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Continuing proof that Meshell Ndegeocello is one of the most compelling soul singers of the past few decades – as she steps forth here in a tribute to Nina Simone, all with a rich criss-crossing of styles that's unlike any of her previous work! Meshell's vocals are right on the money – with a slight rasp that really suits Nina's spirit well – and the instrumental backings are mighty fresh, and really different than the straighter jazz you might expect from a staid Simone tribute – more in the mix of folk, rock, blues, and jazz elements that Nina used during some of her hippest sides for Philips Records in the 60s! Yet there's also a sparkle that's definitely Meshell's own, too – and the album also features guests work from Cody Chestnutt, Lizz Wright, Toshi Reagon, and others. Titles include "Suzanne", "House Of The Rising Sun", "Turn Me On", "Feeling Good", "Either Way I Lose", "Four Women", "To Be Young Gifted & Black", "See Line Woman", and "Be My Husband".

A real standout 70s set from Nina Simone – a one-off date for CTI Records, done with a sound that's different than her earlier work for RCA, Philips, and Colpix! The groove here is often as soul-based as it is vocal jazz – thanks to arrangements from David Matthews, who brings a similar sound here to his other work with Esther Phillips in the decade – another older singer who'd hit some very hip territory at the time. The groove here is very much like Phillips' best for Kudu – smooth and soulful, but in ways that still retain all the rasp and character of the lead vocals. Titles include a sublime reading of Randy Newman's excellent "Baltimore", plus "The Family", "My Father", "Music For Lovers", "Rich Girl", and "Balm In Gilead".

Quite possibly the greatest music that Nina Simone ever recorded – brought together beautifully in one compact yet complete set! Nina Simone recorded some great music before she hit the RCA label in the late 60s – but her time at that company really saw a flowering of her unique talents – a way of hitting a vibe that went way beyond familiar jazz vocals – stretching out into something more righteous, more powerful, and more moving than had ever been recorded before – a wealth of great sounds represented beautifully on the albums in this package! The set begins in familiar territory of her Philips Records years – jazz vocals, but with a folksy depth, and political undercurrent. Yet as things move on, the tunes open up, often get longer, and Simone's vocals get bold and powerful – sometimes with key help from a young Weldon Irvine – who wrote some of the best original tunes, and also worked with Nina on keyboards. The package features the full albums Nina Simone Sings The Blues, Silk & Soul, Nuff Said, Nina Simone & Piano, To Love Somebody, Black Gold, Here Comes The Sun, Emergency Ward, and It Is Finished – all in cool LP-styled sleeves, with a bonus booklet too!

Nina at her hippest – recorded in Europe in 1969, with small combo backing that includes Weldon Irvine on organ, Gene Perla on bass, and Don Alias on drums! The record also features two female backup singers on a few cuts – giving the album an almost Sweet Inspirations like touch at moments – but overall, the feel is straight hip Nina – that unique blend of soul, folk, and jazz that pushed things to the next level at the end of the 60s! Includes the great original "Revolution", plus the track "The Other Woman", "In The Morning", "Ain't Go No/I Got Life", "Save Me", and "To Love Somebody".

A pair of Colpix classics from Nina Simone – back to back on a single CD! First up is Nina Sings Ellington – but as always, she makes whatever she sings all her own! The album's a bit straighter than later efforts – with large backings by Stu Phillips that also feature vocals by the Malcolm Dodds Singers – but Nina also conceived the whole thing herself, as an effort to bring a new level of spiritualism to Ellington's work. The result is a masterpiece – proof that even in her early years, Nina could completely transform anything she laid her hands on – and unlock a soulful depth that even the original recordings might have missed. Titles include "I Got It Bad", "Solitude", "The Gal From Joe's", "It Don't Mean A Thing", and "I Like The Sunrise". Nina At Carnegie Hall is a hip set of live tracks from Nina Simone – very dark and moody, with backing by only a small combo that includes two guitars, bass, and drums by Montego Joe. The songs are incredibly spare, with an approach that's intimate and emotional – almost stunningly so, considering the size and scope of the venue that Nina was performing in. Features a 7 minute reading of "The Other Woman" and "Cotton Eyed Joe" – plus "Black Swan", "If You Knew", "Theme From Sayonara", and "Will I Find My Love Today".

A wonderful album from George Duke – and one of our favorite records from his legendary years at Columbia! George Duke's always had plenty of Brazilian elements in his music – but this album really brings them all together – offering up a perfect blend of Duke's keyboards and Cali soul with some key additions from the Rio scene of the time – a mix of singers and musicians who really help round out the sound and authenticate George's ears for Brazilian music! The album was actually recorded down in Rio – and features great contributions from Simone, Milton Nascimento, Roberto Silva, Toninho Horta, and Airto – all working beautifully under Duke's leadership, on cuts that include "Brazilian Love Affair", "Cravo E Canela", "Brazilian Sugar", "Sugarloaf Mountain", "Ao Que Vai Nascer", and "I Need You Now". CD features a single edit of "Brazilian Love Affair".

A huge musical treasure – a full unreleased album by Weldon Irvine, plus a bonus video as well! The music is from the stage play Young Gifted & Broke – a short-lived production by Weldon, and one that's done with some of the same hip modes he was bringing to his own music of the 70s – as well as to other artists as well, especially Nina Simone! The style's more jazz than funk, but is still mighty nice – as the instrumentation features loads of electric piano lines from Weldon, and a sparklingly soulful style that's way hipper than most of what you'd find on the stage at the time. Most tunes have lyrics, but are still heavy on Fender Rhodes lines from Weldon – and titles include "Karate Dancer", "Pity for The Man", "Black Lightning's Song", "Musical Interlude", "Comin Home", "We Got A Deal", "No Now Never None", and "Ghetto Lament". DVD features a documentary titled The Edification Of Weldon Irvine – filmed in 1979 by Collis Davis – partly on the play, but also on Irvine and his music too – a beautiful document with footage in both color and black and white. DVD also has subtitles in Japanese – but is in English throughout.

Bits of jazz and bits of soul, perfectly folded together with a raspy brilliance that really grabs our attention – a subtle depth of singing that almost takes us back to Nina Simone at times, but which also has some leaner 21s Century styles that are mighty nice too! Malia's vocals alone are plenty great – but the album's also got these great gentle instrumentations – bits of vibes, organ, guitar, and drums – used in simple ways that almost have a Brownswood Recordings sort of vibe – as if this record were a female equivalent to Jose James' great work for that label! Titles include loads of Nina Simone numbers – and tracks include "Four Women", "If You Go Away", "Don't Explain", "Baltimore", "Feeling Good", "Wild Is The Wind", and "Marriage Is For Old Folks".

A definite breakout from Louisa Mark – a set of smooth-stepping rhythms with plenty of Jamaican elements in the mix – yet served up in a warm London vibe that's plenty soulful too! The mix of modes is great – and makes the record a lovers' rock classic right from the get-go – and a great evolution of 70s reggae into some soulful styles for the 80s! Producer Clem Bushay does a great job with the music – keeping things tight, yet never in a way that's commercial at all – just compressed enough to let Louisa's vocals really sparkle in the lead. There's a heartbreaking quality to most tunes – an element that really furthers the soul music aspect of the record – and titles include "Reunited", "People In Love", "6 Six Street", "Even Though You're Gone", "Baby Simone", and "He Used To Be My Man". Also features bonus tracks – "Gone Out" by Louisa Mark with Bushranger, "Step It Brother Clem" by Trinity, and "Natty Go Dey Voluntarily" by Jah Son.

A smashing 2CD set – one that features two very compelling albums from the lovely Maysa! First up is a self-titled album from 1964 – one of Maysa's first efforts ever, and done in the sweet style of the legendary Elenco label! The set's a live one, and features light bossa arrangements by Eumir Deodato – played by a combo that includes Deodato himself on organ and piano, plus vibes by the engimatic Ugo! Maysa's vocal tone still has some of the drama of later years, but the bossa arrangements really give the whole thing a lighter, livelier feel – one that we really love! Titles include "Demais", "I've Got You Under My Skin", "Dindi", "Bouquet De Izabel", "Fim De Noite", and "Bom De Tristeza". Ando So Numa Multidao De Amores is a great one from 1970 – a record that features some great arrangements by Luiz Eca and Roberto Menescal, both of whom give the album a gentle glide that offsets the emotive quality of Maysa's vocals nicely. Titles include "Que Eu Canse E Descanse", "As Praias Desertas", "Quando Chegares", "Bonita", "Suas Maos", "Eu", "Assim Na Terra Como No Ceu", "Molambo", and "Yo Sin Ti". Plus, the CD also features a number of bonus tracks too – including "Historia De Amor", "Homem De Bem", "Depois De Tanto Tempo", "Tema De Simone", and "Nosso Caminho".

A surprisingly sensitive score from Philippe Rombi – especially given the more playful look of the cover! The orchestrations make great use of simple but effective woodwind passages, augmented by strings – often used in relatively short numbers, but with a really evocative feel in the end. Titles include "Arrivee Au Village", "A Travers Champs", "Paul Et Simone", "A La Mode De Paris", "Le Duel", "La Lettre Et Le Feu", and "Final".

Rare grooves in many flavors – a wonderful collection of rare gems from the American 70s underground – and a set that's overflowing with cuts from some of the most valuable albums of the period! The core vibe here is jazz, but there's also a lot more going on too – bits of funk, some spiritual touches, and some downright soulful moments too – all presented in a set of tracks that really lives up to the "deep" in the title – a bit like Gilles Peterson pulling together music of this nature, but as if he dug even deeper than usual! Titles include "Shake Your Poo Poo (45 version)" by Earl Carter & The Fantastic 6, "Vaya Mulatto" by Stone Alliance, "Free Man" by George Freeman, "African Rhythms (45 version part 1)" by Oneness Of Juju, "Mr PC" by Mike Selesia, "Destroy The Nihilist Picnic" by London Experimental Jazz Quartet, "Intergalactic Love Song (alt mix)" by The Diddys with Paige Douglas, "Ain't Got No I Got Life" by Nina Simone, "Only Yesterday" by Weldon Irvine, "Afra Jum (alt take)" by Francisco Mora Catlett, and "Dream Come True (part 1)" by Three Of Us.

Titles include "After The Shower", "Ball's Caprice", "Move Em Out", "Simone", "Pink Panther Theme 78", and "Almond Eyes".

A bit of ballads, but probably a bit more blues too – given that Joe Locke's approach here is mighty darn soulful, and really keeps things moving nicely – even during mellow moments! Locke bills the album as dedicated to folks who've worked a hard day, and need to slow down in the evening – yet the style here is as fresh and complex as most of his other work, and hardly the kind of soporific outing you'd expect. Locke's work on the vibes is as deft as ever – and his trio here has a nice punch, even when moving a bit slowly – thanks to work from Ryan Cohan on piano, Jaimeo Brown on drums, and David Finck on bass. The set features a great version of "Ain't No Sunshine", taken at a funky clip – plus "This New October", "Simone", "I Can't Make You Love Me", "Bittersweet", and "Broken Toy".

One of a rare few albums ever from singer Patty Waters – an extremely experimental vocalist who was part of the mid 60s ESP Records scene! Patty was one of the first to ever go way past conventional singing – and work more in a vocalizing style that had just begun in avant classical – often more concerned with sounds and shapes than melody and music! Sometimes, though, she hits a surprisingly soulful note – almost a touch of Nina Simone's righteousness, before moving into more experimental territory once again. Waters is almost the Cathy Berberian of the jazz vocal world – and works here with a hip ESP lineup that features either Dave Burrell, Burton Greene, or Ran Blake on piano – depending on the track – plus Giuseppi Logan on flute, Perry Lind on bass, and Scobe Stroman on drums. The set was recorded live, but with great fidelity that really respects the subtle moments of Waters' vocals – and titles include "Wild Is The Wind", "Song Of Clifford", "Song Of The One I Love" and "Song Of Life With Hush Little Baby".

One of 2 ESP sessions by Patty Waters – one of the most groundbreaking vocalists of the 60s, and a singer with a style that mixed equal parts jazz and folk! In a way, Patty's got a sound that's somewhat like Nina Simone at her best – in that she dominates a tune completely, singing as if she's speaking – and infusing it with a raspily personal mode that goes far deeper than simple interpretation. The difference, of course, is that most of Waters' material is all original, so the themes aren't nearly as restrictive as some of the covers that Simone had to re-interpret – but there's certainly a mode here that explores freedoms within limits, and which should have made Waters a much bigger influence in her generation. All material on the set was recorded during a 1966 tour of the state colleges of New York – with backings by Burton Greene on piano, Steve Tintweiss on bass, and Tom Price on percussion – and titles include "Moon Don't Come Up Tonight", "Why Can't I Come To You", "You Thrill Me", "Sad Am I Glad Am I", and "Black Is The Color Of My True Love's Hair".

The oft-covered Bob Dylan songbook never sounds so soulful – classic interpretations of Dylan's canon from a great, far reaching roster of black artists – from the the ever-stirring Staple Singers, southern soul heroes Howard Tate and OV Wright, charismatic country soul from Brook Benton, great gender role perspective flipped versions by Nina Simone and Patti LaBelle, a funky tamborine take by Con Funk Shun and much more! It’s another excellent entry in the Songwriter Series from Ace Records, extra excellent in that it takes an obvious hero of 60s Songwriter – and actually pulls together songs that'll take you by surprise for their depth – whether you treasure Dylan, deep 60s & 70s solo & group R&B, funk, folk soul...or all of the above! Includes "Blowin In The Wind" by OV Wright, "Girl From The North Country" by Howard Tate, "The Man In Me" by The Persuations, "Lay lady Lay" by The Isley Brothers, "Emotionally Yours" by The O'Jays, "All Along The Watchtower" by Bobby Womack, "Maggie's Farm" by Soloman Burke, "Mr. Tamborine Man" by Con Funk Shun and more. 20 tracks in all.

A jazz dance delight! This rare 1975 album is a real gem – a set of slightly funky soul jazz and modal numbers by French saxophonist Jacques Pelzer, grooving around with the warmth of our favorite sessions on MPS! The group's a quartet – with Pelzer's daughter Micheline on drums and vocals – and the set's the kind of record that keeps us digging for rare jazz albums over the years, especially this sort of European one that we might have missed the first time around. Titles include "Simone", "Naima", "Face Reality", and "Song For Rene".

Attica Blues, and beyond – a great late 70s performance that has Archie Shepp turning the clock back towards that famous album – but also making some very new grooves with a richly expanded lineup! The double-length set was recorded in Paris, in front of a very lively crowd – and it's honestly one of Shepp's most dynamic records from the time – definitely inspired by all the freedom he'd had in the French scene for the previous decade – yet also brought together with a great sense of focus too. The lineup is excellent – with vocals from Joe Lee Wilson and Irene Datcher – trumpets from Malachi Thompson, Charles McGhee, and Roy Burrowes; trombones from Charles Greenlee, Dick Griffin, and Steve Turre; reeds from Marion Brown, James Ware, and Marvin Blackman; plus piano from Art Matthews, some added strings, great percussion, and piano, tenor, and soprano sax from Shepp himself! Ray Copeland directs the group – giving it the hip focus of his few key recordings like this – and titles include "Star Love", "Moon Bees", "Attica Blues" (in two parts), "Steam", "Quiet Dawn", "Hi Fly", "U-Jaama", "Ballad For A Child", "Simone", "Crucificado", :A Change Has Come Over Me", "Goodbye Sweet Pops", and "Skippin'".

Incredible postwar bop recordings by one of the hippest groups in Germany! During the 50s, pianist Jutta Hipp cut a number of straighter sides for Blue Note that were recorded in the US – but this CD features earlier German recordings, some later issued by Blue Note – all done with a killer quintet that features a young Joki Freund on tenor sax and Emil Mangelsdorff on alto! Jutta's core trio features Hans Kresse on bass and Karl Sanner on drums – but the real charm of the records is the horn players – working with amazing interplay that really makes the record shine – working in unison on many of the intros to the songs, cutting back and forth like a double-edged sword, then breaking out into wonderfully compact solos that easily rival the best of the west coast at the time! Titles include "Cleopatra", "Mon Petit", "Yogi", "Variations", "Laura", "Simone", "Two Oranges", and "Cool Dogs".

Rahsaan Roland Kirk takes on "other folks music" – that is, a host of tunes penned by other jazz artists – but as you'd expect, there's a really personal feel to the record overall – one that definitely makes the music Kirk's own by the end of the set! The album's a bit more subdued than some of his previous records, but no less creative – as there's a wonderfully understated quality to the record that really cements its charm – that undeniable Kirk genius at work, amidst an inventive lineup that includes Truty Pitts on electric piano, Hilton Ruiz on acoustic piano, Gloria Agnosti on harp, Richard Williams on trumpet, Roy Haynes on drums – and Roland himself on a great range of reeds – including tenor, flute, manzello, stritchaphone, reed trumpet, and harmonica! Titles include a great reworking of Frank Foster's "Simone", plus versions of Hilton Ruiz' "Arrival" , Trudy Pitts' "Anysha", Charlie Parker's "Donna Lee", and Kirk's own "Water For Robeson & Williams".

Looking for funky Brazilian grooves? You'd have a hard time doing better than this tasty little set – 20 slices of rare soul, funk, and jazzy tunes from the Brazilian scene of the 70s – all hand-picked by Patrick "Da Lata" Forge! The set's a tremendous introduction to the wealth of great music from this time – and brings together a number of cuts that have crossed over big on the global groove scene inspired by Forge and Gilles Peterson, plus a number of other tracks that are lesser-known but equally great as the rest! Grooves often mix together electric and acoustic sounds, traditional and modern instrumentation, and feature arrangements that offer a whole new approach to rhythm than you'd hear in American work from the same stretch – a really amazing sound that's presented perfectly here! Titles include "Garra" by Marcos Valle, "Bola De Meia Bola De Gude" by 14 Bis, "Tudo Que Voce Podia Ser" by Simone, "Maita" by Doris Monteiro, "Baoba" by Claudia, "Nereci" by Djavan, "No Baixo Do Sepateiro" by Meirelles, "Embalo Diferente" by Os Devaneios, "Que Bandeira" by Evinha, "Aquelas Coisas Todas" by Toninho Horta, "Algo No Ar" by Marcelo, "Banana" by Joyce, and "Trem Da Central" by Claudio Jorge.

Not really a Goblin soundtrack, so much as a soundtrack project by some of the band's members – Claudio Simonetti, Massimo Morante, and Fabio Pignatelli – but still a nice one, with most of the group's classic elements firmly in place! The score's a great counterpart to this very odd Dario Argento film about a novelist turned murderer – and it's filled with lots of spacey keyboards, fuzzy guitars, and the kind of weird atmospheric bits you'd expect from an early 80s horror film! The CD includes a total of 19 chilling tracks, with a number of bonus cuts, a few of them remixes. Titles include "Slow Circus", "Lesbo", "Jane Mirror", "Waiting Death", and "Gemini".

An Italian horror extravaganza – a set devoted to the films of Dario Argento, and the music that went with them! The set's a distillation of a previous hardcover edition – and features a nicely-done 32 page booklet filled with gripping images from Argento's classic spooky films of the 70s and early 80s – and the CD features loads of great creepy music, with 16 cuts that include "Placcaggio" and "Ninna Nanna In Blue" by Ennio Morricone, "Profondo Rosso" and "Mad Puppet" by Goblin, "Inferno" by Keith Emerson, "Suspiria" and "Tenebre" by Claudio Simonetti, "Steel Grave" by Steel Grave, "Trauma" by Pino Donaggio, and "Dark Dreams" by Signor Wolf – a tribute track added to the package!