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Nothing lost here at all – as the album's a standout set of new material from S-Tone, plus remixes of a few older nuggets – and may well be his best so far! There's a soulful depth to the music that we don't remember from before – a quality that mixes the jazzy and bossa-inflected tones of previous records with a richer mix of sounds that's perfect for a contemporary dancefloor – especially on the album's standout vocal tracks! Stefano Tirone is at the helm on Fender Rhodes and organ – but the album features contributions from a really rich array of talents who help give the sound a lot of humanity – especially vocalists Lura Fedele, Milton Martins, Adi Souza, Stefano Miceli, and Toco. Titles include "Serengeti", "In The Mood For Joy", "Samba Noir", "Limbe (Bedroom Rockers mix)", "Universe Of Peace", "Bacana", "Wise Up", "Mass Distraction", and "Lady Word".

The 5th volume in this great series is bigger than ever! Back when volume 1 first came out, the idea of modern bossa dancefloor tunes was a strange concept – now, thanks to the work of the Schema crew, in releases like this one, the groove is here to stay – and strongly! The set offers a 13 track overview of the best of recent years – mostly groups from Europe, and all firmly in the Schema Records style. Most tunes are remixed versions, and titles include "Mastered The Art (Jet Sounds rmx)" by Greyboy, "On Line" by Marcos Valle, "O Preguicoso" by Intuit, "Salsin" by Amalgamation Of Soundz, "Penso Ascoltando" by Mondomo, "Meu Samba (Nicola Conte's bossa ahead rmx)" by Eli Goulart & Banda Do Mato, "Puutarhassa (Milk Snickars ext version)" by Pekka Streng, "Good Morning As Usual (Senor Coconut rmx)" by Snooze, "Existentialism (Milano bossa mix)" by The Dining Rooms, "In The Mood For Bossa (alt)" by S-Tone Inc, "Dance Naked Under Palmtrees" by Mo Horizons, and "Honesty" by Soulstance. Plus, the CD version also features a bonus disc – with all 13 tunes mixed live by Luciano Cantone!

The 5th volume in this great series is bigger than ever! Back when volume 1 first came out, the idea of modern bossa dancefloor tunes was a strange concept – now, thanks to the work of the Schema crew, in releases like this one, the groove is here to stay – and strongly! The set offers a 13 track overview of the best of recent years – mostly groups from Europe, and all firmly in the Schema Records style. Most tunes are remixed versions, and titles include "Mastered The Art (Jet Sounds rmx)" by Greyboy, "On Line" by Marcos Valle, "O Preguicoso" by Intuit, "Salsin" by Amalgamation Of Soundz, "Penso Ascoltando" by Mondomo, "Meu Samba (Nicola Conte's bossa ahead rmx)" by Eli Goulart & Banda Do Mato, "Puutarhassa (Milk Snickars ext version)" by Pekka Streng, "Good Morning As Usual (Senor Coconut rmx)" by Snooze, "Existentialism (Milano bossa mix)" by The Dining Rooms, "In The Mood For Bossa (alt)" by S-Tone Inc, "Dance Naked Under Palmtrees" by Mo Horizons, and "Honesty" by Soulstance. 3LPs strong!

An amazing little set – far greater even than the already-excellent first volume, and a treasure trove of modern dancefloor jazz that includes a fair bit of previously unissued numbers! The vibe here is very firmly in the Schema records old/new blend of jazz and grooves – but it's also expanded nicely to include work from key combos on the current global club jazz underground – that spreading scene that's finally getting around to playing real jazz with real soul, instead of just noodling around with samples of saxophones! The feel throughout is tremendous – a near-classic blend of acoustic instrumental approaches to jazz, with just the right electric augmentation to kick things up a notch or two without dampening the soul. Titles include "Lead The Way" by Soulstance, "1974" by Jukka Eskola, "My Love Samba" by Luis Ferri, "Solifer Lento" by Dalindeo, "Some Kind Of Blues (jazz mood inst)" by S-Tone Inc, "Heroes of The Conquest" by The Invisible Session, "Stars" by Paolo Fedreghini & Marco Bianchi, "Mr Bond" by Quartetto Moderno, and "Yes & No" by Quintetto Lo Greco. 11 tracks in all.

An amazing little set – far greater even than the already-excellent first volume, and a treasure trove of modern dancefloor jazz that includes a fair bit of previously unissued numbers! The vibe here is very firmly in the Schema records old/new blend of jazz and grooves – but it's also expanded nicely to include work from key combos on the current global club jazz underground – that spreading scene that's finally getting around to playing real jazz with real soul, instead of just noodling around with samples of saxophones! The feel throughout is tremendous – a near-classic blend of acoustic instrumental approaches to jazz, with just the right electric augmentation to kick things up a notch or two without dampening the soul. Titles include "Lead The Way" by Soulstance, "1974" by Jukka Eskola, "My Love Samba" by Luis Ferri, "Solifer Lento" by Dalindeo, "Some Kind Of Blues (jazz mood inst)" by S-Tone Inc, "Heroes of The Conquest" by The Invisible Session, "Stars" by Paolo Fedreghini & Marco Bianchi, "Mr Bond" by Quartetto Moderno, and "Yes & No" by Quintetto Lo Greco. 9 tracks on 2LPs.

A rich document of the growth in the Italian jazz scene in recent years – a great leap forward not just for individual musicians, but also for the Schema label as well! Schema first began in the 90s with a relatively programmed approach to jazz – a style that loved the classics, but often reworked them in modern production modes. Yet over the years, the company's really come to be a key home for real jazz and soulful sounds – moving past their original remix identity, to a point where they're arguably one of the most important jazz labels on the European scene! This nicely-priced batch of tracks is a great illustration of that growth – and features a few old Schema faves, mixed with newer artists who've flocked to the label in recent years – presented here in some unique remixes and other nice versions we haven't heard before. Titles include "Beyond The Days" by Gaetano Partiplio, "But Not For You" by Alessandro Maganini, "Hurt Me Bad" by Andrea Balducci, "Waltz For Emily" by Gerardo Frisina, "Banzo" by Rosalia De Souza, "Some Kind Of Blues (Grooveman Spot rmx)" by S-Tone Inc, "Welcome To My World (acoustic)" by Joyce Elaine Yuille, "Hear Us Now" by Christian Prommer's Drumlesson, "Alta Tensione 3am" by Alex Puddu, and "Good Life" by Timo Lassy.

Jazzy bossaness abounds – in this fab 6th volume of the always-great Break N Bossa series! This time around, the crew at Schema have gone a bit deeper than usual for the tunes – picking out a good blend of singles that show the true evolution of the bossa influence on the European scene – not just bossa nova remix material, but a wide range of cosmically grooving tunes that have taken the beats of Brazil to a whole new level! And as usual, the Schema interpretation of the bossa sound is all top-shelf all the way – making for a really great set that's filled with wonderful tunes. Titles include "Zenith" by Soulstance, "Running With The Devil (Buscemi rmx)" by Puddu Varano, "Destino (Ben Human inst rework)" by Eli Goulart, "Black Forest Stomp (Gerardo Frisina rmx)" by Hipnosis, "Revelation" by S-Tone Inc, "Listen Love" by UFO, "Malandragem" by Drumagik, "Lift Up" by Soulstance, "Clouds" by Big Bang with Jessica Lauren, "Guaio A Caracas" by Paul & Mark, and "Carnival Espirito" by Big Bossa. Plus, this 2CD set features a bonus disc, mixed live – the "Jazz Con Bossa Session"! The set's handled by Luciano Cantone, and titles include "Uam Uam" by Povo, "Arabesque (Micatone rmx)" by Nicola Conte, "Silver N Jazz" by Cai, "Trading Eights" by The Five Corners Quintet, "Keep You Hird" by Hird, "Feliz Viaje" by Buscemi, "Corsa Notturna" by Vuca, "Barloventenho Blues (Gerardo Frisina rmx)" by Frank Hernandez, "Tunnel (Fragmentorchestra rmx)" by The Dining Rooms, and "Sophisticated Samba" by Gerardo Frisina.

Lester Young joins the Oscar Peterson trio – and the result is a classic meeting of the minds from early 50s Verve! Young's tone is tremendous throughout – that sharp-yet-cool style that had such a big influence on other 50s players, and which gets some great support here from Peterson's group, which also features guest guitar from Barney Kessel. Oscar's piano lines are a bit more forceful than usual – possibly because of the presence of Prez – and titles include "I Can't Get Started", "Ad Lib Blues", "Just You, Just Me", and "Almost Like Being In Love".

One of the most beautiful albums ever recorded by this legendary AACM pianist! The album was a rare Japanese-only session from 1975, but recorded in Chicago – and it features Muhal playing solo – in beautifully warm spiritual tones that are very different from his playing on many other albums from the time. The work is wonderfully introspective, showing a whole new side to Abrams' genius – the sensitive, contemplative keyboardist who occasionally emerges during some of Abrams' larger group sessions, but who usually gets pushed back in the fray of larger instrumental interplay. The whole album's extremely beautiful, and it's darn near impossible to find in the original! Tracks include "Afrisong", "The Infinitive Flow", "Hymn To The East", "Roots", and "The New People".

Some of our favorite albums ever from pianist Muhal Richard Abrams – an amazing run of eight records for the Black Saint/Soul Note label – rich in fresh colors, tones, and new musical ideas! There's a sensitivity to some of these records that you don't always get with Abrams – a personal feeling that brings in a much-needed warmth to his complex compositional forms – often in collaboration with other players on the Chicago scene, but also with a wider range of avant players, especially from New York – where Abrams would have a great influence in the 80s. The lineup of musicians here is wonderful – a virtual who's-who of the jazz left at the time, at least from an American perspective – with performances from George Lewis, Roscoe Mitchell, Amina Myers, Thurman Barker, Baikida Carroll, Andrew Cyrille, Craig Harris, Stanton Davis, Marty Erlich, Dick Griffin, Cecil Bridgewater, Fred Hopkins, Dierdre Murray, and so many others. The set features 8 full albums, each in a tiny LP-styled sleeve – and titles include Siphumonesty, Mama & Daddy, Blues Forever, Rejoicing With The Light, View From Within, Hearinga Suite, Blu Blu Blu, and Think All Focus One.

Wonderful work from Idris Ackamoor – a great indie set that we'd rank right up there with some of his best recordings of the 70s! The group here is only a quartet, but there's a richness to the sound that's really amazing – a soaringly soulful style that often feels like Idris is working with a larger group – especially given the bold, righteous sound of the music! The rhythm trio is wonderful – Fred Harris on piano, Mark Anthony Williams on bass, and Al Marshall on drums – and Idris plays alto sax throughout, with a sharp edge and fluid tone that shows lots of growth since the 70s. Daria Nile and Rhodessa Jones sing on a few tracks – bringing a nice sort of Strata East vibe to the record – and titles include "Idrissa's Dream", "Topanga", "You", "A Child's Lament", "Spiritual Rebirth", and "A Prayer For Changing Times".

Pepper Adams never fails to blow us away in a small group setting – and here, on a killer quartet date from the early 80s, he really wins us over all over again! The album's one of those great ones from Adams – in which he's really let loose to open up and blow some extended, imaginative solos – the kind of open-ended baritone sax romps that few (if any) other players could do this well! The rhythm section kicks with just the right sort of energy for the tunes – Jimmy Rowles on piano, George Mraz on bass, and Billy Hart on drums – and titles include "Trentino", "Urban Dreams", "Three Little Words", "Dexter Rides Again", and "Time Is On My Hands".

A stone classic from Cannonball Adderley – and a pivotal set that has him continuing the live recording setting of some of his best 60s albums, while also stretching forward to some of the more inventive ideas of the latter part of the decade! David Axelrod produced, and the album's definitely got his ear firmly in place – a great way of bringing together the album's hip instrumentation – Cannon's alto, Nat Adderley's cornet, and the wicked electric piano of Joe Zawinul – played here in a style that would go onto have a huge influence on countless other musicians on the instrument. Rhythm is by Victor Gaskin on bass and Roy McCurdy on drums – and as with other Axelrod live albums, there's some great spoken bits left in the mix – Cannon's charming conversation with the audience, which really opens up the tunes. Titles include the 2 title hits – "Walk Tall" and "74 Miles Away" – plus "I Remember Bird", "Oh Babe", and "Do Do Do".

A totally great set by Cannonball Adderley – one of his funkiest albums ever, recorded live at Operation Breadbasket under the supervision of Jesse Jackson, and a session in which the band is cooking a lot more than on some of their other albums from the time! The set grooves hard with some tight electric piano from Joe Zawinul – amazing snakey lines that not only set the tone for the whole record, but which really make for a strong evolution from the Mercy Mercy Mercy era of the group a few years before. Cannon's alto and soprano work are beautiful – a masterpiece of soul jazz expression – as is the cornet from brother Nat – and the group's completed by bassist Walter Booker and drummer Roy McCurdy. The album's a bucketful of great jazzy sample tunes – and tracks include "Walk Tall", "Country Preacher", "Hummin", and the extended "Afro-Spanish Omlet".

Prime material from Cannonball and David Axelrod – and despite the biblical leanings of the title, the record is pretty darn funky! As they did for the Zodiac, Cannonball and Axelrod take a trip through a host of cultural milestones – stopping along the way to turn each one into a new pillar of soul, working with Rick Holmes, who narrates the set in the same way he did on the Zodiac albums. Brother Nat Adderley and George Duke are among the players in the album's very funky backing – and tracks include "Make Your Own Temple", "Amani", "Space Spiritual", "Eternal Walk", and "Gone". Oh for the days of the double LP concept jazz record!

One of the best-ever Nat Adderley albums, and a damn funky set of tracks that has a tight soulful feel! The session's got a similar feel to some of the other rare late 60s Milestone albums (like the 2 killers by Bobby Timmons!) – especially in that it's got a group that plays with the fullness of a larger ensemble, and who race in and out nicely, to support the funky solos of the leader. Of course, some of the other players are pretty darn nice in the solo department too – like Joe Henderson on tenor, Jeremy Steig on fluge, and Joe Zawinu on piano – and they also manage to keep a tight rhythmic groove throughout. Titles include "The Scavenger", "Sweet Emma", "Rise Sally Rise", and "Menlat".

Singer Cyrille Aimee gets help from some great "friends" here – a tight quintet with Roy Hargrove on trumpet, Joel Frahm on tenor, and Spike Wilner on piano – really helping set up her vocals with a solid instrumental footing! Aimee's got a slight Billie Holiday quality to her phrasing – at least in the way her tone comes across – but the set's a mix of numbers that move way past traditional jazz vocal numbers, thanks partly to the way the group is swinging the rhythms, and bringing in a more contemporary vibe overall. Titles include a nice Wilner original – "East Village Inamorata" – plus "Yesterdays", "Que Reste Il", "I Was Beginning To See The Light", "When I Was A Child", "I Mean You", and "Stand By Me".

Very righteous work from percussionist Pheeroan Ak Laff – even more hard-edged than some of his other important recordings of the late 70s – and that's saying a lot! Allthough Pheeroan lent his talents to many other musicians, this is one of the few albums he cut under his own name – and it's a blazing hot batch of percussion – monstrous work on the drum kit, with other percussion instruments as well – all recorded with a spare, earthy sound that's really amazing! The feel is partly loft jazz, partly ethnographic percussion – the latter of which is augmented more when the album features a few spoken spiritual passages – and the tones that Ak Laff gets out of his percussion are amazing – surprisingly melodic moments, mixed with others of bombastic intensity. Titles include "Ayin Of Love", "Tzaddi Vau", "Michelle Del America De Sud", "Jarawa", "Freedom" and "3 In 1".

A really well-titled little record – as the sound here is quite unique, and often has the musicians creating these little bridges between each other's space! David Ake wrote all the tunes, and put them together with this angular, blocky sort of feel – lots of sound shapes at the core, which are then whipped into more rhythmic passages by the group – and bridged by some creative work on the front end – a horn section that includes Ralph Alessi on trumpet, Ravi Coltrane on tenor, and Peter Epstein on alto! The rhythm pulsates in ways that provide just the right landscape for the whole thing to hold together – thanks to work from Scott Colley on bass and Mark Ferber on drums – and titles include "Sonomads", "Story Table", "We Do", "Year In Review", and "Open/Balance".

A wonderful album from the team of Toshiko Akioshi and Charlie Mariano – a set that was only ever issued in Japan, and which we like a fair bit more than their better-known US album for Candid! The group here is the same as that one – with Charlie Mariano on alto sax, Toshiko Akioshi on piano, Eugene Chirico on bass, and Albert Heath on drums – but the sound is a lot more focused, and often a bit more swinging – with some especially great emphasis on Mariano's magnificent tone – nicely rough-edged at this point in his career, but still strongly inside – with none of the overindulgence of later years. Charlie cuts through the tunes brilliantly – and Toshiko's got a great mix of bop and modern tones in her piano work. And even though the first half of the set list is tunes from West Side Story, the quartet make them cook like you've never heard before – really taking off with a new sort of energy that's totally great! Titles include "Tonight", "America", "Cool", "Plaisir D'Amour", "Malaguena", and "Oleo".

A wonderful little session from Manny Albam – one that continues the strong tradition of larger group jazz arranging he began in the 60s, but which takes it to an even deeper level! Manny composed the entire set as kind of a "city suite" in jazz – one that paints the picture of many different shades of city life through jazzy solos and a range of deeper tones and colors from the larger ensemble. Players include Frank Wess, Phil Woods, JJ Johnson, Jerome Richardson, and Mike Manieri – all extremely well-suited to an outing like this – and titles include "The Game Of The Year", "Born On Arrival", "The View From The Inside", "El Barrio Latino", "Ground Floor Rear", and "Riverview".

Another dope Chicago underground cut from All Natural (MC Capital D and DJ Tone B Nimble), the follow up to the "Writers Block/50 Year" single. In "Phantoms of the Opera", All Natural are on a mission to take out "phantom" MC's. "Thinkin Cap" was produced by No I.D., the producer for Com Sense.

Beautifully free alto work from Byron Allen – a player who really shines brightly on this rare session for ESP Records – one of the few ever cut under his own name! Allen's got a style that's right up there with the 60s best from Ornette Coleman or Marion Brown – able to move with a fluidity that's breathless, even amidst rhythms that are very loose and open – as the trio here works in a style that almost echoes some of the harmelodic modes of Coleman, but which eventually pushes farther towards the freedoms of other artists on ESP! The set has some wonderful bass from Maceo Gilchrist, whose round, rolling tones really make the album sparkle – as do the punctuated drums of Ted Robinson. Titles include "Today's Blues Tomorrow", "Time Is Past", "Three Steps In The Right Direction", and "Decision For The Cole-Man".

A beautiful mix of gospel soul and heavy Memphis production – and the kind of heavy soul album that made Rance Allen one of Stax's best new artists during the 70s. David Porter produced and arranged, and the album has some great electric keyboard work by Rance that provides a perfect counterfoil for his rich baritone voice. The album's a lot more stripped down than later efforts – with a rootsy sound that should have made Rance even bigger with the crossover crowd. Titles include "Talk That Talk", "The Painter", "Ring My Bell", and "Harlem Heaven".

An all-instrumental set from Mose Allison – one that drops out his familiar jazz vocals, and really brings a nice focus to his energy on the keys of the piano! Given that Mose really got his start as a sideman in other combos during the 50s, the selection's no surprise – and if you've only heard Allison's better-known numbers with singing, you'll really be floored here at his skills as an instrumentalist – particularly in the way he manages to play the piano with deep-down roots, yet also hit some stunningly modern tones as well! Accompaniment is by Addison Farmer on bass, plus either Ronnie Free or Nick Stabulas on drums – and titles include "Dinner On The Ground", "Crepuscular Air", "Mule", "Creek Bank", "Town", "Devil In The Cane Field", "The Minstrels", "Moon & Cypress", "Carnival", and "Mojo Woman".

Do you need a dollar? You just might get one with this stellar and soulful single by Aloe Blacc – rawly produced, memorably composed, and one of the finer underground soul singles of 2010! "I Need A Dollar" may sound familiar – it's the theme song to How To Make It In America on HBO – but that aside, it's a winning single and a sign of the great things to come on Aloe's Good Things LP. He takes a socially conscious tack on the A-side that serves the sound wonderfully. Co-produced and by Jeff Dynamite and Truth & Soul player Leon Michels – the latter providing tight horn arrangements. The flip "Take Me Back" is a more measured funky soul number that's just as excellent.

A stone classic from Gene Ammons – and a record that introduced his talents to a whole new audience in the 60s! The album's a more laidback one than some of Jug's more hard-blown honkers – as you might guess from his hit rendition of the ballad in the title – and the instrumentation here varies between organ from Johnny Hammond Smith and piano from Mal Waldron – making for a nice tapestry of dark-tinged, late nite moods. Other players include Frank Wess on tenor and flute, and Art Taylor or Ed Thigpen on drums. Titles include the classic "Angel Eyes", plus "You Go To My Head" and "It's The Talk Of The Town" – and slightly more groovin numbers like "Getting Around" and "Water Jug".

Way more than just an album with Gene Ammons as a leader – and instead, a set that truly earns the "all stars" listed on the cover – thanks to a great array of supporting players, and a very loose, open-ended jam session style that lets everyone get in plenty of solo space! Ammons' tenor is tremendous, but he's also a great collaborator here, too – working with Idrees Suliman on trumpet, Pepper Adams on baritone, Mal Waldron on piano, Art Taylor on drums, Doug Watkins on bass, and Ray Barretto on conga – in a mode that's maybe slightly tighter than some of the blowing sessions Prestige was doing at the time, but which still has that key longform creative energy that made the hardbop generation so great. Titles include "Blue Gene", "Scamperin", "Blue Greens n Beans", and "Hip Tip" – and all tracks are long, with plenty of focus on solos!

A great follow-up EP to Anika's addictive Stones Throw debut – a darkness-tinged batch of covers – bringing some great songs by The Kinks, The Crystals, Chromatics and Shocking Blue along with a pair of dubbed up versions of earlier Anika singles. There's a bit of no wave vibe of stark electronics and moody vocals, but Anika's got an overall presense unlike anyone else. Once again she gets some excellent production by Geoff Barrow of Beak> and Portishead. Titles include "I Go To Sleep", "He Hit Me", "Love Buzz", "In The City", "No One's There (Dub)" and "Yang Yang (Dub)".

A great follow-up EP to Anika's addictive Stones Throw debut – a darkness-tinged batch of covers – bringing some great songs by The Kinks, The Crystals, Chromatics and Shocking Blue along with a pair of dubbed up versions of earlier Anika singles. There's a bit of no wave vibe of stark electronics and moody vocals, but Anika's got an overall presense unlike anyone else. Once again she gets some excellent production by Geoff Barrow of Beak> and Portishead. Titles include "I Go To Sleep", "He Hit Me", "Love Buzz", "In The City", "No One's There (Dub)" and "Yang Yang (Dub)".

A wonderfully moody session from the late 50s – one that features the eerie vocals of Leda Annest over the orchestrations of Phil Moore! Leda's got a haunting voice that's somewhere in the range of Yma Sumac, but a bit less dramatic – more kind of a wordless instrument, used amidst the orchestrations in broad washes of color and tone. Moore scored the entire piece for Leda's voice – an extended 3 part suite that runs through series of dark, jazz, and playful moods – all featuring some incredible vocals by Leda!

Amazing sounds from one of the best funky combos anywhere – ever! Antibalas have certainly risen to fame in the years since we first heard their Afro-styled grooves – working famously in the Fela musical, and reaching generations of ears with their own brilliant records. Yet throughout it all, they've always stayed true to their sound – and, if anything, are even sharper, tighter, and funkier than before – all extremely adept not only at playing their instruments, but at hitting the right sort of sound to cut through all the BS that was holding back funky Afro grooves for years! Part of that sound comes from superb Daptone production by Gabriel Roth – who really knows how to keep things lean and mean and full of energy. But the core credit really goes to the group – who never cease to amaze us here – and continually come up with fresh sounds on their keyboards and horns – and inventive rhythms to match! Titles include "Dirty Money", "The Rat Catcher", "Ari Degbe", "Ibeji", "Sare Kon Kon", and "Him Belly No Go Sweet".

The most outwardly political album to date from Antibalas – and quite possibly the funkiest one too! The set's got the group really grooving hard in their 70s Afro Funk-inspired vein – jamming at a level that would make Fela Kuti blush – working together with a fierce array of percussion, horns, keyboards, and guitars to jam up a groove that stretches back to the best days of the African-styled funk of the classic years. The whole thing's wonderful – every bit as essential for any fan of 70s Fela as it is for the current deep funk underground of which Antibalas are a part – and if you had any fear that their move to a semi-major label would hurt them, rest assured that they sound better than ever! Titles include "Big Man", "Obanla'e", "Elephant", "Sister", "Pay Back Africa", and "Who Is This America Dem Speak Of Today?"

Brilliantly baroque psych from Aphrodite's Child – a stone classic cut while the group was in exile in Paris – heavy on drums, and with soaring keyboards that really work wonders with the vocals! Given that the group features a young Vangelis and Demis Roussos, there's plenty of raw power here – and the energy of the record is quite different than later work by either artist – very bold, and political too – with hardly any signs of their Greek roots, yet a sense of myth and majesty that are undeniable. There's surprising hooks to the tunes at times – and titles include "It's Five O'Clock", "Wake Up", "Annabela. "Let Me Love, Let Me Live", "Funky Mary", "Good Time So Fine", and "Marie Jolie".

One of the most creative albums ever from UK composer Neil Ardley – and that's saying a lot, given the complexity of his other work! The set's got a wonderful blend of jazz arrangements and some freer passages – scored by Ardley with some of his most sensitive, most beautiful music ever – almost as if the whole thing's an extended soundtrack for a passage in time – or at least a sonic journey that's filled with some wonderful twists and turns! There's definitely some jazz/rock elements in the music, but the main focus is jazz – and Ardley has that same strong sense of large charts and forward-moving rhythms that you'd find in the best early work of Mike Westbrook, particularly his albums for Deram. Players are a very familiar, and very top-shelf batch of British musicians – including Barbara Thompson, Dick Heckstall-Smith, and Don Rendell on reeds; Harry Beckett and Henry Lowther on trumpets; Derek Wadsworth on trombone, Frank Rocotti on vibes, and Stan Tracey on both piano and celeste. Ardley plays prepared piano, and Ivor Cutler makes a great guest appearance on one track – reciting "The Dong With A Luminous Nose" – and Norma Winstone sings on "Will You Walk A Little Faster". The title track – "A Symphony Of Amaranths" – is dedicated to Duke Ellington and Gil Evans – with a feel that more than lives up to both! LP features a bonus "outro" track too.

One of the most creative albums ever from UK composer Neil Ardley – and that's saying a lot, given the complexity of his other work! The set's got a wonderful blend of jazz arrangements and some freer passages – scored by Ardley with some of his most sensitive, most beautiful music ever – almost as if the whole thing's an extended soundtrack for a passage in time – or at least a sonic journey that's filled with some wonderful twists and turns! There's definitely some jazz/rock elements in the music, but the main focus is jazz – and Ardley has that same strong sense of large charts and forward-moving rhythms that you'd find in the best early work of Mike Westbrook, particularly his albums for Deram. Players are a very familiar, and very top-shelf batch of British musicians – including Barbara Thompson, Dick Heckstall-Smith, and Don Rendell on reeds; Harry Beckett and Henry Lowther on trumpets; Derek Wadsworth on trombone, Frank Rocotti on vibes, and Stan Tracey on both piano and celeste. Ardley plays prepared piano, and Ivor Cutler makes a great guest appearance on one track – reciting "The Dong With A Luminous Nose" – and Norma Winstone sings on "Will You Walk A Little Faster". The title track – "A Symphony Of Amaranths" – is dedicated to Duke Ellington and Gil Evans – with a feel that more than lives up to both! CD features the bonus track "National Anthem & Tango".

A classic bit of Chicago soul! "Stone Good Lover" is a mellow number from Jo – a warm bit of deep soul with a really great feel. The track was a real underground classic, and it's still one of the best records ever from this vastly under-rated singer. "Urge" is an instrumental – strings and piano vamping nicely with the band!

Previously unissued material from the great Harry Arnold – excellent mid 60s big band sessions, as creative as they are hard-swinging! Arnold's group here is at the top of its form – working together with a rich array of tones and colors that show the best legacies of 50s modern jazz in the large ensemble idiom – yet with a lean quality that really allows lots of voice from the soloists, too – a lineup that includes Arne Domnerus, Jan Johansson, Lars Farnlov, Bengt-Arne Wallin, and Georg Riedel! Arrangements are by Wallin, Pete Jacques, and others – but it's Arnold who clearly knows how to make the whole thing hold together this well. Titles include "It's In The Bag", "Margie", "Blues For Nathan", "Cheryl", "Tina", "Per Spelman", "You've Got It", "I Knew It I Knew It", and "King Valiant".

One of the most hard-hitting albums ever cut by pianist Georges Arvanitas – an early effort that's all soul jazz all the way through! Although Arvanitas is best known as a committed modernist, especially in later years, this sweet early 60s session is a stone cooker in the best mode of Blue Note dates of the time – tight, swinging, and perfectly poised with just the right space for some excellent solos from Francois Jeanneau on tenor, Bernard Vitet on trumpet, and Arvanitas himself on piano – all grooving in a style that would make the Jazz Messengers proud, but also one that's got some key touches of postwar Parisian jazz too. Bass is by Michel Gaudry and drums are by Daniel Humair – and titles include "Oblivion", "This Here", "Poco Loco", "Bouncin With Bud", "Bohemia After Dark", and "Mister X".

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

A great follow-up to the previous collaboration between pianist Ehud Asherie and tenorist Harry Allen – this time titled after a darker corner of downtown New York! As with the other date, this one features no other instrumentation at all – just warmly expressive duets on piano and tenor – spun out with the kind of classic tones you'd expect from Allen's work with bigger groups, yet also more intimate and personal as well. Tunes are mostly older standards, evoking the Lower East of the postwar years, and the key clubs that used to grace that scene – and titles include "Hey There", "Thou Swell", "Sposin", "Portrait In Black & White", and "Some Other Time".

Nothing too high-toned here, despite the title – as the set's a nicely mellow batch of duets between pianist Ehud Asherie and tenorist Harry Allen – caught in a laidback, open-ended style that's mighty nice! As with some of Allen's best work, there's a strong sense of nostalgia going on here – a dated quality to his tone that echoes Coleman Hawkins and Lester Young – but with a freer, looser feel that's just right for the duo setting with Asherie's piano. Titles include "Learnin The Blues", "O Pato", "I Want To Be Happy", "Our Love Is Here To Stay", "Wrap Your Troubles In Dreams", "Love Will Find A Way", and "My Blue Heaven".

Sublimely satisfying work from Ashford & Simpson – a stone killer from the height of their late 70s glory days on Warner Brothers! The pair are working together wonderfully at this point – wrapped up in that blend of upbeat soul and righteous undercurrents that made them a real cut above in mainstream soul – getting great help from arrangers William Eaton, Paul Riser, and Al Gorgoni – all of whom know how to hit that perfect Ashford & Simpson balance between tightness, class, and soulful spontaneity! Backings are always filled with lots of jazzy touches, too – the kind of sophisticated soul elements other would cop from the pair in years to come – and titles include "Over & Over", "It's You", "If You're Lying", "Couldn't Get Enough", "Destiny", "So So Satisfied", and "Tried Tested & Found True". CD features 4 bonus tracks – "Over & Over (12" disco mix)", "Over & Over (Simphouse M&M mix)", "Tried Tested & Found True (12" disco mix)", and "Tried Tested & True (Simphouse M&M mix)".

An excellent album by Latin Soul arranger Harvey Averne! This set is miles ahead of Harvey's work from the 60s – a heavy set of 70s grooves that has a lot of Chicano rock influences, and which mixes together percussion, electric guitar, soulful vocals, and plenty of other tasty instrumental touches. Arrangements are by Marty Sheller, and the album's got a stone NuYorican groove – with tracks that include "Para Ti", "Heavy Duty", "In the Wind", "Girl From The Mountain", and "Cucaraca Macara".

A killer set of Danish modern jazz – recorded at the start of the 60s with a really searing lineup! The set's go-led by pianist Bent Axen and tenorist Bent Jaedig – two guys with a very hip approach to their music, an a keen ear for the sharper sides of jazz at the time – a blend of hardbop rhythms with more complicated tones, served up by a lineup that also includes Allan Botschinsky on trumpet and Frank Jensen on second tenor – both horn players who add a lot to the date. The lineup shifts a bit as the set moves on – Jenson's only on three tracks, leaving Jaedig with more room on the rest – but there's still a really unified feel to the record, almost as if the co-leaders are choosing the lineup carefully with each fresh track, in order to paint slightly different pictures in sound. If you dig the work of the Jazz Quintet 60 – a contemporary Danish group that features two of the players here – you'll definitely dig this set too. Titles include "Let's Keep The Message", "To Iskol's Hof", "Star Eyes", "Elansky", "Siyle", and "Lady Bird".

One of the greatest and most historically important compilations ever put together by our friends at Light In The Attic – the first ever (!!!) anthology devoted to Stax sax great Charles "Packy" Axton! Packy was a founding member of the Mar-Keys and a cat who played with the best of them – Steve Cropper, Booker T, Teenie Hodges, Donald "Duck" Dunn and many more – all of whom can be heard on this mindblowing set of benchmark vocal and instrumental singles from the mid 60s – truly the blueprint material for the great Stax and all around Memphis soul to come! It features singles cut for labels such as USA, Bar, Hollywood and Pure Soul – soul/R&B vocal numbers and proto-funky instrumentals. Amazing, amazing stuff recorded at Royal and Ardent Studios with some of the greatest soul music players to ever come together – so highly recommended! Includes "Holiday Cheer", "Bullseye", "Hung Over", "I'll Always Love" and "Late Late Party" by The Martinis, "No Ending" and "No Love Have I" by Stacy Lane, "House Full Of Rooms", "Out Of Control" and "I'm A Fool (In Love)" by LH & The Memphis Sounds, "Stone Fox", "Hip Pocket" and "Greasy Pumpkin" by The Pac-Keys, and "Hole In The Wall" by The Packers. 17 tracks in all – treated beautifully by team LITA – with a thick booklet of notes (by Andria Lisle) and full of vintage photos of the players, shots of the inner labels of the original singles, details for each track and more.

One of the greatest Roy Ayers albums of all time – and one of the rarest! The record is right in the same vein as Roy's groundbreaking He's Coming LP – a righteous mix of soul jazz, subtle funk, and some of the cosmic wisdom that Roy was spreading among the jazz funk underground – all wrapped up beautifully, but never in a way that's like commercial soul of the time. There's a few instrumental tracks on the album, plus some vocal ones that show that off-beat male/female style that Roy would use more famously in later tracks like "Everybody Loves The Sunshine" or his work with Ramp. Players include Harry Whitaker on electric piano, Edwin Birdsong on organ, Alphonse Mouzon on drums, Jumma Santos on congas – and titles include a version of Nat Adderley's "Hummin", done as "Hummin In The Sun", and very much in the Ramp vein. Also features instrumental cuts "The Fuzz", which has Roy's vibes toned way up, and the cool mellow "The Painted Desert", a really offbeat slow jazz number. The group also does a great job with Edwin Birdsong's "Pretty Brown Skin", picking up the song as a really anthemic groover that gives the record a nice kick! CD also includes the rare 45-only track "He Gives Us All His Love" – originally done for the movie Cold Turkey.

While in the post fusion years when lite jazz was beginning to take off a lot of jazz and fusion artists got a bit lost, Azymuth continued to make a number of fine recordings, some of the best of their career. Bertrami and crew continue to groove along in their tight Brazilian fusion mode, with a spacious airiness and a wonderful modern groove. We especially dig the mellow grooves of "Tropical Horizon" and "Diza", while the acoustic and vocal number "Tempo A Bessa" is also quite nice. Also includes "Bossa Nova USA", "O Pescador" and "Hobalala".

Warmly mellow grooves from Azymuth – a set that nicely lives up to the "Flame" in the title – and which shows the strengths the trio picked up during their years in the US! The sound here is round and soulful – a great fusion of the group's roots in the 70s Brazilian fusion scene, and some of the smoother styles of the California one – never in a way that's too soft or commercial. As usual, there's a heavy emphasis on the keyboards of Jose Roberto Bertrami – who also sings a bit in a wordless, scatting sort of way. Flora Purim joins in on vocals on the cut "The Textile Factory" – and other titles include "Tamal Vista Boulevard", "Rapa Poeira", and "Flame (O Amor E Chama)".

A really sublime rare groover from JR Bailey – vocalist in the Cadillacs back in their doo wop years, but a heck of a great 70s mellow soul artist in this obscure little set! JR wrote and co-produced all the tunes on the set – in a mode that steps along beautifully with a subtle groove at the bottom, but takes off with complicated touches in the backings, and some vocals from Bailey that really stand out from most of his contemporaries. There's echoes here of other 70s great like Donny Hathaway, Leroy Hutson, or Al Johnson – and like all those artists, JR's drawing a fair bit of jazz into his work – making for complicated changes and warmer overtones that really help take the record way past conventional soul! Arrangements are by Bailey with Bert De Coteaux, Ken Williams, Paull Griffin, and Horace Ott – and titles include "Love Love Love", "Cute As A Button", "After Hours", "Heaven On Earth", "She Called Me", "Everything I Want I See In You", and "Not Too Long Ago".

A really wonderful take on Porgy & Bess and other Gershwin standards by Pearl Bailey – there's just something about her naturally rich, bluesy, husky tone on these tunes that's simply wonderful! The backing is often well measured, but, occasionally a bigger sound and chorus vocals kick in. For the most part Pearl owns this stuff, giving warmth and resonance lost on more showbizzy takes on the style and compositions. Titles include "I Got Plenty Of Nothin". "I Got Rhythm", "Summertime", "Lady Be Good", "A Foggy Day", "They Can't Take That Away From Me", "Bess You Is My Woman", "It Ain't Necessarily So", "Clap Yo Hands" and more.

A rare later album from 50s guitar giant Mickey Baker – recorded overseas, and with a different vibe than his legendary R&B work – including some nice funky moments too! The album's not really jazz, and it's hardly rock at all – and instead is more of a bluesy effort with slight undercurrents of funk – some modern touches provided by the tight rhythms of bassist Alex Sanders and his combo – who provide a nice backdrop for Baker's sharp lines on guitar! Mickey's picked up a few modern tones over the years, but still has plenty of grit in his grooves – and titles include "Pop Off", "Prelude", "Ouagadougou", "Sophie", "Wag Your Tail", "Shadadabah", and "Alexander's Funk Time".

Mindblowing work from the early years of Schema Records – a set that really helped set a whole new tone for a generation – and which still sounds wonderful all these many hears later! Balanco work up a perfect blend of bossa rhythms and soulful jazz – all wrapped up with the kind of slinky, sexy vibe the Italian scene first perfected back in the 60s – when they were borrowing lots of Brazilian elements for their best soundtracks! Balanco's sound here really recalls those glory days – mixing together sweet female vocals, lively bossa rhythms, and great work on Fender Rhodes – all under the guidance of Nicola Conte, who manages to make everything sound beautiful together. Highlights include versions of Morricone's "Metti Una Sera A Cena" and the classic "Cinnamon & Clove", but there's loads of other cool originals – like "Butterfly", "Fantasia", "Sister Bossa", "Aguadream", and "Blue Skat Samba".

Mindblowing work from the early years of Schema Records – a set that really helped set a whole new tone for a generation – and which still sounds wonderful all these many hears later! Balanco work up a perfect blend of bossa rhythms and soulful jazz – all wrapped up with the kind of slinky, sexy vibe the Italian scene first perfected back in the 60s – when they were borrowing lots of Brazilian elements for their best soundtracks! Balanco's sound here really recalls those glory days – mixing together sweet female vocals, lively bossa rhythms, and great work on Fender Rhodes – all under the guidance of Nicola Conte, who manages to make everything sound beautiful together. Highlights include versions of Morricone's "Metti Una Sera A Cena" and the classic "Cinnamon & Clove" – and the vinyl version features 4 more tracks, "Balanco", "Fantasia", "Aguadream", and "Blue Skat Samba".

Blistering sounds from Ballister – quite possibly the fiercest album so far from this key Chicago group – and that's saying a lot, given the intensity of their previous work! The trio really seem to know each other intimately by this point – so that they can really let loose, and explore a great range of sounds from the saxes of Dave Rempis, drums of Paal Nilssen-Love, and the cello, guitar, and electronics of Fred Lonberg-Holm! The album's an especially great illustration of the way that Fred's really opened up his energy level in recent years – and become a much more organic player, with a confidence in his sounds we never would have expected a decade ago. Rempis is masterful on alto, tenor, and baritone – blowing with a boldness that puts him firmly in line with a range of Chicago improvisers – and Paal's visiting drum work really pushes the whole thing forward strongly. Titles include "Cockloft", "Smolder", and "Phantom Box System".

Massive work from Darrell Banks – two tracks from his rare album for Stax Records – both of them a perfect example of his unique talents! Banks was one of the deepest soul talents working on the Detroit scene of the 60s – a singer who could hit a motor city groove like the best of his contemporaries, but with raw vocal power that was much more at home alongside the best singers of the southern scene of the time. Both of these cuts show that balance beautifully – and come from some key Don Davis productions for Stax – almost the first step of that Memphis/Detroit bridge that Davis would forge even more strongly in the 70s.

Man, these guys really know how to groove – and even on a bigger label, with a more commercial image, they still manage to come up with a tight little set! There's a key ear for a bassline and beat that keeps The Bar-Kays standing stronger than most of their contemporaries – a sense of rhythm schooled in years of indie funk that comes through even on the mellower cuts here – which themselves show an even better side of the group in this generation, one that comes across great here on a few slower numbers that have a sweetly stepping groove. Titles include "Nightcruising", "Freaky Behavior", "Feels Like I'm Falling In Love", "Touch Tone", "Hit & Run", "Unforgettable Dream", "Traffic Jammer", and "Backseat Driver". CD also features a bonus single mix of "Hit & Run".

One of the first albums ever cut as a leader by reedman Gato Barbieri – and a very sharp-edged session that's quite different than his better-known work in the 70s! Barbieri's tenor here has an incredible tone – as deeply soulful as Pharoah Sanders or late John Coltrane, and blown with a great sense of freedom – really stretching out on the album's long tracks. Gato never lets himself get too unfocused, though – and the album's an illustration of a side of his talents that was perhaps only shown this well on his recordings with Don Cherry. Players include Calo Scott on cello, Sirone on bass, and Bobby Kapp on drums – and the album's got a vibe that easily matches other ESP sets from the time by Charles Tyler or Sonny Simmons. Titles include "In Search Of The Mystery", "Obsession No 2", "Michelle", and "Cinematheque".

Later work from Charlie Barnet, but a set that really cooks nicely overall – still with the strong sax tones of earlier years, but also with a groovier sort of sparkle that marks the 60s date of the session! The tunes are short, but Charlie gets plenty of space to do his thing – leading off boldly with a great sense of tone, and blowing with some surprisingly inventive lines as the set rolls on. There's a bit of organ in the mix – uncredited, like the rest of the players – and titles include "Coachella Blue", "Mood Indigo", "Leapin At The Lincoln", "East Side West Side", "The Great Gong Of Hong Kong", and "Tappin At The Tappa".

A Syd Barrett treasure trove – and an essential compilation of unreleased work that's a much-needed companion to Barrett's classic albums for EMI! The material here is all from the years 1968 to 1970 – tracks recorded before, during, and around the sessions that later became The Madcap Laughs and Barrett – but which often also show a wider-ranging side of Syd's talents, especially on the few demo recordings – which offer an even more personal glimpse of the artist trying to find his way. Instrumentation is a bit more acoustic than on Barrett's full albums, but even the acoustic guitar is played with these dark tones that have the same sinister quality as the chords he brought to Pink Floyd – maybe even more striking here without any fuzz, as they resonate alongside Syd's offbeat lyrics. Titles include "Rats", "Golden Hair", "Opel", "Clowns & Jugglers", "Birdie Hop", "Let's Spilt", and "Swan Lee". Features a number of bonus alternate takes – added to the original core lineup of 14 tracks from the 1988 release of Opel.

The only album ever by The Barrino Brothers – a stellar early 70s harmony group, and one who could sing with the best of the east coast scene of the time! The whole set's got a feel that's very much in the best mode of groups like The Modulations, Soul Generation, and even The O'Jays – as the group's got a deeper, more solid sound than some of the more fragile outfits of their era. Production is very strong – thanks to the Holland-Dozier-Holland powerhouse sound of the time – and the group's vocals are supported on a full groove that really helps send the whole thing over the top! The title cut "Livin High Off The Goodness Of Your Love" is a stone classic – and other nice tracks include "Rain", "I Had it All", and "It Doesn't Have to Be That Way". Loads of bonus tracks too – including "Trapped In A Love", "I Had It All (single)", "I Shall Not Be Moved", "Livin High Off The Goodness Of Your Love (inst)", "Livin High Off The Goodness Of Your Love (single)", "Born On The Wild (voc)", and "Born On The Wild (inst)".

A slightly more aggressive trio session than usual for Kenny Barron – still done with that round, warm tone on the keys that we love so much – but hitting the tracks with a stronger punch that's a bit unusual, and which might be the result of using Dave Holland and Daniel Humair as part of the trio! All but one of the tunes on the set are original numbers, and there's a mix of Monkish and modern modes sitting next to some more traditional Barron approaches to the piano. Kenny really takes off at some points – playing fast, free, and with incredible intensity – and titles include "Scratch", "Water Lily", "Quiet Times", "The Third Eye", "And Then Again", and "Song For Abdullah".

The soundtrack that put John Barry over the top – and to many, THE James Bond soundtrack! The album chills from the first notes of the haunting title theme – the majestic "Goldfinger", sung by Shirley Bassey with a tone that's as dangerous as a razor-sharp hat spinning through the air! Barry then takes over with some wonderful instrumentals – a blend of crime jazz, mood pieces, chase themes, and more – all peppered with that dark dark Bond theme that we love so much! Titles include "Into Miami", "Teasing The Korean", "Alpine Drive", "Bond Back In Action", "Gassing The Gangsters", and "Death Of Goldfinger".

The soundtrack that put John Barry over the top – and to many, THE James Bond soundtrack! The album chills from the first notes of the haunting title theme – the majestic "Goldfinger", sung by Shirley Bassey with a tone that's as dangerous as a razor-sharp hat spinning through the air! Barry then takes over with some wonderful instrumentals – a blend of crime jazz, mood pieces, chase themes, and more – all peppered with that dark dark Bond theme that we love so much! Titles include "Into Miami", "Teasing The Korean", "Alpine Drive", "Bond Back In Action", "Gassing The Gangsters", and "Death Of Goldfinger".

Bruce Barth is a pianist who always knows how to open up and run – making him an excellent choice for the Smalls Live series – easily some of the best-recorded live jazz CDs in recent years! Barth's touch on the keys is amazing – very fluid, and a mixture of sharp tones and gentler elements – always incredibly well-conceived, and really holding up in the space of the album's extended tunes – which also are almost all original compositions as well! The trio features Vincente Archer on bass and Rudy Royston on drums – and titles include "Yama", "Almost Blues", "Oh Yes I Will", "Afternoon In Lledia", and "Wilsonian Alto".

Really wonderful stuff – and one of Gary Bartz's greatest albums ever! This double-length live set was recorded around the time of his NTU Troup albums for Milestone – but it's a bit more straightforward than those sides, going back towards a searching soul jazz sound, with some slight touches of electric funk. The group features Hubert Eaves on electric and acoustic keyboards, Stafford James on acoustic and electric bass, and Howard King on drums – and the wonderful bass work of James really creates some great platforms for Bartz and Eaves to stretch out on long long solos. Gary vocalizes a bit on a few tracks – almost in the style of Andy Bey on his NTU albums – and the set list includes "Uhuru Sasa", "Jujuman", "Bertha Baptist", "The Warrior's Song", "Mama's Soul", "Sifa Zote", "I've Known Rivers", "Don't Fight That Feeling", and "Peace & Love".

A perfect illustration of the genius of guitarist Robbie Basho – a set recorded early in his career, but with music that's light years ahead of most of his contemporaries! Although a set of solo acoustic guitar tracks, the music isn't really folk – nor is it the sort of acoustic underground music that would emerge more strongly in the 70s – and instead, it's got a real edge throughout – lots of odd tones and weird phrasings that almost preface a whole generation of guitar experimentalists like Derek Bailey or Eugene Chadbourne – yet still within a setting that's relatively tuneful overall! Basho's music has this subtle mysticism that we really love – and the solo sounds here are as evocative as the titles – which include "Mountain Man's Farewell", "Seal Of The Blue Lotus", "Sansara In Sweetness After Sandstorm", "Dravidian Sunday", and "Bardo Blues".

A really wonderful back to basics session for Basie – featuring arrangements by longtime band members Frank Foster, Erick Dixon, Bobby Plater, and Thad Jones! The set also features vocals on 2 tracks by bluesy vocalist Richard Boone – a singer with a really great scatting approach – but overall, the real strength is the horn section, particularly Al Aarons, Dixon, and Eddie Lockjaw Davis – who all get in some very nice solo work. Tracks are mostly older numbers, Basie-ized – and played with a laidback tone that's a real contrast from the higher energy early 60s recordings. Titles include "Squeeze Me", "Frankie & Johnny", "Boone's Blues", "I Got Rhythm", and "Hey Jim".

A landmark album from Joe Bataan – so great, that it made the entire record company change its name! The record has Joe really bursting out after his seminal Latin Soul work of the late 60s – blending Latin rhythms and American soul into a whole new style of music – one that Joe called "Salsoul", because of it's mixture of salsa and soul! The blend is fantastic, a real milestone in the NuYorican scene – and handled perfectly by Joe on every cut! There's some massive Latin funk on here, including the tracks "Latin Strut" and "Aftershower Funk", plus some straighter Latin jazz, like "Sunny Gets Blue Mambo", and a great Latin Soul cut with English vocals called "Johnny".

Groovy 60s work from Mexican singer Javier Batiz – working here with Los Fink Chorus, who turn out to be a pretty hip little combo! Batiz sings in English throughout, often with influences from American blues and R&B of the past, but turned towards more rockish aims in the end – or towards soul on a few of the album's best tracks. Instrumentation features tenor, alto, and baritone sax – plus trumpet, guitar, bass, and drums – and titles include "Aquarius/Let The Sunshine In", "Hard Life", "Lucila", "Slippin & Slidin", "Bye Bye Baby", and "The Best I Can".

Another strong set by the Beastie Boys – who would obviously rather put out a very good album every five or six years, than a sub par album every year or two! Arguably, the Beasties broke all the of the ground that they ever will prior to 2004, but that doesn't mean that they're done making solid records. If To The 5 Boroughs is any indication, there's still quite a bit of life left in the Boys as they approach 40. Prior to each infrequent LP, we're worried that the post Paul's Boutique world of difficult, expensive sample clearance will kill the layers of pop pastiche sound bites that made P's B such a brilliant statement, and with this one we're once again very pleasantly surprised at what they're able to pull off. The soul and funk samples are still piled on in abundance (albeit with a more electro studio built backdrop), as are the block rockin' party rhymes, even if the tone's serious in spots. There are no attempts at funky jazz or punk rock this time – this may be the Beasties' most classifiable hip hop album. Add it to that ever growing list of good-to-great albums by aging artists who were coaxed back into the game in part by their feelings about post 9/11 politics. Tracks include the great throwback single "Ch-Check It Out", "Right Right Now Now", "3 The Hard Way", "It Takes Time To Build", "Rhyme The Rhyme Well", "Hey F**k You", "Triple Trouble", "Oh Word?", "That's It That's All", "All Lifestyles", "Shazam!", "An Open Letter To NYC" and more.

The long awaited sides C & D in Madlib's incredible blend of Bombay soundtrack-styled funk, blunted Eastern beats, and all round stunning Middle Eastern accented hip hop instros! This time out Madlib, er, Beat Konducta is conducting beats, strings & things from India and/or otherwise East – but the way in which the beats bluntly thump is quintessential Madlib – you know it and love it from the first beat! 'Lib really breathes fresh life into this approach – going miles deeper than anyone out there doing the Bollywood-hip hop hybrid – coming up with a sound all his own. Amazing! "Get It Right", "More Rice", "Indian Bells", "Club Scene", "Duel", "Organ Stroll", "In The Cave", "Malfunction", "Victory", "Smoke Circle", "Raw Ground Wire", "New Bombay", "Shah Sound", "Another Getaway", and more.

The Beatnuts continue the gimme-the-cash theme (see "Find That Sh*t", "Do You Believe In God") on the third single from the Stone Crazy LP, but this time its the its hidding assets from the IRS trick. Nice guest vocals from Big Punisher and Cuban Links.

A rare bit of Florida funk from the 70s – an album recorded by TK during the height of its soulful run at the time, but never issued until now! The group's headed by vocalist Becen Padron – who also plays keyboards, guitar, and drums – and the rhythms have a snapping, funky, clubby sort of groove – quite similar to some of the more famous rhythms coming from TK powerhouse KC & The Sunshine Band! As with KC's work, the groove here is a bit funk, a bit disco, and plenty darn catchy – and Padron's rough-edged vocals bring a nice sort of unpolished feel to the record, making it come across a lot more indie than most sounds on TK. Titles include "The Thange", "Surrender Your Love", "Florida Fantasy", "Girls", "Gotta Have The Funk Funk", and "You Do Me Good".

Very early work from South African singer Sathima Bea Benjamin – recorded in Paris in 1963, with backing by longtime partner Abdullah Ibrahim, plus additional piano and production by Duke Ellington! The album was cut around the same time as Ibrahim (Dollar Brand) did his famous Reprise album in Paris with Ellington – and it's got a similar mix of modern and moody styles – with Sathima singing in a mellower tone than we're used to from her later records, over extremely spare backing that often has the piano barely stepping in, and which also features some nice plucked violin work from Svend Asmussen – acting almost as the bass on a few tracks! Billy Strayhorn also sits in on this extremely unusual session – and titles include "The Man I Love", "Soon", "Lover Man", "I Should Care", "I Could Write A Book", and "Darn That Dream".

Groovy Eastern sounds from John Berberian – a musician we know from more rockish projects, but who steps out here on a relatively traditional set of tunes! As you'd guess from the title, Berberian's instrument is the oud – that weird stringed instrument we probably know best from Ahmed Abdul-Malik's jazz experiments of the early 60s, used here by John in styles that are much more in keeping with its Middle Eastern roots. The rhythms draw from Turkish, Armenian, and Arabic inspiration – and other instruments on the record include finger cymbals, clarinet, bongos, guitar, and assorted percussion. Most number features vocals sung in a haunting sort of tone – and tunes include "Rast Taksim", "Yarus", "Sevasda", "Savgulum", "Sevan 5/4", and "Azziza".

A compelling concept for a record – and a set that's also one of the best albums we've heard from Jerry Bergonzi in years! The tunes here are all based on other jazz standards, but really turned inside-out – so that the melodies are mixed up, the changes are changed up, and the overall sound is definitely something unique – a stunning showcase for that wonderful sense of tone that's always made Jerry so great, but which hasn't sounded this powerful for awhile! There's almost an echo of Joe Henderson in the 60s – in the way that Bergonzi plays straight, but always hinting at the edges – and these fresh tunes are often served up as blocks of tone and color, in a way that really sounds amazing. The group's trumpet work from Phil Grenadier provides a nice match for Jerry's horn in the frontline. Bergonzi plays a bit of piano too, and the group also features Will Slater on bass and Karen Kocharyan on drums. Titles include "First Lady", "Sprung", "Deek", "Wilbur", "A Granny Winner", and "PG 2013".

A trio of modern talents, working beautifully together on a set of extended live tracks! The group features guitar from Peter Bernstein, Hammond from Larry Goldings, and drums from Bill Stewart – coming together in ways that remind us of the hipper side of 60s organ combos – those moments when Grant Green and Larry Young really opened things up with a long-flowing groove! There's still a nice undercurrent of soul in the mix, but the rhythms are relatively free and unfettered too – moving forth with energy that might be called modal by some, but which is even less constricted by a simple tag like that – more just pure, beautiful waves of sound from both the organ and guitar. Titles include "The Danger Zone", "Milestones", "Just A Thought", "Molto Molto", and "Chant".

A sweet little set from Candian guitarist Ed Bickert – a record that's filled with amazing tones and colors, and which sparkles brightly from the very first note! The date's a trio outing – with Don Thompson on bass and Terry Clarke on drums – but Bickert's playing gives the whole thing a quality that's very different than any sort of traditional jazz guitar set like this – thanks to a style that shows a knowledge of 70s innovators like Pat Martino and John Abercrombie, but a sense of soul that keeps the whole thing nice and solid – in a very classic way. The set's got an airy feel, but is deeply grounded too – and at times, Bickert almost seems to echo the unique phrasing of his Canadian contemporary Sonny Greenwich. Titles include "Where Are You", "When Sunny Gets Blue", "It Might As Well Be Spring", and "Manha De Carnaval".

A stone classic from Black Heat – the group's second album, and even tighter than their first! The group's size has dropped a bit between albums – but that only helps them cook even more – dropping a bit of the horn section from before, which allows even more emphasis on their razor-sharp rhythms! There's a slight hint of Afro Funk in some of the rhythms – and the keyboards cook with lots of sweet clavinet lines – mixed with a production style that features some bubbling electronic elements that remind us a lot of that crazy "magic bag" that was used by the Lafayette Afro-Rock Band. That group might be a good point of comparison, but the band also shares a lot of Kool & The Gang's ensemble funk style – especially on their cover of "Love The Life You Live" – which they burn here beautifully! Other tracks include "Super Cool", "M&M's", "Rapid Fire", "You Should Have Listened", "Times Have Changed", and "Check It All Out".

The third album by Black Sabbath – the album that put the heavy in metal – one of the most influential rock albums of all time and a record that finds Sabbath at absolute peak perfection! This is the one that set the Sabbath style in stone, honing in the the heavy riffs, thundering drums and eerie mood perfectly. Includes the ultra classics "Sweet Leaf" and "Children Of The Grave", plus "After Forever", "Lord Of This World", "Solitude", "Into The Void" and the instrumentals "Embryo" and "Orchid".

Nicely-structured performances between pianist Ran Blake and guitarist David Knife Fabris – done with plenty of free-thinking elements, including those bold-ringing tones that we've always loved in Blake's recordings – yet still based around some relatively tight song structures overall! Most numbers are relatively short, but benefit from that fact – as they let Fabris bring in a flurry of chromatic sounds from his instrument, and Blake hit those almost bell-like notes on the piano – often doing a lot with just a little. And the setting sometimes has one player handling all the work on a track, then shifting to the other on the next one – and coming together on duets on others. Titles include "Watch What Happens", "Desafinato", "My Cherie Amour", "Sontagism", "Driftwood", "In Pursuit", "Cry Wolf", and "Shlof Manyn Kind".

The tenor sound of Seamus Blake is always a treat – and he really stretches out here on a set of long, live tracks with a great group! Most titles go way past the ten minute mark, and the always-inventive Blake manages to make plenty happen with all that time – working deftly in a group that features piano from David Kikoski, and some great guitar interplay with Lage Lund – whose tones ring out strongly on the lead of most tracks! Titles include "Fear Of Rooming", "Amuse Bouche", "Consequence", and "Subterfuge".

2 of the trippiest albums ever recorded by Paul Bley – both of which feature a good dose of electric work! By the time of these early 70s recordings, Bley had already made a name for himself through a spacious approach to modern jazz work on piano – introducing a new sense of time and location that made his playing part of a whole new generation of work that was radical, but not in the same free jazz mode of other players of the late 60s. Bley's open and gentle approach to the keys was never so perfectly captured as on these two sets – and the use of electric keys seems to hone his style to an even finer edge than on some of his later 70s work. The albums feature work on Fender Rhodes and Arp, alongside some acoustic piano – with players that include Dave Holland, Frank Tusa, Glenn Moore, and Barry Altschul. 13 tracks in all – with titles that include "Ictus", "King Korn", "El Cordobes", "Circles", "Nothing Ever Was Anyway", "Gary", "The Archangel", and "Gesture Without Plot". (Note: CD omits one track – "Mr Joy" – due to time restrictions.

A stone classic from Blood Sweat & Tears – and a record that went onto have a tremendous impact in jazz, rock, funk, and soul! The group's format is plenty darn famous – adding a lot of horns to hip riffing grooves – but despite countless plays on oldies stations over the years, this initial album still has a power that's undeniable – a way of putting the whole thing together that really uses the best elements of the late 60s studio – handled with sweet production from James William Guerico that rivals his best work for Chicago! Even the lead vocals by David Clayton Thomas hold up nicely – and the set includes the classics "Variations On A Theme By Eric Satie", "And When I Die", "Smiling Phases", "More & More", "Spinning Wheel", and "You've Made Me So Very Happy". CD features bonus live tracks – "More & More" and "Smiling Phases".

Bloodstone moving into a whole new thing – a funkier groove than before, and one that really points the way towards the group's clubby direction at the end of the 70s! Although best known as a sweet harmony group, Bloodstone shine equally well in this upbeat mode – a territory that's somewhere in a space between the funky Isleys of the 70s, and some of the more soaring, sweeping Philly grooves of The Spinners! A few fragile, mellow moments come into the mix – which helps balance out the sound – and the group get some great east coast soul treatment from arranger Bert DeCoteaux, who co-produced the album with Tony Silvester. Titles include a great version of "Just Like in the Movies", the Ace Spectrum classic – plus the tracks "This is It", "When We're Doin It", "Do You Wanna Do a Thing", "If You Wanna Be My Baby", and "Give Me Your Heart".

A great later album from Bloodstone – recorded after their initial classics for London, but in a sweet and mellow soul mode that's totally outta site! Part of the strength of the set is the mighty Al Johnson – who provides arrangements here that push the group firmly into a more modern take on harmony soul, and which have a gentle groove that makes for plenty of sweet steppers and mellow midtempo groovers. The vocals are every bit as great as on the earlier albums – just given a brighter setting in which to shine. Titles include "Just Wanna Get The Feel Of It", "She Wants To Hear The Words", "It's Been A Long Time", "Throw A Little Loving My Way", "It's All Been Said Before", and "Don't Stop".

Bloodstone's augmented here by a heck of a lot of studio players – more than enough to fill out the needs of the soundtrack to this so-so film from the mid 70s. A few cuts still have the group singing in their better harmony style, but more than a few numbers are remakes of 50s vocal group classics or older standards – in a mode that clearly shows that Bloodstone's control over the score was maybe not as strong as that of other groups working on soundtracks at the time. Titles include "Yakety Yak", "Hooray For Romance", "Go To Sleep", "I'm In Shape", and "Money".

A killer late set by Bloodstone – one that holds on to all the excellent harmonies they brought to their 70s work, but which pushes their groove forward in a whole new direction! There's a warm modern glow to the set – one that works perfectly with the vocals – and the quintet still have a hell of a way with a ballad – singing in that slow-tripping style that was never too overly emotive, yet could pack a hell of a punch back in the day – especially in the wee hours! The tunes here are longer than before, and inflected by some rich arrangements by both the Isley Brothers and McKinley Jackson – and the set's got an Isleys-like approach by putting all the ballads on one side, and the groovers on another. These groovers really hold onto the harmonies wonderfully – making for a great follow-up to the ballads – and titles include the sublime smooth stepping track "We Go A Long Way Back", plus "Go On & Cry", "How Does It Feel", "Nite Time Fun", "My Love Grows Stronger", and "My Kind Of Woman". CD features great bonus tracks too – "My Love Grows Stronger (part 2)", "Go On & Cry (7" mix)", and "We Go A Long Way Back (12" mix)".

Sublime work from Blue Magic – a record that still has them singing in the sweet harmony sound of earlier records, but which also picks up a fuller sound and a bit of a groove – thanks to stone Philly arrangements by Norman Harris and Ron "Have Mercy" Kersey! A number of tracks add in a bit of moog that sound surprisingly great next to the group's harmonies – electrifying them a bit without overwhelming them – and letting Blue Magic step way past their fragile harmony roots into the forefront of Philly group soul at the time! Tracks include the groovers "We're On The Right Track" and "Magic Of The Blue", the ballads "Chasing Rainbows" and "Loneliest House on the Block", plus "What's Come Over Me", which is a duet between the group and Margie Joseph.

A strange but great chapter of The Blue Notes – working here without Harold Melvin or Teddy Pendergrass, but still sounding pretty great on their own! This version of The Blue Notes is a male quartet – not the Melvin group with Sharon Paige who were recording for ABC – and they get some fresh help in the studio from George Perry, who brings in this soaring groove that still echoes earlier Philly work, but also has a bit more of a clubby vibe overall! The style's never disco, but makes for some great uptempo soul – the sort that really lets the group's wonderful vocal style soar strongly – a rich blend that's totally great even without Teddy, and which has a great mix of raspy leads and warm harmonies. Titles include the wicked jazzy dancer "The Girl Makes Me Wanna Sing" – plus "It's Over", "Memories", "Standing By You Girl", "People Are Running Around", and "The Truth Has Come To Light".

A beautiful single from Bob & Gene on a funky 45 from Ever-Soul/Dapton ! "It's Not What You Know (It's Who You Know)" and "These Lonely Nights" are both apparantly from the Bob & Gene vaults, which gives us hope that there may be another album's worthy of great material that could pop up! The former kind off calls out social injustices in the lyricism, but it's a stripped down soul tune at it's core. "These Lonely Nights" is a nicely raw feel to it with great vocals and an insistent groove to it.

A sweet Jamaican-tinged take on this tune by Bob & Gene – one that features the duo's vocals set to grooves from the Inversions, a group led by Ticklah – all in a style that turns the soul track into a lost rocksteady number! The approach is mighty nice – strange at first, but really a grower – and the flip features a track that's basically the instrumental version of the vocal number!

A righteous bit of soul – one of the only non-jazz albums we've seen on the Muse label, and a really great session that reminds us of work by Alice Clark and Esther Marrow – two other overlooked 70s soul singers who also recorded for jazz labels! Rickie's got a deep soul approach to the vocals that's nicely inflected with jazzy work by players that include Tom Malone, Kalaparusha, Buddy Terry, Warren Smith, and Howard Johnson – the last of whom arranged and conducted the backings, and gives the album a full-on and progressive feel. Rickie's vocals have lots of nice gentle tones, making for some sweet little numbers that sparkle nicely – titles that include "Baby Won't You Stay", "To Be Needed", "In A Little While", "At The Clinic", "What Could It Be", and "I Won't See Yesterday".

Bootsy Collins' first solo album as a leader – and a masterpiece of slow bassy funk that set the tone for countless other groups to come! Bootsy steps into the spotlight with a tremendous amount of confidence and personality on the record – emerging as the one real star that could shine brightly on its own in the P-Funk galaxy – oozing personality, sexuality, and super-funky grooves throughout! George Clinton's helping Bootsy out on production a bit, and the rest of the P-Funk regulars are in the group as well – but the album's clearly Bootsy's own, and takes mainstream funk into a whole new sound – one that would really set a high bar for much of the west coast scene in years to come! Includes the massive "I'd Rather Be With You" – plus "Physical Love", "Love Vibes", and "Psychoticbumpschool".

Smoking tenor and organ work here from the team of Ralph Bowen and Jared Gold – two players who find a wonderful space together right from the start! Bowen's tenor has just the sort of sharp tone to match the energy of Gold's Hammond – able to take off right away, yet also stop on a dime – and still manage to keep things swinging in the process – a rare blend of modernism and soul, and one that takes us back to some of the most inventive sessions like this from the 60s! The group also features Mike Moreno on guitar and Rudy Royston on drums – both players who, like Bowen and Gold, seem to have rhythm on their minds at all times. Titles include "On Green", "Hip Check", "Exosphere", "Arrows Of Light", and "Into The City".

A real departure for saxophonist David Boykin – an album of solo material, performed on soprano sax and Bb Clarinet – in a style that recalls the most experimental work of Roscoe Mitchell, and which also has ties to the solo recordings of Evan Parker and Steve Lacy! Boykin's really concerned with sound in space on the album – and blows with a freely creative vibe that surpasses even his best earlier work. The tunes start out slow, and spare, but then unfold as the album goes on – and demonstrate some incredible tone and control that we never expected from Boykin! Originally part of a live performance with a dancer, but more than compelling enough on its own – and with tracks that include "Transfixed", "And Amazement", "Of Wonder", "With A Gaze", and "Upon The Beloved".

One of the strongest recorded performances we've heard to date from saxophonist David Boykin – a leading light in the current underground scene of Chicago, and a player who recalls the promise of the early days of the AACM, particularly the spiritualist work of Kalaparusha Maurice McIntyre. Boykin plays tenor here – with an exploratory tone that's deeply soulful, in the mode of some of David Murray's more spiritual work from the late 70s/early 80s, layered over percussive backings by Bakari Davis. The spareness of the set reminds us slightly of some of the great recordings made by Murray and Kahil El'Zabar – with a freeness that's still quite rhythmic, always searching within its own boundaries of expression. Titles include "Despair", "Ananas", "Ajaramutations", and "Black Magic".

A pair of numbers by Brooklyn soul great Charles Bradley backed by The Menahan Street Band – including a wonderful take on Neil Young's classic "Heart Of Gold"! The cover works incredibly well, with Bradley's gravely vocals carrying the emotion of Young's lyrics in really moving way. Incredible! It's backed by the stellar "In You (I Found A Love)" from the instant classic No Time For Dreaming LP.

Gritty, powerful raw soul from Charles Bradley – the full length debut from the 62-year-old Brooklyn singer – backed perfectly by The Menahan Street Band! It's incredible, a record that sounds just as rawly emotional and impeccably soulful in 2011 as it would have in 1971 – much like the work Sharon Jones and The Dap-Kings, there's no mistaking this for anything but the real deal. Rough hewn in beautifully so – with perfect, funky backing by team Menahan. A timeless treasure! Titles include "In You (I Found A Love)", "I Believe In Your Love", "The Telephone Song", "Golden Rule", "How Long", "Trouble In The Land", "Since Our Last Goodbye", "Heartaches And Pain", "The World" and more.