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Great early genius from the Clarke Boland Big Band – proof that Kenny and Francy were onto something great, right from the start! The album really has the group hitting the heights of their MPS years – stretching out way past earlier big band modes, into the hip mix of rhythms and soulful solos that made the ensemble unlike any other group in the 60s – a really groundbreaking approach to their music, delivered by a range of top-shelf players! Arrangements are by Boland, who also plays piano – and other group members include Benny Bailey and Jimmy Deuchar on trumpets, Derek Humble on alto sax, Carl Drewo and Zoot Sims on tenor, Sahib Shihab on baritone sax and flute, and Ake Persson on trombone – plus rhythm from the rock-solid duo of Jimmy Woode on bass and Kenny Clarke on drums. Titles include the Latin-tinged "Los Bravos", and more great originals by Boland – including "Volutes", "The Styx", "Charon's Ferry", and "Box 703 Washington DC" – plus versions of "Gloria" and "Last Train From Overbrook".

An incredibly rare slice of righteous soul – pulled from obscurity! "Third Eye" has this really cool little groove – jazzy, but kind of light too – with these horns that are way in the background as the core skipping rhythms set most of the scene – all to some very human, honest lead vocals that fit nicely into the whole mix! "Back Home" is a mellow ballad, but has this light stepping groove that's pretty catchy!

10 hip hop instrumentals from one of the originators, DJ Mark the 45 King. Includes a bonus double copy with the same tracks, so you can get busy on the 1's and 2's. Includes "Killer Strings", "Overture", "Mad Fat Beat", "Sexy Lady", "Greedy Beats", "Magic Dust", "Pop Up", "TV Tune", "Coyote" and "Pyramids".

One of THE indie soul treasures of the 70s – a wickedly funky record that blends together jazz, soul, and club – and which stands out with a sound that's all its own! You may well know the tag "moods and grooves" – as the record's had an influence on countless scenes, and has been referenced by many artists over the years. But nothing beats this original set, a sublime batch of electric grooves performed by a core combo of electric keys, bass, and congas – augmented by sweetened strings and some occasional chorus vocals – bad-stepping around the grooves in a mostly-instrumental mode that rivals (if not betters) some of the best funky soundtrack work of the decade! Titles include "Time", "Chicago Calypso", "Funky Music", "Flute Salad", and "Gotta Get-A-Way".

Crazy funk from a crazy-costumed geezer with an equally crazy name! Boobie Knight led an obscure 70's funk outfit that was somewhere between Sly & The Family Stone and The Jimmy Castor Bunch. His group has a definite guitar-heavy sound that's a bit blunted, and a bit fuzzed out at times – but which also has a nice soulful edge at it's best moments. The band here includes vocals by Al Johnson (who may well be the same Al Johnson who went onto later mellow soul fame) – and titles include the crazy "Earth Creature", plus "The Lovomaniacs", "Power Greater Than Man", "Feeling My Cheerios", and "Woman Will Make You Love".

Excellent! The cut's a dancefloor classic – and it's got this wonderful little moogy instrumentation that's a perfect example of the genius of Patrick Adams and Greg Carmichael, who put the whole thing together, and who give the cut a real P&P funky flavor. A real killer, and one that we never tire of!

Excellent work by the Universal Robot Band – an electronic ensemble put together by producer Greg Carmichael, and featuring that great funky moog sound that he and Patrick Adams were using heavily at the time! The tracks have a funky disco groove – similar to groups on P&P Records, but a bit more conventionally disco at points too – with elements that might have made these guys cross over to a slightly bigger audience in the 70s. The moog is plenty great throughout – going really wild a times, with that unbridled quality that really marks a P&P recording – and the beats often that that slightly funk, sweetly stepping Adams/Carmichael groove too! With all that great keyboard work, there's hardly a tambourine in sight – and titles include "Dance & Shake Your Tambourine", "You're My Music", "Space Disco", "Save Me", and "Sunshine". CD also features a radio mix of "Dance & Shake Your Tambourine".

A pretty cool little collection – a Japanese-only set that's filled with various versions of Burt Bacharach classics pulled from the vaults of Universal Music – including a rich array of 60s recordings we might have missed otherwise! The set appears to have been done in support of a 2008 Bacharach tribute tour, but all of the recordings are of older vintage – and the set includes a huge amount of rare numbers from the first years when Burt's music was getting out to the masses. Titles include "Forgive Me" by Babs Tino, "That's The Way I'll Come To You" by Jack Jones, "Rome Will Never Leave You" by Richard Chamberlain, "These Desperate Hours" by Mel Torme, "The Look Of Love" by Chris Montez, "Magic Moments" by Ronnie Aldrich, "This Guy's In Love With You" by Frankie Valli, "Alfie" by Dee Dee Warwick, "April Fools" by Vanessa Williams, "Promise Her Anything" by Tom Jones, "Who's Got The Action" by Phil Colbert, "Say Goodbye" by Pat Boone, "Waiting For Charlie To Come Home" by Marlena Shaw, "He Who Loves" by Lenny Welch, "Loving Is A Way Of Living" by Steve Lawrence, "With Open Arms" by Jane Morgan, "Ten Thousand Years Ago" by Rusty Draper, "Wishin & Hopin" by The Merseybeats, "For The Children" by Burt Bacharach, and "A House Is Not A Home" by Julie Rogers.

Crazy funk from a crazy-costumed geezer with an equally crazy name! Boobie Knight led an obscure 70's funk outfit that was somewhere between Sly & The Family Stone and The Jimmy Castor Bunch. His group has a definite guitar-heavy sound that's a bit blunted, and a bit fuzzed out at times – but which also has a nice soulful edge at it's best moments. The band here includes vocals by Al Johnson (who may well be the same Al Johnson who went onto later mellow soul fame) – and titles include the crazy "Earth Creature", plus "The Lovomaniacs", "Power Greater Than Man", "Feeling My Cheerios", and "Woman Will Make You Love".

Great early genius from the Clarke Boland Big Band – proof that Kenny and Francy were onto something great, right from the start! The album really has the group hitting the heights of their MPS years – stretching out way past earlier big band modes, into the hip mix of rhythms and soulful solos that made the ensemble unlike any other group in the 60s – a really groundbreaking approach to their music, delivered by a range of top-shelf players! Arrangements are by Boland, who also plays piano – and other group members include Benny Bailey and Jimmy Deuchar on trumpets, Derek Humble on alto sax, Carl Drewo and Zoot Sims on tenor, Sahib Shihab on baritone sax and flute, and Ake Persson on trombone – plus rhythm from the rock-solid duo of Jimmy Woode on bass and Kenny Clarke on drums. Titles include the Latin-tinged "Los Bravos", and more great originals by Boland – including "Volutes", "The Styx", "Charon's Ferry", and "Box 703 Washington DC" – plus versions of "Gloria" and "Last Train From Overbrook".

Excellent! The cut's a dancefloor classic – and it's got this wonderful little moogy instrumentation that's a perfect example of the genius of Patrick Adams and Greg Carmichael, who put the whole thing together, and who give the cut a real P&P funky flavor. A real killer, and one that we never tire of!

An 80s update by John Morales of this soaring club classic from Universal Robot Band – moogy, percussive, and wonderful all the way through – and one of those tunes that still surprises us with genius over the years! The track was co-written by Leroy Burgess and produced by Greg Carmichael – and with talents like that on deck, you can imagine the blend of underground club modes running through the cut. The moogy bits are totally great – really giving the cut a great spooky edge – and they're nicely augmented by quirky bass work and some really great percussion!

This is Soul Jazz's masterpiece suite of US independent soul jazz stuff from the seventies. This thing's a monster, and is almost a seventy minute non-stop ride through the heady side of American jazz by great artists like Sun Ra ("Space Is The Place"), Art Ensemble of Chicago ("Theme De Yoyo"), Steve Reid ("Lions of Judah"), and Marcus Belgrave ("Space Odyssey"). A compilation as legendary as the artists it includes.

A pair of soulful gems from tenorist Gene Ammons – back to back on a single CD! The Soulful Moods is beautiful beautiful work from tenorist Gene Ammons – and an album that really demonstrates that during the 60s, one of Ammons' strongest suits was his work with a mellow tune or ballad! The tracks here are wonderfully laidback, but never sleepy – very soulful, and solidly put together in that Ammons-made gentle-blown way – using just a few notes to send the message out with a powerful punch, without ever overdoing things the way that a few of his tenor contemporaries might be tempted to do! The group's a great fit too – with the lovely Patti Brown on piano, plus bass from George Duvivier and bass from Ed Shaughnessy – and titles include "Two Different Worlds", "Skylark", "Three Little Words", "Street Of Dreams", and "You'd Be So Nice To Come Home To". The second album is Nice & Cool, but not in a west coast way – and instead a set that's got Gene Ammons working some wonderfully soulful magic on a set of gentle ballads! The set's got a brilliant late nite sort of feel – one of those tenor albums that seems to sound even better in the space past midnight – as the warm glow from Ammons' horn seems to sparkle even more strongly in the dark – standing out with that stark, spare approach that always makes his ballad work so special – and unlike just about anyone else. The group here is nice and cool too – with Richard Wyands on piano, Doug Watkins on bass, and JC Heard on drums – and titles include "Someone To Watch Over Me", "I Remember You", "Willow Weep For Me", and "Till There Was You".

One of the greatest Brigitte Bardot albums you could ever buy – some of the grooviest, sexiest work the famous French actress ever cut! The album's overflowing with excellent original material written by Bardot by Serge Gainsbourg and Francis Lai – two of our favorite French composers of the 60s, and both a very good choice to work with Brigitte! Bardot sings in a sexy, whispery style that's a bit like Jane Birkin, but somewhat different too – and the arrangements are by Michel Colombier, Paul Pio, and Christian Gaubert – three talents who definitely keep things groovy. There's a few instrumentals mixed in with the vocal tracks – but that's totally fine with us, because they're all pretty great – and there's plenty of moments with a nice groove and a bit of funk. Titles include "Harley Davidson", "Ay Que Viva La Sangria", "Gang Gang", "David B", "Mister Sun", "Paris", "On Demenage", and "Contact" – plus the excellent "Marseillaise Generique" instrumental – used to great effect in Austin Powers!

An amazing collection – every single Jorge Ben album recorded for Philips – one hell of a massive legacy in music, packaged here with a bonus CD of rare material too! The albums in the collection are the stuff of legend – amazing discs that forever changed the face of Brazilian music with Jorge's unique blend of samba and soul, plus a touch of funk as the 70s came on – and together, the music is a mindblowingly heavy batch of work that few other artists could ever match! Titles include Samba Esquema Novo, Sacudin Ben Samba, Ben E Samba Bon, Big Ben, Jorge Ben (1969), Forca Bruta, Negro E Lindo, Ben, 10 Anos Depois, A Tabua De Esmeralda, Solta O Pavao, Gil E Jorge, and Africa Brasil. Rarities disc is unique to this set, from what we can tell – and is filled with goodies too!

3 lost vocal gems from 50s Paris! The set pulls together some rare eps on the Barclay and Fontana labels – all the picture of Left Bank hip! The first 8 tracks are by Harold Nicholas – singing in French and English with a swinging combo on tunes that include "Que Reste-t-il De Nos Amours?", "That Old Black Magic", "Teach Me Tonight", and "Smoke Gets In Your Eyes" – in a style that's similar to early work by Claude Nougaro, but perhaps a bit more mellow. The next 4 tracks feature June Richmond singing with a hip group arranged by Quincy Jones – and featuring work by Billy Byers, Roger Guerin, Kenny Clarke, and Henri Renaud. Tracks on that set include "Sleep", "Everybody's Doing It", and "I've Gotta Right To Sing The Blues". The last two tracks are rare gems by Andy Bey and his sisters Salome and Geraldine – performing in the style of their classic Andy & The Bey Sisters albums in the US, and recorded in 1959, quite early in their career! Their two tracks are wonderful – and feature the trio grooving soulfully on the tunes "Smooth Sailin" and "Scoubidou".

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".

A fantastic live set from Art Blakey – recorded in Paris in 1960, with a version of the Jazz Messengers that includes Lee Morgan on trumpet, Wayne Shorter on tenor, Walter Davis Jr on piano, and Jymie Merritt on bass! Best of all, though, is that the group is joined by two Paris jazz giants on two tracks – the great saxophonist Barney Wilen on tenor, and American ex-patriot Bud Powell – who was doing some of his best work in Paris at the time, and sits in on the keys instead of Davis. Wilen's incredible tone sounds great next to Shorter's horn – and all the tracks are long enough to give all soloists plenty of room to move around. Titles include "The Midget", "Bouncing With Bud", and "Dance of The Infidels".

A long-overdue debut from Onita Boone – a singer who's worked in the background with many others, but who finally gets her time in the limelight! Onita's got a great way with a lyric – and most of the tunes on the set feature original words by the lady herself – deep and mature, and served up with this strong sense of flow that really sends the tunes home. Production is relatively stripped-down, too – although has a few classic elements percolating amidst more contemporary modes – maybe a bit more on the album's few well-chosen covers. Onita hails from the US, but gets a big push here from Universal Germany – which means that this one might oddly fall under the radar for audiences back home. Titles include "Who's Crying Now", "I Know", "I'll Carry You", "Ain't Nobody", "Joined", "I Don't Wanna", "Let The Funk Come Out", "25 To Life", and "Pay".

A beautiful tribute to the legendary Joao Bosco – a celebration of his forty years in Brazilian music – put together with help from a host of guests who include Joao Donato, Milton Nascimento, Toninho Horta, and Chico Buarque! The presence of these equal legends is a great reminder of the way that Bosco's music has influenced generations of MPB – perhaps not as famous on a global scale as these other artists, but always very well-respected by his peers – who often recorded many of Joao's compositions, and made them their own. The music's got all the acoustic charm of Bosco's best 70s recordings – and with some of his other recent sets, there's a sense of depth and growth that really shows his tremendous evolution as an artist over the years. Titles include "Agnus Sei", "Tanajura", "Fotografia", "Plataforma", "Jimbo No Jazz", "Drume Negrita", "Tarde", and "Caca A Raposa". DVD features four more tracks than the CD – and has a bonus "making of feature"

One of the few albums ever cut as a leader by pianist Ronnell Bright – a player best known for his accompaniment behind famous vocalists, like Sarah Vaughan and Nancy Wilson! This rare date was cut in Paris – at a time when Bright was visiting the city with Vaughan – and it's a stripped-down trio date with a nicely relaxed feel – one that has Bright really opening up on the keys, in ways you don't always hear on his material with singers. Other players in the trio include Richard Davis on bass and Art Morgan on drums – and titles include "Johnnie Pate's Blues", "Sail Em", "Doxology", "Chasing Sarah", and "R&R Groove".

Brilliant work by the team of Clifford Brown and Max Roach – a seminal hardbop album that was one of the few to bridge the east and west coast scenes! The set was recorded in LA under the joint leadership of Brown and Roach – and features the classic quintet lineup that included Harold Land on tenor, Richie Powell (Bud's brother!) on piano, and George Morrow on bass. The mix of Roach's heavy full-on drumming and Brown's lyrical beauty is beyond compare – and Land's angular and sensitive tenor lines provide a perfect link between the two. Titles include classics like "Parisian Thoroughfare", "The Blues Walk", "Daahoud", "Jordu", and "Joy Spring".

Quite possibly THE James Brown album of the mid 60s – a solid set of hard-grooving tracks, based around the monster title hit "I Got You (I Feel Good)"! The tune's one of those numbers that has been used a gajillion times over the years in commercials and promos – but which never sounds better than here, on James' original version – one of those cuts that never gets old! The hit's also nicely offset by a number of other more obscure numbers that make the album really worth tracking down – titles that include "I Can't Help It (I Just Do Do Do)", "Good Good Lovin", "I've Got Money", "Three Hearts In A Tangle", "You've Got The Power", and "Love Don't Love Nobody" – all on the rougher side of the JB spectrum.

James Brown, proud and loud – a smoking 60s album that provides a great link between his earlier styles and his freer roots – with a brilliant blend of funk, soul, and a touch of raw R&B! Given the power of The Godfather at this point, there's no denying that even the older cuts have a punch that few others could match – making for a record that feels mighty darn unified, despite the stretch of time between a few of the recordings. Titles include the funky gems "Ain't That a Groove (pts 1 & 2)", "The Scratch", "Is It Yes or Is It No", and James' great version of "The Bells" that's always been one of our favorites – plus Just You & Me", "I Love You Yes I Do", "Come Over Here", and "I Don't Mind". The cover also comes with an "autographed" photo of James on the back with the text "James Brown Fans – Frame This 8 x 10 Picture" – and an image that says "Soul Brother #1 Is Peeking At You Thru The Key Hole"!

Here's where things really started getting interesting for James Brown! The album was issued right around the same time as James' single "Out Of Sight" on Smash – and like that track, "Papa's Got A Brand New Bag" was one of the first to use that "instruments on the beat" style of funk that would dominate all of James' work in years to come – that amazing groove that completely turned soul music on its ear – and paved the way for generations to come! The result is a startling sound that forever changed the face of groove – and you'll hear it nicely placed on this album, along with great cuts like "Cross Firing", "Mashed Potatoes USA", "Doin The Limbo", and "Love Don't Love Nobody".

A really sweet little album from guitarist Kenny Burrell – one in which he takes older tunes ("a generation ago"), and updates them with a sweetly compressed Verve 60s groove ("today"!) The record features 2 small groups – one with Ron Carter, Grady Tate, and Phil Woods; the other with Carter, Tate, and Richard Wyands – and the style is light, laidback, and recorded with a warm tone overall – in a mode that's almost a precursor to the CTI sound of the late 60s. Mike Maineri joins on vibes on one track – and titles include "Wholly Cats", "Rose Room", "As Long As I Live", and "A Smooth One".

Tenorist Don Byas is one of those players who always seemed to get more recognition in Europe than the US – or if that's not entirely the case, he at least got more chances to record properly than he ever did over here! This excellent 18 track CD features tunes from 3 early 50s sessions that Byas recorded in Paris – all of them in a small group setting that really let him open up on tenor in a mellow soulful way. Most tracks are relatively short, but the quality of Byas' solos is wonderful – and the CD represents some of the finest work you could ever hope to find by him from the postwar years. Titles include "Summertime", "The Man I Love", "Smoke Gets In Your Eyes", "Riviera Blues", "Somebody Loves Me", and a sublime version of "Laura".

Some of the first bop sides cut by Americans in Paris – a quartet of material from four different sessions, issued properly for the first time on CD, with great mastering, and a good set of notes in French and English! Don Byas is at the forefront of two sessions here – one with the Tyree Glenn Orchestra, the other featuring the Don Byas Ree-Boppers – and tracks on those include "Walking Around", "Red Cross", "Cement Mixer", "Mad Monk", "Billie's Bounce", and "The Hour Of Parting". Howard McGhee is next up – with 7 tracks from a rare 1948 session, and titles that include "Big Will", "Donna Lee", "Nicole", "Denise", and "Punkins". Last up are four tunes by James Moody – cut during the prime of his early bop years, in 1949, and done with a nicely modern edge. Titles include "Verso", "Recto", "Oh Well", and "Convulsions". 23 tracks in all!

A pair of classics from guitarist Charlie Byrd – back to back on a single CD! First up is Latin Impressions, a set that's more Brazilian than Cuban – and maybe a bit Spanish, too – given the strong use of acoustic guitar from Charlie Byrd! The set's got a laidback, open feel – and Byrd's guitar work is mighty deft, yet without all the frills and flowers of some of the more dramatic, emotive players of the time – a great illustration of the huge shift that the early bossa guitar recordings had at a global level. Byrd was one of the first big American proponents of bossa, and you can definitely hear that influence at work here – amidst additional guitar from Gene Byrd, bass from Keter Betts, and drums from Bill Reichenbach. A few tunes feature Charlie on solo guitar with no backing – and titles include "O Pato", "Homage A Villa Lobos", "Bogota", "Vals", "Samba De Uma Nota So", "Amor Flamengo", and "Azul Tiple". Bossa Nova Pelos Passaros is a landmark, as guitarist Charlie Byrd was one of the first American players to record bossa nova tunes – but although his work with Stan Getz has always been well-documented, some of the titles under his own name can be quite hard to come by. This is one of the best ones that Charlie cut on his own – and it features tight guitar work in a mode that's similar to that used by Baden Powell on his early bossa recordings, augmented by trio rhythms – plus some occasional larger backings by Walter Raim, and some extended group settings that feature Charlie Hampton on alto, Earl Swope on trombone, and Willie Rodriguez on percussion. Tracks include "Ho Ba La La", "Samba Triste", "Yvone", "O Barquinho", "Un Abraco Do Bonfa", and "O Passaro".

French journalist/composer Andre Hodier was one of the leading voices of European jazz in the postwar years – a committed modernist, but with a strong understanding of all the traditions of jazz. This classic set features American drummer Kenny Clarke working with a group of French musicians on a set of originals and jazz standards set to arrangements by Hodier. Players include trumpeter Roger Guerin, pianists Marial Solal and Rene Utreger, and saxophonists Armand Migani and Hubert Rostaing. The set's a great batch of angular bop numbers – and it's a great chance to hear what Clarke can really do on the drum kit when he's given a chance to open up. Titles include "Oblique", "On A Riff", "Bemsha Swing", "Cadenza", "Eronel", "The Squirrel", and "Tahiti".

A rare score from French arranger Michel Colombier – penned for an equally-obscure film directed by the great Jacques Demy! The album follows the same musical style as some of Demy's better-known work from the 60s – like Umbrellas Of Cherbourg or Young Girls Of Rochefort – although the overall style is a bit darker, and Colombier's music definitely rises to the challenge. Vocals don't feature as heavily as on some of Demy's movies with Michel Legrand, but they still have a strong role in the music – and this beautiful 2CD package brings the complete score to light for the first time – quite an achievement considering that the film never even made it to video. Titles include "Edith Et Sa Mere", "Violette Amoureuse", "Visite D'Edmond", "La Chambre D'Hotel", "Chez La Baronne", "La Rupture", and "Mme Pelletier Et Sa Fille".

A classic live album – one of the first in soul music, and a beautiful set of smooth soul tunes from Sam Cooke! Sam's singing at the high-end nitespot The Copacabana – and like many live sets performed there, this one's tailored a bit to the classy crowd at the show – but that doesn't stop him from using his voice to perfection, sweetly crafting beautiful lines on a batch of standards given the soul treatment, plus a few of Sam's own hits. And sure, it's easy to criticize this album after the release of the Live At The Harlem Square album in the mid 80s – which was recorded a year earlier, but rejected by RCA in favor of this album's crossover potential – but keep in mind that for most folks who didn't grow up with the hindsight of reissues, this album was all they had, and it still had quite an impact in the soul market. Titles include "The Best Things In Life Are Free", "Try A Little Tenderness", "If I Had A Hammer", "Twistin The Night Away", "You Send Me", and "This Little Light Of Mine".

Beautiful – and some of the best soundtrack work ever recorded by this mad French genius! Francois De Roubaix is one of our favorite soundtrack composers ever – and if you've never heard his work, this is a great place to start. The 3 films included in the package all feature amazing music that's unlike anything else you might have heard before – a blend of funky rhythms, soaring strings, floating flute, and odd little instrumental touches that evoke a lot of weird moods and mystery moments. A few tracks feature vocals – either by Nicoletta, Los Incas, and Gilles Dreu – but the bulk of the package is instrumental, with 22 tracks that include "Jeanne & Marceau", "La Recherche", "Gregg", "Le Bosco", "Le Ritual", "Jerk Carceral", "Aspic", and "Un Aller Simple".

One of the greatest soundtracks ever written by one of the maddest composers we've ever heard! Although Francois DeRoubaix never gets as much fame as some of the other big French composers, his work from the late 60s and early 70s is completely insane – as you'll hear on this groovy gem from 1970! The album's got a stunning array of great tracks – from funky groovers, to moody 60s numbers, to oddly-instrumentated numbers that show DeRoubaix as sort of a late 60s Raymond Scott! The reissue includes great notes and photos – and a total of 22 tracks that include "Muricette's Song", "Judo", "Audition", "Les Poupons", "Repetition", "Footing", "Claquettes", "Piti Piti Pas", "Generique Debut", and "Ballet Du Reve".

Incredible soundtrack work from one of the coolest composers of the 70s – the groovy Francois De Roubaix, equally at home with electronics and funky orchestrations! We've loved the music of Francois De Roubaix for years – and treasure it for its unique blend of electric and acoustic elements – often coming together in mad juxtaposition, but doing so in a way that always makes for a nice little groove, and often a strong undercurrent of funk! This set brings together a nice collection of rare electronic soundtrack work by De Roubaix – tracks from the films La Scoumoune, L'Antarctique, and RAS, as well as music from the TV series La Mer Est Grande, plus a few bonus tracks from other sources. Together, the tracks paint a rich picture of the electric side of Roubaix work – a side that's shown up a bit on other reissues over the years, but which has never been shown so strongly until now! The whole thing's incredible, and packaged with some great notes and especially cool vintage photos of Francois in action – showing him to be the consummate hipster of the French soundtrack scene in the early 70s! 20 tracks in all – all brilliant!

Amazing electronics from the mad Francois De Roubaix – one of the hippest soundtrack composers of the 70s, heard here in a wealth of his most groundbreaking tracks! Francois often uses electronics quite sparingly and spaciously – as sonic elements that drop out of nowhere and color in his whimsical, playful little tunes – all in a mode that's quite different than the darker, spookier electronics of Italian and American composers of the same period! Many of the numbers here have an inherent sense of rhythm – a bottom-level pulse that really keeps things going, even when tracks aren't as all-out funky – and De Roubaix almost inherits a style from French soundtrack composers of a generation before, then makes it even groovier with his electronic sounds! CD features 19 completely sublime tracks – titles that include "Afron Evrard", "Souvenirs Cubistes", "Violence Et Reverie", "Ballet Sans Balais", "Les Anges", "Trois Enfants Au Nepal", "Mort D'Un Guide", "La Fete Des Dieux Avions", and "Charo" – plsu the bonus tracks "Rencontre Avec Le Skua" and "Electropolis".

Another incredible set of mad, moody film music from Francois de Roubaix – some featuring vocals by Serge Reggiani. Roubaix is a pretty obscure name when you consider the hallowed halls of worshipped composers – but trust us, it's as likely due to his unique vision and lack of a huge crossover film to have attached to his oeuvre than any other reasons. You could tangentially connect his style to that of Morricone (wild, hissy percussive momentum) and more well known French composers (moody, quiet passages, rich accordian work) but it all comes through with a very unique feel. It runs from weird, sorta bluesy rags to a vaguely Western sound and beyond – these could play behind anything from a shootout to a burlesque show! The tunes are from the 1965's Les Grandes Gueule, 1968's Ho!, 1972's Les Caids, and 1975's Le Vieux Fusil – plus three previously unreleased bonus cuts. 24 tracks in all. Titles include "Jackie", "Le Revolver", "Alarme Et Sirene", "Clara Et Julien", "La Mort", "Benedictine", and lots of others.

Mindblowing work from French film composer Francois De Roubaix – an artist who's perhaps gotten more credit in recent years for his electronic sounds, but who's featured here in a fantastic batch of vocal numbers too! Many of these tracks have that great messed-up funky style of the era of Gainsbourg, Jean-Claude Vannier, and Michel Colombier – bouncing bass, psyche-inspired instrumentation, and lots of weird production that trips things out in these subtle, wild ways. Vocals are sung by a host of different artists, and the styles vary up nicely too – but the whole thing's really unified with that sense of madness we've always loved in the instrumental work of De Roubaix! Titles include "Les Poupons" by Olivier & Louis De Funes, "Le Rapace" by Los Incas, "Loin" by Joanna Shimkus, "Just Be Cool" by Fire Exit, "Mon Ami Thia" by Serge Reggiani, "Chacun Son Homme" by Brigitte Bardot & Annie Giradot, "Pour Qui Pourqui" by Nicoletta, "My Sky Is Blue" by Alice Herald, "Un Peu Beaucoup Passionnement" by Vaea Sylvain, "La Ballade Du Heros" by Farid, and "Avec Des Cubes" by Chapi Et Chapo. 24 tracks in all – and some very copious notes!

2 lesser-known sides of Blossom Dearie – both recorded in Paris in the 50s! The first 8 tracks on the set are from a rare 10" session recorded in 1955 – one that features Blossom only at the piano, not singing, but swinging in a solid trio format. Tracks on that session include "The Boy Next Door", "Down In The Depths Of The 90th Floor", "April In Paris", and "Blue Moon". The other 4 tracks on the set are from a 45rpm ep by Blossom's famous vocal group, The Blue Stars. The ensemble featured vocalese performances by young singers that included Christine Legrand, Jeanine De Waleyne, and Fats Sadi – and was the virtual blueprint for later jazz vocal groups, like Les Double Six or The Swingle Singers. Titles from that group include "Toute Ma Joie", "Embrasse Moi Bien", and "Toute Ma Joie".

A pair of action soundtracks from Georges Delerue – both mighty darn nice! Cent Mille Dollars Au Soleil is from a cool early 60s thriller with Jean-Paul Belmondo and Lino Ventura – done by Delerue with music as bold as the action in the story, but balanced out nicely with some leaner, more evocative passages that hint at the direction Georges would take in years to come. The main theme recurs often, creating a nice sense of elliptical energy in the music – and tracks include "Quartier Arabe", "Mitch Mitch", "L'Enlisement", "Une Nuit Marocaine", and "L'Appel Du Desert". Next is a film from 20 years later – Les Morfalous – but also starring Belmondo, and scored by Delerue with surprisingly subtle touches – far less of the schlocky electronic music that was often used in other 80s thrillers. A few tunes are a somewhat bold, but mostly the style is spare and tense – orchestrations held back to a minimum, and some nice accordion lines that step out gingerly to feel the space of the music. Titles include "Objectif GMC", "C'Est L'Aventure", "Helene", "Piege Au Cimetiere", and "Les Morfalous".

2 classic Truffaut soundtracks – both penned by Georges Delerue, and presented here on a single CD! First up is Delerue's beautiful score for Jules Et Jim – music that's probably best known for the vocal tune "Le Tourbillon", sung by Jeanne Moreau – but which also features some amazing scene-setting work from Georges – done in styles that move between evocative orchestrations and some tenser, more bracing moments. Jules Et Jim titles include "Rixe", "Brouillard", "Jim Et Catherine", "Retrouvailles A L'Auberge De La Becasse", "Jules Et Therese", "Le Tourbillon", and "Vacances". The second half of the CD features Delerue's haunting score for Les Deux Anglaises Et Le Continent – a slightly warmer, more sentimental score – but one that's carried off with all of the subtle touches we've come to expect from Delerue. There's a nice blend of light woodwinds and strings on some of the tracks – never used in a too-cliched way, and based around a dark theme that repeats itself nicely. Titles include "Muriel Et Claude", "Une Petite Ile", "Le Voyage En Perse", "La Rupture", "La Passion De Muriel", and "Anne Et Claude Au Musee".

A wonderful soundtrack from Georges Delerue – and proof that, no matter what the setting, his musical work is always top-shelf! The film's a less-remembered Catherine Deneuve vehicle from the early 80s, but Delerue handles the music with a really timeless feel – a beautifully balanced set of orchestrations that move slowly, and with great feeling – unfolding gently as the set moves on – with that almost flower-like style he brought to some of his best arrangements of this nature. Some tracks are short, and together the music works wonderfully as an evocative sound piece, even away from the film. Titles include "Face To Face", sung by Vivian Reed – plus instrumentals "Nostalgie De Victor", "Marche Militaire", "Le Bar De L'Hotel", "Voltige Aerienne", "A Bientot Charlotte", and "L'Espoir". CD also features a great bonus – a 17 minute "Suite Symphonie De Philippe Broca"!

Two great soundtracks by Georges Delerue – both penned for Jean-Paul Belmondo films of the mid 60s! Les Tribulations D'Un Chinois En Chine has a really great style that mixes fake "Chinese" themes with more playful orchestrations – all in a mood that really fits that lightly comedic action of the movie, and which has an extremely evocative feel, even away from the screen! Strings are often arranged in playful ways, and mixed with odd woodwinds – not really authentically Chinese, but that's the appeal! L'Homme De Rio has a stronger Brazilian feel, as you might expect – one that's got bits of batucada, elements of bossa orchestrations, and some of the bolder, more dramatic moments we've come to expect from Delerue! The whole package is great, with lots of images from the films, and notes in both English and French – and a total of 24 tracks that include "Bowling Bresilien", "Batucada/Rapt Au Trocadero", "A La Poursuite De Catalan", "Quelle Adventure", "Mister Goh", "Hong Kong", "Poursuite En Ballon", "Suzy Et Cornelius", and "Choinoiseries" – plus 2 bonus tracks, "Alexandrine Pour Alexandra" and "Amazone".

A pair of soundtracks for films by Jean-Pierre Melville – back to back on a single CD! First up is L'Aine Des Ferchaux – scored by Georges Delerue with a strong sense of drama, maybe even more than you're used to expecting from a Melville film – although given the need for "American" tones in the music, the drama's perhaps well-placed! Delerue's already got that great ear for rich feeling with very subtle tones – and balances things out nicely with a more more restrained, more "adult" numbers. Titles include "Manhattan Deux Hommes", "A La Dimitri", "La Route", "Slow Du Desespoir", and "Maudet Et Ferchaux". Un Flic is more the Melville you might expect – an excellent crime film from the early 70s, scored by Michel Colombier with a great mix of jazz and moodier, mellower elements! The score begins with a sweet vocal track – "C'Est Ainsi Que Les Choses Arrivent", sung by Isabell Aubret – then moves through some beautifully blue tunes that are simply tremendous overall. Titles include "Un Monsieur Distingue", "Chez Luce", "Night Club Trois Heures Du Matin", "Chaussee D'Antin", and "Pre Hold-Up".

Beautifully mature work from Brazilian piano legend Joao Donato – an album that draws on his rich legacy of musical expression from the bossa years onward, presented here with a few surprising twists and turns! The core format is piano trio – Joao on the acoustic keys, with Luiz Alves on bass and Robertinho Silva on drums – yet the sound is quite changed from the early days when Donato recorded heavily in this way, inflected with some really complicated rhythms at points, and turned towards these soulful undercurrents we especially love. Instrumentation includes a bit of guest strings on one track – plus vocals from Zeca Pagodinho, flute from Ricardo Pontes, and cavaquinho from Paulinho Soares – artists who each appear on a track in the set. Titles include "Sambolero", "E Menina", "A Ra", "Jodel", "Sambou Sambou", "Amazonas", "Quem Diz Que Sabe", "Surpresa", and "Brisa Do Mar".

The soundtracks to 2 of Jean Luc-Godard's greatest films – back to back on one CD! The score to Pierrot Le Feu features 9 tracks in all – 3 of which are vocal numbers by Anna Karina, who starred in the film, and who delivers the vocals with a decadently deadpan style that fits perfectly with the songs. The score to Week-End offered here is a new recording – done by the Orchestre Sinfonietta Moldava, under the direction of Leonardo Gasparini. There's a total of 16 tracks in all, with images from the films and notes in English and French! Titles include "Jamais Je Ne T'Ai Dit Que Je T'Aimerai Toujours", "Ferdinand", "Pierrot", "Twist Pour Jean-Luc", "Lamento", "L'Internationale", and "Elle Et Lui".

Music for the last feature film of Jacques Tati – the mad mad Trafic, matched here by a wonderful soundtrack by Charles Dumont! After the dark modernism of Playtime, Tati let loose a bit more for Trafic – and the score matches the film's sometimes silly approach with some very groovy numbers that are a lot more mod than you'd expect. Guitars, organ, drums, and fuzzy bass ring out on the best numbers – a mix of funk and groovy numbers that almost feel like they were pulled out of one of the wilder Italian soundtracks of the same era. Titles include "Trafic", "Maria", "La Route", "La Course D'Autos", and "Marche De La Rai". Great to have on CD – and we'd like to have the movie out soon too!

This is a fantastic album! French pianist Raymond Fol leads a group that includes American and European players of the Clarke-Boland Big Band mode, like Johnny Griffin, Jimmy Woode, and Fats Sadi, plus American Art Taylor on drums – and he's come up with a swinging take on Vivaldi's Four Seasons that's one of the hippest French jazz sides we've heard from the 60s! Forget the source of the material, because Fol lets the players really go loose on the solos – which means you'll hear great vibes from Sadi, searing tenor from Griffin, and some excellent work on piano and celeste from Fol himself, all set to tight rhythm accompaniment that makes the tracks swing harder than you'd ever expect. A real treat, kind of a swinging jazz suite, ala the best MPS work of the Clarke-Boland Big Band!

2 incredible soundtracks from Serge Gainsbourg – both of them from his best period of work! Cannabis is a tremendously funky set of tunes – and some real standout soundtrack material from the legendary Serge Gainsbourg! Serge is working here with some great help from Jean-Claude Vannier – the guiding force behind Melody Nelson – and Vannier brings some great grooves to the record, really going for those sexy riffs and breaks that make us love Gainsbourg's music so much! There's a bit of vocals, but the main focus is on the instrumentation – which shifts nicely from track to track, taking the themes in some very nice directions – all of them definitely up to the sexy standard of Serge. The score to Ce Sacre Grand Pere is included here as bonus work – and features tracks written by both Serge and Michel Colombier. The overall feel is more orchestral and traditionally soundtrack-styled, but there are a few really sly funky tracks that offer up Serge at his sexy best! The set's got 21 tracks in all, and titles include "Cannabis", "Jane Dans La Nuit", "Danger", "Avant De Mourir", "Cannabis-bis", "Piege", "I Want To Feel Crazy", "Le Deuxieme Homme", "Champetre Et Pop 1", "Nous Les Jericho", and "L'Herbe Tendre".

2 incredible soundtracks from Serge Gainsbourg – both of them from his best period of work! Cannabis is a tremendously funky set of tunes – and some real standout soundtrack material from the legendary Serge Gainsbourg! Serge is working here with some great help from Jean-Claude Vannier – the guiding force behind Melody Nelson – and Vannier brings some great grooves to the record, really going for those sexy riffs and breaks that make us love Gainsbourg's music so much! There's a bit of vocals, but the main focus is on the instrumentation – which shifts nicely from track to track, taking the themes in some very nice directions – all of them definitely up to the sexy standard of Serge. The score to Ce Sacre Grand Pere is included here as bonus work – and features tracks written by both Serge and Michel Colombier. The overall feel is more orchestral and traditionally soundtrack-styled, but there are a few really sly funky tracks that offer up Serge at his sexy best! The set's got 21 tracks in all, and titles include "Cannabis", "Jane Dans La Nuit", "Danger", "Avant De Mourir", "Cannabis-bis", "Piege", "I Want To Feel Crazy", "Le Deuxieme Homme", "Champetre Et Pop 1", "Nous Les Jericho", and "L'Herbe Tendre".

THE lasting classic from Gloria Gaynor – the record that contains her tremendous hit "I Will Survive", and a great batch of disco grooves overall! The album's got a simple, honest sort of approach, despite its release in an era of overblown dancefloor sets – and arranger Freddie Perren does a great job of balancing all the elements here – hitting strong on the rhythms, but mixing in bits of strings from Gene Page and others – all in a sound that's round, warm, and surprisingly soulful, despite the big crossover fame of the hit on the record. In addition to a nice long take of "I Will Survive", other tracks include "Anybody Wanna Party?", "Please, Be There", "I Said Yes", and "You Can Exit".

A rare set from one of Stan Getz's hippest groups! The album was recorded in Paris in 1966, during a time in which Stan was working with a groundbreaking quartet that included Gary Burton on vibes, Steve Swallow on bass, and Roy Haynes on drums – a combo that unfortunately got a bit overshadowed by Stan's bossa work, which was recorded in earlier years, but still getting issued and played heavily during the time of the Burton quartet's reign. The upshot of that situation was that the combo weren't nearly as exposed, or recorded, as much as they should have been – making the CD an essential look at this under-documented side of Stan's career. Getz's tone is fantastic – and he glides freely with the young modernists in a way that you barely ever hear on any of his sides from the 60s, save for, perhaps, the sublime Sweet Rain LP. Titles include the long "The Knight Rides Again" – plus the tracks "Singing Song", "On Green Dolphin Street", "Stan's Blues", "Edelweiss", and "Manha De Carnaval".

Gilberto Gil's first album after a few years exile in England – and a really explosive record that recalls the brilliance of his Tropicalia years! The record's an incredible blend of rootsy percussion, raspy guitar, and tripped-out production – all delivered with an instrumental sensibility that's even more sophisticated than before, and a lyrical interplay that's really amazing – extremely poetic at points, even if you can't understand the language! As with Gal Costa in the early 70s, Gilberto Gil manages to keep some of the best experimental elements of his music burning bright, even after the collapse of the Tropicalia movement – and as with some earlier Tropicalia gems, this album features some great work on bass and guitar from Lanny Gordin, not to mention drums and percussion from Tutty Moreno, who's better known for his later work with Joyce. Tracks include "Back In Bahia", "Expresso 2222", "Oriente", "Chiclete Com Banana", "Pipoca Moderna", and "O Sonho Acabou".

The rare 3rd album by Gilberto Gil, and a key piece of the Tropicalia puzzle – one of the most wildly experimental albums from those years, and Gil's last before going into exile! The sound is much more electric than his other albums from the late 60's – and the production, songwriting, and instrumentation get very crazy at times – but never too crazy to cover up Gilberto's excellent singing, which is still as filled with feeling as ever. Arrangements are by the mighty Rogerio Duprat, who does as great a job here of balancing Gil's sensitivities as he does on Gal Costa's sublime efforts from 1969 – and the instrumentation is a weird and wonderful mix of Bahian rhythms, fuzzy guitar, and crazy electronics – all heartfelt one minute, freaked out the next. Tracks include "Cerebro Eletronico", "Volks Volkswagen Blue", "Futurivel", and "2001", which was written by Tom Ze and Rita Lee – plus the wild cut "Objecto Semi-Identificado", which is sort of a John Cage-esque track of found radio and electronics, with vocals by Gil!

60s cookers from Dizzy Gillespie – back to back on a single CD! New Wave is a lost bossa jazz classic from Dizzy Gillespie – recorded at a time when Lalo Schifrin was working in his combo! The record's got a cool, laidback kind of groove – one that's miles away from Gillespie's earlier bop work, and which shows him opening up his rhythmic conception strongly in the 60s. Rhythms are percolated by the piano of Schifrin, guitar of Bola Sete, bass of Chris White, and some well-chosen added percussion work – and the overall groove is one of the best American takes on the bossa jazz sound of the time, delivered with wonderful horn work from Dizzy on trumpet, Leo Wright on flute and alto, and Charlie Ventura on tenor! Even familiar tunes are transformed by the sound – and titles include "In A Shanty In Old Shanty Town", "Careless Love", "Taboo", "One Note Samba", "Pergunte Ao Joao", and "Chega de Saudade". On The French Riviera isn't really French, but actually a killer batch of Latiny tinged tracks from Dizzy & Co – with with great arrangements by Lalo Schifrin! There's a wonderful 10 minute version of "Chega De Saudade", done as "No More Blues" to start it out, and it's got a great loping Latin vibe, in the manner of Dizzy's best sides from the 60s. Lalo's on piano, and the great Leo Wright is on flute and alto, with Tzigane Elek Bacsik on guitar, Chris White on bass, Ruby Collins on drums and Pepitoo Riestria on percussion. Other nice ones include "Long Long Summer", "Desafinado", and "Pau De Arara". A great album, and one not to pass up!

Two albums that really show why we love Benny Golson so much! Turning Point is an incredible, and oft-overlooked album from the great Benny Golson – and one of the few early albums that really point the way to his huge run of work for decades to come! The style here is a bit looser, and more open than some of Golson's previous albums – less of a focus on arrangements, and more on the spontaneous interplay between his tenor and the crack rhythm section – which features Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums – a dream lineup who really make the record sparkle. But the real star of the show is Golson – who's hitting this raspy, soulful tone he never had before – much freer of soul jazz formalities, and with a modern edge that's wonderful – as you'll hear on titles that include "Alone Together", "Turning Point", "Stella By Starlight", and "Dear Kathy". On Free, things aren't as tightly structured as on some of Benny's more arranged albums of the period – and he opens up wonderfully in a small group setting – playing in a beautifully confident tone, but with a slightly raspy edge – cutting, changing, and swinging perfectly in lines that are masterfully crafted, yet full of raw emotion. The group's a thoughtful quartet, and includes Tommy Flanagan on piano, Ron Carter on bass, and Art Taylor on drums – and tracks that inlcude "Sock Cha", "Shades Of Stein", "Just By Myself", and "Just In Time".

3 rare French jazz soundtracks on one CD! First up is the music from the film Les Loups Dans La Bergerie, written by Serge Gainsbourg, and performed by Serge's arranger Alain Goraguer – in a hip modern mode that recalls some of the best soundtrack work by Barney Wilen, Miles Davis, and Art Blakey from the same period. Next up are 5 tracks from Les Tripes Au Soleil, written and performed by Andre Hodier – with a feel that's similar to that of Gourager's work, but perhaps a bit more modern. Hodier's tunes feature solos by Roger Guerin on trumpet and Pierre Gossez on alto, plus some performances by Christine Legrand. Last up are tracks from the Freddie Redd's score for The Connection – played by the Daniel Humair Soultet, a very cool group that features Humair on drums, Eddy Louiss on piano, Sonny Grey on trumpet, Jean-Louis Chautemps on tenor, and Rene Urtreger doing the arrangements. The work on the set's a wonderful variation on the American recording of the work – done by Redd and Jackie McLean – with a very different kind of energy that opens up the compositions nicely. Titles include "Wigglin", "Overdose", "Danse", "Le Desert", "Rhythm & Blues No 1", "Les Loups Dans La Bergerie", and "Cha Cha Cha Du Loup".

2 jazzy French soundtracks – both written for films directed by Bertrand Blier. First up is Les Valseuses, a 1973 score written by Stephane Grappelli, played by a small group featuring Grappelli, plus Maurice Vander on piano and organ, Philippe Catherine on guitar, Guy Pedersen on bass, and Daniel Humair on drums. The second set is even groovier – Calmos, written by Georges Delerue in 1975, and featuring the sublime talents of Slam Stewart, who plays bass and sings along with his instrument, backed by a small combo that includes Vander and Humair. The sound of this combination is incredible – with a rumbling guttural quality that must have worked wonderfully with the film. The set's got a total of 17 tracks in all – with notes and photos – and title sinclude "Calmos", "Les Joies Du Maquis", "Poursuite", "Rolis", "Jeanne", "Ballade", "Debandade", and "Calmos Tranquilos".

A pair of 60s gems – together on a single CD! First up is the original Jazz Goes Baroque from George Gruntz – one of the best blends of jazz and classical music we can think of! Sure, the tunes are from Corelli, Handel, Pachelbel, and other baroque composers – but they're taken to hip jazzy territory here in the hands of pianist George Gruntz – who plays some mighty cool electric harpsichord on the set! The sound's more like a 60s soundtrack swing than any staid sort of longhair classics – thanks in part to great work from Klaus Doldinger on soprano sax, and Emil Mangelsdorff on flute – plus swinging rhythms from the team of Peter Trunk on bass and Klaus Weiss on drums. The horns bring in a sense of depth and soul to the record that's missing from other dates of this nature – especially trio sets, like those of Jacques Loussier – and titles include "Corrente", "Pavana", "Gavotte En Rondeau", "Le Croc En Jambe", and "Musette En Rondeau". Jazz Goes Baroque Vol 2 is a wonderful follow-up to George Gruntz's first album of baroque jazz grooves from the 60s – one that focuses on melodies from Italian composers – recast here by Gruntz with some very swinging styles! The roots may be classical, but the end result is pretty darn groovy all the way through – in a space between mod 60s soundtracks and some of the more lyrical jazz on the European scene – with some especially great reed work from Leo Wright, Sahib Shihab, and Raymond Guiot! George Gruntz plays this extra-cool electric harpsichord – which further enforces a 60s vibe – and rhythms are from Peter Trunk on bass and Daniel Humair on drums. Tracks include "Sarabande", "Aria", "Lamento D'Arianna", "Allegro", and "Danza Danza Faniculla".

Paris was always a great city for Lionel Hampton – but it seemed like in the mid 50s, it was also a place where he cut some of his best work, too! The French New Sound pair of albums are both classics in Hamp's book – records that take off from the looser, longer-form style that he'd been hitting with his Verve recordings of the early 50s – yet which also retain some of the tighter, fuller elements of his famous large ensembles. Players on the records are great – a lineup that includes travelling American jazz greats like Benny Bailey and Nat Adderley on trumpets, and a young David Amram on French Horn – plus crack Parisian players who include Sacha Distel on guitar, Rene Urtreger on piano, and Guy Pederson on bass. The tracks are simple jamming numbers – long and open-ended, in the mode of some of Hamp's very popular live work at the time, and the vibes are right out front – hard-edged, with that soulful sound that Hamp pioneered on the instrument – and the other players are given very ample room to solo. Titles include "Voice Of The North", "A La French", and "Zebu".

Excellent Parisian work by Lionel Hampton – recorded during a very fruitful year in France, featuring material that was originally issued on a full LP, and a 10" ep. Most of the tracks feature a group that includes Eddie Chamblee on tenor, Ed Mullens on trumpet, Billy Mackel on guitar, and Jean-Claude Pelletier on piano – even though Hamp plays piano too, as well as his standard vibes, and even manages to sing a bit too! Tracks have a long, open-ended groove – similar to his best jamming 50s work from the US – and titles include "Regina's Drag", "Blues For Monique", "Jammin On High Society", and "Lullaby Of Birdland".

A deep and worthy first volume of unreleased Early Takes from George Harrison – one of most spiritually-minded people to ever become a rock & roll star – and here's some of his best songs stripped to the bare, real essentials! Firstly, we must say that this set does right by George and honors his legacy – compiled by Giles Martin (son of Beatles producer George Martin), who was granted access to Harrison's personal tapes by Olivia Harrison and the family. Secondly, it's great to hear the songs in something of a root form, especially the ones that got the grand Phil Spector Wall Of Sound treatment back in the day! It's got demos and otherwise unheard versions of his best-known early solo material, and stripped down takes of some his later songs. Most of it centers around George's emotion-steeped vocals and acoustic guitars, with other stripped-down accompaniment, though nothing nearly as huge as Phil Spector's All Things Must Pass production. Includes demo versions of "My Sweet Lord", "Run Of The Mill", Dylan's "Mama You Been On My Mind", "Behind The Locked Door", "All Things Must Pass" and "The Light That Has Lighted The World", plus early takes of "I'd Have You Any Time", "Woman Don't You Cry For Me" and "Awaiting On You All".

A 12 X 7" box set version of Mayer Hawthorne's breakout How Do You Do – with each track from the album paired with its own previously unreleased instrumental version – in individual photo sleeves that lay out as a full mosaic! The Mayer Hawthorne story was a strange one from the start – white producer/DJ crafting real-deal, moody, sultry throwback soul under a pseudonym that gets him signed to Stones Throw. The best news, really, is that he's still doing what we loved on the Stones Throw record and singles. Skirting both throwback Motown AND indie soul conventions, but winking ever so slyly at them, making strings sound scratchy, warm and well-worn, subtle horns to sooth and stir, his own vocals layered for a group-like effect. Bonus points for his use of the superstar cameo – he brings Snoop Dogg in to SING, not to serve as an obligatory rhyme cameo. Well played, Mayer Hawthorne! Includes "Get To Know You", "A Long Time", "Can't Stop" with Snoop, "Finally Falling", "Hooked", "You Called Me", "No Strings", "Dreaming", "The Walk" and more. Comes in a heavy duty box – which also includes a custom display sheet that can hold all 12 singles. Beautiful!

Mayer Hawthorne moves to the majors on How Do You Do – bringing that fun, neo classic bedroom soul sound he did so well on Stones Throw with him – pretty much picking up right where Strange Arrangement left off! The Mayer Hawthorne story was a strange one from the start – white producer/DJ crafting real-deal, moody, sultry throwback soul under a pseudonym that gets him signed to Stones Throw. The best news, really, is that he's still doing what we loved on the Stones Throw LP and singles. Skirting throwback Motown and indie soul conventions, but winking ever so slyly at them, making strings sound scratchy, warm and well-worn, subtle horns to sooth and stir, his own vocals layered for a group-like effect. Bonus points for his use of the superstar cameo – he brings Snoop Dogg in to SING, not to serve as an obligatory rhyme cameo. Well played, Mayer Hawthorne! Includes "Get To Know You", "A Long Time", "Can't Stop" with Snoop, "Finally Falling", "Hooked", "You Called Me", "No Strings", "Dreaming", "The Walk" and more.

A limited edition slice of goodness from Mayer Hawthorne – a live performance recorded for the Morning Becomes Eclectic program on KCRW in LA! The material's a nice addition to the studio Hawthorne we already love – and shows a new sort of warmth that comes through not just in the performance, but in some of the interview bits too. The band is a small combo, and titles include "No Strings", "Love In Motion", "Dreaming", "The Walk", "Shiny & New", and "I Wish It Would Rain".

A really well-titled collection – given that it features the most important steps in the long musical journey of Pierre Henry – easily one of the most important electronic musicians of the 20th Century! The package offers a heck of a lot of amazing music for the price – and is very heavy on Henry's crucial 60s recordings – including both his funky analogue grooves, and his much more abstract sonic compositions! Much of this material has been issued over the years, but never in a package this complete – and the depth of the sounds here is stunning – a set that should be given as a textbook to anyone who ever thinks about making any sort of electronic music. Works include "Messe De Liverpool (1967)", "Pierres Reflechies (1982)", "Coexistence (1958)", "Mouvement Rhythm Etude (1970)", "La Noire A Soixante/Granulometrie (1967)", "Variations Pour Une Porte Et Un Soupir (1963)", "Le Voyage (1962)", "Futuristie (1975)", "Messe Pour Le Temps Present (1967)", "Le Xeme Remix (1998)", "Envol (2010)", "L'Art De La Fugu Odyssee (2011)", "Pulsations (2007)", and the previously unreleased "Le Fil De La Vie", which features cool shakuhachi!

Another lost gem in this excellent Jazz In Paris series! This one features pianist Earl Hines working with a French rhythm combo of Guy Pederson on bass and Gus Wallez on drums. The material is relatively straightforward, but Hines is in great form – and the set includes 2 unissued bonus tracks. Titles include "Perdido", "Save It Pretty Mama", "Love is Just Around The Corner", "Muskrat Ramble", "Am I Wasting Time On You?", and "If I Could Be With You For One Hour Tonight".

Two excellent early albums from Shirley Horn – back to back on a single CD! Travelin Light is one of the greatest jazz vocal albums of the 60s, and probably the greatest album ever by Shirley Horn! The session's got a beautiful lively sound, with extremely interesting arrangements by Johnny Pate, and a flute/piano/guitar sound that works perfectly with Shirley's lovely voice. The material is a great mix of lesser-known songs, sung with a maturity and honesty that will make your heart break. We love this one way better than any of Shirley's recent albums, and we can't recommend it highly enough! Titles include "Sunday In New York", "Yes, I Know When I've Had It", "Someone You've Loved", "I Could Have Told You", "Travelin Light", and "Don't Be On The Outside". Horn Of Plenty is hip stuff from Shirley Horn – very mature and swinging jazz! The set features the sharp early vocals of Shirley Horn nicely set up with some larger backings – hip arrangements handled by Quincy Jones, Thad Jones, and Billy Byers – with all the groovy 60s punch you can imagine from a lineup like that! And although Horn later became well known for some gentler, mellower cuts, we're huge fans of her singing like this – which has a righteous power that really tops some of the vocalists from the previous generation. Titles include "Wee Small Hours", "That Old Black Magic", "The Great City", "On The Street Where You Live", and "Let Me Love You".

Iron Maiden's monumental Live After Death – a standard bearing live album in the metal realm – and a vital snapshot of the British heavy metal heroes at the peak of their powers! Maiden pretty much conquered the live metal world on this tour – and Live After Death features recordings from LA's Long Beach Arena and London's Hammersmith Odeon. Most of their their greatest songs to this point are represented, including "Aces High", "2 Minutes To Midnight", "The Trooper", "Revelations", "Rime Of The Ancient Mariner", "Powerslave", "Number Of The Beast" "Hallowed Be Thy Name", "Iron Maiden", "Children Of The Damned" and more!

Really dark work from composer Pierre Jansen – a CD that collects tracks written for the films of Claude Chabrol, a range of 60s and early 70s French thrillers with a moody, pessimistic feel. Most tracks have off-kilter orchestrations with occasional evocative solo instrument passages – a bit like thriller work by Morricone, but with less warmth and less of the fleeting moments of beauty that can make Morricone's darkest moments still sparkle at times. Titles include "Le Boucher", "Popaul Melomane", "Juste Avant La Nuit", "Les Amants De Munich", "Que La Bete Meure", and the extended "Symphonie Concertante Pour Orgue Piano Et Orchestre" from the film La Decade Prodidieuse.

Maurice Jarre's wonderfuls core for Topaz – one of the last great films from Alfred Hitchcock! The music is quite a change from some of the more bracing sounds you'd normally associate with classic Hitchcock – as Jarre comes up with this light and lovely theme that's interwoven through a number of different readings – a perfect European 60s soundtrack mode to fit the espionage setting of the film – carried off through some gentle woodwind passages, keyboards, and darker orchestrations. As things move on, a bit more shadow creeps into the music – yet things always return to a redemptive mode – in a way that's always been one of the best qualities of Jarre's classic scores. Titles include "From Copenhagen To Washington", "Suspicion", "The Hidden Microfilm", "Secret Identity", "Betrayal", "Main Title", and "French Embassy".

Killer live work from Seu Jorge – one of his boldest, proudest records to date – and that's saying a lot, given the soulful promise of all his other work! We've always loved Jorge, but we first really fell in love with his music in a live setting – where he's got an undeniable charm and charisma, on a level with older legends like Stevie Wonder or Marvin Gaye at their best. Other live sets have always shown Jorge as a mellower, more acoustic artist – but this one really has him exploding with a very funky sound throughout – really hitting that superstardom we always saw coming in his talents – working before a very large crowd, and clearly driving them nuts with his sublime performance on the set. The album's a real step forward for Jorge – upbeat, funky, filled with soul, and exactly the kind of music that should hopefully have him exploding around the globe. Titles include "A Doida", "Pessoal Particular", "Dia De Comemorar", "Mina Do Condomino", "Vizinha", "Burguesinha", "Diario De Um Detento", and "Dois Beijinhos".

BB King in London – not playing live, but working in the studio with a host of British musicians he'd inspired over the years! The lineup varies from track to track, giving a nice sort of variety to the album – and the overall feel is a bit like some of the Chess London sessions of the time – but maybe more blues overall! Features work by Peter Green on guitar, Steve Marriott on harmonica, Alexis Korner on acoustic guitar, Gary Wright on electric piano and Hammond, Ringo Starr on drums, and The Mystery Shadow on Hammond – and titles include "Ghetto Woman", "Wet Hayshark", "Part Time Love", "We Can't Agree", and "Blue Shadows". CD also fetaures the bonus track "May I Have A Talk With You".

BB King hips up his groove a bit here – picking up some of the crossover soul and rock touches used by contemporaries over at Chess/Cadet, and expanding his sound with a range of guests that include Leon Russell, Joe Walsh, and Carole King! Despite the presence of these bigger names, the set's very much in BB's own spirit – mostly focused on his vocals and guitar work, and still mostly including original compositions. A few tunes get nice and funky on the rhythms, although still very much in a blues-based way – and Jimmie Haskell contributes a few larger arrangements from time to time. Titles include "King's Special", "Until I'm Dead & Cold", "You're Still My Woman", "Hummingbird", "Go Underground", and "Chains & Things".

BB King live at the Cook County Jail in Chicago – and given the amount of great live shows going on in the institution during the early 70s, the jail must have been one hell of a place to be incarcerated! This classic features BB King entertaining the prisoners with a wickedly sharp blues set – done, like most prison live shows, with an edge that's often missing from more conventional concerts – plenty gritty, both on the vocals and guitar, with a sound the Chicago audience must have loved! Titles include "How Blue Can You Get", "Worry Worry", "Sweet Sixteen", "The Thrill Is Gone", "Please Accept My Love", and "Every Day I Have The Blues".

One of the most tightly-produced of BB King's albums for MCA, but a set that's still filled with undeniable charm – and which really shows King more than able to step up to some well-deserved superstardom! There's a bit of an LA finish to the backings, but things are never too smooth – and BB's vocals and guitar both really shine in this setting – with inflections and edges that are just wonderful throughout! The balance is great – that rare ability that MCA had to serve up such records at the time – and titles include "A World Full Of Strangers", "Midnight Believer", "Never Make A Move Too Soon", "Hold On", "I Just Can't Leave Your Love Alone", and "When It All Comes Down".

A mid 70s meeting of two seminal blues talents from the Memphis scene – singer Bobby Blue Bland, and legendary guitarist BB King! The pair were both working for ABC at the time – major label fame after years woodshedding in the indies – and hitting well-deserved fame for their huge talents – still as fresh here as they were a decade before, and unmarred by any studio sanitization in this great live set! The record does an especially good job of bringing together the artists verbally – letting Bobby and BB open up and rap a bit during the songs – yet still having plenty of space to go into their own thing musically, too. Titles include "It's My Own Fault", "I'll Take Care Of You", "I'm Sorry", "3 O'Clock Blues", "Goin Down Slow", and a great long Medley track.

One of the most soul jazz-styled sets ever cut by German clarinetist Rolf Kuhn – a very groovy record that features work from tenorist Klaus Doldinger and organist Ingfried Hoffmann! On their own albums of the 60s, Doldinger and Hoffmann are quite a pair – swinging almost as perfectly as Willis Jackson and Jack McDuff on Prestige, in the US at the same time. So you can imagine the effect they have on Kuhn – a player who can sometimes be a lot more modern, but who here really takes off in an easygoing groove – swinging soulfully on a set of short and groovy tracks, with great rhythm work from Hermann Schoonderwalt on bass and Cees See on drums. Titles include "Rainbow In My Tears", "Opus 90", "Combo Swing", "Scottish", "Swing For Sale", "The Snake", and "L'Amour Sans Espoir".

Reedman Oliver Lake at his most creative – stepping out here on a sublime set of 70s improvisations – all put together with a really spiritual feel! There's a very open, collaborative feel to the music – and the set was recorded in St Louis, at a time when Lake was a key part of that city's scene – and who here also seems able to attract some other musicians from the AACM in Chicago as well! As a result, the album's a wonderful document of the new ideas bursting forth at the start of the 70s – that richly creative moment when local scenes were coming together in various cities to find new ways of jazz beyond Coltrane and Dolphy – giving a player like Lake some of the most imaginative outlets of his career. Oliver plays alto, soprano, flute, and other small instruments – and other players include Baikida Carroll and Floyd Leflore on trumpets, Joseph Bowie on trombone, John Hicks on piano, Clovis Bordeaux on electric piano, Don Officer on bass, Charles Bobo Shaw on drums, and Don Moye on congas too. Titles include "Africa", "Tse Lane", "Eriee", "Zip", and "Electric Freedom".

Reedman Oliver Lake at his most creative – stepping out here on a sublime set of 70s improvisations – all put together with a really spiritual feel! There's a very open, collaborative feel to the music – and the set was recorded in St Louis, at a time when Lake was a key part of that city's scene – and who here also seems able to attract some other musicians from the AACM in Chicago as well! As a result, the album's a wonderful document of the new ideas bursting forth at the start of the 70s – that richly creative moment when local scenes were coming together in various cities to find new ways of jazz beyond Coltrane and Dolphy – giving a player like Lake some of the most imaginative outlets of his career. Oliver plays alto, soprano, flute, and other small instruments – and other players include Baikida Carroll and Floyd Leflore on trumpets, Joseph Bowie on trombone, John Hicks on piano, Clovis Bordeaux on electric piano, Don Officer on bass, Charles Bobo Shaw on drums, and Don Moye on congas too. Titles include "Africa", "Tse Lane", "Eriee", "Zip", and "Electric Freedom".

Amazing music from Nara Leao – all of her classic albums for Philips from the 60s, packaged together in one sweet set – along with a bonus 2CD set of rare material, a booklet, and lots of bonus tracks as well! Nara during this time was a completely unique singer – an artist with roots in bossa, but inflected with a folksy depth, and more than enough sophistication to help make her a key figure in the Tropicalia movement as well! This package brings together everything that makes Leao so wonderful – dark albums from the mid 60s that really set a whole new tone for MPB – a few live performances that show Nara's collaborative and spontaneous side, and some important late 60s material that already show a tremendous evolution as an artist. Each album is in its original artwork, with bonus tracks on individual CDs – and albums include Nara (1964), Opiniao De Nara, O Canto Livre De Nara, Show Opiniao, 5 Na Bossa, Liberdade Liberdade, Nara Pede Passagem, Manha de Liberdade, Vento De Maio, Nara (1967), Nara Leao (1968), and Coisas Do Mundo. Plus, the bonus 2CD set features lots of obscure cuts from singles and other unusual sources – 33 more numbers that include duets with Maria Bethania, Chico Buarque, Quinteto Violado, and Fagner – and lots of other solo tracks too.

Some of the greatest jazz work ever recorded by Michel Legrand! Although Legrand's always been known for his sweet soundtrack work and his famous easy listening sides – he's also a heck of a jazz pianist, and here in this rare 1959 session, he works in a trio format that puts him right up there with the best of the French piano-technics of his generation, like Maurice Vander or Rene Utreger. The arrangements are wonderfully off-beat – and Legrand dances around the piano with a versatility that we didn't know he had. The group features Guy Pedersen on bass and Gus Wallez on drums – and titles include "Paris In The Spring", "Sous Les Ponts De Paris", "Paris Canaille", "Moulin Rouge", and "La Vie En Rose".

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

An amazing organist – probably the best in Europe! Eddy Louiss is a genius – a massive player who should have been huge, but who's barely been recognized over on this side of the Atlantic, save for a bit of recording with Stan Getz. This 1972 session is a gem – one of his best records, recorded in 1972 with a small quartet that includes Kenny Clarke on drums, Jimmy Gourley on guitar, and Guy Pederson on bass. The set's got a laidback soul jazz feel – with lots of long tracks that let Gourley and Louiss meander about, while Clarke punctuates the tracks nicely with some sharp work on the drum kit. Titles include "Bohemia After Dark", "Ow", "Bag's Groove", "I Should Care", and "Angel Eyes".

Amazing work from French film composer Michel Magne – a set of more serious compositions, but all of which still have the great ear for odd sounds and subtle humor we love in his soundtracks! The centerpiece of the set is his "Musique Tachiste" suite from 1959 – an extended composition that features voices, instruments, and noises all coming together in a really wonderful way! Christiane Legrand handles the "voix chantee" – a wordless singing vocal – and Jaqueline Dano does the "voix expression", the more dramatic one in the set. Piano is by Paul Castanier, who figures heavily – and other instrumentation includes vibes from Geo Daly, plus some spare but effective use of odd noises that really come off well. After that selection, the CD moves onto a series of 1968 recordings in which pianist Martial Solal plays the music of Magne – set to arrangements from the legendary Jean-Claude Vannier! The sound is amazing – jazzy, but always veering outside – not just on Solal's trademark angular piano lines, but also in Vannier's complex shifting colors in the backdrops! Titles include "Air Liquide", "Rose Des Vents", "Clair Obscur", and "Organique". The CD features 2 more rare experimental works – "Echellses Mobiles" from 1970, and "Mozart En Afrique" from 1972. The whole thing's great – never too cerebral or academic, and always with a nice sense of wit.

Wonderful sounds from Teena Marie – the last album she ever recorded before she left us way too soon – and a beautiful set that has us missing her more than ever! The vibe is even tighter than the Congo Square album, but there's also a classic sensibility and depth that takes us back to the earliest Lady T years at Motown – that special quality that always made Teena very different than almost all her contemporaries – a really unique artist with a great ear for balancing the best aspects of her sound! Teena produced and arranged, and the sound is wonderful – warmly seductive, but also funky too – a punch that comes up from the bottom on most numbers, and carries through with really positive energy. There's nothing half baked about the record at all – and the set also features a few contributions from Teena's daughter, Alia Rose. Titles include "Rare Breed", "Definition Of Down", "Maria Bonita", "Beautiful", "The Long Play", "Give Me Your Love", "Wild Horses", "Luv Letter", and "Sweet Tooth".

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

A striking little set from vibesman Freddie McCoy – not just for the cool superhero image on the front cover, but also for the tight grooves underneath! The album's one of McCoy's most unified for Prestige – as all tracks feature a core quartet with Freddie on vibes, Charlie Wilson on piano, Steve Davis on bass, and Rudy Lawless on drums – not your usual Prestige players, and all musicians who really make the album sparkle! There's a bold soul jazz vibe running through the set – similar to some of Freddie's other work, but a bit more open too – and titles include a groovy take on "Girl From Ipanema", plus the soul jazz classics "Speak Out, Deagan!" and "Hav' Mercy" – as well as the cuts "Yesterdays" and "Spider Man".

Early work by Brazilian singer Luiz Meldoia – recorded in 1973 with a rootsy style that combines samba styles with some of the more sophisticated arrangements creeping into MPB at the time – making for a deeply soulful approach that works wonders with Luiz's unique vocals! The album has some incredibly beautiful mellow tracks, plus some others with a rich guitar-heavy sound – and titles include "Forro De Janeior", "Farrapo Humano", "Perola Negra", "Estacio, Eu E Voce", and "Vale Quanto Pesa".

A rare British session from vocalist Mark Murphy – and one of his grooviest albums of the 60s! Mark's working here with great backings from the orchestras of Tubby Hayes, John Dankworth, and Les Reed – all of whom give Murphy some of his hippest grooves to date, very much in the mode of some of his work on the Midnight Mood album cut for MPS during the same overseas 60s stretch. And as with that one, there's a nice selection of tunes that goes way past the usual – and which shows off the widest range of Murphy's groovy vocal talents – titles that include "Ballyhoo", "Iceberg", "Stablemates", "She Loves You", "Come Rain Or Come Shine", "I Left My Heart In San Francisco", "From Time To Time", and "The Best Is Yet To Come".