A massive live set from Cannonball Adderley – and a record that really shows the growth he'd undergone in just a few short years! The album's done in close collaboration with David Axelrod – who'd handled Cannon's big live dates for Capitol in the 60s – but this record is much more freewheeling, open-ended, fuzz, funky, and electric overall! Tracks are all nice and long, and really trip out in the best way – with keyboards from George Duke in the core group, plus some heavy basslines from Walter Booker, drums from Roy McCurdy, and guitar from Mike Deasy on a number of key tracks. Deasy plays with lots of great wah wah and fuzz – and the album also features guest work from Airto on percussion and Ernie Watts on tenor – plus Cannonball's great alto and the cornet of brother Nat Adderley too. There's a really collaborative feel to the whole thing – as the record steps easily between a lot of heady styles – and titles include "Zanek", "Eye Of The Cosmos", "The Scene", "The Chocolate Nuisance", "The Steam Drill", "Little Benny Hen", and "The Black Messiah". CD

One of the greatest albums ever from Lorez Alexandria – an ultra-hip singer who recorded for Impulse and King, but who sounds especially wonderful on this rare date for Chess Records! The album's got a groove that definitely lives up to its title – a jazzy, bouncy sort of rhythm that's definitely "for swingers only", and which is a nice contrast to overdone torch or standard jazz vocal modes. Alexandria's singing is completely sublime – quite fluid, yet with a soulful depth that's really amazing – and her backing combo is equally hip – a group led by John Young on piano, and also featuring George Eskridge on guitar, Jimmy Garrison on bass, Phil Thomas on drums, and Ronald Wilson on flute and tenor – an obscure player whose reed work really makes the album sparkle! The song choices are great too – a mix of some under-recorded gems and a few blue-toned classics – all redone amazingly by Lorez with a sound that's quite unique. Titles include her classic Argo reading of "Baltimore Oriole", which begins with an amazing drum/bass passage that's worth the price of the album alone – and other tracks include "The End Of A Love Affair", "Baltimore Oriole", "All Or Nothing At All", "Mother Earth", "Love Look Away", and "Traveling Down A Lonely Road". (Vocalists, Jazz) CD

An amazing slice of music from the legendary David Axelrod – quite different than his better-known sides for Capitol and Reprise Records – and plenty darn funky overall! Axelrod is at his studio best here – stepping off the funky jazz modes he produced for Cannonball Adderley, and taking a shot at that territory on his own! In a reversal of modes, Cannonball actually handles the production – with help from Jimmy Bowen – which leaves Axelrod alone to compose, arrange, and direct the group on the set. The album's got a fair bit of electricity in the mix – heavy keyboards from Joe Sample, and some really fuzzy guitars – plus lots of choppy reed work from Joe Sample and Ernie Watts, all wrapped up with some monstrously funky drums from Ndugu Chancler. There's a very bottom-heavy groove to the record – one that makes for a few completely amazing breaks, and a very funky sound overall – and Axelrod does an amazing job of controlling the players here – so that nobody jams too much, and the grooves are always right on the money! The whole thing's great – a sublime symphony of instrumental funk all the way through – and titles include "Reverie", "Miles Away", "Go For It", "Ken Russell", "1000 Rads", and "One". First time ever on CD – a seminal reissue from Dusty Groove! CD

One of our favorite-ever albums on Prestige Records from the 60s – and a set that's a fair bit different than most of the other work on the label! The set's an unusual outing for saxophonist George Braith – cut after his famous albums for Blue Note, and in a mode that's quite different – very far-reaching, and almost spiritual at points – with the blend of jazz and other modes that you might find on the Cadet/Concept sessions in late 60s Chicago! Braith plays a wide assortment of saxes – c-melody, alto and soprano – but his playing here is a bit different than the Roland Kirk-like vibe of before – sometimes more stretched-out and exploratory, in a Nathan Davis sort of vibe – sometimes wrapped up in some larger explorations from the whole group. There's moments of raw percussion with echoey production, others with wordless vocals floating alongside the lead soloist, and still others that have that catchy blend of soul jazz and exoticism you'd find in the music of Eddie Harris or Yusef Lateef – even though Braith here is completely his own artist too! The set features Jane Getz on piano, Jay Carter and Eddie Diehl on guitar, and Ben Dixon on drums – but there's also a lot of percussion, both Latin and otherwise, from a shifting lineup of players. The whole thing's wonderful – and titles include "Del's Theme", "Musart", "Evelyn Anita", "Our Blessing", "Laura", and "Splashes Of Love". CD

A stone killer from funky flute player Bobbi Humphrey – one of her early albums for Blue Note Records, and a set that's a perfect summation of the best sides of her talents! The album's got a slightly different feel than Bobbi's work with Larry Mizell – yet still sports a similar approach that blends her amazingly spiritual flute lines with rich larger backings – in this case arranged by Horace Ott, Alphonse Mouzon, and Wade Marcus, in a sublime blend of electric jazz and soaring strings – all with a feel that's almost like some lost blacksploitation soundtrack! Given the lady's strength on her instrument, and her sharp sound on her solos, the record's got a focus and righteousness that takes it way past most contemporary efforts of this nature – a bold testament to the qualities that have made Bobbi one of our favorite players on flute for many many years. The set also features some wonderful Fender Rhodes – played both by Harry Whitaker and Paul Griffin – plus bass from Wilbur Bascomb, and heavy drums from Alphonse Mouzon. Titles include "Love Theme From Fuzz", "Nubian Lady", "Lonely Town Lonely Street", "Smiling Faces Sometimes", Is This All", "I Love Every Little Thing About You", "El Mundo De Maravilas", and a great version of Mouzon's "Virtue". CD

One of our favorite albums of all times – and a legendary testament to the greatness of the Chicago music scene in the late 60s! Melvin Jackson was the bassist in Eddie Harris' very successful group of the time – and his playing on Eddie's trippy and funky records for Atlantic is one of the factors that made them so great. Here, he's working with an acoustic bass, amplified with electronics like a Varitone sax – and this strange-sounding instrument is set up in a hip group that mixes Cadet funky studio players (Phil Upchurch, Morris Jennings, Jody Christian) with some of the brighter young players of the AACM (Roscoe Mitchell, Lester Bowie, and Leo Smith.) Jackson's bass is looped through all sorts of crazy effects, and the result is this amazing blend of avant garde playing and groovy rhythms that is beyond compare! The album includes great reworkings of two Eddie Harris funk tracks – "Bold and Black" and "Cold Duck Time" – plus monster originals like "Funky Doo", "Say What", "Dance Of The Dervish", and "Funky Skull (parts 1 & 2)". CD

One of our favorite-ever keyboard albums – a rare lost session from pianist Pete Jolly – one of his only electric dates, and a completely improvised set of grooves! Pete plays electric piano, organ, and even a bit of musette – jamming in the studio with help from Chuck Berghofer on bass, Paul Humphrey on drums , John Pisano on guitar, and Milt Holland and Emil Richards on percussion – all of whom bring in some sly, subtle touches to the grooves that are totally great! The album's much more open than other keyboard dates from the time – almost in the territory of some of Herbie Hancock's most experimental work, but a fair bit more groove-based too – given that the album's filled with short, funky tracks all the way through. There's some echoes of Bob James work to come – and given the 1970 date of the record, it could almost be said that Jolly predates a whole host of 70s keyboard talents – setting his mark with this uniquely laidback set of tracks. Titles include the classic "Plummer Park", plus "Rainbow", "Seasons", "Indian's Summer", "Pete Jolly", "Leaves", "Springs", "Bees", and "Sand Storm". CD

Tremendous work from the legendary Prince Lasha – a rare UK-only date from 1966 – and one that has the reedman working away from more familiar contemporaries like Sonny Simmons and Eric Dolphy! The approach on this session is very unique – as Lasha includes harp with the instrumentation, played by David Snell in a style that's right up there with Dorothy Ashby's best jazz work. Pianist Stan Tracey is also on board – playing beautiful notes that have a sharp modern edge, while still falling on the inside of the spectrum – and Lasha himself is especially great – blowing plastic alto sax and wooden flute, both of which have a slightly offbeat sound – but one that's surprisingly warm, which makes the album one of his most sensitive and soulful sessions ever! The tunes are a mix of standards and originals – and there's a wonderful sense of balance here – sounds that are sometimes more inside than other records from Lasha, but which have a really Dolphy-like sense of expression – right at home amidst a wider history of jazz, yet also reaching for new ideas at the same time. Pure genius throughout, and a record that was never made available to audiences in the US. Titles include "Nuttin Out Jones", "Impressions Of Eric Dolphy", "Out Of Nowhere", "Just Friends", "Body & Soul", and "Everything Happens To Me". CD

An amazing record – bold, proud, and soulful – a set that we'd easily rank with any classic early 60s session on Blue Note – and for good reason too! This rare date is the debut as a leader for trumpeter Gene Shaw – also known as Clarence Shaw in an earlier history of work with Charles Mingus – and it's an incredible blend of hardbop grooving with sharper-edged modern jazz ideals – an incredible blend that comes off beautifully on every track in the set! Shaw's probably best known for his late 50s work on the Charles Mingus albums Tijuana Moods, East Coasting, and Modern Jazz Symposium Of Music & Poetry – but after a famous fight with Mingus, Clarence "hid out" in Chicago and worked under the name of Gene – but soon made big waves on his own with tremendous work like this. (In the liner notes to the 1963 release of Tijuana Moods, in which Mingus says that he loved Shaw, but can't get in touch with him anymore!) Every aspect of the record is superb – from the writing, to the rhythm section, to the incredibly well blown solos from trumpeter Shaw and tenorist Sherman Morrison – who himself is another vastly-overlooked talent in jazz. The rest of the group features James Taylor on piano, Sidney Robinson on bass, and Bernard Martin on drums – a totally crackling rhythm section who give most tunes a snapping sort of groove! Most tracks are originals, and titles include "Autum Walk", "Six Bits", "The Thing", "It's A Long Way", "AD's Blues", "Marj", and "Our Tune". CD

Monster funk from Hammond hero Reuben Wilson – an album of hard-burning, bad-walking tunes that are a fair bit different than most of his other work! Although Wilson recorded some pretty traditional organ jazz for the Blue Note and Groove Merchant labels, this album has him working with his "Cost Of Living" group – a combo who only recorded this one album, and which includes Richard Tee on keyboards, Bad Bascomb on bass, Bernard Purdie on drums, and both Houston Person and Pee Wee Ellis on tenor sax! Most cuts have some sort of vocals – sung by either Sammy Turner or Kenny Williams, both of whom really fit the badass spirit of the record, and bring in a nice range of deeper themes from the 70s. There's almost a blacksploitation funk feel to the record at times, although the set's also got more of a soul album focus too – a rare move for Reuben, but one that's made the album a favorite for years! Tracks include the rare groove classics "Got To Get Your Own" and "Tight Money" – plus "Together", "Stoned Out Of My Mind", "What The People Gon Say", "Back Rub", and "In The Booth In The Back In The Corner In The Dark". CD

One of the greatest jazz soundtracks of all time! Elmer Bernstein wrote the score to Otto Preminger's chilling film version of Nelson Algren's book The Man With The Golden Arm – a sad tale of jazz, gambling, and heroin addiction on the streets of Chicago (not far from Dusty Groove, in fact!) – and in doing so, he came up with one of the first jazz soundtracks to really work strongly with a dramatic narrative. The film's striking theme is played in a number of variations, either with orchestral backing, or in small combo format by Shorty Rogers & His Giants, a crack west coast group that features work by Bud Shank, Shelly Manne, Bob Cooper, and Pete Candoli. The tracks work perfectly together as a suite of tracks, even without the images of the film – telling a tale of temptation, sadness, tragedy, and rebirth. Titles include "Clark Street", "Breakup", "The Fix", "Zosh", "Frankie Machine", and "Audition". Worth the price for the Saul Bass cover alone! (Soundtracks, Jazz) LP, Vinyl record album

One of the trippiest records we've ever heard from Ilhan Erashin – very different than some of the groove-oriented work he gave us years before, and a rich array of sounds we never would have expected! The album's a trio effort – Erashin on saxes and electric piano, Dave Harrington on guitar, organ, moog, melotron, electronics, and percussion – and Kenny Wollesen on drums, percussion, and vibes – the last of whom might be a good reference point here, as the set's got some of the more open qualities of work that Kenny has done for Tzadik, but with a warmer, more organic layering of elements that really makes the best of the multi-instrumental talents of all the artists involved. Titles include "The Long Goodbye", "Dusty Village", "Invite Your Eye", "And It Happens Everyday", "Wreck The Study", "Even As You Smile", and "What All The Books Say". LP, Vinyl record album

A trio of albums from one of our favorite trumpeters on the European scene! First up is Portrait – a set that stands as a tribute to trumpeter Dusko Goykovich's 70 years on this planet – and a record that features him in a variety of settings too! Other players include Ferdinand Povel on flute and tenor, Tony Lakatos on tenor, Steve Gut on trumpet, Isla Eckinger and Ray Drummond on basses, Abraham Burton on alto, and Kenny Barron and Tommy Flanagan on pianos – on titles that include "Recado Bossa Nova", "Balkan Blue", "Adriatica", "One For Klook", and "Inga". Next is Swinging Macedonia – a legendary German session from the 60s – and a record that really showcases the unusual criss-crossing of modes that was going on in the European scene at the time! There's a very strong MPS vibe here – as trumpeter Dusko Goykovich leads a swinging sextet that includes Nathan Davis on flute, soprano, and tenor – blowing some tremendously soulful reed lines – plus incredible rhythms from Mal Waldron on piano, Peter Trunk on bass, and Cees See on drums. The record's an attempt to bring traditional Macedonian rhythms into a jazz perspective – but with players like these, it swings in a way any Macedonian album never could – damn soulful, and with a great exotic vibe. Davis is especially great, and plays in a soaring modal vein that's similar to his work on his classic MPS sides, and on the records he cut in America in the early 70s. The album's a beautiful session that often get's overlooked because it blends it with the Enja catalog – but it's really more of a record that belongs in an MPS reissue series, and is a great lost groover that's waiting to be rediscovered by the Dusty Groove crowd. Titles include "Macedonia", "Old Fisherman's Daughter", "Jumbo Uganda", "Bem Basha", "Saga Se karame", and "The Nights Of Skopje". Brandenberg Concert features one of the greatest trumpeters on the European scene of the past few decades – heard here in a completely sublime setting! Dusko Goykovich has played in many styles and many ways, but hasn't ever done a date with full strings before – a long-overdue placement for his wonderful tone on trumpet – shimmering out front of a larger ensemble, in the manner of classic "with strings" dates by Dizzy Gillespie or Art Farmer! Altoist Peter King arranged the album – and titles are all originals by Dusko, some of which you might know from earlier records – reworked here beautifully for the new setting. King also solos on a handful of tracks too – a rich voice that provides a nice balance with Dusko's trumpet. Strings are never overdone, and the album's always got a nice swing from a core rhythm trio that features Renato Chicco on piano. Titles include "Good Old Days", "Handful O Soul", "Danca Comigo", "St Germain Des Pres", "Adriatica", "In My Dreams", and "I Miss You So". CD

A legendary German session from the 60s – and a record that really showcases the unusual criss-crossing of modes that was going on in the European scene at the time! There's a very strong MPS vibe here – as trumpeter Dusko Goykovich leads a swinging sextet that includes Nathan Davis on flute, soprano, and tenor – blowing some tremendously soulful reed lines – plus incredible rhythms from Mal Waldron on piano, Peter Trunk on bass, and Cees See on drums. The record's an attempt to bring traditional Macedonian rhythms into a jazz perspective – but with players like these, it swings in a way any Macedonian album never could – damn soulful, and with a great exotic vibe. Davis is especially great, and plays in a soaring modal vein that's similar to his work on his classic MPS sides, and on the records he cut in America in the early 70s. The album's a beautiful session that often get's overlooked because it blends it with the Enja catalog – but it's really more of a record that belongs in an MPS reissue series, and is a great lost groover that's waiting to be rediscovered by the Dusty Groove crowd. Titles include "Macedonia", "Old Fisherman's Daughter", "Jumbo Uganda", "Bem Basha", "Saga Se karame", and "The Nights Of Skopje". CD

An early gem from saxophonist Muriel Grossmann – already at the sort of apex that would make her one of the key spiritual jazz players in the decade to come – creating the sort of music that's made her one of our favorite contemporary jazz musicians here at Dusty Groove! The vibe here is slightly different than some of Grossmann's more recent material – maybe a bit more open and less modal, but still with this way of building up a tune in these bold blocks of sound! Muriel blows alto sax throughout – and as on many of her other great recordings, guitarist Radomir Milojkovic is a key part of the sound here – creating all these tones and colors in a piano-less group that also features David Marroquin on bass and Marko Jelaca on drums. The album works as one long suite of tracks, with seven passages – including the segments "Strength", "Trust", "Breathing", "Patience", "Opening", "Slide", and "Welcome". CD

One of the best of the early 60s comeback albums by the legendary bop trumpeter Howard McGhee – and a record that really has the player finding a whole new groove in his music! At this point, Maggie's got a fantastic tone that was missing from his earlier records, filled with pain and raw emotion – but also measured with a maturity that gives his solos an incredible sense of economy that delivers a whole hell of a lot with just a few simple notes – a balance that comes through beautifully here, maybe even more so than on any other record by Howard from the time! He's playing here in a great group that includes Roland Alexander on tenor, Bennie Green on trombone, Tommy Flanagan on piano, and Pepper Adams on baritone – and tracks include "Dusty Blue", "Groovin High", "Cottage For Sale", "Flyin Colors", and "With Malice Towards None". CD

One of the best of the early 60s comeback albums by the legendary bop trumpeter Howard McGhee – and a record that really has the player finding a whole new groove in his music! At this point, Maggie's got a fantastic tone that was missing from his earlier records, filled with pain and raw emotion – but also measured with a maturity that gives his solos an incredible sense of economy that delivers a whole hell of a lot with just a few simple notes – a balance that comes through beautifully here, maybe even more so than on any other record by Howard from the time! He's playing here in a great group that includes Roland Alexander on tenor, Bennie Green on trombone, Tommy Flanagan on piano, and Pepper Adams on baritone – and tracks include "Dusty Blue", "Groovin High", "Cottage For Sale", "Flyin Colors", and "With Malice Towards None". LP, Vinyl record album

An amazing package – and a dream come true for all of us at Dusty Groove – as the set features a ton of never-issued material from one of our favorite albums ever, by one of our favorite trumpet players of all time! Lee Morgan was really on a run when he stepped into the Lighthouse club in July of 1970 – soaring with a new sense of spirit that was captured on his final records before his too-early death – set loose here in a live setting that has Morgan and the group bristling with a new sort imagination on all sorts of extended performances! The Lighthouse was the home of cool jazz performances back in the 50s – but here, the locale is completely transformed – thanks to work from Lee on trumpet, Harold Mabern on piano, Jymie Merritt on electric bass, Mickey Roker on drums, and the great Bennie Maupin on tenor, flute, and bass clarinet – all rolling out with energy that's a lot more Strata East than Blue Note! The original 2LP set was expanded to a 3CD version in the 90s – but this massive collection brings together all the tremendous work from the performances – all of it completely essential, thanks to the sense of variety and inventiveness on the long solos that make up the tracks. Titles include versions of "Speedball", "Yunjana", "I Remember Britt", "Absolutions", "Something Like This", "The Beehive", "Neophilia", "Pyeote", "Aon", "416 East 10th Street", "Nommo", and the coolest version of "Sidewinder" you'll ever hope to hear. Newly remastered – with over four hours of never-heard music! CD

Features Joe Nicholas on trumpet, Jim Robinson on trombone, and Albert Burbank on clarinet and vocals. A New Orleans recording – but issued on a tiny postwar label down the street from the present Dusty Groove store! LP, Vinyl record album

A killer batch of modern spiritual soul jazz – with a classic sound that reminds us a lot of the 70s work on labels like Tribe or Strata East! The New Composers Ensemble is led by vibist Paris Smith, an underground Chicago jazz artist who cut a few very enigmatic albums on his own – and he's working here with a group that includes guitar, piano, percussion, and bass. All the tracks on the album are originals written by the players on the record – and most of them are strong modal grooves, with a spiraling, soaring sound that's filled with joy and life, but also a hint of darkness. The interplay of the instruments is unlike anything we've heard elsewhere, and it's the kind of underground treasure that you'd die to find on a rare 70s album – somehow even cooler that it's cut by an obscure group who are working in our generation! A few tracks have a vocalist that's a bit off-beat – and she also reminds us of some of the more spiritual contraltos that would show up on the Strata sets from the 70s – but her contribution to the record also kind of grows on you nicely after a while. Titles include "Tommy Tones", "Sonny's Song", "Lilith Came", "Introspection", "Psalm 37", and "53rd Street Ghost", dedicated to the street in Chicago where Dusty Groove was born! CD

Tremendous material from bassist Putter Smith – a player you may not recognize, but one who's been making some beautiful music on the LA scene for decades! Putter's got a soulful, soaring vision that makes him a perfect choice for Henry Franklin's Skipper label – and like Franklin's recent gems on that imprint, there's a quality here that takes us right back to the best indie soul jazz of the 70s – richly expressive material from a post-Coltrane era – with a vibe that's somewhere between Clifford Jordan on Strata East, and some of the hipper albums on Muse Records from the decade. Putter plays bass, but really manages to get some great horn help here, too – the alto of Jon Whinnery and tenor of John Gross – beautifully intertwined, and stepping along the modally-influenced rhythms of the set – which are played by Smith on bass, Theo Saunders on piano, and Kendall Kay on drums. The album's got an understated cover, but a wonderfully rich sound – and it's one we've been spinning often at the Dusty Groove offices of late! Titles include "Larance", "Home", "Early Morning Mood", "For Us", "Love Song For Kirsi", "Tonggeret", and "The Blessing". CD

New York is what is funky! This is a killer new release by a small organ jazz combo from the Big Apple – and they are definitely worthy members of the city's great end-of-the century funk scene that includes Medeski Martin & Wood, Sugarman Three, and The Other Side! The band have certainly spent plenty of time getting their chops up – and they have a very tight organ/guitar sound with a totally live feel to it. The overall groove is right up there with the best classic combos on Prestige – with stone cold funky drumming underneath sweetly strident lines on the Hammond, and some very heavy guitar rhythm parts. In a way, the record really evokes the heavy funk sound of Lonnie Smith's fantastic Blue Note sides from the Late 60s – with a very heavy drum sound nicely kicking it live! The CD's their first – and believe us, it will more than break them out of the box. Tracks include "Arruga De Agua", "Doin Something", "Rudy's Way", "Azucar", and "Steppin". Great stuff – and the kind of small-group recording that makes it worth shopping at Dusty Groove! Plus, this is the new remastered version of the CD – featuring 2 bonus cuts that weren't on the original release! (Deep Funk, Jazz) LP, Vinyl record album

Bold, beautiful work from the team of Ken Vandermark and Mats Gustafsson – two of the most inventive reed players of the past few decades – working together here in free, unfettered formation! The set was actually recorded right above Dusty Groove – in a very open, woody loft space – which really helps shape the sound of the set – as the notes from both players ring out wonderfully in the loft – almost recalling the creative improvisations of the New York scene from decades before – but handled here with all the amazing new sense of invention that both Vandermark and Gustafsson seem to bring to any instrument they touch! Ken plays tenor, bass clarinet, and b flat clarinet – and Mats handles alto, tenor, and baritone – all in a rich range of sounds and tones that really leave us breathless. Titles include "Ripolin", "The Madness Of Branches", "I Never Dreamed", "Fortunate Rust", "We Turn The Page", and "Beside Me Images". CD

Bold, beautiful work from the team of Ken Vandermark and Mats Gustafsson – two of the most inventive reed players of the past few decades – working together here in free, unfettered formation! The set was actually recorded right above Dusty Groove – in a very open, woody loft space – which really helps shape the sound of the set – as the notes from both players ring out wonderfully in the loft – almost recalling the creative improvisations of the New York scene from decades before – but handled here with all the amazing new sense of invention that both Vandermark and Gustafsson seem to bring to any instrument they touch! Ken plays tenor, bass clarinet, and b flat clarinet – and Mats handles alto, tenor, and baritone – all in a rich range of sounds and tones that really leave us breathless. Titles include "Ripolin", "The Madness Of Branches", "I Never Dreamed", "Fortunate Rust", "We Turn The Page", and "Beside Me Images". CD

We Jazz magazine is a publication that always finds a way to really get close to our heart – and this time around they've got a fantastic cover feature on righteous jazz harpist Dorothy Ashby – an artist we reissued on the Dusty Groove label many years ago! And in addition to Ashby, the issue also has a great article on Don Cherry – plus more on Jimetta Rose, Peter Evans, Asher Gaedze, and Guy Stevens – plus a great entry in the Discaholic series by Mats Gustafsson, a feature on The Return Of The Queer Jazz Scene, and lots more reviews and other columns too! As always, the presentation is great – a book-like style with full color pages throughout, and well worth the price tag! (Magazines, Jazz) Magazine

One of the more obscure albums by Lambert, Hendricks, and Ross – a session of Basie tunes, performed with backing by the Count, plus additional lead vocals by Joe Williams, the voice most closely associated with the Basie group at the time! The style is similar to the trio's Sing A Song Of Basie album for ABC, but handled here with a bit more of an edge, and a rougher, more freewheeling groove that's a better fit for the great Basie sound of the late 50s – a great adaptation of the groove by Jon Hendricks, Dave Lambert, and Annie Ross! The record's a nice sometimes-overlooked chapter in the excellent Count Basie run on Roulette – and titles include "Every Tub", "Rusty Dusty Blues", "The King", "Shorty George", and "Let Me See". (Vocalists, Jazz) CD

One of the more obscure albums by Lambert, Hendricks, and Ross – a session of Basie tunes, performed with backing by the Count, plus additional lead vocals by Joe Williams, the voice most closely associated with the Basie group at the time! The style is similar to the trio's Sing A Song Of Basie album for ABC, but handled here with a bit more of an edge, and a rougher, more freewheeling groove that's a better fit for the great Basie sound of the late 50s – a great adaptation of the groove by Jon Hendricks, Dave Lambert, and Annie Ross! The record's a nice sometimes-overlooked chapter in the excellent Count Basie run on Roulette – and titles include "Every Tub", "Rusty Dusty Blues", "The King", "Shorty George", and "Let Me See".oss! Titles include "Every Tub", "Rusty Dusty Blues", "The King", "Shorty George", and "Let Me See". (Vocalists, Jazz) CD

One of the more obscure albums by Lambert, Hendricks, and Ross – a session of Basie tunes, performed with backing by the Count, plus additional lead vocals by Joe Williams, the voice most closely associated with the Basie group at the time! The style is similar to the trio's Sing A Song Of Basie album for ABC, but handled here with a bit more of an edge, and a rougher, more freewheeling groove that's a better fit for the great Basie sound of the late 50s – a great adaptation of the groove by Jon Hendricks, Dave Lambert, and Annie Ross! The record's a nice sometimes-overlooked chapter in the excellent Count Basie run on Roulette – and titles include "Every Tub", "Rusty Dusty Blues", "The King", "Shorty George", and "Let Me See".oss! Titles include "Every Tub", "Rusty Dusty Blues", "The King", "Shorty George", and "Let Me See". (Vocalists, Jazz) CD

Way more than just a regular set of 60s soul jazz – as the package offers up a wide variety of styles, genres, and work from both European and American sources – all at a ridiculously low price! The set brings together 18 numbers from key 60s labels like Verve, MPS, and Impulse – all grooving together nicely in an upbeat mode that brings in plenty of Latin, Brazilian, and slightly funky touches too! All these tunes are plenty darn hip – longtime favorites at Dusty Groove that include "Jive Samba" by Peter Herbholzheimer, "Crickets Sing For Anamaria" by Marcos Valle, "Evil Ways" by Willie Bobo, "Terra Samba" by Fritz Pauer, "Um Grao De Areia" by Clarke Boland Big Band, "Cubano Chant" by Wolfgang Dauner Trio, "For Mods Only" by Chico Hamilton, "Love & Happiness" by Monty Alexander, "The Fakir" by Cal Tjader, "Big Schlepp" by Dave Pike Set, "Watermelon Man" by Jon Hendricks, "Why & How" by Mark Murphy, and "Sunshine Of Your Love" by Ella Fitzgerald. (Funky Compilations, Jazz) CD

A fantastic look at the righteous current of energy that swept through American music at the end of the 60s – that huge wave of knowledge and political inspiration that still stands as one of our favorite moments in jazz and soul! The Civil Rights generation had gotten some things accomplished, but not everything – and a new wave of action arose in various scenes of the underground – not just pushing the musical formats past anything that had happened before, but also doing so with a strong message of pride and empowerment! This collection surveys some of the best tracks of that moment – and also provides a great batch of historical notes to put the whole thing in context – done in collaboration with the book of the same name, but equally great as a soundtrack and document on its own. The package is overflowing with Dusty Groove classics – and titles include "Sweet Songs" by Sarah Webster Fabio, "Surtal Ihklas" by Doug Carn, "Vibes From The Tribe" by Phil Ranelin, "Desert Fairy Princess" by Horace Tapscott & The Pan Afrikan Peoples Arkestra, "Sounds From The Bush" by The Mandingo Griot Society with Don Cherry, "Is It Too Late" by Duke Edwards & The Young Ones, "Strong Men" by David McKnight, "Black Narcissus" by Joe Henderson, "Malcolm X" by Phil Cohran & The Artistic Heritage Ensemble, "Mother Of The Future" by Carlos Garnett, "Red Black & Green" by Roy Ayers, "African Rhythms" by Oneness Of Juju, and "The Revolution Will Not Be Televised" by Gil Scott-Heron. (Funky Compilations, Jazz) CD