Incredible work from Human Expression – a group with this moody, dark quality that's completely mindblowing, especially given their young years at the time of these recordings! The music certainly falls into the garagey sounds of the Sunset Strip scene at the time – but there's also a quality here that really sets these guys apart – this stark, bracing vibe that's hinted at in some of the really bleak song titles of their tunes, and which comes through strongly in the mix of offbeat vocalizations, unusual guitar tunings, and really raw production throughout! Tracks include "Reading Your Will", "Love At Psychedelic Velocity", "Every Night", "Cam Me Down", "Sweet Child Of Nothingness", "I Told Her", "Return Nevermore", "Judgement Of Rejection", "I Don't Need Nobody", "Room Of Shadows", "Who Is Burning", and "Outside Of It All". LP, Vinyl record album

Two very cool, very unusual albums from The McCoys! Infinite McCoys is really weird, wonderful work from The McCoys – a group who've definitely drunk deep of the psychedelic brew since the years of their more soulful "Hang On Sloopy" hit! There's a richly expanded set of instrumentation going on here – all arranged by the group, with all sorts of things going on – including organ, ondioline, harpsichord, vibes, tablas, and a whole host of other things – like whip, bottle, machinery, and other things used to create odd sounds throughout the record! The set has a few more direct numbers mixed with some much more experimental ones – and includes some great jazzy use of horns, including alto from Freddy Lipsius and trumpet from Randy Brecker. Titles include "Hell", "Rosa Rodriguez", "Faces", "Resurrection", "Genesis Through A Window", "Melodrama", and "Union City Waltz". On Human Ball, the McCoys really let their hair down and freak flag fly – coming across in all sorts of really great ways that are light years beyond their early material! The set moves effortlessly between material that's groovy, bluesy, and sometimes warmly harmonic – all with the same sense of experimentation the group brought to their great Infinite album, but a bit more compact in terms of arrangements and expression! Titles include "Clergy Lies", "Daybreak", "Only Human", "Human Ball Blues", and "It Really Doesn't Matter". CD

Two very cool, very unusual albums from The McCoys! Infinite McCoys is really weird, wonderful work from The McCoys – a group who've definitely drunk deep of the psychedelic brew since the years of their more soulful "Hang On Sloopy" hit! There's a richly expanded set of instrumentation going on here – all arranged by the group, with all sorts of things going on – including organ, ondioline, harpsichord, vibes, tablas, and a whole host of other things – like whip, bottle, machinery, and other things used to create odd sounds throughout the record! The set has a few more direct numbers mixed with some much more experimental ones – and includes some great jazzy use of horns, including alto from Freddy Lipsius and trumpet from Randy Brecker. Titles include "Hell", "Rosa Rodriguez", "Faces", "Resurrection", "Genesis Through A Window", "Melodrama", and "Union City Waltz". On Human Ball, the McCoys really let their hair down and freak flag fly – coming across in all sorts of really great ways that are light years beyond their early material! The set moves effortlessly between material that's groovy, bluesy, and sometimes warmly harmonic – all with the same sense of experimentation the group brought to their great Infinite album, but a bit more compact in terms of arrangements and expression! Titles include "Clergy Lies", "Daybreak", "Only Human", "Human Ball Blues", and "It Really Doesn't Matter". CD

The McCoys really let their hair down and freak flag fly for this ultra-cool set at the end of the 60s – coming across in all sorts of really great ways that are light years beyond their early material! The set moves effortlessly between material that's groovy, bluesy, and sometimes warmly harmonic – all with the same sense of experimentation the group brought to their great Infinite album, but a bit more compact in terms of arrangements and expression! The group produced the set themselves, and there's some cool surprises along the way – like steel guitar from Pete Drake – on titles that include "Clergy Lies", "Daybreak", "Only Human", "Human Ball Blues", and "It Really Doesn't Matter". CD

The title definitely gets it right – as this is the real sound of Lee Konitz – the kind of extra-special approach to alto sax that made Lee one of the true modern giants of the 50s, with an approach that nobody had ever heard before! The album captures Konitz at the height of his powers – working in an amazing group with the great Billy Bauer on guitar, whose clean tones are as perfectly formed as Lee's raspier notes on alto – both of them a perfect model of human expression, but without overstating themselves – and held together by the beautiful bass of Peter Ind, who also recorded the record. Dick Scott provides some subtle drums, and trumpeter Don Ferrara steps in on a few cuts – but the real core of the album is the interplay between Bauer and Konitz – which is completely sublime. Konitz's incredible tone come through perfectly, with a purity that's often missing from other, later albums – and titles include "Pennies In Minor", "Midway", "Straightaway", "You Go To My Head", "My Melancholy" and "Foolin Myself". CD

A really heady set of tracks from the American scene – music that effortlessly bridges the 60s sounds of garage, blues rock, and psych – and prefaces some of the metal and more guitar-heavy modes to emerge later on in the 70s! The work here definitely shares more with the sounds of the 60s, but also really captures the music at a moment when things were really transforming – groups were getting past a slavish presentation of their influences, finding bold new modes of expression, and really letting their freak flag fly with fuzzy brilliance throughout – all at levels that were also different than some of the longer-spun modes of the European progressive world. As with other Grapefruit packages, the distillation of a sound and scene here is wonderful – and supported with very detailed notes too – in a package that includes 62 tracks in all - with work from Bang, Sudden Death, Dust, Arthur Lee, Boomerang, Cactus, Grand Funk, The Flow, Head Over Heels, Sir Lord Baltimore, ZZ Top, Brigade, Fuse, Conception, Morgen, Coven, Alice Cooper, Nazz, Stack, Spirit, Kim Fowley, SRC, Mass Confusion Rock Band, Society's Children, Omnibus, Wildwood, Human Beinz, The Sound Barrier, Fever Tree, and many others! CD

Incredible music from the key cultural year of 1966 – all hand-selected by the mighty Jon Savage! From punk to soul to plenty of places in between, when Savage has something to say we're always more than willing to listen – and this time around he really opens up our ears with a double-length collection of 48 tracks all recorded during a single year, each of which represents a key cultural shift at the time! The package isn't hits from the charts, or underground psych – and instead brings together smoking instrumentals, rare soul, proto-punk, trippy folk, and lots more – some familiar tracks, a few classics, and lots more obscure gems – all nestled together at a level that may well rewrite your understanding of the 60s. Forget the summer of love, because 1966 is the year when lots more happened – as Savage outlines in his massive track selection and great notes for the package. Titles include "Love At Psychedelic Velocity" by The Human Expression, "The Spy" by The Guys From Uncle, "Night Time" by The Strangeloves, "Nothing Comes Easy" by Sandie Shaw, "Greetings" by The Monitors, "I'll Be Your Mirror" by The Velvet Underground, "One Of These Days" by The Rooster, "You Better Believe It Baby" by Joe Tex, "7 & 7 Is" by Love, "Do You Come Here Often" by The Tornados, "Love's Gone Bad" by Chris Clark, "In The Past" by We The People, "One Hour Cleaners" by The Blue Things, "Foolish Woman" by Oxford Circle, "Hang On To A Dream" by Tim Hardin, "Batman" by Link Wray, "You Keep Me Hangin On" by The Supremes, "I'm A Boy" by The Who, "Come On Back" by Paul & Ritchie, and lots lots more! CD

One of the most spiritual albums to come from the young AACM movement in Chicago – a session that's somewhat equal in expression to some of the best post-Coltrane work on Impulse Records! Maurice McIntyre plays here with a sound that's already fully formed – an approach to the tenor that's as searingly human as that of Pharoah Sanders or Albert Ayler – but which is also played with a sharpness at times that recalls a young Marion Brown. The rest of the group is equally well-matched – a tremendous array of talent from the Chicago scene, with Malachi Favors on bass, Thurman Barker and Ajaramu on drums, Leo Smith on trumpet and flugelhorn, John Stubblefield on soprano sax, and Amina Claudine Myers on piano. George Hines vocalizes a bit on a few tracks – singing in a spiritual tone that's somewhat like Leon Thomas, but much freer and more abstract – and the album beautifully balances shorter musical statements with a fuller suite on side two – showing the deeper, more ambitious expressions that were starting to well up in the AACM. Titles include the tremendous "Humility In The Light Of Creator", plus "Hexagon", "Kcab Emoh", "Pluto Calling", "Life Force", and "Suite – Ensemble Fate". CD also features a bonus version of the title track! CD

One of the most spiritual albums to come from the young AACM movement in Chicago – a session that's somewhat equal in expression to some of the best post-Coltrane work on Impulse Records! Maurice McIntyre plays here with a sound that's already fully formed – an approach to the tenor that's as searingly human as that of Pharoah Sanders or Albert Ayler – but which is also played with a sharpness at times that recalls a young Marion Brown. The rest of the group is equally well-matched – a tremendous array of talent from the Chicago scene, with Malachi Favors on bass, Thurman Barker and Ajaramu on drums, Leo Smith on trumpet and flugelhorn, John Stubblefield on soprano sax, and Amina Claudine Myers on piano. George Hines vocalizes a bit on a few tracks – singing in a spiritual tone that's somewhat like Leon Thomas, but much freer and more abstract – and the album beautifully balances shorter musical statements with a fuller suite on side two – showing the deeper, more ambitious expressions that were starting to well up in the AACM. Titles include the tremendous "Humility In The Light Of Creator", plus "Hexagon", "Kcab Emoh", "Pluto Calling", "Life Force", and "Suite – Ensemble Fate". CD also features a bonus version of the title track! CD

A great blend of old and new Brazilian grooves – kind of the ultimate expression of this great series! Like the first 2 volumes, this 5th one features some great lost older tracks; and like the 3rd and 4th volumes, it's also got some new tunes that are really wonderful. There's a lot of percussion in the grooves throughout – sweet keyboards and tight riffing mixes with rootsy drums, soulful vocals, and other great touches – soaring forward towards a jazzy global future that knows no boundaries! 2LP set features 10 tracks in all – including "Torn (Blissom rmx)" by Rise Ashen, "Comanche" by Jorge Ben, "Agua De Beber" by Aquarius Y Luiz Antonio, "La La Li" by Rachael Calladine, "Fica Mal Com Deus" by Rosalia De Souza, "Scott Air (traveling light mix)" by Ben Human, "Bohemian (Bah Samba main mix)" by Muro, "Icarai" by Os Ipanemas, "Eh Luande (Mimosa avantgarde mix)" by Racoon, and "Gypsy Woman" by Montefiori Cocktail. LP, Vinyl record album

A deep dive into the sound of Los Angeles in the middle of the 60s – a really well-done box that somehow manages to mix together all the different strains of music that were going on in the city of angels at the time – sunshine pop, garage rock, psych, pop, and even more experimental modes – served up here in a set list that's full of some of the coolest, hippest groups of the time! The box takes its title from a Beach Boys tune, but this isn't a set of well-played oldies from AM radio – and instead, the selection demonstrates the continued appreciation of this period of music over the decades, and the shift in interest to some of the more groundbreaking, obscure groups of the period – served up here with bigger names as well – all with the detailed notes and overflowing amount of tracks that we love from these boxes on the Grapefruit label! There's a massive 90 tracks in all – with work from Mark Eric, Jim & The Lords, The Heroes, Candy Company, Odds & Ends, Spirit, The Misunderstood, Urban Renewal Project, Peanut Butter Conspiracy, Captain Beefheart, Ruthann Friedman, The Rogues, Music Machine, Whatt Four, Velvet Illusions, Merrell & The Xiles, Sanctions, Grass Roots, New Wave, West Coast Pop Art Experimental Band, Grains Of Sand, Merry Go Round, Human Expression, Love, Laughing Wind, Roger Nichols & The Small Circle Of Friends, Boystown, Gene Clark, and many others! CD

Incredible music from the key cultural year of 1966 – all hand-selected by the mighty Jon Savage! From punk to soul to plenty of places in between, when Savage has something to say we're always more than willing to listen – and this time around he really opens up our ears with a double-length collection of 48 tracks all recorded during a single year, each of which represents a key cultural shift at the time! The package isn't hits from the charts, or underground psych – and instead brings together smoking instrumentals, rare soul, proto-punk, trippy folk, and lots more – some familiar tracks, a few classics, and lots more obscure gems – all nestled together at a level that may well rewrite your understanding of the 60s. Forget the summer of love, because 1966 is the year when lots more happened – as Savage outlines in his massive track selection and great notes for the package. Titles include "Love At Psychedelic Velocity" by The Human Expression, "The Spy" by The Guys From Uncle, "Night Time" by The Strangeloves, "Nothing Comes Easy" by Sandie Shaw, "Greetings" by The Monitors, "I'll Be Your Mirror" by The Velvet Underground, "One Of These Days" by The Rooster, "You Better Believe It Baby" by Joe Tex, "7 & 7 Is" by Love, "Do You Come Here Often" by The Tornados, "Love's Gone Bad" by Chris Clark, "In The Past" by We The People, "One Hour Cleaners" by The Blue Things, "Foolish Woman" by Oxford Circle, "Hang On To A Dream" by Tim Hardin, "Batman" by Link Wray, "You Keep Me Hangin On" by The Supremes, "I'm A Boy" by The Who, "Come On Back" by Paul & Ritchie, and lots lots more! CD

A really heady set of tracks from the American scene – music that effortlessly bridges the 60s sounds of garage, blues rock, and psych – and prefaces some of the metal and more guitar-heavy modes to emerge later on in the 70s! The work here definitely shares more with the sounds of the 60s, but also really captures the music at a moment when things were really transforming – groups were getting past a slavish presentation of their influences, finding bold new modes of expression, and really letting their freak flag fly with fuzzy brilliance throughout – all at levels that were also different than some of the longer-spun modes of the European progressive world. As with other Grapefruit packages, the distillation of a sound and scene here is wonderful – and supported with very detailed notes too – in a package that includes 62 tracks in all - with work from Bang, Sudden Death, Dust, Arthur Lee, Boomerang, Cactus, Grand Funk, The Flow, Head Over Heels, Sir Lord Baltimore, ZZ Top, Brigade, Fuse, Conception, Morgen, Coven, Alice Cooper, Nazz, Stack, Spirit, Kim Fowley, SRC, Mass Confusion Rock Band, Society's Children, Omnibus, Wildwood, Human Beinz, The Sound Barrier, Fever Tree, and many others! CD

The film soundtrack version of this famous 60s musical, which was based around the sounds of Belgian singer Jacques Brel. The film version shares many similarities to the broadway one – translations by Eric Blau and Mort Shuman, vocals by Shuman and Elly Stone – but the overall sound is quite different, as the versions presented here are more subtle, less campy, possibly due to the freer range of expression allowed to the actors on a film soundstage. Plus, this version also includes a few of Brel's best songs that were left out of the original show – making for a total of 26 titles that include "The Bulls", "Sons Of", "The Desperate Ones", "Amsterdam", "The Statue", "Brussels", "Funeral Tango", "Bachelors Dance", "Carousel", and "Next". If you want Brel in English, this may well be the best way to get it – as nearly all other English language versions of his work (by Scott Walker, Marc Almond, and others) came from these translations. LP, Vinyl record album

The music of Roscoe Mitchell, served up here in a really amazing setting – all solo vibes, handled by Jason Adasiewicz, in a style that's very different than Roscoe's original versions of these tunes! If you've ever heard Adasiewicz solo, you'll already dig what's going on here – work on vibes that's deeply resonant, warmly chromatic, and full of some of the most human, honest, open expressions we've ever heard on the instrument! Jason's always been part of the avant underground in Chicago, but he's also a very spiritual player too – a quality that really comes out in a setting like this – as he unlocks very different currents in tunes that Mitchell originally presented on his own albums, or with the Art Ensemble Of Chicago. The whole thing is wonderfully hypnotic throughout – and titles include "Congliptious", "Old", "Carefree", "The Waltz", "Toro/Jo Jar", "The Key", "A Jackson In Your House", and "Daddy Rollin Stone". CD

The music of Roscoe Mitchell, served up here in a really amazing setting – all solo vibes, handled by Jason Adasiewicz, in a style that's very different than Roscoe's original versions of these tunes! If you've ever heard Adasiewicz solo, you'll already dig what's going on here – work on vibes that's deeply resonant, warmly chromatic, and full of some of the most human, honest, open expressions we've ever heard on the instrument! Jason's always been part of the avant underground in Chicago, but he's also a very spiritual player too – a quality that really comes out in a setting like this – as he unlocks very different currents in tunes that Mitchell originally presented on his own albums, or with the Art Ensemble Of Chicago. The whole thing is wonderfully hypnotic throughout – and titles include "Congliptious", "Old", "Carefree", "The Waltz", "Toro/Jo Jar", "The Key", "A Jackson In Your House", and "Daddy Rollin Stone". CD

A wealth of spiritual sounds from more recent years – served up in a killer compilation that focuses on all the great new sounds that have been emerging from different global scenes – a sublime blend of jazz, soul, Latin, and other modes – all at a level that gives us plenty of hope for both modern music, and the future of humanity too! The set follows in the spirit of nuggets from the past we've always dug from the Right Tempo/Easy Tempo label – but work here is instead all new, and represents a great outpouring of contemporary talents who draw inspiration from the best currents of 60s and 70s righteous expression, the find a way to make bold new statements of their own. Titles include "Envoy" by Mary Ancheta Quartet, "Subway" by Azar Azar, "Let The Sunshine In" by Jimetta Rose & Voices Of Creation, "Formative Stages" by Organic Pulse Ensemble, "Who Will Save The World" by Anthony Joseph, "Naboro" by Tino Contreras, "For Horace" by Raffy Bushman, "Cut To The Chase" by Malcolm Strachan, "Ruptura" by Mama Terra, "Seasons In My Mind (Patchworks version)" by Yellowtail with Mark Murphy, and "Afro Blue" by Francesco Sotgiu. LP, Vinyl record album

Tremendous work from this lesser-known combo from Detroit – a session of work that builds strongly on the colors and changes explored by Miles Davis earlier in the 60s, but which takes things off into a whole new direction! (A Multidirection?) The horns on the record have incredible interplay – trumpet by Charles Moore and tenor from Leon Henderson, playing together with a sense of dexterity that may even beat the team of Davis and Wayne Shorter – angular one moment, softly lyrical the next, and always in pursuit of fresh tones and righteous sounds. Kenny Cox's piano is great too – an exercise in understatement at times – getting as much done with one note as other players would with five – as he slowly guides the group along, and grounds their freer expressions with a good sense of humanity. Rhythm is by Ron Brooks on bass and Danny Spencer on drums – and titles include "What Other One", "Gravity Point", "Spellbound", "Snuck In", and "Sojourn". LP, Vinyl record album

Mindblowing duets between trombonist Steve Swell and pianist Matthew Shipp – both incredible players on their own, but musicians who really seem to unlock something special here together! The improvisations have a way of mixing boldness with personal expressions of humanity – at a level that gives us both some of the most striking sounds we've heard from Swell in recent years, alongside some surprisingly warm moments from Shipp on piano – even at points when he's playing relatively free! The whole thing is definitely one of those special records that perfectly illustrates the strengths of free improvisation, while also moving the format forward – and titles include "Dark Matter", "String Theory", "Space Hammer", "The Dumb Abyss", "Space Cube Jazz", "Ice & Water", and "Firmament". CD

Tremendous work from this lesser-known combo from Detroit – a session of work that builds strongly on the colors and changes explored by Miles Davis earlier in the 60s, but which takes things off into a whole new direction! (A Multidirection?) The horns on the record have incredible interplay – trumpet by Charles Moore and tenor from Leon Henderson, playing together with a sense of dexterity that may even beat the team of Davis and Wayne Shorter – angular one moment, softly lyrical the next, and always in pursuit of fresh tones and righteous sounds. Kenny Cox's piano is great too – an exercise in understatement at times – getting as much done with one note as other players would with five – as he slowly guides the group along, and grounds their freer expressions with a good sense of humanity. Rhythm is by Ron Brooks on bass and Danny Spencer on drums – and titles include "What Other One", "Gravity Point", "Spellbound", "Snuck In", and "Sojourn". LP, Vinyl record album

An overlooked late 60s treasure on Blue Note – 2 rare albums by Kenny Cox & The Contemporary Jazz Quintet – one of the few new groups to work on the label at the time, and an up-and-coming modern combo from Detroit! The first album's quite unique for a number of reasons – not just because the group was a little-known new signing to the label, but also because the work is quite far-reaching at times – some of the most free-thinking jazz recorded for Blue Note during the time, with a sense of boldness that almost stretches back to Jackie McLean's first few records of the new thing years, or a sense of lyrical invention that's a bit like Wayne Shorter when he made a shift towards the outside. Some numbers are awash in fast colors and changes, while others are a bit more in the pocket, with echoes of soul jazz – but the whole thing's incredibly fresh and free, a wonderful little record that only gets better and better over the years! The group features pianist Kenny Cox as the leader, plus Charles Moore on trumpet, Leon Henderson on tenor, Ron Brooks on bass, and Danny Spencer on drums. Titles include "Mystique", "You", "Trance Dance", "Eclipse", and "Number Four". The CD also features the group's second Blue Note album, Multidirection – a session of work that builds strongly on the colors and changes explored by Miles Davis earlier in the 60s, but which takes things off into a whole new direction! (A Multidirection?) The horns on the record have incredible interplay – trumpet by Charles Moore and tenor from Leon Henderson, playing together with a sense of dexterity that may even beat the team of Davis and Wayne Shorter – angular one moment, softly lyrical the next, and always in pursuit of fresh tones and righteous sounds. Kenny Cox's piano is great too – an exercise in understatement at times – getting as much done with one note as other players would with five – as he slowly guides the group along, and grounds their freer expressions with a good sense of humanity. Titles include "What Other One", "Gravity Point", "Spellbound", "Snuck In", and "Sojourn". CD