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An amazing little soundtrack – written in mid 60s Peru by jazz pianist Jaime Delgado Aparicio, but easily on a par with some of the best American or Italian scores from the time! The music's got a really wonderful feel throughout – jazz at the core, but with touches of spy soundtrack scoring and some of the lighter, more comedic modes of the Italian scene. Delgado uses a core combo with heavy piano, percussion, and some great trumpet and tenor – almost with the tightness of the Basso-Valdambrini group – but he also expands the sound with bits of strings and some fuller orchestrations, used to shade in some amazing colors that roll, dip, and turn with the beautiful grooves penned for the set. The whole thing's tremendous, with equally great production that creates some odd twists and turns that further keep things interesting as the album rolls on. Titles include "Elm Embajador Y Yo", "Sexy Surf", "Llegando A La Capital", "Isometria", "Todo El Mundo Me Persigue", "Lucha En El Mar", and "La Arana". Added to the soundtrack is Jamie's 1964 album – Jaime Delgado Aparicio Y Su Trio – a crackling bit of piano jazz from the Peruvian scene of the 60s – and a record that's somewhere between the best of Horace Silver on Blue Note, and some of the Brazilian bossa trios of the time! There's a strong sense of rhythm throughout – round, rolling basslines punctuated by great work on the drum kit – all topped by beautifully lyrical lines from Delgado Aparicio on piano – filled with color, light, and life throughout – and soloing with a depth that's rare for such a young player! Titles include a great version of Horace Silver's "Sayonara Blues", plus "The Climate", "Autumn Leaves", "Walkin", and "Blue Daniel". CD

A real killer from Gato Barbieri – part of an excellent run of early 70s sessions for the Flying Dutchman label! The album was recorded live, and it's one of those real cookers that have him sounding a heck of a lot like Pharoah Sanders – blowing with these sharp, soulful tones – and really stretching out in this amazingly spiritual way – quite different than some of his more mainstream playing in later years, and his freer sounds of the 60s. The group features Pretty Purdie on drums, Sonny Morgan and Na-Na on percussion, Chuck Rainey on bass, and Lonnie Liston Smith on piano – and Smith lays out these modal spiraling lines that really work wonders with a groove – and Gato solos over them in searing ripping blasts of sound, never going too far out, but hitting that great soulful mode that made Sanders' best work so great. Titles include "El Pampero", "Mi Buenos Aires Querido", and "El Arreiro" – and all tracks are long. CD

Singer Ruben Blades scored a big early moment of fame on the Siembra album by Willie Colon – and here, he works with the larger ensemble of Roberto Delgado to pay tribute to that classic record from the late 70s! The album's a live one, recorded before a very enthusiastic crowd in Puerto Rico – and the tracks are long, and maybe even have a sense of majesty that the original record never possessed – really righteous, soaring songs that show that Blades' voice hasn't dimmed at all over the years – set to instrumentation that's equally powerful as well! Titles include "Ligia Elena", "Dime", "Siembra", "El Cazanguero", "Buscando Guayaba", and "Plastico". CD

A beautiful trio session from Carla Bley – with longtime partners Andy Sheppard on tenor and soprano saxes and Steve Swallow on bass – whose work together has only gotten more lyrical, poetic, and sublime over the years! The 3-part "Andando El Tiempo" builds beautifully in sound – from haunting and meditative, to knowingly sad (though no less beautiful), to brighter and hopeful in mood over its 3 longish pieces. "Saints Alive" is a slow-building gem itself, with the most brilliant interplay between Bley's piano and Swallow's bass of the entire session, and the closer "Naked Bridges/Diving Brides" evokes a variety of moods in its long run on the record. Inspiring work from a longtime favorite composer! CD

Hamiet Bluiett on baritone sax, wooden flute, and contra-alto clarinet; DD Jackson on piano, organ, bass synth, and keys; Kahil El'Zabar on drums, percussion, bells, kalimba, and vocals. CD

A really burning live set from Argentine tenorist Chivo Borraro – a set that features very extended performances that capture Borraro and his group at their most modern! Chivo burns here in a way you don't always hear on other sessions – very relaxed and opening up in the comfortable confines of the Cricket night club in Buenos Aries – with help from Fernando Gelbard on piano, Jorge Lopez Luis on bass, and Pocho Lapouble on drums – keeping things swinging, but in a loose way that really lets the leader go where he wants! The extended format and bold energy put the record in territory that's similar to, but more avant than, some of the Dexter Gordon live sets coming from the European scene of the time – and titles include "Africa", "Minor Key", "Blues Con Amague" and "Lover Man". CD

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Our favorite-ever album by Alice Coltrane – a masterpiece of spirit and soul, recorded in a wonderfully open-handed style – and with a vibe that's maybe a bit different than some of her other records, especially the ones with larger groups! The album's mostly a spare batch of tracks cut by Alice and her trio with Ron Carter on bass and Ben Riley on drums – a group who are already wonderful, and maybe a bit more introspective than Coltrane in other settings – and they're joined at a few points by guest tenor from both Joe Henderson and Pharoah Sanders – both at key parts of their career, and really adding a lot to the album! Pharoah and Joe blow with beautiful post-Coltrane spirituality on the tracks "Ptah The El Daoud" and "Mantra" – but equally great is the beautiful spare piano cut "Turiya & Ramakrishna" – an incredible tune that has Alice playing with a soulfulness you'd hardly expect! A real treasure all the way through – and the kind of album that ranks with the best in the Impulse catalog! CD

Our favorite-ever album by Alice Coltrane – a masterpiece of spirit and soul, recorded in a wonderfully open-handed style – and with a vibe that's maybe a bit different than some of her other records, especially the ones with larger groups! The album's mostly a spare batch of tracks cut by Alice and her trio with Ron Carter on bass and Ben Riley on drums – a group who are already wonderful, and maybe a bit more introspective than Coltrane in other settings – and they're joined at a few points by guest tenor from both Joe Henderson and Pharoah Sanders – both at key parts of their career, and really adding a lot to the album! Pharoah and Joe blow with beautiful post-Coltrane spirituality on the tracks "Ptah The El Daoud" and "Mantra" – but equally great is the beautiful spare piano cut "Turiya & Ramakrishna" – an incredible tune that has Alice playing with a soulfulness you'd hardly expect! A real treasure all the way through – and the kind of album that ranks with the best in the Impulse catalog! CD

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Danny Turner and Manny Boyd on alto saxophone and flute, John Williams on baritone saxophone and bass clarinet, Bill Hughes on bass trombone, Charlton Johnson on guitar, George Caldwell on piano, Doug Miller and Kenny Hing on tenor saxophone and flute, Clarence Banks, Robert Trowers, and Mel Wanzo on trombone, Bob Ojeda, Derrick Gardner, Melton Mustafa, and Mike Williams on trumpet, Cleveland Eaton on bass, and David Gibson on drums. CD

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12 tracks, and 4 skits, with E Double's newer hot sound in the beats, and Keith Murray and the Funk Doctor Spock joining him on the mic, including "Countdown", "Full Cooperation", "Rhymin Wit Biz", "The Game (Freestyle)", "Can You Dig It?", "No Guest List" and "Def Squad Delite". CD

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One of the first international collections to showcase the genius of Francisco Fellove Valdes – a singer and percussionist who first rose up on the scene in Havana in the 50s, but who made an undeniably strong contribution to the Mexican scene of the late 50s and early 60s – with the sort of material showcased in this set! Fellove's got a very unusual style of singing – influenced a bit by scatting in jazz, but also given more of the prouder, louder calls that you'd hear on an Afro Cuban jam session – a great balance with the heavy percussion and jazzy instrumentation used on these tracks, almost all of which were recorded for RCA down in Mexico. The track selection is wonderful, and the notes do a great job of introducing the world to this sometimes-overlooked figure in Latin music – presented here with 21 tracks that include "Mango Mangue", "Baile Mi Rumba", "Te Quiero Corazon", "El Yoyo", "San Jose", "Alejate De Mi", ""Mata Siguaraya", "Baile El Minuet", "Baila Mi Guapacha", and "Guapacheando". CD

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A really fantastic record from Chicago percussion legend Kahil El'Zabar – and one that features plenty of guest work on tenor from David Murray, a musician who always seems to be a perfect match for the musical ideas of Kahil! And the leader also steps out with a great side of his talents on the record too – as El'Zabar sings on a number of tracks – something he doesn't do often, but which always makes for a really special sound when he does – a vibe that's almost as if you've picked up some righteous record from the early 70s, in a really cool blend of jazz, soul, and message-oriented themes! The rest of the group features Emma Dayhuff on bass and Justin Dillard on piano and organ – and as usual, Kahil plays a huge range of percussion instruments, always inventively – and creating a richly organic setting that also seems to bring out the best in David Murray too. Titles include "Trane In Mind", "One World Family", "In My House", "Songs Of Myself", "In The Spirit", and "Necktar". CD

Kahil El'Zabar reinvigorated his Ethnic Heritage Ensemble a few years back, and the results have been a really stunning reworking of his legacy on the Chicago scene in the 80s – especially on the great run of albums on the Spiritmuse label! All the rhythmic, hypnotic qualities of Kahil's past music informs these sounds – but there's also maybe more majesty and more spiritual power overall – as El'Zabar's work on a variety of percussion instruments is matched with bold baritone work from Alex Harding, and tremendous trumpet from Corey Wilkes! Kahil's vocals are also fantastic – an element that he never used this strongly in the past, and which open up a lost possible career as a soul singer from the more righteous side of the spectrum. The set also features work from James Sanders on violin and viola, and Ishmael Ali on cello – both musicians who add to the majesty of the music – on titles that include "Burundi", "All Blues", "Can You Find A Place", "Great Black Music", "Open Me", "Kari", "Return Of The Lost Tribe", and "Passion Dance". CD

A really cool collection, and one that will definitely blow your mind if you only know the Burt Bacharach/Dionne Warwick collaborations, or some of Burt's solo albums on his own! Bacharach started out young and early, and was effortlessly penning pop songs for singers in a variety of styles – working as part of that songwriting scene in New York that was always hustling, and able to get a surprising amount of songs into the hands of up-and-coming singers of the time! The scope of this set is stunning – as the first 3CDs feature 95 tracks penned by the young Bacharach himself – sung by a variety of artists who include The Exotics, Etta James, Gene McDaniels, Paul Evans, Marlene Dietrich, Tommy Sands, The Drifters, Frankie Avalon, The Four Coins, Marty Robbins, Sonny James, Jack Jones, Jo Stafford, Bob Manny, and many others. CD4 21 more tracks that showcase unusual but important influences on Burt's compositional style – including work by Henry Cowell, Alban Berg, Leonard Bernstein, Gill Evans, and Tadd Dameron. CD

One of John Barry's first true moments of genius – recorded back when he was the leader of a fab little instrumental combo called the John Barry 7, and was tagged to do some soundtrack work that would forever change the rest of his career! The album's got some incredible instrumental tunes that mix electric guitar and beatnik jazz in a mode that's keeping with the juvenile delinquent theme of the film – with some strings sneaking in to cheese things up a bit, but in a great way that only makes the tunes sound even better! Adam Faith sings vocals on "The Beat Girl Song", "Made You", and "I Did What You Told Me" – and other tunes include "Blues For Beatnicks", "Blondie's Strip", "Beat Girl", "Time Out", "The Sharks", and "The City 2000 AD". This El UK edition includes bonus tracks by Gillian Hills, The John Barry Sound and Adam Faith. CD

A weird little record from John Barry – the soundtrack to a 1963 television special recorded by Elizabeth Taylor at the height of her early popularity, and featuring Taylor reciting a variety of poems and speeches over music by Barry! There's a relatively high concept feel to the album – as Barry's backings are fairly string-laden and serious, penned to match the mood of Taylor's presentation of material written by William Wordsworth, Elizabeth Barrett Browning, William Pitt, Winston Churchill, and Queen Victoria. And although Taylor speaks on about half the record, the best tracks here are actually the instrumental ones – which have more of the depth of Barry's serious soundtrack work from the time, and manage to have their own sense of presence apart from the star quality of Liz on the set. Arrangements are by Johnnie Spence, and titles include "Elizabeth", "London Theme Jazz Waltz", "Queen Elizabeth At Tilbury", "Queen Victoria", "English Garden", "The Fire Of London", "Lovers & Browning", and "London At Dawn". CD

Late 50s Exotica jazz gems from Les Baxter for Capitol – Africa Jazz and Jungle Jazz in a single set! Africa Jazz is one of his greatest records, and one that's got just about everything you'd ever want! Plas Johnson plays tenor, and his solos are right out front, and recorded beautifully. There's a number of other great LA session players on percussion and vibes, and the arrangements have a definite jazz bent to them. Tracks include "Congo Train", "Walkin Watusi", "Ostrich Hunt", "Balinese Bongos", and "Mombasa After Midnight". Jungle Jazz is also fantastic stuff, and recorded with beautiful sound! It's right on a par with African Jazz, which uses a similar formula: Plas Johnson's up front playing gutsy tenor, and Les is behind, working a large group of exotica players into a tribal frenzy of mellow grooves. Titles include "Amazon Falls", "Coco", "Isle Of Cuba", "Jungla Brava", "Go Chango", and "Blue Jungle". CD

2 rare slices of exotica by Les Baxter – back to back on one CD! The first half of the set features material from the album Ports Of Pleasure – a dreamy exploration of south sea ideals that's got a more lightly drifting quality than some of Baxter's more percussive exotica albums, and which is awash in dreamy soundscapes penned by Les himself! The orchestrations are large and bold throughout – mixing strings and woodwinds almost in a soundtrack-y mode – but always with the light sense of interplay that makes Baxter's work so great. Titles include "Monkey Dance Of Bali", "Pearls Of Ceylon", "Tahiti A Summer Night At Sea", "Hong Kong Cable Car", "Tramp Steamer To Singapore", "Harem Silks From Bombay", and "Sidewalk Cafes Of Saigon". The Sacred Idol is a real standout set from the end of Les Baxter's run at Capitol Records – originally scored for a film that was never released, but a great set of tracks that more than stands strongly on its own! The theme here is a Mexican/Latin American one – explored by Baxter with his trademark blend of larger orchestrations and lighter exotica touches – often swirling around in an extremely evocative mode that makes us wish the film had been issued to the public, and at a few key moments even hinting at the funkier modes that would follow on some of Les' later work for other labels. Titles include "Aqueducts", "Gardens Of The Moon", "Pyramid Of The Sun", "Temple Of Gold", and "Procession Of The Princes". CD

In his later years, Leonard Bernstein became one of the most-respected conductors in the world of classical music – but at the start, he was working in more popular territory, mixing some of his more ambitious musical ideas with the more down-to-earth form of the music – mostly working in New York, where a series of productions really helped define the city on the rise in the postwar years! This package brings together all those important early Bernstein creations – including two different recordings of the "Fancy Free" ballet, both the songs and the ballet from "On The Town", plus the 1960 recording of the musical – plus "Wonderful Town", "West Side Story", and the "On The Waterfront" symphonic suite – as well as lots of other jazz interpretations of some of these themes – work by Frank Sinatra, Bill Evans, Blossom Dearie, Billie Holiday, Stan Kenton, Dave Brubeck, and others. CD

A compelling exploration into the use of the music of Miles Davis in film – one that begins with a famous French soundtrack from the new wave generation, then moves onto vintage Miles tunes that were used in other movies over the years! The core of the record features Davis' score to the 1957 film Ascenseur Pour L'Echafaud – one of our favorite-ever Miles Davis albums – and a stunning soundtrack that began a rich legacy of jazz scores in France! Miles recorded this material during late-night post-gig sessions with a great group that includes French players Barney Wilen, Rene Urtreger, and Pierre Michelot, plus American ex-patriot Kenny Clarke. Wilen's playing is fantastic, and it's great to hear him and Miles together on the score's spooky meandering passages. Alongside that body of work, the CD also features Davis songs that were used in a variety of films from the 70s onward – tracks that weren't written for the films, but which had strong use in movies that include Lenny, Kerouac, Tacones Lejanos, Ginger & Rosa, Talented Mr Ripley, and La Flor De Mi Secreto. These titles include "Saeta", "Blue Haze", "Tempus Fugit", "Well You Needn't", "It Never Entered My Mind", "Nature Boy", "Solea", and "Blue In Green". Also features a selection each by Lenny Bruce and Jack Kerouac! CD

Pre-US work from Juan Garcia Esquivel – 2 early albums recorded in Mexico in the mid 50s! First up is Las Tandas – a set that's got a hip mix of jazz, swing, and Latin orchestral touches – presented here with some spoken announcements at the beginning of each track, in a way that supposedly sounds "live" – although the recording of the instruments is more in studio-level quality. Titles are all quite unusual – and often offer an odd extrapolation of older modes from the decade before – slightly re-arranged in more modern 50s orchestral modes. Titles include "Politecnio Rock & Roll", "Goya Universidad Rock & Roll", "Una Y Otra Vez", "Collar De Perlas", "Potpourri Curiel", and "Tren Nocturno". To Love Again is one of the rarest of Esquivel's RCA albums – a set that was recorded in Mexico, but issued as one of his first albums in the US! The sound's a bit romantic, but it's still got plenty of elements of his classic RCA work – including his unique approach to arrangements, and his penchant for lots of nice little instrumental flourishes that burst out of the larger ensemble with a nice sense of flourish! Titles include "Jungle Drums", "Vereda Tropical", "Siboney", "Hornblowers Serenade", and "Nocturnal". CD

A smooth batch of early work from Brazilian jazz and vocal mainstay Dick Farney – a collection of his wonderful vocal tunes and more jazz based work from the mid 40s through the mid 50s – collected from ultra rare releases of the time! The first half of the CD concentrates on his wonderful vocal tunes – steeped in mellow, expressive tunes ranging from stripped down piano and vocal ballads and some more lush material with strings. Dick's doesn't get his vocal props in our half of the globe – and here's hoping sets like this will spread the word! Titles include "Copabana", "Marina", "Uma Loura", "Nick Bar", "Mundo Distaste", "Perdido De Amor", "Tereza Da Praia" (Dick Farney & Lucio Alves), "Grand Verdade" and more. The 9 tracks that close out the CD concentrate on his jazzier side, with Dick on piano with his Quintet on the tracks "O Genio Da Marly", "Fique Calma", "Nervosinho" and more; the Dick Farney Quartet works the Gershwin songbook with "Strike Up The Band", "Oh Lady Be Good", Bt Not For Me" and "I've Got Rhythm". CD

The final album in the initial run of genius from Felt – a set that marks a short step from Creation Records over to El at Cherry Red – where they receive some nicely expanded handling on the production! Adrian Borland produced, and the tunefulness of the songs really comes to the forefront – all while still providing a perfect showcase for the lyrical and vocal talents of Lawrence, set up beautifully amidst the swirling Hammond lines that made their Creation material so distinct! There's definitely some new ideas bubbling up here – which Lawrence would explore more freely in later work – and titles include "I Can't Make Love To You Anymore", "Budgie Jacket", "Down An August Path", and "Get Out of My Mirror". CD

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Pure bossa magic – and a wonderful illustration of why the early music of Joao Gilberto was so tremendous! (Actually, all of his music is tremendous, but that seems to be especially the case here!) The tracks are all fantastic – breezy, breathy, and almost effortlessly sung throughout – songs that drift in air almost of their own accord, yet also manage a gently rhythmic groove that's probably the best definition of the style of bossa that you could ever hope to find! Most numbers feature acoustic guitar upfront in the mix alongside the vocals, plus a bit of light percussion – and even when there's fuller orchestrations on the record, they're used spaciously and gently – often with some nice jazzy inflections. Titles include "Briga Nunca Mais", "Ho Ba La La", "Rosa Morena", "Bim Bom", "Lobo Bobo", "E Luxo So", "Aos Pes Da Cruz", "Saudade Fez Um Samba", and "Desafinado". This CD edition includes 3 bonus tracks, from Cantando As Musicas Do Film Orfeo De Carnaval – "A Felicidade", "Manha De Carnival" and "O Nosso Amor". CD

An amazing set – all four of the legendary Warner Brothers albums by harmony giants Harpers Bizarre – plus bonus tracks too! First up is Feelin Groovy – the fab first LP by Harpers Bizarre! The group were one of the strangest pop ensembles operating in the seminal LA scene of the mid 60s – ostensibly a sweet harmony vocal group, but with a strangely childish approach that also had an ear open for the mind-blowing production styles of the Brian Wilson era. Van Dyke Parks was a big supporter of the group – and they perform a sublime version of his tune "Come To The Sunshine" as the leadoff track on the album – and even though Van Dyke didn't handle the arrangements of the record, the style of the music is very similar to his own, with guitar, bass, and drums coming into play with strings, woodwinds, and baroque orchestral touches. The record is as dark as it is sublime – one of those pop gems that hit big, but which has a brooding depth bubbling underneath the sugary coating – ala Pet Sounds. Tracks include "Happy Talk", "The Debutantes Ball", "I Can Hear The Darkness", "Raspberry Rug", and their huge hit version of "59th Street Bridge Song (Feelin Groovy)". Next is Anything Goes – the group's second album – and while it has a lot of similarities with the first, it's also a lot deeper of an expression of their strange blend of harmony vocals, sweet 60s pop, and the nostalgia for the early 20th century that was running through the Burbank Warner scene that included a young Van Dyke Parks, Randy Newman, Lenny Waronker, and other LA underground of the mid 60s. The whole record fits together beautifully – beginning with an old-timey radio kind of announcer, then sliding into sublimely crafted harmony tunes that include originals from the LA luminaries and the group, plus a few other surprising covers. Titles include the hit version of "Anything Goes", plus "The Biggest Night Of Her Life", "Milord", "Virginia City", "High Coin", "Jessie", "This Is Only The Beginning", and "You Need A Change". The Secret Life Of Harpers Bizarre is the third album by Harpers Bizarre – and one that shows them growing in leaps and bounds with each new release! The record is a sublime fusion of sweet pop California 60s harmonies (ala The Sandpipers or The Lettermen), baroque arrangements with a fake dreamy nostalgia (ala Van Dyke Parks or Randy Newman), and drug-addled underground takes on the eazy sound of the generation (ala Brian Wilson or Love). This album is one of their most perfectly-realized visions, and it features a great blend of older songs, all hipped-up to modern LA arrangements by the likes of Nick De Caro, Perry Botkin, and others. The record has an approach that's simply mindblowing when you consider the amount of funds and effort that must have been put into a record that would only be truly appreciated 40 years later – and it's filled with great titles that include "Me, Japanese Boy", "Look To The Rainbow", "Funny How Love Can Be", "Mad", "Green Apple Tree", and "Las Mananitas". Last up is the group's fourth album, unfortunately, the last Warner album by Harpers Bizarre – one of the few testaments of genius left to us by this incredible group! The record shows the group moving past the sweet pop and dreamy nostalgia of earlier albums – tentatively stepping into the haze of the late 60s LA scene with a blend of songs that share a lot musically with earlier work, but which also seem to have a more adult approach to some of their themes. Arrangements are by the group mostly – with help from pop geniuses like Jack Nitzsche, Nick De Caro, Lenny Waronker, Harry Nilsson, and Perry Botkin Jr. The harmonies are sublime – and the group effortlessly blends original tunes like "Soft Soundin Music", "All Through The Night", "When The Band Begins To Play", and "There's No Time Like Today, along with bizarre covers like "Hard To Handle", "Something Better", "I Love You Alice B Toklas", and Jim Pepper's "Witchi Tai To", which is worth the price of the record alone! Bonus tracks include "Both Sides Now", "Small Talk", "Poly High", "If We Ever Needed The Lord Before", "Malibu U", "Cotton Candy Sandman", "Lost My Love Today", and "Bye Bye Bye". CD

Classic work from Slim Harpo – an album that kicks off with one of his biggest hits ever, and follows with plenty of great tunes as well! Things here are pretty rootsy and stripped-down – lots of spare, slowish rhythms (but a few funkier ones too!) – and instrumentation that's dominated by guitar and harmonica alongside Slim's vocals – all in a mode that's maybe a bit more vintage than his funky soul of the late 60s, but still equally powerful too! There's some great echoey production at points – almost taking a Bo Diddley tip, which makes for some really great sounds – and titles include "Snoopin Around", "Buzz Me Baby", "I'm A King Bee", "Moody Blues", "My Home Is A Prison", "Dream Girl", "Blues Hangover", and "Rainin In My Heart". CD

The first-ever album from the legendary Hi-Lo's – a landmark indie debut that went onto transform the sound of vocal harmony in the 20th century! The record's got a subtle brilliance that's hard to catch at first – a way of putting together the tunes that's often only slightly different than some of the group's contemporaries, but which already shows the rich talents that leader Gene Puerling would bring to later vocal experiments with Singers Unlimited in the 70s. As with most of the group's famous records, backings here are by Frank Comstock – perfectly poised on the gentle tunes, and nicely jazzy on the more swinging ones! Titles include "June in January", "Little White Lies", "I Don't Want to Cry Anymore", "She's Funny that Way", "Whatever Lola Wants", "Island of Desire", "You Brought a New Kind Of Love", "Fools Rush In", "Have You Met Miss Jones", "Where Are You", and "You Can't Hardly Get Them No More". CD

Dreamy sounds from the legendary Michel Legrand – working here in a mode that's maybe a bit more lush and romantic than some of his later soundtrack work – yet at a level that's still head and shoulders above most of his 50s instrumental contemporaries! The set's got a melancholy vibe throughout – that sense of leaving that not only evokes a visitor having to head home after a trip in Paris, but also all the sadness and loss that the city experienced during the wartime years as well – even later, as American Gis had to head home – and were an obvious market for a record like this in the US! Tracks include "Bonjour Paris", "French Can Can", "Le Mer", "Two Loves Have I", and "A Paris Dans Chaque Faubourg". CD features lots of bonus tracks – including Yves Montand singing "Joli Maie", plus the tracks "Domino", "Pigalle", "Clopin Clopant", "Le Gars De Rochechouart", and "Boum". CD

Some of the earliest work ever recorded by Elis Regina – issued here on a set that brings together her first two albums in one package! The sound here is quite different than the Elis Regina sound of the 70s – a lot brighter and more youthful, without as many of the somber overtones – yet still with an undeniable charm and a sense of joy that's really amazing! Even at this young age, Elis is a tremendous interpreter of tunes – and the titles mix together bossa and pop arrangements, hitting a style that's far lighter than some of the mainstream Brazilian divas of the period. Backings are by the orchestras of Severino Filho, Renato De Oliveira, Severino Araujo, and Guerra Peixe – and the CD features 22 titles that include "Tu Seras", "Da Sorte", "Dor De Cotovelo", "Amor Amor", "Poema", "Pororo-Popo", "Confissao", "Podes Voltar", "Vou Comprar Um Coracao", and "Las Secretarias". CD

Groovy 50s work from Nelson Riddle – instrumental tracks recorded during the same stretch when he was winning great fame as Frank Sinatra's arranger! The style here is much more varied than Riddle's work for Sinatra – a range of instrumental modes that varies from gentle mood music, to more upbeat and playful tunes, to some especially great numbers that have a slightly exotic feel. Instrumentation is also more varied than Riddle's vocal backings – not as out there as some of his Capitol contemporaries in the easy department, but still pretty inventive overall. CD features 26 tracks in all – including – "Loveletters", "Vilia", "Vera Cruz", "Deep Blue Sea", "Drive In", "Brother John", "Shadow Waltz", "Pore Jud Is Daid", "Robin Hood", "Port Au Prince", "Midnight Blues", "The Love Of Genevieve", "Farmer's Tango", and "Holiday In Naples". CD

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An overstuffed package of work from Annie Ross – one that features a few key albums, plus some rare bonus tracks too! First up is A Handful Of Songs – which has Ross recording as a solo act back in England after leaving her famous group with Dave Lambert and John Hendricks! The style here is a bit like some of the solo work that Ross cut in the US at the end of the 50s – particularly her sides for Pacific Jazz – not as vocalese and solo-oriented as the sort of recordings that first got her noticed, but still a lot more dynamic than most straighter jazz singers of the time! Arrangements are pretty groovy overall – nicely jazzy, and penned by Johnnie Spence – also produced by John Barry, who really helps keep the right sort of "punch" in the set. Titles include "Fly Me To The Moon", "Nature Boy", "A Lot Of Livin To Do", "Like Someone In Love", "A Handful Of Songs", and "All Of You". Next is A Gasser – one of Annie Ross' rare albums as a solo act away from her trio with Jon Hendricks and Dave Lambert – and a great little session cut with small combo jazz backing, which gives the song a nice swinging edge! Zoot Sims is the main soloist on the tunes, Russ Freeman lays down piano tracks to set the mood – and other players include Jim Hall, Monte Budwig, Mel Lewis, and Bill Perkins – all of whom contribute wonderfully to the album, and give it a nicely grooving west coast finish. Titles include "I Was Doing Alright", "You Took Advantage Of Me", "Lucky Day", "Lucky So & So", and "Nobody's Baby". 2CD set also features material from the London cast recording of Cranks – which features Ross with Anthony Newley – plus some songs with Lambert, Hendricks, & Ross – and the tune "Let's Fly" by Johnny Mercer & The Pied Pipers, which was written by Ross. CD

Argentine rock, recorded in Paris during the early 70s – a really unusual expatriate album that comes off with a sound that's pretty unique! Miguel Abuelo clearly draws inspiration from the heavier rock that was showing up in South America at the time – yet the overall execution of the record also shares some of the warmer, more optimistic qualities that marked some of the French groups during the period – occasional folksy elements, and a post-68 positivity that holds on even when things get somewhat trippy and jammy. Instrumentation is heavy on guitars – both acoustic and electric – and the longer tracks really take off with some wild sounds, especially when bits of moog or electronics are dropped into the mix. Titles include "Senor Carnicero", "El Muelle", "Estoy Aqui Parado Sentado Y Acostado", "El Largo Dia De Vivir", and "Tirando Piedras Al Rio". CD

Susan Alcorn has certainly become one of the most striking jazz musicians in recent years – and one of the few artists to ever use pedal steel in the context of free improvisation and more avant sounds! Yet here, Alcorn is also working in territory that has a bit more structure – using her Septeto Del Sur group, on tunes that have a beautifully evocative vibe! The project is maybe to Alcorn's more avant work what Charlie Haden's Liberation Music group was to his – as Susan works alongside the guitar of Luis Alvarez, charango of Francisco Araya, flute and quena of Rodrigo Bobadilla, cuatro and drums of Claudio Araya, and violin of Danka Villaneuva – all players who help Alcorn expand on concepts borrowed from Chilean folk music, and turned into modern instrumental experiments – as warmer themes mix with bolder improvised moments. Titles include "El Derecho De Vivir En Paz", "Suite Para Todos", "Mercedes Sosa", and the three part "Cantos" suite. CD

The amazing second album from Annexus Quam – a record that's almost as much of a jazz session as it is a Krautrock classic – given that the record is full of really long tunes that spin out plenty of solos, some of which almost verge on free improvisation in their approach! The group features wonderful work on reeds from Ove Volquartz – who blows tenor, soprano sax, and flute – and there's also this amazing trombone work from Hans Kamper, a player who seems to resonate with the music of Albert Mangelsdorff at the time – mixed with all sorts of cool contributions from Harald Klem, who plays tablas, electric zither, echo guitar, and a whole host of other unusual instruments too. Titles include "Leyenburg 1", "Dreh Dich Nicht Um", "Leyenburg 2", and "Trobluhs El E Isch". CD

Lost Latin funk from the Bay Area scene of the 70s – and an album that may well blow away better-known work by groups like Malo, Azteca, or El Chicano! The album's near-perfect right from the start – and brings in plenty of New York elements to the groove, thanks to the inclusion of a heady amount of jazz alongside the soul, Latin, and funk elements in the grooves! The legendary Teo Macero produced and arranged – and really takes a lot of care in the studio to focus the overall energy of the tremendous talents on the record – players who include Hadley Caliman on flute and tenor, Steve Marcus on soprano sax, Benny Velarde on timbales, and Francisco Aguabella on congas – plus the trio of Cesar, Mark Levine, and Merl Sanders on keyboards. Most numbers have this really full, flowing groove – jazzy, but with a strong emphasis on the rhythms – and often touched with some great work on guitar that echoes the Santana-inspired sound of the generation, yet never in a rock way at all. Linda Tillery sings vocals on a few numbers, but the main focus is definitely instrumental – and the whole album's great – with cuts that include "See Saw Affair", "Azucar", "Descarga", "The Devil & Montezuma", "Gotta Get Away", and "Bridges". CD

The most truly jazz-based group on Norway's hip Jazzland label – a quintet of players that know how to push an avant garde solo into a groove, and vice versa! The album's free-thinking and quite striking – as some tracks crackle with the energy of an early Mingus record, filtered through the colder cooler approaches of the recent Norwegian scene. The lineup features lead tenor and soprano by Fredrik Ljungkvist, plus trumpet by Magnus Broo, piano by Havard Wiik, bass by Ingebrit Haker Flaten, and drums by Paal Nilssen Love. Titles include "Longing For Martin", "Do It", "Psalm", "Fifth Circle", "Krilons Resa", "Prayer", and "El Coto". CD

Two Latin funk classics – back to back in a single set! First up is the self-titled Azteca album – a crowning moment for the west coast Latin scene in the 70s – a wonderful Bay Area set that brings together some of the best talents working on that scene at the time! The set's got a great blend of modes – Latin soul, touches of funk, and plenty of the jazzy inflections you'd expect from a lineup that includes Coke Escovedo on timbales, Paul Jackson on bass, Lenny White on drums, George Muribus on Fender Rhodes, Tom Harrell on trumpet, and Victor Pantoja on congas! Vocals are by Pete Escovedo – who brings in a heady soulful sound to the set – and the vibe is a bit like work by Malo or El Chicano, but even more jazz-based overall! Titles include "Peace Everybody", "Empty Prophet", "Can't Take The Funk Out Of Me", "Azteca", "Ah! Ah!", and "Mamita Linda". Next is Pyramid Of The Moon – a really special record from a really special group – one of two sublime 70s gems from Azteca – a wicked blend of jazz, funk, Latin, and soul – all put together by a young Coke Escovedo! Coke's ostensibly the leader of the group, but there's also a richly collaborative feel going on – a style that brings together jazz players like Tom Harrell on trumpet, Mel Martin on saxes, George Muribus on Fender Rhodes, and Flip Nunez on organ – and Latin players like Victor Pantoja on congas, Coke Escovedo on timbales, and Pete Escovedo on added percussion. In fact, the set's a key early example of the strength of the Escovedo family – and like their best later efforts, the set really stretches out and pushes the boundaries of conventional genres. There's also some great guest work from Lenny White on drums, Mike Nock on keyboards, and Neal Schon on guitars – and vocals are by a range of singers who really keep things fresh. Titles include "Red Onions", "Mazatlan", "Whatcha Gonna Do", "Mexicana, Mexicana", and "Love Is A Stranger". CD

A surprisingly great electric session by Chet Baker from the 70s – and a record that's got a bit more force and power than most of his other sets at the time! The format here is a bit tighter and more focused than Baker's recordings for CTI from the period – with electric piano from Kenny Barron or Richie Beirach on all tracks, plus guitar on 3 of the album's 4 tracks, and a fair bit of other horns to flesh out the overall sound. The approach isn't exactly funky, but it's quite driving at times – and Baker's work on trumpet is more sharply pronounced in the setting – a bit bolder and less sorry for itself, with a majesty that rises above the potentially-cluttered feel of the set to take its own at the top. Titles are all long – and include "Love For Sale", "Un Poco Loco", "You Can't Go Home Again", and "El Morro". CD

2 of Gato Barbieri's greatest albums of the 70s – back to back on one CD! Bolivia is one of Gato's better albums from the early 70s – and like a lot of his Latin-themed ones, a swirling mix of soulful soloing, modal grooves, and unbridled emotion. Lonnie Liston Smith is playing piano on most cuts, and he's a perfect blend for Barbieri's horn – giving it the same sort of soulful base as in his classic recordings with Pharoah Sanders. Titles include "Merceditas", "Eclypse", "Bolivia", and "Vidala Triste". Under Fire is filled with Latin rhythm influences forged on Gato's Impulse sessions of the same time, plus some nice spiritual blowing in the Pharoah Sanders tradition in which he was linked in the immediate post-Coltrane years. Airto and Mtume are on percussion on most tracks, and Lonnie Liston Smith plays some pretty outside piano on the set. All tracks are long, and titles include "El Parana", "Antonico", "El Sertao", and "Maria Domingas". CD

Amazing work from Gato Barbieri's legendary exploration of Latin American sounds for Impulse Records – a set that's heavy on Cuban influences, thanks to arrangements from the mighty Chico O'Farrill! The sound is sublime – a bit fuller than some of Gato's other albums in the run, but never with any slick or commercial styles – just more of a richness from O'Farrill's backings, matched perfectly by Barbieri's amazing tones on the tenor! There's a lot of Latin percussion in the backings – courtesy of Ray Mantill, Luis Mangual, and Ray Armando – and Eddie Martinez mixes in some sweet electric piano with his acoustic lines, deepening the soul of the record in a really 70s way. Titles include "Milonga Triste", "Lluvia Azul", "La Padrida", "Viva Emiliano Zapata", and "El Sublime" – the last of which is a good description of the record! CD

One of Gato's best! The record's neither too out, nor too poppy – and it has Barbieri playing with that incredible raspy tone – and working over modal grooves laid down by a hip group that includes Lonnie Liston Smith on acoustic and electric pianos, Ron Carter on bass, Lennie White on drums, and additional percussion on most tracks. The cuts have a Latin finish to them, but they've also got a strongly pronounced soul jazz vibe – something that's missing from lots of Gato's other work, and which feels a lot here like some of Pharoah Sander's best work for Impulse! Titles include "Tupac Amaru", "Bahia", "Falsa Bahiana", "El Dia Que Me Quieras", "El Arriero" and "Carnavalito". CD

A monster! If you buy one Latin record this year – make it this one – because it's one of the greatest ever recorded! Ray's late 60s Acid album is a landmark recording – a sublime mixture of Latin jazz, percussion, and soul – grooving hard in a variety of styles, and always hitting the money on every single track. The title cut "Acid" is one of those tunes you'll be playing until you're locked up in a nursing home – and the rest of the record is equally great – with cuts like the bouncy groover "Soul Drummers", the tasty boogaloo "El Nuevo Barretto", and the extended "Espiritu Libre", a great Latin jazz track, with very "out" piano! CD

One of the moodiest sessions on CTI from the early days – and a landmark album that took George Benson from the funky jazz scene into the upper reaches of 70s jazz. The record was put together by Don Sebesky, and it's a lot more high concept than some of George's earlier work – and proof that he was a totally great player who just needed a push in the right direction to find his own vibe. Other players include Ron Carter, Herbie Hancock, and Airto – and titles include "California Dreaming", "El Mar", "White Rabbit", and "Little Train". CD

The amazing first album from Big Star – a set that came out of nowhere, made hardly a ripple on the charts, yet went onto crash in big waves of sound for generations to come! The style here is unlike thing else before – hardly what you'd expect from the group's Memphis roots or Alex Chilton's previous performances – yet the group's music has become a generation-defining sound in the way it blends southern inflections with harder rock influences, and a lean, gritty quality that's arguably in a late 70s space between punk and power pop. Every element is wonderful – guitars that are powerful, but never indulgent – vocals that are moving, but never overly emotive – and a balance between sensitive and searing moments that even The Replacements could never hope to match. A landmark all the way through – with tracks that include "Feel", "Ballad Of El Goodo", "In The Street", "The India Song", "When My Baby's Beside Me", "Give Me Another Chance", "Don't Lie To Me", "Thirteen", "Watch The Sunrise", and "Try Again". CD

The 2 great albums by Big Star – back-to-back on CD! #1 Record is simply one of the best rock albums of the 70s – partly remembered as a defining moment in power pop, but to us there's a depth of emotion here that goes way beyond chords and choruses, and sinks into our very souls every time we listen to it! Indespensible Memphis rock, to say the very least. Titles include "Feel", "Ballad Of El Goodo", "In The Street", "The India Song", "When My Baby's Beside Me", "Give Me Another Chance", "Watch The Sunrise" and more. Radio City is also one of 70s rock's finest moments. With Chris Bell out of the picture, one could successfully argue the traits that it lacks from the first album, but this thing stands up as work of genius all its own – with a raw, shambling immediacy to the songs that cut incredibly deep. Amazing stuff all around – totally indispensable! Titles include "O My Soul", "Life Is White", "Way Out West", "You Get What You Deserve", "Mod Lang", "She's A Mover", "Morpha Too", "I'm In Love With A Girl". CD

A bold statement of power from one of the most legendary versions of the Jazz Messengers – that incredible quintet that featured Lee Morgan on trumpet, Wayne Shorter on tenor, and Bobby Timmons on piano! The title's an indication of the righteous territory in which the group is working – a nod to the civil rights era, and the sense of empowerment that all the musicians are feeling in both their solos, and their writing – which you'll hear in the album's two compositions each by Morgan and Shorter. Tracks are nice and long, and have the players stretching out beautifully – on titles that include "The Freedom Rider", "El Toro", "Petty Larceny", "Blue Lace", and "Tell It Like It Is". CD reissue has the added bonus of including 3 extra tracks that were previously only issued on a rare Japanese album – including "Pisces" and "Blue Ching". CD

Early work from pianist Paul Bley – material that really shows his commitment to the songwriting strengths of the great Annette Peacock! The first two thirds of the set features European material recorded in Rome and Baarn in 1966 – Bley working alongside bassist Mark Levinson and drummer Barry Altschul, both of whom had joined Paul on the groundbreaking Blood album – and who work here in similar territory, but on shorter tracks that are still relatively free and open overall! The tracks represent key recordings of songs that Bley would rework later on – titles that include "Blood", "Touching", "Nothing Ever Was Anyway", "Kid Dynamite", "Mister Joy", "Albert's Love Theme", and "El Cordobes". The last third of the record features material from 1968, recorded in Seattle with a trio that features Gary Peacock on bass and Billy Elgart on drums – revisiting some of the same material, but with a very different vibe – on tracks that include "Mister Joy", "Touching", "Kid Dynamite", "El Cordobes", "Blood", and "Nothing Ever Was Anyway". CD

Heady and heavy work from Billy Bond and La Pesada Del Rock & Roll – a guitar heavy group from Argentina, and one with plenty of blues rock overtones! The guitars are definitely turned up to 11 here – jamming with an intensity to match some of the best hard rock sides from Peru reissued by the Lazarus label in recent years – and like those sets, there's a sound here that's an intensification of earlier beat group modes – taken into much harder territory for the 70s. The production is great – earthy, trippy, and a little bit spooky – and the album's got an oddly unsettling feel, one that's familiar at first, but then increasingly estranged as the record moves on. Quite compelling, and with 16 tracks that include "Dueno De Tu Piel", "El Parque", "Buen Dia Senor Presidente", "Divertido Reventado", "Salgan Al Sol", "La Maquina", "Voy A Ver Un Amigo", "Para Que Nos Sirven", and "La Marcha De San Lorenzo". CD

Includes the songs "Blues According To Sam ", "Mom Mom ", "Blues According to Stan ", "Mom Mom Reprise ", "El Bajo Loco", "We Both Tried", "It's Raining", "Contradiction Pt 1", "Bitter Suite", "Angst ", and "Contradiction Pt 2" CD