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A crossover classic from Deborah Cox – a record that's filled with plenty of tuneful tracks, yet sung with a surprising depth of soul! Production is top-shelf on most numbers – and is often in that great 90s mode that's reintroducing warmer sounds that had slipped out of soul music the decade before – yet still working with just the right sort of bottom beats to keep the music contemporary. Cox really shines in this setting – free to really stretch out her vocals, even on grooves so great she could have gotten away with a lot less. Titles include "I'm Your Natural Woman", "My Radio", "Never Gonna Break My Heart Again", "My First Night With You", "Just Be Good To Me", "The Sound Of My Tears", "Who Do You Love", and "Sentimental".

A later effort from James D-Train Williams, but still plenty darn great – and proof that his groove was still one of the strongest in 80s soul music! The style of the set follows from Williams' best earlier work – a bit of bounce at the bottom of most of the tracks, but never too much – just enough to make the titles bubble with enough electricity to carry through the catchiest hooks of the lyrics. Instrumentation includes a fair bit of 80s drum machine rhythms, offset by the deeper soul of Williams' vocals – and titles include "Curious", "Runner", "In Your Eyes", "Order In The House", "Smile", "Runner (dub mix)", "With All My Heart", and "Shadow Of Another Love".

Amazing! Earth Wind & Fire's ultimate moment of the 70s – and a perfect blending of all their influences that stands as a lasting tribute to their super-huge effect on soul music! The record features all aspects of the band coming into perfect cohesion – bassy funk, mellow soul, and afrocentric jazz – all expertly handled by the great Charles Stepney, who still has the same rich talent for blending styles that he had while working at Chess/Cadet during the glory days of the late 60s. Some of these songs have been played to death (and covered so much) over the years that it's often easy to forget what a crowning moment this was for former underground soul heroes Earth Wind & Fire – but we'll never cease to be amazed at the power of their mid 70s work, and this album's the best of the best. Titles include "Shining Star", "That's The Way Of The World", "Reasons", "Africano", "See The Light", and "Happy Feelin". CD also features 5 bonus tracks – "Shining Star (future star)", "All About Love (first impressions)", "Happy Feelin (anatomy of a groove)", "Caribou Chaser (jazzy jam)", and "That's The Way Of The World (Latin expedition)".

A great little score from that time when Italian westerns were able to mix in equal parts humor and action – served up here in a buddy film that's got a bit of a Butch & Sundance vibe! The music is maybe more 60s playful than you'd expect – still often sweeping in a western style, but often underscored with comedic elements that correspond to some of the more offbeat action on the screen. Even the tenser moments have a sort of comedy quality – and feel more like heist-style numbers than the usual western styles – but that could also be due to the groovier modes normally used by Gianni Ferrio. This expanded edition features a heck of a lot of tracks – way more than any previous version – including vocal numbers by Lilian Terry and by the team of John Ireson and Wayne Parham. Titles include "Falling In Love With A Pretty Girl", "Young Man Go West", "Two Not So Peaceful Brothers", "Monty & Ted", "Let's Keep Our Fingers Crossed", and "Working Hard".

One of those records that no home should be without – not only a pivotal album in the growth of bossa nova in the 60s – but a set that also really helped set the career of tenorist Stan Getz on fire! The real credit here might almost go to guitarist Charlie Byrd – as Byrd was a big early proponent of bossa nova rhythms, and had already been experimenting with them on his records of the time – yet also gets a key extra "umph" here in the presence of Stan's tenor – a bold, rich, soulful sound that really helps give the music a lot of direction – in ways that still resonate strongly all these many years later! Getz is completely sublime – a master of tone and timing throughout – and perfectly fit to these tunes. Rhythms are mostly from Byrd's trio, augmented with some extra percussion – and titles include the classic "Desafinado", plus "E Luxo So", "Samba Dees Days", "Samba Triste", "O Pato", "Samba De Uma Nota So", and "Baia". This is the Verve master edition with 20-bit remastering, bonus track, new liner notes, photographs, cover art & more.

The Isleys sure aren't out to prevent teen pregnancy with the title of this set – but given the strength of the album, we can easily forgive them for any lack of social consciousness! In an era when countless young artists are copping the Isley groove of the 70s, the Brothers are back to show the world that they still do it best – with Ronald's vocals crackling sweetly over the top of the tunes, and plenty of classic guitar from Ernie on the bottom! Tunes are all in that vein that the Isley's virtually invented back in the day – mellowly stepping along a gentle groove that's perfect for the aging sound of Ronnie's voice – and although production is by a host of younger talents who include R Kelly, Jermaine Dupri, Manuel Seal, Troy Taylor, and Tim Kelley and Bob Robinson, the overall sound is still very firmly in a classic Isleys mode! Titles include "Blast Off", "Heaven Hooked Us Up", "Forever Mackin", "Pretty Woman", "Gotta Be With You", "You're My Star", and "Just Came Here To Chill".

Neither pop nor fusion – but a great little record that reminds us why we love William Kurk so much! There's definitely some of the jazzy styles promised by the title, but they're mixed in with Kurk's inventive approach to soul music – warm instrumentation wrapped around compelling lyricism, but in a bouncy, playful way that's light years from the usual! This time around, there's a slight echo of 80s ideals – not so much in the music, which still has lots of 70s warmth – but in the criss-crossing of modes, and in the way that acoustic and electric elements are used together to create a really full sound. Titles include "9 by 3", "Revenge Of Mega Man", "Star Of The Sky", "All Of The Time", "Moonrise", "2012", and "Dragon Force".

A nice little take on the "city symphony" mode that was big in American music a few decades back – served up by the Wynton Marsalis Septet of the early 90s, with decidedly modern touches! The double-length album's a three-tiered affair – with part one standing out as Wynton's extended "Cityscape" – a tribute to New York, done in styles that range from mellow and contemplative, to more hustling and bustling, in true speed of the city. Next up is another suite of tracks titled "Transatlantic Echoes" – work that's still jazz-based, but with a nod to African roots in some of the percussion and phrasing. Last up is "Some Present Moments Of The Future" – the final suite of the album, and one that almost echoes some of the rootsier modes explored by Wynton in his southern trilogy of a few years before. Players include Wynton on trumpet, Todd Williams on tenor and soprano sax, Wes Anderson on alto, Wycliffe Gordon on trombone, Reginald Veal on bass, Herlin Riley on drums, and Eric Reed on piano – and the album also features some guest tenor from Herb Harris and a bit of piano by Marthaniel Roberts.

A massive return to form for Maxwell – his first album in many years, but definitely well worth the wait! The set's supposedly the start of a trilogy – but hell, we're more than happy to have it all on its own – a wonderful reminder of the deeply soulful sound that first made us fall in love with Maxwell's music many years back – at a time when few mainstream soul artists could hit such a classic vibe – equally amazing all these years later, as Maxwell's still doing it better than most! Tunes are beautifully-written – straightforward, without any gimmicks, and cascading in warm beats, laidback grooves, and those sweetly crackling vocals that make Maxwell a winner on both mellow and funky numbers. Titles include "Bad Habits", "Cold", "Pretty Wings", "Playing Possum", "Phoenix Rise", "Stop The World", and "Love You".

A title and cover that beautifully illustrate the sharp-edged power of the Thelonious Monk quartet on Columbia – and a wonderful place to start if you're just digging Thelonious' music! The record is similar to the best of Monk's Columbia sides – in that it revisits older tunes and themes from previous years, but in a way that's often much better than the original recordings – thanks to some incredible energy between group members Charlie Rouse on tenor, John Ore on bass, and Frankie Dunlop on drums! Rouse's sharp horn is easily a real bnous here – as it dances beautifully with Monk's piano lines and creates a magical sense of juxtaposition and fluidity, but is still nicely earthy and soulful as well! Titles include "Criss Cross", "Think Of One", "Eronel", "Hackensack", "Rhythm-a-Ning", and "Crepuscule With Nellie". This CD bonus tracks on the the original album: "Coming On The Hudson","Tea For Two" and "Eronel".

Thelonious Monk plays the music of Duke Ellington – but as you can imagine, the sound here is quite different than usual! At a time when Ellington was working mostly in large group format for the mainstream, Monk's presentation of his standards in trio format is a wonderful way to unlock their nascent modernism – the angular tones, lines, and complex ideas that were still present in the orchestra readings of the tunes, but which would show up even more strongly in Duke's smaller group dates of the 60s. Many numbers bear the familiar Monk imprint – complicated lines on the keys and sharp changes that really reignite the numbers – and rhythm here is from Oscar Pettiford on bass and Kenny Clarke on drums. Titles include "Mood Indigo", "It Don't Mean A Thing", "I Got It Bad and That Ain't Good", and "Caravan".

A dancefloor classic – one of the strongest albums ever by Al Hudson, Alicia Meyers, and the whole One Way crew! The record's got a sweet soulful feel that provides a nice counterpoint to its bass-heavy grooves – popping along at that midtempo pace that was Al's popular remedy for disco on the dancefloor, and which had a crucial effect on soul at the time. The album still plays mighty big here in Chicago, where a classic 80s groove can reign supreme if it's strong enough – and tracks include "You Can Do It", "I Am Under Your Spell", "Music", "Come Dance With Me", and "Now That I Found You".

Although there's been a few "best of" collections out already by this legendary Brazilian rock group – this volume still stands as the most nicely-selected batch of tracks, and it comes complete with great liner notes that help you really navigate and understand their music. There's a total of 14 cuts in all – including an English and Portuguese reading of the famous "Baby", plus the tunes "Ave Lucifer", "Desculpe, Babe", "Adeus Maria Fulo", "Panis Et Circensis", "Bat Macumba", "Dia 36", and "Fuga No II".

Quite possibly the biggest early moment of US fame for Roxy Music – thanks to the classic "Love Is The Drug", which kicks off the album and is easily one of the group's best-known tunes of the 70s! The album tightens things up slightly from the sound of Country Life before – not as many dark corners, but still plenty of the offbeat styles that make these early Roxy Music albums so great – with none of the softer styles that took over during the early 80s years. Other tracks include "End Of The Line", "Sentimental Fool", "She Sells", "Could It Happen To Me", "Both Ends Burning", "Just Another High", and "Whirlwind".

A late date for Woody Shaw, but a great one too – a bit more straightforward than some of his more righteous albums of the 70s, but still proof that Shaw is easily one of the greatest trumpeters of his generation! The album's got a laidback sort of feel, and features a fair bit of familiar standards – but Woody and the group do plenty to transform them, especially on the solo spots. Shaw's leading a quintet here – with Steve Turre on trombone, Kirk Lightsey on piano, Ray Drummond on bass, and Carl Allen on drums – and titles include "Steve's Blues", "Dat Dere", "Imagination", "If I Were A Bell", "You & The Night & The Music", and "Stormy Weather".

Essential! When this one came out at the end of the 80's, it not only restored our faith in modern soul music, but it also drew the world's attention to the rich rich talents that had been bubbling under in London's mid 80's rare groove scene. The record's a classic, and most of the tracks still sound as fresh today as when they were first minted – probably because Jazzie B drew heavily upon a classic soul sound in his production style, which assured the album an instant place in the upper lineage of R&B! This very nicely repackaged "10th Anniversary" edition includes 6 bonus mixes that weren't on the original CD – for a total of 16 killer soul tracks, including "Jazzie's Groove", "Keep On Movin", "Back To Life" (in both the LP acapella and the 12" vocal versions), "Fairplay", and "Holdin' On". Great stuff, and surprisingly fresh!

Some of the darkest, most bracing music ever recorded by Throbbing Gristle – and a record that arguably captures the group at their best! The sounds here are virtually the blueprint for industrialism for years to come – loads of low-end sonic rumblings, with instrumentation distorted beyond any sense of recognition – yet used in ways that are often slightly tuneful, kind of sneaking in a sense of song through the back door – that odd combination that always made TG stand way ahead of most of their contemporary imitators! Genesis P is incredibly chilling, and the analogue electronics are breathtaking – and titles include the classic "Slug Bait", in a few different live iterations – plus "Maggot Death", "Industrial Introduction", and the soundtrack of the Coum film "After Cease To Exist". Still one of the all-time chilling classics!

A great take on the music of Charles Mingus – played by a combo with a nicely different flavor than the originals! The combo has a soulful, hardbop sort of energy – yet still also manages all the sharp changes, twists, and turns that make Mingus' music so great – a wonderful blend that almost feels like a 60s Blue Note session dedicated to Charles' music – although oddly, few artists were ever doing sets like that at the time! The lineup features killer trumpet from Jukka Eskola – a player we already love – plus alto and baritone from Mikko Innanen, tenor from Jussi Kannaste, drums from Andre Sumelius, and Hammond from Mikko Heleva. Obviously, the use of organ with Mingus compositions is quite a twist – but a great one too, and it really makes the tunes come alive in new ways! Titles include "Ecclusiastics", "Jump Monk", "Pithecanthropus Erectus", "What Love", "Jelly Roll", and "Fables Of Faubus".

Includes "Holy Smoke & Gee Whiz", "Let Me Know", "Thinking Of You", "Top Notch", "Let's Get Down", "Lovin You", "Don't Fall In Love", and "Still A Man". Excellent harmonies, and a warm classic soul sound!

A legendary pairing of two amazing artists – a once-in-a-lifetime performance from Caetano Veloso and David Byrne (and we don't mean that as a Talking Heads pun, either!) The album's got a stripped-down, acoustic feel that really lets both singers open up and dominate the proceedings – Caetano at first, in a presentation of some of his own songs – then Byrne on some of his music – all in an instrumental setting that features guitars from both singers, plus cello from Jacques Morelenbaum, and percussion from Mauro Refosco – starting from gentle spareness to more focused energy, a bit like the style used by Byrne in Stop Making Sense, yet still acoustic overall. The singers come together as the set moves on – clearly comfortable in a warm friendship – and titles include "Sampa", "Coracao Vagabundo", "Mahata", "The Revolution", "And She Was", "She Only Sleeps", "Life During Wartime", "Road To Nowhere", "Um Canto De Afoxe Para Bloco De Ile", "Terra", "Nothing But Flowers", and "Heaven".

A bit smoother and more focused than some of Stevie's earlier work from the 70s – perhaps because he'd been having some chart success with his slicker numbers, but still a pretty groundbreaking batch of grooves that must have been awesome to hear when it first came out! The record includes the slow-funk moog classic "Creepin", which has these wonderful washes of sound throughout, weird vocals by Stevie, and some drums that bump around in off-kilter little patterns just at the right moments. Also includes the hit "Boogie On Reggae Woman", plus "Too Shy To Say", "You Haven't Done Nothin", "It Ain't No Use", "Bird Of Beauty", and "Please Don't Go".

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".

16 tracks of Eddie's classic Stax sides, with a range of material that runs from 60s through 70s. A handful of big hits, and a big batch of lesser known, but still great Memphis soul from Floyd. Includes "I've Never Found A Girl (To Love Me Like You Do)", "Bring It Home To Me", "Check Me Out", "Soul Street", "I've Got To Have Your Love", "Blood Is Thicker Than Water", "Don't Tell Your Mama", "Why Is The Wine Sweeter (On The Other Side)", "California Girl", "My Girl", "The Best Years Of My Life", and "Yum Yum Yum (I Want Some)".

A bold score for a famous 70s astronaut film – penned by Jerry Goldsmith with almost the same sort of drama he might bring to a war thriller! The story itself is pretty dark – as the astronauts don't make it to space, but are forced into a Air Force base – and Goldsmith's music really follows suit – a really dominating set of orchestrations, with turgid rhythms at the bottom, blaring horn parts on the top, and offbeat instrumental phrases that sort of cascade down, almost in a claustrophobic way. There's less of the funkier or groovier moments you might know from earlier Goldsmith scores, but the soundtrack's still a great one, with a surprising amount of power, even away from the film. Titles include "Break Out", "The Message", "No Water", "Bedtime Story", "The Snake", "Kay's Theme", "The Letter", and "The Celebration".

One of the most tape-centric entries in this great Lost Reel series – given that the recordings here were pulled from a San Francisco rehearsal by Ra & The Arkestra – and still contain some evidence of the recorder turning on and off! But despite that technical element – which actually creates a nice little window into the way the band worked away from the stage, and focused on certain elements on their own – the music here is still plenty darn great, and offers up a rare glimpse of the group during a short SF residence. The tracks include a few "unidentified titles" – which, according to the notes, are numbers that possibly haven't appeared on other recordings – and players include Ra, John Gilmore, Marshall Allen, Danny Ray Thompson, and James Jackson. 2CD set features titles that include "Dance Of The Living Image", "Sometimes I'm Happy", "Astro Nation", "Hard Hearted Hannah", "Passin Gas", "Sophisticated Lady", "Watusi", and a few of those unidentified titles!

Not as freewheeling as some of Raymond Scott's earlier work, but still quite nice – a set that features added strings in the mix, but used with a sound that's every bit as wild and dynamic as some of Scot's small combo recordings! A few of the tunes are familiar Scott classics, others are a bit more obscure – and the arrangements are pure Raymond all the way through – light years away from conventional scores of the time, and produced with a sense of sound as weird as the music! Titles include "Toy Trumpet", "Boy Scout In Switzerland", "Twilight In Turkey", "Power House", and "In An 18th Century Drawing Room".

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".

Billy Stewart was one of the greatest soul singers ever to record for Chess (even though he wasn't from Chicago), and although his work for the label stretched from the early to the late 60's, he's not nearly as well-remembered as he should be. This set aims to correct that, and features 20 great tracks of some of the most unusual soul you'll ever hear. You may already know Billy's voice from his amazing crossover version of "Summertime" (which still shows up on oldies stations), but that's only the beginning of the way this stuff grooves, as the arrangements are fantastic, and have a tight punch and loping groove that will knock you off your feet. Tracks include the classic "Sitting In the Park" (later covered by GQ), "Cross My Heart", "Secret Love", "Tell Me The Truth", "Strange Feeling", "Fat Boy", and the nice version of "Every Day I Have the Blues", which begins with some tight funky drums. Great stuff throughout, and one of the truly unique voices in soul music!

A fabulous furry freak out from Frank Zappa – the start of a legendary run in the late 60s – and a record that is still as mindblowing now as it was all those many years back! There's a deadpan quality to the vocals that's unlike anything other groups were trying for at the time – a snotty aspect that's often forgotten amidst all the celebrations of Zappa's hippiedom, but which really makes the record stand out from the pack – giving it a kind of darkness that's a wonderful change from some of the too-earnest psych or folk rock elements of the period. Music is great too – and a lot more simple than in later years – a really tight blend of garage and psych that furthers the almost punky quality of the record. Titles include "The Return Of The Son Of Monster Magnet", "Motherly Love", "I Ain't Got No Heart", "Hungry Freaks Daddy", "Wowie Zowie", "You Didn't Try To Call Me", "Any Way The Wind Blows", and "I'm Not Satisfied".

Excellent live work by The Association – quite different than their earlier pop hits, but still with the same great harmony feel! The style here is in the rougher, more guitar-based mode of albums like Birthday and Stop Your Motor – and the band really sounds great in this live setting, which helps us to understand just how much of their magical sound came from the group itself, and not just Warner Brothers studio tricks. The set's got 22 tracks in all – 2LPs worth of music – and titles include "Dream Girl", "Goodbye Columbus", "I'll Be Your Man", "Never My Love", "Seven Man Band", "Cherish", "Requiem For The Masses", "Are You Ready", "Just About The Same", and "Along Comes Mary".

Angela Bofill's sublime first album – a mixture of jazzy soul and soulful jazz, all put together with a sound that's really a cut above most of her contemporaries! As with Jean Carn or Phyllis Hyman, there's a sophistication to Angela's sound here that indicates roots in much hipper territory that were still pulling strongly on her work for this mainstream set – a sound that runs deeper than you might expect for such a commercially successful record, and which has really kept it alive for years. Part of the strength of the set is the jazzy backings given the music – arranged by Dave Grusin, and carried off by himself on keyboards, with other players who include Eric Gale on guitar, Dave Valentin on reeds, Steve Gadd on drums, and Ralph MacDonald on percussion. There's a warmly glowing feel to the record that's neither slick or commercial – and titles include "Children Of The World United", "Summer Days", "Rough Times", "This Time I'll Be Sweeter", and "The Only Thing I Would Wish For".

The hippest comeback album to date from Al Green – a massively soulful set that we might well rank right up there with his classics from the 70s! Green's got some very hip help in the studio here – production help from James Poyser and Ahmir "?uestlove" Thompson – both of whom push the record past cliche, but also almost help Al sound even more classic than before! There's still a warm Memphis glow to most of the music, but the sound is somewhat leaner too – with a real focus on the best sort of elements that have always made Al Green sound so great – preserved perfectly in these years of his recent return to secular music. The album's got some great guest spots too – horns by The Dap-Kings, drums by ?uestlove, and vocals from Anthony Hamilton, Corinne Bailey Rae, and John Legend – but the show's still clearly all Al's, all the way through – because none of the younger talents ever get in the way of the man doing his thing – and doing it beautifully, too! Titles include "Lay It Down", "Take Your Time", "Too Much", "Just For Me", "You've Got The Love I Need", "Standing In The Rain", "I'm Wild About You", "What More Do You Want From Me", and "No One Like You".

Excellent work from Greyboy – his first album in years, and well worth the wait! The set shows considerable growth in his style – yet should still also be extremely pleasing to fans of his older work, as he's kept the commitment to mixing heavy hip hop beats with tight funky jazz, and only expanded the mood to incorporate a lot of new influences. The mood of the album is nice and dark – and although a few tracks feature hip hop lyrics from Main Flow, the real strength of the set is in the instrumental grooves – augmented here by guest appearances by Dave Pike and Elgin Park. Titles include "Ghetto Boogie", "Mastered The Art", "Hold It Down", "Marrakesh", "Dealin With The Archives", "Bath Music", "Logan's Run", "Smokescreen", and "Mastered The Art (Nicola Conte Jet Sounds rmx)".

The long-awaited second album from LaSonya Gunter – an artist who first grabbed our attention at the start of the century! The space of Neo Soul's changed a lot since LaSonya's first album, but she's definitely still strongly on top – with a great ear for a tightly funky groove, and a way of putting over a tune that avoids any excesses or crossover temptations. Her music's always right on the money, and there's a simple, elegant approach to the record that's a very nice change from some of the too-forced soul sets floating around these days. And yes, the cover image is a bit tortured, but don't let that put you off! Titles include "Go", "Sittin Here", "Sweet Surrender", "Mmm Hmm", "Doubt Of Love", "Sometimes", and "Here In NYC".

Jarrett's genre defining solo piano recording, one of what would become many, many documents of his improvised solo performances. While the music here is fully improvised, as nearly so as any music can be, it explores a more lyrical and contemplative side of improv than was the current approach to that sort of music at the time. Much maligned as well as lauded, this remains a watershed recording for improvised music in the 70s, and still sits well today. The original recording was divided into four sections to accommodate issue as a double LP, simply entitled "I", "IIa", "IIb" and "IIc".

On Sophisticated Lady, Julie London's got her hair up, and is wearing a classy gown – so you can bet that the feel of the record definitely follows through with the "sophisticated" promise of the title! Things are as mellow as on London's early classics for Liberty, but there's a bit more of an orchestrated feel too – fuller backings that couch her lovely vocals in a near-perfect array of strings – usually quite gentle, and often breaking away to give Julie that personal, solitary space that usually has her singing at her best. Titles include "Make It Another Old Fashioned Please", "Sophisticated Lady", "Remind Me", "You're Blase", "Spring Can Really Hang You Up The Most", and "Absent Minded Me". For The Night People is mature, mellow, and totally wonderful – clear proof that Julie London was still making great music well into the 60s! The album's got a simple, unassuming charm – very much in the late nite mode you'd guess from the title, with spare backings from Don Bagley that often have a key guitar line in the mix – working along with London's vocals in the same style as the mid 50s – but with a different feel overall – a bit more mature and world-wise, which makes for a perfect fit for tunes that include "I Got It Bad", "Here's That Rainy Day", "Am I Blue", "I'll Never Smile Again", "Can't Get Out Of This Mood", and "When The Sun Comes Out".

Stunning stuff – and one of the greatest Charles Mingus albums of all time – a true treasure recorded in that magical year of 1957, when Mingus was finally finding his strongest voice in modern music! The album's near-perfect from start to finish – as bold a statement in jazz as anyone might be allowed to make in the late 50s, yet still always focused, driven, and wrapped up with a tremendous sense of energy. The tracks are all quite long – perfect vehicles for Mingus to reach his full level of expression – played by a group that includes Curtis Porter on tenor and alto sax, Jimmy Knepper on trombone, Wade Legge on piano, and Dannie Richmond on drums – making an early appearance in his alliance with Mingus that would last for many many years. Titles include classic versions of "Haitian Fight Song", "Blue Cee", and "Reincarnation Of A Lovebird" – plus "The Clown", which features a long improvised monologue by Jean Shephard! The deluxe CD reissue includes two bonus tracks, "Passions of a Woman Loved" and "Tonight At Noon", and comes in a 5 inch cardboard sleeve.

The title's exploding with Mingus, and the album is too – a completely classic effort for Impulse Records that's easily one of Charles' best of the 60s! Things are reigned in somewhat from the Mingus years at Atlantic or Candid, but the sound is still great – almost more focused than before – with a sense of all the best qualities that Charles was finding in his music, laid out back to back in near-perfect formation! The group's full of great players – with reeds from Eric Dollphy, Booker Ervin, and Jerome Richardson – all of whom really contribute some deep tones to the album – and Jaki Byard's on piano, making one of his key Mingus appearances of the 60s. Titles include the massive "Better Get Hit In Yo' Soul" (the virtual Mingus "trademark" tune), plus the tracks "Celia", "Hora Decubitus", and "II B.S.". Plus, the CD features the bonus track "Freedom" – not on the original LP!

Thelonious Monk plays the music of Duke Ellington – but as you can imagine, the sound here is quite different than usual! At a time when Ellington was working mostly in large group format for the mainstream, Monk's presentation of his standards in trio format is a wonderful way to unlock their nascent modernism – the angular tones, lines, and complex ideas that were still present in the orchestra readings of the tunes, but which would show up even more strongly in Duke's smaller group dates of the 60s. Many numbers bear the familiar Monk imprint – complicated lines on the keys and sharp changes that really reignite the numbers – and rhythm here is from Oscar Pettiford on bass and Kenny Clarke on drums. Titles include "Mood Indigo", "It Don't Mean A Thing", "I Got It Bad and That Ain't Good", and "Caravan".

A late date for Woody Shaw, but a great one too – a bit more straightforward than some of his more righteous albums of the 70s, but still proof that Shaw is easily one of the greatest trumpeters of his generation! The album's got a laidback sort of feel, and features a fair bit of familiar standards – but Woody and the group do plenty to transform them, especially on the solo spots. Shaw's leading a quintet here – with Steve Turre on trombone, Kirk Lightsey on piano, Ray Drummond on bass, and Carl Allen on drums – and titles include "Steve's Blues", "Dat Dere", "Imagination", "If I Were A Bell", "You & The Night & The Music", and "Stormy Weather".