz mode with a really open, echoey feel! The album's a rare 70s jazz date on the Folkways label, and it's almost got the freer, open sound of an ESP session from a decade before – experimental jazz that's very much at the fringes, but also played with some of the spirituality of the post-Coltrane generation. Shaw's trumpet has a really earthy sort of feel – blown with a great sense of personality, and a sound that's almost heart-wrenching at times – especially on some of the more modal numbers. Other players include Brian Ross on tenor, Billy Lyes on piano and guitar, and Ronnie Boykins on bass. Boykins is really the only player we know here from other records – and titles include the nicely grooving "KZ", plus "Juggety", "Super Slik", and "Eternal".

Side Effect's first album on Fantasy – a wonderful record that's partly soul, partly jazz vocals – and put together with a wickedly funky undercurrent, thanks to the talents of the mighty Wayne Henderson! Side Effect were way more than just another 70s harmony group – as their vocal approach was rooted in jazz, and really stretches out with a complicated vibe that Henderson not only respects perfectly, but finds a way to push nicely – thanks to some tight jazz funk instrumentation from heavyweights like Ronnie Laws, Joe Sample, Spider Webb, and Arthur Adams! Titles include "Oh Baby", "There She Goes Again", "Spend It On Love", "Tree Of Love", "Checkin It Out", and "I Love You So Much".

One of Bunny's earliest, and one of his best. Although some of the tracks have an uptempo pre-disco feel, there's none of the excesses of his later albums for Gold Mind. Instead, there's a solid Philly soul groove, and great production by Bunny, with arrangements by Norman Harris and Ronnie Baker. Tracks include "Keep Smilin", "Picture Us", "Love Train", "Things Are Gonna Get Better", and "Your Love Is Good".

Great work by Bunny Sigler – and a perfect bridge between his earlier Philly soul from the late 60s, and his later disco from the end of the 70s! Bunny's in perfect form vocally – and the record is a super-strong batch of tracks that deserves to be well up there in the Gamble/Huff cannon – oft-overlooked for some odd reason, but prime 70s Philly all the way through – and quite different than some of Sigler's later material! The songwriting's great – loads of compelling original cuts – and arrangements are by Bunny, Ronnie Baker, and Norman Harris – ensuring a top-shelf Sigma sound all the way through! Titles include "I Lied", "Picture Us", "Things Are Gonna Get Better", "Your Love Is Good", and a different take on "Love Train". CD features 2 bonus tracks – "Love Train (part 1)", and "I Lied (single version)".

A surprisingly great later album from Horace – with Steve Turre on trombone, Ronnie Cuber on baritone, Claudio Roditi on trumpet, and Michael Brecker on tenor.

Wonderfully warm work from the late 70s years of Lonnie Liston Smith – material from his key stretch a Columbia Records, a time when he'd really learned to tighten up his groove a bit from earlier years, yet still keep all the deeper soul intact! The set kicks off with Song For The Children from 1979 – a set done by Lonnie with help from Bert DeCoteaux, who's still clearly aiming the record at the soul side of the spectrum – using Lonnie's cosmic blend of keyboards, rhythms, and vocals just the right way – and hitting some sounds that are a bit more righteous than other Columbia Records fusion acts of the time. Some cuts feature lead vocals by James Robinson – and other instrumentation includes saxes from Dave Hubbard and guitar by Ronnie Miller. The album kicks off with the soul jazz number "A Song For The Children", and other tracks include "Aquarian Cycle", "Street Festival", "Gift Of Love", and "Midsummer Magic". (Note that the reissue leaves off the track "Fruit Music", due to space restrictions.) Exotic Mysteries is one of the fullest-sounding albums ever cut by Lonnie Liston Smith – but one of the greatest albums too! The set has Smith really taking off a bit more than on his work for RCA or Flying Dutchman – hitting some fuller sounds in the studio, thanks to backings arranged by Berg DeCoteaux, who's clearly trying to push Lonnie's groove a bit more towards a soul fusion audience of the time, yet always without losing any of the righteous energy that makes the music so great. There's a wonderful blend of acoustic and electric keyboards on the set – wrapped up in bits of strings, and propelled strongly to the skies with some great rhythms that include bass work from a young Marcus Miller, who also wrote some of the tracks on the set. Vocals aren't often in the lead – usually just sung by a chorus, if at all – and some of the best numbers here have a laidback groove that's totally wonderful – nice and mellow, with lots of room for the keys! Tracks include "Quiet Moments", "Space Princess", "Night Flower", "Mystical Dreamer", "Magical Journey", "Singing For Love", and "Exotic Mysteries".

A great little set of grooves by organist Lonnie Smith – and one of his best albums ever! The key to Drives is that it finds Lonnie backed by a totally sympathetic group of musicians – including Ronnie Cuber on baritone, Dave Hubbard on tenor, and the great Joe Dukes on drums – whomping away on the kit with all the dexterity he brought to Jack McDuff's classic recordings of the mid 60s! There's a measured funkiness in spots that's totally killer – with sparer moments that are just as impressive – with great solos by the players. Excellent stuff – including the original "Psychedelic Pi", great covers of "Who's Afraid of Virginia Woolf?" and "Seven Steps to Heaven", the funky "Twenty Five Miles", plus "Spinning Wheel".

Funky funky funky! Lonnie plays live with a tight group that includes tenor, guitar, and some very heavy drumming – really wailing at a level that was surprising for funky organists of the time, and which really set the pace for a whole new generation! The players are more obscure than on the usual Blue Note sides – save for Ronnie Cuber, who played baritone with Mongo Santamaria, and is one of the most underrated 60s funky players. Recorded live at the Club Harlem in Atlantic City, and with a deep raw funky sound that must have blown the roof off the club! Titles include "Move Your Hand", "Layin' In the Cut", "Charlie Brown", and "Sunshine Superman". One of his best ever!

A stone classic from Supersax – a record with plenty of classic bop elements, despite a very 70s-styled group name and cover! The combo's a large one, and features tight horn formation deftly cutting through a host of bop classics – lots of ensemble passages at the start, then breakout solos that really get things going! Horn players include Conte Candoli on trumpet, Carl Fontana on trombone, and supersax players Med Flory and Joe Lopes on alto, Warne Marsh and Jay Migliori on tenor, and Jack Nimitz on baritone. Ronnell Bright, Lou Levy, and Walter Bishop Jr handle the piano – and titles include "Confirmation", "Lover Man", "Salt Peanuts", "The Bird", "Groovin High", and "Yardbird Suite".

One of the strangest covers we've seen in years – and a perfect fit for this obscure session of unusual grooves! Drummer Bubbha Thomas is working here in a mode that's kind of an electrified 70s take on the Texas showband style of earlier years – a mode that has the core funky combo augmented by electric keys and moog in just the right places! The tunes on the set are all instrumentals – jamming along in a sweet little style that mixes funky jazz with some of the rougher touches of the indie 45 scene – letting the band stretch out on extended solos on most cuts, but still keeping the rhythms very tight and in the pocket! In a way, the approach almost feels like some of the funkier work on Tribe Records from Detroit, especially on tracks that have more ambitious solo work. Players include Doug Harris on flute and tenor, Ronnie Laws on tenor, John Henderson on electric piano, and a young Hugh Ragin on trombone – and titles include "Herbs Of Life", "Sweet Ray", "Famous Last Words", "Country Fried Chicken", and "Survival Song".

An excellent group from the 70s East Coast scene – one with a heavy harmony sound that should have made them huge! The record was cut during the prime early days of the Sigma Sound Studios – and the record features arrangements by Philly greats like Norman Harris, Ronnie Baker, and Vince Montana – all working here in a mode that's similar to that applied to The Spinners after they made their move to Atlantic, but with a bit more edge. Yet it's the vocal harmonies that really take the cake – as they mix together deep-rooted Temptations-esque righteous vocals with sweeter harmonies in the New Jersey falsetto mode – a perfect blend that's carried off with a great deal of power here! The style is very compelling, and great on just about every cut – and titles include "Society", "That Was Yesterday", "It Really Hurts", "Look At All The Lonely People", and the great cut "Whispers".

A nice little tribute to soul, jazz and fusion legend George Benson – and a project that's a labor of love for Benson-devotee, soulful spirit and brilliant guitarist U-Nam – with an allstar lineup that features Ronnie Foster, George Duke, Patrice Rushen, Andreas Oberg, Tim Owens, Marcus Millers and others! Benson is an artist who embraced diversity and creative evolution – and this tribute does that legacy proudly. It’s rich with fusiony soul groovers that are laced with some truly impeccable guitar work. It's got some throwback swagger in spots, but it's also got some distinctly modern soul appeal – and an all around affectionate spirit. U-Nam plays guitars, keyboards and more here – on top of handling the recording and arrangements – and the guests bring their best! Includes "Weekend In LA" with Rhodes and clavinet by Ronnie Foster and vocals by Andreas Oberg, "Give Me That", "Shiver" and more with singer Tim Owens, "This Masquerade" with more great Fender Rhodes – this time by George Duke, "Hip Ship", "Before You Go/Breezin'" with Patrice Rushen, "Nature Boy" with Stokely Williams and more.

Groovy psychedelic rock from Brazil – the self-titled effort from Ronnie Von – a Brazilian television personality and musician who stayed incredibly busy from late 60s through the 70s – but recorded few albums as sublime as this album from 1968! It's really a near-perfect batch of sunshine rock – sung in Portuguese and featuring some of the similar freeform sounds of his Brazilian contemporaries of the time – with groovy western touches in the instrumentation. Ronnie's vocals are backed up by organ washes and piano, buzzing guitars and walloping drums – but the overall feel is quite melodic. A wonderful blend of California sunshine and Brazilian rock grooves! Tracks include "Meu Novo Cantar", "Chega De Tudo", "Espelhos Quebrados", Anarquia", "Esperahca De Cantar", "Contudo, Todavia", "Anarquia", "Mil Novecentos E Alem", "Canto De Despedida" and more – plus 6 bonus tracks!

They might well call this a Beginners Guide To Blue Note Jazz Funk – given that most of the tracks here are from the hip 70s run at Blue Note Records! The vibe is wonderful – funky and soulful, but definitely with jazz at the forefront – as older soloists were finding new ways to reach their audiences through electric grooves – and younger players were making a huge name for themselves through a very inventive approach to their work! The 3CD set is a hell of a deal for the money – with 33 tracks that include loads of Blue Note gems, plus some 70s Capitol funk and soul tracks too – titles that include "As" by Gene Harris, "Dominoes" by Donald Byrd, "The Genie" by Bobby Lyle, "Down The Way" by John Lee & Gerry Brown, "Chicago Damn" by Bobbi Humphrey, "Sassy Soul Strut" by Lou Donaldson, "Think Twice" by Donald Byrd, "Tidal Wave" by Ronnie Laws, "London Town" by Light Of The World, "Windy C" by 100% Pure Poison, "Daisy Mae" by Raul De Souza, "Movin" by Brass Construction, "Prance On" by Eddie Henderson, "Music Is My Sanctuary" by Gary Bartz, "Abdullah & Abraham" by Chico Hamilton, "Cheshire Cat" by Ronnie Foster, "Funky Sneakers" by Willie Bobo, "Sunshine" by Nancy Wilson, "People Make The World Go Round" by Bobby Hutcherson, and "Sky Islands" by Caldera.

A cool collection of gems from the 70s years at Blue Note Records – a stretch that's often overlooked by folks digging for older hardbop from the 50s and 60s, but a tremendous time for the label, when it really burst forward with new sounds! BNLA was the initial part of the catalog number during this generation – hence the title – and the collection brings together a wealth of funk, soul, and fusion tracks from this crucial Blue Note stretch. The package features 20 tracks on 2CDs – including "People Make The World Go Round" by Bobby Hutcherson, "Mango Sunrise" by John Lee & Gerry Brown, "Chunky" by Ronnie Foster, "Abdullah & Abraham" by Chico Hamilton, "Galaxy" by Eddie Henderson, "His Blessings" by McCoy Tyner, "You Are The Sunshine Of My Life" by Marlena Shaw, "Betcha By Golly Wow" by Grant Green, "City Country City" by Lou Donaldson, "Lansana's Priestess" by Donald Byrd, "Harlem River Drive" by Bobbi Humphrey, "La Malanga" by Bobby Hutcherson, and "Tuesday Heartbreak" by Ronnie Foster.

Warm groovers galore – an incredible package of uptempo soul tracks from the 70s – cuts that are deeper than disco, but every bit as tight – all brought together to showcase a tremendous generation in music! There's a great mix of classics and underground numbers here – and the package is overflowing with greatness, especially at this price – a whopping 23 tracks in all, including a fair bit we haven't turned up in years – some really rare singles that are great to finally have on CD! The set's easily one of our favorites in this excellent Backbeats series – and titles include "Talkin Bout Poor Folks" by Lou Edwards & Today's People, "Make Me Believe In You" by Patti Jo, "I'm In Need Of Love" by Lou Courtney, "Love Don't Come No Stronger" by Jeff Perry, "Am I Cold Am I Hot" by Bill Harris, "Keep On Trying" by LTG Exchange, "I Couldn't Believe It" by David Ruffin & Eddie Kendricks, "Are You Ready For This" by The Brothers, "Can We Share It" by Rick Shephard, "Lady In Red" by Ronnie Dyson, "Once I've Been There" by Norman Connors, "You Made A Believer Out Of Me" by Betty Lavette, "What About My Love" by Damaris, and "Get Out Of My Life" by Sharon McMahan.

A treasure trove of funk and soul from one heck of a great little label – Columbus, Ohio's short-lived Capsoul imprint – only around for 5 years in the 70s, but home to a great flurry of indie singles! We first caught onto the label's brilliance with their funky classics "Hot Grits" by Elijah & The Ebonies and "Sock It To Em Soul Brother" by Bill Moss – but as this set wonderfully demonstrates, the label's got a heck of a lot more to offer – and all of it great! The label's brilliance has been masterfully unearthed by the crate-digging team at Numero Records – who've brought together 19 of the best Capsoul singles in a beautiful package that really tells the story of the tiny imprint, getting at the details and struggles that faced independent soul in the marketplace of the 70s. Way more than just a set of old singles, the set's a rich document of indie soul in one of the near-forgotten corners of the Midwest – filled with great tunes that may well have you booking the next flight you can find to Columbus! Titles include "Sock It To Em Soul Brother" by Bill Moss, "Pure Soul" by Elijah & The Ebonies, "Without Love" by Ronnie Taylor, "You're All I Need To Make It" by Johnson, Hawkins, Tatum, & Durr, "Hot Grits" by Elijah & The Ebonies, "Too Far Gone" by Four Mints, "I Want To Be Ready" by Kook Blues, "Go On Fool" by Marion Black, and "Number One" by Bill Moss. Updated version features new mastering and additional notes – plus the bonus track "All I Need To Make It" by The Capsoul Group.

A treasure trove of funk and soul from one heck of a great little label – Columbus, Ohio's short-lived Capsoul imprint – only around for 5 years in the 70s, but home to a great flurry of indie singles! We first caught onto the label's brilliance with their funky classics "Hot Grits" by Elijah & The Ebonies and "Sock It To Em Soul Brother" by Bill Moss – but as this set wonderfully demonstrates, the label's got a heck of a lot more to offer – and all of it great! The label's brilliance has been masterfully unearthed by the crate-digging team at Numero Records – who've brought together 20 of the best Capsoul singles in a beautiful package that really tells the story of the tiny imprint, getting at the details and struggles that faced independent soul in the marketplace of the 70s. Way more than just a set of old singles, the set's a rich document of indie soul in one of the near-forgotten corners of the Midwest – filled with great tunes that may well have you booking the next flight you can find to Columbus! Titles include "Sock It To Em Soul Brother" by Bill Moss, "Pure Soul" by Elijah & The Ebonies, "Without Love" by Ronnie Taylor, "You're All I Need To Make It" by Johnson, Hawkins, Tatum, & Durr, "Hot Grits" by Elijah & The Ebonies, "Too Far Gone" by Four Mints, "I Want To Be Ready" by Kook Blues, "Go On Fool" by Marion Black, and "Number One" by Bill Moss. Updated version features new mastering and additional notes – plus the bonus track "All I Need To Make It" by The Capsoul Group.

The Enjoy Records Story – but from the early days, when the label was a powerhouse outlet for R&B, blues, and early soul music – years before they also started cutting hip hop as well! The tracks here are all a great illustration of the keen ear of the imprint, and their strong focus on a few key acts who could really knock it out of the park – music that made Enjoy a key player at the start of the soul years of the 60s – even though some of its best artists went onto later fame at bigger labels. The collection is the best we've ever seen on Enjoy during these seminal years – and features a whopping 36 cuts that include "People Sure Act Funny" by Titus Turner, "Hoop & Holler" by Riff Ruffin, "I Believe To My Soul" by Louis Jones, "What Ya Gonna Do" by Noble Watts & June Bateman, "Get It" by Jay Dee Bryant, "Let's Do The Boston Monkey" by Les Cooper, "Don't Lie" by Sammy Taylor, "Sad Song" by The Channes, "Long Time No See" by Ronnie & The Manhattans, "Hot Potato" by The Rinky Dinks, "Ain't Nobody's Business" by Mary B, "It Hurts Me So" by Elmore James, "Soul Twist" by King Curtis, and "What Shall I Do" by Gladys Knight & The Pips.

Souvenirs and memories – music that's mostly of more recent vintage, but which features a host of artists you'll know from way way back! The music here is mostly from the end of the 80s and start of the 90s – despite the wider date range in the title – and most tracks feature older Detroit soul singers, making a fresh stake with some slightly contemporary styles, at least for that time – yet still mostly sticking to the classic modes that made them so great in the first place! The approach is that used heavily by the Motorcity label at the time – and offers a great new showcase for talents that were sadly overlooked at the time. Titles include "Wholeheartedly" by Ronnie McNeir, "Surrender" by Bettye Lavette, "Man Up In The Sky" by Johnny Bristol, "Separation" by Pat Lewis, "Memories & Souvenirs" by Freda Payne, "Romantic Number" by Billy Griffin, "Real True Loving" by Edwin Starr, "Moment Of Weakness" by Syreeta, "All Over The World" by Chuck Jackson, and "Standing Still" by The Monitors.

The sweet sound of 70s Blue Note – a really wonderful stretch for the label, and a time when the company was stretching out in a range of sublimely soulful directions! This period's probably best known for the influence of Larry Mizell on some of the label's key players, but it's also got plenty more to offer too – Brazilian influences in the rhythms, electric undercurrents in the instrumentation, and some especially soulful vocals on some of the best-remembered tracks. Old players are born anew, new players rise to lofty heights, and the whole thing's an amazing discovery in jazz – filled with key tracks that do a better job of summing up 70s Blue Note than our few worlds ever could! 20 tracks in all – including "Chicago Damn" by Bobbi Humphrey, "Koko & Lee Roe" by Gene Harris, "Love So Far Away" by Donald Byrd, "Fun House" by Bobbi Humphrey, "Cheshire Cat" by Ronnie Foster, "Kumquat Kid" by Eddie Henderson, "People Make The World Go Round" by Bobby Hutcherson, "In Pursuit Of the 27th Man" by Horace Silver, "You're Everything" by Carmen McRae, "Route" by Moacir Santos, "Sassy Soul Strut" by Lou Donaldson, "Always There" by Ronnie Laws, "Essence Of Mystery" by Alphonse Mouzon, and "Motherland" by The Waters.

10 tracks that sum up the hopes for modern funk and underground soul – circa 1993! The set was a big one back in its day, and it still provides a good picture of what the kids were digging during those difficult years for modern groove. Titles include "Chameleon" by Jazz Warriors, "Taurus Woman" by The Subterraneans with Mardou Fox, "Don't Say Nothin" by Opaz, "Kickin Jazz" by Outlaw, "Bad Brother" by Ronny Jordan, "Inner City Boundaries" by Freestyle Fellowship, "Loud Minority (club mix)" by United Future Organization, "Revival (rebirth edit)" by Martine Girault, and "Caroline" by MC Solaar.

Sublime soul all the way through – a tremendous set of modern and mellow cuts from the end of the 70s and start of the 80s – all put together with a really beautiful feel! There's a perfect balance here – between mainstream and underground, laidback and grooving – the classiest sort of soul from the time, and work that's light years away from both disco dancefloors and chart-oriented cuts. Expansion Records' Ralph Tee put the package together, and his approach here really takes us back to the time when the label first started catching our ear with their subtle, sophisticated approach to soul. Many tracks here haven't been reissued before, and even those that have sound wonderful in the company of the rest. Titles include "If You're Ready" by Beau Williams, "Let's Go All The Way" by Gayle Adams, "The Good Side Of Love" by Ronnie McNeir, "We're In Ecstasy" by Hubert Laws, "Evening Of Love" by Main Ingredient, "It's Alright With Me" by Patti Labelle, "Say You Love Me Girl" by Breakwater, "Never Had A Love Like This Before (inst)" by Tavares, "Here We Go Again (parts 1 & 2)" by Isley Brothers, "I Want To Be Where You Are" by Ronnie Dyson, "Can You Find The Time" by Champaign, "How Do You Take Your Love" by Major Harris, and "What About My Love" by Damaris Carbaugh.

One of the hippest sets we've ever seen on Spanish Harlem – a collection that goes way past the Latin Soul hits, to dig deep in the uptown underground at the end of the 60s! The package is compiled with gems from the Fania catalog, but rally moves past the obvious – going for some of the more obscure artists who recorded singles for some of the smaller Fania-held labels – and often focusing on tunes that drew more from late 60s soul and funk than they did from any Latin rhythms of the time. The singers are especially wonderful – and often hit a vibe that's right up there with some of Joe Bataan's best of the period – richly soulful, but often deeply personal too – never as polished as chart soul, and often showing a grittier, more realistic style that's totally great – especially when mixed with instrumentation as tight as this! Titles include "Reflections Of My Life" by 125th Street Candy Store, "On Old Broadway" by 107th Street Stickball Team, "Don't Be Afraid" by Lebron Brothers, "Central Park" by Harvey Averne Dozen, "Heaven" by Tito Ramos, "Your Smile" by Parris, "Some Lonely Heart" by Ronnie Marks, "There's No Girl" by Olivieri, "Maria Maria" by King Nando, "Already Satisfied" by Tony Middleton & Bobby Matos, "Nitty Boo Boo" by The Nitty Sextette, "Lonely Has Been My Day" by Ralphie & The Latin Lovers, "I'm Gonna Leave You" by Russell Cohen & The New Yorkers, and "Ain't No Big Thing" by Ralfi Pagan.

A motherlode of rare Detroit soul – all pulled from the small Sidra label imprints, and put together here in a package that features nearly every Northern Soul groover from the company! This set goes way deeper than most Northern collections – and many of the cuts here are ones we haven't seen on other compilations, at least not in recent years – which makes the whole thing a massive discovery in music – maybe even more when you consider the nice notes and colorful package, which also features a load of rare label scans too! Titles include "We've Got Each Other" by Ronnie & Robyn, "I'm Sure" by Two Plus Two, "I Lost A Good Thing" by Gwen Owens, "So Real" by Barbara Mercer, "Please Stay" by Pearl Jones, "Let My Baby Go" by The Embraceables, "Baby You're Mine" by Lou Ragland, "How To Make A Sad Man Glad" by The Capreez, " Love's What You Want" by Marisa Gatti, "Keep On Going" by Gary Haines, "The Other Side" by 5 Of A Kind, "Open Up Your Heart" by Profonix, and "God Must Have Created Love" by Flery Bursey.

A pretty sweet compilation of Lloyd Campbell productions form the mid 70s on through the 80s – cuts made for the Jamaica's Spiderman label – featuring numbers by The Itals, Joy White, Junior Delgado The Terrors, Ronnie Davis, Freddie McGregor, Mallory Williams, Lone Ranger, Yellow Man and more! The earlier numbers have rootsier riddims and the later ones have a bit of an 80s drum machine vibe – but all have a love of soulful sounds at the core! 19 tracks in all: "Ina Disa Time" by The Itals, "Riot" by Bobby Ellis, "Over Me" by Yellow Man, "Promise Land" by Frankie Paul, 'Tribal War" by Lone Ranger, "Won't You Come Home" by Ronnie Davis, "Play Days" by Junior Delgado, "Only A Smile" by Gregory Isaacs and more.

Plenty of 80s grooves here – plus a few great 70s numbers – one of the more contemporary volumes of the Steppin Across The USA series! As with previous volumes, the focus here is on tracks that play well on underground dancefloors – especially here in the Windy City, where the Steppers sound still reigns supreme! Most tracks are mellow or midtempo – sliding along on percolating beats, warm keyboards, and just the right touch of soulful vocals – often a shade just away from commercial, but with enough of the best elements to keep things real. Titles include "Yours (12" mix)" by Shai, "Ooh Wee Baby" by Ian Foster, "Missing You" by Chris Walker, "Groovin" by Collage, "Red Lights" by Curiosity Killed The Cat, "Make It Funkier" by Information Society, "Take You Down To Love" by Patrice Rushen, "This Feeling Must Be Real" by Skool Boyz, and "U Send Me Swingin (silky smooth 12" mix)" by Mint Condition. Also features the 70s tracks "I'm Your Lover" by Ronnie McNeir, "Wish You Were Here" by Free Life, and "Can We Pretend" by Bill Withers – a great bit of acoustic soul!

A massive treat from the Chicago scene – a dozen jazzy classics, put together with a feel for the kind of cut that's always played big on the Chi-town steppers scene! Lots of other stepping jazz CDs feature mostly newer tracks, but this one's great in that it includes a bunch of late 60s soul jazz tunes – some killer tracks from the Chess/Cadet scene, mixed with other smoother grooves from the 70s. Titles include "The Look Of Love" and "Who Dun It" by Monk Higgins, "Soul Vibration" by Dorothy Ashby, "The Stepper" by Soulful Strings, "Count Down" by Dave Baby Cortez, "Midnight Plane" and "Windy City" by Rodney Franklin, "The Love You Give To Me" by Webster Lewis, "I Feel Like Loving You Today" by Donald Byrd & 125th Street NYC, "Think About It" by Odell Brown, "Love's Victory" by Ronnie Laws, and "Hole In The Wall" by The Packers.

A pretty cool little collection – a Japanese-only set that's filled with various versions of Burt Bacharach classics pulled from the vaults of Universal Music – including a rich array of 60s recordings we might have missed otherwise! The set appears to have been done in support of a 2008 Bacharach tribute tour, but all of the recordings are of older vintage – and the set includes a huge amount of rare numbers from the first years when Burt's music was getting out to the masses. Titles include "Forgive Me" by Babs Tino, "That's The Way I'll Come To You" by Jack Jones, "Rome Will Never Leave You" by Richard Chamberlain, "These Desperate Hours" by Mel Torme, "The Look Of Love" by Chris Montez, "Magic Moments" by Ronnie Aldrich, "This Guy's In Love With You" by Frankie Valli, "Alfie" by Dee Dee Warwick, "April Fools" by Vanessa Williams, "Promise Her Anything" by Tom Jones, "Who's Got The Action" by Phil Colbert, "Say Goodbye" by Pat Boone, "Waiting For Charlie To Come Home" by Marlena Shaw, "He Who Loves" by Lenny Welch, "Loving Is A Way Of Living" by Steve Lawrence, "With Open Arms" by Jane Morgan, "Ten Thousand Years Ago" by Rusty Draper, "Wishin & Hopin" by The Merseybeats, "For The Children" by Burt Bacharach, and "A House Is Not A Home" by Julie Rogers.

A great old school session from George Benson – and maybe one of his best albums in years! The setting of the album is just what you'd expect from the title – a tribute to the late, great Nat King Cole – with vocals by George that have an uncanny way of matching Cole's phrasing, yet which also have that warm, raspy sound we love so much from Benson – and some of his excellent scat work too! Arrangements are by Randy Waldman and Nelson Riddle – and have this classic blend of strings and jazz that works perfectly for the set – and Benson gets help from guests who include Wynton Marsalis and Til Bronner on trumpets, plus Indina Menzel and Judith Hill too. Titles include "Route 66", "Nature Boy", "Ballerina", "Smile", "Walkin My Baby Back Home", "Unforgettable", "Too Young", and "Straighten Up & Fly Right".

A really standout set from Brazilian rocker Ronnie Von – easily one of his greatest records ever, and a set that shows some wonderful steps forward in production and arrangements! Ronnie's still got a rock approach at his core, but he's often working here with fuller backings that include strings and large orchestrations – all blended with key psychedelic elements of the time, in ways that are a fair bit like some of the best productions from the Cadet Concept series – especially the work of Rotary Connection! Like that group, Ronnie's music here draws from the familiar, then pushes its boundaries – taking the music into unexpectedly majestic territory, but still making it groove in the end. Great credit should certainly go to arrangers Francisco De Moraes and Djama Mellin – and titles include "Enseada", "Imagem", "Seu Olhar No Meu", "Verao Nos Chama", "A Maquina Voadora", "Cidade", and "Voce De Azul".

Great late 60s work from Ronnie Von – an under-appreciated Brazilian rocker, and one with a sound that sits nicely between the Jovem Guarda generation and some of the headier groups to come in the 70s! There's a nice array of psychedelic influences at play here – strong echoes of British work of the time, but used in much more sophisticated ways than any Jovem Guarda acts – never a simple copycat approach, but also never as arty as some of the Tropicalia recordings of the time either. Ronnie's voice has a depth that allows some nice changes in mood from track to track – lightly lyrical one moment, a bit darker and more tripped-out the next – bringing a sense of variety to the record that almost recalls Caetano Veloso during the time, but a bit more rockish overall. Titles include "Atlantica", "Dindi", "De Como Meu Heroi Flash Gordon", "Foi Bom", "Rose Ann", "Comeci Uma Brincadeira", and "Mares De Areia".

Groovy psychedelic rock from Brazil – the self-titled effort from Ronnie Von – a Brazilian television personality and musician who stayed incredibly busy from late 60s through the 70s – but recorded few albums as sublime as this album from 1968! It's really a near-perfect batch of sunshine rock – sung in Portuguese and featuring some of the similar freeform sounds of his Brazilian contemporaries of the time – with groovy western touches in the instrumentation. Ronnie's vocals are backed up by organ washes and piano, buzzing guitars and walloping drums – but the overall feel is quite melodic. A wonderful blend of California sunshine and Brazilian rock grooves! Tracks include "Meu Novo Cantar", "Chega De Tudo", "Espelhos Quebrados", Anarquia", "Esperahca De Cantar", "Contudo, Todavia", "Anarquia", "Mil Novecentos E Alem", "Canto De Despedida" and more – plus 6 bonus tracks!

A never-ending batch of wonderful tunes – the 5th volume in this amazing series of 60s French pop! If your ears have been a bit lazy lately, pick up this set and prepare to have your mind blown – as it's filled with loads of groovy little tunes you've probably never heard, all stacked up back to back in one completely wonderful set of groovy 60s numbers! 22 tracks in all – with many many rare numbers, and titles that include "Seul" by Stone, "Les Filles A Papa" by Chris Kersen, "J'Achete Tout" by Claude Channes, "SOS Mademoiselles" by Ronnie Bird, "C'Est Fou" by Bernadette Grimm, "Qui Est In Qui Est Out" by Serge Gainsbourg, "Ailleurs" by Elsa, and "Ca S'Est Arrange" by Jean-Paul Keller.

Although this one wasn't recorded during Ronnie's classic 60s years, it's still a pretty darn great record, with a strident spiritual soul jazz sound, and a wonderful set of compositions. Mathews was a fantastic player, and mixed McCoy Tyner stridentness with Horace Parlan funkiness – in a blend that was all his own, and which always made the rest of the group groove nicely. This session is one of the last in which he's leading a group larger than a trio – and it includes Frank Foster, Ray Drummond, Al Foster, and extra percussion by Azzedin Weston. Titles include "Salima's Dance", "Hi Fly", "Thew's Blues", and "Susanita".

Classic Prince – an album that signaled an end to the first part of Prince's storied career, leaning heavily on his fascination with new wave, mixed with the r&b grooves and 70s funk of his earliest LPs. Prince is definitely in a transitional mode here, the easy politics of the punk era – "Ronnie Talk To Russia", "Controversy" – are less controversial than Prince's frank sexuality on the record – best heard on tracks like "Jack U Off", "Do Me, Baby", and "Sexuality" – but the unbeatable pop groove of the title cut definitely points the way to Prince's big chart success to come.

Hard swinging work from James Spaulding – still sounding great after all these years! Spaulding's in perfect company here – with Ronnie Matthews on piano, Ray Drummond on bass, and Louis Hayes on drums, plus horn work by Dan Faulk and Don Sickler, next to the range of flute and alto work supplied by Spaulding. The tracks have a hard soul approach that's a bit Horace Silver, a bit James Moody – and inflected by the modern leanings that Spaulding brought to some of his earlier work. Titles include "Rue Prevail", "John Charles", "Soul Station", "Public Eye", "Hipsippy Blues", and "Vaun Ex".

Great late 60s work from Ronnie Von – an under-appreciated Brazilian rocker, and one with a sound that sits nicely between the Jovem Guarda generation and some of the headier groups to come in the 70s! There's a nice array of psychedelic influences at play here – strong echoes of British work of the time, but used in much more sophisticated ways than any Jovem Guarda acts – never a simple copycat approach, but also never as arty as some of the Tropicalia recordings of the time either. Ronnie's voice has a depth that allows some nice changes in mood from track to track – lightly lyrical one moment, a bit darker and more tripped-out the next – bringing a sense of variety to the record that almost recalls Caetano Veloso during the time, but a bit more rockish overall. Titles include "Atlantica", "Dindi", "De Como Meu Heroi Flash Gordon", "Foi Bom", "Rose Ann", "Comeci Uma Brincadeira", and "Mares De Areia". CD features 4 bonus tracks – earlier singles that include "Meu Bem", "Paraiso", "O Pequeno Principe", and "Meu Mundo Parou".

Sweet 70s funk from George Benson – an album that's a bit smoother than some of his earlier work, but still free from the commercial polish of his later hits! Maestro David Matthews is at the helm for this session – and most numbers have a full backing from players who include some of the best of the CTI/Kudu generation – including Ronnie Foster and Bobby Lyle on keyboards, Joe Farrell on flute, Fred Wesley on trombone, Eric Gale on rhythm guitar, Dave Friedman on vibes, and Steve Gadd on drums – who manages to kick in a nicely funky undercurrent, even on some of the mellower numbers. George's guitar is filled with warmly chromatic hues – gliding away nicely on titles that include the slow funky "Em", plus "Siberian Workout", "Shell Of A Man", "Hold On I'm Coming", "One Rock Don't Make No Boulder", and "Theme From Good King Bad".

One of the few sessions ever cut by tenorist Ted Brown – working here with a group that features Warne Marsh and Art Pepper in the frontline, with rhythm by Ronnie Ball on piano, Ben Tucker on bass, and Jeff Morton on drums. The session's got the outward appearance of a west coast session, but has much more soul overall – the kind of Back Bay Boston sound you'd hear in 50s sessions by Charlie Mariano or Dick Johnson – with plenty of rasp on Pepper's horn, and some nice edges on Brown's as well! Tracks are short, and often with ensemble heads – but the production is beautiful, and the interplay between the three saxophonists comes through with amazing quality! Titles include "Crazy She Calls Me", "Arrival", "Once We Were Young", "Avalon", "Foolin Myself", "Aretha", and "Long Gone".

Funky electric groove from Donald Byrd – a post Mizell effort that's still burning in a crisp groove similar to his classic 70s Blue Note work – one that's absolutely dripping with keys! Isaac Hayes produced this one, and also played a lot of those keyboards on the session with Byrd's 125 St Band – grooving on acoustic piano and Rhodes, plus vibes and synth. Ronnie Garnett's bass is tight and funky throughout, with William Duckett on guitar, Albert Crawford, Jr on piano, keys & clavinet, Myra Walker on acoustic piano, and some groovy female chorus vocals that's to Isaac's Hot Buttered Soul Unlimited! Tracks include the great mellow "I Love Your Love", plus "I Feel Like Loving You Today", "Butterfly", "Love Has Come Around", and "I'll Always Love You".

An amazing little record from Willie Colon – one that has him stepping forth into the limelight as both singer and leader – after years of working with better-known vocalists like Hector LaVoe and Ruben Blades! But even more than the vocals the thing we really love here are the arrangements – bold, soaring, and really complex – often mixing larger string passages with some incredible work on sax and flute from players who include Mauricio Smith, Ronnie Cuber, and Bobby Porcelli – all coming together here with a sense of dynamism that reminds us of some of our favorite work at the time from Bobby Vince Paunetto. The scope of the record is really amazing and very powerful, and titles include "Nueva York", "Chinacubana", "Juancito", "Urubatan", "Julia", "Tu Eres Tu", and "Sin Poderte Habiar".

A great set of tracks that represents some of Chris Connor's first recordings as a solo act – a classic album originally issued as a 10" LP by the Bethlehem label – but expanded here with lots of extra tracks to make a full length record! Backing is by the trio of Ellis Larkins – a great pianist with a really moody style that perfectly fits Connor's vocals – and Chris is in fine fine form, singing with that icy tone we love so much – a bit sad, and a bit mellow, but always heartfelt, without the forced emotion of other singers of her generation. Titles include "I Hear Music", "What Is There To Say", "Why Shouldn't I", "All About Ronnie", and "Spring Is Here". CD features two bonus tracks – alternate takes on "Stella By Starlight" and "Why Shouldn't I".

A bold new chapter in the career of Nicola Conte – quite possibly his most collaborative record to date, and easily his most righteous as well! Although Conte looks cheesy on the cover, his style here is even deeper than before – still driven by the classic modal and bossa sounds of the 60s that you'll remember from earlier records, yet also infused with a sense of spiritual jazz too – a vibe that's perfect for the album's placement on Impulse Records, where Conte's got a way of linking together the best 60s and 70s aspects of the label's aesthetic! He gets plenty of help in the process – wonderful vocals from the likes of Gregory Porter, Jose James, Alice Ricciardi, and others – trumpet from Till Bronner, Fabrizio Bosso, and Flavio Boltro – tenor from Magnus Lindgren and Tim Warfield, flute and baritone from Timo Lassey, and loads of other groovy touches too! Nicola Conte's never let us down – and this record is a rich reward for all the faith we've had in him over the years – a bit like the way that Gilles Peterson's always changing and growing, yet still always keeps true to his roots. Titles include "Love From The Sun", "Here", "Black Spirits", "Quiet Dawn", "Shiva", "Ghana", "I'm The Air", "Ra In Egypt", and "All Praises To Allah".

Stellar 10-inch EP featuring a quartet of the best tracks from Modern Sound Of Nicola Conte – Versions In Jazz Dub! The compilation is a long-overdue collection of all the mixes, side-projects, and rare "Nicola Conte version" tracks that have cropped up in the past decade or so – work that's every bit as great as the material Conte includes on his own albums and singles! Nicola Conte's not a remixer – he's a re-imaginer – and when he sets out to serve up his own version of a track, he often starts from scratch – using his own band, his own arrangements, and his own key elements – all of which turn any projects for other artists into grooves that are very Conte-directed – the kind of classic jazz-infused gems that Nicola's been laying down on his own Schema Records label for over a decade! EP 2 features "All Or Nothing At All" by Nicola Conte Jazz Combo feat Jose James, "Take Five (Nicola Conte remix)" by Roberto Roena, "So Danco Samba (Nicola Conte rework)" by Till Bronner and "Charade" by Nicola Conte.

A long-overdue collection of all the mixes, side-projects, and rare "Nicola Conte version" tracks that have cropped up in the past decade or so – work that's every bit as great as the material Conte includes on his own albums and singles! Nicola Conte's not a remixer – he's a re-imaginer – and when he sets out to serve up his own version of a track, he often starts from scratch – using his own band, his own arrangements, and his own key elements – all of which turn any projects for other artists into grooves that are very Conte-directed – the kind of classic jazz-infused gems that Nicola's been laying down on his own Schema Records label for over a decade! This double-disc set is filled with amazing work that Conte's done for other folks – and it also include a few rare and unreleased tracks under his own name as well – a massive helping of music that's really mindblowing throughout – sure to please any fan of Nicola, as well as anyone who digs the artists included in the package. Nicola Conte tracks include "Castles In The Rain", "Charade", "New Blues", "When I Wish Upon A Star", "Solo", "Black Is The Graceful Veil (acoustic version)", "Groovy Samba", and "All Or Nothing At All", which features vocals by Jose James! Other cuts include Conte mixes and reworks of "Stolen Moments (Midnight Mood rework)" by Mark Murphy, "Yellow Daisies" by Fertile Ground, "So Danco Samba (Nicola Conte rework)" by Til Bronner, "Terra De Ninguem" by Sabrina Malheiros, "Take Off (Campi's Idea version)" by Marco Di Marco, "3 Corners (For Friends & Relatives version)" by Five Corners Quintet, "You Are" by Povo, "Our Love" by Luisito Quintero, "Healing Blue (shape of jazz to come version)" by Sunaga T Experience, "Lotus Sun" by Maki Mannami, "Heaven (west coast vibes rmx)" by Bitter:Sweet, "Quiet Nights (out of the cool version)" by Re:Jazz, "Elevated States" by Thunderball, "Mood Indigo" by Akiko, "Take Five (Nicola Conte rmx)" by Roberto Roena, and "Kerma Elastica (Nicola Conte rmx)" by Bobby Hughes Combination.

Unbelievable – and a record that's one of our favorites by the fantastic Italian jazz pianist! Marco Di Marco is a richly talented player with a keen ear for lyrical beauty and a strong sense of the groove – and here, he's working in quartet formation, in New York, with a group that includes Jack Six on bass, Ronnie Bedford on drums, and Dave Tofani on tenor, soprano sax, and flute. Six's work on bass is really stunning – round, full, soulful, and funky – and Tofani's reed work is equally compelling, with an angular and soulful quality that pushes all the tracks quite strongly. The album's got a killer jazz dance groover called "Camparenda", with some great flute by Tofani, plus a nice bass-heavy groover called "Lazer's Theme" – but the whole album's great, and other tracks include "Theme For Ginerva", "Drops", and "You Caught Me".

Amazing stuff by Ronnie Foster – a sweet little album of slow funky keyboard tones, much more loosely arranged than his later work, with a dope groove that was years ahead of its time! The album's in some ways a blueprint for some of our favorite jazz-based hip hop – and although Ronnie's playing organ, on most of the cuts, he handles the instrument more like it's a Fender Rhodes! Funky jazz with a sinister, soulful groove – with players including Gene Bianco on harp, Arthur Jenkins on congas, George Duvivier and Gordon Edwards on bass, Jimmy Johnson on drums, Gerorge Dvens on vibes and Gene Gertoncini on guitar. Includes the massive cut "Mystic Brew", which is a tasty Tribe sample, plus lots of other goodies like "Chunky", "Summer Song", and "Don't Knock My Love".

Long live tracks from pianist Michael Garrick – and some of his most boppish recordings – thanks partly to bold work on tenor from Don Weller! The format's a bit like some of the Ronnie Scotts material of 60s vintage – familiar tunes, but played in an open, relaxed way – so that both Garrick and Weller get plenty of room to solo, often with a quality that evokes the New York scene of the 50s. Rhythm players Chris Laurence on bass and Alan Jackson on drums help to add a bit of 70s lyricism to the proceedings – and Garrick definitely unleashes some of his modern edges at times – on titles that include "Like Someone In Love", "Third Floor Richard", "On Green Dolphin Street", and "Michael's Song".

Two rare ones from the 60s London jazz scene – back to back on a single CD! First up is a tremendous little record – a rare meeting between Ellington tenorist Paul Gonsalves and Brit reed genius Tubby Hayes – a set that's cut very much in the best spirit of some of Hayes' free-thinking classics on Fontana Records! The grooves are open, and beautifully-executed – and both sax players sound sublime – Gonsalves with that raspy tone that you'll know from Ellington dates, but cut loose much more here – and Hayes with that powerful sense of depth that's always made him one of our favorite saxophonists! The rest of the group is quite nice too – and players include Stan Tracey on piano, Jimmy Deuchar on trumpet, and Keith Christie on trombone. Titles include "Tupa", "Amber Mood", "Pedro's Walk", "Baby Blue", "Mini Minor", and "Souraya". Johnny Scott takes over the CD on the second half – turning in an EMI Studio 2 classic with London Swings – a date that's done with largeish charts, but a great sense of rhythm throughout! The players in clude Ian Hamer and Ray Davies on trumpets, Ronnie Ross and Duncan Lamont on saxes, John Marson on harp, Don Lusher on trombone, and Alan Branscombe on piano – and the tunes offer up a cascading mix of large charts and individual instrumental voices, occasionally filled in by a bit of strings. Titles include "London By Night", "Greek Street Soho", "Let's All Go Down To The Strand", "Chelsea Bridge", and "Knocked Em In The Old Kent Road".

Dex's famous return to New York in the mid 70s – recorded at the Village Vanguard in 1977, and featuring some of his best group-heavy playing of the decade! The quintet is fantastic – and includes Woody Shaw, Ronnie Matthews, Stafford James, and Louis Hayes. Features versions of Shaw's "Little Red's Fantasy" and "In Case You Haven't Heard", Matthews' "Let's Get Down", Jimmy Heath's "Gingerbread Boy", and Gordon's own "Fenja" and "Backstairs".

One of the greatest albums ever from pianist Ronnie Kole – a hip cat who played heavily on the New Orleans scene of the 60s and 70s – but who also had a soulful sound that was much more in keeping with piano work from the Windy City! This set has a nice crackle from the start – and although some of the cuts are ballads, Ronnie still brings in this gentle swing that's mighty nice – a bit in the way that Ramsey Lewis or Ahmad Jamal might have handled the cuts for Chess Records in the mid 60s – with a similarly hip approach to soul jazz. Some cuts feature a bit of added instrumentation from arranger Charlie Brent – and titles include the sweet "Great Stone Bottle", which has a nice break and some organ in the background – plus "Love Story", "Close to You", "Secret of My Soul", "My Sweet Lord", "He Ain't Heavy", and a groovy cover of "Sesame Street"!

The album's got a great old style cover – and a wonderful groove to match – plenty of cosmic beats and spacey keyboards from Eric Lau, plus some other sweet touches as well! The set's more in a funk mode overall – and one that will definitely please fans of the spacier side of the 70s spectrum – almost a distillation of territory spanned by cats like Herbie Hancock or Ronnie Foster, but filtered into a 21st Century aesthetic too – so that the best bits come to the forefront, and really give the album a lean sort of crackle. Most of the record is instrumental, and titles include "Cruise Control", "Sometime", "Home Run", "PPG", "Warp", "Minnie", "Love Love Love", "What's Going Down", "Noma", "Give Light Give Love", and "Change".

Excellent moody work from one of the 70s most groundbreaking flute players! Laws was not only richly talented, but he was also capable of a large number of styles – and this double-length set for CTI has him moving past the electric funky jazz that was the usual manner of the label. The set features backing by a range of different keyboardists – from Bob James, to Clare Fisher, to Richard Tee – plus tenor by Ronnie Laws, percussion by Airto, drums by Steve Gadd, and guitar by Gene Bertonicini. All tracks are long, and the material spans funk, jazz, and even a bit of classically influenced playing. Titles include "Mean Lene", "Restoration", "Moment's Notice", and "Reconciliation" and the great title track.

Classic bit of 70's fusion, played by Ronnie on tenor and flute, and with a group that includes some excellent keyboard work by Joe Sample. The highlight of the record is the big sample cut "Tidal Wave", but it also includes the great groover "Always There", which was covered a million times over by other bands during the 70's. Wayne Henderson produced, and the record is an archetypal example of his "At Home Productions" sound.

Classic bit of 70's fusion, played by Ronnie on tenor and flute, and with a group that includes some excellent keyboard work by Joe Sample. The highlight of the record is the big sample cut "Tidal Wave", but it also includes the great groover "Always There", which was covered a million times over by other bands during the 70's. Wayne Henderson produced, and the record is an archetypal example of his "At Home Productions" sound.

A fantastic bit of 70's Latin jazz by the great Manny Oquendo and his legendary Libre group! The sound is prime 70's New York, and the record's filled with great players like Andy Gonzalez, Dave Valentin, Ronnie Cuber, Milton Cardona, and Marty Sheller, who does the arrangements. The record's got a great version of Charlie Parker's "Donna Lee", done in a Latin medley with "A Gozar Y Bailar". Other tracks include "Saoco", "Risque", "Lamento Borincano", and "Bamboleate".

Smooth soulful jazz from Harvey Mason – one of his strong 70s winners for the Arista album, and a record that really brings a new level of class to his sound! There's less of the grit in the grooves than you might expect from the down-home reference of the title – and in a way, the record's a similar shift to well-produced R&B as Michael Henderson or Norman Connor's work from the same time – a soaring, fluid groove that's still supported by solid jazz instrumentation, but which also has a nice dose of soul in the mix! Players here are a real all-star lineup – with talents that include Dorothy Ashby, George Benson, Ronnie Foster, Bob James, and Phil Upchurch – and most cuts have vocals, by The Waters and others. But possibly best of all is the production – which is by Harvey, and really wonderful – sophisticated and smooth, but never slick – a really careful balance that really puts him right up there with Norman Connors or Roy Ayers! Titles include "Pack Up Your Bags", "Till You Take My Love", "Funk In A Mason Jar", "What's Going On", "Set It Free", "Space Cadets" and "Freedom Either Way".

One of the excellent albums cut by the short-lived Bee Hive label – an imprint formed at the end of the 70s, with a strong dedication to recording in the classic soul jazz style of the 60s! This album features stunning work by pianist Ronnie Mathews – a wonderful talent who's barely gotten the recognition he's deserved over the years – and who's captured here very much in the spirit of his classic Prestige album Doin The Thang. Ronnie plays in a tight quintet – with players that include Ricky Ford on tenor, Bill Hardman on trumpet, Walter Booker on bass, and Jimmy Cobb on drums. Tracks include "Legacy", "A Child Is Born", "Ichi Ban", "Four For Nothing", and "Loos Suite".

A mid 80s trio set from Ronnie Mathews – one of those great players who always labored in obscurity, but who also managed to always sound great at whatever point in his career he was recorded! The tracks are deceptively simple piano trio material – with excellent rhythmic backing by Alvin Queen on drums and bass by Ray Drummond – and the best tracks have a flowing quality that's the best demonstration of mellow soulful Mathews' approach to piano that we can think of. Titles include "Song For Leslie", "So Sorry Please", "Day Dream", "I Mean You", and "Summertime".

Two late albums from Charles Mingus – back to back on a single CD! Me Myself An Eye is complicated later work from Mingus – a great illustration of the way his power to command a large ensemble never wavered as the years went on! The album features two different large groups of players – filled with modernists young and old – including Ricky Ford, George Coleman, and Michael Brecker ont enors; Ronni Cuber and Pepper Adams on baritone; Randy Brecker and Jack Walrath on trumpets; Lee Konitz on alto, Larry Coryell on guitar, Slide Hampton on trombone, and Eddie Gomez on bass. Side one features the 30 minute track "Three Worlds Of Drums", and side 2 contains a remake of "Wednesday Night Prayer Meeting", plus "Devil Woman" and "Carolyn Keki Mingus". Something Like A Bird is one of the last Mingus albums ever recorded – large group material that's a lot more complex than his work from the 60s, performed by a variety of players from old and recent years, including Lee Konitz, Pepper Adams, George Coleman, Joe Chambers, Eddie Gomez, Ronnie Cuber, and others. The long title track is split up over 2 sides of the LP, and the remaining piece of the second side is given over to "Farewell Farwell".

A pair of albums from one of the greatest sax talents in 60s England – in a 2CD set! Here And Now And Sounding Good was recorded in '66 and it's one of his best albums! Tenorist Morrissey had a talent level that put him right up there with giants Tubby Hayes and Ronnie Scott – and like the former, he really grew as a musician during the 60s, picking up a lot of modern styles and influences that tremendously expanded his sound. This rare session is simply amazing – filled with original tracks that stretch out with an energy level that really grabs us right away – not really Coltrane-ish, but clearly Coltrane-inspired – with a warmth and sense of exploration that was Morrisey's own. Titles include "Sunday Lunch", "Don't Fall Over The Bridge", "El Schtuck", and "Off The Wagon". Storm Warning is another treasure – the kind of rare jazz album that keeps us digging over and over as years go on! There's a little bit of modern style in his blowing for this set, sneaking in through some more traditional solos – almost like Sonny Rollins in his best RCA years. And like Sonny in those years, Dick's playing here with a really great group that's the perfect model of creative understatement – Phil Seamen on drums, Harry South on piano, and Phil Bates on bass. Tracks include "March On", "Storm Warning", "What Is There To Say", and "Wind Of Change".

Great stuff – one of Flora Purim's more R&B-sounding albums from the 70s, produced by George Duke with an appreciation for Flora's Brazilian jazz roots, but with a smoother sound that's in keeping with Duke's own work of the time! The combination is pretty sweet – a professional culmination of the mixture of fusion and Brazilian jazz that had been happening in the San Francisco scene during most of the 70s, and featuring many of the musicians who had helped make that groove so strong. Players include Airto, Sheila Escovedo, Joe Farrell, Ronnie Foster, Bobby Lyle, and Larry Williams – and tracks include "Niura Is Coming Back", "From The Lonely Afternoon", "Freeway Jam", "Beijo Partido", "Corine", and "Love Lock".

Late 60's issue of a record that's also known as Rocket Number Nine Take Off For The Planet Venus. The material was recorded in 1959 and 1960, but unissued until the mid 60's. Ra plays piano, chimes, and gong, and the tracks have a nice laid back spacey feel, with some ensemble vocals chanted by the group. Ronnie Boykins also plays the space gong on one cut, which sounds very nice. Cuts include "Somewhere In Space", "Space Loneliness", "Space Aura", and "Interplanetary Music". The cover's got a brilliant red and white drawing of volcanic land, piano keys floating in space, and a mysterious female figure in flames!

Late work by jazz drum giant Buddy Rich – captured in a surprisingly energetic, firey, and sometimes funky mode at Ronnie Scott's Club in 1980! Buddy really pulled off some bright, buoyant, funk influenced work in the 70s and this set finds him at the tail end of that groove – playing with a pretty big group that includes Ernie Vantrease on piano, Wayne Pedziwiatr on bass, Ando Fusco, Jack Leibowitz, Steave Marcus and Kenny Hitchcock on saxes, Bob Coassin on lead trumpet, Roger Homefield on lead trombone, and others. Titles include "Intro/Beulah Witch", "Grand Concourse", "Blues A La 88", "Saturday Night", "Slow Funk" and the epic, 15+ minute closer "Good News".

A stone smoker from Rongetz Foundation – and a record that's even better than anything else we've heard from them! This time around, the sound is very live – recorded in the US, with help from heavyweights like Ronnie Cuber on baritone sax and Bruce Williams on alto – plus killer vocals from Gregory Porter on two tracks that are worth the price of the album alone! The sound is totally smoking – soul jazz, with a spiritual undercurrent – and on the cuts "Hard Bop Merry Go Round" and "Gogo Soul", Porter gets some of his best backing ever – a mode that almost sounds better than his already-great albums! A few other cuts feature vocals by other singers – and titles inclu de "Eunice K", "Sam's Intro", "A Composer Of Modern Day", "The Braggart", and "Freaking Sunshine".

A stone smoker from Rongetz Foundation – and a record that's even better than anything else we've heard from them! This time around, the sound is very live – recorded in the US, with help from heavyweights like Ronnie Cuber on baritone sax and Bruce Williams on alto – plus killer vocals from Gregory Porter on two tracks that are worth the price of the album alone! The sound is totally smoking – soul jazz, with a spiritual undercurrent – and on the cuts "Hard Bop Merry Go Round" and "Gogo Soul", Porter gets some of his best backing ever – a mode that almost sounds better than his already-great albums! A few other cuts feature vocals by other singers – and titles inclu de "Eunice K", "Sam's Intro", "A Composer Of Modern Day", "The Braggart", and "Freaking Sunshine".

The second Folkways album from trumpeter Charles Shaw – and even more wonderful than the first! This one changes up the groove a bit – still sticking in Shaw's spiritual jazz vein at times, but also tripping things out a bit more with use of electric guitar and the ultra-cool "bag flute" – which is almost like a wah-wah sort of reed instrument, and which makes for some really funky moments! The electric touches are totally great – and mix with rougher acoustic jazz elements in ways that remind us of earlier 70s work from Luther Thomas and Joe McPhee – also both avant players who could show a funky side like this at times. Shaw plays trumpet, flugelhorn, and the bag flute – and other instrumentation includes guitar from James Greggo and Tom Lee Harris, alto from Brian Ross, tenor from Glenn Spears, bass from Ronnie Boykins, and drums from Art Blakey Jr. Titles include "Kid Zorro", "Postage Paid", "Mr Zip", "Chain Reaction", and "Melted Soul".

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 lost jazz-funk gem – originally recorded at Club Mozambique in Detroit in 1970, but not issued by Blue Note until the mid 90s! The set's right up there with Lonnie's classic Move Your Hand live set – as the tracks are long, free, and very funky, performed by a hip group that includes Joe Dukes on drums, Dave Hubbard on tenor, Ronnie Cuber on baritone, and George Benson on guitar. Lonnie's organ is harder than you'll ever hear it in later years – and tracks include "Scream", "Expressions", "I Can't Stand It", "Peace Of Mind", "Love Bowl", and "Play It Back".

An excellent group from the 70s East Coast scene – one with a heavy harmony sound that should have made them huge! The record was cut during the prime early days of the Sigma Sound Studios – and the record features arrangements by Philly greats like Norman Harris, Ronnie Baker, and Vince Montana – all working here in a mode that's similar to that applied to The Spinners after they made their move to Atlantic, but with a bit more edge. Yet it's the vocal harmonies that really take the cake – as they mix together deep-rooted Temptations-esque righteous vocals with sweeter harmonies in the New Jersey falsetto mode – a perfect blend that's carried off with a great deal of power here! The style is very compelling, and great on just about every cut – and titles include "Society", "That Was Yesterday", "It Really Hurts", "Look At All The Lonely People", and the great cut "Whispers".

Sweet electric soul from Carol Williams – a rich voice from the disco generation, served up here with some great Philly club arrangements from Vince Montana! The groove is great, right from the get-go – thanks to rhythm from the team of Bobby Eli, Norman Harris, and Ronnie Baker – and Carol's vocals slide in strongly with a style that echoes soul styles from a few years before – and reminds us at this great point, the singer wasn't always subservient to the grooves on the cuts! Vince Montana plays a bit of vibes on the record – and titles include "Rattlesnake", "Just Feel", "My Time Of Need", "This Time May Be The Last Time", "Love Is You", and "Come Back". Bonus tracks include "Love Is You (unreleased Tom Moulton 12" version)", "More (original 12" version)", "Come Back (original 12" version)", and "More (single version)".

A key record in the evolution of Tony Williams as a drummer – and kind of a powerful summation of all the changes he'd made in the 70s – before a return to straighter jazz in the next decade! Williams' drumming here is incredibly fierce at points – almost at a Billy Cobham level – but he also shows the sensitivity to deeper sounds that he first brought into play during the 60s – and manages to mix an ear for fusion modes with some freer elements too – thanks to help from a lineup of players that includes Herbie Hancock and Brian Auger on keyboards, Cecil Taylor on piano, Jan Hammer on Fender Rhodes, Stanley Clarke on bass, Ton Scott on lyricon, and Ronnie Montrose on guitar. Titles include "Tony", "Coming Back Home", "Morgan's Motion", "Eris", "Open Fire", and "Hittin On 6".

Raw soul, heavy funk, snotty rock, and raucous R&B – all pulled from the legendary record collection of Lux Interior and Poison Ivy! The sounds here are the sorts that went onto form the blueprint for The Cramps – and the package is overflowing with rare gems that are hand-picked by the pair – the kind of underground, indie singles that have always made record-digging so great – plucked up by Lux and Ivy in the years before most of us even started searching for wax! The cool 10" set features two dozen tunes – and titles include "Drive Daddy Drive" by Little Sylvia, "Stormy Weather" by The Five Sharps, "Rock A Bongo Boogie" by Terry Snyder, "Red Headed Flea" by The Caps, "Chickie Run" by Homer Denison Jr, "99 Chicks" by Ron Haydock & The Boppers, "Baby Brother" by Bill Carter & The Rovin Gamblers, "Service With A Smile" by The Kuf-Linx, "Imagination" by The Quotations, "Tongue Tied" by Betty McQuade, and "The Vulture" by Ronny Ray's Playboys.

An overlooked gem from Blue Note – a special live performance that brings together some of the label's funkiest and most soulful artists of the 70s! The set's somewhat unusual for Blue Note at the time – especially given the label's increasingly studio-driven approach to jazz, with projects by the Mizell Brothers and others – yet given that bent, the whole thing's a great illustration of the vibrancy of all these artists always from the studio – playing live and extremely funky! As the title implies, the set was recorded live at the Roxy in LA – with players who include Donald Byrd, Ronnie Laws, Gene Harris, Bobby Hutcherson, and Alphonse Mouzon – all coming together in warm unity to show that the spacious sounds of Blue Note could also be crafted in a live setting, and not just under closely-watched studio help arrangers and producers. Carmen McRae sings on a number of tracks, and the album overall does a good job of presenting the material in concert-like setting – and some of the longer tracks feature some mighty nice jamming solos. Titles on this first volume include "New York City", "Just Like The Sun", and "Without A Reason" by Alphonse Mouzon; "Captain Midnight", "Night Breeze", and "Always There" by Ronnie Laws, and "Places & Spaces" and "Dominoes" by Donald Byrd – both of which were actually recorded in Central Park.

An overlooked gem from Blue Note – a special live performance that brings together some of the label's funkiest and most soulful artists of the 70s! The set's somewhat unusual for Blue Note at the time – especially given the label's increasingly studio-driven approach to jazz, with projects by the Mizell Brothers and others – yet given that bent, the whole thing's a great illustration of the vibrancy of all these artists always from the studio – playing live and extremely funky! As the title implies, the set was recorded live at the Roxy in LA – with players who include Donald Byrd, Ronnie Laws, Gene Harris, Bobby Hutcherson, and Alphonse Mouzon – all coming together in warm unity to show that the spacious sounds of Blue Note could also be crafted in a live setting, and not just under closely-watched studio help arrangers and producers. Carmen McRae sings on a number of tracks, and the album overall does a good job of presenting the material in concert-like setting – and some of the longer tracks feature some mighty nice jamming solos. Titles on this second volume include "Music", "Them There Eyes", "You're Everything", and "Paint Your Pretty Picture" by Carmen McRae; a medley of Brazilian tracks by Earl Klugh – including "Like A Lover", "A Felicidade", "Manha De Carnaval", and "Samba De Orfeu"; and a long track that involves all the artists as the Blue Note All Stars, on "Blue Note 76".

A blistering collection of funk, hard-charging r&b and psychedelic soul from the Phoenix scene – amazing singles issued mostly in the late 60s and early 70s and spearheaded by producer Mike Lenaburg – and a great portrait of a too-long neglected funky southwest! Mighty Mike Lenaburg produced records for Phoenix area acts on a half dozen label imprints such as Homogenized Soul, Out Of Sight, Mighty and Darlene. The sound throughout this collection has for the most part a heavy bottom end of funky drums, chiming-and-chugging guitar and vocals that range from gritty soul howling to more of a harmony approach. There's some killer funky flute and soulful psych from Michael Liggins, tight funky soul from Lon Rogers, positively pummeling numbers from Ronnie Whitehead and much more. The Numero Group continues to raise the stakes with their amazing Eccentric Soul series – telling a culturally significant story, and just as importantly, assembling flat out perfect listening experiences! 17 tracks in all: "Too Good To Be True" and "My Girl Is A Soul Girl" by Lon Rogers & The Soul Blenders, "Standing On The Corner", by Michael Liggins, "Loaded To The Gills" and "Loaded Back" by Michael Liggins & The Super Souls, "I've Got To Have You" by Sheila Black, "Blending Soul" by Soul Blenders, "People, Open Your Eyes And See" by We The People, "Cold Feet" and "Begging You" by Ronnie Whitehead, "Funky Nightclub" by Soulsations, "The Quarrel" by Newly Weds and more! 2LP set adds in 10 bonus tracks that were not on the CD version!

Funky tracks by Donald Byrd, the Bar-Kays, Average White Band, Undisputed Truth, Lou Donaldson, Ronnie Laws, Fred Wesley, and many more.

A nice little 2LP set that contains great tracks from the glory years of new expansion at Columbia Jazz – back when Bruce Lundvall was at the helm, and trying to really make some inroads in the label's jazz department. Titles include "Organ Grinder" by Woody Shaw, "Quiet Fire" by Bobby Hutcherson, "Street Tattoo" by Stan Getz, "Sweetest Pain" by Dexter Wansel, "Lookin Good" by Eric Gale, "Love When I'm In Your Arms" by Bobbi Humphrey, "Feelin Dealin" by Heath Brothers, "Little Sunflower" by Freddie Hubbard, "Song For The Children" by Lonnie Liston Smith, and "You're The One" by Ronnie Foster.

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.

One of the hippest sets we've ever seen on Spanish Harlem – a collection that goes way past the Latin Soul hits, to dig deep in the uptown underground at the end of the 60s! The package is compiled with gems from the Fania catalog, but rally moves past the obvious – going for some of the more obscure artists who recorded singles for some of the smaller Fania-held labels – and often focusing on tunes that drew more from late 60s soul and funk than they did from any Latin rhythms of the time. The singers are especially wonderful – and often hit a vibe that's right up there with some of Joe Bataan's best of the period – richly soulful, but often deeply personal too – never as polished as chart soul, and often showing a grittier, more realistic style that's totally great – especially when mixed with instrumentation as tight as this! Titles include "Reflections Of My Life" by 125th Street Candy Store, "On Old Broadway" by 107th Street Stickball Team, "Don't Be Afraid" by Lebron Brothers, "Central Park" by Harvey Averne Dozen, "Heaven" by Tito Ramos, "Your Smile" by Parris, "Some Lonely Heart" by Ronnie Marks, "There's No Girl" by Olivieri, "Maria Maria" by King Nando, "Already Satisfied" by Tony Middleton & Bobby Matos, "Nitty Boo Boo" by The Nitty Sextette, "Lonely Has Been My Day" by Ralphie & The Latin Lovers, "I'm Gonna Leave You" by Russell Cohen & The New Yorkers, and "Ain't No Big Thing" by Ralfi Pagan.

Rough and raw grooves – way more than you might guess from the "twist" reference in the title! The sound here is more R&B than anything else – lots of heavy drums, honking sax, burning organ, and riffing guitar – but there's also some echoes of Latin rhythms, rockabilly raunch, and some 60s soul elements too – all percolating together wonderfully in a way that sounds like somebody blew the dust off a gritty pile of 45s, then filled them up to blast away in a decades-old jukebox in a tavern on the other side of the tracks! The CD version of Twistin Rumble Vol 1 collects many of the tracks from Twistin Rumble Volumes 1 & 2 vinyl – with plenty of rare gems – including "The Bonecracker" by Johnny & The Debonairs, "Sweet Bacon" by Julian Covey, "Swingin Drums" by Ronnie Kae, "King Cobra" by The Wildtones, "Driving Wheel" by Mac Sims, "Funky Onions" by Matthew Childs, "Where's My Pussycat" by Terry & The Topics, "A Little Bit Of Everything" by Jocko, "Classie's Whip" by Classie Ballou, "Do The Robot" by Marvulus Mickey, "Oh Yeah" by The El Cobras, "I Want To Know" by Merle Spears, "Carl's Dance Party" by Carl Lattimore, "Cruise" by The Ambertones, "Big Bo's Iron Horse" by Big Bo & The Arrows, "Sha Ba Dah" by Higgs & Wilson, "Rooster Knees & Rice" by Clarence & Calvin, and "Hornet's Nest" by Curtis Knight. 29 tracks in all.

One of the few albums ever cut by 50s singer Paula Castle – a really great vocalist with a sound that matches the best Bethlehem records work of her labelmate, Chris Connor! Castle's got a nicely-composed approach to singing – never too flowery or overdone, yet also never too cool, either – a perfect balance that comes through beautifully with the set's stripped-down backings – just a quartet with Ronnie Selbey on piano, and flute by Sam Most. Most's flute really shades in the tunes nicely – underscoring things with some subtle blue tones that are really great – and titles include "I'm Shooting High", "Yesterday's Gardenias", "Here I Am In Love Again", and "Lost Love".

One of the greatest long-form albums from the Clarke Boland Big Band – a sophisticated suite that not only shows off the writing ability of Francy Boland, but also demonstrates the group's ability to swing like a mofo, even when things are serious! The album's a jazz suite written by Boland, and dedicated to the great prisons of England – where Johnny Griffin was once kept "At Her Majesty's Pleasure", due to non-payment of some income tax. The experience of Griffin led Boland to explore the idea of the British penal system with a number of powerful emotional themes, and the result of this writing is one of the CBBB's best albums of the late 60s – filled with rich colors and tones that go far beyond the earlier modes of the group, but without some of the too-complicated elements that sometimes show up in later suites. A good part of the album's success comes from the strength of the soloists – players who include Johnny Griffin and Ronnie Scott on tenor, Tony Coe on clarinet, Sahib Shihab on flute and soprano, Kenny Wheeler and Benny Bailey on trumpets, and Ake Persson and Nat Peck on trombones. Titles include "Pentonville", "Wormwood Scrubs", "Doing Time", "Broadmoor", and "Going Straight".

An incredible document of the growth of the European jazz scene in the postwar years – a set recorded in Berlin, but featuring a host of the best players from all over the continent! The mix of musicians here is wonderful – similar to some of the great boder-crossing experiments from Saba/MPS a few years later – but still wonderfully fresh in this setting – as modern jazz giants from the other side of the Atlantic come together with amazing clarity of sound – and a host of fresh ideas that really set them apart from their contemporaries in the US! The set features a driving take on "Haitian Fight Song" with Dusko Goykovich on trumpet, Albert Mangelsdorff on trombone, Arne Domnerus on alto, Hans Koller on tenor, and both Martial Solal and Tete Montoliu on piano. Other numbers include a version of "Am I Blue" with vocals by Monica Zetterlund, "Blue Monk" by a Montoliu trio, "Hittin The Blues" with vibes by Fats Said and guitar from Franco Cerri, "Gone With The Wind" with Arne Domernus on alto and Ronnie Ross on baritone, "3 + 3" with Domerus and ross – plus Koller on tenor and Cerri on guitar, and "Avertissez-Moi" by a larger group with Martial Solal on piano, Koller on tenor, Domerus on alto, Goykovich on trumpet, and Sadi on vibes!

A classic bit of London funky guitar from Ronny Jordan – the heir apparent to Grant Green and Ivan Boogaloo Joe Jones – and one of the best new players of his generation! The set takes the older funky guitar styles of the 60s soul jazz generation, and fuses it with a 90s nujazz approach – to come up with some tight groovers that have a surprisingly classic feel, yet which also sparkle with the fresher sounds of the time – some of the hip rhythms that were bubbling around in London during the Talking Loud and early Acid Jazz years. Titles include a great remake of "So What", the jazz/hip hop classic "Get To Grips", and the cuts "Cool & Funky", "Summer Smile", "Show Me", "Nite Spice", and "After Hours".

Sweet soulful flute from the great Hubert Laws – gliding high here in a great session from his post-CTI years! The album's a bit more soul-based than some of Hubert's earlier dates – but that change is a great one, and really helps Laws find some rich new energy – a focus in the grooves that also really seems to set his flute free on its solo lines too – wonderfully fluid in the company of other players who include Patrice Rushen on keyboards, Roland Bautista on guitar, and Ronnie Laws on saxes. Debra and Eloise Laws add in some sweet backing vocals – and titles include "Music Forever", "Land Of Passion", "We're In Ecstasy", "Heartbeats", "The Key", and "We Will Be".

Classic bit of 70s fusion, played by Ronnie on tenor and flute, and with a group that includes some excellent keyboard work by Joe Sample. The highlight of the record is the big sample cut "Tidal Wave", but it also includes the great groover "Always There", which was covered a million times over by other bands during the 70's. Wayne Henderson produced, and the record is an archetypal example of his "At Home Productions" sound.

A late date for Brit bandleader Vic Lewis – but a great one too, thanks to a strong focus on the bossa nova sounds of the 60s! The mode's a real change for Lewis, who could sometimes be a bit stiff – and the new groove definitely opens things up nicely – as does the album's work from a top-shelf of jazz soloists, both British and American! Side one has Lewis leading a combo that features a stellar lineup – tenor and flute from Tubby Hayes, more tenor from Ronnie Scott, trumpet from Jimmy Deuchar, flugelhorn from Shake Keane, and piano from Terry Shannon – all players who get plenty of chance to solo, and really make the music magical with just a few subtle touches. The flipside features Lewis leading a group of West Coast luminaries – Bud Shank on tenor and flute, Bob Cooper on tenor, Jack Sheldon on trumpet, Shorty Rogers on flugelhorn, and Victor Feldman both on piano and vibes. The groove is just as great as on the first side – and the whole thing's a real standout for Brit jazz at the time. Titles include "Bossa Nova Scotia", "Bossa Nova Blues", "Two Note Samba", "Last Minute Bossa Nova", "Danielle", and "Vic's Tune".

Madlib invades Blue Note! He gets free reign of the catalog for this mix of sampler genius and live band interpretations, too, as/with Ahmad Miller, Yesterdays New Quintet, Malcolm Catto, Medaphoar, and others from the Stones Throw camp. This one's truly a conceptual triumph, if there ever was such a thing – one of the greatest hip hop producers alive, given carte blanche with the source beats of the century! Madlib's Blue Note crates are heavily weighed in the mid 60s through mid 70s electric beats that often get the shaft in mainstream jazz round-ups, but floor the beathead world into overdrive. Re-interpretations, remixes, and revisions are spliced seamlessly with the source samples, creating a whole new world where hip hop and late model live funk not only co-exists with classic Blue Note jazz, but it actually draws a linear transition between the 2 genius art forms. Beautiful stuff – if the album isn't the most original idea to come along all of these years into the hip hop & jazz underground, it's certainly one of the most perfectly realized projects of its kind, ever! It's one for the time capsule – easily Madlib's masterpiece, and pure funky sample wizardry by any standard! Includes Monk Higgins' "Slim's Return" interpreted by Ahmad Miller and DJ Lord Such on cuts, "Donald Byrd's "Distant Land", "Ronnie Foster's "Mystic Bounce", Yesterday's New Quintet's adaptation of Wayne Shorter's "Footprints", Madlib Invazion's "Funky Blue Note", the Joe McDuphrey Experience take on Horace Silver's/Herbie Hancock's "Peace/Dolphin Dance" and lots more.

A very rare gem from the late 50s – a smoking set that was cut for a very small label, but which is every bit as great from a musical perspective as it is from a collector's one as well! The whole thing cooks with the insensity of a Prestige date from the early 50s – very sharp hardbop energy throughout, spurred on by the work of leader Reese Markewich on piano – in a group that also features tremendous tenor from Jesse Avery, a player who don't really know at all, but who brings an especially sharp edge to the set! Reese also plays a bit of flute – and the quintet also includes Nick Brignola on baritone and alto sax, Steve Fillo on bass and Ronnie Zito on drums – all players with a very cohesive, hard-swinging sound. The set's got a number of great original tunes – and titles include "Hurricane Connie", "Pony", "Mildew", "Flute Street", "Crazy In The Heart", "Moonlight In Vermont", and "Last Lap".

A pair of classic early 80s soul albums from ex-Dramatics singer LJ Reynolds! The self-titled '81 set is killer material in a modern Detroit mode all the way through – with top-shelf production by Reynolds, Don Davis, and Ronnie McNeir/ Ronnie, who'd been lost to the industry for a few years, also re-emerges as a writer on the songs "Southern Pearl", "Lonely Superstar", and "Ain't No Woman Like My Baby". The real standout, though, is the amazing cut "Key To The World", a killer steppers track that has a hook that won't quit, and this wonderful brassy finish that gives the track a really triumphant sound that works perfectly with the righteous lyric. LJ Reynolds' sounds great on '82's Travelin', too – stepping even more strongly away from his work with The Dramatics, and emerging as one of the best male soul acts of the early 80s! The production on this one is split between Reynolds and Don Davis, in a mode that's contemporary, but which allows LJ plenty of space for old school vocal expression – that far-reaching style of singing that always made him stand out strongly from the pack! There's a sublime mellow version of Aretha Franklin's "Call Me" on the set – and other tracks include "Words", "Trust In Me", "Say You Will", "You & Me", "Let Me Satisfy You", and "Fast Action"…