A trio of western soundtracks from the great Riz Ortolani – music that's not in the usual spirit of his bigger film scores of the 60s! I Tre Spietati begins with the sort of theme that should have been huge – a driving, powerful melody that has the best anthemic modes of the generation, and which appears in instrumental variations through the dozen tracks within – mixed with some more dramatic moments as well – but all with a vibe that's very different than more standard spaghetti western styles. Next up is Requiescant – a beautiful western score with a big, brooding use of guitar – and a sound that's even more robust than usual! About half the tracks feature the guitar strongly – used in a twangy way, unfolding slowly, with lots of echo – very cool, very striking, and almost more powerful than use of the instrument on most other spaghetti western scores of the time! Other numbers are more scene-setting – some brassy trumpet flairs, barroom piano, or harmonica lines on the trail – and overall, the soundtrack features 21 short numbers from the film, with guitar tracks nicely juxtaposed against the others! CD also features two tracks from the film O'Cangaceiro – the excellent percussive "Mulhe Rendra", and the mellower vocal track "Vou Caminhando". CD

A seminal album from Hans Reichel – a musician who might be to free jazz what John Fahey was to acoustic music – a player who can at once be immediately modern and completely timeless in his approach – working here in a way that opens up the instrument beyond any conventional expectations! Many of these tracks have an inherent cyclical pulse – a bit like the way that Fahey could mix Eastern elements with blues inspiration – but there's also a more chromatic approach to the instrument, and ways of playing that go beyond simple notes – so that each touch of a string is almost like a little explosion of color – explosions that work together to make some amazing sounds throughout! Titles include "Bonobo I", "Peter Zweifel", "Lurch", "Toeni", "Moor", "Nicht Sand Sondern Popel Im Getriebe", and "Mariahhilf". CD

Simple and elegant genius from Zoot Sims – an overlooked quartet session recorded with George Handy on piano, Wilbur Ware on bass, and Osie Johnson on drums. Handy was the famous arranger for the Boyd Rayburn group in the 40s, and here he arranges the whole set – and also contributes a number of original tunes – making for a very fresh session that gets Zoot far past the usual bag of well-worn standards. And with Ware on bass, there's an extra depth to the set in the rhythm department that opens things up nicely – not dramatically, but enough to allow for some more emphatic playing on the part of Sims! Titles include "Osmosis", "Here & Now", "Swim Jim", "Why Cry", and "Echoes Of You". CD

A cool little album from the Kansas City scene – a mix of jazz, soul, and vocals – played by a mixed group that includes organ, guitar, vibes, and percussion! The sound is swinging soul jazz, but with vocals out front at times – and the sound is nicely rough around the edges, hardly the commercial affair you might guess from a group with "slick" in their name! These guys are clearly well suited to handling a variety of crowds, as you can tell from the shifting moods of the record – but they've also got a good talent for cooking up some good soulful tunes of their own, like the bossa-inspired "People's Choice", the mellow steppin "Voodoo Village", or the soul jazz groover "Crisco" – which begins with a really great break! The whole thing's pretty nice, and there's a few tasty cuts that also feature scatting vocals going together with the guitar. Titles include "Somewhere Along The Way", "Teach Me Tonight", "Gypsy In My Soul", and "Next Time You See Me". CD

Fantastic early work from the great Ike Turner – most of it with his sharp 50s group, during the years they were recording for King/Federal Records! These are the years before Tina joined Ike – and the group have a raw, romping vibe that's at the top of the R&B spectrum from the time – definitely with echoes of the soul and funk that Turner would help pioneer in the 60s, but with a much grittier postwar vibe overall! A fair bit of cuts feature vocals from Billy Gayles, and other titles include work from Clayton Love, Tommy Hodge, Jackie Brenston, and The Sly Fox – on titles that include "I'm Tore Up", "I'm Sad As A Man Can Be", "Take Your Fine Frame Home", "Just One More Time", "The Big Question", "She Made My Blood Run Cold", "Do You Mean It", "Hoo Doo Say", and "Rock A Bucket". CD

Bold new work from the legendary Pyramids ensemble – a spiritual jazz group who go back to the 70s, but who've reemerged in recent years with a renewed sense of energy, and a very forward-thinking sound! Leader Idris Ackamoor is still a master of tone and feeling on reeds – including alto and tenor, plus some other instrumentation as well – and he also vocalizes a bit on the record too hitting some righteous expressions that are in the spirit of Leon Thomas or Dwight Trible, mixed along with instrumentation from other players on drums, percussion, keyboards, trumpet, trombone, and guitar. The album's got a beautifully positive vibe – and titles include "Police Dem", "First Peoples", "Afro Futuristic Dreams", "Garland Rose", "Truth To Power", and "Requiem For The Ancestors". CD

A record with a very striking title – and a wonderful sound to match – this warm, fluid blend of the vocals of Nia Andrews and a rich keyboard-heavy environment – one that features a fair bit of contributions from Mark De Clive-Lowe! Nia also plays piano and keyboards, and it's clear that she's an equally comfortable instrumentalist – and often envisions her vocals wrapped around her keys – yet never in a way that's trying to hide her singing, as Andrews is clearly one hell of a vocalist in the making! Titles include "Little Girl", "Linger", "Might Be Eternity", "The Road", "Cleo & The King", "Seems So", and "The Ceiling". CD

Amazing sounds from the early years of the prog sounds in Germany – exactly the kind of record that shows how much farther Krautrock was stretching than psychedelia! Although the set still draws most of its energy from conventional instruments – guitars, organ, bass, and drums – it's the production of the piece that's most amazing – easily an equal partner with the instrumentation, so that the studio itself is helping author the record – with amazingly cosmic sounds that are really really tripped-out! There's a bit of vocals buried in the mix at times, but most of the energy is instrumental – on long cuts that stretch out strongly on both sides. CD

A legendary group from the 70s Nigerian scene – one who could be as trippy as they were funky – often in ways that had them using studio production to really get some cool effects from their vocals and guitar! There's a spacey edge to most of these tracks – one that comes through most strongly on the mellower moments – which include one or two slow-funk killers that are quite different than the usual sounds of Lagos! But even the more upbeat numbers have this wash around the edges – which seems to filter things together in an unusual way, and really make them come out sounding great. Titles include "Try Me", "Deep Funk", "Mind Twister", "Lay On The Ground", "Don't Drive Me Out", and "Time For Me To Go". CD

No Mirage here – as the album's got a presence that's impossible to deny – a solid, soulful uttering from this key Chicago combo of the 70s! The group's led by reedman Ari Brown – better known for his later avant work – and they've got a wicked blend of keyboards and horns with lots of complicated touches, played out over funky rhythms that are completely mindblowing! The great Ken Chaney plays keyboards, and in addition to Brown's reeds, the set also features trumpet from Frank Gordon, trombone from Steve Galloway, and bass from Rufus Reid – plus cool percussion from Arlington Davis and Drasheer Khalid. Most cuts are instrumental, and recorded beautifully – but one number, "The Ultimate Frontier", also features vocals from Anita Jefferies. Other cuts include "Slinky", "Mirage", "Just a Little Peace", and "March On". CD

Takumi Awaya's pictured on the cover along with his bass – in an image that will give you an idea of the richness of the set, with Awaya's instrument often stepping out as the leading force of the trio – alongside the piano of Takuma Yamamoto and Naoki Takahashi! Yamamoto still gets in plenty of space, but the record, which is a live one, is often a lot more about the interaction between bass and piano instead of just having the piano in the lead – captured with warm tones that really recall some of the more inventive Japanese trio sessions of the 70s. Titles include a great remake of the Ryo Fukui tune "Mellow Dream" – plus "Pretty Woodstock", "Breeze Suite", "I Should Care", and "Too Late Now". CD

A long-overdue collection of work by Balka Sound – an important 80s group from Brazzaville, and one whose name evokes their style of music – a sound based in folksy roots, but which is updated here with electric guitar and bass, next to lively percussion and really great vocals! The group's lead singer is Nkibi Albert, who has this really enigmatic way of putting across a lyric, especially when a bit of echo is used in the production – and amidst the other instrumentation, he also plays ngonfi as well. The production is great on most of these tracks – not nearly as mainstream as other African sounds from the time, which were rising to meet the global world music market – and titles include "Bia Sala", "Lekou", "Ku Mavula", "Kidilu", "Ah Luisaala", "Nia Nia", "Wa Yiwou", "Mwan Kisana", and "Kwele". CD

An incredible package from the great Darrell Banks – a set that brings together his sublime Stax Records album, plus lots of rare bonus tracks too! The core record – Here To Stay – is incredible work from the great Banks – one of the few albums this genius Detroit soul singer cut before his untimely early death! Darrell's got a raw sound and a way with a groove that makes him a perfect choice for late 60s Stax/Volt Records – and he works here with Detroit studio genius Don Davis – who really knows how to mix the rough and the smooth in a perfect way – very different than both the usual Memphis or Detroit soul of the time! Tracks are very well-written – each one's a total lost nugget – and the arrangements have this punch that works perfectly with Banks' tremendous vocals. Titles include "I Could Never Hate Her", "My Love is Reserved", "No One Blinder", "Just Because Your Love Is Gone", and "We'll Get Over". CD then includes a wealth of bonus tracks – some previously unissued – including "Love Is Not An Easy Thing (demo)", "Mama Give Me Some Water (demo)", "Love Why Have You Forsaken Me (demo)", "Just Because Your Love Is Gone (single version)", "No One Blinder (single version)", and "Beautiful Feeling (single version)". CD

A stunner of a record from the mighty Jorge Ben – and a record that catapulted the Brazilian singer to international fame at the time! Ben had already been making magic for almost a decade down in Brazil – and his compositions and grooves left an undeniable impact on the scene in the post-bossa years – but this album has Jorge really emerging as the global soul star he was destined to be – from his powerful stare on the cover, right down to the grit in the grooves! The sound here is a refinement of the samba soul mode that Ben had been brewing up from the late 60s onward – a skittish mix of older samba elements, American soul, and some slight fuller production that really comes into its own here – mixing all the acoustic elements at the core with just a slight electric flourish, but never losing its edge in the process – all to provide Jorge with a sublime backdrop for his really amazing vocals. The set's a monument in funky Brazilian soul – and it includes the huge hit "Taj Mahal", which still sounds great, even after all these years – plus loads of other gems that include "O Circo Chegou", "Domingo 23", "Fio Maravilha", "Paz E Arroz", "Morre O Burro Fico O Homem", and "Que Nega E Essa". A gem all the way through – and a record we'd never part with! CD

A rare bit of righteous jazz from the Cali scene of the 70s – a record that's much more obscure than some of the better-known efforts from the Bay Area and the LA scene, but which resonates strongly with all the power of those classics too! James Benson was an educator as much as he was a musician – yet here, he proves himself very strongly as a hell of a leader – blowing flutes, tenor, and soprano in a cool combo that also features the greats Cal Green and Roy Gaines on guitars, Ed Pratt on alto, Buffalo Williams on piano, and Ronnie Randall on drums! There's plenty of percussion on the record, including some congas by Big Black – and the set mixes rootsy rumblings with spiritual solos in a really great way. Sandra Meadows sings a bit on the set, and titles include "Malcolm IX", "Spring 2000", "Brother Don", "Song For My Black Mother", "Nigeria West Africa", and a nice remake of "Compared To What". CD

A really wonderful album from this ever-changing Brazilian group – a combo who started out in more standard Afro Funk modes years ago, but who've really shifted their music in all sorts of great ways over recent albums! There's still some strong use of horns and heavy percussion throughout – but they also work in keyboards and electronics in these really great ways – almost echoing some Brazilian musical experiments from that Trama Records generation at the start of the century, while also holding true to the more acoustic elements at their roots! Titles include "Baile Flutante", "Mar Virado", "Loa Lua", "Marginal Elevado Radial", and "Na Quarta Feira". CD

Black Nile are certainly rooted in jazz, but maybe just in terms of inspiration – as the music brings together all sorts of sonic bits and sounds of color – live instrumentation, samples, electronics, and contributions from key guests – all with a spirit that's as beautiful and evocative as you might expect from their name! Some cuts have vocals, which are often somewhat in the background – but the main approach is instrumental, with all sorts of ways of pursuing a new direction and tone – in modes that shift nicely from track to track, but make for a whole album that's got this really unified spirit. Titles include "Drive", "Revival", "Tidal Wave", "Duo", "Unheard 2", "Ancient Futurism", "Mystery", and "Jyro". CD

Blue Effect are down to a trio for this early 80s album, but that smaller lineup seems to allow even more space for instrumental interplay and well-crafted solos – served up by Radim Hladik on guitars, Vladimir Cech on drums and percussion, and Lesek Semelka on Moog and Korg keyboards, plus vocals as well! The production is clean, but never commercial – just really letting the longform tunes spin out with plenty of well-played lines – on titles that include "Triatricet", "Obcasna Panska Jizda", "Kohoutek Kamaradstvi Dokapava", and "Avignonske Slecny Z Prahy". CD features 6 bonus tracks – including "Nezna", "Zahada Jmeli", and "Doktor". CD

A great look at the work of Eddie Bond – an underground rocker on the Memphis scene during the early years of Elvis, and one who also cut some rare tracks for Sun Records – plus a variety of other labels too! Bond has roots in country, and that definitely comes through in the twang that you'll hear in the vocals and guitar – but all the cuts here certainly resonate with the upbeat, hard-burning style that Bear Family presents in this great "Rocks" series – which, as usual, features great sound and very detailed notes on the music! The set features a whopping 35 tracks in all – including rare gems from later years too – with titles that include "Boppin Bonnie", "Here Comes The Train", "Hey Joe", "Love Love Love", "This Old Heart Of Mine", "Satisfied", "Show Me", "I Can't Quit", "Boo Bop Da Caa Caa", "Broke My Guitar", and "The Monkey & The Baboon". CD

The beautiful debut as a leader from pianist Surya Botofasina – an artist you may know from early work in the spiritual Build An Ark ensemble – finally given a chance here to shine on his own! The album's produced by Carlos Nino, with whom Botofasina worked in Build An Ark – and Nino also plays some percussion on the set, and brings some of his own meditative qualities to the music. Yet things are still very much Surya's own, with long tracks that stretch out on lots of sublime piano and keyboard passages that are almost harp-like at times – touched by some of Nino's percussion – and guest vocals on one track by Dwight Trible, and on another by Mia Doi Todd. Titles include "I Love Dew Sophie", "Surya Meditation", "Everyone's Children", "Beloved California Temple", "Waves For Margie", and "Sun Of Keshava". CD

An obscure bit of boogie from Brief Encounter – a southern soul group known best for their mid 70s sides for the Sound Stage Seven label, stepping out here in a completely different 80s groove! Most tracks are upbeat and dancefloor funky – plenty of bass on the bottom and some sweet electric keys – but often used in a way that's more in a 70s ensemble funk mode than the keyboards you'd hear on other early 80s indie soul. There's a warmth here that's quite nice, and most tracks feature the larger group harmonizing on vocals – in a way that sounds especially sweet on the mellower tracks. And while the recording quality of the original record is sometimes a bit muted, the group themselves sound plenty great – really bouncing along wonderfully with a soaring groove and a sense of tightness that goes beyond their indie roots! Titles include "Sweet Tender Loving", "We Want To Play For You", "Now I Know I Love You", "Rocking", "Since I Met You Girl", "Just For Love", "Open Up Your Heart", and "If You Want My Love". CD

The cover's a bit creepy, but the album's still plenty great – old school Cameo still strongly in a funk-based mode, before some of the stiffer grooves of their later years! Bass is the ruler of the set – and most tracks here vamp around in a very heavy P-Funk style of groove – lots of guitar dancing around the rhythms, and plenty of spoken/sung vocals from the whole ensemble – not to mention a heavy dose of keyboards that helps keep things clean and lean! A partyful album if there ever was one – with tracks that include "Soul Army", "Enjoy Your Life", "Flirt", "Secrets Of Time", "I Owe It All To You", and "For You". CD

The last album in a legendary run of music from keyboardist Doug Carn – his final album for the Black Jazz label, and a set that pushes even farther than his previous efforts! Jean Carn isn't in the group this time around, but the set does feature a totally great twin-vocal approach – with singing by Joyce Green and John Conner, blending their voices together in a style that's right up there with the most righteous 70s jazz experiments by Horace Silver or Billy Gault! This vocal balance really brings a new sort of power to Carn's music – furthering the righteous spirit of earlier years with a hell of a lot of energy – also aided by great instrumental work from Ronnie Laws on tenor and soprano sax, Thurman Green on trombone, Calvin Keys and Nathan Page on guitars, and Big Black on percussion. Titles include the classic "Higher Ground" – plus "Adam's Apple", "Western Sunrise", "Chant", "Sanctuary", "The Messenger", and "Mighty Mighty". CD

Plenty of spirit, and plenty of soul – a 70s classic from organist Doug Carn, and a record that took his instrument, and jazz in general, to a whole new level for the decade! Carn's got this burning, righteous quality on his keys – a vibe that certainly owes something to Larry Young, but also takes off even further – working in a spiritual ensemble that also features his wife Jean Carn on vocals – sounding way more like a righteous jazz singer than on her later soul sides for Philly International! Other players are great, too – and include Charles Tolliver on flugelhorn, Garnett Brown on trombone, George Harper on tenor and soprano sax, Buster Williams on bass, and Alphonse Mouzon on drums. Tracks include "New Moon", "Trance Dance", "My Spirit", "Blue In Green", and "Arise & Shine". CD

One of the most compelling albums ever recorded by guitarist Eugene Chadbourne – a set billed as "free improvised country and western bebop" – and which features Chadbourne serving up these wild variations on tunes by Carl Perkins, Roger Miller, David Allen Coe, Bobby Bare, Merle Haggard, and other country music legends! The album's much more Eugene than Nashville – although Chadbourne does sing lyrics on all of the tunes, but in a way that's very offbeat and hardly unlike the originals at all – as is his guitar work, which is acoustic and all twisted and turned up in all the offbeat phrasings you might expect! Much of the record is Chadbourne on vocals and electric dobro – but the set also features some drums by David Licht, saxes from John Zorn, and cello from Tom Cora. Titles include "The Last Word In Lonesome Is Me", "I'm The Only Hell My Mama Ever Raised", "Georgia In A Jug", "Motel Time Again", "Dang Me", "Window Shopping", "Jealous Loving Heart", "Mr Record Man", and "Swingin Doors". CD

One of the hippest albums ever from the team of Kenny Clarke and Francy Boland – a unique small combo session that's even groovier than their famous big band work! The setting is wonderful – Clarke on drums, Boland on piano, and a sextet lineup that includes Sahib Shihab on flute, Fats Sadi on vibes, Jimmy Woode on bass, and Joe Harris on percussion – all players who know each other well, and groove together as one amazing unit on the set! The tunes here are lyrical and lively, modal and moving, and still some of the freshest jazz cut on the European scene of the 60s – music that's having a huge impact these days in the club jazz underground. Shihab's flute work is sublime, especially next to Sadi's vibes – and Harris' added percussion gives a number of the cuts a bit of a Latin kick that's totally great! There's a bit of vocals on the set, and titles include "Ebony Samba", "Tin Tin Deo", "Potter's Crossing", "Wives & Lovers", "Ensadinado", "Lorraine", "Day By Day", "Love Hungry", and "Please Don't Leave". CD

One of the most solid albums we've ever heard on the Sublime Frequencies label – a studio recording by a group with a really great approach to their music – a style that mixes classic Afro Funk elements with rootsier elements on the instrumentation! The grooves are tight, but the sound has some nice earthy qualities at times – especially in Baba Commandment's use of ngoni, which rings out in a way that's both melodic and rhythmic at the same time – echoing an older mandingo tradition, but coming across with a lot of punch! Other instrumentation includes lots of percussion, fuzzy guitars, and balafon too – and most of the vocals have a call/response style, in which other singers call out alongside Baba's lead. Really great stuff – with titles that include "Tile", "Folon", "Wasso", "Juguya", "Siguisso", and "Ntijiguimorola". CD

A pair of really unusual albums from Mike Cooper – presented here in a single package! The core set, Life & Death In Paradise, is one of the last in a run of classics that Cooper gave the world at the start of his career – and has really unusual collaborations with members of the London jazz scene – including bassist Harry Miller, saxophonist Mike Osborne, and drummer Louis Moholo! The jazz component of the record is small – this is definitely acoustic singer/songwriter material, not the work the musicians might have issued on the Ogun label – but the set does represent a really nice shift for Cooper, and a great setting for the kind of offbeat songs he does so well. Titles include "Critical Incidents", "OMM Coda", "Suicide De Luxe", "Black Night Crash", "Rocket Summer", and the long "Life & Death In Paradise" suite. The package also features material from many years later – a live acoustic set recorded in Milan in 2018, showing Cooper still as a hell of a talent, with an even more complex understanding of the acoustic guitar – matched by his own unique vocalizations on some of the best tracks. Titles include "Peach Trees", "In Moments Of Reverie", "Lord Franklin", "Sage & Thyme", and "Industrial Hazard". CD

A really great entry in this excellent series – one that not only features lots of great Fender Rhodes from Brazilian jazz legend Joao Donato, but also vocals from Loren Oden on almost every track – which makes the whole thing feel like a fantastic hybrid of Joao's genius with a righteous approach to spacey soul! Oden sounds maybe even better here than ever before – singing jazzily, and drifting in and out of the instrumentation – which often has a more dynamic lead in the mix, with lots of work on a variety of instruments from Adrian Younge and Ali Shaheed Muhammad – upbeat, but just a few shades short of funk, which works perfectly for the way that Donato slides his Rhodes in and out of the tunes. Titles include "Forever More", "Sua Beleza E Beleza", "Desejo De Amor", "Aquarius", "Nao Negue Seu Coracao", "Liaisons", and "Adrian Ali & Gregory". CD

Wonderful work from this obscure funky group – a combo who hailed from Indy, only issued two albums back in the 70s, but also left behind this wicked batch of unissued cuts that were recorded up in Chicago! The group have a vibe that's every bit as great as their warmly collaborative look on the cover – clearly an ego-less funky combo who are able to shift singers and moods from track to tracks – trading leads between singers Anthony Joseph Roberts and Pamela Tanner, and also bringing lots of jazzy instrumentation into the mix too! These guys had been together for a number of years before recording the set, and are clearly at the top of their game – woodshedding hard away from the limelight, but knocking it out of the park with cuts that include "69 Cents", "I'm In A Hurry", "Shell Of A Man", "Where You Lead", "That Is Why", "Love So Strange", and vocal and instrumental versions of "See The Light". CD

A rare boogie set from the Nigerian scene – but one that also has the power to circle the globe with a universal sense of soul – as you might guess by the cosmopolitan look of Livy Ekemezie on the cover! The set's got a very strong tie to the grooves of the New York scene of the time – less straight disco or club than some of the more offbeat, bass-heavy rhythms that were coming from the streets into the downtown scene – handled here on basslines that are beautifully skittish, and change things up with a rough-edged funky energy that almost reminds us of the sound of P&P Records! The album's also got lots of great keyboards, which kind of bubble and sparkle next to the bass – but in ways that are often a bit different than more standard early 80s keyboard club. Livy sings most of the lead vocals, and titles include "Night Party", "Friday Night", "Classic Lover", "Holiday Actions", "Get It Down", and "Delectation". CD

Elzhi serves up plenty of great lyrical work here, but our favorite aspect of the record may be the work of Oh No – who definitely takes the title seriously, and uses plenty of vibes throughout! This may well be the best vibes-driven hip hop project we've ever heard – as each track has some very strong use of the warmly chromatic instrument, but in ways that shift up nicely – used in a strong Madlib-styled way, but balanced with some sharper cuts around the edges. The set includes features by Blu, Dank, and Guilty Simpson – and titles include "Doc No Check Up", "Trick Dice", "Possessed", "Fireballs", "Smoke", "Last Nerve", and "Twilight Zone". CD

Fatback flying like the Phoenix – but hardly rising from the ashes, given that the group's always on top! The sound here is a bit different – slightly leaner than before, but in a good way – with lots of core keyboards from Bill Curtis, who also handles most of the lead vocals – although as with most Fatback sets, there's plenty of sharing on that front with the rest of the group members – a bit of harmony here, a switched lead there – all keeping things nice and fresh! And this time around, there almost seems to be more of a focus on the mellower cuts, which we like a lot – because we've always enjoyed the more laidback numbers tucked in amidst the group's funkier sets – so this album's a real treat, with plenty of mellow and midtempo groovers. Titles include "The Drum Song", "Lover Man", "Call Out My Name", "You've Got That Magic", "Big Brother", "Jump Up Baby Jump Up", and "I Love You So". CD

Righteous soul from late 60s Chicago – a killer collection of early singles from the great Darrow Fletcher – only a youngster at the time, but already working at a level that's as strong as most of his older contemporaries! Darrow's got this soaring voice that really sends us every time we hear him sing – a style that's possibly a bit like Jackie Wilson, but both deeper and lighter at the same time – very unique, especially in these early years – and perfect for helping Fletcher stand out from the pack! The grooves here are nice and deep – socking hard in the best Chi-town styles of the time, with the sort of punch you'd get on the best One-Der-Ful/Mar-V-Lus recordings – with arrangements by Mike Terry, Phil Wright, Tom Tom, and others. Tracks were originally issued on a variety of labels – Groovy, Jacklyn, Uni, Congress, and Genna – and titles include "The Pain Gets A Little Deeper", "Now Is The Time For Love (parts 1 & 2)", "What Have I Got Now", "What Is This", "Gotta Draw The Line", "My Young Misery", "Infatuation", "When Love Calls", "My Judgement Day", "Sitting There That Night", "Changing By The Minute", "What Good Am I Without You", "We Can't Go On This Way", and "That Certain Little Something". CD

A cool quartet with some very groovy vocals – a combo who seem to take some great inspiration from Sergio Mendes & Brasil 66 – as well as other hip vocal groups of the 60s! The lineup features one gal and three guys – often with the gal singer in the lead, supported by warm harmonies from the male singers – all grooving to their own instrumentation, played on organ, guitar, and drums! This lean approach is mighty nice – and has the group soaring through a cool mix of soul and pop material that's all pretty upbeat and lively – given a few 70s touches on the keyboards at times, and coming across with a spontaneous feel that almost makes you feel like you're catching the combo in a club. Titles include "Dream A Dream A Day", "Scarborough Fair", "Summertime", "I Thank You", "More Today Than Yesterday", "What The World Needs Now", "Let's Make It One World", and "Day Dreaming". CD

Brilliant basswork from Henry Franklin – one of the hippest cats handling his instrument on the west coast in the 70s – working here with a wicked ensemble of soulful, righteous players! Franlin's bass sets the tone of the record right from the very first note – but the album's a very collaborative effort, too – and features Oscar Brashear on trumpet, Charles Owens on tenor, Bill Henderson on soprano sax, Ndugu Chancler on drums, and Kirk Lightsey on both piano and flute! The legendary David Durrah plays piano on two tracks – his own "Waltz for "Boobuss" and "Venus Fly Trap" – and the Sisters Happiness sing vocals on the latter cut, too. Other titles include "Blue Lights", "Soft Spirit", and a version of Chick Corea's "What Was". CD

A massive amount of radical records from the great Joe Gibbs – a producer who forever changed the face of Jamaican music with a legendary run of dub albums in the 70s! Joe was no stranger to the scene by the time of these tracks – but the sessions had him really burrowing in to very experimental territory, coming up with sounds that were years ahead of their time, and which set the tone for so many other dub productions in years to come – all very far from some of the chart-topping reggae hits of the decade! The work features plenty of hypnotic rhythms from Sly & Robbie, and great guitar work from Earl Chinna Smith – plus nice horn parts and keyboard lines too – all elements that are whipped up into a sonic souffle by the maestro. This 4CD set features this legendary run of records – Dub Serial, State Of Emergency, Majestic Dub, More Majestic Dub, and the African Dub albums, chapters 1 to 4 – with 12 tracks that have never been on CD before, and the usual deep detail and top-shelf presentation of the Doctor Bird label. CD

Right from the start of his career, poet Allen Ginsberg experimented with recording and music – maybe not a surprise, because as a young beat poet, he grew up in the era when long playing records were really taking off – yet still delivered in a way that was often very different than recorded projects by contemporaries like Lawrence Ferlinghetti or Jack Kerouac! For one thing, Ginsberg was never afraid to sing – which he definitely does here – and as a poet with an already-striking voice for reading, his vocals really follow suit – as does his collaborative spirit that ran through all generations of his creativity – leading him to work on some of these tracks with artists as diverse as Paul McCartney, Elvin Jones, Bob Dylan, Arthur Russell, and Philip Glass. The set was done in collaboration with Ginsberg's estate, and brings together both vocal and spoken selections, some never issued before – with selections that include "First Party At Ken Kesey's With Hell's Angels", "Raghupati Raghava", "Ballad Of The Skeletons", "Hum Bum", "Birdbrain", "Grey Monk", "Prayer For John Sinclair", "Put Down Yr Cigarette Rag", "Gospel Noble Truths", and "Ballad Of The Skeletons". CD

Maybe the most haunting project to date from Ruth Goller – an important collaborator on the contemporary London scene, but one who's got a style that's much more than jazz – one that's definitely pushed to the limits here! The set features Goller on electric and acoustic bass, with overdubbed vocals that are often layered in very cool ways – and augmented track to track by guest work on drums, electronics, vibes, and sanza – instruments that are often used in ways that bring a slight touch of organic acoustic energy to the more layered proceedings. The textures of the vocals are very evocative – almost a blend of an older 4AD aesthetic with improvised music – and titles include "Next Time I Keep My Hands Down", "Below My Skin", "How To Be Free From It", "Don't Follow Me", "She Was My Own She Was Myself", and "All The Light I Have I Hand To You". CD

A sweet late entry in the girl group style of the 60s – rare material from The Goodees, recorded in Memphis and Muscle Shoals for the rock-oriented Stax affiliate Hip Records! Many of the arrangements have a gritty, Memphis rock & soul backdrop that's a nice counterpoint to the girls' trio vocals – which are sweet as syrup and loads of fun! Includes the great little teen mellow drama "Condition Red" (complete with car crash sound effects) and less archly thematic, straight up groovy songs like "Sad Song For Harry", "Double Shot", "My Boyfriend's Back", "Jilted", "Girl Crazy", "Worst That Could Happen", "Didn't Know Love Was So Good" and more from the original Candy Coated Goodies LP – plus non-album singles "Love Is Here", "Goodies" and others. Also includes 7 previously unreleased tracks! CD

The early roots of The Guess Who – served up here in a double-length collection of material that's overflowing with great cuts before their famous years on RCA! The group's sound is already pretty strongly formed here – thanks to vocals and piano from Burton Cummings, and guitar work from Randy Bachman – maybe in more familiar garage territory on a number of cuts, but definitely finding that special sort of approach by the middle of the set – especially once Cummings discovers the more soulful, expressive side of his vocals. The set's got 28 tracks in all – put together by Bachman himself – and titles include "Friends Of Mine", "Maple Fudge", "Of A Dropping Pin", "We're Coming To Dinner", "Sitar Saga", "Miss Felicity Grey", "There's No Getting Away From You", "Croyez Moi", and "Shadows Cross The Shadows". CD

A lost bit of funky vibes and Fender Rhodes – one of those few records that's as sublime as it is rare – like work by Billy Wooten or Lyman Woodard! The Bobby Hamilton Quintet were an obscure combo from upstate New York – but they've lived on in our hearts (and ears!) with this rare gem from the 70s – a killer set that features Bobby on Rhodes, vocals, and percussion; Mike Gipson (aka Brother Fundi) on vibes, percussion, and electronics; and additional trumpet, tenor, and percussion – used to just the right effect in these totally great arrangements. Most of the tunes on the album are instrumentals – with a very cool, ultra-hip soul jazz approach that's somewhere between the very early Polydor work of Roy Ayers, and the funky electric grooves of the Nineteenth Whole – and the tracks are long, and have a really deep, soulful feel! Titles include "Pearl", "Priscilla", "In The Mouth Of The Beast", "Roll Your Own", and "Dream Queen". CD

Fantastic new music from Detroit reedman Wendell Harrison – working here with a renewed version of the Tribe Records scene, at a level that makes the album one of his best in many years! Wendell blows tenor and bass clarinet, and his group here is mostly younger, lesser-known players – but who soar with Harrison in a mix of spiritual jazz modes and a few more rhythmic currents – all with the kind of powerful, progressive vibe that made the Tribe Records material of Harrison and his contemporaries so important in the 70s! Other musicians include Vincent Chandler on trombone, Steve Woods on flute, Luis Resto on piano, Walter White on trumpet, and Jacob Schwantz on guitar – although players shift often from track to track – and frequent Harrison partner Pamela Wise also provides a bit of keyboards, and the set features both sung vocals on two tracks from Pathe Jassi, and a recitation from Mbiyu Chui on another. Titles include "Revoltuion", "Siera", "Wandering Thoughts", "Samoulen Khale Yi", "What's Up", and "Saga Of A Carrot". CD

Some of our favorite work ever from the mighty Lee Hazlewood – material recorded under his own name for Reprise Records – during a stretch when he was also producing for the label with Nancy Sinatra and Dean Martin! The 2CD set features 3 full albums, plus great bonus tracks too – and the assembled lot is as great of a tribute to Hazlewood's genius as we've ever seen! First up is The NSVIPs – a set that follows up the same sort of "story song" format that Lee laid down on his wonderful Trouble album for Mercury – but done here with themes that are a bit hipper, and more wry – in keeping with his Reprise persona. Next is Friday's Child, which has some of Hazlewood's most beautifully-penned tunes – tracks that mix the whimsy of his bigger hits with some great darker elements. Last up is the amazing Love & Other Crimes – one of our favorite albums of the 60s, magically recorded in Paris with a very unique sound – and a style that's a bit different than some of Hazlewood's other records. Titles include "First Street Blues", "I Had A Friend", "Everybody Calls Me Something", "Me & Charlie", "A Real Live Fool", "Hutchinson Jail", "By The Way", "Houston", "Morning Dew", "The House Song", "Love & Other Crimes", "Pour Man", and "Wait & See". Bonus tracks are great too – and include Hazlewood tracks "Ode To Billie Joe", "Rainbow Woman", "I Am You Are", and "Charlie Bill Nelson" – plus other gems that include "Just Bluesin" and "Houston" by Sanford Clark, "A Stranger In Town" by The Vanguards, "The Whisk" by The Whisk Kids, "Zapata" by Jack Nitzsche, "What Are We Gonna Do In 64" by The Wildcats, "Our Man Flint" by The Ring A Dings, and "This Town" by Duane Eddy. 55 tracks in all. CD

Pianist John Hicks at his lyrical best – stretching out here on really lovely, long tracks that were recorded in Tokyo with a really superb sound! There's an undercurrent of spiritual energy here that really recalls Hicks' classic 70s album on the Strata East label – and even without bass or drums, he's got this inherently rhythmic quality that's wonderful – and which only seems to encourage the magical flow of ideas from his fingers on the keys! Hicks has sounded great before on record, but this set is definitely a demonstration of the pianist at his best – full of imagination and focused emotion – on titles that include "After The Morning", "What Am I Here For", "Meditation", "Naima", "Talking", "Pensativa", "Steadfast", and "Avotcja". CD

Great experimental work from Holger Hiller – a set that was issued on the important German new wave label Ata Tak, but which was maybe even more revolutionary than most other records on the imprint at the time! Hiller bridges so many different worlds here – earlier German electronic experimentation at an academic level, some of the spacier sounds of the prog generation, and the really creative exploration of earlier ideas in a more personal level that marked the new wave of the post-punk years – using some elements here that would be right at home on a cold wave recording, but with modes that are sometimes more playful, and almost in territory that Holger Czukay would explore on some of his solo work of the decade. The mix of keyboards, vocals, and analog elements is great – and titles include "Jonny", "Hosen Die Nicht Aneinander Passen", "Mutter Der Frohlichkeit", "Das Feuer", "Ein Hoch Auf Das Bugeln", and "Budapest Bukarest". CD

With a name like Home Boy & The Cost Of Living, it's gotta be the 80s – as just a quick listen to this set will attest! The rhythms are heavy in basslines and drum machine modes – with lots of sweet styles that are somewhere between electro/street soul, and a mellower boogie bounce on some of the groovers – almost that criss-crossing of modes that often went on in the old school hip hop years! Homeboy handles lead vocals and riffing guitar – and titles include "You Turn Me Out", "When Will You Be Mine", "Pleasure", "I Saw You Dancing", "Happy Feeling", and "Money's Funny Change Is Strange". CD also features the bonus track "Love Connection (long version)". CD

A lost album from the legendary Stax Records – a full set of tracks from the deep soul group Hot Sauce – planned as a record of its own in the final years of the label, but never issued at the time! Hot Sauce were one of the funkiest groups on Stax in the early 70s – a wickedly badass group who sported great lead vocals from Rhonda Washington – a singer who really knew how to stay on the groove and send the whole thing home! The work on this set is a great evolution of the Stax groove – and shows where the label might have gone in terms of 70s funk, had they stayed the course – and although the album's long overdue to get released, we're plenty happy to finally have it out after all these years. Many tracks were issued over the years as singles, and the set also features a few tracks not intended for the album too – titles that include "Stop Dogging Me", "Funny", "Mama's Baby", "I'll Kill A Brick", "Good Woman Turning Bad", "I Can't Let You Go", "Echoes From The Past", and "I Can't Win For Losing". CD

Fiercely funky Freddie Hubbard – a late 70s live date, but one that has the same bold power as his early 70s albums for CTI! Like those classics, the tracks here are all quite long – and served up in this beautifully flowing mix of acoustic and electric elements – Freddie on trumpet, Hadley Caliman on tenor and flute, Billy Child on piano and keyboards, Larry Klein on bass, and Carl Burnett – a group that works together so beautifully in the live environment, you'd think their performance was the process of multiple takes! We love the spiritual energy that Hubbard can get in such a setting – and most of the record stretches out with very long tracks, including two that go past the 20 minute mark. Titles include "Take It To The Ozone", "Little Sunflower", "One Of A Kind", "Here's That Rainy Day", "Blues For Duane", and "Love Connection". CD

A trio of later gems from this legendary South African pianist! Mindif is a great set that features Abdullah Ibrahim's soundtrack music for the 1988 Clair Denis film Chocolat – some of his best group recordings of the 80s! The feel here is a bit more African-styled than usual – even for Ibrahim – with strong use of reeds to inflect the tunes with the right degree of color and tone for their use in the film. The ensemble on the record features Ricky Ford on tenor and soprano, Craig Handy on flute and tenor, Benny Powell on trombone, David Williams on bass, and Billy Higgins on drums – and the tracks have a languid groove that recalls some of Dollar Brand's best South African recordings with Kippie Moketsie. Titles include "Earth Bird", "African Market", "Pule", "Star Dance", and "Serenity". African River is one of the great larger group recordings that pianist Abdullah Ibrahim gave us in the 80s – from a moment when he was able to use added horns to really expand that amazing sense of color and rhythm he'd brought to his music on earlier trio recordings! There's a sense of musical vision here that really lives up to Abdullah's majestic look on the cover – a fantastic merging of flute and tenor from John Stubblefield, soprano and alto from Horace Alexander Young, tuba and baritone from Howard Johnson, and trombone from Robin Eubanks – all vibrant horn players who seem to have just about every tone and mood covered with their horns – given this wonderfully warm support from Buster Williams on bass, and Brian Adams on drums. All titles are originals by the leader – and tunes include "Chisa", "Sweet Samba", "Duke 88", "The Wedding", and "Joan Capetown Flower". Yarona is a beautifully sensitive set from Abdullah Ibrahim – recorded live at the Village Vanguard, and with an open, lyrical sound that almost seems to recall some of Bill Evans' magical moments in the venue! Ibrahim's quite a different player, of course – but there's an open, exploratory quality to his music that's a bit unusual here – maybe not as rhythmically based as it is balanced between sound and silence – given very respectful company in the bass of Marcus McLaurine and drums of George Johnson. Titles include "Cherry/Mannenberg", "Duke 88", "African River", "Stardance", "Tuang Guru", "Tintinyana", and "African Marketplace". CD

Really lovely piano work from Masaru Imada – a player who's a bit gentler than some of his Japanese contemporaries of the early 70s, but who also works with this wonderfully lyrical tone! Imada does a great job of balancing a sense of flow with a punctuated approach to the keys – never overdone, and often with this spacious sensibility – but more pointed than a Bill Evans style as well. The first half of the album is solo material, and the second features a trio – bass is by Isoo Fukui and drums are by Mashiko Ozu – both players who step into Imada's world in a way that's subtle, but extremely effective. Titles include "Poppy", "Sea Weeds", "Ascent", "Left Alone", and "When Sunny Gets Blue". 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". CD

One of the most beautiful records to come out of the early 70s – a tremendous indie effort from a young Weldon Irvine! Irvine put this album together as sort of a musical "time capsule" of his generation – an effort to capture the era's thoughts, feelings, and emotions through a mix of music, vocals, and a few spoken bits – all woven together in a way that changes moods nicely, but always keeps the same righteously spiritual vibe! Weldon plays keys that are both electric and acoustic throughout – and he's joined by a very hip batch of players who include Jimmy Owens, Lenny White, Alex Blake, George Cables, and others – all working here in a very rough-edged and soulful mode. Titles include the classic break track "Bananas", the sweet vocal number "Deja Vu",and the soul classic "Feelin' Mellow" – also covered by Fatback Band, but even better here in the original! Other tracks include "Soul Sisters", "Watergate Don't Bug Me", "Spontaneous Interaction", and "I Am". CD

A solo record, but one that's got the sound of more things at once than you might expect – as saxophonist Josh Johnson has this great way of processing the sound from his horns, then layering them with samples and other elements too – but all in a way that's never gimmicky, and really retains the jazz energy at the core! Johnson is already a great saxophonist in a conventional setting, with a sense of tone that's wonderful – and here, he carves out a space that's all his own – with a sense of uniqueness and post-jazz creativity that resonates with some of the hippest recent experiments on the London and Chicago scenes! Titles include "Marvis", "Deep Dark", "Quince", "Telling You", "Jeanette", "Reddish", "Local City Of Industry", and "Free Mechanical". CD

Quite possibly the greatest album ever cut by pianist Duke Jordan – a seminal force in bop, both for his writing and playing – but an artist who rarely ever got the chance to work as a leader! This session's a prime bit of lost Blue Note – with an unusual and edgey lineup that includes Dizzy Reece on trumpet, Stanley Turrentine on tenor, Reggie Workman on bass, and Art Taylor on drums – all coming together under Jordan's direction. The set's got a wonderfully classic feel – a mix of hardbop with slightly more lyrical leanings, and a few darker undercurrents – heard to best effect in Jordan's writing, which reminds us of some of his work on French soundtracks from the same time. Titles include "Deacon Joe", "Si-Joya", "Flight To Jordan", and "Squawkin". CD

Rockabilly legend Billy Joy definitely rocks – hardly a household name in the 50s, but a killer figure in the rock and roll underground – and one whose fame has just grown more and more over the years! The package is a beautifully-done tribute to Benny's genius – and presents the most hard-rocking of his important 50s recordings, as well as a host of unreleased tracks from later demos too! Joy's guitar work alone is amazing, but when it's coupled with the kickass rhythms of the tunes, the music really takes off to a whole new level – burning with the power you'd expect from the classic Johnny Burnette Trio – and that's before Benny's gritty vocals even come into play! CD features 30 tracks in all – including some lost recordings from the 70s – titles that include "Rollin To The Juke Box Rock", "Dark Angel", "Miss Bobby Sox", "Little Red Book", "Button Nose", "Come Back", "Wild Wild Lover", "In Study Hall", "Crash The Party (unedited)", "Spin The Bottle (Nashville demo)", "Big John Taylor", "High High School Baby", and "Nosey Nosey Neighbors". CD

A massive collection of music – eight full albums from Evelyn Champagne King, plus bonus tracks as well! King was a hell of a singer who came along at just the right time – as cool and classy enough to have sung jazz in decades before, but with a richness that also really fit the spirit of 70s soul – and was perfect for the new infusion of grooves that the music got during the disco generation! King could sing disco, but also hit a lot wider range too – which made for some really well-formed records during her years at RCA – all of which are collected here! Unlike some of her crossover contemporaries, Evelyn managed to grow with the years and stay strong as the 80s moved in – shifting styles a bit, but never losing her groove – and working here with production and arrangements from the likes of T Life, Kashif, Willie Lester, Morrie Brown, Andre Cymone, and Leon Sylvers – all of whom help shape the groove. The box features the full albums Smooth Talk, Music Box, Call On Me, I'm In Love, Get Loose, Face To Face, So Romantic, and A Long Time Coming – nearly all of which are presented with bonus tracks – all wrapped up in a box set, with a 40 page booklet of notes. CD

One of the greatest albums ever by Labelle – known especially for the massive funky title cut, which has been an in-demand groover for years! "Moonshadow" begins with a nice funky piano intro, then rolls into a 10 minute groove that's really tasty – filled with lots of jazzy riffing, tasty conga, and a weird monologue by Patti that runs through different parts of the body and why you should appreciate them! The cut was lost on American audiences of the 70s, but became a huge one in the European jazz dance scene of the late 80s, probably because most of them couldn't understand how silly Patti's vocals were! The cut's nice and funky, though – and there's some other nice ones on the record, too, including "Sunday News", "Touch Me All Over", and "Peace With Yourself". Much more interesting than most of their stuff, with a hip mixture of jazz, soul, and hard grooving! CD

Two albums from the duo of Neil Larsen & Buzz Feiten – back to back in a single set! First up is the self-titled Larsen Feiten Band – a fantastic bit of AOR – served up here by two musicians with a background in jazz, and a great way of harmonizing their vocals together! Larsen is Neil Larsen, who plays keyboards and sings – and Feiten is Buzz Feiten – guitarist and musical partner who helps make Neil sound even tighter and groovier here than on his solo records! The duo work with a core quintet, plus some added horn arrangements – in a style that's definitely in the hipper side of the AOR spectrum, which yields up plenty of rewarding listening all these many years later. Titles include "She's Not In Love", "Aztec Legend", "Make It", "Morning Star", "Over", "Danger Zone", and "Who'll Be The Fool Tonight". On Full Moon, the duo of Neil Larsen and Buzz Feiten sound mighty nice – Buzz on guitars and vocals, Neil on keyboards – stepping out with some added horns, tight arrangements, and a groove that takes the 70s AOR ethos into great territory for the 80s! The record's almost more of the sort you'd expect to hear in 1977 – no tinny production, no shift to drum machines for the rhythms – just rock-solid instrumentation from a really great group, tight songwriting, and catchy tunes that include "Twilight Moon", "Little Cowboys", "Standing In Line", "Hero's Welcome", "The Visitor", and "Phantom Of The Footlights". CD

A sweet bit of funk from Hawaii – and a legendary bit of free soul that's been winning global fame for decades! Lemuria is the brainchild of Kirk Thompson – who plays piano, bass, keyboards, and vibes on this very spiritual set of tracks. Master Henry Gibson was one of the executive producers, and he also plays conga on the set – which recalls some of the more spiritual collective funky projects from the early 70s Chicago scene, given a bit of a tropical twist. Many tracks feature vocals by "The Ladies Of Lemuria" – a lovely trio that's got a bit of an Emotions sort of sound – but the jazziness of the tracks is a lot freer than the backings the Emotions ever got, with more of a west coast Fantasy Records kind of approach, touched with some Stevie Wonder-like warmth. Really great all the way through – and impeccably put together, despite the indie origins of the record. Titles include "Get That Happy Feeling", "Hunk Of Heaven", "Dreams", "Mister U", "The Making Of You", and "Mystery Love". CD

Very much the sort of record that's made James Brandon Lewis such a key force on the tenor in recent years – an album that acts as a bridge between so many different modern modes, in part because of the strength of the group! Lewis is one of that rare breed who can improvise on the outside, yet still retain a soulful swing – almost a quality that hearkens back to 60s avant jazz giants – and we can say that same about the rest of the group here, a lineup that features Aruan Ortiz on piano, Brad Jones on bass, and Chad Taylor on drums – the last of whom is especially marvelous in this endeavor! It almost seems as if Lewis gets better and better with each new record – and that's certainly the case here – n titles that include "Black Apollo", "Triptych", "Elan Vital", "Empirical Perception", "Transfiguration", and "Swerve". CD

A brilliant and beautiful album from Damon Locks – even more powerful than his Where Future Unfolds album, and that's saying a heck of a lot! The record proclaims part of its mission in its title – and is maybe the first set we've heard to point the way forward creatively after the dark days of 2020 – reclaiming the future for the present, as Locks works with a stunning array of Chicago-based talent – including Angel Bat Dawid on clarinet, Ben LaMar Gay on cornet and melodica, Dana Hall on drums, and Arif Smith on percussion! There's no other instruments in the core of the combo – but Locks adds in plenty of electronics and sound samples, including both musical moments and all these many found voices which are woven through the record alongside vocals by a sextet of singers – a chorus who rise up and give the whole thing a heavenly vibe that's completely mindblowing! While so many others are doing a decent job of reworking a 70s jazz spirit, Damon's giving us the future to come – the kind of visionary work we always knew he was capable of, but which is now finally getting the chance to exist on record. Titles include "The People Vs The Rest Of Us", "Keep Your Mind Free", "Movement & You", "Now", and "The Body Is Electric". CD

A rich array of compelling work from Lord Luther McDaniels – vocal group classics, offbeat R&B, and some early soul stormers – all brought together in a wonderful document to his great years in the Bay Area music scene! There's a really offbeat feel to lots of these cuts – a difference from some of the more put-together work coming out of LA, and a lot more homegrown overall – but in a great way that really keeps things interesting, and which marks Luther as an artist who was always willing to experiment with his sound! Lots of these cuts have a nicely raw quality, but are still pretty well produced, too – kind of creatively raw, rather than just accidentally so – and as with Ace's usual standards, the booklet is filled with images and notes that really help illuminate Luther's already-illuminating music. CD features work cut under his own name, and with The 4 Deuces, The Esquires, The 5 Hearts, and The Garnets – titles that include "WPLJ", "Down It Went", "You Led Me On", "Wheelin & Dealin", "Turn The Key", "Donna Dee", "A Thinkin Man's Girl", "Two Of A Kind", "Poor Boy's Song", "Be There Baby", "Someone Somewhere", "Heartbreak Train", "Tell Ya What", and "Just One More Chance". CD

A sweet SoCal groover from Cecil Lyde – recorded in LA in the early 80s, with a great mix of funky club and mellow soul modes! Cecil's got a great ear for the grittier side of California funk at the time – tunes that still use the heavy bass and keyboards of mainstream work from the period, but which manages to make the grooves come out with a lot more punch, and a heck of a lot of feeling – a bit like some of the best indie club that was still coming out of the New York underground. The ballads are great too – with a spacier, more laidback feel that shows a warmer, more seductive side of Cecil's vocals – one that balances nicely with the bolder sound of the funk numbers, in a way that almost reminds us of Bootsy in the late 70s, but a lot less polished overall! Titles include "Stone Free (Freak With Me)", "I'm So Glad I Found Your Love", "More Love", "Is That The Way To Your Heart", "Money's Funny", "Keep Dancin", and "Million Dollar Love". CD

The second of two spiritual classics from Haki R. Madhubuti – issued nearly a decade after the first, but still very much in a positive and righteous 70s vein! Haki's again working with arranger Agyei Akoto, a saxophonist we only know from these albums, but an extremely visionary musician with a real flair for crafting a Strata East-styled groove! Unlike the first album, this one has spoken passages much more deeply integrated into the songs – so that the longer tracks soar along with a wonderfully spiritual vibe, effortlessly mixing together Madhubuti's teachings with some nicely grooving backings that include piano from a young Geri Allen, plus some occasional vocals from singer Kehembe! The whole thing's excellent, and tracks include "First World", "Children", "Understand", and "Rain Forest". CD

A legendary album of spoken word and spiritual jazz – put together by The Institute of Positive Education in Chicago, and featuring wisdom and knowledge from the legendary Haki R Madhubuti! The album alternates shorter vocal/musical tracks with longer ones that are pure post-Coltrane jazz – played by a group that includes Wallace Roney on trumpet, Byron Harrison on guitar, and Rufus Wright on piano – all working with saxophonist Agyei Akoto, who's also the music director of the set. There's an incredibly positive feel to the set – one that tackles the issues of the time, but which does so with a sense of optimism that's extremely rare today – and which is part of the real charm of the album. Titles include "Talking Stick", "Rise Vision Coming", "Black Man", and "Walk The Way Of The New World". CD

A really wonderful collaboration – one that features famous South African singer Vusi Mahlasela working with the Jive Connection combo – a funky Swedish group who backed Mahlasela on many live dates over the years, and who really help his music come across with a lean, classic sort of vibe! This isn't the mainstream music from the SA scene at the start of the 70s – as the instrumentation is live and spontaneous, and never overproduced – a great accompaniment to the raspy charms of Vusi's vocals, which are also delivered in a way that's nicely unfettered too! Norman Zulu also sings a bit on the record – and although the tracks were recorded in 2002, this is the first release of the music – titles that include "Face To Face", "Inkomo", "Umzala", "Prodigal Son", "Push", "Intombi Y Mbali", and "Thulualele". CD

Two unusual Herbie Mann albums – back to back in a single set! The first Reggae album has a surprisingly strong mix of 70s modes – as the funky flute of Herbie Mann takes on some of the nascent reggae grooves of the time – with results that are a lot nicer than you might expect! There's some core rhythms on the record from Tommy McCook, but Herbie's regular keyboardist Pat Rebillot also adds in some surprisingly nice lines too – making the whole thing way more than just another session cut down in Kingston. One real surprise is a very extended take on "My Girl", which runs for over 18 minutes and takes up all of side two – and other cuts include "Rivers Of Babylon", "Swinging Shepherd Blues", and "Ob La Di". Reggae II is a lesser-known follow-up to Herbie Mann's first album of reggae-styled instrumental grooves – and one that's every bit as sweet as the first! Like that record, the approach here is one that has Mann working with Kingston-bred rhythms from a lineup that includes Winston Wright on organ, Jackie Jackson bass, and Michael Richard on drums – mixed with tenor from Tommy McCook and trumpet from Bobby Ellis – then given a slight fusion vibe from Mann's frequent 70s musical partner Pat Rebillot on a variety of keyboards! Herbie's flute snakes into the groove in this warm, easygoing way – very open in tone, and a surprisingly good fit for an instrument that isn't often used in such a setting. Titles include "Down On The Corner", "Cecilia", "I Know", "Stoned By You", "Bend Down Low", and "So Get It While You Can". CD

Maybe the best album ever from the mighty Ricardo Marrero – a 70s Latin talent who didn't record much, but always gave the world something wonderful when he did! The set's got this really great vibe – some cuts that update 60s Latin soul modes with even more righteous 70s elements – other numbers that are more jazz-based, almost in the territory of Cal Tjader's funky Latin tracks! A number of the cuts have vocals by a female singer – who really helps give the whole thing a feel that's very different than the usual Latin record of the time – almost a dose of Cali soul, even though Ricardo was more of a east coast talent at the time! Titles include the classic funk cut "Babalonia" – plus "Tiny", "Algo", "And We'll Make Love", "Vengo", "Get Yourself Together", "My Friend", and "A Taste Of Latin". CD

The headier side of the great Roscoe Mitchell – a project that has some of the reedman's compositions transcribed for larger orchestra performance – but at a level that seems to be a natural evolution of the notion of "black classical music" that Mitchell first helped pioneer with the AACM! Make no mistake with that term – this isn't classical music at all – instead, the larger group works here to realize this beautiful balance between improvisation and composition, almost working as a whole to embody the ideas that Mitchell has brought to his music in much smaller settings, carved out of a large group of woodwinds, a touch of brass, and a bit of strings. Gregory Oh conducts the group, and titles include "They Rode For Them", "Splatter", "Nonaah", "Shards & Lemons", and "Ride The Wind". CD

Clara Moreno's working here with some famous help in the credits – but the sound of the album is definitely all her own, and even better than some of her other great sets in recent years! The style is mostly bossa, but served up with a slightly modern approach – not one that's electrified or remixed, but nicely free of cliches that try to hard to conjure up images from the old days – done in a sparely evocative mode that really gets to the best heart of the bossa, and re-presents it wonderfully with Clara's youthful talents! Moreno's on vocals throughout – although Celso Fonseca sings a bit on a few duets – and instrumentation includes acoustic guitar from both Fonseca and Joyce on some tracks, plus drums by Tutty Moreno. Most instrumentation is acoustic, and quite stripped down – sometimes only a bit of guitar, bass, and percussion behind the vocals – giving Clara plenty of room to stand on her own, center stage. Titles include "Rosa De Ouro", "Litoranea", "Sabe Quem", "Sei La", "Moca Flor", "Mon Manege A Moi", "Tenderly", "Ela Vai Pro Mar", "Vem Morena Vem", and "Copacabana". CD

A Morricone score penned for a comedic western – but music that's really on a par with any of his more familiar classics of the genre! The styles here run from dark to bright – with some numbers that feature trademark Morricone styles like isolated harmonica or chanting vocals, to others that cascade with slightly more contemporary instrumental modes – including just a bit of subdued electricity amidst the larger orchestrations. But in any setting, the Morricone genius shines through beautifully – and there's a sense of depth to even the simplest tunes here that's really great – and the balance here is what really makes the album strong. CD features a whopping 29 tracks in all – way more than any other issue of music from the film – with titles that include "Non Fare L'Indiano", "Sfida All'Ultima Forchetta", "L'Ultima Tromba", "Tanti Pugni", "Occhio Alla Pena", "Passagio Dal Male Al Bene", and "Dal Sarto". CD

A really lovely later score from Ennio Morricone – done for the final film of Marcello Mastroianni, and with a subtle sense of grace that echoes some of his best from earlier years! Much of the music has a lean focus that's different than some of the larger, lusher scores that Morricone was giving bigger pictures on the global scene – and there's a nice balance of isolated instrumentation, occasional atonal moments, and even great use of female vocals in an old school way – sung here by Dulce Pontes on two tracks. Most of the selections are much longer songs than standard film cues – and titles include "Assassinato", "Chitarre", "Il Simbolo", "A Brisa Do Coracao", "Rotativa", and "Manifestazioni". CD

A really unusual soundtrack from Ennio Morricone – one that's from the start of the 80s, and which has some sweet electric touches used alongside some of his more familiar modes! There's a bit of funk at the start, which heralds some of the less conventional instrumentation for the maestro – yet tunes still then follow that sense of slowly unfolding, flowering melody that can make his work so great – all the classic Morricone modes we love so much, but given a nice twist as well! The change is a great one – especially as at this moment, Morricone was moving into much larger orchestrations for bigger global films – and the set also features a bit of vocals from Nora Orlandi, and work from Alessandro Alessandroni on one track too. CD

There's a pile of vinyl on the cover of this album from Japanese trio Nautilus – and that's maybe a good way to get at the sound of their style – as the group work heavily from an old school mode, while still pushing things into some more contemporary rhythmic territory too! The approach is somewhere between old school jazz trio work and some of the choppier styles of the young generation of Japanese trios – yet still with a lot more focus on the solo side of things, which some of those other groups are lacking! Much of the energy of the record comes from the piano and keyboard work of Mariko Nakabayashi, next to the bass of Shigeki Umezawa and drums of Toshiyuki Sasaki – on titles that include vocal appearances from Hanah Spring on "I Want You" and "It's A Shame", Ayaca on "Part Time Lover", and Kei Owada on "Empty Faces" – plus a nice take on the classic "Little B's Poem", and the cuts "The Eye Of The Hurricane", "Sweet Love Of Mine", and "Nebulosa". CD

The group's just a trio, but they've got a wonderfully full sound – a rich funky groove that comes from just drums, bass, and keyboards – yet which has this soaring reach that almost takes us back to the 70s genius of work on labels like Fantasy or Prestige! Drummer Toshiyuki Sasaki is a monster on the kit – snapping things into the groove from the very first note, and driven on strongly by the basslines of Shigeki Umezawa – while Mariko Nakabayashi warms things up in a wonderful way with all sorts of great keyboard solos – often in an electric piano mode, but sometimes with a wider sonic reach as well! The approach is a bit like the Indigo Jam Unit from years back, but maybe has some more classic touches as well – thanks to versions of cuts by Weldon Irvine, Manzel, and Deodato, all mixed in with the group's own music too. Titles include "Another World", "Space Funk", "Looking Back", "Inner Space", "La Ritournelle", "Skyscrapers", "Caught Up", "Nautical Table", and "We Getting Down". CD

Nautilus sound every bit as great here as on previous albums, but they've also added a difference too – the use of vocals on many tracks, in a way that really helps expand and open up their sound! The singers vary, as do their approaches – one track has a vocoder filtering the vocals – but they all add plenty to the record when they make an appearance, which then seems to have us loving the core trio even more when they step out on their own! There's plenty of Fender Rhodes and other keyboards next to the bass and drums – and singers include Keyco and Mizuki Mamata, plus members of the group – and titles include great remakes of "Sweet Power Your Embrace", "World Is A Ghetto", "Virtual Insanity", and "Let's Stay Together" – plus "A Story About You", "Jean De Fleur", and "Cathedral". CD

A masterpiece of hard and heavy funk – from one of the best bands of the early 70s! The Nite Liters were a legendary funky combo that provided the backing for some of New Birth's best albums – but on their own, they were even funkier, and had a sound that was part JBs, part Meters, and all funky! This album may well be the group's best – their last for RCA, and a set that really has them honing their edge incredibly. The drums are amazing, the keyboards great, and the horns have this quality that's both complex, yet right on the money – making for a richness in sound that really sets the group apart from their contemporaries. A few singers from The New Birth provide chorus vocals on a few tracks – but most of the set is instrumental, and the record's one we'd gladly stack next to our Meters albums on Josie or JBs classics on People. Every track's a gem – and titles include "Drumology", "Excuse Me While I Do My Thing", "Serenade for a Jive Turkey", "Happy Hooker", "Craaashing", "Damn", "Pee-Foul", and a sweet cover of "Valdez in the Country" that's been sampled at least once over the years! CD

Nubiyan Twist just keep on getting better and better with each new record – finding a sound that pushes way past their roots, and which uses the bold energy of their large London ensemble to unlock a new way of linking together jazz, soul, and Afrobeat! This album introduces singer Aziza Jaye to the group – a great vocalist who helps them find even more focus than before – in a driving blend of drums, percussion, keyboards, and wonderfully well-crafted horns – supported here with guest appearances from Nile Rodgers on guitar on one track, Corto Alto on trombone and another, and vocal features from Seun Kuti, Ria Moran, and others. Titles include "Pray For Me", "Lights Out", "All the Same", "Woman", "Carry Me", "Battle Isn't Over", "So Mi Stay", "Reach My Soul", and "Find Your Flame". CD

Wonderfully groovy work from Rim Kwaku Obeng – an artist with African roots, but working here in the San Francisco scene of the early 80s – where he's clearly picked up a very international vibe in his music! Rim definitely plays some traditional percussion on the tracks, but there's also a more contemporary funky club approach too – a mixing of modes that's totally great, and which almost represents an 80s step forward for the already-great Bay Area soul vibe of the 70s! The first half of the set features material from the Too Tough EP – which has very cool female vocals, both a lead and a chorus – the latter of whom move around with the rhythms in this totally great way that almost feels like some New York cuts from the Danceteria generation. The second half of the set loses the female singers, but is still every bit as wonderful as the first – with these long grooves from Rim & The Believers that have the percussion, basslines, and guitars criss-crossing in even more amazing ways. Titles include "Shine The Ladies", "Love Me For Real", "I'm Not Going To Let You", "Peace Of Mind", and "I'm A Song Writer". CD