Three-dimensional magic from the great Jimmy Castor – an artist who'd already conquered the worlds of sweet soul, heavy funk, and Latin by the time of this release! Jimmy draws on all his rich background in the soul underground, and also seems to move with a new sort of sophistication, too – not in a way that's slick or commercial, but which shows Jimmy only deepening his ideas in the era of Marvin Gaye and Isaac Hayes – going for some bigger arrangements and ambitious production, while still staying true to his groovy self! There's a vibe to the record that almost reminds us of some of the creative productions that Harvey Fuqua was doing for RCA at the same time – with New Birth and The Nite-Liters – and Jimmy's maestro seems to be Gerald Thomas, who knows how to spin just the right mood for each different track. There's even a few instrumentals, which showcase Castor's great skills on tenor – ala Stanley Turrentine in a similar mode – and tracks include "How Beautiful You Are", "Helpless", "I'm Not A Child Anymore", "The Lone Ranger", "Revelation", "Whiter Shade of Pale", and the tasty "The Last Ole", which is sort of a rumbling sinister slow funk track. LP, Vinyl record album

One of the few mid 70s albums that Lou Donaldson recorded for Atlantic Records – done in a mode that's a bit different than his Blue Note sides, with larger arrangements overall – a bit like the shift that Stanley Turrentine took when recording for Fantasy! Backings are handled by Ricky West and Mike Goldberg – and three tracks feature soulful vocals from Tony Baxter next to Lou's solos. The record includes a nice cover of Minnie Riperton's "Lovin' You", and the Isley's "For The Love Of You" – plus the cuts "Keep Your Woman" and "Here's Lovin At You". (Jazz, Soul) LP, Vinyl record album

Great work by The Heath Brothers – a lot slicker and smoother than their earlier album for Strata East, but still filled with a soulful jazzy approach that befits their rich talents! By the point of this album, Jimmy Heath, once a rougher talent on the tenor, had emerged as one of the smooth soul maestros on the instrument – ranking next to Grover Washington Jr and Stanley Turrentine for a mellifluous sound and well-timed approach to the solo. Heath's written some great tracks here that are underpinned nicely by brother Percy's strong work on bass – still acoustic amidst some added electric instrumentation on some of the tracks. Titles include "Dreamin", "Tender Touch", "Then What", "Use It (Don't Abuse It)", "No More Weary Blues", and "Equipoise". (Jazz, Soul) LP, Vinyl record album

Great work by The Heath Brothers – a lot slicker and smoother than their earlier album for Strata East, but still filled with a soulful jazzy approach that befits their rich talents! By the point of this set, Jimmy Heath, once a rougher talent on the tenor, had emerged as one of the smooth soul maestros on the instrument – ranking next to Grover Washington Jr and Stanley Turrentine for a mellifluous sound and well-timed approach to the solo. Heath's written some great tracks here that are underpinned nicely by brother Percy's strong work on bass – still acoustic amidst some added electric instrumentation on some of the tracks. Titles include "Passion Flower", "Move to The Groove", "Feelin Dealin", "Project S", "The Voice Of The American Saxophone (from Afro American Suite of Evolution)", and "A Time & A Place (There's)". (Jazz, Soul) LP, Vinyl record album

Landmark early work from the legendary Weldon Irvine – recorded way back when he was first coming to fame with Nina Simone, but done as an obscure indie effort for his tiny Nodlew label! The set's a wicked batch of keyboard-heavy funk – at a level that's similar to some of the best titles on Black Jazz or Strata East at the time, but also filled with an even richer array of colors and musical ideas. Weldon's work on electric piano is worth the price of admission alone – often spare, spacious, and perfectly placed – especially on the funky classics "Homey", "Mr Clean", and "Sister Sanctified" – a tune later cut by Stanley Turrentine, but heard here in Weldon's original version! Other cuts include "Gloria", "Juggah Buggah", "Blues Wel-Don", and "Liberated Brother". (Jazz, Soul) CD

Landmark early work from the legendary Weldon Irvine – recorded way back when he was first coming to fame with Nina Simone, but done as an obscure indie effort for his tiny Nodlew label! The set's a wicked batch of keyboard-heavy funk – at a level that's similar to some of the best titles on Black Jazz or Strata East at the time, but also filled with an even richer array of colors and musical ideas. Weldon's work on electric piano is worth the price of admission alone – often spare, spacious, and perfectly placed – especially on the funky classics "Homey", "Mr Clean", and "Sister Sanctified" – a tune later cut by Stanley Turrentine, but heard here in Weldon's original version! Other cuts include "Gloria", "Juggah Buggah", "Blues Wel-Don", and "Liberated Brother". (Jazz, Soul) LP, Vinyl record album

Landmark early work from the legendary Weldon Irvine – recorded way back when he was first coming to fame with Nina Simone, but done as an obscure indie effort for his tiny Nodlew label! The set's a wicked batch of keyboard-heavy funk – at a level that's similar to some of the best titles on Black Jazz or Strata East at the time, but also filled with an even richer array of colors and musical ideas. Weldon's work on electric piano is worth the price of admission alone – often spare, spacious, and perfectly placed – especially on the funky classics "Homey", "Mr Clean", and "Sister Sanctified" – a tune later cut by Stanley Turrentine, but heard here in Weldon's original version! Other cuts include "Gloria", "Juggah Buggah", "Blues Wel-Don", and "Liberated Brother". (Jazz, Soul) LP, Vinyl record album

Landmark early work from the legendary Weldon Irvine – recorded way back when he was first coming to fame with Nina Simone, but done as an obscure indie effort for his tiny Nodlew label! The set's a wicked batch of keyboard-heavy funk – at a level that's similar to some of the best titles on Black Jazz or Strata East at the time, but also filled with an even richer array of colors and musical ideas. Weldon's work on electric piano is worth the price of admission alone – often spare, spacious, and perfectly placed – especially on the funky classics "Homey", "Mr Clean", and "Sister Sanctified" – a tune later cut by Stanley Turrentine, but heard here in Weldon's original version! Other cuts include "Gloria", "Juggah Buggah", "Blues Wel-Don", and "Liberated Brother". (Jazz, Soul) LP, Vinyl record album

2 funky classics from the legendary Pretty Purdie! Purdie Good is Bernard Purdie's first album as a leader for Prestige – cut right after he'd hipped up plenty of other sessions for the label with his famous funky drums! The groove here is very much in the best Prestige jazz funk mode of the early 70s – tightly vamping rhythms that draw heavily from Purdie's monstrous drums – and which also offer solo showcase space for Harold Wheeler on electric piano, Ted Dunbar on guitar, Tippy Larkin on trumpet, and Charlie Brown and Warren Daniels on tenor. Rhythm is augmented by Gordon Edwards on Fender bass and Norman Pride on congas – and the grooves hit a variety of modes that show that Purdie could sometimes be a more open-thinking rhythmatist than his funky contemporary Idris Muhammad. Titles include great instrumental versions of "Cold Sweat" and "Montego Bay", plus the originals "Wasteland", "You Turn Me On", and "Purdie Good". Shaft is a full funky session from master drummer Bernard Purdie – a set that expands out his previous Prestige vibe, and almost goes for a soundtrack scope to match the record's Shaft title! The set leads off with a great take on the Isaac Hayes hit – one that follows in the same fully-flowing, slow-building mode as Ike's – but which comes across here as an instrumental with some great solo work from Houston Person – playing here almost in a Stanley Turrentine sort of mode! Other tracks continue the hip mix of jazz and larger backings – and feature a lineup of players that includes Neal Creque on electric piano, Gerry Thomas and Danny Moore on trumpets, Willie Bridges and Houston Person on tenors, Billy Nichols and Lloyd Davis on guitars, Gordon Edwards on Fender bass, and Norman Pride on congas. The sound is warm without ever sounding too smooth – and Purdie's funky drums at the bottom ensure that most tunes are nicely lively. Titles include "Shaft", "Butterfingers", "Summer Melody", "Changes", "Way Back Home", and "Attica". (Jazz, Soul) CD

Funky sax from the 70s New Orleans scene – one of the few records we've ever seen from James Rivers, and a stone cooker to rival the depth of some of the best soul saxmen up north! James cut the session in collaboration with Senator Jones, who gives the record a nicely cracking style that keeps the New Orleans groove at the bottom, yet also brings in some of the warmer modes showing up more during the 70s in bigger name funky jazz. There's a bit of keyboards on the set that help things glide nicely – letting James hit a groove that's a bit like Stanley Turrentine on CTI at times, but which has a completely different sound at others! Titles include an amazing funky flute track called "Balls Of Funk" – almost a Bobbi Humphrey/Larry Mizell jam, and totally worth the price of the record – plus the cuts "Funky Too", "Keep It Comin", "It's A Miracle", "Take It All", and "Thrill Me". LP, Vinyl record album

A great run of music from Grover Washington Jr – five full albums, plus lots of bonus tracks too! First up is Paradise – one of those records you see so much it's easy to forget how great it is! Grover's a real genius with the sax on this record – taking a "less is more" cue from Stanley Turrentine's 70s work, and toning down his playing to an even tighter style than on the Kudu albums of earlier years, to a level of ultimate economy that really leaves us breathless. Grover hits a rarified level here that we'd only reserve for a small few – like Steely Dan or The Crusaders, both groups who teeter on the same brink, and make it work perfectly. Titles include "Asia's Theme", "Tell Me About It Now", "Feel It Comin", "Icey", and "The Answer In Your Eyes". Winelight is a smooth smooth classic from Grover Washington Jr – a set that has a classy image on the cover, and a classic groove within – a completely sublime blend of jazz, soul, and funk, all given the sort of masterful finish that you might have found on the best records by The Crusaders at the time! The difference, though, is that Washington's the lead soloist throughout – crafting some especially nice lines on his trademark soprano sax – which he used in ways that made him one of the most important mainstream jazz artists of his time – and one of the few to really open the doors of the music to folks who might not have been listening otherwise. Grover's sense of space and timing is wonderful throughout – and titles include the classic debut with Bill Withers on "Just The Two Of Us" –plus "Winelight", "Let It Flow", "In The Name Of Love", "Take Me There", and "Make Me A Memory (Sad Samba)". On Come Morning, Grover Washington blows over some great arrangements from William Eaton – full, but lean too – and with the same sort of slinky groove that always worked best for Grover back at Kudu Records! The sound is tight, but never too slick – that magically soulful approach that always made Grover a real standout from his contemporaries – one of the few cats who could smooth out jazz without ever losing its soul – thanks to lots of well-crafted lead lines on soprano sax! Titles include "East River Drive", "Jamming", "Little Black Samba", "Be Mine", and "Reaching Out". Best Is Yet To Come is a set that strongly continues the special spirit that Grover Washington brought to his music during the Elektra Records years – as one of the few artists who really found a way to move forward from the style of 70s jazz funk, but not fall into some of the smoother jazz cliches that were about to envelop his contemporaries! Part of the strength of the record lies in Grover's strongly soul-based sense of timing – allowing for just the right amount of space between the notes to remind you that you're listening to a jazz soloist first and foremost, even when a guest like Patti Labelle might step in for a bit of vocals. Titles include "Brazilian Memories", "Mixty Motions", "Can You Dig It", "I'll Be With You", "Things Are Getting Better", and "The Best Is Yet To Come". Inside Moves has Washington soaring to the skies on soprano sax – as expressive a voice on the record as any soul singer might be – and maybe even more so on the few spots that do include vocals. Jon Lucien sings a bit on the record – and if you read these pages, you know how much we love him – but Grover's still the giant here, with a sense of timing and phrasing that few of his contemporaries could ever hope to match in a setting like this. Titles include "Jet Stream", "Sassy Stew", "Dawn Song", "Inside Moves", "Watching You Watching Me", and "Secret Stew". 5CD set features 19 more bonus tracks – all the single edits of songs from the albums! (Jazz, Soul) CD

Grover's a real genius with the sax on this record – taking a "less is more" cue from Stanley Turrentine's 70s work, and toning down his playing to an even tighter style than on the Kudu albums of earlier years, to a level of ultimate economy that really leaves us breathless. Sure, the record's not a raw bit of funkety funk – but we're just as enthralled at pure commercial genius as we are at unbridled underground talent, and this album's a masterpiece of pacing, playing, and presentation that shows Washington still steeped in the soul jazz roots from whence he came, brilliantly focused on reaching a larger audience through economical use of his genius. He hits a rarified level here that we'd only reserve for a small few – like Steely Dan or The Crusaders, both groups who teeter on the same brink, and make it work perfectly. Titles include "Asia's Theme", "Tell Me About It Now", "Feel It Comin", "Icey", and "The Answer In Your Eyes". (Jazz, Soul) LP, Vinyl record album

The great second volume in this excellent series of jazz, soul, Brazil, Latin, and more! With "Mi Vida" by Jon Lucien, "Garra" by Marcos Valle, "East" by Billy Paul, "Vera Cruz" by Stanley Turrentine, "Ye Me Le" by Luiz Carlos Vinhas, "Lies" by Asha Puthli, "Pastime Paradise" by Ray Barretto, and lots more stuff that's woven together in a great tapestry of funky grooves that shows just how much the international groove scene has grown in the past 5 years. (Funky Compilations, Soul) LP, Vinyl record album

Funky funky heavy soul – and a nice package of tracks that mixes some of the funkier blues moments of the late 60s with some jazzy touches that keep the whole thing fresh! The set is bookended by it's namesake, Don Covay's Memphis soul gems "Yo Yo Part 1" and "Yo Yo Part 2", and the whole thing has a strong funky jazz feel as well as some nice touches of 70s southern soul. Other tracks include "Raunchy Rita" and "Psychedelic Sally" by Lionel Hampton, "Yester Me, Yester You, Yesterday" and a version of Stevie Wonder's "Mon Cherie Amour" by Stanley Turrentine, "Jimmy Reed Blues" and "Over The Hump" by Jimmy Reed, "Can You Take What I'm Gonna Do" by Gloria Lynne, and "Africa Gone Funky" by Screamin' Jay Hawkins. 15 tracks in all. (Jazz, Soul) CD