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A rare early soundtrack from Bill Conti – penned for an obscure Italian film in the years before his 70s blockbuster film scores – and done with a groovy groovy sound that's really outta sight! The style is much more mod than we've ever heard from Bill – funky in parts, and playful in others – with all the best range of instrumentation we're used to hearing from Italian composers of the time – a role that Conti fits perfectly with this sweet little score! The mood varies nicely from track to track – usually moving between upbeat numbers and mellower groovers – and there's a few great jazzy moments that stretch out longer than usual for this sort of score. 17 tracks in all – including a few renditions of the vocal number "Juliette"!

Still beautiful, even in the early 90s. In fact, at this point, Sade gets a nicely updated style that borrows a bit from the NuSoul groove of some of the British groups that were hitting the scene – adding in some warmth on the percussion that works perfectly with her vocals. Some of that warmth is a bit undone on the remixes, but there's more than enough here to take you over the top.

The Marquis De Sade never sounded so sweet! For some strange reason, Schifrin decided to pay a musical hommage to De Sade with this one – but fortunately, he's not punishing himself with the subject matter at all, and is sticking to his jazzy bossa guns. The arrangements have a tight Verve mid 60s groove to them – with breakout solos on piano and flute, slightly baroque scoring that mixes strings, harpsichord, and some straighter jazz playing, and a good focus on strong rhythm playing throught. A breezy treat that would make any of us drop a paddle and kick back for a cocktail – if we had the chance! Titles include "Bossa Antique", "The Wig", "Old Laces", "Beneath A Weeping Willow Shade", "Renaissance", and "Troubadour".

A pretty great multiple cover feature issue for Wax Poetics – this one with Sade on the front and Flying Lotus on the back – plus equally prominent features on Lenny Kravitz and Dam-Funk! Wax Poetics has always been a celebration of soul, funk, hip hop, jazz and otherwise crate diggers fodder – be they underground of not entirely forgotten heroes – or pop culture takeover engineers – and this issue personifies that as strongly as ever! It's also got pieces on Betty Wright, Gary Bartz, Quantic & Alice Russell, Cody Chesnutt, Thundercat, Jamire Williams, Georgia Anne Muldrow and Jamire Williams – plus NYC's 70s Roller Boogie scene and more – and as always, it's filled with great photographs of each and every figure!

Think what you want – we think this is a damn great soul album! Sure, the record was a crossover classic that got played to death back in the 80s – but give it a listen now, and you'll be stunned to hear how fresh it sounds, and how much it reminds you of all the British soul acts that sprung up in the years after it was released. We're not saying that Sade had a direct influence on groups like Soul To Soul or Brand New Heavies – but this album's strong commitment to acoustic musical styles and real jazz playing made it a real standout in the often-tinny world of 80s chart soul, and a harbinger of the later return to warm soul styles that would be spurred on by other groups from the UK. Plus, Sade's vocals are incredibly well-wrought, and are the perfect vehicle to deliver songs like "Frankie's First Affair", "Hang On To Your Love", "Your Love Is King", and the seminal 80s slacker dancefloor anthem, "When Am I Going To Make A Living".

Sade's last LP from the early 90s before she went into her brief recording and performing hiatus. Like the preceding records, the approach is heavy on the jazz side of things, with a crisp, spare touch on the production and a wonderfully soulful feel to the songwriting. At this point she no longer had to work to break into the charts, but that didn't stop her and her band from coming up with a great batch of material that managed to be easily accessible without losing any of the sublime grace that set her apart. Includes "No Ordinary Love", "Cherish The Day", "Feel No Pain", "I Couldn't Love You More", "Like A Tattoo", "Kiss Of Life", "Pearls", "Bullet Proof Soul" and "Mermaid".

New recordings of older compositions by one of the greatest songwriters of our generation! The tracks are mostly of mid/late 80s vintage, when Momus was writing some of his best work – and the re-recordings here are very very different from the versions that appeared on the original Creation LPs, as most of tracks are done in the more electronically-based style that Momus has been using lately. In some cases, the new versions are far far superior to the silly pop instrumentation used on the originsl – and titles include "The Homosexual", "Closer To You", "Lifestyles Of the Rich & Famous", "The Charm Of Innocence", "A Complete History Of Sexual Jealousy", "Hotel Marquis De Sade", "The Gatecrasher", and "The Hairstyle Of The Devil". Plus, there's also a few hidden parody versions of songs at the end – with very bawdy lyrics!

A surprisingly soulful side of the Knowles family – the lovely Solange, stepping out here in a sweet little single! "Losing You" is a damn catchy soul tune – moving with a hook-y groove, but at a slow and organic pace – with this core warmth that almost takes us back to Sade in the 80s! "Sleep In The Park" continues the slight retro vibe – but almost with a bit of Prince in the mix – gentle funk underneath Solange's sweet vocals – and again, a damny catchy hook!

A pretty great multiple cover feature issue for Wax Poetics – this one with Lenny Kravitz on the front and Dam-Funk on the back – plus equally prominent features on Sade and Flying Lotus! Wax Poetics has always been a celebration of soul, funk, hip hop, jazz and otherwise crate diggers fodder – be they underground of not entirely forgotten heroes – or pop culture takeover engineers – and this issue personifies that as strongly as ever! It's also got pieces on Betty Wright, Gary Bartz, Quantic & Alice Russell, Cody Chesnutt, Thundercat, Jamire Williams, Georgia Anne Muldrow and Jamire Williams – plus NYC's 70s Roller Boogie scene and more – and as always, it's filled with great photographs of each and every figure!

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

One of the greatest soul groups from the UK in the 80s – a real bright spot in the years before Soul II Soul and the rise of acid jazz – and a set we'd rank right up there with Sade's best work of the time! Working Week have a very jazzy sound at their core – acoustic rhythms, and a strong commitment to jazz at the core – no surprise, given that two of the group's three members were previously involved with Weekend! The third member is the lovely Juliette Roberts – easily one of the best Brit soul singers of the time – and an artist who really helps push some of the more American influences in the group's music – while still giving the whole thing a bit of a London sparkle, too. The mix is sublime, and the whole album's great – full of classic cuts that include "Autumn Boy", "No Cure No Pay", "Sweet Nothing", "Who's Fooling Who", "Thought I'd Never See You Again", and "Venceremos". Amazing reissue – with a full bonus CD, and a whopping 15 extra tracks! Working Week were early proponents of really reworking tunes for singles, especially with jazzy elements – as you'll hear on cuts that include "Veceremos (jazz dance special 12")", "Afoche", "Storm Of Light (inst)", "Bottom End", "Stella Marina (main mix)", "Inner City Blues (urbane guerilla mix)", "Who's Fooling Who (dance version)", "Venceremos (7" bossa version)", "Stella Marina (full rap)", "Pepe's Samba (live)", and "Murphy's Law (live)".

Beautiful Chisoul harmonies! "Beginning Of My Life" starts with a catchy jangly guitar, courtesy of the Soul Crusaders Orchestra, then rolls into a great little groover with harmonies that soar and keep pace wonderfully with the song's positive message and great hooks! "Coming Changes" is an instrumental version – with the same group, minus the vocals!

Great work from one of the funkiest periods in the career of the Jazz Crusaders – that point when they first dropped the "jazz" from their name, and started moving into groovier territory! The set's a bit electric, but never as much so as their later, bigger hits – just enough so that the basslines bump the tunes along strongly, and the keyboards start to sparkle in the mix too – but still leaving plenty of space for acoustic contributions on piano, trombone, and tenor. Arthur Adams joins the group for a bit of guitar, which is well-placed – and titles include the massive "Pass The Plate" medley, which runs for over 15 minutes – plus "Young Rabbits 71/72", "Goin' Down South", "Listen & You'll See", "Greasy Spoon", and "Treat Me Like Ya Treat Yaself".

A great Crusaders album – and one that's a perfect bridge between their earlier soul jazz styles, and their tighter funkier electric one. The record was recorded live at the Roxy, and the group is augmented by Larry Carlton on guitar, who gives the tracks a nice razor edge at his best moments. All songs are pretty long – and the band is in extremely good form, jamming away with lots of funky vamping, and breaking out with some very soulful solos. Titles include "Scratch", "Hard Times", "So Far Away", and "Way Back Home".

What can we say? When this record came out, everybody we knew thought they'd totally lost it, and stopped being funky. From the vantage point of this generation, though, the record's a jazz funk masterpiece, with a smooth R&B sound that's virtually flawless, and a perfect summation of all of the great studio work being done in 70s LA. Includes the massive extended version of "Street Life", with vocals by Randy Crawford, plus other great cuts like "Night Faces", "The Hustler", and "Rodeo Drive".

A pair of albums from saxophonist Wilton Felder – back to back on a single CD! We All Have A Star offers up solo sounds from Crusaders reedman Wilton Felder – a really great set that's very much in the best vibe of his larger group at the time – yet one that also offers up a stronger focus on Wilton's sublime solo work on tenor! The album's got plenty of Crusaders help on board – given that Stix Hooper and Joe Sample produced the set along with Wilton – and the vibe's a wonderful blend of electric backings, with especially great keyboard lines, and Felder's well-phrased saxophone lines over the top! A few cuts feature vocals – sung by Angela Bryant or Debbie Demoia Ross – and titles include "We All Have A Star", "I Know Who I Am", "The Cycles Of Time", "Why Believe", "Ride On", and "You & Me & Ecstasy". Inherit The Wind is one of the best Crusaders-related solo projects – a soulful bit of fusion from saxophonist Wilton Felder, co-produced with his fellow Crusaders! The album's got the best sunny finish of the group's late 70s albums – traces of Latin, funk, and soul bubbling through a warm jazzy mix – staying soulful all the way through, and coming up with a sound that's smooth, but never sleepy. The blueprint for a million other records – none of which ever sounded this good! Titles include "Insight", "LA Light", "Until The Morning Comes", "Someday We'll All Be Free", and "Inherit The Wind".

Fantastic work from one of the most unique talents in jazz! Rufus Harley plays bagpipes – yes, that's right, bagpipes – in a modal Coltrane-esque way that's simply got to be heard to be believed. He uses the drone capability of the instrument to explore reed patterns in the same way that Coltrane did, inspired a bit by Eastern sounds, especially Indian music, but also working in an Afro-centric mode that reclaims the bagpipes as an instrument rooted in the middle east (where it was first picked up by soldiers during the crusades, and brought north to Scotland.) The whole thing might sound incredibly silly, but when you hear the music, you'll be convinced – and this CD is set up to do just that. The collection takes 9 tracks from Rufus glory days at Atlantic Records during the late 60s – and features Harley not only on bagpipes, but on tenor, soprano, and flute – playing in groups that feature players like Roy Ayers, Herbie Mann, Sonny Stitt, James Glenn, and Don Patterson. Titles include "Feelin Good", "Flute Bag", "Taurus The 20th", "More", "Sufur", and "Pipin The Blues".

An all-star soundtrack to this comedy film from the 70s – starring Raquel Welch, Bill Cosby, and a very young Harvey Keitel! Most of the tracks on the set are from other A&M albums, but there's a few tunes that are original to the set – including the vocal track "No Love Today" by Michelle Phillips, served up in an instrumental reading by Pete Jolly. Paul Jabara also contributed the tune "Dance", in 2 versions – and other cuts, from other albums, include "Mellow Out" by The Crusaders, "Thunder Thumbs & Lightnin Licks" and "Get The Funk Out Ma Face" by The Brothers Johnson, "My Soul Is A Witness" by Billy Preston, and "Show Me The Way" by Peter Frampton.

A goofy title track, and a groovy little album from Jan & Dean – a set that has them settling nicely into their role as one of the most playful pairs in west coast pop – with a heck of a lot more staying power than some of their more surf-washed contemporaries! The album's got a number of tracks that follow in the similar LA-environs mode as the title track – but instead of being gimmicky, they almost come across with this whimsical sort of charm – like they're Jan & Dean's version of British tunes from The Kinks – a wonderfully playful picture postcard version of California, with more wit than you might expect! Titles include "The Little Old Lady From Pasadena", "The Anaheim Azusa & Cuckamonga Sewing Circle", "Summer Means Fun", "Old Ladies Seldom Power Shift", "Sidewalk Surfin", "One Piece Topless Bathing Suit", and "Horace The Swinging School Bus Driver".

A goofy title track, and a groovy little album from Jan & Dean – a set that has them settling nicely into their role as one of the most playful pairs in west coast pop – with a heck of a lot more staying power than some of their more surf-washed contemporaries! The album's got a number of tracks that follow in the similar LA-environs mode as the title track – but instead of being gimmicky, they almost come across with this whimsical sort of charm – like they're Jan & Dean's version of British tunes from The Kinks – a wonderfully playful picture postcard version of California, with more wit than you might expect! Titles include "The Little Old Lady From Pasadena", "The Anaheim Azusa & Cuckamonga Sewing Circle", "Summer Means Fun", "Old Ladies Seldom Power Shift", "Sidewalk Surfin", "One Piece Topless Bathing Suit", and "Horace The Swinging School Bus Driver".

Incredible work from the Jazz Crusaders – a brilliant album of longer tracks that has them working at their soulful, sophisticated best! The record's great proof that the Crusaders had a depth that many rarely gave them credit here – as they're working here in a complicated set of rhythms, tones, colors, and patterns that easily matches some of the best Blue Note mid 60s work by Hank Mobley or Lee Morgan! All tracks are recorded live, and in very long takes that show the combo effortlessly setting up the rhythms – then stepping out with extended solos that are surprisingly exploratory and modern-sounding. Titles include "Trance Dance", "Summer Madness", "Young Rabbits", and "Freedom Sound".

A stone classic from reedman Ronnie Laws – and an album that really helped set a whole new standard for funky fusion in the 70s! Laws works here with great Wayne Henderson production – which gives the album an even sharper sound than other Blue Note sets of this vintage – and that kind of tight blend of funk and jazz you'd find in the Crusaders, with a similar no-nonsense approach in the grooves! Henderson's got a great way of never being too smooth – and Laws responds with some wicked solos on tenor, soprano sax, and flute – soaring out over the course of the whole wonderful album. Titles include "Goodtime Ride", "Just Love", "Saturday Evening", "Friends & Strangers", "Nuthin Bout Nuthin", "New Day", and "Same Old Story".

Two stone classics from Ronnie Laws – back to back on a single CD! Friends & Strangers is a stone classic from reedman Ronnie Laws – and an album that really helped set a whole new standard for funky fusion in the 70s! Laws works here with great Wayne Henderson production – which gives the album an even sharper sound than other Blue Note sets of this vintage – and that kind of tight blend of funk and jazz you'd find in the Crusaders, with a similar no-nonsense approach in the grooves! Henderson's got a great way of never being too smooth – and Laws responds with some wicked solos on tenor, soprano sax, and flute – soaring out over the course of the whole wonderful album. Titles include "Goodtime Ride", "Just Love", "Saturday Evening", "Friends & Strangers", "Nuthin Bout Nuthin", "New Day", and "Same Old Story". Flame features Ronnie Laws at the top of his early game – working in a tight mix of jazz and soul put together with some great help from Wayne Henderson's At Home Productions – very much in the hit style that team was putting out at the time! The work's surprisingly open and hip compared to efforts like this from a decade later – still smooth in production, but with lots of room for instrumental solos, and a groove that's still more heavy on fusion influences than anything else! Laws plays tenor, flute, and soprano sax – and other players include Larry Dunn on keyboards and Melvin Robinson on guitar – and a few cuts feature chorus vocals, by hip singers who include Eloise and Debra Laws, Diane Reeves, and Phillip Bailey. Titles include "All For You", "These Days", "Flame", "Living Love", "Joy", "Live Your Life Away", and "Love Is Here".

70s soundtrack work from the mighty Michel Legrand – his score for the famous Three Musketeers film directed by Richard Lester, and unissued music for the film Robin & Marian! The Musketeers music is quite dramatic – often filled with action, but with a few tender spots as well – and although somewhat more conventional in terms of scoring, there's still some of those sweeter Legrand touches we love so much – especially in some of the orchestral moments that echo his energy from Peau D'Ane. As you might guess from the story, there's a few period themes at points – although not as many as you might expect – and this balance continues in the Robin & Marian soundtrack from 1976, in music that would mostly be right at home in any other 70s film as well. CD features 24 tracks in all, with notes in French and English – and titles that include "Bustling Buckingham", "He Ain't Heavy He's The Cardinal", "Four Abreast", "Sword For Your Supper", "To Love A Queen", "Back From The Crusades", "Reunion", "The Attack", "The Chase Fugue", and "An Unforgotten Love".

A Brit soul classic from Light Of The World – and a set that has the funky group working strongly with producer Augie Johnson! Given Johnson's background with Wayne Henderson, the move is a great one for the group – one that really helps them bring out the best warm sounds from their tight instrumentation, in ways that really showcase some of the jazzier elements in their music! The main groove is still plenty soulful, and often focused around the vocals – but given that the group also features a young Jean Paul "Bluey" Maunick on guitar and Peter Hinds on keyboards, you can bet the instrumentation's pretty great too. The set easily matches the best US albums of the type at the time – and titles include "London Town", "Time", "I'm So Happy", "More Of Myself", "Pete's Crusade", and "I Walk The Streets Alone". CD also features 7 more bonus tracks – pulled from the Brass Strings N Things live album recorded by Beggar & Co – a post-Light Of The World group that features members of that group with artists from Central Line and vocalist Noel McKoy. These live titles include "Time", "Movin", "Bahia De Palma", "Somebody Help Me Out", and "Cosmic Lust".

Do yourself a favor, and buy this album – you won't be disappointed! The record is a gem all the way through – a really unique mixture of LA soul jazz and African rhythms, with a sound that's almost like Hugh Masekela sitting in with the Jazz Crusaders! Of course, there's a lot of Jazz Crusaders in the set – as Wilton Felder plays electric bass on the album, giving it a fantastic loping groove – but there's also plenty of unique albums on the record, especially its way of approaching the rhythms with a sly, syncopated groove that's immediately infectious! Duke's trumpet solos are great, and they're augmented by tenor work by Chester Washington and trombone by George Bohannon – all nicely grooving on the album's brilliant blend of jazzy tracks. Titles include "Jungle Funk", "Afrikaloo", "Akagruge", "Like It Is", "Mafam", and "Peace Brother". Somebody put this one on CD – and do us all a treat!

Do yourself a favor, and splurge on this album – you won't be disappointed! The record is a gem all the way through – a really unique mixture of LA soul jazz and African rhythms, with a sound that's almost like Hugh Masekela sitting in with the Jazz Crusaders! Of course, there's a lot of Jazz Crusaders in the set – as Wilton Felder plays electric bass on the album, giving it a fantastic loping groove – but there's also plenty of unique albums on the record, especially its way of approaching the rhythms with a sly, syncopated groove that's immediately infectious! Duke's trumpet solos are great, and they're augmented by tenor work by Chester Washington and trombone by George Bohannon – all nicely grooving on the album's brilliant blend of jazzy tracks. Titles include "Jungle Funk", "Afrikaloo", "Akagruge", "Like It Is", "Mafam", and "Peace Brother". Somebody put this one on CD – and do us all a treat!

A decade's worth of magic from the mighty Hugh Masekela – a sweet little set that brings together some of his most groovy tracks of the late 60s and early 70s – in a collection that's overflowing with goodness! Hugh's got a style here that's unlike anyone else – an approach that's rooted in South African jazz, which is definitely shown in his rhythmic progression – but taken to new heights in the Californian scene, where Hugh's music came into contact with folks like The Crusaders and some of the other cooler cats on the coast at the time. The result is a sublime blend of jazz, soul, and African rhythms – with tracks that include "Sipho", "The Boy's Doin It", "Ha Lese Le Di Khanna", "Kwa Blaney", "Stimela", "Maesha", "Phatsha Phatsha", "Child Of The Earth", and "U Dwi".

One of only two albums cut by the Four Souls group of drummer Lenny McBrowne – a really cooking combo that should have gotten greater exposure back in the day! The west coast group were clearly one of the hippest acts working on their scene at the time – as they've got a unique blend of soul jazz and modernism – one that cooks with Jazz Crusaders-like energy at points, but also has some sharper edges too – a bit in the vein of the wonderful JFK Quintet from the DC scene. Players in the group include Terry Trotter on piano, Don Sleet on trumpet, Daniel Jackson on sax, and Herbie Lewis on bass. Jackson's a real standout in the group – a player with a great edge and real sense of feeling, and one we'd love to hear more of. Titles include "Soul Sisters", "Invitation", "Dearly Beloved", "Lazinka's Tune", "Cerise", and "McBrowne's Galaxy".

The follow up to the first Mondo Cane film – in case you couldn't tell by the title! Nino did part of the music for the first one, and the style here is very similar – mostly orchestral, but with a few lighter moments that get a little groovy. There's no big hit on this one, as with the first – and tracks include "Italian Wig", "Zio Guida", "Teste Dure", "The Pasadena", "Wigs", "Flamingos", "Tortillas", and "Call Girls".

A classic album of bluesy funk – one that features the guitar of Johnny Otis' young son Shuggie, in a slightly tighter setting than he'd been getting on some of Johnny's own LPs! Shuggie here is still very much under the guidance of his dad – working in a mode that really emphasizes the fuzzier side of his guitar, in a style that was clearly an attempt to hook Shuggie up with the Hendrix audience. Not that that's a problem, though – as the record also features some stone funky playing too, as well as organ work by Leon Haywood, sax by Preston Love, and some other great studio work by members of The Crusaders! Tracks include "Hurricane", "Shuggie's Boogie", "Bootie Cooler", "Funky Thithee" and "The Hawks".

A pair of classics from Sea Level – back to back on a single CD! First up is Cats On The Coast – sweet smooth grooves from Sea Level – a killer crossover 70s group, one with roots in the Allman Brothers, but a sound that's much more wide-reaching overall! This sublime album is an AOR classic – a set that graced countless collections back in the day, thanks to a warm blend of rock and soul elements – all tied up in the kind of tight production you might guess from the cover! There's still some southern roots present in the music – especially on a few of the Allman-like guitar licks – but the overall approach is more cool and compressed, with a sweet 70s Cali sort of vibe, and some nice jazz undercurrents too. Titles include "Midnight Pass", "Cats On The Coast", "Song For Amy", "Had To Fall", "That's Your Secret", and "It Hurts To Want It So Bad". On The Edge is the great second album from Sea Level – one of those records that loads of folks dug, back in the day – and not just the cats who remembered these guys for their work with The Allman Brothers! The set's got a tight blend of jazz, soul, and some crossover elements – almost rootsier mode of music melded with a Steely Dan/Crusaders sort of vibe – so that the fusion styles come together and really help the whole thing soar! Vocals often still echo the early years of the players, but the overall presentation has a much more LA vibe – despite the fact that the album was recorded at Capricorn Studios in Macon. Titles include "Electron Cold", "On The Wing", "A Lotta Colada", "Living In A Dream", and "King Grand".

Despite the "primitivist" sort of leanings you might expect from the "roots" in the title, this is actually a nice batch of tracks from the catalogs of Blue Note and World Pacific during the 60's – and they're all jazz tracks that have a slight Africanist influence, but which are certainly not African tracks themselves. The 13 tracks include loads of nice hard to find ones, including "Blue Dashiki" by Blue Mitchell, "Appointment in Ghana" by the Jazz Crusaders, "Marabi" by Cannonball Adderley, "Ghana Spice" Candido, "Zulu" by Randy Weston, "Zambia" by Lee Morgan, and "Follow Me To Africa" by Solomon Ilori & His Afro Drum Ensemble.

A great little sample of the funk and soul on the French Soulbeats label – great stuff from Shaolin Temple Defenders, Gizelle Smith & The Mighty Mocambos, Martha High, Afrobeat Crusaders and more – plus special guests. Nothing but solid, classic funk & soul loving, timeless material! 13 tracks on the CD version: "Message To The Soul Sisters", by Shaolin Temple Defendersf eat Dionne Charles, "WOMAN" by Martha High, "Gonna Hold On" by Dee Ann & The Bad Soul Band, "Hurry Up" by Soul Revolution, "Can't Stand Still" by Vinz & The Mistery Machine, "Bounce" by Robertson, "Snake Charmer" by Gizelle Smith & The Mighty Mocambos, " and more.

Raw rock from the El Paso scene of the early 60s – most of it material produced by local music hound Calvin Boles – a force as important to that scene as Lee Hazlewood was to Phoenix! Boles has a great ear for a sharp guitar line – and really manages to bring the best out of all the players here, giving the tunes an echoey feel that's mighty nice – and which really serves to fan the sparks of genius into a much longer-burning flame! Norton's done a great job with this volume – and have managed to unearth some rare Bobby Fuller tracks, along with gems from contemporaries on the Yucca and Exeter labels. Titles include "Black Out" and "Tickler" by The Sherwoods, "Hot Rod Ford" by DY & The Motivaters, "Lonely" by David Hayes & The Pawns, "Pawn" by The Pawns, "You Hold My Letters" by Bill Taylor & The Sherwoods, "Judy" by The Chancellers, "Dance To The Palisades" by Frank Gonzales & The Palisades, and "You're In Love" and "Say Honey" by Bobby Fuller.

Raw rock from the El Paso scene of the early 60s – most of it material produced by local music hound Calvin Boles – a force as important to that scene as Lee Hazlewood was to Phoenix! Boles has a great ear for a sharp guitar line – and really manages to bring the best out of all the players here, giving the tunes an echoey feel that's mighty nice – and which really serves to fan the sparks of genius into a much longer-burning flame! Norton's done a great job with this volume – and have managed to unearth some rare Bobby Fuller tracks, along with gems from contemporaries on the Yucca and Exeter labels. Titles include "Black Out" and "Tickler" by The Sherwoods, "Hot Rod Ford" by DY & The Motivaters, "Lonely" by David Hayes & The Pawns, "Pawn" by The Pawns, "You Hold My Letters" by Bill Taylor & The Sherwoods, "Judy" by The Chancellers, "Dance To The Palisades" by Frank Gonzales & The Palisades, and "You're In Love" and "Say Honey" by Bobby Fuller.

A collection of instrumentals either recorded for Motown by groups like the San Remo Golden Strings, the Crusaders or Junior Walker, or the instrumental backing tracks used by their vocalists, released here on their short lived Natural Resources subsidiary. 9 tracks in all: "Hungry For Love" and "Festival time" by the San Remo Golden Strings, "You Are The Sunshine Of My Life" and "Cleo's Back" by Junior Walker, 'Rapid Fire" by the Commodores, "Papa Was A rolling Stone" by the Temptations, "Way Back Home" by the Crusaders, "Erucu" by Jermaine Jackson and "Get Ready" by Rare Earth.

A killer batch of rare funky tunes – pulled from a host of tiny labels, and put together with a quality level that would blow away a crate full of of funky 45s! This 3rd volume in the Super Funk series seems to dig even deeper than the first 2 – and it also includes few incredible little nuggets that were never officially released in any format! Includes "The Tramp (From Funky Broadway)" by The Showmen Inc, "Put It In" by Johnny King And The Fatback Band, "Cissy Popcorn" and "Funky Chicken" by Preston Love, "Soul Livin" by Everyday People Unlimited, "Brother Brown" by Camille Bob, "At The Soul In" by Count Yates And The Rhythm Crusaders, "Cat Scream" by Li'l Buck, "Bending Soul" by the Soul Blenders", "Ain't It A Groove" by Chico & Buddy, "Soul Brothers Testify" by Soul Senders, "Fat Man" by TKOs, "Sweet Potato Gravy" by Maurice Simon And The Pie Men, and lots more! 20 tracks in all.

A killer batch of rare funky tunes – pulled from a host of tiny labels, and put together with a quality level that would blow away a crate full of of funky 45s! This 3rd volume in the Super Funk series seems to dig even deeper than the first 2 – and it also includes few incredible little nuggets that were never officially released in any format! Includes "The Tramp (From Funky Broadway)" by The Showmen Inc, "Put It In" by Johnny King And The Fatback Band, "Cissy Popcorn" and "Funky Chicken" by Preston Love, "Soul Livin" by Everyday People Unlimited, "Brother Brown" by Camille Bob, "At The Soul In" by Count Yates And The Rhythm Crusaders, "Cat Scream" by Li'l Buck, "Bending Soul" by the Soul Blenders", "Ain't It A Groove" by Chico & Buddy, "Soul Brothers Testify" by Soul Senders, "Fat Man" by TKOs, "Sweet Potato Gravy" by Maurice Simon And The Pie Men, and lots more! 20 tracks in all.

One of their best LPs from the 60's, and a good mix of soul jazz grooves with a freer, post-Coltrane sound that gives the band a spiritual edge not always heard on the earlier records. The set's got some great long originals – like "Anita's New Dance", "Space Settlement", and "I Think It Was A Dream" – which give Wayne Henderson and Wilton Felder a lot more room to stretch out and explore new ideas. Great stuff, and a very solid record throughout.

Herbie hits kind of a campy Now Sound groove on this one – in a style that actually works pretty darn well for his pop jazz flute stylings! The arrangements are by Jimmy Wisner, Arif Mardin, Oliver Nelson, and Richard Wess – and the tunes work best as swingin' 60s instrumentals, instead of serious jazz tunes. The record's got a great goofy cover with Herbie in kind of a Don Adams-esque pose, holding a flute with a site on it! Titles include an early version of The Crusaders' "Scratch", plus "Happy Brass", "Good Lovin", "Our Man Flint", "Theme From Malamondo", "Monday Monday", and "Philly Dog".

The Crusaders are really going strong at this point – in near-hit status, almost acting as the Steely Dan of LA jazz. The sound is certainly slicker than before, but in a way that's actually pretty darn nice – as Joe Sample, Wilton Felder, Stix Hooper, and Larry Carlton come together with effortless ease – dipping, turning, twisting, and still hitting a nice groove on the best tunes. Tracks include "Nite Crawler", "Feel It", "River Rat", "Free As The Wind", and "Sweet N Sour".

Some of the smoothest funky jazz ever recorded – and a great set of classic 70s tracks by the legendary Crusaders! By the time of these recordings, the group had already performed on countless soul jazz sides of their own, and moved from the 60s into the 70s with a tight brand of groove that was their very own. The group had no trouble crossing the borders between soul, jazz, and R&B – and effortlessly mixed funky rhythms, tight solos, sweet vocals, and impeccable production into a sound that still holds up magically today. This 11 track set features some of the group's best work from their ABC/Blue Thumb years – tunes that include "Street Life", "Way Back Home", "Creole", "Scratch", "Greasy Spoon", "Free As The Wind", "So Far Away", "I Felt The Love", and "Put It Where You Want It".

Great work from one of the funkiest periods in the career of the Jazz Crusaders – that point when they first dropped the "jazz" from their name, and started moving into groovier territory! The set's a bit electric, but never as much so as their later, bigger hits – just enough so that the basslines bump the tunes along strongly, and the keyboards start to sparkle in the mix too – but still leaving plenty of space for acoustic contributions on piano, trombone, and tenor. Arthur Adams joins the group for a bit of guitar, which is well-placed – and titles include the massive "Pass The Plate" medley, which runs for over 15 minutes – plus "Young Rabbits 71/72", "Goin' Down South", "Listen & You'll See", "Greasy Spoon", and "Treat Me Like Ya Treat Yaself".

A landmark album from The Crusaders – and a set that really has them sweetening up their groove with lots of tasty R&B touches! The guitar's a bit more pronounced in the mix on this one – setting up some tightly funky rhythms that almost seem to free up the horns even more for solo work – resulting in a sound that brings together all the best bits of the LA scene into one impeccable album of smooth jazzy funk! Titles includes their classic "Stomp & Buck Dance", plus lots of other nice groovers like "Double Bubble", "Time Bomb", "The Well's Gone Dry", "Whispering Pines", "Lillies Of The Nile", "Greasy Spoon", and "Super Stuff".

Killer Jazz Crusaders material! The record captures the group at a perfect time – a point when they were breaking past the tighter shorter formula of earlier material, and moving into a slightly more spiritual conception – yet one that still had a hard swing and a deeply soulful vibe! The record's a prime example of the never-ending energy held by the band – near-perfect on every track, and played with a sense of creative expression that easily puts them at the top of the soul jazz scene in the late 60s! Titles include "Night Theme", "Air Waves", "Uh Huh", "Watts Happening", and "Ice Water".

Quincy just never stopped putting out classic soulful albums! This one, from the early 80s, features a smooth jazzy blend of tracks, with a strong nod to the kinds of souped-up studio sounds that were being used by groups like The Crusaders, but also with a lot of the kind of soulfulness that made earlier albums so great. Features vocals by Patti Austin, and includes winners like "Ai No Corrida", "The Dude", "Betcha Wouldn't Hurt Me", "Velas", and "One Hundred Ways".

A decade's worth of groundbreaking funk and African rhythms – all of it recorded by Hugh Masekela for his legendary Chisa label! Back in the 60s, Hugh cracked the American charts with a playful version of South African jazz – but he was also an even hipper cat than you'd guess from his hits, and worked with a variety of incredible acts to expand his sound – a good number of whom ended up recording for Hugh on the Chisa label, in a unique blend of American soul and African inspiration that was years ahead of its time! The Chisa sound was one of the first true forays into pan-global grooving – and it brought the sounds of Africa to the American mainstream at a level that few had managed before. Some groups were unique projects done for record – like the Johannesburg Street Band, which featured members of The Crusaders alongside Masekela – but others featured a variety of ex-patriots living in the US, with key singers and players who shine brightly under Hugh's guidance. This set really digs deep, and offers up some of the most heavily African-tuned tracks from Chisa's catalog – 14 titles that include "Witch Doctor" and "Ahvuomo" by Baranta with Miatta Fahinbulleh, "Joala" and "Za Labalaba" by The Zulus, "Awe Mfana" by Johannesburg Street Band, "Macongo" and "U Se Mcani" by Letta Mbulu, "Tepo" by Baranta, "Aredze" by The Zulus, "Mahlalela" by Letta Mbulu, and "Afro Beat Blues" by Ojah with Hugh Masekela.

God, we love this record – and we're not ashamed to admit it! Sure, it sold a gazillion copies – and sure, for some folks it showed the true demise of the Crusaders ensemble. But for us, it's a masterpiece of smooth fusion, and a landmark album of easy jazz that spawned countless imitators that could never hope to match Sample's simple and elegant use of funky riffing and lyrical chords – coming in with just the right dash of darkness when the record's in danger of sounding too light. Most of the rest of the Crusaders had a hand in the record, and the set's got the smooth west coast sound you'd expect from the title. Tracks include "Carmel", "Cannery Row", "Sunrise", and "More Beautiful Each Day".

A flurry of early harmonica jazz recordings from the early 50s – mostly by a young Toots Thielemans, but also featuring a number of tracks from the lesser-known Les Thompson as well! The tracks by Toots are mostly European recordings, done at a time when he was first feeling out a space for his instrument in jazz – and years before he became THE player on his instrument, used in countless sessions, studio work, and soundtracks. All recordings were done in Europe, and include material by Toots' own group, plus performances under the leadership of Zoot Sims and Benny Goodman. Titles include "Nalen Boogie", "Red Devil's Boogie", "Harmonica Rag", "Toots Blues", "Happy Go Lazy", and "All The Things You Are". The last 8 tracks on the set all feature Les Thompson working during a live Gene Norman Presents date in Pasadena in February 1952 – most of which also includes performances by Conte Candoli, Dexter Gordon, and Wardell Gray – on titles that include "Undecided", "Lady Be Good", "I'm In The Mood For Love", "Stardust", and "Hot Harmonica".

Quite possibly one of the most successful Japanese piano trio recordings of the 70s – a super-session performed by a group that includes Joe Sample on acoustic piano, Ray Brown on bass, and Shelly Manne on drums! Given that Sample's best known during the era for his electric keys with the Crusaders (and on countless studio sessions), it's a real treat to hear him tickle the ivories in an acoustic way – and a genuine surprise to hear how strong his work is in such a format. Joe manages to swing the tunes with plenty of creative improvisation, but also keeps a strong focus on the groove too – making for an album that's got some of the rhythmic flourishes of the best work of the Oscar Peterson trio in later years, but with some of the added freedoms of the Japanese scene. Titles include "On Green Dolphin Street", "Round Midnight", "Funky Blues", "Manha Do Carnaval", "Yearnin", and "Satin Doll".

An amazing little record – not just for the music itself, which is inherently great – but also for its straight jazz presentation of players you might know in more of a reggae-based setting! The album's a smoking set of hardbop numbers, played with plenty of soul – by a combo billed as the Jamaican Jazz Crusaders – featuring Roy Bubbles Burrows on trumpet, Ernst Ranglin on guitar, Roland Alphonso on tenor, Aubrey Adams on piano, Harold Williams on bass, and Carl McLeod on drums. The format's a bit unusual, in that the album's bracketed by interviews and introductions from Jamaican jazz DJ Nevil Willoughby – but in the core are some great performances, with very inventive arrangements, especially in the way Ranglin's guitar is used – on titles that include "The Highest Mountain", "On Green Dolphin Street", "Split Kick", and "Round Midnight".

An early 70s classic from The Crusaders – and a record that has the group perfectly poised between the rougher soul jazz of their roots and some of the tighter styles they brought into play during the 70s! The sound here is heavily electric – thanks to great keyboards from Joe Sample and bass from Wilton Felder – but the style isn't nearly as slick as on later albums recorded under the Crusaders name, thanks to the hipper, looser feel the group were allowed while working for the Chisa label! As on the first album recorded after the group shifted their name from the Jazz Crusaders, the set features added guitar work by Larry Carlton, David T Walker, and Arthur Adams – all of whom really help to emphasize the funkier side of the tracks while Wayne Henderson's trombone and Wilton Felder's tenor remind us they've still got a great talent for jazz! Titles include "Search For Soul", "Gotta Get It On", "Look Beyond That Hill", "Ain't Gon Change A Thing", and "A Message From The Inner City".

Great work from one of the funkiest periods in the career of the Jazz Crusaders – that point when they first dropped the "jazz" from their name, and started moving into groovier territory! The set's a bit electric, but never as much so as their later, bigger hits – just enough so that the basslines bump the tunes along strongly, and the keyboards start to sparkle in the mix too – but still leaving plenty of space for acoustic contributions on piano, trombone, and tenor. Arthur Adams joins the group for a bit of guitar, which is well-placed – and titles include the massive "Pass The Plate" medley, which runs for over 15 minutes – plus "Young Rabbits 71/72", "Goin' Down South", "Listen & You'll See", "Greasy Spoon", and "Treat Me Like Ya Treat Yaself".

Solo sounds from Crusaders reedman Wilton Felder – a really great set that's very much in the best vibe of his larger group at the time – yet one that also offers up a stronger focus on Wilton's sublime solo work on tenor! The album's got plenty of Crusaders help on board – given that Stix Hooper and Joe Sample produced the set along with Wilton – and the vibe's a wonderful blend of electric backings, with especially great keyboard lines, and Felder's well-phrased saxophone lines over the top! A few cuts feature vocals – sung by Angela Bryant or Debbie Demoia Ross – and titles include "We All Have A Star", "I Know Who I Am", "The Cycles Of Time", "Why Believe", "Ride On", and "You & Me & Ecstasy".

Early soul jazz piano work from Takehiro Honda – recorded in a style that's quite different than most of his later albums! The sound here is full and rich – with Honda's work on the keys augmented by fuller backings arranged by Teddy Adams – all recorded in the US (we think), with a quality that's a fair bit like some of the best soul jazz coming out of LA at the end of the 60s! Honda plays both acoustic and electric piano – and the groove has a hiply vamping style that's always verging on funky, but which is a bit more laidback overall. The record echoes with plenty of the best influences from Les McCann, The Crusaders, Gerald Wilson, and other west coast soul jazz figures – and titles include "Greasy Spoon", "Sham Time", "Ain't Tell You A Good Way But", "Ain't It Funky Now", "What's Going On", and "Check Out Your Mind"

Despite the fact that most of these guys participated in some of the best funky fusion records coming out of the 70s west coast scene, this record's not what it should be – especially when you consider it's got players like George Bohannon, Ernie Watts, and Oscar Brashear. Still, it's not a bad bit of pop funky fusion – in sort of a later Crusaders mode – and it does feature some vocals by Syreeta and Denices Williams. Titles include "Suite Syreeta", "Kwanzaa", "Well", and "Funk De Mambo".

A stone classic from reedman Ronnie Laws – and an album that really helped set a whole new standard for funky fusion in the 70s! Laws works here with great Wayne Henderson production – which gives the album an even sharper sound than other Blue Note sets of this vintage – and that kind of tight blend of funk and jazz you'd find in the Crusaders, with a similar no-nonsense approach in the grooves! Henderson's got a great way of never being too smooth – and Laws responds with some wicked solos on tenor, soprano sax, and flute – soaring out over the course of the whole wonderful album. Titles include "Goodtime Ride", "Just Love", "Saturday Evening", "Friends & Strangers", "Nuthin Bout Nuthin", "New Day", and "Same Old Story".

One of those records you see so much it's easy to forget how great it is! Grover's a real genius with the sax on this record – taking a "less is more" cue from Stanley Turrentine's 70s work, and toning down his playing to an even tighter style than on the Kudu albums of earlier years, to a level of ultimate economy that really leaves us breathless. Sure, the record's not a raw bit of funkety funk – but we're just as enthralled at pure commercial genius as we are at unbridled underground talent, and this album's a masterpiece of pacing, playing, and presentation that shows Washington still steeped in the soul jazz roots from whence he came, brilliantly focused on reaching a larger audience through economical use of his genius. He hits a rarified level here that we'd only reserve for a small few – like Steely Dan or The Crusaders, both groups who teeter on the same brink, and make it work perfectly. Titles include "Asia's Theme", "Tell Me About It Now", "Feel It Comin", "Icey", and "The Answer In Your Eyes".

Blue Note Records plays the Beatles – on a great set of grooves that runs back to the 60s, and includes some other more recent performances of tunes first made famous by the Fab Four! The collection is heavy on soulful jazz numbers that really show off the sharp changes of Beatles tunes – the way they can be surprisingly great vehicles for jazzy expression, when in the hands of the right artists! Some cuts are from related Blue Note labels, some from the original – and titles include "Get Back" by The Jazz Crusaders, "Can't Buy Me Love" by Stanley Turrentine, "I Want To Hold Your Hand" by Grant Green, "Oh Darling" by Joe Williams, "Yesterday" by Lee Morgan, "Hey Jude" by Jazz Crusaders, "Eleanor Rigby" by Three Sounds, "Come Together" by Cassandra Wilson & Dianne Reeves, and "Day In The Life" by Grant Green.

A killer follow-up to the earlier Nigeria 70 compilation on Strut Records – a second set that digs even deeper than before, and one that shows a huge range of Nigerian grooves from the 70s! The styles here go way beyond familiar Afro Funk – and the rhythms here are often quite complicated – rootsy at times, modern at others – and served up in a blend of acoustic and electric instrumentation that dances together wonderfully! Most numbers have vocals, but those are often delivered as rhythmically as the instrumentation – and the package is filled with under-reissued gems that make the package an essential addition to any collection of global grooves. As with other sets on the newly-revived Strut label, there's full notes on the music and track-by-track details – all supporting a set list of 16 titles that includes "Everybody Likes Something Good" by Ify Jerry Krusade, "Yabis" by Sir Shina Peters & His International Stars, "Onyame" by Ashanti Afrika Jah, "Ezuku Buzo" by Bola Johnson & His Eazy Life Top Beats, "African Dialects" by Peter King, "You Are My Heart" by Rex Williams, "Hot Tears" by The Immortals, "Dododo (Ekassa No 1)" by Sir Victor Uwaifo & His Melody Maestros, "Happy Survival" by Ifeanyi Eddie Okwedy & His Maymores Dance Band, "Tug Of War" by The Faces, "Ire Africa" by Chief Checker, and "Eddie Quansa" by Peacocks Guitar Band.

A shapely set of grooves from the Tru Thoughts label – a double-length set at half the price of a regular CD – and one that also features a fair bit of rare mixes and hard to find tracks! The package is a great way to dip into the richness of the label – one of the few leftfield imprints that are still going strong these days, and continuing to push boundaries with its fresh approach to a 21st Century groove. Creative production and soulful vocals abound – and titles include "Heroine" by Freddie Cruger & Anthony Mills Are Wildcookie, "Sleepwalker (Ambassadeurs rmx)" by Nostalgia 77, "Darkrum" by Anchorsong, "The Why" by Mark De Clive-Lowe, "Swing Samba" by Drumagick, "Big Fat Liar" by Kinny, "Fairplay (Zed Bias old skool mix)" by Zed Bias, "Sleepwalker (Lanu rmx)" by Nostalgia 77, and "Crash & Burn (Hint club mix)" by Hint. 2CD set features 29 tracks in all!

A shapely set of grooves from the Tru Thoughts label – and one that also features a fair bit of rare mixes and hard to find tracks! The package is a great way to dip into the richness of the label – one of the few leftfield imprints that are still going strong these days, and continuing to push boundaries with its fresh approach to a 21st Century groove. Creative production and soulful vocals abound – and titles include "Heroine" by Freddie Cruger & Anthony Mills Are Wildcookie, "Sleepwalker (Ambassadeurs rmx)" by Nostalgia 77, "Darkrum" by Anchorsong, "The Why" by Mark De Clive-Lowe, "Swing Samba" by Drumagick, "Big Fat Liar" by Kinny, "Fairplay (Zed Bias old skool mix)" by Zed Bias, "Sleepwalker (Lanu rmx)" by Nostalgia 77, and "Crash & Burn (Hint club mix)" by Hint. 2LP set features 12 tracks – and also includes a CD of the full album, with 29 tracks in all!

The Crusaders standing tall at the start of the 80s – getting great grooves from the lean trio of Wilton Felder on saxes and bass, Joe Sample on keyboards, and Stix Hooper on drums! The mighty Barry Finnerty handles most of the guitar solos here – although David T Walker also plays a bit too – and other high-end guests round out the sound with a very professional feel, including Billy Preston on organ, Marcus Miller on bass, and Larry Carlton on more guitar. As with other Crusaders albums of this vintage, vocals play a part in the sound – sung here by Joe Cocker on two tracks, sounding almost better here than on his own material. Titles include "Standing Tall", "This Old World's Too Funky For Me", "Luckenbach Texas", "The Longest Night", and "Sunshine In Your Eyes".

From bop to swing – and everything in between! The album's an 80s reissue of a classic performance by Charlie Ventura – recorded in Pasadena in 1949, with his septet that included Benny Green on trombone, Boots Mussuli on alto, and vocalese bits by Jackie & Roy! Ventura was a key link in two jazz traditions of the late 40s, and with help from Green and Mussuli, he really cuts things up on the set. Jackie & Roy sing on "East Of Suez", "Euphoria", and "I'm Forever Blowing Bubbles" – and other tunes include "If I Had You", "Fine & Dandy", and "How High The Moon".