An obscure set from Azar Lawrence – self-produced and self-arranged, in a smooth modern soul mode that's kind of an 80s extension of his work in the 70s for Prestige. There's a definite R&B groove on most tracks, and vocalist Coco Evans sings on 2 of the album's 8 tracks – and an undercurrent of bass heavy funk all the way through! Lawrence is on reeds, and other players in the group include Leo Nocentelli on guitar and James Gadson on drums. Titles include "Keep It Hot", "Your Love Is Keeping Me Alive", "Magic In The Night", "Shadow Dancing", "One More Time", and "Inside Stuff". LP, Vinyl record album

A quadruple-header from Ramsey Lewis – four albums from his great 70s electric period on Columbia Records! First up is Funky Serenity – sweet electric funk from Ramsey Lewis! The album's one of his best from the 70s – and it's got Ramsey on Fender Rhodes, electric harpsichord, and other keyboards, grooving away in an open-ended 70s mode that still retains all the heavy soul of his classic work for Chess. Morris Jennings adds in some very nice percussion with his drum work, and Cleveland Eaton's on funky bass, giving the set a strong bottom groove. Features the sublime sample cut "My Love For You", a great version of "Knights In White Satin" that's done with a weird spacey groove, plus the tracks "Kufany Mapenzi (Making Love)", "Serene Funk", "What It Is!", and "Dreams". Golden Hits isn't a "best of", but instead has Ramsey and his funky mid 70s trio with Morris Jennings and Cleveland Eaton revisiting some of his best loved material from the Cadet years, but with the groovy Rhodes and wah wah sound that we dig so much about his CBS recordings. Unlike some of the other records from this period, the group's nice and stripped down, just the electric piano, bass and drums, so the groove's nice and wide open, Ramsey and company popping along with the sanctified soulful vibe of his 60s work, but updating their sound with some nice electric touches. 9 numbers in all: "Hang On Sloopy", "Blues For The Night Owl", "Hi-Heel Sneakers", "Carmen", "Delilah", "Wade In The Water", "Slippin' Into Darkness", "Somethin' You Got", and "The In Crowd". Solar Wind was cut smack dab in the middle of Ramsey's glory days at Columbia Records – with great production help and work on bass from the mighty Cleveland Eaton! The style is nice and lean, with just some occasional fuller touches – and Ramsey plays plenty of Fender Rhodes, in addition to bits of Arp and moog too – in a setting that's mostly trio, with a few guest players stepping into the mix from track to track! There's a nice degree of fuzz at points, thanks to added help from Steve Cropper – and titles include a great funky version of "Summer Breeze", plus "Solar Wind", "Come Down In Time", "Love for A Day", "Hummingbird", "Jamaican Marketplace", and "Sweet & Tender You". Sun Goddess is one of our favorite Ramsey Lewis albums ever – and a perfect summation of the genius that was brewing on the Chicago scene in the late 60s and early 70s! The album has Ramsey working strongly with Earth Wind & Fire – no surprise, given his close ties to Maurice White, who was the drummer in Ramsey's trio before starting his own group – and the shared relationship both artists had with producer Charles Stepney! The three were all key parts of the late 60s sound at Chess Records – but here, they've brought the same soulful energy to Columbia – working in a wider, more mature groove for the 70s – one that has Lewis' wicked Fender Rhodes lines stretching out strongly over tight, compressed, funky lines from EWF! The centerpiece of the set is the massive 7 minute "Sun Goddess", but there's lots of other nice ones like "Living For The City", "Gemini Rising", and "Jungle Strut". Funky, electric, and sublimely wonderful all the way through! CD

Two slices of vintage funk, both very different – one by DNA, one by Parliament – performed in very different versions here, by a group that features Ken Vandermark on saxes and guest work from Joe McPhee on tenor! Vandermark's Marker combo is one that's more than deft enough to swing the balance between no wave and P-Funk – with twin guitars from Andrew Clinkman and Steve Marquette – plus keyboards from Macie Stewart and drums from Phil Sudderberg – topped with work from the leader himself on tenor and baritone. The presence of McPhee – a jazzman who himself also has a bit of a history in funk – only furthers the intensity of the performance – as the group deliver these short, tight takes on the cuts "Egomaniac's Kiss" (by DNA from the No New York compilation) and the George Clinton classic "Night Of The Thumpasorus Peoples". 12-inch, Vinyl record

More great grooves by this incredible band with a real talent for mixing jazz funk organ with a much freer sensibility – hitting a range of influences that run the gamut from Jimmy Smith to Larry Young, and blending them into something all their own. Titles include "Spy Kiss", "Night Marchers", "Kenny", "Lifeblood", "Henduck", "Think", and "Dracula". LP, Vinyl record album

A (completely) terrific and (totally) powerful jazz funk trio set from Galactic drummer Stanton Moore – even if we don't know why all the tunes have parenthesis! There's no question that the set is emphatic – with Moore just killing it on the kit – backed just as dexterously Robert Walter on B3, toy piano and clavinet, and Will Bernard on guitar. There's a bottom heavy groove that we just love, with complex, unpredictable changes, but nothing that's too far out there. Jazzy funk & instrumental rock(ish) jams with loads of space for the players to breathe and do their thing without ever wearing out their welcome. This might be Stanton's best to date. Tracks include "(Late Night At The) Maple Leaf", "(Proper) Gander", "Wissons (Of Vu)", "Over (Compensatin')", "(Who Ate The) Layer Cake, "(Here Come) The Brown Police" and more! (Deep Funk, Jazz) CD

A totally great take on the Joe McPhee funky classic "Shakey Jake" – done in a way that's tighter and even more compact than the original – but with some fantastic horn work throughout! There's lots of riffing guitar next to organ over fast-romping drums – and the tenor, trumpet, and other horns criss-cross in this really wonderful way! "Night Dream" is a slower number with a wide-open approach to funk – great drums and congas slow-stepping together to set up the groove – then warmed up by a nice long solo on Fender Rhodes! (Funky 45's, Jazz) 7-inch, Vinyl record

One of Billy's best, and it's got a pretty tight instrumental groove that's similar to some of Jimmy McGriff's work for the Sue and Veep labels. Billy's organ fronts some groovy and offbeat arrangements by Sly Stone – and although the set list includes a number of late 60s hits, the overall approach is pretty fresh. Titles include "Free Funk", "The Duck", "Hard Day's Night", "Uptight", "Ain't Got No Time To Play", and "It's Got To Happen". Also features one vocal cut – "Advice" – written with Sly. (Soul, Jazz) LP, Vinyl record album

Late work by jazz drum giant Buddy Rich – captured in a surprisingly energetic, firey, and sometimes funky mode at Ronnie Scott's Club in 1980! Buddy really pulled off some bright, buoyant, funk influenced work in the 70s and this set finds him at the tail end of that groove – playing with a pretty big group that includes Ernie Vantrease on piano, Wayne Pedziwiatr on bass, Ando Fusco, Jack Leibowitz, Steave Marcus and Kenny Hitchcock on saxes, Bob Coassin on lead trumpet, Roger Homefield on lead trombone, and others. Titles include "Intro/Beulah Witch", "Grand Concourse", "Blues A La 88", "Saturday Night", "Slow Funk" and the epic, 15+ minute closer "Good News". CD

A really great collection – five full albums from keyboard giant Patrice Rushen, plus bonus tracks too! First up is Patrice – her first album for Elektra, and a stunning blend of funky jazz and soul! The record really has Patrice stepping out from her earlier years at Prestige – working in some surprisingly great vocals next to tight lines on Fender Rhodes, synth, and clavinet, handled with a smooth and soulful quality that's wonderful all the way through – a blend of soul and jazz that few other players could do this well – no matter how many others tried to copy her style over the years! Rhythms are as hard and heavy as on the Prestige years, and the keyboards have a great sort of focus too – just the right mix of jazz to offset the vocals – which themselves are a wonderful discovery. The whole album's a gem – and tracks include the great funky classic "Hang It Up", plus "Changes (In Your Life)", "When I Found You", "Play", "Didn't You Know?", and "Music Of The Earth". Pizzazz is one of the records that not only helped break her out of the jazz funk ghetto, and right into the mainstream – but a set that also had a pretty profound influence on the progression of soul in the early 80s! Rushen sings as well as plays keyboards – and really pushes the use of jazzy elements that would take R&B to the next level – almost inventing the 80s groove sound in the process! The whole thing's a totally sweet mix of funk and soul, tightened up to get everything in the door at the same time – and titles include "Givin It Up Is Givin Up", "Call On Me", "Haven't You Heard", and "Let The Music Take Me". Posh is an all-out, all-access affair – a great way for anyone to get into the grooves of the mighty Patrice Rushen! Patrice is at the height of her powers here – equally magic on keyboards and vocals, and coming up with groove after groove in a sublime blend of 70s jazz funk and Minnie Riperton-esque soul! The whole album's a winner – real magic that never gets old, and the kind of LP that makes you understand why you'll find Patrice's records in just about any soul collection from the time! Tracks include "I Need Your Love", "Time Will Tell", "The Dream", "Never Gonna Give You Up", and "Don't Blame Me". Straight From The Heart is one of those albums that completely cemented her standing in the world of jazz, funk, and soul – and a wonderful summation of everything she'd done in the years before! The young Patrice was already a breakout keyboardist on the west coast scene of the mid 70s – turning out great work on her own, and adding her talents to plenty of others – but here, she emerges as a soaring soul star in her own right – a talent who's really worked her way up, with a quality level that's head and shoulders above most of her peers! Rushen produced the set with Charles Mims, and there's a righteous blend of jazz and soul that's at the level of Minnie Riperton, so that even the catchiest cuts come off with a sense of sophistication and warmth that's so different than so much other 80s soul and fusion. Titles include the classic "Forget Me Nots", plus "Number One", "I Was Tired Of Being Alone", "Where There Is Love", "Breakout", "If Only", and "Remind Me". The album Now is a masterpiece of 80s groove with lots of jazzy touches! The keyboard sound has evolved a bit here – compressed with more electronic percussion than on Patrice's earlier records, but still done with a degree of soul that sets it apart from work by most of her contemporaries – and the music has this warm flow that really sets Rushen apart from the rest – a sublime mix of soul, funk, and fusion that holds together perfectly throughout! Titles include "Gotta Find It", "Gone With The Night", "My Love's Not Going Anywhere", "High In Me", "To Each His Own", "Heartache Heartbreak", and "Feels So Real". 5CD set features bonus tracks from original 12" singles – and other remixes too! (Soul, Jazz) CD

Sweet sounds from the lovely lady – one of Patrice Rushen's last truly great albums, and a masterpiece of 80s groove with lots of jazzy touches! The keyboard sound has evolved a bit here – compressed with more electronic percussion than on Patrice's earlier records, but still done with a degree of soul that sets it apart from work by most of her contemporaries – and the music has this warm flow that really sets Rushen apart from the rest – a sublime mix of soul, funk, and fusion that holds together perfectly throughout! Titles include "Gotta Find It", "Gone With The Night", "My Love's Not Going Anywhere", "High In Me", "To Each His Own", "Heartache Heartbreak", and "Feels So Real". (Soul, Jazz) LP, Vinyl record album

Sweet sounds from the lovely lady – one of Patrice Rushen's last truly great albums, and a masterpiece of 80s groove with lots of jazzy touches! The keyboard sound has evolved a bit here – compressed with more electronic percussion than on Patrice's earlier records, but still done with a degree of soul that sets it apart from work by most of her contemporaries – and the music has this warm flow that really sets Rushen apart from the rest – a sublime mix of soul, funk, and fusion that holds together perfectly throughout! Titles include "Gotta Find It", "Gone With The Night", "My Love's Not Going Anywhere", "High In Me", "To Each His Own", "Heartache Heartbreak", and "Feels So Real". 2LP version features bonus tracks – "Get Off (12" mix)", "Get Off (inst)", "Feels So Real (edit)", and "Feels So Real (dub)". (Soul, Jazz) LP, Vinyl record album

A heavy-hitting album of keyboard funk that's right up there with the best Deodato work for CTI! Brazilian arranger Daniel Salinas was clearly influenced by the success that his fellow countryman Deodato was having in the US during the early 70s – and he's working here in a style that would have made CTI proud – one that blends larger orchestral backings with tight electric rhythms, jazzy soloing, and a few nicely placed moments of Brazilian percussion! The real star of the set is keyboardist Sergio Sa – who plays Fender Rhodes on the standout track "Staussmania" – a killer bit of dancefloor electric jazz that has a very strong "2001" feel! Sergio also wrote the nice little groover "Baiao" – which comes across with a slight sort of Airto/Hermeto mix of percussion and reeds – and the album also features a great fuzzed out take on Donovan's "Atlantis", plus the super-beautiful soundtracky groove "Like A Rainy Night"! (Brazil, Jazz) CD

A heavy-hitting album of keyboard funk that's right up there with the best Deodato work for CTI! Brazilian arranger Daniel Salinas was clearly influenced by the success that his fellow countryman Deodato was having in the US during the early 70s – and he's working here in a style that would have made CTI proud – one that blends larger orchestral backings with tight electric rhythms, jazzy soloing, and a few nicely placed moments of Brazilian percussion! The real star of the set is keyboardist Sergio Sa – who plays Fender Rhodes on the standout track "Staussmania" – a killer bit of dancefloor electric jazz that has a very strong "2001" feel! Sergio also wrote the nice little groover "Baiao" – which comes across with a slight sort of Airto/Hermeto mix of percussion and reeds – and the album also features a great fuzzed out take on Donovan's "Atlantis", plus the super-beautiful soundtracky groove "Like A Rainy Night"! (Brazil, Jazz) LP, Vinyl record album

The other side of Jimmy Smith is a mellow side – as this album's nearly all ballads and standards, set to moody late night orchestrations by Johnny Pate. Jimmy's playing is very very nice – and in a relaxed introspective mode that he hadn't really been allowed since some of his Blue Note sessions. Pate's got more of rep for funk and soul, but he does a pretty nice job here – and Jerome Richardson plays some nice flute on many tracks. Titles include "My Romance", "Nobody Knows", "My Way", "What Are You Doing The Rest Of Your Life?", and "Bewitched". LP, Vinyl record album

A sweet 70s groover from the great Lonnie Smith – a soulful little session that has the keyboardist really stretching out in some great ways! At the time, Smith fares a lot better than some of his late 60s jazz organ contemporaries – as he's got a great lean style, perfect for the decade's increasing use of electric keyboards and larger backings! This set's a great example of that style – as Smith moves way from his 60s soul jazz roots, into the soaring blend of jazz, funk, and soul that you'd also hear on Johnny Hammond albums of the time – almost more soul than jazz, given the presence of vocals on some cuts – but still always with more than enough room for the leader to stretch out and solo. Backings are nice and tight – and handled by Brad Baker (of B Baker Chocolate Company fame) – and tracks include "Funk Reaction", "For The Love Of It", "It's Changed", and "When The Night Is Right". CD

A sweet 70s groover from the great Lonnie Smith – a soulful little session that has the keyboardist really stretching out in some great ways! At the time, Smith fares a lot better than some of his late 60s jazz organ contemporaries – as he's got a great lean style, perfect for the decade's increasing use of electric keyboards and larger backings! This set's a great example of that style – as Smith moves way from his 60s soul jazz roots, into the soaring blend of jazz, funk, and soul that you'd also hear on Johnny Hammond albums of the time – almost more soul than jazz, given the presence of vocals on some cuts – but still always with more than enough room for the leader to stretch out and solo. Backings are nice and tight – and handled by Brad Baker (of B Baker Chocolate Company fame) – and tracks include "Funk Reaction", "For The Love Of It", "It's Changed", and "When The Night Is Right". LP, Vinyl record album

Two organ/sax cookers back to back – both featuring Don Patterson and Sonny Stitt! First up is the wonderful album Brothers 4 – a mighty pairing of organist Patterson and saxman Stitt – one of Don's grooviest late 60s outings, thanks to an excellent sound from all players involved! Stitt plays Varitone sax on the date, which gives his horn a cool electric feel that really sounds wonderful next to Don's work on Hammond – and Grant Green's also in the group, serving up some great single-line solos that are almost more in his early 60s style than his Blue Note work from this same period. The group's rounded out by Don's regular drummer Billy James – a wonderful player with a great ear for unusual rhythms! Tracks are nice and long – and titles include "Walk On By", "Creepin Home", and "Brothers 4". Donny Brook is a massively funky new groove from organist Don Patterson – done with a sound that's a great link between his early soul jazz years and the funkier Prestige sound to come! The group here is a rock-solid quartet – Sonny Stitt on Varitone tenor, plus a bit of alto sax – as well as Grant Green on guitar and Billy James on drums. The rhythms are great – often with a slight undercurrent of funk in the mix – and Grant lets loose beautifully on his guitar with that soaring, skipping sort of groove he picked up nicely near the end of the 60s. Patterson's Hammond is sgreat as always, and all tracks are nice and long – with plenty of solo room for everyone! Titles include "Mud Turtle", "Good Bait", "St Thomas", "Starry Night", and "Donny Brook". CD

A really unique groove from Troy "Trombone Shorty" Andrews – a mix of New Orleans funk, straighter jazz, and some hip, offbeat elements – all brought together in the space of an album that's got a Crescent City brass band in its soul, but which comes off with the tighter sound of a deep funk combo! Shorty plays mostly trombone – but also handles a bit of trumpet and keyboards too – and other core instrumentation includes saxes, guitar, and some very bold rhythms – all in a mostly instrumental groove, but featuring vocals from Shorty at a few spots, and guest work from Marc Broussard, Allen Toussaint, and Lenny Kravitz on a track apiece. Most cuts are nice and short, which keeps things focused – and titles include "Fallin", "The Cure", "Where Y'At", "In The 6th", "Neph", "Suburbia", "Backatown", "On Your Way Down", "Hurricane Season", "Right To Complain", and "One Night Only". CD

A mindblowing album of electric piano tracks! Don Walker was a funky pianist from Chicago who worked briefly with the Young-Holt Unlimited group – and who cut a rare few albums of his own for the Brunswick label. This second solo album features some excellent Fender Rhodes work by Don – set to a very mellow set of grooves with conga, electric bass, and percussion in the rhythm group. In a way, the record feels similar to the work of the Cabildos group in Italy – but with less of the band's heavy funk moments. Titles include "Sun Ray", "DM", "Inner Face Rebirth", "Black Marble", and a nice mellow version of "Children Of The Night". Great all the way through – and a real treasure if you dig mellow electric grooves! (Soul, Jazz) LP, Vinyl record album

Never-issued live material from Detroit organ great Lyman Woodard – material that's a great addition to some of the other rare material that's finally helping the world put together an overdue look at his contributions on the scene! Two of the cuts here resonate very strongly with Lyman's classic Saturday Night Special album – mid 70s takes on "Cheeba" and "Fish Feet", recorded with a very Strata-heavy group that includes Ron English on guitar, Norma Bell on alto, and Leonard King on drums – stretching out with a wonderful mix of funk and farther-reaching jazz! The set also features one more number from a few years later, and a slightly more complex presentation from Woodard – the tune "Paradise Now", recorded with a larger ensemble and Woodard on piano. CD

A completely lost album from Detroit legend Lyman Woodard – recorded around the same time as his Saturday Night Special classic, and every bit as great! The material is stunning – and easily rises to the top of the pack of the rare few examples of Woodard's genius that were caught on record – and like Saturday Night Special, the set's a masterpiece of mellow funk – with these cool, complicated arrangements that have both the grooves and Lyman's Hammond stepping out unlike anybody else – light years ahead of the late 60s soul jazz organ combos, but still with a lean, clean vibe that's very different than the large, smooth sounds of slicker 70s jazz. All tracks are long, and the record is totally wonderful – a gem that would be changing for hundreds of dollars, had it been issued in the 70s – but maybe even more amazing all these many years later as a rare extra bonus for fans like us! Titles include "Kimba", "Funky Lyman", "Lyman's Mambo", "Belle Isle Daze", and a surprisingly funky version of "By The Time I Get To Phoenix". CD

Hypnotic organ funk from Lyman Woodard – an old bandmate of Dennis Coffey, and one of the shining lights of the 70s Detroit scene! This is amazing, amazing stuff – Woodard's electric piano, organ and occasional mellotron and Norma Bell's alto saxophone lend a cosmic funk aspect throughout, very much like Death Wish-era Herbie Hancock – with a laidback, tripped-out groove that's really mindblowing! Ron English accents the thing perfectly with his languid guitar and bass groove, while Leonard King and Lorenzo Brown's drumming and percussion can keep the groove adrift, or tear it up in a funky maelstrom depending on the mission of the cut. It's totally essential Strata jazz funk – and a record we've rarely seen in the original pressing. Tracks include "Saturday Night Special", "Joy Road", "Belle Isle Daze", "Creative Musicians", "Cheeba", "On Your Mind", "Allen Barnes" and "Help Me Get Away". LP, Vinyl record album

Hypnotic organ funk from Lyman Woodard – an old bandmate of Dennis Coffey, and one of the shining lights of the 70s Detroit scene! This is amazing, amazing stuff – Woodard's electric piano, organ and occasional mellotron and Norma Bell's alto saxophone lend a cosmic funk aspect throughout, very much like Death Wish-era Herbie Hancock – with a laidback, tripped-out groove that's really mindblowing! Ron English accents the thing perfectly with his languid guitar and bass groove, while Leonard King and Lorenzo Brown's drumming and percussion can keep the groove adrift, or tear it up in a funky maelstrom depending on the mission of the cut. It's totally essential Strata jazz funk – and a record we've rarely seen in the original pressing. Tracks include "Saturday Night Special", "Joy Road", "Belle Isle Daze", "Creative Musicians", "Cheeba", "On Your Mind", "Allen Barnes", and "Help Me Get Away". Features bonus tracks – lost alternate mixes of "Belle Isle Daze" and "Saturday Night Special" – plus "Saturday Night Special (alt take)". CD

Hypnotic organ funk from Lyman Woodard – an old bandmate of Dennis Coffey, and one of the shining lights of the 70s Detroit scene! This is amazing, amazing stuff – Woodard's electric piano, organ and occasional mellotron and Norma Bell's alto saxophone lend a cosmic funk aspect throughout, very much like Death Wish-era Herbie Hancock – with a laidback, tripped-out groove that's really mindblowing! Ron English accents the thing perfectly with his languid guitar and bass groove, while Leonard King and Lorenzo Brown's drumming and percussion can keep the groove adrift, or tear it up in a funky maelstrom depending on the mission of the cut. It's totally essential Strata jazz funk – and a record we've rarely seen in the original pressing. Tracks include "Saturday Night Special", "Joy Road", "Belle Isle Daze", "Creative Musicians", "Cheeba", "On Your Mind", "Allen Barnes", and "Help Me Get Away". CD features bonus tracks – "Bell Isle Daze (lost alt mix)" and "Saturday Night Special (lost alternate mix)". CD

Hypnotic organ funk from Lyman Woodard – an old bandmate of Dennis Coffey, and one of the shining lights of the 70s Detroit scene! This is amazing, amazing stuff – Woodard's electric piano, organ and occasional mellotron and Norma Bell's alto saxophone lend a cosmic funk aspect throughout, very much like Death Wish-era Herbie Hancock – with a laidback, tripped-out groove that's really mindblowing! Ron English accents the thing perfectly with his languid guitar and bass groove, while Leonard King and Lorenzo Brown's drumming and percussion can keep the groove adrift, or tear it up in a funky maelstrom depending on the mission of the cut. It's totally essential Strata jazz funk – and a record we've rarely seen in the original pressing. Tracks include "Saturday Night Special", "Joy Road", "Belle Isle Daze", "Creative Musicians", "Cheeba", "On Your Mind", "Allen Barnes", and "Help Me Get Away". Features bonus tracks "Saturday Night Special (lost alt mix)" and "Bell Isle Daze (lost alt mix)". LP, Vinyl record album

The colors here are plenty darn funky – a rich array of amazing sounds from the archives of Golden Ring and Happy Records – two rare German sound library labels! The records may be rare, but they've got an instant appeal – especially if you're a fan of funky soundtrack work from the late 60s and early 70s – sounds and styles from folks like Lalo Schifrin or Quincy Jones, who both would be a good starting point in comparison to these grooves! There's a few key tracks here from Peter Thomas – one of our favorite German composers of the time – and other numbers are by funky drummer Klaus Weiss, plus some lesser-known cats who groove equally well. Titles include "Flash Point" and "Power Boost" by Peter Thomas, "Porto Allegre" and "Beach Bunny" by Juan Demonio, "Bubble & Squeak" by Elmar Steingarden, "Explorer" and "Space Drums" by Klaus Weiss, "Satin Eyes" by Mladen Franco, "Again Please" by Al Tacoma, "Get Across" by Ken Aldin, "Rock City" by Harry Winkler, "Blue Riff" by Peter Mellini, "Night Clipper" by Peter Look, and "Easy Action" by Peter Thomas. (Funky Compilations, Jazz) CD

Sweet funky fusion from the Japanese scene at the end of the 70s – work that's all from the mighty Electric Bird label, an imprint who were as important to Japan as CTI/Kudu were in the US! As with that famous pairing of labels, Electric Bird helped artists find a new groove with a sweet electric mode – still very jazz-based, but with just the right influences from soul and funk as well – which helped some players hit a very cool vibe – including a few of American artists too, as Electric Bird were always one for cross-pollination between the scenes! There's an especially strong emphasis on keyboard lines – and titles include "Summer Time" by Yasuaki Shimizu, "Night Life" by Ronnie Foster, "Living In A City" by Toshiyuki Honda, "In The Sky" by Shunzo Ohno, "Let's Get Together" by Mikio Masuda, "Night Breeze" by Bobby Lyle, and "Space Traveler" by Katsutoshi Morizono. (Funky Compilations, Jazz) CD

Sweet funky fusion from the Japanese scene at the end of the 70s – work that's all from the mighty Electric Bird label, an imprint who were as important to Japan as CTI/Kudu were in the US! As with that famous pairing of labels, Electric Bird helped artists find a new groove with a sweet electric mode – still very jazz-based, but with just the right influences from soul and funk as well – which helped some players hit a very cool vibe – including a few of American artists too, as Electric Bird were always one for cross-pollination between the scenes! There's an especially strong emphasis on keyboard lines – and titles include "Summer Time" by Yasuaki Shimizu, "Night Life" by Ronnie Foster, "Living In A City" by Toshiyuki Honda, "In The Sky" by Shunzo Ohno, "Let's Get Together" by Mikio Masuda, "Night Breeze" by Bobby Lyle, and "Space Traveler" by Katsutoshi Morizono. (Funky Compilations, Jazz) LP, Vinyl record album

A deep dive into the work of a wonderful record label – the Strata imprint from Detroit at the start of the 70s – a company who served up some very spiritual sounds in the short time they were issuing records! Don't confuse Strata with Strata East – although the labels do have some similarity – as Strata also brought in a bit more electricity on some of its cuts, and some slight touches of funk as well – a very special brew in which the Detroit jazz underground of the time were mixing things up in so many different ways – really given a lot of freedom to explore styles that are still ahead of their time all these many years later! Key albums on Strata have been reissued in recent years, but the set also features some overlooked gems by more obscure artists too – titles that include "Maiden Voyage" by Ursula Walker, "Salsa (part 1)" by Fito Foster, "Time Is Wasting" by TJ, "Joy Road" by Lyman Woodard Organization, "All But Blind" by Mixed Bag, "Island Song" by Kenny Cox, "Face At My Window" by Sam Sanders, "People We Got To Do Better" by The Soulmates, "You're The One" by TJ, "Noh Word" by Contemporary Jazz Quintet, "Tune For LN" by Larry Nozero, "Where Is The Place" by Maulawi, "Saturday Night Special" by Lyman Woodard, and "Beyond The Dream" by Kenny Cox. (Funky Compilations, Jazz) LP, Vinyl record album

A pair of classics from Deodato – back to back on a single high-quality CD! First up is Prelude – a legendary album from the 70s funk scene – and one of the crowning achievements of keyboard maestro Eumir Deodato! Deodato got his start during the bossa years of the 60s – where his sophisticated charts were already enough to make his career a landmark – but in the following decade he picked up the Fender Rhodes, and really took off in a great new direction with classic records like this! The set's a wonderful blend of larger charts and jazzy soloing – with sublime Rhodes lines from the leader, plus a mix of acoustic and electric instrumentation in the best CTI mode – underscored by percussion from both Ray Barretto and Airto. The features Deodato's remake of "Also Sprach Zarathustra" into the funky "2001" – soaring with Fender Rhodes lines that set a new standard for the instrument, with a funky undercurrent that few would have expected for the tune. Other tracks are nice too – and include a great bossa-y version of "Baubles Bangles & Beads", plus "Spirit Of Summer", "September 13", and "Carly & Carole". Deodato 2 is filled with funky keyboards galore – and one of the greatest records ever from this legendary Brazilian jazz talent! The album follows nicely off Deodato's Prelude classic for CTI – and like that one, this set's built on long-flowing tunes that rise and fall with a wonderful sense of rhythm – a sublime electric piano groove that's quite different than anything Deodato recorded before – and possibly never realized this perfectly again after his CTI years. Other players include Stanley Clarke on bass, Billy Cobham on drums, and Hubert Laws on flute – and titles include the massive Latin funk track "Super Strut", plus the tunes "Pavane For A Dead Princess", "Skyscrapers", and a great version of "Nights In White Satin". Plus, this CD reissue features 3 bonus tracks – "Venus", "Do It Again", and "Latin Flute"! CD

A really formative album – not just as part of the key second chapter of alto genius Lou Donaldson, but also as the start of a huge generation of jazz funk grooves to come! The key element here is drummer Idris Muhammad – working in the group of Donaldson, but under his birth name of Leo Morris – and still already graced with that fantastic sense of rhythm that has him stretching out the beats, and creating grooves that would push the 60s soul jazz generation into more electric funk modes in the decade to come! The record's a perfect bridge between the two generations – with long tracks that draw plenty from Idris' drums and Lou's alto – plus work from Blue Mitchell on trumpet, Lonnie Smith on organ, and the young George Benson on guitar – still hard and soulful, in that style he had been using in the 60s group of organist Jack McDuff. If you know the heavily sampled side of Lou Donaldson's work, you'll know the greatness you're getting here – on cuts that include "Dapper Dan", "Midnight Creeper", "Bag Of Jewels", and "Love Power". LP, Vinyl record album

A really formative album – not just as part of the key second chapter of alto genius Lou Donaldson, but also as the start of a huge generation of jazz funk grooves to come! The key element here is drummer Idris Muhammad – working in the group of Donaldson, but under his birth name of Leo Morris – and still already graced with that fantastic sense of rhythm that has him stretching out the beats, and creating grooves that would push the 60s soul jazz generation into more electric funk modes in the decade to come! The record's a perfect bridge between the two generations – with long tracks that draw plenty from Idris' drums and Lou's alto – plus work from Blue Mitchell on trumpet, Lonnie Smith on organ, and the young George Benson on guitar – still hard and soulful, in that style he had been using in the 60s group of organist Jack McDuff. If you know the heavily sampled side of Lou Donaldson's work, you'll know the greatness you're getting here – on cuts that include "Dapper Dan", "Midnight Creeper", "Bag Of Jewels", and "Love Power". CD

A really formative album – not just as part of the key second chapter of alto genius Lou Donaldson, but also as the start of a huge generation of jazz funk grooves to come! The key element here is drummer Idris Muhammad – working in the group of Donaldson, but under his birth name of Leo Morris – and still already graced with that fantastic sense of rhythm that has him stretching out the beats, and creating grooves that would push the 60s soul jazz generation into more electric funk modes in the decade to come! The record's a perfect bridge between the two generations – with long tracks that draw plenty from Idris' drums and Lou's alto – plus work from Blue Mitchell on trumpet, Lonnie Smith on organ, and the young George Benson on guitar – still hard and soulful, in that style he had been using in the 60s group of organist Jack McDuff. If you know the heavily sampled side of Lou Donaldson's work, you'll know the greatness you're getting here – on cuts that include "Dapper Dan", "Midnight Creeper", "Bag Of Jewels", and "Love Power". CD

A really unique little record from vocalist Frank D'Rone – one that's got a very different approach than some of his more pop-oriented sets! The album's recorded live at San Francisco's legendary Hungry I – often a haven to beats and folkies, and a venue that seems to have brought out a whole new level of Frank's talents! D'Rone's singing here with much lighter accompaniment than usual – just a small rhythm section – but the key part of the set is that Frank's also accompanying himself on guitar, strumming along with his vocals in a way that's sometimes gentle, sometimes jazzy – and which reminds us a lot of similarly swinging sides by vocalist Eddie Hazell (not the P-Funk guitarist!) Given the early 60s date of the set, there's a nice flexibility here with rhythms – and Frank opens up with slight bossa, swinging, and syncopated sounds on a few numbers – and sounds even better on the gentler tracks, which really mostly feature just voice and guitar. Titles include "Tea For Two", "Nancy", "But Not For Me", "Teach Me Tonight", "I Am In Love", "Out Of This World", and "I'll Remember April". (Vocalists, Jazz) CD

Smooth and soulful guitar work from Cornell Dupree – a player who recorded on countless sessions as a studio sideman, but didn't break out as a leader until the late 70s! The set has a full sound that's in the mode of the larger Kudu/CTI productions of the time – an approach that takes larger orchestrations and uses them as the backdrop for Dupree's work on guitar, often with a fair bit of keyboard support on Rhodes, Korg and piano from Mario Sprouse, who arranged the set. The set's made up of pop tunes from the day, and will remind you of 70s am radio at some level, which for us isn't a terrible thing, though there is a commercial sheen to the whole affair that still has a touch of what we love about the funky dancefloor style of David Matthews during the same stretch – and the album features a total of 7 tracks that include "Stayin' Alive", "Slip, Slidin' Away", "How Deep Is Your Love", "Lovely Day", "Boogie Nights", "It's So Easy", and "Shake It Well". LP, Vinyl record album

One of the most electric albums on the legendary Black Jazz label – a hip set of funky fusion tracks from bassist Cleveland Eaton, with a vibe that's similar to his album for the Gamble label, and his funky 45 work with The Kats! The record's a good extension of Eaton's roots in the Cadet studio scene working with Ramsey Lewis – and as proof of those roots, the record contains work by loads of key Chicago players – including Ari Brown on tenor, Odell Brown on keyboards and Hammond, Duke Payne on tenor and flute, and Morris Jennings on percussion! There's a wicked groove on most cuts, and the set was also recorded at the Chess studios – which furthers the Chicago vibe – as you'll hear on cuts that include "Chi-town Theme", "Keena", "Moe Let's Have A Party", "Kaiser 405", "All Your Lover, All Day, All Night", and "Hamburg 302". CD

One of the most electric albums on the legendary Black Jazz label – a hip set of funky fusion tracks from bassist Cleveland Eaton, with a vibe that's similar to his album for the Gamble label, and his funky 45 work with The Kats! The record's a good extension of Eaton's roots in the Cadet studio scene working with Ramsey Lewis – and as proof of those roots, the record contains work by loads of key Chicago players – including Ari Brown on tenor, Odell Brown on keyboards and Hammond, Duke Payne on tenor and flute, and Morris Jennings on percussion! There's a wicked groove on most cuts, and the set was also recorded at the Chess studios – which furthers the Chicago vibe – as you'll hear on cuts that include "Chi-town Theme", "Keena", "Moe Let's Have A Party", "Kaiser 405", "All Your Lover, All Day, All Night", and "Hamburg 302". LP, Vinyl record album

One of the most electric albums on the legendary Black Jazz label – a hip set of funky fusion tracks from bassist Cleveland Eaton, with a vibe that's similar to his album for the Gamble label, and his funky 45 work with The Kats! The record's a good extension of Eaton's roots in the Cadet studio scene working with Ramsey Lewis – and as proof of those roots, the record contains work by loads of key Chicago players – including Ari Brown on tenor, Odell Brown on keyboards and Hammond, Duke Payne on tenor and flute, and Morris Jennings on percussion! There's a wicked groove on most cuts, and the set was also recorded at the Chess studios – which furthers the Chicago vibe – as you'll hear on cuts that include "Chi-town Theme", "Keena", "Moe Let's Have A Party", "Kaiser 405", "All Your Lover, All Day, All Night", and "Hamburg 302". CD

2 wonderful late 50s sessions from arranger Gil Evans – both of which we'd rank right up there with his best work with Miles Davis, or the albums under his own name for Impulse in the 60s! The first half of the CD is from the album New Bottle Old Wine – a record of swinging modern backdrops, used to showcase both the solo talents of a young Cannonball Adderley, and the dynamic energy of Evans himself! Cannon's sharp-edged early tone is a really great sound for the record – far more modern than you might expect from later funk and soul sides of the 60s – and perfectly poised next to Gil's larger back drops to reignite a host of older tunes with new energy! And while the titles are familiar, the readings certainly are not – as the Evans pen has really changed things up beautifully – as you'll hear on numbers that include "St Louis Blues", "King Porter Stomp", "Willow Tree", "Struttin' With Some Barbeque", "Lester Leaps In", "Round About Midnight", "Manteca", and "Bird Feathers". Great Jazz Standards is equally great, a fantastic lost set from Evans – and one that features Mingus trumpeter Johnny Coles as the lead soloist in front of Evans-led modern groups that include players like Elvin Jones, Ray Crawford, Steve Lacy, Budd Johnson, Rod Levitt, and Chuck Wayne. Despite the "standards" in the title, most of these numbers are modern tunes from the 50s – like "Joy Spring", "Ballad Of The Sad Young Men", "Django", "Straight No Chaser", and "Chant Of The Weed" – all given Evans' unique style of arrangement, tweaked up a few notches to give them a really edgey quality. Coles is clearly standing in for Miles here, but the format works well overall! CD features 15 tracks in all, including some newly-improved versions of a few tracks, correcting mistakes in the original records! CD

A masterpiece through and through from arranger Gil Evans – a record of swinging modern backdrops, used to showcase both the solo talents of a young Cannonball Adderley, and the dynamic energy of Evans himself! Cannon's sharp-edged early tone is a really great sound for the record – far more modern than you might expect from later funk and soul sides of the 60s – and perfectly poised next to Gil's larger back drops to reignite a host of older tunes with new energy! And while the titles are familiar, the readings certainly are not – as the Evans pen has really changed things up beautifully – as you'll hear on numbers that include "St Louis Blues", "King Porter Stomp", "Willow Tree", "Struttin' With Some Barbeque", "Lester Leaps In", "Round About Midnight", "Manteca", and "Bird Feathers". CD

A killer album of soul jazz piano instrumentals – produced by James Brown! The Dee Felice Trio were a groovy combo from Cincinnati, and James Brown took a shine to them at some point in the late 60s. They backed James on one record, but their big moment was this album – which had James producing, and the group grooving nicely on some hard piano jammers! The sound's a lot more stripped-down than usual for James, but the groove is very nice! Includes an excellent funky version of "There Was A Time", a great cover of Marcos Valle's "Crickets Sing For Anamaria", and the tracks "Summer In The City", "In Heat", "Both Sides Now", and "Never". Features 3 bonus tracks too – "Nightingale", "Little Liza Jane", and "There Was A Time (single version)". CD

A trio of albums from pianist Hal Galper – one early, two later, and served up in a single set! Guerilla Band is electric piano genius from Hal Galper – one of his best non-acoustic albums ever, and a set that's filled with moody colors and changes! The album's a fair bit more dynamic than some of Galper's other albums from the 70s – with horns from the Brecker Brothers, guitar from Bob Mann, and tightly rhythmic work on the bottom that makes some of the best numbers hear all-out funky jams! There's a sharply angular feel to the record that's made it a favorite for beatheads for years – plenty of tunes that are ripe for samples, even when things get slightly mellow – and Galper's approach to the keys is really amazing, unlike any other player we can think of at the time! Titles include "Figure Eight", "Call", "Black Night", "Point of View", "Welcome To My Dream", and "Rise & Fall". Rebop is a gem of a later album from pianist Hal Galper – one that has him teaming up with tenorist Jerry Bergonzi, as both players really find a way to make the other sound great! Galper's always got a nicely spacious approach to the piano – using the spots between the notes in just the right way, which is great for Jerry, as he likes to fill them with well-placed, well-timed tenor elements that really make his horn sound great. The balance is a bit like that which Bergonzi brings up on some of his best sessions for Red Records – and the group also features Jeff Johnson on bass, and Steve Ellington on drums. Titles include "All The Things You Aren't", "Jackie-Ing", "Take The Coltrane", "Laura", and "It's Magic". On Just Us, the trio of pianist Hal Galper gets some great guest work here from tenorist Jerry Bergonzi – a rich-toned player who really seems to bring out a different vibe in Hal's music! Galper's touch on the keys seems to be extra-dexterous here – really spinning out these long, lively lines that are balance with the well-placed tones of Bergonzi – given gently swinging support from Pat O'Leary on bass and Steve Ellington on drums! Many of the tunes are standards, but opened up with all these great colors – and titles include "Just Us", "Bye Bye Blackbird", "Stablemates", "Lover Man", "I'll Never Be The Same", and "Unforgettable". CD

A very groovy batch of tracks that's got a sweet and easy feel – one that features Stan blowing to arrangements by the great Johnny Pate, recorded at a time when both of them were at the height of their powers! Although Pate's style is usually a bit funky, on this set, he's amazingly laidback – setting Stan up in a wash of strings and soul that creates space for some wonderfully breathy solos. The tunes are a mix of late 60s numbers – some of them pop, but not in a bad way – as Stan and Johnny really work some incredible sounds with titles that include "Mandy Is Two", "Didn't We", "The Shining Sea", and "The Night Has A Thousand Eyes". LP, Vinyl record album

Excellent 60s work by tenorist Stan Getz – a completely sublime meeting with pianist Bill Evans – tunes recorded in 1964, but not issued at the time, even though they are fantastic – because Verve Records instead wanted to really focus on Stan's bossa nova recordings! The pairing of Getz and Bill Evans is a wonderful one here – as both players are at their warmest, and working with a wonderful sense of tone throughout – Stan, slightly lyrical at times – and Bill, with some slight brooding undercurrents that really add some depth to the set. The rest of the group features either Ron Carter or Richard Davis on bass, plus Elvin Jones on drums – and titles include "Funkallero", "Melinda", "Grandfather's Waltz", "My Heart Stood Still", and "Night & Day". LP, Vinyl record album

Excellent 60s work by tenorist Stan Getz – a completely sublime meeting with pianist Bill Evans – tunes recorded in 1964, but not issued at the time, even though they are fantastic – because Verve Records instead wanted to really focus on Stan's bossa nova recordings! The pairing of Getz and Bill Evans is a wonderful one here – as both players are at their warmest, and working with a wonderful sense of tone throughout – Stan, slightly lyrical at times – and Bill, with some slight brooding undercurrents that really add some depth to the set. The rest of the group features either Ron Carter or Richard Davis on bass, plus Elvin Jones on drums – and titles include "Funkallero", "Melinda", "Grandfather's Waltz", "My Heart Stood Still", and "Night & Day". CD features alternate versions, and the unissued tunes "WNEW Theme" and "Carpetbagger's Theme". CD

Excellent 60s work by tenorist Stan Getz – a completely sublime meeting with pianist Bill Evans – tunes recorded in 1964, but not issued at the time, even though they are fantastic – because Verve Records instead wanted to really focus on Stan's bossa nova recordings! The pairing of Getz and Bill Evans is a wonderful one here – as both players are at their warmest, and working with a wonderful sense of tone throughout – Stan, slightly lyrical at times – and Bill, with some slight brooding undercurrents that really add some depth to the set. The rest of the group features either Ron Carter or Richard Davis on bass, plus Elvin Jones on drums – and titles include "Funkallero", "Melinda", "Grandfather's Waltz", "My Heart Stood Still", and "Night & Day". CD features alternate versions, and the unissued tunes "WNEW Theme" and "Carpetbagger's Theme". CD

Three later live sets from Dizzy Gillespie – all in a single package! Sesjun Radio Shows 1 is great, and if you like Dizzy Gillespie as much as us, you'll know that he kept on getting better and better as the years went on – continuing to evolve as a musician, into territory that's always very different than what he was giving the world a few years before! That's definitely the case here, on two live performances done for Dutch Radio in the late 70s – both of which feature a guitar as the key partner – with Rodney Jones on the first half, Ed Cherry on the second, and bass from Benjamin Brown and drums from the great Mickey Roker. Tracks are long, and open up in this really wonderful way – and the group is joined by percussionist Sheyvonne Wright on the second half, who also sings a bit too. There's a quality here that's much more in the best 70s work on the Muse label than you might expect – and titles include "Barcelona", "Diddy Wah Diddy", "Toccata", "The Truth", "Night In Tunisia", "Manha De Carnaval", and Round Midnight". Sesjun Radio Shows 2 is further proof that the genius of Dizzy Gillespie knows no bounds, even in later years – as these two different radio performances feature Diz with very unique saxophonists – both of whom really transform the sound of the group! The first half of the set has Gillespie on trumpet with a young Paquito D'Rivera on soprano and alto sax – a young player really coming into his own here, in an unusual group that also features Canadian guitarist Ed Cherry, bassist Michael Howell, and drummer Ignacio Berroa – on titles that include the funky "Unicorn", plus "All The Things You Are" and "Cripple Crapple Crutch". The second half will be even more surprising to fans of avant jazz – as the legendary Sam Rivers joins the group on tenor and soprano sax – blowing straighter than on his free improv records, but definitely adding an edge! The rest of the group features Cherry and Berroa, with John Lee in on bass for Howell – and titles include "Tanga", "Manteca", and "Birk's Works". Concert Of The Century is a record with a title that's a hell of a claim to make – but it's also a hell of a concert, too – one that features Dizzy Gillespie blowing with an all-star small group lineup – in really stretched-out takes on the tunes, at a level that rivals his best 70s material on the Pablo label! In addition to Gillespie on trumpet, players also include Milt Jackson on vibes, James Moody on tenor and flute, Hank Jones on piano, Ray Brown on bass, and Philly Joe Jones on drums – all working together as seamlessly as you'd expect! Titles include "Darben The Redd Foxx", "The Shadow Of Your Smile", "Get Happy", "Blues N Boogie", "If I Should Lose You", and "Bass Solo/Manha De Carnaval/Work Song". CD

Grant Green's last session as a leader – and although the tracks are a bit slicker than earlier work, the album's still pretty darn nice. The tracks are long in a CTI-type funky jazz mode, with arrangements by Mario Sprouse, and a nice little Latin feel to some of the best numbers. Green's solo ability is still quite good – and on the more uptempo tunes, he solos with that versatility and amazing dexterity that you'd find on his best earlier sessions. Other tracks have him in a mellower, more chromatic and Wes Montgomery-inspired mode – and titles include "Empanada", "Three Times A Day", "Nighttime In The Switching Yard", "Easy", and "Wave". LP, Vinyl record album

3CDs, and one DVD – a heck of a lot of music in one groovy little box set! The 3CDs each feature a different overseas performance by American tenor legend Johnny Griffin – working in very familiar territory of Copenhagen, in long, open-ended recordings that really show his inventive strengths on the tenor sax! CD 1 features a 1964 performance with Kenny Drew on piano, Niels Henning Orsted Pedersen on bass, and Art Taylor on drums – on titles that include "Doctor's Blues", "Night In Tunisia", "Wee Dot", and "Body & Soul". CD 2 features a 1984 performance with Eddie Lockjaw Davis joining Griff in the frontline on additional tenor – with rhythm by Harry Pickens on piano, Curtis Lundy on bass, and Kenny Washington on drums – on titles that include "Funky Fluke", "Hey Lock", "Lester Leaps In", "Blues Up & Down", and "Oh Gee". CD 3 features a 1989 date, with Drew on piano again – on titles that include "Just Friends", "Isfahan", "Slukefter Blues", and "Hush A Bye". The set also features a DVD – with 3 tracks from a Village Vanguard performance by Griffin in 1981, with Ronnie Matthews on piano – on titles that include "A Monk's Dream", "56 & Closing", and "Opening/Blues For Gonzi". DVD also features 2 more 1985 tracks by Eddie Lockjaw Davis (without Griffin) – "S'Wonderful" and "Shiny Stockings" – both recorded in Copehagen. CD

A definite monster from Herbie Hancock – one of those great records from Hancock's second chapter at Columbia Records – a time when he was really evolving as an artist, and able to take on the world of soul as well as he did with jazz and fusion! The groove is a great fusion of the funky elements that Herbie created on some of his wilder earlier records, and the tighter style of funky soul at the time – a mode that's much hipper than disco, with almost a CTI current at times – but qualities that are even groovier in the hands of Herbie! The set's got some vocals – leads by Gavin Christopher, and backup by The Waters – and there's plenty of sweet keyboard lines as well – at a level that still blows away all the younger cats who were trying to horn in on Herbie's action. Includes the funky classic "Stars In Your Eyes" – which has a bassline that just won't quit – a sweet stepper called "Making Love", and the cuts "It All Comes Round", "Don't Hold It", and "Saturday Night". LP, Vinyl record album

Damn great work from the amazing Eddie Harris – a record that's got a perfect blend of jazz and funk, but still holds onto more righteous elements too! Eddie's using his electric sax in a really great way – not as a gimmick at all, but as a way of linking both the soulful and progressive sides of the Chicago jazz scene – much like the way his old bassist Melvin Jackson did on the classic Funky Skull record! The group here is a small one, but features some really surprising work from players who include Muhal Richard Abrams on electric piano, Rufus Reid on electric and acoustic bass, Billy James on drums and Kalimba, Ronald Muldrow on guitar, and Henry Gibson on some mighty nice percussion. Eddie himself is a stunner – working not just on electric tenor, but also trumpet with a reed mouthpiece, and some weird way of vocalizing through a horn as well. The whole thing's got a vibe that matches the hippest, coolest electric jazz of the Cadet/Concept years – and titles include the great groover "Zambezi Dance", plus "Nightcap", "Tampion", "Instant Death", and "Superfluous". LP, Vinyl record album

A great electric set – recorded at the Lighthouse in 1970, in that slightly funky mode of Joe's best work from the time! Joe Henderson's beautiful soloing style, honed at this point on a number of fine Blue Note recordings, is set free in a band that includes Woody Shaw, Lenny White, and George Cables, who plays beautifully on electric piano. Tracks include new versions of "Mode for Joe" and "Blue Bossa" – redone with a sweet gliding 70s groove – plus "Carribean Fire Dance", "If You're Not Part Of The Solution, You're Part Of The Problem", and "Round Midnight". The core original album If You're Not Part Of The Solution is expanded with tracks pulled from the Joe Henderson box set – making for a 10-title package that recaptures the whole original performance. Extra tracks include "Recorda-Me", "Isotope", "A Shade Of Jade", and "Invitation". CD

Jazz funk genius from Freddie Hubbard in the mid 70s! Gleam was a Japanese-only double album from the jazz giant in its original release – mighty funky at times, too – right up there with some of the best Miles Davis and Herbie Hancock Japanese sets from the 70s! It's a live set captured in March of '75 at Tokyo's Yubin Chokin Hall – long numbers played by a group that includes Freddie on trumpet, Carl Randall on tenor and flute, George Cables on electric piano, Henry Franklin on bass, Carl Burnett on drums, and Buck Clark on percussion! Each player has plenty of space to groove, and it's very well captured – you can hear the most expressive solos and the most subtle nuances. Some great solos by Freddie and the rest of the players – breathless tenor & flute by Randall, keys by Cables that are jazz funk perfection and interplay between Burnett's drums and Clark's congas & percussion that's somehow tense and comfortable at the same time. The shortest number in the set runs more than the 7 minutes and the longest is more than 20 minutes – and none is one second shorter than necessary, actually leaving us pining for more – making it all the more vital in the double album format. Released on 2CDs for the first time ever here! How this great album has been so hard to find over the years is a mystery. Titles include "Kuntu", "Spirits Of Trane", an amazing cover of Stevie Wonder's "Too High", "Midnight At The Oasis", "Ebony Moonbeams", and "Put It In The Pocket". LP, Vinyl record album

Electric funk from Freddie Hubbard – a great 70s session that has him bringing in a bit more soul to the mix than usual! Things are a bit tighter here than on the CTI sides, but still pretty open and fluid – almost in a Donald Byrd mode with Larry Mizell, given the fuller backings on the set, and Hubbard's lean, clean tone on the top! Hubbard did the arrangements with George Cables – who plays some wonderful keyboards on the set, and keeps things solid throughout – creating the kind of open lines that always seems to get the best out of Freddie. Other players include Ray Parker on guitar, Carl Randall on tenor and flute, Henry Franklin on bass, and Spider Webb on bass – and a few cuts have some chorus vocals, which again take on a great Mizell-like quality in the mix. Titles include "Kuntu", "Put It In The Pocket", "Liquid Love", "Yesterday's Thoughts", "Lost Dreams", and a version of "Midnight At The Oasis". LP, Vinyl record album

Genius, pure genius! This album's possibly the most perfectly realized set from the team of Bobby Hutcherson on vibes and Harold Land on reeds – a pair who hit territory that's slightly funky, but which is also still touched by the modal spiritualism of some of their earlier work together! The album has an approach that we've not heard on other sides from the time – in that it takes its time to build the grooves up slowly, layering element over element as the songs unfurl, crafting some killer numbers that make the album incredibly strong as a whole. Land plays flute and tenor, and even a bit of oboe, which makes for a wonderfully compelling reed sound – and the group also features Joe Sample on Fender Rhodes, on loan from The Crusaders, plus Fender bass from John Williams and drums from Mickey Roker. Titles include the classics "Ummh" and "Goin' Down South", which have been made famous over the years, thanks to the magic of sampling technology – plus the tracks "Jazz", "Night In Barcelona", and "Procession". CD

Genius, pure genius! This album's possibly the most perfectly realized set from the team of Bobby Hutcherson on vibes and Harold Land on reeds – a pair who hit territory that's slightly funky, but which is also still touched by the modal spiritualism of some of their earlier work together! The album has an approach that we've not heard on other sides from the time – in that it takes its time to build the grooves up slowly, layering element over element as the songs unfurl, crafting some killer numbers that make the album incredibly strong as a whole. Land plays flute and tenor, and even a bit of oboe, which makes for a wonderfully compelling reed sound – and the group also features Joe Sample on Fender Rhodes, on loan from The Crusaders, plus Fender bass from John Williams and drums from Mickey Roker. Titles include the classics "Ummh" and "Goin' Down South", which have been made famous over the years, thanks to the magic of sampling technology – plus the tracks "Jazz", "Night In Barcelona", and "Procession". LP, Vinyl record album

Genius, pure genius! This album's possibly the most perfectly realized set from the team of Bobby Hutcherson on vibes and Harold Land on reeds – a pair who hit territory that's slightly funky, but which is also still touched by the modal spiritualism of some of their earlier work together! The album has an approach that we've not heard on other sides from the time – in that it takes its time to build the grooves up slowly, layering element over element as the songs unfurl, crafting some killer numbers that make the album incredibly strong as a whole. Land plays flute and tenor, and even a bit of oboe, which makes for a wonderfully compelling reed sound – and the group also features Joe Sample on Fender Rhodes, on loan from The Crusaders, plus Fender bass from John Williams and drums from Mickey Roker. Titles include the classics "Ummh" and "Goin' Down South", which have been made famous over the years, thanks to the magic of sampling technology – plus the tracks "Jazz", "Night In Barcelona", and "Procession". CD

The 4th in Bob James legendary run of Fender Rhodes classics for CTI – and a record that still has him working with the dark edges that made the first few so great! As usual with these sets, there's a way of putting over the groove that's really unique – not really funky, but spacious enough to make even the simplest instrumental statements resonate with a punch that other fusion records never had – a James-like approach to rhythm and sound that's totally great, and which is made even better by key contributions from CTI labelmates who include Hubert Laws, Eric Gale, and Art Farmer. James plays Fender Rhodes, Arp, and clavinet – and titles include the funky sample cut "Tappan Zee", plus "Nights Are Forever Without You", "Where The Wind Blows Free", "Pure Imagination", "Treasure Island", and "El Verano". LP, Vinyl record album

A landmark album – not only for Bob James, but for CTI and the Fender Rhodes as well! This is the album where all the magic starts – the first of many extremely successful albums that Bob recorded during the 70s under his own name, and almost the birthplace of the modern hip hop keyboard sample line! The album's stuffed with great numbers – including a sublime reading of "Feel Like Making Love", and the classic "Nautilus" – a slow, dark, funky tune that's worth the price of the album alone! Other tracks include "Valley Of The Shadows", "Night On Bald Mountain", and "Soulero". LP, Vinyl record album