A treasure trove of funk and soul from one heck of a great little label – Columbus, Ohio's short-lived Capsoul imprint – only around for 5 years in the 70s, but home to a great flurry of indie singles! We first caught onto the label's brilliance with their funky classics "Hot Grits" by Elijah & The Ebonies and "Sock It To Em Soul Brother" by Bill Moss – but as this set wonderfully demonstrates, the label's got a heck of a lot more to offer – and all of it great! The label's brilliance has been masterfully unearthed by the crate-digging team at Numero Records – who've brought together 19 of the best Capsoul singles in a beautiful package that really tells the story of the tiny imprint, getting at the details and struggles that faced independent soul in the marketplace of the 70s. Way more than just a set of old singles, the set's a rich document of indie soul in one of the near-forgotten corners of the Midwest – filled with great tunes that may well have you booking the next flight you can find to Columbus! Titles include "Sock It To Em Soul Brother" by Bill Moss, "Pure Soul" by Elijah & The Ebonies, "Without Love" by Ronnie Taylor, "You're All I Need To Make It" by Johnson, Hawkins, Tatum, & Durr, "Hot Grits" by Elijah & The Ebonies, "Too Far Gone" by Four Mints, "I Want To Be Ready" by Kook Blues, "Go On Fool" by Marion Black, and "Number One" by Bill Moss. Updated version features new mastering and additional notes – plus the bonus track "All I Need To Make It" by The Capsoul Group. CD

Features guest vocals from Philip Bailey, Chante Moore, Phil Perry, and Deniece Williams. CD

The roots of British mod, served up here in a fantastic package that's overflowing with soulful, jazzy, and groovy gems that we might never have heard otherwise! The big British Invasion love of American sounds is no secret to anyone – but the cuts here are all from a moment before on the London scene, and represent some really wonderful experiments in ways of mixing together elements of jazz, soul, and blues – and coming up with something really fresh and unique! Tracks are a great mix of instrumental and vocal modes – and as usual with Ace, they're supported by detailed notes that really open up our understanding of both the music, and this point in time. Titles include "Danger Man" by Red Price Combo, "A New Kind Of Lovin" by Eden Kane, "Christine" by Miss X, "Sugar Baby (parts 1 & 2)" by Jimmy Powell, "When You Walked Out" by Alex Murray, "Chicago Calling" by Cyril Davies & His Rhythm & Blues All Stars, "King Of Kings" by Jimmy Cliff, "It Ain't Necessarily So" by Duffy Power, "Gurney Slade" by Max Harris, "Moanin" by Lynn Cornell, "I'm Just A Baby" by Louis Cordet, "Orange Street" by The Blue Flames, "Strawberry Fair" by Anthony Newley, "Sounds Like Locomotion" by Sounds Inc, and "Air Travel" by Chris Farlowe. CD

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With a record like this, it's hard to believe that Christian Scott started out in more standard jazz – as Chief Xian Atunde Adjuah is a very different artist altogether, one who wraps together worlds and eras of musical heritage – working here in a set that's very heavy on percussion, vocal refrains, and other elements you never would have heard in his earlier music! The leader works a whole host of percussion along with other members of the group, but also adds in some larger production elements too – always in a way that's nicely subtle, and preserves the acoustic energy at the core – yet which really enriches the proceedings too! The album's overflowing with righteous power – and titles include "On To New Orleans", "Bark Out Thunder Roar Out Lighting", "Xodokan Iko Hu Na Ney", "Trouble That Mornin", "Blood Calls Blood", "Ashe Chief Donald", "Golden Crown", and "Shallow Water". CD

A sweet set of soundtrack funk – from a film named after one of our favorite streets in Chicago! Although the record's got an approach that's perhaps a bit tighter and smoother than anything going down on Stony in the late 70s, it does manage to share a good deal of styles with the Chi-soul scene of the time – thanks to work on the record from Chicagoans Gene Barge, Sonny Seals, and Tennyson Stephens! Many of the tracks on the set have a bad-walking soul approach – one that's kind of a mixture of funky and bluesy – and these are laid out next to some jazzier instrumentals that we like most of all – tunes that have a great funky soundtrack feel, but with a bit more fusion touches than usual, probably because of the work of David Matthews. Titles include "Percy Fired", "Party Lights", "High Speed Posters", "Back To Business", "Chase The Train", "Gangster City", "Dream Ride", and "Peace Of Mind". CD

Count Basie rewrites history – updating his older work for the Roulette Records years, in this hip collection that features lots of new arrangements from Frank Foster – and rich performances from his great group at the time! The recordings are all new, as are the conceptions of the tunes – so there seems to be even more syncopated swing in the rhythms than on any of the older takes on the material – that fresh sound that the group grew into with Neal Hefti – still going strong here in Foster's hands. So although the tunes are Basie classics – and classics from other bands of the 30s and 40s – the performances and solos are plenty fresh! Titles include "Swinging The Blues", "Out The Window", "Texas Shuffle", "Down For Double", "Lester Leaps In", "Topsy", "Taps Miller", "Shorty George", "Jive At Five", and "Dogging Around". CD

A pretty wild album – and a really wonderful mixture of funky fusion and Spanish guitar, featuring tunes written by flamenco guitarist Sabicas, backed by arrangements handled by funky guitarist Joe Beck! The sound is pretty darn incredible – way better than you might think, and certainly well more than the sum of its parts. The bottom half of the record has a really strong rhythmic pulse, but it also allows plenty of room for virtuoso flights on guitar – both electric and acoustic coming together in a mad Spanish-styled take on 70s funk! The record's a truly unique effort, and sets a whole new standard for cultural crossover sessions of this type in the 70s. Titles include "Inca Song", "Handclaps", "Flamenco Rock", "Zapateado", and "Joe's Tune". CD

Killer stuff by Art Blakey – one of his few non-Blue Note sessions from the time, and a hard-wailing set that features the Jazz Messengers as a sextet! The format is one that flourished briefly in these early 60s years – and in this case, the already great lineup of Lee Morgan on trumpet, Wayne Shorter on tenor, and Bobby Timmons on piano is joined by Curtis Fuller on trombone – a frontline that makes for some really amazing music, and which starts to bring in a lyrical energy to the group that's really amazing! The force of Fuller on the ensemble cannot be denied – and the group shift from straight hardbop with a soulful bent into an even more inspired mode – as you'll hear on the album's classic reading of Fuller's "Ala Mode" – nestled in alongside Jazz Messenger takes on standards like "Invitation", "I Hear A Rhapsody", and "You Don't Know What Love Is". CD

One of the greatest Art Blakey Blue Note sessions of all time – and perhaps one of the greatest to realize the genius of the Jazz Messengers lineup that included Lee Morgan on trumpet, Wayne Shorter on tenor, and Bobby Timmons on piano! The trio of young talents are at the height of their early soulful powers here – working with Blakey and bassist Jymie Merritt in a set of tunes that are overflowing with expressive solos, unusual timings, and the Blakey genius for mixing bold statements with personally introspective moments. Nearly every track on the record's a classic – and titles include an early version of Bobby Timmons' "Dat Dere", plus Wayne Shorter's beautiful tunes "Lester Left Town", "Chess Players", and "Sakeena's Vision". CD

One of the last recordings ever made by the genius trumpeter Jaimie Branch – and a set that shows the bold new direction she was going in, right before she left our planet all too soon! The music here leaps forward from any of Branch's earlier recordings – with harder rhythms, more focus in the driving quality of the music, and even some lyrical passages that are quite stunning – vocals that add a lot to the music, and which could have had Jaimie finding an audience in a world far past just jazz! The core group is incredible – the drums of Chad Taylor have never been so powerful, urged on by the bass work of Jason Ajemian – and folded beautifully with the cello, voice, marimba, and keyboards of Lester St Louis. Branch herself also plays keyboards and percussion – and Daniel Villareal guests on some additional percussion too – and the whole thing comes together with an incredible sense of energy and vision, at a level that has us missing Jaimie's presence on the planet even more than before. Titles include "Aurora Rising", "Take Over The World", "Baba Louie", "Burning Grey", "The Mountain", and "Borealis Dancing". CD

The second smash hit record in a row by Toni Braxton, and one of biggest and best of the mid 90s – the secret was out by this point to say the least! If the pressure was high to match the sales and creative strengths of the self-titled solo debut, Toni, composer/producer Babyface and producer LA Reid rise to the challenge with unforgettable songcraft and a built-to-last production aesthetic, carried to the heavens by Toni's voice. She's at her peak here, bringing a soulful resonance and all around depth to every note, whether it's on a chart ready pop soul confection, or a richly emotional ballad. Perhaps Toni's biggest moment as a superstar, but she personifies realness throughout! Includes "Come On Over Here", "You're Making Me High", "There's No Me Without You", the eternal "Un-Break My Heart", "Talking In His Sleep", "I Don't Want To", "Let It Flow", "In The Late Of Night" and more. CD

A wonderful title for this rare fourth album from Tina Brooks – as the set was recorded by Blue Note in 1961, but had to wait for many decades to finally get reissued! Don't let that put you off, though, as the set's every bit as sublime as Tina's classic True Blue album for the label – an equally masterful session from a tenor talent whose every note seems to be very special and well-placed – working here in a quintet setting with Johnny Coles on trumpet, Kenny Drew on piano, Wilbur Ware on bass, and Philly Joe Jones on drums! This was the last year that Brooks would ever record, making the set one of his final testaments in jazz – before he lapsed into relative obscurity, and passed away in the mid 70s. Titles include "David The King", "Dhyana", "Talkin About", and "The Waiting Game". CD

The alto and tenor of Peter Brotzmann get some fantastic accompaniment here – work from Heather Leigh on pedal steel and Fred Lonberg-Holm on cello – two instruments that really create this amazing sonic space next to the saxophones! Although Brotzmann recorded these performances as part of a series of 80th birthday concerts, he's got an incredibly powerful, youthful sound throughout – really barreling past the more spacious sounds of the other two instruments – not in a way that shrugs them aside, but which instead seems to use them for sonic springboards as new inspiration. Titles include the very long title track, "Naked Nudes" – plus "Flower Flaps" and "Johnny Anaconda". CD

A classic "with strings" session from Clifford Brown – nearly as well-done and perfect as some of Charlie Parker's sides for Verve, handled here with perhaps a slightly sweeter touch, as Neal Hefti's the man on arrangements. The core group's the Brown/Roach combo, augmented by a smallish string section – and Clifford's right up front blowing warm and glistening solos, with titles that include "Willow Weep For Me", "Yesterdays", "Laura", "Smoke Gets In Your Eyes", and "Portrait Of Jennie". CD

A great return to form for the legendary Cachao – and a session that seeks to recapture the Cuban Jam Session energy of his recordings from a few decades before! Production is by Andy Garcia, and is somewhat more sentimental than in the old days – although certainly still free from any sort of Buena Vista Social Club cliches that would come in later years – and overall, the lineup of players stays nicely faithful to the classic 60s sound, but perhaps expands it with a bit more fullness. Cachao is on bass and a bit of vocals – and other artists include Francisco Aguabella on percussion, Justo Almario on tenor, Chocolate Amenteros on trumpet, Paquito D'Rivera on clarinet, and Nestor Torres on flute. Titles on this first volume include "Mi Guajira", "Lindo Yambu", "Mambo", "Isora Club", "Al Fin Te Vi", "Cachao's Guiro", and "Descarga Cachao". CD

A great return to form for the legendary Cachao – and a session that seeks to recapture the Cuban Jam Session energy of his recordings from a few decades before! Production is by Andy Garcia, and is somewhat more sentimental than in the old days – although certainly still free from any sort of Buena Vista Social Club cliches that would come in later years – and overall, the lineup of players stays nicely faithful to the classic 60s sound, but perhaps expands it with a bit more fullness. Cachao is on bass and a bit of vocals – and other artists include Francisco Aguabella on percussion, Justo Almario on tenor, Chocolate Amenteros on trumpet, Paquito D'Rivera on clarinet, and Nestor Torres on flute. Titles on this second volume include "Los Tres Golpes", "Descarga A", "El Timbalero Travieso", "Africa Suite", "Cunde Echa Un Pie", and "Bemba E Cuchara". CD

A pair of great albums back to back – both rare albums from a percussionist who worked with Sun Ra! First up is Mora volume 1 – a legendary early set from percussionist Francisco Mora Catlett – and a really sublime blend of spiritual jazz and Latin rhythms! Mora's percussion is definitely at the core – but the set also features wonderful contributions from Vincent Bowens on tenor and soprano sax, Jerome LeDuff on berimbau, Alberto Nacif on quinto, and Detroit jazz legend Kenny Cox on piano! There's a balance here that really matches the best Strata East energy of the 70s – an open, flowing approach that's completely sublime, and very righteous too – even more so than anything Mora's done since the 70s – making this record one of his greatest achievements ever. Tersa Mora sings a bit of vocals at times – and titles include "Afra Jum", "Five AM", "Rumba Morena", "Samba De Amor", and "Cultural Warrior". Mora 2 is a set recorded in Detroit, but one that's got a globe's worth of elements in the mix – originally recorded in the mid 80s, but not released until a brief CD issue in the early part of the 21st Century! Despite that history, the album's a really timeless record that encompasses a world's worth of elements in jazz! Francisco Mora Catlett's at the height of his powers here – leading the group with a sense of righteous majesty that takes us back to some of the most ambitious heirs of the post-Coltrane generation, but with perhaps an oddly rhythmic twist as well – such as you might find in some of the 70s classics of Bobby Vince Paunetto. Echoes of Latin, Afro, and spiritual jazz come together as one – soaring to the skies on soulful waves of sound – brought together with a sense of focus and spirit that really moves us a lot. Players include Marcus Belgrave and John Douglass on trumpets, Sherman Mitchell on trombone, Vincent Bowens on tenor and flute, Alex Harding on baritone and bass clarinet, Kenny Cox on piano, and Rodney Whitaker on bass – and titles include "Samba/Conga De Amor", "Amazona Prelude/Dawn", "Old Man Joe", "Por Que Paro", and "Afra-Jum (parts 2 & 3)". CD

Great mid 70s work from Jimmy Cliff – and a record from that moment when he was trying to really burst out globally, and not just as a straight reggae artist too! By that, we don't mean that Jimmy was going for anything too commercial – as he still arranged and produced the set himself, but with a really universal vibe that wraps influences from soul into a Jamaican groove – in a way that really does a great job of transcending standards, and helping Cliff find his own groove! Titles include the standout cuts "Brother" and "No 1 Rip Off Man" – plus "Long Time No See", "Look What You've Done To My Life Devil Woman" and "Money Won't Save You". CD

An incredible treasure from a lost vocal jazz genius – the little-known Bobby Cole, every bit as great a singer as he was a songwriter, very unusual for the time! Bobby was probably best remembered as the house pianist at Jillys, but at the time of this 1964 recording, he was poised to emerge as a serious vocalist with a rich talent for penning interesting and witty little tunes. The album's got Bobby singing in a style that's halfway between Matt Dennis and Mark Murphy – with the sophisticated talents of both in place, and perhaps a bit of the wit of Bob Dorough or Roy Kral. The original album features Bobby on piano and vocals, with only bass and drums behind him – and the CD features a bonus 6 tracks recorded in more recent years, with larger backings. The core album is completely brilliant – the kind of off-kilter vocal record we die for – and every track's a fresh original by Bobby! Titles include "You Can't Build A Life On A Look", "Heat", "You Could Hear A Pin Drop", "Change Of Scene", "A Perfect Day", "Elegy For Eve", and "Status Quo". CD

Great later work from Sonny Criss – very much in the format of his late 60s work for Prestige, but with an approach that's perhaps a bit more open-ended overall! The vibe here is laidback and soulful – Sonny blowing alto sax in that wonderful, all-his-own sort of tone – a sound that's almost tenor-like in phrasing, but with a crisp alto quality that's completely sublime! The group's a batch of familiar associates, all of whom lay back wonderfully in the rhythms – Dolo Coker on piano, Larry Gales on bass, and Jimmie Smith on drums. There's a solidness here that few other players can match – and titles include the original numbers "The Dreamer" and "The First One" – plus "El Tiante", "All The Things You Are", and "Out Of Nowhere". CD

Great later work from Sonny Criss – very much in the format of his late 60s work for Prestige, but with an approach that's perhaps a bit more open-ended overall! The vibe here is laidback and soulful – Sonny blowing alto sax in that wonderful, all-his-own sort of tone – a sound that's almost tenor-like in phrasing, but with a crisp alto quality that's completely sublime! The group's a batch of familiar associates, all of whom lay back wonderfully in the rhythms – Dolo Coker on piano, Larry Gales on bass, and Jimmie Smith on drums. There's a solidness here that few other players can match – and titles include the original numbers "The Dreamer" and "The First One" – plus "El Tiante", "All The Things You Are", and "Out Of Nowhere". CD

The scene is clean, and Ronnie Cuber is plenty swinging – really coming into his own here as a leader, after years of important work as a sideman for others! Cuber blows beautifully on a host of horns – tenor, alto, baritone, and flute – in a groove that wraps together his years of experience in both Latin and soul jazz bands – held together here by a lineup that includes Joey DeFrancesco on organ, Milton Cardona on percussion, and Geoff Keezer on keyboards. Titles include "Song For Pharoah", "Arroz Con Pollo", "Mezambo", "Fajardo", and "Tete's Bag". CD

Brilliant early work by Miles Davis – some of his first truly important sessions to appear under his own name – originally issued as singles or 10" LP recordings by Blue Note, and brought together here in a full length set that would help to define the early years of his career! This is work before Miles was able to stretch out on longer sessions for Prestige, but the material already showcases his unique contribution to jazz – shorter tracks that are perhaps more boppish, than you might expect from some of Miles' other 50s work – but in a way that still allows for many moments of lyrical beauty, and that brilliantly cool sound of his which forever changed the sound of jazz trumpet. The set features work from an assortment of players who vary from track to track – including Jimmy Heath on tenor, Jackie McLean on alto, JJ Johnson on trombone, Horace Silver on piano, and Art Blakey on drums. Titles on this second volume include "Weirdo", "Donna", "Ray's Idea (alt)", "Take Off", "Would'n You", "The Leap", "Lazy Suzan", and "Tempus Fugit (alt)". CD

A beautiful collaboration between Miles Davis and the great Gil Evans – and perhaps the most perfectly realized of all their projects! The album's got a wonderfully unified feel – as it begins with long compositions that have a distinct Spanish-tinge (and not a Latin-tinge, which is an important distinction to the way the album progresses.) Evans' arrangements have a majesty that takes the songs to the next level – working them as lush, lively backings for Davis' equally majestic trumpet solos, some of the finest he ever recorded with large group backing. Wonderful all the way through – and with the tracks "Concierto De Aranjuez", "Saeta", "The Pan Piper", and "Solea". CD

A beautiful collaboration between Miles Davis and the great Gil Evans – and perhaps the most perfectly realized of all their projects! The album's got a wonderfully unified feel – as it begins with long compositions that have a distinct Spanish-tinge (and not a Latin-tinge, which is an important distinction to the way the album progresses.) Evans' arrangements have a majesty that takes the songs to the next level – working them as lush, lively backings for Davis' equally majestic trumpet solos, some of the finest he ever recorded with large group backing. Wonderful all the way through – and with the tracks "Concierto De Aranjuez", "Saeta", "The Pan Piper", and "Solea". 2CD version features a bonus disc with the track "Teo", a live version of "Concierto De Aranjuez", and 9 more alternates of tracks from the album – all packaged beautifully, with great notes, and a bonus PDF digital booklet with unpublished documents from the sessions! CD

A huge collection of later work from these two Italian maestros – material done long after their fame in film during the 60s and 70s, but with a richness that really matches those classic recordings! The work here is much more obscure than some of their famous film scores, and served up in a massive 7CD box that really fills in the gaps during these later years – bringing together work that we never would have heard otherwise, and in modes that update some of the instrumentation of previous decades, but which also reflects some greater care with orchestrations over leaner modes. The set features many tracks from each show – programs that include Tomorrow, Nel Gorgo Del Peccato, A Big Man, Passi D'Amore, Il Cielo Non Cade Mai, Quando Ancora Non C'Erano I Beatles, La Storia Spezzata, Il Ragazzo Dal Kimono D'Oro, Uomo Contro Uomo, Cinque Ragazze A Parigi, Ti Ho Adottato Per Simpatia, La Moglie Nella Cornice, Un Amore Rubato, Il Prezzo Della Vita, Vite A Termine, La Storia Di Chara, Mia Per Sempre, Addio E Ritorno, Dove Comincia Il Sole, and Sotto Il Cielo Dell'Africa. CD

A score that's perhaps a bit more in a Hollywood mode than later work from Italian maestro Francesco De Masi – done in a mood that really fits the image of the cowboy on the cover! Fuller orchestrations are mixed with isolated elements on harmonica and guitar – and there's a very Americanist spirit to some of the music, with uplifting themes and a hopeful spirit of action that's different than the moodier styles of the spaghetti western generation! CD is the first time the full music has been presented like this – expanded out to a total of 25 tracks, many of which appear here for the first time ever! CD

One of the moddest soundtracks of the 60s Italian scene – a great blend of jazzy riffing, bassy bouncing, and some occasional cool vocal touches – all put together in a way that features lots of short tunes all grooving around one another! The approach often has the music coming out in short snapshots – little tracks that change mood quickly, but all often feature some odd variation on the main theme – slightly redone instrumentally, sometimes giving way to sparer percussion or vibes – while at other times picking up the pace to hit a far groovier mode! The work was composed and conducted mostly by Francesco DeMasi, but Alessandro Alessandroni helped out on the famous "Tema Di Londra" – and also conducted I Cantori Moderni on a number of tracks! 28 titles in all – including "Tema Di Londra", "Double Gaming", "Goldsmith", "Pianochain", "Madrid Theme", "Mister Owen's Suit", "Chasing The Spy", "Get An End", "The Game Is Going To", and "Il Mondo Va Cosi". CD

One of Eric Dolphy's lasting classics – and possibly the ultimate album of "new thing" jazz from the mid 60s! The record's got an even sharper edge than previous Dolphy recordings for Prestige – a really unique combination of instrumentation that includes Freddie Hubbard on trumpet, Bobby Hutcherson on vibes, Richard Davis on bass, and Tony Williams on drums – plus Dolphy on alto sax, flute, and bass clarinet. Although Dolphy's reed playing is as amazing as you'd expect, the real surprise here is Hutcherson, whose vibes ring out with this cold harsh tone that give a perfect edge to the set – bold and metallic, quite different than any work on vibes from previous players. Despite a large number of later recordings, Hutcherson almost never hit this sound again – except perhaps on a few Jackie McLean recordings – and it's his playing that gives the set such a unique sound. Titles include "Straight Up & Down", "Gazzelloni", "Hat & Bread", "Out To Lunch" and "Something Sweet Something Tender". CD

One of Eric Dolphy's lasting classics – and possibly the ultimate album of "new thing" jazz from the mid 60s! The record's got an even sharper edge than previous Dolphy recordings for Prestige – a really unique combination of instrumentation that includes Freddie Hubbard on trumpet, Bobby Hutcherson on vibes, Richard Davis on bass, and Tony Williams on drums – plus Dolphy on alto sax, flute, and bass clarinet. Although Dolphy's reed playing is as amazing as you'd expect, the real surprise here is Hutcherson, whose vibes ring out with this cold harsh tone that give a perfect edge to the set – bold and metallic, quite different than any work on vibes from previous players. Despite a large number of later recordings, Hutcherson almost never hit this sound again – except perhaps on a few Jackie McLean recordings – and it's his playing that gives the set such a unique sound. Titles include "Straight Up & Down", "Gazzelloni", "Hat & Bread", "Out To Lunch" and "Something Sweet Something Tender". 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

Seminal early work from Art Farmer – and one of the first full albums to capture his brilliance! The record has Farmer playing in a quintet, with able accompaniment from Gigi Gryce, a young newcomer at this point, with a post-bop complication to his style that was not to dissimilar from Farmer's. Gryce's mode is perhaps a bit more academic than Farmer's, but Art's lyricism offsets that tendency nicely, and the pair work together in a mode that's every bit as pleasing as Gigi's work with Donald Byrd. The set features some great tracks in sort of an exoticist hardbop mode – and titles include "Satellite", "Shabozz", "Sans Souci", and "Evening In Casablanca". CD

The coolest record so far from this totally great combo – a live recording done on the home turf of the Greg Foat Group – the Playboy Club in London! The retro venue really fits the slinky, sexy vibe of the group's music – and although we already loved these guys before, this album has a really special sort of feel – with loads of wonderful keyboard lines from Greg on Hohner Electra piano, Elka Rhapsody, Hammond L 100, and Mutron Phaser – almost always distorted with a nice degree of fuzz, but still a straight ahead approach, and some great undercurrents of fuzz too! The group also features tenor and trumpet – which sometimes sound distorted, ala Varitone modes – and the overall sound feels like some lost jazzy club combo from the late 60s, really tripping out in a very comfortable space. We'd easily stack this one next to our favorite funky Fender Rhodes records from back in the day – and titles include "By The Grace Of God I Am", "Ingen Reklam", "Funky Fanfare", "Madrid", and "Mr Minor". CD features two bonus tracks – "Finky Minky" and "Papa's Got A Brand New Pigbag". CD

We love Sonny Fortune – because he always plays so great! Sonny started as more of an acoustic soul jazz player – but by the time of this session, he's working with a lot of electric backing, in a fusiony mode that should dampen his enthusiasm, but which only seems to spur him onto new heights! The group's got some killer keyboards from Larry Willis, tight guitar from Ray Gomez, and lots of Latin percussion touches that really make the grooves dance – but the real highlight is Sonny, whose tone and placement are impeccable, almost in the vein of Gary Bartz during his years with Larry Mizell, but perhaps a bit more soaring and searching. Titles include "Afortunado", "Georgiana", "Igbob's Shuffle", "Francisco" and "Come In Out Of The Rain". CD

An incredible album of harmony soul – easily one of the best you could ever hope to find! The Four Mints were an obscure group, but they sound really wonderful here – just as great as some of the bigger proponents of the genre in the early 70s – with an especially great talent for heartbreaking ballads! The album was the only one ever issued by the tiny Capsoul label – probably best known for their volume in Numero's Eccentric Soul series – and it features all of the group's singles for the label, plus one rare track – all wrapped up in a beautiful little cover. The sound is wonderful – a must-have set for any fan of group soul from the 70s – and titles include "You're My Desire", "In A Rut", "Row My Boat", "Why Did I Go", "Do You Really Love Me", and "Keep On Loving You". Plus, the CD also features 3 bonus tracks – rehearsal takes of "Too Far Gone" and "In A Rut", plus an instrumental of "In A Rut". CD

A wicked album that's one of Stan Getz's best from the 70s! The record features Stan reunited with Chick Corea, whose warm lyricism was the lynchpin in Getz's landmark Sweet Rain – the stunning session from 1968 that is perhaps our favorite-ever Getz album. Corea plays electric piano here, but with none of the indulgence that he was lapsing into at the time. His blocky chords stake out a stark new territory, into which Getz solos beautifully, into a range yet untapped at that time in his career. Tony Williams augments the group on drums, giving the whole thing a sense of freedom, but also a nice tight swing. Tracks include "La Fiesta", "Five Hundred Miles High", "Times Lie", and "Day Waves". CD

A wicked album that's one of Stan Getz's best from the 70s! The record features Stan reunited with Chick Corea, whose warm lyricism was the lynchpin in Getz's landmark Sweet Rain – the stunning session from 1968 that is perhaps our favorite-ever Getz album. Corea plays electric piano here, but with none of the indulgence that he was lapsing into at the time. His blocky chords stake out a stark new territory, into which Getz solos beautifully, into a range yet untapped at that time in his career. Tony Williams augments the group on drums, giving the whole thing a sense of freedom, but also a nice tight swing. Tracks include "La Fiesta", "Five Hundred Miles High", "Times Lie", and "Day Waves". Great stuff – and expanded here with the new track "Crystal Silence", plus bonus alternates of "Five Hundred Miles High" and "Captain Marvel". CD

A rare set from one of Stan Getz's hippest groups! The album was recorded in Paris in 1966, during a time in which Stan was working with a groundbreaking quartet that included Gary Burton on vibes, Steve Swallow on bass, and Roy Haynes on drums – a combo that unfortunately got a bit overshadowed by Stan's bossa work, which was recorded in earlier years, but still getting issued and played heavily during the time of the Burton quartet's reign. The upshot of that situation was that the combo weren't nearly as exposed, or recorded, as much as they should have been – making the record an essential look at this under-documented side of Stan's career. Getz's tone is fantastic – and he glides freely with the young modernists in a way that you barely ever hear on any of his sides from the 60s, save for, perhaps, the sublime Sweet Rain LP. Titles include the long "The Knight Rides Again" – plus the tracks "Singing Song", "On Green Dolphin Street", "Edelweiss", and "Manha De Carnaval". CD

An amazing album produced and arranged by legendary Philly mastermind Larry Gold – the cello player/writer/arranger for MFSB – and a key player in the best Philly soul of the last several decades! Don Cello & Friends features Gold as Don Cello – and the friends include Black Thought of the Roots, McFadden & Whitehead, Carol Riddick, Gerald Levert, Kindred The Family Soul, Jaguar Wright, Bunny Sigler and others. The goal for the set was not only to celebrate the depth and rich history of Philly soul with a variety of vocalists, but to draw a direct parallel with the best of today's scene. It succeeds at both masterfully. Gold's production and arranging is lush and sparkling – and the vocalists bring the very best of their games. Black Thought's rhymes on the lead off remake of "No Stoppin'", with McFadden & Whitehead, sets the stage perfectly – think the Roots on Curtom, and that's about half the picture! Much of the album carries more of a classic soul sheen – smooth and sparkling, with just enough grit for a nice edge! In the liner notes, Gold explains that he loves songs from "Gamble, Huff to Timbaland" – and this album is the perfect sonic encapsulation of that aesthetic! Possibly the best album yet with the relatively fledgling Beat Generation imprint – and a great signpost for the future of underground soul! 12 tracks including "Loving You" with Carol Riddick, "Dance" with Gerald Levert, "And I Hope" featuring Floetry, "Travelin'" with Kameelah Waheed, ""All That You Are" featuring Kindred, "Nothin'" with Jaguar Wright, "Just A Dream" with Erro, "Everybody" with Cristal Oliver, "Can I" with Bunny Sigler, and Larry Gold's "Outro". CD

A wonderful small combo session from tenorist Benny Golson – one of a few key albums like this from the early years! Although Golson is perhaps best known as a lively arranger in the modern idiom, he's also a kick-ass tenor player when he wants to be – and on this classic, he definitely wants to be! Unlike some of Golson's more tightly arranged records of the early years, this date is a deeply gutsy soul jazz session – support from a group that includes Ray Bryant on piano, Paul Chambers on bass, Art Blakey on drums, and Curtis Fuller on trombone – all sliding into long tracks that have plenty of room for solos! The whole thing's a bit like the more spontaneous side of the Jazz Messengers groove – and titles include "The Stroller", "Drumboogie", "My Blues House", and a beautiful version of "Yesterdays". CD

One of Dexter Gordon's proudest moments of the 50s – a rock-solid session for Bethlehem – easily one of the best-remembered hardbop sides from the label's California years! The album's got a relaxed, free-blown sound that's quite nice – with Dex in the lead on tenor, supported by the trio of Kenny Drew on piano, Leroy Vinnegar on bass, and Lawrence Marable on drums. Gordon's perhaps not as fully imaginative as he would become in the 60s, but his sound and control is still great throughout – and the rhythm section really helps knock this one out of the park. Titles include versions of "Darn That Dream", "Autumn In New York", "You Can Depend On Me", and "Confirmation", plus two originals "Number Four" and "Daddy Plays The Horn". CD

Fantastic unreleased work from one of the greatest trumpeters on the European scene from the late 50s onward – and one of the few players who could match the depth and soul of American jazzmen on the instrument! Dusko Goykovich has given us so much great music over the years – in small groups as a leader, in unusual projects as a sideman, and even as a soloist in bigger bands – and here, we capture the trumpet giant at the earliest stage of his career – on some beautiful German radio studio recordings from the end of the 50s and start of the 60s – tight, soulful, boppish material with a slight modern edge – recorded on all tracks with Derek Humble on alto, Karl Drevo (Drewo) on tenor, Franciso Coppieters on piano, and Jonny Fischer on bass. Some tracks feature Kenny Clarke on drums, the rest feature Stuff Combe on the kit – and titles include "Mile Dave", "Omricon", "Perhaps", "Quicksilver", "Solar", "Les Copains", "Salud To Birdland", and "On Green Dolphin Street". CD

Prime mid 70s live Dead from a monumental series of shows at Winterland in late October, 1974! Steal Your Face is something of a benchmark in the official Dead archives, as it not only captures the band during their "farewell" run before going on hiatus, it was also the final album on their own Grateful Dead Records label in it's original incarnation when it first came out in 1976. Historical significance aside, it's just a great snapshot of the band at a peak level, with "The Promised Land", "Cold Rain & Snow", "Around And Around", "Stella Blue", "Ship Of Fools", "Big River", "El Paso", "Sugaree", "I Must Have Been The Roses", "Casey Jones" and more. CD

Mary Halvorson seems to expand her sound here a bit more than usual – not in that she's working with a large ensemble, or in any sort of too-ambitious ways – but just that she's mixing her very unique phrasing on the guitar with just the right blend of other instruments – all at a level that feels way more than just the sum of its parts! The sextet features work from Adam O'Farrill on trumpet, Jacob Garchik on trombone, and Patricia Brennan on vibes – the last of whom is especially great, and whose tones really do a lot to color the album and shape the sound. The trumpet's got a great presence too – trading nicely with the trombone – and titles include "Desiderata", "Collapsing Mouth", "The Gate", "Tailhead", and "Ultramarine". Plus, Laurie Anderson plays guest violin on "Incarnadine". CD

Scott Hamilton's first two albums in one great package! Good Wind is the great opening statement from tenorist Scott Hamilton – a young player who emerged in the late 70s, but one with a definite old school sound! Scott blows here with a wind that's plenty good – very deep-toned, and with a raspy, honest quality that almost takes us back to Ben Webster in the 50s – quite a surprise for the Concord Records sound. The record's got a very well-matched group, too – Nat Pierce on piano, Monty Budwig on bass, Bill Berry on trumpet, and Jake Hanna on drums – all of whom give Hamilton's tenor plenty of space to dominate the session. Titles include "Stuffy", "Indiana", "Blue Room", "Sometimes I'm Happy", "Ill Wind", and "Broadway". Scott Hamilton 2 builds on the same foundation as its predessor, but swaps Berry's trumpet for guitarist Cal Collins. Tracks include "East Of The Sun", "There Is No Greater Love", and the Hamilton original "Blues For The Players". CD

Killer electric work from Herbie Hancock – right on par with his groundbreaking Headhunters set, but a bit spacier too! The album features a Headhunters-solid lineup – with Bennie Maupin on saxes, Paul Jackson on bass, Mike Clark on drums, and Bill Summers on percussion – all grooving wonderfully with Herbie on a set of super-long tracks! Hancock himself handles a host of incredible keyboards – Fender Rhodes, clavinet, Arp, and lots more – all in a lean electric style that still sounds as fresh today as it did way back in the mid 70s – perhaps even more so, given the return to this sort of basic groove that has happened in recent years! Tracks are long, tight, and super funky – and titles include "Actual Proof", "Palm Grease", "Spank-A-Lee", and "Butterfly". CD

A spiritual jazz classic from the hip LA scene of the late 70s – led by saxophonist Billie Harris, and featuring a group that includes Horace Tapscott on piano! We don't know much about Harris, but he's got a freewheeling spiritual sound that's very much in the Coltrane-inspired mode, yet also steeped in the creative improvised style of Tapscott's scene in LA. Tracks are all long, with a sound that builds majestically over time – and the set leaves us wondering why Harris wasn't a bigger player at the time. The core tracks of the CD were recorded in the studio – with Tapscott, Harris, and added bass, percussion, and guest vocals by the enigmatic Lorelei. An additional longer track was recorded live, with a larger group that also includes Adele Sebastian on flute and Sabia Mateen on tenor. And a last track is an 8 minute solo piano number by Tapscott. Titles include "Why Don't You Listen", "I Want Some Water", "Many Nights Ago", "The Advocate", and "Prayer Of Happiness". CD

An easily-grooving set that features Illinois Jacquet blowing over small combo arrangements with Tommy Flanagan on piano and Kenny Burrell on guitar – plus some added Latin percussion from Willie Rodriguez! The presence of the Latin percussion really adds a nice element to the album – making the tracks dance lightly, in the "conga plus soul jazz" mode that was being employed heavily at the time on labels like Blue Note and Prestige – and in a style that really makes Jacquet hit a few new notes to match the groove! Titles include "Star Eyes", "Blues For The Early Bird", "Lester Leaps In", "Canadian Sunset", and "Desert Winds". CD

A sprightly set from the Ahmad Jamal Trio – but also a record that's not as brightly colored as you might guess from the title, thanks to a nice undercurrent of darkness in the mix! Jamal's piano work is often nicely punctuated – perhaps living up to the "happy moods" promised on the cover – but the bass work of Israel Crosby and drums by Vernell Fournier are a lot more subtle – magical element that really makes the record sparkle with that unique Jamal-like approach to rhythm. Titles include "For All We Know", "Excerpt From The Blues", "Little Old Lady", "Pavanne", "Time On My Hands", "Raincheck", and "Rhumba No 2". CD

Early genius from these Bay Area stalwarts – one of the greatest rock records of its time! Surrealistic Pillow is the second Jefferson Airplane album, but they took a number of huge creative leaps in the 8 months or so between their debut record and this one. This one is where they're joined by psych siren Grace Slick, but it's not just the line-up change that sets it apart. Surrealistic Pillow is a perfect title, as it's comforting and disorienting at the same time. It's also the magical confluence of wildly different spirits – with standout contributions by the entire band. Titles include the seminal "White Rabbit" – plus "Embryonic Journey", "3/5 Of A Mile In 10 Seconds", "DCBA 25", "How Do You Feel", "Today", "She Has Funny Cars", and "Plastic Fantastic Lover". CD

Remarkable Carmell Jones, indeed – and one of the few albums ever cut as a leader by this up-and-coming force on the LA scene at the start of the 60s! Jones was a player who really showcased something new on the west at the time – a move away from cool jazz, and the start of a deeper, headier generation of musicians – the bold power that would come from cats like Lou Blackburn, Horace Tapscott, and Jimmy Woods. This date's an early entry into that legacy – and has a tight approach to hardbop with plenty of modern elements – a bit like the shift that Curtis Amy was making at the time. In addition to Jones on trumpet, the album also features Harold Land on tenor, Frank Strazzeri on piano, Gary Peacock on bass, and Leon Pettis on drums – all working with a careful blend of soul jazz and modern influences, on a wonderful batch of well-written tunes. Titles include "I'm Gonna Go Fishing", "Night Tide", "Sad March", and "Stellisa". CD

A rare Japanese-only session – one that has vocalist Salena Jones joining the fusion supergroup Stuff – in a set that's easily one of the most soulful outings from both artists involved! Although Jones mostly worked overseas, she's got a slinky style here that really fits the groove of the American group – a slow-stepping approach that wraps nicely around keyboards from Richard Tee, and twin guitars from Eric Gale and Cornell Dupree. Steve Gadd's drums keep a nice undercurrent of funk, even when things are mellow – and Tee's arrangements are tight, but never slick or overdone. Titles include "Loving Arms", "My Love", "Everyday", "Best Thing That Ever Happened To Me", "Help Me Make It Through The Night", and "Lately". CD

Wonderful work from Ty Karim – a singer who definitely lives up to the "soul goddess" promised in the title! Ty might not be the biggest name in California soul, but she's a hell of a great talent here – starting out in the 60s with upbeat Northern Soul groovers – then moving into the 70s with material that's even deeper, and a bit more sophisticated – laidback numbers that really show a maturation in style, and which are filled with wonderful twists and turns! Ty's vocals have a burning quality that's quite surprising, given her kittenish look on the cover – and as the themes get hotter, her singing gets even more righteous – making the whole package a really wonderful journey in soul. And although most of these numbers were issued (or recorded, but unissued) by tiny indie labels, they often have a very full, spacious approach to production – one that's really trying to hit the heights of Detroit or New York at the time. A good number of these cuts weren't issued at the time, and together with the rare singles, they really go a long way towards filling in the gaps in Ty's too-short career on record – further illuminated in the detailed notes from Ady Croasdell. Titles include "Lighten Up Baby", "Help Me Get That Feeling Back Again", "Only A Fool", "All At Once", "Lightin Up", "I Ain't Lying", "You Just Don't Know", "Natural Do", "I'm Leavin You", "All In Vain", "After Your Love Has Gone", "Don't Let Me Be Lonely Tonight", and "Don't Make Me Do Wrong". CD

Khruangbin are well on their way to becoming superstars with this set – a package that revisits scraps of songs they'd never been able to work just right in the past, and has a way of making them all shine freshly in a very different light! Sure, the funk trio at the core are still in place – but the music has this more expansive quality, and almost a sunny vibe that fits the image of the window on the cover – as things are warmed up with a bit of smoothness that really complements their groove – almost a nod to mellower soul at times, which will really surprise listeners of some of their other work. Yet at the same time, Khruangbin never stop reworking themselves – either through collaborations with others, or fresh projects like this – with tracks that include "May Ninth", "Three From Two", "Juegos Y Nubes", "Todavia Viva", "Pon Pon", "Farolim De Felgueiras", and "Les Petits Gris". CD

Lee Konitz on alto sax and Michel Petrucciani on piano. Tracks include "I Hear A Rhapsody", "To Erlinda", "Lover Man", "Ode", and "Lovelee". CD

Titles include "Thong Song", "Apothecaries' Weight", "Mondo Generator", "Yeah", "50 Million Yar Trip", "Molten Universe", "Green Machine", "Thumb", "Caterpillar March", "Freedom Run", "Allen's Wrench", "Capsized", and "Writhe". CD

One of Steve Lacy's great late 70s recordings for Hat Hut – a searing live performance that was one of his boldest efforts from the time! The group here are a quintet of familiar players – Steve Potts on alto and soprano sax, Irene Aebi on cello and voice, Kent Carter on bass, and Oliver Johnson on drums – all working together as a tremendously cohesive unit, with a dexterously angular feel on most of the numbers. Titles are all quite long, and with lots of choppy saxophone interplay – and Aebi performs a piece by Brion Gysin on the track "Dreams" 2CD set seems greatly expanded from the original album – and titles include "Raps", "The Way", "The Breath", "Stamps", "Bone", "Life On Its Way", and "Name". CD

One of the greatest albums ever recorded by the mighty Yusef Lateef – and that's really saying a lot, given his fantastic legacy of albums! The set's a live one, which is a bit unusual in Lateef's catalog at this time – and the concert setting is perhaps a window onto some of his more expressive, experimental modes that didn't always show up on record, especially the Impulse studio sides he was recording at the time. Lateef's group is pure genius – with a young Mike Nock on piano, sounding all weird and dark, with amazing tones from his instrument – plus the great Richard Williams on trumpet, a player who always seems to bring something special to a record! The team of Ernie Farrow on bass and James Black on drums help create all these modal rhythms that are really fantastic – and Lateef himself blows tenor and flute, plus the more exotic reed instruments argol and shanai. Titles include "The Magnolia Triangle", "Sister Mamie", "Number 7", "The Weaver", and "Slippin' & Slidin'". This CD adds 3 long extra cuts to the original release! CD

The album's got just the right title, as it's a wonderful album from Hammond player Mike LeDonne! Mike's got a key partner here in tenorist Eric Alexander – a player who started out in the company of older organ jazz legend Charles Earland, so he's got just the right chops for this set – working alongside Peter Bernstein on guitar and Joe Farnsworth on rock-solid drums! Perhaps the most interesting aspect of the record is the presence of a vocal group, who sing on a fair bit of the album – adding a lightly soulful touch that really sets the record apart from other Hammond jazz recordings. Titles include "Lonnie's Lament", "Ain't Nothing Like The Real Thing", "Make Someone Happy", "Genesis", "Put It Back", and "Let Us Go". CD

A long-overdue look at the mini-soul empire of Leo Gooden – an tiny little enclave in East St Louis that was making some mighty hip music in the early 60s! Gooden wore many hats at the time – politician, club owner, and local businessman – but he also put together his own band and record label, and worked in a very hip mix of R&B and 60s soul jazz modes! Through his nightclub, The Blue Note, Gooden came into contact with a variety of great musicians, both national and local – and he brought their inspiration to play on sessions recorded here for his LG family of labels – issued on a handful of singles and two rare LPs. Although rough-edged at times, these tracks have a really great sound – kind of a grittier take on the Prestige Records groove of the 60s – helped out by musicians who include Oliver Nelson and Hamiet Bluiett – and singers who include Albert King and Charles Drain. The package is a bit loose on discographical details, but definitely includes all the best moments from these mighty years on the East St Louis scene – and the full story in the notes more than helps to fill in the gaps in Gooden's compelling tale. The titles by Leo's Five – Gooden's group – are all hip jazz instrumentals, often with a strong mix of Hammond, guitar, and tenor – and these titles include "Hold It", "Sunrise Serenade", "Something You Got", "Tippin", "Johnnie Come Marching Home (Country Style)", "Minor Over Matter", "Mop Water", "Fredrick's Dream", and "Cookin With Chezie Mae". Other cuts include "COD" and "Worsome Baby" by Albert King, "So Glad" and "Stop & Think About It Baby" by Charles Drain, "Winkee Do" and "Ugly Ugly" by Leo Gooden, and "Let's Do The Cat" by Jamie Ross. CD

Wonderful work from Harry "Little" Caesar – a singer who made some great R&B singles for the west coast scene in the 50s, but hardly ever got his due on the other side of the US! Harry's got a nicely rough edge in his vocals – a style that reminds us a lot of the best male singers at King, like Roy Brown or Wynonie Harris – and although Caesar's perhaps not as raw and raunchy as the latter, he often covers similar down-to-earth topics in his tunes – material that makes these sides a real joy to rediscover! As the title implies, the work here was recorded for a handful of different labels – Modern, Dolphin, and Downey – and together, the tunes paint a vivid picture of this under-discovered talent from LA – a picture that's expanded on nicely by Billy Vera's notes as well. CD features 26 tracks in all – including "Cadillac Baby", "Don't Mention The Blues", "Lying Woman", "Atomic Love", "Going Down To The River", "Move Me", "Personal Question", "Tried To Reason With You Baby", and "What Are They Laughing About" – plus numbers sung with The Turbans, including "The Nest Is Warm", "No No Cherry", and "Tick Tock A Woo". CD

Two rare albums from Dutch reedman Theo Loevendie – both amazing little records that sound beautiful here on a single CD! Mandela features complicated lines from a hip Netherlands combo of the late 60s – one headed up by Theo Loevendie on alto sax, but which acts a lot more like a collective of modernists working together – Hans Dulfer on tenor and bamboo flute, Willem Van Manen on trombone, Nedly Elstak on trumpet, Joop Mastenbroek on baritone and clarinet, Maarten Altena on bass, and Martin Van Dunhoven and John Engels on drums. The tunes all have a nice sense of structure – energy that's more like the early 60s modernism of the European scene – particularly some of the more rhythmic styles – than the looser freedoms that some of Loevendie's contemporaries were hitting at the same time. There's definitely plenty of offbeat sounds in the mix – but the group also knows how to swing, too – on titles that include "Trombomanie", "Mr Brook", "Timbuktu", "Trompedly", and "Pepy". Chess is a really playful outing from a very cool Dutch combo – one with lead alto from Theo Loevendie, but a rich array of sounds from the other members too! The reeds are especially nice – often coming together with a complexity that goes back to older European modern traditions, yet with a swinging sensibility that's still plenty jazz, too – kind of a mix of composition, arrangement, and inherent swinging – with standout work from Hans Dulfer on tenor, Leon Van Oostrom on baritone, Leo Cuypers on piano, and Willem Van Manen on trombone – a player we barely know at all, but whose bold tones really bring a lot to the record. Titles include "Lapsang Souchong", "Scratch", "Brasilia", and "Tremolo". CD

The lasting legacy of Screaming Lord Sutch – and an album that's almost equally well-known for its work by a host of famous guests – including Jeff Beck, Jimmy Page, John Bonham, and others! Page is perhaps the most involved here – as he produced the set with Sutch, co-wrote some tracks, and plays some mighty searing guitar – as does Beck, which makes the album almost worth it alone for all the wonderful solos! But Sutch himself is pretty great too – kind of a mish-mash of late 60s nasty camp references, with the same sinister vibe as Kim Fowley – and an equally freewheeling approach to a tune that makes the album a heck of a lot of fun. Titles include "Gutty Guitar", "Flashing Lights", "Wailing Sounds", "Thumping Beat", "Union Jack Car", and "London". CD

French composer Michel Magne is perhaps best remembered for his soundtrack work of the 60s – but this well-done collection digs farther back, and brings together not only some earlier film score work from the postwar years, but also some extra cool instrumental projects too! Magne's always got a special sort of twist in his music – and he was maybe one of the first French arrangers to incorporate newer ideas in pop and rock to his music, at a level that opened the door for later artists like Jean Claude Vannier or Michel Colombier – and like contemporary Alan Goraguer, he's also got some strong backing in jazz as well! Those many streams of styles really come into play here – in a big 3CD package that features 88 tracks in all – including the soundtracks to the films Le Repos Du Guerrier, Le Pain Vivant, Detournement De Mineures, Le Pique Assiette, and Un Singe En Hiver – plus work from a Musique Pour Films album, the records Musique Tachist, Paris, and A L'Alhambra – and even a rare collaboration with author Francoise Sagan! CD

Saxophonist Shintaro Mamiya has this wonderfully raspy tone on the alto – a surprising edge that at times almost makes you feel like he's blowing a tenor, as does the setting for the record – which has a well-crafted, soulful groove that definitely brings out the best in the leader! The album leaps, swings, and soars at a level that's almost effortless – piano from Yuko Sakuma, bass from Paul Dwyer, and drums from Hiro Kimura – while Mamiya serves up solos on titles that include "Funky Papa", "Ring A Bell", "Silverite", "Tap Out", "Girasole", "Cobalt Blue", "More Feelin More Energy", and "Farewell Colors". CD

Great later work from tenorist Warne Marsh – recorded in Copenhagen with some very warm backing from the Kenny Drew Trio! The album's a great reminder that even in familiar territory, Marsh can still always blow us away – because although the set's mostly standards, they're often colored with those dark edges and blue corners that show up in Warne's playing, especially in his later years. Drew's work on the piano is a treat, as always – and his trio features Bo Stief on bass and Aage Tanggaard on drums. Titles include "I Got A Good One For You", "Sophisticated Lady", "On Green Dolphin Street", "Star Eyes", "Ornithology", "Softly As In A Morning Sunrise", and "Little Willie Leaps". CD

Fantastic mid 70s sounds from The Masqueraders! Everybody Wanna Live On may very well be the best album ever by this sweet southern vocal group – produced and arranged by Isaac Hayes, who'd always had a big hand in the group's sound. The record's got a style that reminds us of mid 70s Manhattans, but perhaps with more of an edge on some of the vocals, especially on the more uptempo tracks. Includes the great cut "Please Don't Try (To Take Me Away To The Sky)", with a nice electric piano groove and funky vocals, plus "(Call Me) The Traveling Man", "Sweet Sweetning", "Baby It's You", "Everybody Wanna Live On", and "Your Sweet Love Is A Blessing". CD

Amazing rare soul from Gwen McCrae – little-known material recorded for Columbia records in the years before her later 70s fame at TK! The style here is nice and rootsy – very southern soul in its approach, even more so than Gwen's earliest work at TK – thanks, perhaps, to less of a club or pop crossover need in the production. Yet there's also a key link with the TK years, too – production by Steve Alaimo, who's really finding his way here in a great way – borrowing bits from other southern soul modes, moving them down to Miami, and helping forge a whole new chapter in southern soul for the 70s. Gwen's vocals are incredible – arguably even deeper and more hard-hitting than on some of her bigger hits – and the freshness of the material further makes the set great. Plus, since Columbia never issued a full album of this work in the US (although there was one rare record of the singles in Europe in the 70s), this package makes the first-ever full length Columbia album from Gwen – put together with stunning sound, very detailed notes, and some great vintage images. Titles include "Leave The Driving To Us", "Ain't Nothing You Can Do", "Lay It On Me", "Lead Me On", "Lovin In The Lay A Way", "I'm Losing The Feeling", and "Been So Long". CD

A pair of 70s gems from Harold Melvin & The Blue Notes! Black & Blue is classic Philly soul from Harold Melvin & The Blue Notes – a killer batch of studio tracks, despite the live image of the group on the cover! The album's got a slightly more expansive feel than some of the other Teddy Pendergrass-era albums by The Blue Notes – almost a mini-symphony of soul, and one that takes arrangements from Bobby Martin, Norman Harris, and Vince Montana – and wraps the vocals up in a soaring, righteous sort of feel! The rougher, more personal Teddy Pendergrass style of I Miss You is folded a bit more into the harmonies of the rest of the group here – and the result is a powerful wave of soul that pushes The Blue Notes right to the top of the pack. The album features classics like "The Love I Lost" and "Is There A Place For Me" – plus other nice material like "Concentrate On Me", "It All Depends On You", and "I'm Weak For You". On Wake Up Everybody, Teddy Pendergrass and crew get a bit more political than on earlier releases, and adopt the righteous bubbling soul groove that had put the O'Jays over the top a few years earlier – with incredible results! The title cut – "Wake Up Everybody" – would prove to be a great example of the political Philly International hit formula applied to socially conscious themes, but the record probably scored even bigger with the club crossover hit "Don't Leave Me This Way". Other tracks include "Keep On Lovin You", "Tell The World How I Feel About Cha Baby", "I'm Searching For A Love", and "You Know How To Make Me Feel So Good" – the latter two of which also feature female vocals by Sharon Paige. Bobby Martin, Norman Harris, and Ronnie Baker did the arrangements – and this was Teddy's last LP with the group. CD

A series of duet and trio pieces recorded live by pianist Misha Mengelberg – in the company of saxophonist Steve Potts, trumpeter Thomas Herberer, tuba player Michel Godard, and percussionist Achim Kremer – all in ways that are often spare, and graced with the strong feeling of each player staking out their individual space! The overall quality of the record is perhaps a bit more academic than some of Mengelberg's other recordings, but the overall result is still quite nice – and Misha's own piano often breaks through some of the too-contemplative moments with a stronger sense of spirit. Performance features 9 titles in all – each numbered versions of "IC Root". CD

A really great later effort from Helen Merrill – one recorded in Paris at the end of the 80s with some excellent tenor sax work from Stan Getz! The mode of the record is similar to other Merrill records from the time – spare, gentle, and moody – sometimes threatening to lapse into its own blueness, but wonderfully redeemed by Stan's solo lines – which push a boldness and raspy edge into the tunes that really livens things up. The album's a great demonstration of the Getz power on a vocal session – a sound that never overtakes the presence of the singer, but really brings in something fresh – a voice of its own that helps redefine the tunes and create some of the most exciting moments on the record. Other players include Joachim Kuhn and Torrie Zito on piano, JF Jenny-Clark on bass, and Daniel Humair on drums – and titles include "Music Makers", "Cavatina", "It's Not Easy Being Green", "Yesterdays", "If You Go Away", and "Just Friends". CD

One of the greatest jazz voices on the bass clarinet – save perhaps for the late Eric Dolphy – working here in a wonderful batch of ballads and gentle groovers! The set's quite different from the usual jazz date to bear "ballads" in the title – as David Murray's not ruminating over standards with too much strings – and instead still works in a hip small combo mode that's filled with swing and soul. In fact, most tunes are hardly ballads in the traditional style – and just showcase a slightly gentler, more personal side of Murray's music – but one that still has plenty of darkness around the edges. The group's a quartet – with John Hicks on piano, Ray Drummond on bass, and Idris Muhammad on drums – and tunes include "Portrait Of A Black Woman", "Waltz To Heaven", "Elegy For Fannie Lou", "Lyons Street", "Chazz", and "New Life". CD

A Brazilian group, but one who play with a wonderfully spiritual sound – with currents of jazz that take us back to the early 70s years of Strata East and Impulse Records, but given perhaps a bit more of a contemporary twist! The large lineup definitely lives up to the orchestra in their name – with a great mix of reed instruments, plus keyboards, guitar, bass, drums, and additional percussion – all used in these ways that start in jazz, then pick up a globe's worth of musical context along the way – not just Brazilian elements, but some Afro-Cuban and Afro Funk modes as well – but used in ways that are relatively unique, and which really give these guys their own sort of special flavor. Titles include "Samurai", "Sonhos De Toquio", "Bedum", "Doce Agonia", "Drago Do Mar", "Morning Birds", "Humaita", and "Garuda". CD

2 Ohio Players classics – back to back on one CD! Skin Tight is the band's first album for Mercury – and although one might have the temptation to say that the label cut down the radical funk sound of the trippy Westbound years, the move also taught the band to sharpen up their act, and get out of the repetitive sloppy groove into which they'd been lapsing during the past few years. The record's a lot smoother than earlier work – with a polished funky sound that would soon push the band right up there with Earth Wind & Fire at the top of the soul charts. And although there's familiar funky numbers like "Skin Tight", "Jive Turkey", and "Streakin Cheek To Cheek" – the best moment on the entire album is the wonderful spacey soul number "Heaven Must be Like This", a seven minute mellow groover that's got a sophisticated jazzy soul style, with voices and piano soaring into the heavens, in a way that always still sends chills down our spine! That cut shows the band's tremendous growth – and it's one of their best-ever! Fire is one of the biggest albums ever for Ohio Players – a set that took their earlier funk sound and targeted firmly at the mainstream with a lean, mean groove that a million other groups copied at the time! There's still plenty of the soul of the early years in the group's approach here – and sometimes, the mellower tracks show a wonderful talent for harmonies coming even more fully to the top. But the real appeal of the record has always been the bold, bassy grooves that hit strongly just as ensemble funk was exploding in the mainstream during the early years of disco – making plenty of space for the Players and their contemporaries to grab up new audiences who never would have touched a record like this five years before! There's plenty of grit in the grooves on the best numbers – a style that's maybe not as dirty as on Westbound, but still more than enough to make any real funk fan proud. Titles include "Fire", "Together", "Together/Feelings", "It's All Over", "Runnin' From the Devil", "Smoke", "What The Hell", and "I Want To Be Free". CD

An aggressive bit of funky fusion – a set that matches the talents of Japanese trumpeter Shunzoh Ohno with some hip American grooves from Reggie Lucas on guitar, Cedric Lawson on keyboards, Don Pate on bass, and Roy Haynes on drums! The sound is very full-on – in a mid 70s Miles Davis electric mode, but with perhaps a bit more of a funk touch on the best cuts – almost a refinement of the groove that Miles hit in Japan, fusing the energy into some great tunes that really pack a sharp punch! Haynes' drums are surprisingly heavy at points – and titles include "You Dig That?", "But It's Not So", and "I Remember That It Happened". CD

A duo who really take the hemispheres in their title seriously – as lyrics and vocals are all by Otis Junior, and the album's spare rhythms and instrumentation are from Dr Dundee! Otis is a hell of a frontman – as he's got this laidback, raspy style that really fits the open, honest quality of his words – lyrics that are spacily spoken as much as they're sung – in this haunting style that really fits the crispy core elements provided by the doctor. The duo are surprisingly strong together – really supporting each other in the best way, and not lapsing into too-familiar beats-n-lyrics cliches – on titles that include "Hemispheres", "Bubble", "Why Can't You Just Come For Conversation", "The Mixture", "3 Winds", "Bye From Space", and "Under My Skin", which features a guest appearance by Jim James. CD

A nice live snapshot of a later P Funk incarnation, circa 1983 – with players like Dennis Chambers and Michael Hampton aboard the mothership with Clinton's family of funk all stars! The rest of the crew includes includes stalwarts Bernie Worrell, Eddie Hazel, Blackbird McKnight, Maceo Parker, Mudbone Cooper and George Clinton working hard to extend their legendary style of live funk into the 80s. There's a slow build up of energy that's works well – kicking off slowly but surely with a laidback intro and band intro before busts open in a big way, and from there it's one exciting classic after another 'til the very end! Includes lengthy live riffs on P-funk classics like "Cosmic Slop", "(Not Just) Knee Deep", "Maggot Brain", "Atomic Dog"and "Flashlight", "Give Up The Funk (Tear The Roof Off The Sucker)", "Do That Stuff", "Cosmic Slop" plus a medley of "Let's Take It To The Stage", "Mothership Connection (Starchild)" and "I Call My Baby Pussycat" in a nearly 100 minute set! CD

Excellent work from this amazing west coast spiritual jazz ensemble – a large collective led by pianist Horace Tapscott, and one that's overflowing with key talents from the Nimbus Record scene at the time! The group performed often at the IUCC in LA, but always seemed to deliver something different with each new concert – not the same material, but explosive, expressive new ideas that really showcase the boundless genius of Tapscott and all the players involved – a scene that was often overlooked at the time, in favor of work from the east coast and Europe – but which finally gets its due here! The large lineup includes work from Linda Hill on piano, Adele Sebastian on flute, Sabir Mateen and Dadisi Komolafe on tenors, Roberto Miranda on bass, and Juana Nash on trumpet – most of whom you'd know from albums of their own – and in keeping with the message-oriented quality of the music, the set also features some vocals from Hill and Sebastian, and especially great vocals from Juan Gray. Titles include "Nation Rising", "Faith", "Horacio", "Carnival", and "Dance Of Blessing Happiness & Praise" – all nice and long! CD

Jorge Pardo on flute and saxophone, Chano Dominguez on piano, Javier Colina on contrabass, Luis Dulzaides on congas, bongos, and shekere, Tino Di Geraldo on percussion, Conchi Heredia "Chonchi" on handclaps and vocals, and El Conde on handclaps. CD