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A return to Stax by Rance Allen – his first album for the label after a stellar set for Capitol, and a much smoother set than before! Rance has learned from his work with Larry Mizell on Capitol, and is using a warmer glide on his tracks on this set – arrangements mostly done by producer Henry Cosby, used to kick Rance's sound up to a smoother modern soul kind of sound. The overall groove isn't as spacious as his work on Capitol, but the record's still pretty darn nice – and given Rance's always-great vocals, we tend to love just about anything he does. Titles include "Stand Up For Love", "I Belong To You", "Joy", "Security", "California Gold", "I Found A Friend", and "The Wheel Of Life".

Carl Craig meets Tony Allen – in a wonderfully warm remix of Allen's "Kilode"! Craig really helps add a lot to the tune here – taking the strong vocals and forceful rhythms of the original, and inflecting them with a slight bit of spacier soul – not nearly as cold or abstract as some of Carl's other work at first, but then really running away with some heavier bass near the end!

Hard to find vinyl pressing of their second LP, from 1993. Das Efx drop the bliggety-liggety rhyme style here, but keep up the syllabic tempo with tongue tripping rhymes over the head nodding Solid Scheme beats. You've heard us an just about anyone else with an opinion about hip hop history go on and on about the golden years of the early 90s, and this great album stands as further proof that the period will hold it's own in the pages of history. With the tracks "Baknaffek", "Wontu", "Check It Out", "Undaground Rappa", "Gimme Dat Micraphone", "It'z Lik Dat", "Host Wit Da Most", "Rappaz", and "Freakit".

A great quartet date – no-nonsense, and a perfect setting for Davis to hit some very classic modes! Eddie plays tenor with Tommy Flanagan on piano, Keter Betts on bass, and Bobby Durham on drums.

One of the greatest albums we've heard from Ernest Dawkins in years – and one of the straightest, too! The set's got a hardbop fury we've not always heard from Dawkins – a tight, soulful energy that's spun out beautifully by the local group in the set – a lineup that includes Ernest on alto and tenor, Corey Wilkes on trumpet, Willerm Delisfort on piano, Junius Paul on bass, and Isaiah Spender on drums. Other tracks add in bits of percussion, and Hammond on one tune – and while the music still has all the sharp edges you'd know from Dawkins' time in the AACM, the overall execution feels more like a killer Blue Note or Prestige date from the 60s – particularly in the interplay between trumpet and sax. Titles include "Afro Straight", "United", "Central Park West", "Footprints", "Old Man Blues", and "Juju".

The one and only album Kansas City singer songwriter Jeff Eubank – his rare, should be classic A Street Called Straight from 1983! The album was recorded in KC after Eubank spent some months puttering around the LA scene, and it's a low key, brilliant effort with a lot of love for the best folk rock and soft rock of the previous decade – plus some occasional oddball flourishes – filtered through Eubank's own considerable talents. Easy melodies and solid lead and harmony vocals lead the way, and Eubank somehow either had the foresight to avoid early 80s production trappings that could have dated the recording. The timeless is very impressive and this is worthy discovery! Titles include "Feels Like Me", "For Your Return", "Inside", "Earthian Children", "A Street Called Straight", "Summersong", "Adolescent Daydream" and more.

The one and only album by Exit 9 – an obscure funk combo who recorded this rare set for Brunswick in 1975! The group is extremely tight instrumentally – working at a very fast funky clip that's kind of similar to work by Bohannon or Sound Experience – both of whom shared Exit 9's pre-disco approach to dancefloor grooves – more fast-funk than the tighter club sound of later years, and proof that a funky combo could hit the dancefloor if it had the right groove! Most numbers have vocals, and instrumentation includes lots of nice guitar work that keeps a rawer edge on the tracks – choppy and gritty in a really great way. Tracks include "MFB", "Miss Funky Fox", "Fly", "Julie I Love You", "Jive Man", and "Rhapsody in Funk".

The second fab album from Curt Boettcher's legendary Goldebriars group – even dreamier and more unconventional than the first, and filled with beautiful harmony vocals! As on the group's debut, singers Dotti and Sheri Holmberg take the lead on most of the tunes – but Boettcher's also singing along with them a bit too, starting to develop the styles he'd use later on, and really giving a weird sort of sound to the music. Arrangements have their roots in folk, but really change things up a lot – still using simple acoustic instruments, but in modes and rhythms that are a far cry from both mainstream and rootsy folkies of the 60s! There's an eerie, otherworldly feel to the whole record that's amazing – like finding some lost Pandora's Box of music buried deep in the mountains – opened up and floating magically through the skies. Titles include "Zum Gale Gale", "Ride That Chariot", "Jump Down", "Haiku", "Sweet Potatoes", "Sea Of Tears", "MacDougal Street", "Joy Joy Joy", and "No More Bomb".

The second album by this legendary 70s funk combo – best known as Herbie Hancock's backing band, but sounding great here on their own. The album's much more of a solid soul effort than the first one – which was great, but felt more like Herbie had stepped out of the studio for a minute or two. The vocals are better, with more of a feel for the lyrics – and the songs themselves are a great mix of funk and smooth soul. There's still plenty of tight jamming and cool electronics – and the group still includes Mike Clark, Bennie Maupin,and Paul Jackson. Includes the sample cut "I Remember I Made You Cry", plus "Pork Soda", "Dreams", "Straight From The Gate", and "Mayonnaise".

A seminal set of grooves – two Headhunters classics on a single set! First up is Survival Of The Fittest – a landmark bit of jazz funk from one of the greatest backup groups of the 70s! Herbie Hancock first brought The Headhunters to light – working with the San Francisco-based combo that included Bennie Maupin, Mike Clark, Paul Jackson, and Bill Summers – using their sound to give his work the right dose of funk it needed to reach new audiences during the decade. This album's the first to feature the group on their own, without Herbie – and if we don't mind saying so, they sound even better without him! The whole thing's a wonderful mix of jazz funk grooves and very unusual rhythms – and the record contains the monster full length version of "God Make Me Funky", which is 9 minutes and 35 seconds of non stop funk, plus the cuts "If You've Got It, You'll Get It", "Magic", and "Here & Now". Straight From The Gate is a killer – and the album's much more of a solid soul effort than the group's debut! The vocals are better, with more of a feel for the lyrics – and the songs themselves are a great mix of funk and smooth soul. There's still plenty of tight jamming and cool electronics – and the group still includes Mike Clark, Bennie Maupin,and Paul Jackson. Includes the sample cut "I Remember I Made You Cry", plus "Pork Soda", "Dreams", "Straight From The Gate", and "Mayonnaise".

An amazing second CTI set from Freddie Hubbard – one that takes off nicely from Red Clay territory, and starts to hit an even funkier mode! The tracks here are all relatively long, with a huge amount of solo space for Freddie on trumpet, Joe Henderson on tenor, George Benson on guitar, and Herbie Hancock on piano. The title track "Straight Life" has a style that's quite searing and righteous at points – almost some of Freddie's boldest playing on record from the time. It's followed by an excellent take on Weldon Irvine's "Mr Clean" – one that's rompingly funky while still as righteous as the work on side long title track – played with some great electric piano from Herbie and sweet guitar lines from Benson. The set closes with a mellow take on "Here's That Rainy Day", played in a way that reminds us of Hubbard's more lyrical style – but still with plenty of CTI 70s overtones.

Early work from Syl – very different than some of his later work! Both cuts were produced by Johnny Cameron – done with a hard bluesy groove, but also more of a jazz-based approach on the vocals. Syl's voice still sounds a lot like before, but there's less guitar in the grooves – and more of a hard-vamping band approach, with piano and horns pushing out in an Atlantic Records kind of sound. Still great – and "Straight No Chaser" is probably the best, not a cover of the jazz standard, but a hard romping groover!

A great record with a really great little lineup – rock-solid players who come together wonderfully under the vision of the leader! Christian McBride's really found a way to focus his energy in recent years – and this quintet set is great proof of that – a refining of all the ideas he put forth a decade or more ago, but delivered with a lot more punch here – partly due to the album's well-chosen lineup as well. In addition to Christian on bass, the set's got stellar vibes from Warren Wolf – a player we always love – plus alto from Steve Wilson, piano from Peter Martin, and drums from Carl Allen – all working together on a set of tracks that are mostly original – and which have a soulful sparkle that really stands out. Titles include "Listen To The Heroes Cry", "Ms Angelou", "Gang Gang", "Unusual Suspects", "The Movement Revisited", and "New Hope's Angel".

Incredible work from neo soul maestro Frank McComb – the kind of a record that will have you saying "dang, what's that classic jam" – and then being amazed that it's a brand new set from Frank! The record surpasses even the quality of Frank's amazing album The Truth – and sparkles with a deeply soulful approach that we'd rank right up there with the best work by Stevie Wonder and Donnie Hathaway! (And mind you, we're not making that comparison lightly – as we know the risks of ranking Frank so highly!) The keyboards on the set are every bit as great as the vocals, too – and dip, turn, and sneak around with all these seductive little touches – like bending notes that seem to "sing" of their own accord next to the vocals. We've got Frank to thank for finally letting this record free – and these copies come from the maestro himself, sent to the world on a pillow of soulful love. Titles include "I'd Be A Fool", "To The Left", "The Thing I Failed To Do", "Each Day", "King Of The Open Road", "Morning Glory", and "The Things That You Do".

A smashing set of work from drummer Louis Moholo – a set that shows that after all these years, he's still a richly creative talent on his instrument! The album has Louis duetting with pianist Alexander Hawkins – a younger player who'd caught his ear a few years before, and who turns out to be a perfect partner for the record – graced with just the right kind of free-thinking, yet spiritual elements as Moholo's own music – able to stretch out strongly with a lot of freedom, yet never lose sight of the overarching goal! The tracks are all long and open – and almost recall some of the interplay between Moholo and Chris McGregor in years back – especially some of the freer work on the 70s London scene. The album's a beautiful extension of the Ogun Records tradition – and titles include "Lakutshon Ilanga", "Hear Our Hearts", "Heavy Manners", "Amaxesha Osizi", "If I Should Lose You", "Pure Vision", and "Catch You On The Rebound".

Classic 60s work from Thelonious Monk – featuring his incredible quartet with Charlie Rouse on tenor, certainly Monk's best-ever musical soulmate! The album features some newer versions of older tunes, and a few written just for the album – but the source of the material is not important, as the Monk/Rouse treatment always transforms whatever is handled, and recreates the work as an an angular sculpture of modernist beauty. Other players include Larry Gales on bass and Ben Riley on drums – and titles include "Locomotive", "Blue Sea", "We See", "Japanese Folk Song", and "Straight No Chaser". Features previously unreleased versions of "Green Chimneys" and "I Didn't Know About You".

One of the funkiest New Orleans collections we've ever heard – thanks to massive work from compilers Andy Smith and Dean Rudland! There's an approach here that gets right past the obvious, and goes right for the jugular – the deepest veins of Crescent City funk, served up with rhythms that are harder and heavier than those you'd hear in some of the bigger hits from the scene! Forget the overdone cliches you might expect, and dig the massively funky tunes throughout – work that's ever bit as great and gritty as the grooves you'd hear in a Jazzman collection of rare funky 45s. And while some of the artist names are familiar, most are represented by more obscure work – titles that include "Sinner Girl" by Benny Spellman, "Mean Man" by Betty Harris, "Boogaloo Mardi Gras" by Bobby Williams, "La La Man" by Oliver Morgan, "What You Gonna Do" by Eddie Bo, "All I Want Is You" by Zila Mays, "Undivided Love" by Eskew Reeder, "The Book" by Eldridge Holmes, "Being Without You" by Maurice Williams, "Son Of A Slave" by Larry Darnell, "Brotherman Sister Ann" by Clemon Smith, "Funky Soul" by Dave Batiste & The Gladiators, and "Miniskirts & Soul" by Chris Kenner.

A wonderful album of breezy jazzy soul from the sweet voiced Sheree Brown! The record is one of two that Brown cut for Capitol, and it was produced by Richard Rudolph – husband and collaborator of the late Minnie Riperton – in the immediate years after Minnie's death, leading us to wonder if Rudolph was trying for another hit with a different female vocalist. This LP's got a bit of a Minnie Riperton-ish feel, but Sheree also brings a lot more to the session – including some nice guitar work, and a sophisticated soul style that's kind of in a Jean Carn mode. Features the wonderful jazzy stepper "It's A Pleasure", which has a compressed jazz funk groove, and bouncy vocals over the top. Other trakcs include "I Wanna Be By Your Side", "Happiness Flows", and "Everything You Do". Very nice stuff, and a lot harder to find than it should be!

One of the greatest albums we've heard from Ernest Dawkins in years – and one of the straightest, too! The set's got a hardbop fury we've not always heard from Dawkins – a tight, soulful energy that's spun out beautifully by the local group in the set – a lineup that includes Ernest on alto and tenor, Corey Wilkes on trumpet, Willerm Delisfort on piano, Junius Paul on bass, and Isaiah Spender on drums. Other tracks add in bits of percussion, and Hammond on one tune – and while the music still has all the sharp edges you'd know from Dawkins' time in the AACM, the overall execution feels more like a killer Blue Note or Prestige date from the 60s – particularly in the interplay between trumpet and sax. Titles include "Afro Straight", "United", "Central Park West", "Footprints", "Old Man Blues", and "Juju".

Lots of fast, funky organ riffing on "Straight Fire" – a cooking little cut that has lots of bass romping around in the rhythms – and a mighty lean groove that definitely stays the course throughout! "Thumpin" is another great instrumental too – with the drums kicked up a bit more than on the flipside, really pushing hard on the cut's tight blend of bumping bass and heavy Hammond!

The legendary album by the third star in the original Native Tongues trinity! Before the first De La and Tribe LPs, and with hint of all the great stuff that was to come – jazzy beats, nice rhymes,and straight butter all the way through. This double vinyl version includes a bonus track that was not originally on the first LP release – "The Promo" featuring a verse from Q-Tip, his first-ever appearance on wax, a full year before the first Tribe Called Quest single. Tracks include "On the Run", "Straight Out the Jungle", "Black Is Black", "Braggin & Boastin", "Behind The Bush", "Because I Got It Like That", "I'll House You", and "Jimbrownski".

The third album from Alice Cooper and perhaps the first great one – starting the 70s sleaze show win streak with the massive "I'm Eighteen" –and a record full of great, gritty and grimy rock 'n' roll. Bob Ezrin's producing for the first time, and if the songs and the whole show isn't yet as menacingly theatrical as it would get to be in the following couple of years, the angry anthemic vibe is here and it's heavy! Other tracks include "Caught In A Dream", "Hallowed Be My Name", "Black Juju", "Is It My Body", "Second Coming", "Ballad Of Dwight Fry" and "Sun Arise".

The third album from Alice Cooper and perhaps the first great one – starting the 70s sleaze show win streak with the massive "I'm Eighteen" and an LP full of great, gritty and grimy rock and roll. Bob Ezrin's producing for the first time, and if the songs and the whole show isn't yet as menacingly theatrical as it would get to be in the following couple of years, the angry anthemic vibe is here and it's heavy! Other tracks include "Caught In A Dream", "Hallowed Be My Name", "Black Juju", "Is It My Body", "Second Coming", "Ballad Of Dwight Fry" and "Sun Arise".

The third album from Alice Cooper and perhaps the first great one – starting the 70s sleaze show win streak with the massive "I'm Eighteen" and an LP full of great, gritty and grimy rock and roll. Bob Ezrin's producing for the first time, and if the songs and the whole show isn't yet as menacingly theatrical as it would get to be in the following couple of years, the angry anthemic vibe is here and it's heavy! Other tracks include "Caught In A Dream", "Hallowed Be My Name", "Black Juju", "Is It My Body", "Second Coming", "Ballad Of Dwight Fry" and "Sun Arise".

Incredible stuff – and one of Tim Buckley's greatest albums! The record's got a style that's a wonderful mix of folk and jazz – using acoustic guitar on most tracks, but also throwing in some vibes by a young David Friedman, which gives the record some warm chromatic hues. Buckley's vocals have never sounded better, blending together with the guitar in the light rhythms of the tunes – and although the song structure's a bit freer than before, it's never sloppy or self-indulgent – just wonderfully expressive! Titles include "The River", "Café", "So Lonely", "The Train", and "Happy Time".

One of Gene Ammons' classics from the 60s, and a straight ahead session of soul jazz tenor and piano, with drums by Art Taylor and a bit of extra conga from Ray Barretto. Nice rolling 60's soul jazz groove, and some nice piano comping behind Jug by Patti Brown and Walter Bishop Jr. Tracks include "Travelin", "Soft Summer Breeze", "Carbow", and "Song of The Islands".

Just to get things straight: Ann's the Beauty and Al's the Beard – and they're paired together in this surprisingly tasty set that stands as one of Ann's jazziest albums for RCA! Part of the strength is from arranger Marty Paich, who has Al's trumpet and Ann's voice working with a small group that includes Red Norvo on vibes and Al Hendrickson on guitar. Tunes are a bit laidback, especially for Ann – and titles include "Mutual Admiration Society", "Personality", "My Baby Just Cares For Me", "Little Boy", and "The Best Man".

Underground hip hop from a focused duo – ascendant Detroit producer Apollo Brown and east coast underground heavyweight rhymer OC – a straight up effort that more than lives up to its potential! The beats are straight forward, classic styled boom bap and OC is in full command on the mic. No guest rhymers here – strong, consistent, rewarding stuff! Includes "Trophies", "The Pursuit", "Prove Me Wrong", "Nautica", "Anotha One", "Disclaimer", "We The People", "Signs", "First 48", "Angels Sing", "Just Walk", "The Formula", "Options", "Caught Up", "Fantastic" and more. 16 trophies in all.

Creative electronics from Uwe Schmidt – aka Atom (TM) and dozens of other pseudonyms! Atom (TM) And Friends make these great pop music pastiches laced with electronic textures – putting modern electronica, classic funk, pop, rock, bossa nova and more in a blender – and coming out with material that's easy to love, but hard to categorize! Includes his tropical clubby cover of "Smoke On The Water" as Senor Coconut, an icy Euro funk takes on James Brown's "Superbad" and Bowie's "Ashes To Ashes" as LB, straight up original soundscapes as Atom and other strange, yet accessible numbers recorded as Erik Satin, The Stereonerds, Los Sampler's, The Rogertubesound Ensemble and more. 17 in all: "Duck Cha Cha" and "Showgirl" as Lisa Carbon, "Mp3 (MoralPovertyThree)", "Suck My Groove", "Bowman Suite" and "Daddy's Song" as Atom, "Music (For The Library Of God)" as The Roger Tubesound Enemble, "Dropshadow Disease" as Dropshadow Disease, "La Vida Es Llena De Cables" as Los Sampler's and more.

One of the rarest and greatest Roy Ayers albums of all time – the sly, funky and spiritual masterpiece He's Coming from 1971 – really the beginning of the funk years from Roy Ayers Ubiquity! This one's a totally solid mix of soulful jazz, jazzy soul and righteous funk – and it's straight up wonderful all the way through – with a groove that's hugely influential to say the least! Includes the amazing track "We Live In Brooklyn Baby", which has a slow sample bassline in the intro that's just incredible – plus groovy cuts like the spiritual funk classic "He's a Superstar", "He's Coming", and "Sweet Tears". The lineup includes Sonny Fortune on soprano sax and flute and Billy Cobham drums and percussion, and the record's co-arranged by Harry Whitaker, who's also on keys and vocals – with other tracks include "He Ain't Heavy, He's My Brother", "Ain't Got Time", "I Don't Know How To Love Him", "Sweet Butterfly Of Love" and "Fire Weaver". Amazing stuff, really a beautiful encapsulation of Roy Ayers in peak form!

Seminal early funk work from Roy Ayers! The record catches him at that perfect point when he was turning from a straight jazz player into a sinister force in 70s funk – and the group on the session includes super-hip soul jazz giants like Charles Tolliver, Sonny Fortune, and Harry Whitaker, running through short hip soul tracks that were very different than the style of music they were laying out on albums of their own. Roy's on organ, piano, vibes, and vocals – and he also handles the arrangements, with extra help on strings by William S Fischer, whose usual dark touches come across very well here. The album features some great soul covers – like "Ain't No Sunshine" and "Day Dreaming" – plus the original tracks "Cocoa Butter", "Rhythms of Your Mind", and "Red Black & Green".

A hip little set from The Beat Boys – an Argetine group working in late 60s Brazil, supposedly with a bit of an influence on the sound of Tropicalia! The sound here is a bit straighter than the work of Caetano Veloso or Os Mutantes – a bit in the Jovem Guarda sound of more mainstream Brazilian rock, but with some hipper influences too – including a strong Beatles influence that makes for some great harmonies on the vocals, and instrumentation that really pushes beyond the standard straight Anglo rock modes of the time. Instrumentation features some fuzzy guitars, which are occasionally a bit tripped-out – plus organ, bass, and drums – all topped by echoey vocals from the group. Titles include "O Meu Tamborim", "A Time For Remembrance", "A Felicidade", "Wake Me Shake Me", "Sempre Esperando", "Aria Para A Corda Sol", and "Era Uma Menina". CD reissue features some great notes on the band, plus some vintage photos – and also includes the bonus track "Canudinho".

Although we've been fans of Andy Bey for years (ever since his early 60s recordings with Andy & The Bey Sisters), we've got to admit that we're stunned at how successful his recent revival has been! This CD is probably the main reason for Andy's success – as it's a compelling batch of jazz vocal tracks that show Andy reinventing himself for a whole new generation of jazz listeners. The backing's by a nice small group that includes Gary Bartz, with whom Andy recorded extensively in the 70s – and the album includes a haunting reworking of Nick Drake's amazing song "River Man", plus a version of Dori Caymmi's "Like A Lover", Monk's "Straight No Chaser", and the moody "Dark Shadows", which was a page from Earl Coleman's songbook.

Wow! The one-and-only album by Trinidadian combo Black Truth Rhythm Band – a completely incredible one at that – hypnotic Caribbean funky soul, jazz and wildly impressive musicianship all around by this group led by singer and multi-instrumentalist Oluko Imo. The record was made in the mid 70s era in which the Afro Funk sound was hitting it's peak – when African rhythms and James Brown style funk were being fused so furiously – but Black Truth Rhythm Band take a different approach, working more with sounds from African spectrum and the West Indies. It's really amazing stuff that takes unpredictable twists from stripped down rhythms, to jazzy guitars and cosmic synths – always with straight up brilliant playing by the group. A fusion of African rhythms, strains of Calypso and boundary free jazzy grooves that balance and exploratory sensibility with tight, irresistible rhythms. Soundway raises the bar once again! Titles include "Ifetayo", "You People", "Saved Musician", "Kilimanjaro", "Aspire", "Umbala" and the bonus track "Imo".

Cindy Blackman's looking a bit foxy on the cover, but her sound here is solidly soulful – a forceful batch of tunes that really match the best energy of the Muse Records soulbop scene of the early 90s! There's a nice blend of modern ideas and straight jazz energy here – sounds that grow strongly from the contributions of quintet members Steve Coleman on alto, Wallace Roney on trumpet, Kenny Barron on piano, and Lonnie Plaxico on drums – almost all Muse Records labelmates of Blackman, working here with energy that reminds us a lot of Roney's excellent sides for the company at the time. Blackman's the real boss, though – guiding things forcefully with her work on drums, and contributing a wealth of original numbers to the set – tunes that include "Code Red", "Anxiety", "Green", "Face In The Dark", and "Circles".

An excellent live set by the Jazz Messengers – recorded in Paris in 1958, but with a hard heavy groove that's right up there with their best Blue Note work. The group at this time – Blakey, Bobby Timmons, Lee Morgan, Benny Golson, and Jymie Merritt – plays hard, heavy, and straight ahead, with no other interference from outside players – and the track list is a batch of classic Jazz Messenger standards, stretched out a bit longer than usual, with plenty of solo space! Titles include "Moanin", "Justice", "Whisper Not", "Blues March", and "I Remember Clifford".

An amazing album that has Art Blakey completely reinventing himself for the 70s! Blakey shifts from straight hardbop to kind of a modal soul jazz groove, touched with some of the electric playing of the younger jazz generation, but not enough to qualify as fusion or funk. Instead, he's working with some great younger players – like Carter Jefferson, Woody Shaw, and Michael Howell – hitting a groove that reminds us of some of the best underground soul jazz on labels like Muse or Strata East. Includes the amazing long groovers "Mission Eternal" and "Chant For Bu", a famous Tribe Called Quest sample – plus new electric piano versions of "Moanin" and "Along Came Betty", both of which feature vocals by Jon Hendricks.

Core grooves from trumpeter Terence Blanchard and combo – but mixed with some compelling words from Cornel West and Bilal! The record's a jazz album at its core, but the presence of West and Bilal makes for a bit of a change, too – kind of an added level of consciousness on top of Blanchard's always-thoughtful music – but never in a way that's too heavy-handed. Other players include Walter Smith III on saxes, Lionel Loueke on guitar, and Fabian Almazan on piano – and a number of tracks are straight instrumentals, without any vocals. Titles include "Journey", "Winding Roads", "Choices", "D's Choice", "Him Or Me", and "A New World".

A rare rare jam from Willie Bobo – a lively little set with a really mod groove! This pre-Verve album has Willie working in a variety of styles – from straight Latin jazz to a mode that's got some groovier 60s touches – emphasized by a bit of electric guitar on a few numbers, and by snapping dancefloor rhythms on a few of the others. Tracks are all short and hard, with a groove that's quite different than the Latin soul styles of Willie's more famous work for Verve. The group's not named in the notes, but there's some pretty nice sax work on a few of the cuts – as well as plenty of that great guitar! Titles include "Twist The Monkey's Tail", "Get Crackin", "The Hip Monkey", "Timbale Groove", "Go Go Go", "Be's The Other Way", and "Ala Bobo".

Modern classics from Bongo-Logic – a group with a great flair for mixing the new and the old! There's plenty of jazz in this set – thanks to work from Art Webb on flute – but there's also a charanga groove going on too – with violin dancing strongly around the piano lines from Joe Rotundi – arranged with lots of fresh touches throughout. Jazz elements share the space equally with charanga styles – especially on the two Monk numbers "Straight No Chaser" and "Round Midnight" – and the production style is right on the money for the music. Titles include "Los Musicos", "Luna Blanca", "Bongo-Licious", "Soncachao", "Corta La Cana", and "Sister M".

The rare self-titled set from the Bobby Boyd Congress – a killer combo with roots in early 70s Long Island, but relocated to France to make this killer set! The group is lead by tenor sax player and lead vocalist Boyd – although this set is heavy with instrumental passages. We're loving the way they mix brass heavy funk with lumbering psych steeped organ and fuzzed out guitar grooves. They even sneak in a laidback or jam, too – bringing a pretty versatile approach to this album! Titles include "Straight Ahead", "In A Toy Garden", "I'm Undecided", "Train", "It's Good To See Your Face Again", "Dig Deep In Your Soul" and "Bright Flowers".

Excellent work from Chicago reed player David Boykin – a much more straight ahead album than some of his earlier work, but done with an edge that keeps it in the ranks of the AACM tradition that has informed much of Boykin's music from the start. Boykin is on sax and clarinet – and the rest of the group includes Josh Abrams on bass, Nicole Mitchell on flutes, Jim Baker on piano, and Isaiah Spencer on drums – grooving together in an angular modern bop approach that recalls some of Roland Kirk's most adventurous work of the 60s, touched with traces of the more soulful side of the Chicago avant scene. Titles include "Niki's Bounce", "Jacuzzi", "Virgo", "Sunset", "Stalking The Cat", "Sunrise", "Antimatter", and "Jiffy Pop".

The idiom here is a pretty bold one – hard-swinging jazz, of the sort that was sure to remind folks in the mid 80s that Randy Brecker was a much of a straight, soulful player as he was a groover in the group with his brother! This album's a hard-hitting, back-to-basics set that has Randy's trumpet set up strongly in a lineup that features Joe Henderson on tenor, David Kikoski on piano, Ron Carter on bass, and Al Foster on drums – a tight rhythm section that drives things forward nicely, and almost makes the session an easy-walker for Randy – a place where he could almost blow no wrong. But Brecker's got plenty of his own spirit in the record too – and contributes some great original titles that include "Sang", "Hit Or Miss", "No Scratch", "Forever Young", and "There's A Mingus A Monk Us".

At the end of the 70s, James was combatting the disco movement by forging his own brand of dancefloor music – a super-heavy fusion of straight-on funk, but with a more up-tempo twist and extended in a style to compete with some of the hit 12" singles being issued at the time. This album, although not classic material, is still a great example of James' talent for adaptation, and it features some nice long tracks – like "The Spank", "Nature", "Eyesight", and "Jam" – that still sound pretty good to us today.

A beautifully sensitive album from Donald Byrd – quite a change from his better-known jazz funk work of the 70s and early 80s – and part of a back-to-basics move he made in part of that latter decade! The album's very much in the best straight mode of the Landmark Records label scene of the time – Byrd blowing strong and soulfully in the company of a key combo that features Kenny Garrett on alto, Mulgrew Miller on piano, Rufus Reid on bass, and Marvin Smitty Smith on drums – all players who really bring a lot of fire to the record, and almost push Byrd back to his pre-electric 60s years on Blue Note. Mike Daugherty plays synth on two tracks – using the instrument in gentle, string-like ways – but overall the record is proudly acoustic at most moments. Titles include "Harlem Blues", "Fly Little Byrd", "Voyage A Deux", "Sir Master Kool Guy", and "Blue Monk".

Raw, original instrumental funk from The Cactus Channel – who are coming straight outta Melbourne – and they're barely outta high school! It's kind of stunning that a group as youthful as this one is delivering such a finely-honed set of rave-up funk! It's largely done in the 70s action soundtrack and psych funk modes – recorded to analog for an authentic feel – with heavy drums, solid guitar and bass, a five piece horn section and lots of organ. There's some slower-cooking groovers, too, leaving space for some sharp solos. We really need to visit Australia and study whatever it is down there that's inspiring such a wealth of modern funk! Includes "Emanuel Ciccolini", "The Colour Of Don Don", "Budokan", "Tom Has Ideas", "Level Up", "Boss Cat", "Jungle Run", "Under The Birdcage" and "Hot Teeth".

Some of the greatest British jazz of the 60s – two early albums by the groundbreaking Ian Carr/Don Rendell quintet! Carr was a trumpeter and Rendell was a saxophonist – and together, the pair led a group that had an amazing flair for tones, colors, and interesting rhythmic progressions – picking up on the modal and exotic influences that were bubbling under in the British scene of the time, especially in work of players like Joe Harriott and Michael Garrick – but putting things together with a groove that was a bit more straight ahead, and inflected by the soulful lyricism of Blue Note artists like Horace Silver and Art Blakey! Both albums are tremendous – rich and under-discovered jazz territory, and overflowing with incredible original compositions that will make the set one of the freshest jazz CDs you purchase this year! Titles include "Latin Blue", "Just Blue", "Garrison 64", "Tan Samfu", "Jubal", "Dusk Fire", "Spooks", and "Ruth".

Strongly emotional and slowly simmering craft from Ty Causey – a veteran of the midwestern smooth, jazzy soul scene – and his efforts are as strong as ever here! There's an easygoing confidence in Ty's approach that he's carried for a while – and that continues in full effect here. His songs speak to straight forward, soulful truth, with a relaxed style and emotional and spiritual depth. The production is just as sweet – with a smooth soul pace, and subtly dexterous musicianship. Some guitar, a bit of flute or sax come into play with nice keys and percolating percussion. Includes "Must Be Magic", "Too Much Baggage", "Tap Into This Chemistry", "I'll Wait For You", "I'll Wait For You", "You'll Never Be Lonely", "False Faces", "Love Call", "A Reason Why", "Hot 2 Night", "The Limit of Love", "Bold And Beautiful".

A hard slammer from the Clarke-Boland Big Band – recorded when the band was burning up the road in Europe, taking great players and audiences in one fell swoop, coming up with some of the strongest straight jazz of their generation! The album features stunning solos all around by an all-star mix of American and European players that includes Benny Bailey, Johnny Griffin, Tony Coe, Dave Pike, Sahib Shihab, and Ronnie Scott – all coming together with incredibly fluidity, yet also breaking out for some massive solos on their own! Arrangements are by Boland – tight, right, and outta site – and titles include "Let's Face The Music & Dance", "High School Cadets", "By Strauss", "Gloria", "Sweet & Lovely", "Get Out Of Town", and "I'm All Smiles".

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

Otis Clay in a gospel setting – yet still working with all the deep soul we've come to love in his secular work! And in fact, given the style of the album, Otis is more paying tribute to gospel's influence on soul instead of serving up a straight gospel session – really recalling the mix of modes that were strongest in the early days of soul music – captured beautifully here by Clay's southern-styled vocals. Backings are relatively light, and have less of the bluesy tones of some of Otis' other recent recordings – and the set also features guest appearances from Carla Thomas, and Arthur and Leroy Crume. Titles include a great remake of "Walk A Mile In My Shoes" – plus "God Is Standing By", "His Love", "Heaven Is My Home", "Love's In Need Of Love Today", "If I Could Reach Out & Help", and a great "Soul Stirrers Medley".

Obscure spiritual avant garde material, recorded in San Francisco by the little-known sax player Ray Collins. One track on the album, "Catchin The NY Subway", is fairly straight, and played with a larger group. The rest are sparer, and more out – and include "Images of Africa", a duet with pianist Rudi Abdullah Mwongozi; "Hiroko" a soprano duet with bassist Mark Izu; and "Farewell to Rufus G", a haunting and short work on soprano sax.

A beautiful name for a beautiful record – a classic set of hardbop material from John Coltrane's early years as a leader – and a session that has him working with Donald Byrd on trumpet, Red Garland on piano, Paul Chambers on bass, and Art Taylor on drums! The album's got a beautifully laidback feel that prefaces some of the Coltrane's more exploratory work on Impulse and Atlantic – but one that still also has the earthy, straight ahead feel of his best early years on Prestige – a great combination that makes the record a key moment in the early career of The Great One. Tracks are all quite long – not exactly blowing session tunes, but done with a feel that's more open than some of the other Coltrane albums of the time – and titles include "Black Pearls", "Lover Come Back To Me", and "Sweet Sapphire Blues".

A trio of early 80s efforts from Con Funk Shun in a 2CD set – with bonus tracks! Touch is a killer from the group – one of the few mainstream funk groups who actually managed to sound better and better with each new record – and on this set, they really seem to come into their own! Titles include "Too Tight", "Lady's Wild", "Give Your Love To Me", "Kidnapped", "Welcome Back To Love", "Touch", and "Play Widit". Includes 2 bonus tracks: "Lady's Wild (12" Version)" and "Body Lovers (12" Version)". 7 is not the group's 7th album, but a bold statement of the unity they feel as a 7 piece ensemble – perfectly lived up to in the record's well-crafted grooves! The album's one of Con Funk Shun's best overall – really solid, but never too slick, very tight in the bass department, but still soulful on the vocal tip, and never afraid to slip into a sweeter, more mellow tune. Titles include "Straight From The Heart", "Bad Lady", "Promise You Love", "I'll Get You Back", "A Song For You", and "California 1". To The Mix has snapping grooves and a sweet clubby sound. The bass is tight, the keyboards are electric, and the rhythms are great – never forced or stiff, and always flowing with a sense of soul that's head and shoulders above most of the group's contemporaries. Vocals are strong too – especially on the numbers that step things down a few notches – and titles include "Ms Got The Body", "Let's Ride & Slide", "Everlove", "Hide & Freak", "You Are The One", "Take It To The Max", "The Freak", and "Love's Train". Includes the bonus "Ms Got The Body (12" Version)" and an instrumental version.

An incredible debut as a leader for Chick Corea – quite different than his 70s work, and a set that's filled with heavy soul jazz and Latin influences! Chick's coming off of years of work in Latin bands, and in smaller soul jazz combos, and his writing here is a mix of the freer style that would later become too free, with the rootsier elements of his background. The players on the record include Woody Shaw on trumpet, Joe Farrell on tenor and flute, Steve Swallow on bass, and Joe Chambers on drums – and all tracks are long, with a sweeping, searching, soulful sound. Titles include a beautiful rendition of Chick's "Litha", which he also recorded with Stan Getz on Sweet Rain, plus two other nice originals – "Tones For Joan's Bones" and "Straight Up And Down".

Their first album of funky soul, and still a major classic from the early 70s! Creative Source were way more than just a regular soul vocal group from the start – as they had some superior vocal arrangements from Skip Scarborough, who really gave the group a unique approach that mixed jazz, soul, and funk into a sound that worked off of earlier male/female styles laid down by groups like Friends Of Distinction and the 5th Dimension, but make them work more in a straight soul vein. The group does a classic rendition of Scarborough's "You Can't Hide Love", which was a hit for Earth Wind & Fire, plus nice covers of two tracks by Sussex labelmate Bill Withers – "Who Is He & What Is He To You" and "Let Me In Your Life". Also includes their own "Oh Love", which is a nice groover!

A really compelling blend of sounds – and a set that's billed as a hip hop album, but which is way way more than that – more a wonderful hybrid of global styles, all wrapped up with the crispness of the contemporary Brazilian underground! The set begins with a number that's straight out Afro Funk, the rolls into tracks that really run the gamut – a hip hop number or two, other African styles, and most especially, some of those cool genre-defying moments that we've really come to love from Brazil in recent years. Criolo's vocals are wonderful, especially when he's singing – with a warmth that takes us back to singers of the samba soul generation – and titles include "Bogota", "Mario", "Subirusdoistiozin", "Linha De Frente", "Lion Man", "Sucrilhos", and "Samba Sambei".

Tremendous work from trumpeter Ted Curson – and one of the few records that shows up often in his oeuvre, but which is every bit as great as his rare and expensive albums! Side one features killer material from Curson's group with tenorist Bill Barron – three cuts recorded in Paris in 1964, all of them razor-sharp, and overflowing with modern ideas – tracks that include "Searchin For The Blues", "Desolation", and "Light Blue". Side two features Curson in another European mode – working as the bold soloist in front of a larger Yugoslavian big band – with searing readings of his classics "Straight Ice", "Flip Top", and "Quicksand".

Galactic funk & synth soul from Dam-Funk – his epic full length debut Toeachizown for Stones Throw – and a record that should be a game changer for the southern Cali ambassador of cosmic funk beats, heavy bass and synth grooves! Dam-Funk is part throwback to the electro era – his vintage synths, bass and drum machine grooves are strongly rooted in the end of the 70s and first few years of the 80s vibe, but he's putting his own modern spin on the sounds, keeping it vital and fresh, and quite likely to be bitten by a bevy of superstar producers to come! Occasionally with slow jam or tripped out vocals, but with longer instrumental jams, Dam Funk's fusion of old school and future funk is in a cosmic realm of its own! Vinyl version was originally released as a 5LP set – and now it's available in separate volumes. Vol 2 includes: "Flying V Ride", "Candy Danciin'" feat Mark De Clive-Lowe, "Burn Straight Thru U", "10 West", "I Wanna Know" and "Rollin'".

Pure genius – Bobby D's first LP – and nicely balanced between rockers and straight vocal numbers! Includes "Splish Splash", "Action Speaks Louder Than Words", "Don't Call My Name", "So Mean", and "Wear My Ring".

New material from this legendary German pianist – recorded as a solo acoustic set, without any of the electronics or gimmicks of some of Dauner's famous 70s recordings – but still done at the legendary MPS Studios! The tracks are an array of shorter themes – and in keeping with the "past" in the title, stretch back to some of Dauner's earliest jazz expressions – surprisingly rich in sound, and filled with feeling – a great reminder of the straight jazz talent that Wolfgang's always had, sometimes lost in his more experimental modes. Titles include "Blue Light", "All The Things You Are", "Wheat Song", "Dream Talk", "Seikilos Lied", "Petronella", "Yesterdays", and "I Loves You Porgy".

Legendary early live work from Miles Davis – one of the first examples on record of the way that Davis could really stretch out in a concert setting! The music's a bit more straight ahead than later live dates, but still pretty open and exploratory – and in addition to Davis' sparkling work on trumpet, the album also features some killer tenor lines from Hank Mobley – working here as a key part of Miles' group, and blowing with a hell of a lot of soul. Rhythm is by the rock-solid trio of Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – and titles include "All Of You", "No Blues", "Bye Bye" and "Walkin".

An excellent album of funky drumbreaks – cut by a drummer who's a legend among funk fans, but who hardly ever gets mentioned in history books of jazz. Les was a little known LA player, but he had a monster approach to the kit – and most of the few albums he cut are very in demand for fans of a good funky drum break. This one's a stellar session that mixes together straight funk with some strong choppy fusion numbers – and it was issued on the tiny Dobre label, which came out with some excellent obscure sides during the 70s. Raul De Souza's on trombone, Milcho Leview plays piano, and Robby Robinson plays plenty of nice electric keyboards. Includes the break-heavy tracks "Moondial" and "Funk It!", the jazz dance cut "Canned Heat Suite", the choppy funky "Bacchanal", and the great groover "Kaballa".

Quite a chance for singer Dessy Di Lauro – but no surprise, either – given that Dessy's always been one of the more inventive talents of the underground! The set definitely takes its title seriously – and although served up in a contemporary soul style, the music sometimes echoes modes from a century ago – using them with just the right balance to spice things up without pushing Di Lauro into a style that's too far from before. Many numbers have a slight vamp in the rhythms – a gentle swing that bounces around in the way you might have heard in Kid Creole work from the early 80s, but tuned here towards a style that's more 21st Century overall. Some cuts are a bit more straight ahead – and whatever the setting, Dessy sounds great! Titles include "Mysterious", "Bringin It Back", "Never Existed", "Lost In The Jungle", "Why U Raggin", and "Popularity Contest".

A great guitar session from late 60s Brazil – bossa at its core, but with some other groovy touches too! Guitarist Heraldo Do Monte plays light acoustic, in a style that's right up there with Luiz Bonfa or Baden Powell – but the overall setting of the album also gives a nod towards some of the more advanced changes going on in Brazilian instrumental music at the time – the first inkling of some of the Blue Brazil touches from EMI/Odeon, with a deeper sophistication in some of the arrangements than just straight bossa. A few moments are straight ahead, mixed with others that have a nice degree of darkness – and titles include "Teletema", "My Cherie Amour", "Recit De Cassard", "Que Maravilha", "Casa Forte", and "Moanin".

One of Eric Dolphy's lasting classics – and possibly the ultimate album of "new thing" jazz from the mid 60s! The record's got an even sharper edge than previous Dolphy recordings for Prestige – a really unique combination of instrumentation that includes Freddie Hubbard on trumpet, Bobby Hutcherson on vibes, Richard Davis on bass, and Tony Williams on drums – plus Dolphy on alto sax, flute, and bass clarinet. Although Dolphy's reed playing is as amazing as you'd expect, the real surprise here is Hutcherson, whose vibes ring out with this cold harsh tone that give a perfect edge to the set – bold and metallic, quite different than any work on vibes from previous players. Despite a large number of later recordings, Hutcherson almost never hit this sound again – except perhaps on a few Jackie McLean recordings – and it's his playing that gives the set such a unique sound. Titles include "Straight Up & Down", "Gazzelloni", "Hat & Bread", "Out To Lunch" and "Something Sweet Something Tender".

Denise Donatelli gets some great backings here from Geoff Keezer – mostly in a straight jazz mode, but sometimes in a fuller style that really opens her up! Donatelli's got a sound that's rooted in jazz, but more expressive than most – and Keezer really sets her up nicely for the record – shifting the instrumentation a bit from track to track, and showcasing her strength both on ballads and more upbeat numbers. Titles include "Soul Shadows", "Another Day", "Ange", "Too Late Now", "Postcards & Messages", and "No Better".

An excellent groover from Kenny Dorham – possibly one of his best ever albums for Blue Note – a record that shows how much he was pushing past his bop roots in his later years! The tracks are extremely long, and with a Latiny feel that's surprising when you look at Dorham's earlier material. He's helped along in his endeavors here by a fresh group of modernist geniuses that includes Herbie Hancock on piano, Joe Henderson on tenor, Butch Warren on bass and Tony Williams drums – and the album's got 3 long, incredible Dorham originals: "Una Mas" fills up side one, and "Straight Ahead", and "Sao Paulo" cover the flip.

An excellent collection of Charles Earland's early 70s work for Prestige – a great set of grooves that trace his evolution from straight organ/tenor soul jazz, into the realm of more complicated arrangements that would show up heavily in his later fusion work! Players on the tunes include Lee Morgan, Houston Person, Virgil Jones, Melvin Sparks, Idris Muhammad, and Harvey Mason – and tracks include shorter numbers and single edits that include "Milestones", "More Today Than Yesterday", "Speedball", "Raindrops Keep Falling On My Head", "Leaving This Planet", "I Was Made To Love Her", and "Black Talk".

The Powerlight is burning bright – Maurice White, Philip Bailey, and the rest of the group still very much in classic formation! Even on a post-70s set like this, Earth Wind & Fire still manage to come up with tracks that beat the rest of the ensemble funk groups that grew up in their wake – groovers that still set a new level for the boogie generation, and mellow tracks that cross over beautifully without ever getting to soppy or adult contemporary. The balance is a tricky one, but the group always manage to pull it off – and guide the whole presentation of work here with enough class and care to show that the whole thing's the result of genius planning, and not just some happy accident! Titles include "Something Special", "Miracles", "Fall In Love With Me", "Straight From The Heart", and "Spread Your Love".

Ed OG's nice debut, with a slightly jazzy touch on the production and literate, intelligent lyrics. We really couldn't get with "Bug A Boo", but besides that, this first LP's solid from start to finish, from the days when that wasn't so uncommon. Drop the needle on this and head back in time to a day when backpacker wasn't necessarily a derogatory term, a beat wasn't a straight loop of a common sample, and rhyme skills included being able to follow the beat, which was typically at least a little bit funky. With the now classic "Be A Father To Your Child", plus standout tracks like "I'm Different", "Speak Upon It", "I Got To Have It" and "Life Of A Kid In The Ghetto". 12 tracks in all, also includes "Gotta Have Money", "Feel Like A Nut", "She Said It Was Great", "Dedicated To The Right Wingers", 'Let ME Tickle Your Fancy" and "Stop (Think For A Moment)".

Tight session of hard post-swing jazz, but still very straight ahead. With Jimmy Forrest on tenor adding a nice hard edge to Harry Edison's trumpet sound, and a large rhythm section featuring Jimmy Jones, Freddie Greene, Joe Benjamin and Charlie Persip. 6 in all: "Nasty", "Pussy Willow", "The Very Thought O f You", "Sunday", "Fair Ground" and "The Strollers".

Wow! Straight up incredible Afro Funk from Benin's El Rego Et Ses Commandos – the pummeling, yet soulful "Vimado Wingnan" and the slower, more hypnotic "E Nan Mian Nuku" – rare early 70s numbers on Daptone! "Vimado Wingnan" is one of those tracks that's so incredible that it should be an Afro Funk staple, yet we have to admit we were just recently hipped to it. The drums and percussion are amazing and it's got a wild organ in the mix that gives it something of a psych funk feel. Some flute lightens things up just a bit and the vocals are nice and funky, too. The flip isn't as intense, but it's got a rhythm that's just as insistent in it's less perspiring way. The material was brought to Daptone by Frank Gossner of Voodoo Funk and a full album is promised. We cannot wait!

Modern rock/funk, with sort of a New York downtown sound, and touches of the 80's days at Celluloid. The group has electric funky basslines, and some guest keyboards on tracks by Bernie Worrell, but the sound is mostly avant rock funk, instead of straight-on funky stuff. Tracks include "Flash", "Oricinal Cin-Dee", "Voices", "Can You Dig It", and "New Rage".

Fuzzy and genuinely well-crafted private press grooves from the Emerson brothers – with crazy good hooks, some surprisingly solid musicianship – and songs that range from straight-up catchy, though fuzz-drenched rock, to funk and soul! Donnie Emerson is the lead singer, guitarist and bass player, along with some synth – and on the best tunes, he's got a confident, laidback and warm style on vocals that truly doesn't feel the voice of a kid still in his teens – with brother Joe on drums and other friends on backing vocals here and there. Here's a record that profoundly transcends the private press novelty and the goofy jumpsuits they're rocking on the front cover! Includes "Good Time", "Give Me The Chance", "Baby", the instrumental groover "Feels Like The Sun", "Love Is", "Don't Go Lovin' Nobody Else", "Dream Full Of Dreams" and "My Heart".

Fuzzy and genuinely well-crafted private press grooves from the Emerson brothers – with crazy good hooks, some surprisingly solid musicianship – and songs that range from straight-up catchy, though fuzz-drenched rock, to funk and soul! Donnie Emerson is the lead singer, guitarist and bass player, along with some synth – and on the best tunes, he's got a confident, laidback and warm style on vocals that truly doesn't feel the voice of a kid still in his teens – with brother Joe on drums and other friends on backing vocals here and there. Here's a record that profoundly transcends the private press novelty and the goofy jumpsuits they're rocking on the front cover! Includes "Good Time", "Give Me The Chance", "Baby", the instrumental groover "Feels Like The Sun", "Love Is", "Don't Go Lovin' Nobody Else", "Dream Full Of Dreams" and "My Heart".

A smashing second set from Everything But The Girl – a record that has the duo stretching out a bit more from the straight jazz leanings of their Eden debut – yet still sticking strongly in a mode that has their music moving with lots of classic influences! The songwriting is still top-shelf – not afraid to show its emotions, yet never over-mired in them either – a beautiful balance that really comes through in the vocals of Tracey Thorn. Production is a bit more mainstream, yet still light years away from the clunk of most mid 80s pop – and titles include "When All's Well", "Ugly Little Dreams", "Shoot Me Down", "Are You Trying To Be Funny", "Sean", "Anytown", and "Ballad Of The Times". 2CD book-style package is amazing – with tracks from singles that include "Kid", "Heaven Help Me", and "Pigeons In The Attic Room" – demos of "Angel", "Ugly Little Dreams", and "Are You Trying To Be Funny" – and BBC recordings of "This Love", "Ballad Of The Times", and "Are You Trying To Be Funny".

Beatmaker FaltyDL delivers a warm batch of moody soundscapes for Ninja Tune! The sounds are mix loose, ambient atmospherics with some pretty insistant beats – and that mix of soundtrack and avant composer dynamics with more invigorating beats and bits of soulful vocals floating in and out really speaks to us in a compelling way! Includes "Stay I'm Changed', "She Sleeps" with Ed Macfarlane of Friendly Fires, "Straight & Arrow", "Uncea", "For Karme", "Finally Some S**t/The Rain Stopped", "Kenny Rolls One", "Korben Dallas", "Reassimilate" and "Bells".

After a disastrous attempt at recording a live show, the Fania All-Stars went in the studio with guests like Billy Cobham and Manu Dibango and created their funkiest and one of their finest albums of the seventies! A few cuts are more straight Latin sounding, some of these tracks have a nice hard funky jazz feel, and sound like they could have been recorded for Prestige. There's great versions of "Soul Makossa" and "Viva Tirado", plus a very nice track called "Smoke". Other titles include ""El Raton", "Congo Bongo", "Chanchullo", "There You Go" and "Mama Guela".

Damn! We sure dug the previous Fantastic Souls funky 45 on Kay Dee, but this one's a straight up monster! An eight piece combo, the Fantastic Souls are a deep enough roster bring a furiously paced, heated intensity as well have enough space for solos and more dynamic interplay. The drums are nice and heavy, the guitars vamp nicely, the horns are perfectly punchy, plus a nice bit with some bongos. On Part 2, it's stripped down and driven even more by the incredible percussion.

2 different slices of work from Tal Farlow! First is the 1955 album Red Norvo With Strings – originally issued under Norvo's name – a "with strings" session with a difference! This one's not the sleepy orchestral jazz set that you'd expect. Instead, it's a cool modernist batch of trio recordings – featuring the vibes of Norvo in front of the guitar of Tal Farlow and the bass of Red Mitchell. We'll be the first to admit that Norvo's made some snoozy recordings, but the stuff on here is pretty darn cool – and has that icy modern sound that we'd compare to the work of the Jimmy Giuffre trio or the Blue Note work of Gil Melle. Titles include "How Am I To Know?", "Who Cares", "I Brung You Finjans For Your Zarf", and "Lullaby Of Birdland". Next is The Return Of Tal Farlow, from 1969 – a great little return to form for Tal Farlow – his first recording in a decade, and a rare Prestige side that features a groovy quartet with John Scully on piano, Jack Six on bass and Alan Dawson on drums. There's a different vibe here than Tal's work for Verve – a bit more open, but still with that great Farlow tone that was always one of the greatest jazz guitar sounds of the 50s. The tracks include "Straight No Chaser", "Darn That Dream", "Summertime", "Sometime Ago", "I'll Remember April", "My Romance", and "Crazy, She Calls Me". Farlow did not record again until 1976.

50 brings the leaders of the '07 record sales marathon to Curtis – including Timbaland, Justin Timberlake, Robin Thicke and Nicole Scherzinger of the Pussycat Dolls – plus G-Unit standbys Young Buck & Tony Yayo, and his longtime champions Dr Dre & Eminem. Titles include "My Gun Go Off", "I'll Still Kill" feat Akon, "Come & Go" feat Dr Dre, "Ayo Technology" feat Justin Timberlake, "Movin' On Up", "Straight To The Bank", "Amusement Park", "Fully Loaded Clip", "Follow My Lead" feat Robin Thicke, "Peep Show" feat Eminem, "All Of Me" feat Mary J Blige, "Touch The Sky" with Tony Yayo and more.

The rare folksy psychedelic solo set from Tommy Flanders of the Blues Project – a fairly stripped down, acoustic guitar and misty-eyed vocals led set of tunes. Moonstone is fairly straight forward singer songwriter record in some ways, with lovelorn lyrics and laidback arrangements – but it has flashes of out there mysticism. The LA session players are impeccable, too! Titles include "Since You've Been Gone", "Blue Water Blue", "Morning Misty Eyes", "Purple And Blue", "Moonstone", "By The Mailbox We Stood", "Angel Of Mercy", "Boston Girls", "Sleepin'", "She's My Love" and more.

The timeless sounding underground classic debut of Frank-N-Dank – which is a strong first full length statement for the duo – and a significant milestone in the J Dilla production canon! It has more of a straight up, street ready rhyme style than was typical for Dilla productions at the time – with smoky, pulsing production and unpredictable beats. The rhymes are stronger than we gave 'em credit for a decade or so back – and the raw electro funky bounce provided by Dilla really opened us up to how diverse his style could be outside of the jazzy/funky/soul beats he'd laid down in the preceding couple of years! Tracks include "Rite Bites", "Street Life", "Pimp Strut", "Where The Parties At?", "All Seasons", "Take Dem Clothes Off" and more.

The timeless sounding underground classic debut of Frank-N-Dank – which is a strong first full length statement for the duo – and a significant milestone in the J Dilla production canon! It has more of a straight up, street ready rhyme style than was typical for Dilla productions at the time – with smoky, pulsing production and unpredictable beats. The rhymes are stronger than we gave 'em credit for a decade or so back – and the raw electro funky bounce provided by Dilla really opened us up to how diverse his style could be outside of the jazzy/funky/soul beats he'd laid down in the preceding couple of years! Tracks include "Rite Bites", "Street Life", "Pimp Strut", "Where The Parties At?", "All Seasons", "Take Dem Clothes Off" and more. This 2013 version features a second disc with Dilla's instrumentals.

Incredible work from Michael Franks – his first five albums for Warner Brothers, all packaged together in one sweet little set! At this point in his career, Franks is almost a whole genre unto itself, one that sets a whole new tone for the male voice in American music! The style here is light and jazzy – almost an evolution of modes first begun by Kenny Rankin, and served up here with a similarly compressed production style that really brings out the jazz in the instrumentation – yet the work isn't straight jazz either – as Franks works with plenty of soul, and a great ear for a hook too – a really genre-crossing style that always has these records showing up in some of the hippest collections of 70s work you'll find. There's almost a Steely Dan sense of the sublime going on here – and instrumentation is often used warmly and gently – never too slick to overwhelm the gentle wit of Michael's lyrics. The set features the full albums The Art Of Tea, Sleeping Gypsy, Burchfield Nines, Tiger In The Rain, and One Bad Habit – all packaged in tiny LP-styled sleeves!

One of the few straight rock records ever issued on the mostly-folk Monitor Records label – a great 60s outing from Freeborne, a group with a sound that's as tripped-out as you might expect from the cover! Instrumentation is heavy on organ and guitars, both acoustic and electric, but there's also some cool percussion too – and interesting use of recorders, in a way that comes across with an ocarina-like charm! Vocals are somewhat soft, but have a dark undercurrent – and there's a really great folk-into-psyche sort of feel to the whole thing. Titles include "Images", "Land Of Diana", "But I Must Return To Frenzy", "Inside People", "Yellow Sky", "Peak Impressions & Thoughts", and "Visions Of My Own".

Two incredibly groovy records that will completely redefine your expectations for religious music – both put together by the Rev Nick Freund! Montgomery Chapel is an incredibly dark album that's way more acid folk than anything else – recorded by a group named The Search Party, and served up with spare acoustic guitar, trippy electric, and this etherel organ that really makes the whole thing feel like an acid trip right from the start – as do the lyrics, which are often sung by a female singer who sounds like Grace Slick really trying to push even farther past the darkness of "White Rabbit"! A few tunes are upbeat, but most are very slow and sad – almost Wicker Man in mood – with titles that include "The News Is You", "All But This", "Renee Child", "Speak To Me", "When He Calls", and "The Decidedly Short Epic Of Mr Alvira". The second album is titled after a creepy line from the Bible – Each One Heard In His Own Language About The Marvels Of God – quoted later by Aphrodite's Child on their 666 album, and presented here at the start of the record by the St Pius X Seminary Choir, in ways that oddly have the same sort of eerie undercurrents! The set's more of a straight vocal affair, but with plenty of folksy undertones – and there's also an undeniable sense of darkness that completely undercuts any brighter spirit of faith. Titles include "Who is This Man", "Get Together", "Come Children Hear Me", and "Mass For The Secular City". 2CD set features great notes, in the usual Lion style – plus a dozen more bonus tracks too!

The first album in years from this favorite Brazilian funk combo – and less of a straight album than a collection of different recordings from all the time we haven't heard from them! Funk Como Le Gusta are tighter than ever – still strongly inspired by American funk and soul, and able to fuse it into a groove that's slightly contemporary – but way better than the usual mainstream R&B from Brazil! There's a lean quality here on most of the tracks – instrumentation that's still mostly live, and definitely linked to the contemporary deep funk underground at points – while getting even bolder production at others. Titles include "Balacobaco", "Sweet Ronie Song", "Putz", "Muchacha Fantastica", "Ire", and "Preludio Do Sol".

One of the few jazz albums ever cut by guitarist Hank Garland – a really great player with a sound that's truly unforgettable – especially on this sweet little session! The group here is a quartet with some wonderful work on vibes by a young Gary Burton – relatively straight at this point in his career, but already with an approach to his instrument that's really unique – and which rings out with some unusual notes next to Garland's warmly chromatic guitar. Titles include "Pop Goes The Weasel", "Call D Law", "Why Not", "Three Four The Blues", "It's Love Of Course", and "What Am I To Do".

Some of the earliest music we've ever heard from British pianist Michael Garrick – a sublime session cut with Peter Shade on vibes in the late 50s – quite different than some of Garrick's better-known music of the 60s, but equally amazing! The sound here is quite modern, but also nicely straight ahead – as most cuts have a swinging sound, amidst the brilliant mix of tones and colors from the piano and vibes! In addition to Shade's vibes and Garrick's piano, other instrumentation includes Paul Hemmings on bass and Brian Barnes on drums – and Barnes also vocalizes on two tracks, and Josephine Stahl sings on two more. Titles include "A Welter Of Phenomena", "Silhouette", "I'll Never Be The Same", "Threesome", "I Saw Stars", "Angel Eyes", and "Willow Weep For Me".