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Titles include "Promises", "From Now On", "Freeze Thaw", "How Dare You", "Astrud", and "Miles Away".

The genius of Basie meets the genius of Quincy Jones – a 60s pairing that's every bit as great as the 50s pairing of Basie and Neal Hefti! Jones and Basie worked together in a number of settings during the 60s – including a very successful album for Frank Sinatra on Reprise – but here, the pair are really going full-on and hard-swinging, in a fresh style that's got all the hipness of Quincy's budding talent in the 60s, played with the deeply soulful manner of the still-great Basie band of the time. Titles include "Rat Race", "For Lena & Lennie", "The Big Walk", "Meet BB", "Jessica's Day", "Muttnik", and "Quince".

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

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

Like Dave Brubeck's legendary Time Out set? Try this one – a great record that takes off from the concept of the first, but which goes in some very fresh new directions – using the same great group with Paul Desmond on alto, Eugene Wright on bass, and Joe Morello on drums! Dave's still working out some nutty time signatures here – but apart from the science, the thing that really makes the record cook is Desmond's alto – icy, edgey, floating, and always a treat – almost even more amazing in the space of some of these offbeat numbers. Titles include "Maori Blues", "Far More Drums", "Bluetee", "Far More Blue", and "It's A Raggy Waltz".

One of the lesser-known sets in Dave Brubeck's classic "time" series for Columbia – even more inventive than Time Out! Paul Desmond plays alto – and titles include "Travellin Blues", "He Done Her Wrong", "Cassandra", "40 Days", "Time In", and "Lost Waltz".

This one has the Chambers working in a number of styles, sweating hard in a gritty version of Otis Redding's "I Can't Turn You Loose" and to some funky percussion and call-and-response vocals on "Do Your Thing", and grooving softly on "Guess Who" and others. Other tracks include Pete Seeger's "Where Have All The Flowers Gone", "Love Is All I Have", "You Have The Power - To Turn Me On", "Rock Me Mama", and "Satisfy You".

Time Exposure has a lot of 80s electro funk in the mix, particularly Clarke's impeccable bass lines, which are heavy throughout. Titles include "Play The Bass '10", "Heaven Sent You", "Speedball", "Future Shock" and the great title track.

This is a repackaged version of an album that was originally issued under Cecil Taylor's name, under the title Hard Drive (and later Stereo Drive, or something like that). The record brings together two of the late 50's most promising modernists – Cecil Taylor and John Coltrane – in a group that includes Kenny Dorham, Chuck Israels, and Louis Hayes. The music is a startling mix of styles – as Taylor's heavy piano clashes noisily with Trane's free flowing lines on the tenor. It doesn't always work, but it's well worth a listen, and stands as a critical meeting of two important talents that were both best known on their own. Tracks include "Shifting Down", "Double Clutching", and "Just Friends".

Enigmatic folk rock and soulful bluesy vocals from Karen Dalton – her legendary lost 1971 album that's credited with inspiring some the most idiosyncratic work by folk rock superstars and contemporary freak folk heroes alike! Karen was a fixture on the 60s NY folk scene – Dylan even gives her props in his Chronicles Vol 1 memoirs – but she rarely recorded. Her voice carries a huge Billie Holiday influence – but the delivery is wholly unique in her earthy folk phrasing, a real dip back into Harry Smith territory. Her guitar and banjo picking is strong, too! In My Own Time was recorded for Paramount at the end of 1970 and beginning of '71, with really rich and surprisingly soulful backing on an interesting selection of material written or popularized by Dylan & The Band, George Jones, Paul Butterfield, and even a folksy soul take on "When A Man Loves A Woman". Light In The Attic shines a huge light for this reverential reissue – pristinely remastered with notes by Lenny Kaye, Nick Cave and Devendra Banhart. Other tracks include "Something On Your Mind", "In My Own Dream", the traditional "Katie Cruel", "One Night Of Love" and "Are You Leaving For The Country".

One of the excellent recordings made by The Dramatics at ABC – great group soul gems that are sometimes overlooked because they didn't yield as many hits as earlier sets – but which are stellar records nonetheless! This one's got all the right elements firmly in place – killer production by Don Davis, and smooth but real harmonies from LJ Reynolds, Ron Banks, and the rest of the group. There's a few tracks that hit a smooth sort of groove that might be tagged as "disco" – but which is really just an extension of the super-dope mode that the group used in earlier years – and which has a lot more to offer than just a cheap dancefloor cash in. Titles include "Life Is Just A Playground", "Love Birds", "A Marriage On Paper Only", "I'm Hooked On You", "That's My Favorite Song", "I Think About You", and "I Just Wanna Dance With You".

Sweet Chicago soul from this ex-lead singer of the Drew-Vels! The tracks are arranged and conducted by Phil Wright, and they have a pretty nice groovy soul feel – in the Capitol mode of the late 60s. The record's got a fair number of covers, like "I, Who Have Nothing", "What the World Needs Now", and "Midnight Confessions" – but there's also a lot of good soul cuts, too, like the title cut "I've Been Here All The Time", "Just Can't Forget About You", and Patti's great version of "Hard to Handle"!

Fresh and modern big band work – with a nice dash of soul, and some of the early traces of funk that would later show up heavily in Ellis' 70s work! Tracks are long, and in compelling time structures – as indicated by the titles – and groove with an MPS-like approach to the work – strong solos bursting out from the larger band, and very strong rhythms pushing most of the tracks nicely over the top! Players include Ira Schulman, Ruben Leon, Dave Mackay, and Ron Starr – and titles include "Barnum's Revenge", "Upstart", "Thetis", "Orientation", and "Freedom Jazz Dance".

A pretty great 70s album from Gil – with some nice electric playing, and a good groove on the best cuts! The overall approach is still very striking – a 70s equivalent to Gil's famous 60s work – and as always with Evans, the players in the ensemble are impeccably well-chosen, with giants like Hannibal Marvin Peterson, Billy Harper, Ryo Kawasaki, Joe Gallivan, and a young Dave Sanborn handling the solos. Includes the odd spacey Tony Williams number "There Comes A Time", plus a cover of Hendrix's "Little Wing" – both of which have vocals by Peterson. Other tracks include "Aftermath Of The Fourth Movement Children Of The Fire", "Anita's Dance", and "Makes Her Move".

Fantastic stuff from Art Farmer, and a real return to more soulful playing, after noodling around a lot with other odd projects during the mid 60s. The group's stone cold and solid – with Cedar Walton on piano, Jimmy Heath on tenor, Walter Booker on bass, and Mickey Roker on drums – and Farmer's playing is a lot more hard-hitting than on other albums from the time, but still retains his majestic sense of lyrical beauty and poise. Plus this expanded 80s issue of the set adds a second LP to the original, for twice as much material, with 12 tracks in all, including "One For Juan", "Nino's Scene", "Short Cake", "The Time & The Place","Te Shadow Of Your Smile", "Make Someone Happy", "On The Trail", "Blue Bossa", "Is That So", 'Dailey Bread", "Satin Doll" and "Misty".

Here's a group who definitely live up to their name – a damn funky 70s act from Nigeria, with a tight, righteous groove that's completely outta sight! The Funkees have an approach that's a lot more compact than Fela, and a lot more soulful than some of their more tripped-out contemporaries – and they also had some recording experience in London, which possibly gave them an even hipper focus – like some of the great post-colonial combos that were brewing up sounds on the British scene of the 70s! This wonderful package brings together the best of the group's work – their rare early Nigerian 45s, and key cuts from the UK albums – all with the incredible Soundway ear for a groove – meaning that The Funkees sound pretty darn funky all the way through. Titles include "Mimbo", "Dancing Time", "Break Through", "303", "Life", "Ole", "Akpankoro", "Abraka", "Acid Rock", "Slipping Into Darkness", "Point Of No Return", and "Dancing In The Nude".

A classic underground funk set from the 70s – and a record that definitely lives up to the party time promised in the title! The group have a really festive approach to funk – still as hard-hitting and sharp-edged as other indie contemporaries – but willing to open up and push things with a live sort of energy too – a vibe that's a bit like a funkier take on Jr Walker & The All-Stars – especially given the strong use of tenor on the tunes! The set's got two very long jamming numbers – "Party Bump (parts 1 & 2)" and "One More Time (parts 1 & 2)" – and other titles are all pretty nice too – including "You're Gonna Need", "Now Generation", and "Party Strut". Produced by George Kerr, arranged by Bert Keyes, and even the version of "Amazing Grace" comes out pretty nice too!

A rare post-Warner Brothers album from Harpers Bizarre – but done in a style that's still quite similar to their late 60s classics! Although the album's from the mid 70s, it's got a sweetly conveyed style that's focused strongly on the group's warm harmony style – and which mostly features, as before, songs and themes from years past – recast into a fresher, hipper LA-kind of style. The approach still has all the innocent charm of the group's key Warner albums – and the record's surprisingly free of AOR slickness or overdone production touches – and instead just relies on strong vocal harmonies and warmly jazzy arrangements to carry the sound. Titles include "Speak Low", "Banana King Louie", "That's The Way It Was", "Lullaby Of Broadway", "Society Strut", "Every Night", "Beechwood 4 5789", "Cowboy", and "As Time Goes By".

Although Dave Holland has led and participated in many great groups, large and small, his 80squintet that recorded for ECM is arguably the best. Featuring Steve Coleman, Julian Priester, Marvin Smitty Smith and Kenny Wheeler, the group manages to swing and dance hard around some fairly complex numbers, mostly written by the group members. The tracks ever sound too intellectual or pretentious, and the interplay and solos throughout are tremendous. 9 numbers in all, including "Uhren", "Homecoming", "Perspecuity", "Celebration", "World Protection Blues", "Gridlock (Opus 8)", "Walk-a-way", "The Good Doctor" and "Double Vision".

Probably the biggest album by this Chicago soul group, and the one that yielded up their big hit "The First Time We Met". The set's got some excellent Chicago arrangements by Tom Tom, and a good bunch of tracks that includes all original material, like "Here I Am", "Just As Long As You Need Me", "I Just Want To Be There", and "Leaving Me".

Damn damn damn – maybe the funkiest album ever from Sharon Jones and The Dap Kings! The group have always been great, but there's something here that goes even farther than usual – an especially funky snap on the drums at the bottom, even on more laidback tunes – and a stone classic approach to funky soul, one that's definitely been honed to a "T" through their important work on the road during the previous few years! And Sharon Jones is great – with vocals that are way deeper and much longer-lasting than any rehab outpatient wannabe – sending home these tunes with a quality that may well pass most of her classic female soul inspirations from back in the day. And even though the set brings together some older singles and other odd bits, it's got a rock-solid punch that makes it a very unified album throughout! Titles include "Settling In", "I'm Not Gonna Cry", "When I Come Home", "Ain't No Chimneys In The Projects", "New Shoes", "Without A Trace", and "Inspiration Information".

It's definitely winning time for Klique – as the trio grooves here with a lean, clean sound that's totally great! Despite the silly jumpsuits on the cover, the group actually have a pretty nice sound in the grooves – one that's kind of a poppy approach to the boogie, filled with plenty of nice hooks and riffing rhythms – all laid out with production that never gets too cluttered or cliched! The sound is simple, but that's it's strongest suit – and the album's got a nice focused quality overall. Titles include "Love's Dance", "It's Winning Time", "From Now On", "Better Times", "So In Love With You", "I Think You Know", "Middle Of A Slow Dance", and "You Brought My Love To Life".

Righteous earth mama vibes from our hometown sweetheart Bonnie Koloc. Bonnie was part of the original folk cabaret scene around old town here in Chicago, and this is her first album, with her gutsy, folky vocals and songwriting underpinned by a groovy rock-inflected backing band, that features Phil Upchurch on bass! Titles include "Don't Leave Me", "After All This Time", "new York City Blues", "Devil's Nine Questions", "Another new Morn", "Rainy Day Lady", "Jazz Man", "Victoria's Morning", "Got To Get What You Can", and "One Sure Thing".

A 50s LP that compiles Julia's earlier singles for Capitol – a mixture of jump blues and early R&B, done with some nice jazzy touches that give the tracks a Kansas City groove. Titles include "Last Call For Alcohol", "I Was Wrong", "Tell Me Daddy", "Ain't It a Crime", "King Size Papa", and "Snatch & Grab It".

The most polarizing of John Lennon's post Beatles ouvre – the strident, Spector-produced, sprawling mess that is Some Time In New York City – a record that has too much of every idea John & Yoko had at the time, which makes it all the more fascinating after all these years! Angry, self-righteous and quite often brilliant – feminist anthems backed by Wall Of Sound pop, an ode to John Sinclair in the mold of a country rock tune – wild stuff from a superstar! Include "Woman Is The Ni**er Of The World", "Sister, Oh Sister", "Sunday Bloody Sunday", "Attica State", "New York City" and more.

An excellent album of smooth soul tracks – very different than Little Beaver's earlier work, but every bit as great! The album's got a warm, mellow finish that's almost a maturation of the sound that Beaver first forged on his Party Down album – with plenty of his deep soul vocals and guitar work laced through the mix, on top of lots of nice keyboard bits from Timmy Thomas! The groove is mellow Miami soul at its best – and in a way, it's this shift that really helped Beaver keep his music alive – giving it a depth that sets it apart from some of the hitbound Miami music of the period. Titles include the classic groover "Concrete Jungle", plus "When Was The Last Time", "Pretty Little Girl", and "I Really Love You Babe".

A later album from Little Feat – and one that adds some new dimensions to their ever-searching vibe! On Time Loves A Hero, Little Feat takes some surprising steps – even for them – into a bit of a fusiony rock vibe some of the time. Still, the soulful boogie rock and stripped down folky elements they always worked with are still in play. As always, they make these far-flung styles work together into a cohesive whole! Includes "Time Loves A Hero", "Hi Roller", "Old Folks Boogie", "Red Streamliner", "Rocket In My Pocket", "Missin' You", "Day At The Dog Races" and more.

A groovy little jazz mass – written by Galt MacDermot in collaboration with lyricist William Dumaresq – and done in a post-Hair style that's got plenty of subtle funky touches underneath the vocals! The work follows in the mode of similar albums from the time by David Axelrod, Howard Roberts, and even MacDermot – with a mass-like structure, but lyrics that are clearly contemporary – and music that's got plenty of nice bass at the bottom, and some nice Hair-like rhythms rolling through the mix. Vocalists include Salome Bey, Nel Carter, and the Howard Roberts Chorus – and from what we can tell, Bernard Purdie's helping out on drums!

With Maurice Malik King on alto, Qaiyim Shabazz on congas, and Zimbabe Nkenya on bass.

Double-length work from Jimmy McGriff – 2 albums in 1 from the Groove Merchant label! The first half of the set features the album Fly Dude – some great down-home work from Jimmy McGriff, and a session that's a bit less funk-based than some of his others for the Groove Merchant label, but still plenty darn great! The set's kind of a nice link between the straighter soul jazz of McGriff's 60s years, and his return to the format at the end of the 70s – and the group's a quintet, with Ronald Arnold on tenor, George Freeman on guitar, John Thomas on rhythm guitar, and Marion Booker on drums. There's some slight funky undercurrents – especially from Freeman's guitar lines, which have a nice degree of grit – which Jimmy seems to match nicely. Titles include "The Groove Fly", "It's You I Adore", "Jumping The Blues", and "Healin' Feeling". Next is the album Let's Stay Together – an early 70s gem from Jimmy McGriff! Jimmy's grooving with a larger group here – but in a funky 70s mode that makes for a great update of the rawer sound he laid out on some of his Sue sides in the 60s. The best tracks are the covers of 70s soul material – like "Shaft", "What's Going On", and "Let's Stay Together" – hewn in the organ funk mode that Jimmy pioneered and honed with his trademark expertise. Another highlight of the record is an original called "Tiki", that has a slight exotica feel to it, coming off very nice with Jimmy's organ work! Other tracks include "Georgia On My Mind" and "April In Paris".

One of our favorite Thelonious Monk albums ever – a bare bones, no nonsense session that's filled with great work from tenorist Charlie Rouse! The record's filled with everything that's great about the Monk/Rouse team in these years – an incredible interplay between sax and piano, served up over the sorts of angular tunes that Monk had been putting forth for years, but somehow at a level that's even more perfect, more "Monkish" than before! Other members of the group are Butch Warren on bass and Ben Riley on drums – and titles include "Lulu's Back In Town", "Memories Of You", "Brake's Sake", "Stuffy Turkey", and "Shuffle Boil".

The one astounding studio album of proto punk/abrasive psych genius from the Monks – a true masterpiece if their ever was one, a record that's been ripped off by myriad more famous groups in both the mainstream and rock underground of the past 40 years! The group's status as discharged G.I.'s informs some of spewed vitriol, but beyond that there's little connection to any trends or scenes, the Monks are true originals in a world of imitators, and that adds a layer of excitement to an already mind blowing listen. The album's wild organ washes, primitive drums and guitar, and harsh, bizarre vocal rants prefigured everything from the Stooges, to Rocket From The Tombs, to the more predictable punk stuff that arrived 18 years later – yet it still grooves. Outrageous and incredible! 12 tracks in all: "Monk Time", "Shut Up", "Boys And Boys And Girls And Girls", "Higgle-Dy-Piggle-Dy", "I Hate You", "We Do Wie Du", "Drunken Maria", "Blast Off", "That's My Girl" and more.

Of course it's about time for Joe – because as Dave Brubeck's drummer, he was constantly caught in recording sessions that were all about unusual rhythms and timings in jazz! This set's actually a bit looser and freer than some of the Brubeck ones – more straight jazz, recorded with a larger group arranged by Phil Woods and Manny Albam – with standout solo work by Phil on alto sax and Gary Burton on vibes. The sound is a nice extension of the larger group RCA sessions of the 50s – and titles include "Time After Time", "Summertime", "Every Time", "It's About Time", and "Fatha Time".

A great little meeting of two of the better talents on Verve Records in the early 60s – one that pairs the warm vocals of Anita O'Day with the cool vibes of Cal Tjader – in a sweet little session that's actually one of O'Day's best from the time! The feel here is lively, and slightly Latinesque – as Cal's smal combo features Johnny Rae on drums, and Lonnie Hewitt on piano – both players who are well-tuned towards a more rhythmic approach. Includes a great version of "An Occasional Man", plus the tracks "Mr. Sandman", "I Believe In You", "Peel Me A Grape", and a nice take of "Thanks For The Memory".

Early work by Dave Pike – one of his first albums ever, recorded with an all-star lineup that includes Barry Harris on piano, Reggie Workman on bass, and Billy Higgins on drums. Pike's got less of the groovy and fuzzed-out sound of his later work – but even at this young age, he's a heck of a vibes player, and working here with such a great group, he can't help but sparkle. Tracks include "Cheryl", "On Green Dolphin Street", "Forward", "Tendin To Business", "Solar", and "Hot House".

One of the grooviest albums to come from the godlike hands of Emil Richards – a hip LA vibist who touched equally the worlds of jazz, soul, rock, and easy! This album's got a bit more punch than some of Richard's more jazz-based sessions – with Emil playing a wide range of percussion instruments, plus vibes and marimba – all backed by some incredibly groovy work on organ and piano by Dave McKay! Arrangements are by Tom Scott and Paul Beaver – and the record's got the jaunty, swinging quality of some of Scott's best early work of the time – particularly his early gems for Impulse! Titles include a great version of Tom Scott's oft-recorded "Blues for Hari", a very groovy number with a great 60s eastern feel – plus originals "Hot Fudge Sundae" and "Here", and versions of the tracks "Girl Talk", "Sunny", "Take Five", and "Call Me".

A great little album from Max Roach – one that has him finding a whole new voice in jazz! The set was recorded on the heels of Max's time with Clifford Brown – and it's a great little album that has him bouncing back nicely from the loss by moving into a new realm that shows off his more lyrical side! The group on the album features Kenny Dorham, Sonny Rollins, Billy Wallace, and George Morrow – and as you'd guess by the title, most tunes are in a jazz waltz mode, which gives them a nicely dancing quality, soft and a bit exotic – almost modal at times – and a nice change from Roach's more full-on hardbop style of the Clifford Brown years. Titles include "Little Folks", "Lover", "The Most Beautiful Girl In the World", and "Blues Waltz".

One of Sonny Rollins' classic sides for Blue Note from the 50s – all of which are excellent! For the set, Sonny's working in a relatively free quartet format, with Wynton Kelly on piano, and rhythm from the team of Doug Watkins and Philly Joe Jones. Overall, the session's got a bit more of a boppish edge than some of Sonny's more modern sides from the time, but that's no problem with us, especially given the fresh touches on tracks like "Tune Up", "Asiatic Raes", and "Blues For Philly Joe". If you've ever needed a record to convince you how great Rollins is, this might just be the one!

A dramatic soundtrack to this Douglas Sirk film!

A mad bit of funk and jazz from Ben Sidran – much more tripped-out than his later work! Ben's got a great bunch of musicians on the album – with either Tony Williams or "funky drummer" Clyde Stubblefield on drums, and Phil Upchurch on bass, laying down a nice dark groove on the best cuts – often with an offbeat funky sound that's made the record a favorite for crate-diggers for years. Ben's on piano, grooving in a number of different hipster modes – from LA sleezy to New Orleans soulful – and his vocals, as always, are compelling and catchy. The set includes the nice long groover "Now I Live (And Now My Life Is Done)", a monster track with a great slow groove that's been sampled a number of times over the years – and other cuts include "Full Compass", "Play The Piano", and "Think Twice".

Sweet beats from this cool French duo – a pair who've got that same sort of genre-jumping quality we've loved in French grooves since the days of MC Solaar! The approach here is mostly hip hop, but there's strains of Neo Soul, jazzy funk, and more – shifting the vibe nicely from track to track, but always with a nicely cohesive feel. Some cuts – billed as "samba rap" or "rap bossa" – show a nice Brazilian influence – and titles include "Byrd", "Avolta", "Dance Me", "Kool Out", "Now That I Know You", "Oedeep", "One More Time", and "So Tired".

Brilliant work by McCoy Tyner – an album that has him firmly stepping out of the shadow of Coltrane with a sound influenced by the rising Afro-centric style of soul jazz to emerge in the 70s! The group on the set is a quartet with Bobby Hutcherson on vibes – and the mixture of Hutcherson's vibes and Tyner's piano is extremely compelling – stretching out in long, rhythmic, modal lines that dance and light the groove no matter what the tune. The rest of the group features Herbie Lewis on bass and Freddie Waits on drums – and titles include the great original compositions "African Village", "May Street", and "Little Madimba".

Excellent work from The Valentine Brothers – and a pretty big album for the group on A&M. The best tracks have a smooth modern soul sound – stepping along nicely at a catchy groove, with the Brothers' sweet harmonies interacting wonderfully, kind of in a late O'Jays mode, with a strong soul presence, despite some more tinny instrumentation. You can hear this to best effect on the stepper "Lonely Nights", but the whole album's pretty nice overall, and other tracks include "I Thank You", "Don't Bother Me", and "When (I Love You)".

With Bennie Wallace on tenor, Ray Anderson on trombone, Dr John on piano and organ, John Scofield on guitar, and Bernard Purdie on drums.

One of the greatest albums ever from vocalist Norma Winstone – a set that really helps bring her talents into sharp focus! Like Karin Krog, Annette Peacock, Sheila Jordan, and other female jazz singers of her generation, Winstone was always pushing the boundaries of her craft – taking a style that began with a simple jazz-based approach, and turning it into a whole new array of sounds and voicings! This landmark album from 1972, one of Winstone's first on her own (although she'd sung to great strength on some of Mike Westbrook's Deram sessions), features the singer moving into territory that has distinct touches of progressive jazz rock, but which also retains a mellow sense of melody – despite an easy temptation to get too overblown. Arrangements are handled by Neil Ardley, John Surman, and John Taylor – and titles include "Song Of Love", "Erebus", "Shadows", "Perkins Landing", and "Edge Of Time".

A classic compilation of material from the hip later years of Impulse – put together with a title that's a bit misleading, given that some of this stuff was clearly getting some play on underground FM radio! There's some key righteous classics here – like "Attica Blues" and "Money Blues" by Archie Shepp, "Astral Traveling" by Pharoah Sanders, "Galaxy In Turiya" and "Blue Nile" by Alice Coltrane, and "Worry Bout It Later" by Cliff Coulter – alongside other tracks that include "Larry Of Arabia" by Chico Hamilton, "Wave" by Ahmad Jamal, and "Crystalized Tears" by John Klemmer.

German jazz gems from the 60s – an amazing collection of rare work from the Rhineland scene – non of which we've ever heard before! The package is even sharper than the first volume in the series – and features some of the best German jazzmen of the time, working in styles that draw heavily from hardbop and modal jazz, but which are already beginning to take off strongly in the unique modes that would flourish strongly in the MPS/Saba years to come! Things are soulful, but swinging – modern, but pretty darn groovy too – a wonderful balance that makes these years a perfect time in German jazz – a moment when the scene was really finding its own groove, yet not getting too full of themselves either. Titles include "Many's Waltz" by Manfred Welsandt Trio, "Beat Bop" by Ingfried Hoffmann Big Band, "Nica's Dream" by Albert Mangelsdorff, "St Tropez Waltz" by Modern Jazz Crew Stuttgart, "Minor Conversation" by Hans Koller Septett, "Summertime" by Fritz Harschuh, "That Double Thing" by Harald Eckstein Sextett, and "Din A Bop" by Albert Mangelsdorff Jazztett.

A collection of tracks that amount to some of incredibly deep audio archaeology – a wonderful, consciousness wakening collection of globe spanning 78s from the first half of the 20th Century – all from the darkest corners of the EMI Vaults! Honest Jons does an impressive job of collecting recordings that are first and foremost exciting pieces of music – and they reportedly spent a couple of years going through thousands and thousands of 78s and to put this thing together. It was worth the effort! The album includes recordings from China in the 10s, Bali and London in the 20s, Constantinople, Kenya and Spain in the 30s, Uganda & Trinidad in the 50s, and much more from each decade in many parts of the world. Cuban rumbas, Middle Eastern & African string tunes, more pop oriented British tunes, vocal and pop with a global focus. Wonderful stuff! Titles include "The English Sound Table" by GU Hsu, "Lagu Kebiar" by Gamelan Gong, "Rumba Negra" by Sacasas, "Laughing" by Vemngopal Chari, "Different Kind Of Motor Car Noises" by Vengopal Chari, "The Queen's Canary" by Mighty Sparrow and more.

An excellent collection of rare regional gospel recordings from the 60s through the 80s – all of them with a timeless feel that really fits other collections of this nature from Mississippi Records! Despite the vintage of the tracks, most of them have a very spare sound – just vocals and a bit of instrumentation, usually guitar or organ – a raw, rootsy approach that's completely sublime, and which shows that the best gospel modes are still going strong, as long as you know where to look! The voice is supreme in most numbers – and titles include "Time Has Made A Change" by Southern Jubilees, "Ain't It Sweet" by Southland Missionary Singers, "What A Friend We Have In Jesus" by Fantastic Voices Of Joy, "What Time Is It" by Ethel Profit, "Up Above My Head" by Rev R Henderson, and "Your Close Friends" by Ike Gordon.

An amazing portrait of America between the wars – served up over dozens of vintage 78rpm recordings – all based around themes of daily life mentioned in the title! The collection is an incredible historical document – pulled mostly from the collection of Louisville 78 collector Don Wahle, and remastered and re-presented beautifully by the folks at Tompkins Square – who not only sort the songs into key categories, but also provide a wealth of notes and images to further illuminate the tunes! There's a number of tracks on here that have never been reissued before, mixed with others that are still plenty darn rare – and the 3LP vinyl version comes in a beautiful box that reminds us a bit of classic Folkways – the size of which allows for a bigger, nicer booklet! It features 42 tracks that include "Climbing The Golden Stairs" by Happy Four, "Oh Declare His Glory" by McDonald Quartette, "Fourth Of July At The County Fair" by Bill Chitwood, "Tennessee Coon Hunt" by Whit Gaydon, "Hide Away" by Oscar Ford, "Poor Man Rich Man" by David McCarn, "Driving Saw Logs On The Plover" by Pierre La Dieu, and "Flat Wheel Train Blues (parts 1 & 2)" by Red Gay & Jack Wellman.

What? This is John Medeski? Hard to believe – as the album sounds unlike most other work the keyboardist has ever recorded – especially the sides cut with his famous trio of the past 20 years! The album's a wonderfully moody little set – spare and solo, played on an older-style Gaveau piano, which rings out with these dark tones that are completely sublime! The feel of the record is more in a Ran Blake sort of solo mode than the bolder lines we'd usually hear from John – and as the artist requests in the notes, the record is perfect for late night listening – when the ear and mind have hit just the right pace to appreciate all the subtle shifts in sound taking place. Titles include "A Different Time", "Lacrima", "Otis", "Luz Marina", "Waiting At The Gate", "His Eye Is On The Sparrow", and "Graveyard Fields".

A trio set with Hicks on acoustic piano, plus bass by Walter Booker and drums by Idris Muhammad – the three of them stretching out in that soulful mode of the best work on the Theresa label. Features three Hicks' originals, "Naima's Love Song", "Mind Wine", and "Peanut Butter in the Desert". Also includes "Ghost of Yesterday", "Some Other Time", "With Malice Toward None", and "Dark Side, Light Side". Produced by John Hicks.

Killer early stuff from Hank – when he was just about the size of a bratty kid, and he had a voice on him that would stop a train! Loads of shoutin R&B tunes, including "The Coffee Grind", "I Love You So-o-o", "Don't Go, I Love You", "Look At Little Sister", and the hit "Finger Poppin Time".

It's clearly long after his Stax years at this point, but the album's still got some nice enough soul moments, and was still all recorded in the south. Tracks include "Yesterday I Lied, Today I Cried", "Morning Glory", "Your Love Keeps Me Going", "Let it Shine", and "Satin Sheets".

The second album of dubby funk by the legendary Cymande! This monster funk combo had a totally unique sound, with rolling bassy-grooves, and a very nice stoner-funk feel that had distinct Jamaican influences. This album's got some of their best tracks like "Anthracite", "Fug", and "Them & Us" – and it's one of their 3 classic titles from the early 70s!

The heady second album from Bill Fay – much more introspective and moodier than his first outing for Deram, and a session done in tight collaboration with British guitar legend Ray Russell! Russell's got Fay working here with a much smaller group than on the first album – a collection of jazz-influenced players that includes Nick Evans on trombone, Tony Roberts on reeds, and Alan Rushton on drums – all working with Russell's guitar in an intimate, slightly folksy setting. Fay's songwriting and vocals are darker than before – as can easily be told from the titles of tunes like "Don't Let My Marigolds Die", "Dust Filled Room", "Pictures Of Adolf Again", and "Til The Christ Come Back". But somehow, Fay manages to pull the whole thing off beautifully – with none of the cliches or heavy-handed styles you might expect, really working in a transcendent mode that reminds us of the best of early Leonard Cohen.

Singer and harpist Carol Kleyn's Takin' The Time album from 1980 – and a pretty remarkable step up from her Love Has Made Me A Stranger record of a few years earlier! While the preceding album carried more of a late 60s mood – though one that felt right at home on the mid 70s folk fringe – this one has a warm, laidback and somewhat otherworldly West Coast folk rock vibe. Carol's voice leads the way, and her harp is often right out front, too, but there's lot going on! Speaking of fringe-y, Bobby "Enlightening Beam Of Axonda" Brown is the producer here – but the record is actually quite accessible. Another really strong and worthy reissue from Drag City! Includes "Takin' The Time", "Jethro", "She Lost Her Crown", "Sailor Like Me", "Could Be Me", "Tides And Crazy Moons", "Missy Robin", "Intermission", "How Long Till Forever" and "Prayer".

Tight collection of tracks culled from Blue's Riverside LPs from the late 50's and early 60's. His hard edged trumpet is out front in all of the tracks, and the personnel includes Johnny Griffin, Wynton Kelly, Philly Joe Jones, Wilbur Ware, Cedar Walton, and Benny Golson. Nice notes on Mitchell's early days, and titles include "Minor Vamp", "Studio B", "Strollin", "Sir John", and a classic recording of "Blues March".

A warm set of groovers from Flip Nunez – a San Francisco-based pianist with a great Latin tinge, working here in a fantastic setting that makes for one of his greatest recordings! The album was recorded in SF in 1976, and it's got the laidback groove of some of the best sides coming from the area at the time – a sweet blend of fusion, Latin, and modal jazz grooving. Nunez plays electric piano, clavinet, piano, and organ – and a few tracks feature his vocals, which have a confident style that's somewhere between Mark Murphy and Tony Benett (in his jazzier mode.) The centerpiece of the album is a long mellow-grooving version of "See You Later", a tune that Flip wrote, and which has been covered on a number of other jazz dance classics over the years – but the album's filled with great tunes, like "D'ju Like Me", "This Time For Good", "Why Did You Come Into My Life", and "Mr Cool", a sweet little funky tune!

For the longest time we'd look at this album and just figure the SOS Band were well past their prime here, but when we finally got around to dropping the needle on it, we were pleasantly surprised. Jimmy Jam and Terry Lewis handle the production, and it's mostly mid and downtempo material, but all pretty solid stuff, with nice 80s groove jams like "Borrowed Love", "The Finest" and "Do You Still Want To?". Also includes "Sands Of time", "Even When You Sleep", "Nothing But The Best", "No Lies" and "Two Time Lover".

The Sulieman Quartet with Cedar Walton, Sam Jones and Billy Higgins.

A stone smoking album from Nick Waterhouse – the first full-length we've ever heard from the singer, and a killer set all the way through! The backings are funky, but the sound is nice and gritty too – much more in an R&B mode than other contemporary albums of this nature – which is a perfect fit for Nick's sharp-edged way of handling the lyrics! Production is wonderful – very classic overall, but with a fresh feel that's all its own – a perfect illustration of the way that Waterhouse gets past easy generic classifications, or any sort of soul music cliches – and manages to come up with something fresh, unique, and all his own! Most instrumentation is vamping small combo soul, with occasional backup vocals – and titles include "Times All Gone (parts 1 & 2)", "Indian Love Call", "Is That Clear", "Raina", "If You Want Trouble", "Say I Wanna", "Some Place", and "Teardrop Will Follow You".

Titles include "Go For It", "First Timothy Six", "I Miss Your Kiss", "Do The Guitar", "Planet Funk", and "You Sexy Thing".