One of the coolest records to come from the TK Records Miami soul empire of the 70s – and one of the few that was ever issued on their tiny Good Sounds subsidiary! We know little about the group, but the approach here is great – kind of all the strengths of the usual TK/Criteria Studios groove, but taken to a sharper, tighter edge – with maybe less of the obvious try for commercial crossover that some of the label's other material might have. The tunes are a mix of uptempo grooves and mellower soul, and mostly avoid the more standard disco approaches of the time – which leaves these guys to stand out almost like they've emerged from the funky 45 scene with a bunch of great tracks, only to disappear in the shifting sands of time! Titles include "Get In The Groove", "I Like Whatcha' Doin", "Our Love", "Money Don't Grow On Trees", and "Love's Sweet Notions". CD

An incredible record from Bobby Blue Bland – and quite possibly the greatest one he ever made! The set's got an amazing something special that's unlike most other material of the time – a bit blues, but a lot of soul too – still with some echoes of R&B in the jazzier charts used for the backdrop, but presented with a rock-solid style that definitely points the way towards many sounds and styles to come in the 60s. And although Bland recorded many of these tracks as separate singles, there's a way they're put together here that makes the whole thing sound completely marvelous together – a really well-conceived track list that shows that Bobby's an even greater artist in the space of a full record. The arrangements are perfect, and Bobby's rough soulful voice is blended in this amazing way with killer horn arrangements that are far more sophisticated than most stuff that ever came after this, and which never get in the way, but only back up his deep emotion. The album's a motherlode of classics by the man, with gems that include "Two Steps From The Blues", "Cry Cry Cry", "I Don't Want No Woman", "I'm Not Ashamed", "Don't Cry No More", "Lead Me On", and "I Pity The Fool". And hell, even his version of "St James Infirmary" is pretty wonderful – something we never thought we'd say about that song. CD

A killer little soundtrack – and one that's quite different than the usual blacksploitation set, but still pretty funky overall! The film Black Girl was a surprisingly sensitive movie directed by Ossie Davis in the early 70s – not as much about action as it was about the everyday life, and the hopes and dreams of the lead characters – all of which made for some really well-rounded music, of the sort you'd find on some of the other great Fantasy Records soundtracks of the time, especially the classic Cornbread Earl & Me score. Ed Bogas and Ray Shanklin put together the whole thing, and the album's a mix of hip instrumental tracks with some other vocal ones – a really nice range that draws from singers like Betty Everett, Rodger Collins, and JJ Malone – and jazz players like Sonny Stitt and John Hunt (plus organ from Merl Saunders on one cut.) Titles include "BJ's Step", "Black Girl", "Sister", "Earl (Still A Pearl)", "Mothers Day Song", "Power", "Get Me To The Bridge", "Chock-lite Puddin", and "Black Girl Cue". CD

Obscure British soul from Bovel – a Manchester singer from the mid 90s, and one who's got a vibe that's very different than the more popular London soul of the same time! Bovel clearly came up through the underground, and embraces a host of important musical currents here – while also working in a lean style that seems to refine her influences down into a special sort of essence through the DIY presentation of the album! This isn't soul that's trying to hit the charts or the clubs, but instead just stands as the very personal expressions of an artist who's at the crossroads of Northern England cultural currents. Titles include "Check 4 U", "Daydreamer", "Best Thing", "It's Not About Me", "Coming Back", "My Man", "Let Down & Liar", and "Life Changes You". CD

Some of the grooviest work ever cut by Brazilian trombonist Waltel Branco – a set that's very different than just about anything he ever put on record, and which is also material used in an early 70s TV series as well! The sound here is kind of a criss-cross between some of the cool Brazilian arranging styles of the time – the sorts of backings you'd hear on records by folks like Marcos Valle or Edu Lobo – mixed with some of the groovier European soundtrack modes of the period – especially Italy and France, and the great way those scenes really messed with production and instrumental styles. There's more than a few funky cuts here – making the album a real treasure in Branco's catalog – and almost all tracks are instrumental – but the set does feature one vocal number, "Frustracao", sung by Arlete Salles. Other titles include "I Giorni Dell'Ira", "200 MPH", "Bandinha", "Diana", "Tema De Ricardinho", "Tema De Abertura", "Efeito", "Back Ground", and "Zorro". CD

A monumental piece of funk – and a record that came into the world at a time when it seemed like just about everyone had forgotten how to play real funky music! This set's the US version of the first album by London scenesters The Brand New Heavies – and although it came out in the states 2 years after the UK set, it's essentially the same record – just featuring new vocals by singer N'Dea Davenport in place of the original vocalist Jay Ella Ruth. Davenport's vocals transported the group from indie acid jazz obscurity into the US soul charts in a way that nobody ever expected – and the resulting album is a stone classic that's filled with excellent cuts like "Ride In The Sky", "Never Stop", "Dream Come True", and "Stay This Way". Great stuff all around – and one of the few classic soul albums of its generation! CD

A pivotal album from the early 90s – one that not only furthered the rebirth of live funk instrumentation at a time when ditigal elements dominated the scene – but also really opened up that mode to a whole new generation of hip hop as well! At a time when the music was all about the samples and beats, Brand New Heavies took it back to the generation before – and provided live instrumentation for a host of fantastic talents – a legendary lineup that includes performances from Main Source, The Pharcyde, Black Sheep, Kool G Rap, Gang Starr, and Masta Ace – all young and at the top of their game, with a quality level that alone would make the album great – then really sends it over the top when paired with the instrumentation! The whole thing's amazing – still maybe yet to be topped in such a style – and titles include "Who Makes The Loot", "It's Getting Hectic", "Wake Me When I'm Dead", "Soul Flower", and "Bonafide Funk". CD

The smash first solo album from Toni Braxton – a set that not only catapulted the singer to worldwide fame, but also earned the LaFace production team another big feather in their cap! The set's got a nicely deep vibe that's a few steps beyond some of the more mainstream pop of the time – yet also has a catchy, captivating quality to grab just about any set of ears – and is filled with lots of great tunes penned by the trio of Babyface, Kenny Edmonds, and Daryl Simmons. Titles include "Another Sad Love Song", "Breathe Again", "How Many Ways", "You Mean The World To Me", "I Belong To You", "Love Shoulda Brought You Home", "Love Affair", "Candelight", and "Best Friend". CD

About as classic as you can get for the Brown/Roach group – recorded at Basin Street with a group that includes Richie Powell on piano, Sonny Rollins on tenor, and George Morrow on bass. Tracks are tight and in that firey hardbop mode the pair pioneered – and titles include "Gertrude's Bounce", "Powell's Prances", "Time", "The Scene Is Clean", and "I'll Remember April". Most notable is the work by Powell on the record – as Bud's brother really shines here, turning out some great original compositions, and arranging the group with tight precision! Plus, the CD reissue features 4 bonus tracks – including alternates of some tunes on the record, and a few breakdowns. CD

A different James Brown album – but a nice one! James doesn't sing soul, so much as jazz – in front of large backings by Louis Bellson, with arrangements by Oliver Nelson that are in his best 60s soul mode – and which give the album a very very groovy feel overall! The record's not funky, but James' vocals are plenty darn soulful – and the album is proof that he could be a huge talent in just about any mode that he chose – shining with a brilliance that was irrepressible! James covers a few of his older tracks on the album, and sings a few other pop standards – and titles include nice versions of "It's Magic", "The Man In The Glass", "Papa's Got A Brand New Bag", "That's My Desire", and "I Need Your Key (To Turn Me On)". CD features the previously unissued bonus track "There Was A Time" – plus the full, unedited versions of 4 other tracks – appearing here for the first time ever! CD

Amazing work from Marion Brown – two albums we'd never be without! Geechee Recollections is quite possibly our favorite record ever from reedman Brown – and very different than both his seminal 60s recordings, and his European sides from later years! There's a really earthy feel to this record – one that really lives up to the title, and which comes from the use of lots of percussion, played by just about every group member, ala AACM – but handled in a style that's warmly spiritual, and very organic too – right in line with the best Impulse Records vibe of the time, yet completely its own thing too! Brown plays alto and soprano sax, and is working with players who include Leo Smith on trumpet, William Malone on mbira and autoharp, James Jefferson on bass, and Steve McCall, Jumma Santos, Bill Hasson, and A Kobena Adzenyah on percussion – in addition to percussion plays by other group members too. Two tracks are spare, beautiful solos – almost a Kalaparusha Maurice McIntyre vibe – and titles include "Buttermilk Bottom", "Once Upon A Time", "Tokalokaloka", and "Karintha". Sweet Earth Flying has an unusually introspective quality, and features Muhal Richard Abrams playing piano, Fender Rhodes, and Ring Modulated Hammon Organ, plus Paul Bley playing some of the same on a few tracks. The two-keyboard sound is very cool, and the record's dominated by it in a way that we find really surprising, given the fierceness of Brown's sax playing on earlier sessions. Each side of the album features a long suite – side one has "Sweet Earth Flying" and side two has "Eleven Light City" – and each have the tracks drifting in and out, with piano lines swirling about in a soulful spiritual way, as Brown's alto and soprano snake through the elegant arrangements. Really fantastic stuff – and a record that's unlike any we've heard from him! CD

BT Express are speeding it up a bit from the first album – hitting more of a disco vein, as would be their due, since they were one of the key groups in inventing the genre! The core ensemble funk sound is still firmly in place, with loads of great horns arranged by the enigmatic Carlos Ward, a jazzy talent who always brought a nice edge to the group's albums. Titles include the tasty funk cut "Devil's Workshop", which has a similar feel to "Express" – plus the massive "Peace Pipe", a very catchy number that's always been a favorite in Chicago – along with the great tracks "Discotizer", "Give It What You Got", "Whatcha Think About That?", and "Close To You". CD also features five bonus tracks – single versions of "Peace Pipe", "Give It What You Got", "Close To You", and "Whatcha Think About That" – plus a 10 minute disco mix of "Peace Pipe" on CD for the first time! CD

Genius – pure genius! Solomon Burke is one of those soul singers you always hear folks about, but who you never seem to get to hear as much as folks like Otis Redding, Ray Charles, Wilson Pickett, or any of his other label-mates on Atlantic. This excellent 2CD set will correct that problem – as it brings together 41 tracks from Solomon's glory days at Atlantic, and the selection of material is fantastic all the way through. Solomon's voice is indescribably majestic – soaring over the top of the tightly-woven arrangements that were some of Atlantic's first real forays into soul music. The set does a good job of showing the full range of his talents during the 60s – and it moves way past the few hits he had, which always seem to get repeated endlessly when anyone brings up his name. Tracks include "Save It", "Get Out Of My Life Woman", "Detroit City", "Take Me (Just As I Am)", "When She Touches Me (Nothing Else Matters)", "Looking For My Baby", "I'm Hanging Up My Heart For You", "Cry To Me", "If You Need Me", "The Price", "You're Good For Me", "Words", "It's Been A Change", "Time Is A Thief", "Stupidity", and "Woman, How Do You Make Me Love You Like I Do". CD

A trio session – but a killer, too – very different than just about any other piano trio material from the time – with that special sort of edge that always made Jaki Byard really stand out from the pack! There's some very unusual things happening in the rhythms – some slight Eastern elements, a few trippy touches, and other heady elements that live up to the title – but in a subtle way, too. Byard plays piano throughout, but also handles a bit of guitar, too – and the group features Ornette Coleman's bassist David Izenzon on bass, plus Elvin Jones on drums and tympani – the latter of which is used in some very cool ways. Titles include "Trendsition Zildijian", "Sunshine", "Cast Away", and "Chandra". CD

A pair of killers from Cameo – back to back on a single CD! Cameosis is full-on frenetic funk from Cameo – one of the group's tightest albums, yet still without any of the too-slick sounds of later years! The sound here is amazing – and we always find ourselves wondering how a group of guys can hit such perfect grooves with just a bunch of basses, guitars, and keyboards – a totally on-the-money style that vamps, leaps, and jumps with energy throughout. The vocals are great too – bubbling up in the mix almost like another instrument – and the album's got a depth that so many other copycat funk records from the time just couldn't touch. Wonderful throughout – with tracks that include "Shake Your Pants", "Cameosis", "On The One", "We're Goin Out Tonight", and "Please You". Also features a bonus 7" mix of "Shake Your Pants". Feel Me is a great 80s groove from Cameo – but one that's still done in the group's best early funk ensemble mode! There's maybe a bit more emphasis on the basslines and keyboards than before, but the sound of the music is still wonderfully full and spontaneous – very much in keeping with the warmly collaborative look of the group on the cover, who really sound like they're having a hell of a lot of fun making the record! The rhythms have a razor-sharpness that just about nobody else can touch – and there's all these cool little instrumental flourishes that sneak into the mix and really keep things interesting – odd sounds on familiar instruments, moogy moments on keyboards, and even some vocal inflections that come as a nice surprise. There's two nice mellow cuts – "Feel Me" and "Is This The Way", which have a sweetly compressed harmony sound on the lyrics – and funky numbers include "Better Days", "Keep It Hot", "Roller Skates", and "Is This The Way". CD

Arguably one of the best records cut for the short-lived Mode label in the late 50s – and easily one of the best from trumpeter Conte Candoli too! For the session, Conte front a quartet with Vince Guaraldi on piano, Monty Budwig on bass, and Stan Levey on drums – and Guaraldi's piano style's got a heck of a lot more soul than you'd expect, a detail that brings a nice depth to a session that might have been otherwise lightweight – and which comes off with the same strength overall as the pair's outing from the same time for the Crown label. Candoli seems to play about half the tracks with a mute, but still in a style that's more open and fluid than much of his other work from the time – and titles include "Tara Ferma", "Diane", "Mambo Blues", "Mediolistic", and "Walkie Talkie". CD

A pair of classic albums from Clarence Carter – back to back on a single CD, with bonus tracks too! First up is the album This Is Clarence Carter – a seminal debut from the great Clarence Carter – proof that there was still a lot of genius to be heard in southern soul at the time! The 60s were just about over when Clarence appeared on the recording scene – and it seemed that most of the big names in soul had already grabbed most of the thrones in the kingdom. Clarence was a real comer, though – and his sweet style of southern soul was immediately popular, filling a void promptly after the death of Otis Redding, and setting a bit more fire than some of the other Atlantic male singers, who were waning a bit at the time. Of course, it certainly helps that that lil' ol' genius Rick Hall was behind Clarence's move – arranging and producing this album with some of the strongest, least cliched Muscle Shoals backings of the time. Titles include "Slip Away", "Funky Fever", "Thread The Needle", "Do What You Gotta Do", "Looking For A Fox", and "Slippin' Around". Next is Dynamic Clarence Carter – seminal southern soul from the legendary Clarence Carter – one of his early killers for Atlantic Records, all of which really stand out from most of his work to come in later years! There's a raw, raspy brilliance here that's undeniable – the blind singer stepping out with incredible confidence on a host of tunes that really run the gamut – numbers of love and loss, mixed with a few more contemporary pop tracks – but all given a unique Muscle Shoals twist that really transforms them. Carter wins our heart from the start with his version of "I'd Rather Go Blind" – then keeps on soaring through cuts that include "Think About It", "Steal Away", "Look What I Got", "That Old Time Feeling", "Let Me Comfort You", "Weekend Love", "Light My Fire", and "Too Weak To Fight". Includes 5 bonus tracks – "Take Me Use Me", "I'll Be Over After A While", "She Ain't Gonna Do Right", "There Won't Be Another Sunset", and "I'm Happy Go Lucky". CD

A landmark session that gathered together just about every hip British jazz and jazz/rock musician of the time – and brought them together into one super-cool orchestra of sound! Robert Fripp produced the record, and Keith Tippett is the overall music director – but the album's got a feel that's much more in the avant side of the UK jazz spectrum – particularly the trippier side of the Deram/Decca label of the late 60s – like work by Mike Westbrook or Mike Gibbs! The lineup is huge – with Elton Dean and Dudu Pukwana on alto sax, Alan Skidmore and Gary Windo on tenor, Ian Carr and Mongesi Fesa on trumpets, Mark Charig on cornet, Nick Evans and Paul Rutherford on trombone, Keith Tippett on piano, Brian Godding on guitar, Robert Wyatt and John Marshall on drums, and Maggie Nicholls, Julie Tippett, Mike Patto, and Zoot Money on vocals – plus lots of strings as well! Great 2CD version – remastered from the original tapes, with much better sound than previous versions. CD

Includes "Duke of Earl", "Nite Owl", "Tear for Tear", "You Threw a Lucky Punch", "Rainbow", "Man's Temptation", "Think Nothing About It", "Just Be True", "Bless Our Love", "What Now?", "You Can't Hurt Me No More", "Nothing Can Stop Me", "(Gonna Be) Good Times", "I Fooled You This Time", "Girl Don't Care", "To Be a Lover", "There Goes the Lover", "Groovy Situation", "Get Down", and "Does She Have a Friend for Me". CD

An odd collection of tracks, but they're all great, and the set's an excellent batch of some of Chandler's harder-to-find material from the mid and late 60s! The tracks are pulled from his years at Chess, Brunswick, and Mercury (one of the advantages of the recent Universal/Polygram merger!) – and there's a total of 10 songs, including "Rainbow '65 (part 2)", "To Be True", "Groovy Situation", "I Won't Need You", "Think Nothing About It", "From The Teacher To The Preacher", "To Be A Lover", "I Fooled You This Time", "River Of Tears", and "Nothing Can Stop Me". CD

The first Chicago album – presented here in all its jazzy brilliance! Back in the day, we used to wince when we heard these guys – but over the years, thanks to much rediscovery of the band by groove hounds, we've really come to like their work a lot. This first album especially has some great moments – complicated jazzy bits that you might have forgotten about, and some surprisingly groovy material that sounds a lot better than you might remember! Includes the classics "Beginnings", "Does Anybody Really Know What Time It Is", "Questions 67 & 68", and "Listen" – plus the tracks "Someday", "I'm A Man", "Free Form Guitar", and "Liberation". CD

A brilliant set of post-post-post Konitz jazz – a late 70s Warne Marsh session, produced by Donald Fagan and Walter Becker of Steely Dan! Despite the smooth jazz feeling of Becker & Fagan's own work, the pair are completely respectful to Marsh and his twin-tenor frontman Pete Christlieb – recording them along with Lou Levy on piano, Jim Hughart on bass, and Nick Ceroli on drums, in a setting that's got a warm, acoustic feel. There's no tricks or electricity on the set – just a tight, angular approach to modern jazz – crafted in the twin-sax mode that Marsh recorded in often during the 50s. Titles include "Magnatism", "317 E 32nd", "Rapunzel", and "Tenors Of The Time". CD also features 3 bonus tracks – "Lunarcy", "Love Me", and "How About You". CD

Two classic albums from the great Gene Clark – back to back in a single set! First up is White Light – a key part of that scattered legacy that really helped cement his individual genius after leaving The Byrds! Much of the record is a spare and intimate affair – with Gene's warm vocals accompanied by his own gently picked acoustic guitar, along with producer Jesse Ed Davis (who does a masterful job in the booth on this one) also on guitar. The tunes are also sweetened by waltzy basslines, and Byrds-y keyboard riffs by Ben Sidran, but Gene's wonderful vocals and his amazingly strong songwriting are obviously the biggest draws – not standard country or roots rock, and instead delivered with a sense of sophistication that's almost a genre unto itself. Titles include the amazing "For A Spanish Guitar" – plus "The Virgin", "With Tomorrow", "White Light", "Where My Love Lies Asleep", "1975", and a great reading of The Band & Bob Dylan's "Tears Of Rage". Roadmaster is a warm, wonderful set of Gene Clark recordings from the early 70s – material that probably should have been issued as a proper album in the States back in the day, as sounds pretty much as solid to us as some of his great work in preceding years – but was issued only in Europe at the time! Roadmaster was pulled together from 1972 sessions that were essentially abandoned, but it's truly top notch Cali country rock featuring Byrds and Burrito Brothers in the sessions. Titles include "She's The Kind Of Girl", "Full Circle Song", "Roadmaster", "In A Misty Morning", "She Don't Care About Time", "Shooting Star", "Rough And Rocky", "One In A Hundred", "I Remember The Railroad" and more. CD

Sure, they were hitmakers – but we love these guys, and find them to be one of the most radical vocal groups of all time! Under the impeccable guidance of Lieber & Stoller, the group recorded some of the fiercest vocal numbers of the 50s – mixing incredibly soulful vocals with an almost cartoonish ability to conjure up little pictures with words. This 50-track, 2CD set is an amazing tribute to the group's genius – and it includes a wonderful range of material that begins with their early days as The Robins, and which runs up to later sides cut as funky 45s for the Date label in the late 60s. Features the great funk numbers "Soul Pad", "DW Washburn", and "Down Home Girl" – plus totall excellent doo wop tunes like "Shoppin For Clothes", "Hitchin A Ride", "Girls Girls Girls", "The Slime", "Hongry", "Hey Sexy", "The Shadow Knows", "Sorry But I'm Gonna Have To Pass", "One Kiss", "What Is The Secret Of Your Success?", "Idol With The Golden Head", "Besame Mucho", "Stewball", "What About Us", and "Along Came Jones". Also includes the big hits – but the set goes way past that stuff too! CD

Pre-Atlantic work from Ornette Coleman – one of his first recorded statements in jazz – and one of his boldest! At some level, the complete Coleman sound isn't entirely in place here – as there's a bit of a trace of hardbop in the mix – not entirely, but just a bit. But at another level, the record's still way darn bolder than just about anything coming out of LA at the time – proof that amidst all the cool jazz ruminations of the 50s, there was a second wave of modernism about to explode! The group here features Don Cherry on trumpet, Walter Norris on piano, Don Payne on bass, and Billy Higgins on drums – and while the core harmelodic rhythmic approach isn't always in place, it's more than made up for by some surprisingly free energy. Titles include "Invisible", "The Blessing", "Alpha", and "The Sphinx". CD

One of the best American psyche albums we've heard from the late 60s – a near-perfect record that's head and shoulders above the rough experimentation of most other groups from the period! Colours spell their name with a definite British twist, and there's clearly a Beatles influence going on here – a sound that's almost pre-Sgt Peppers, but which has wonderfully complicated time changes, vocal parts, and production techniques that must have cost a pretty penny to such a little-known group! Horns and strings are arranged by Dave Roberts, and handled with a sensitivity that almost matches The Zombies' best at times – and the tunes themselves are a fresh variety of odd themes, including one number about robbing a liquor store. Titles include "Brother Lou's Love Colony", "Bad Day At Black Rock Baby", "Love Heals", "Rather Be Me", "I'm Leaving", "Cataleptic", "Don't You Realize", and "Lovin". CD

Wonderful wonderful wonderful work from the legendary John Coltrane – and even though it's probably one of his best-selling albums of all time, it's still a treasure – and has an essential place in just about any jazz collection! We've heard the original title version of "My Favorite Things" a million times – but it still blows our mind the way Coltrane hits this incredibly soulful modal groove, twisting and turning on soprano sax, always keeping things interesting, so that we're surprised that the cut's 13 minutes have gone by so quickly! The rest of the record's equally great – and the 3 other long cuts are "Everytime We Say Goodbye", "Summertime" and "But Not for Me". As great today as when it was cut, and still one of Coltrane's most revelatory albums! With McCoy Tyner on piano, Steve Davis on bass, and Elvin Jones on drums. CD

Just when you think you know everything there is to know about Motown, here comes a set to open your ears and blow your mind all over again! The set unearths a huge amount of rare work by The Contours – the rollicking group who gave Motown a sweet album and handful of singles in the 60s, but who also recorded a lot of other work that was never issued at the time – including a sweet array of tracks that feature a young Dennis Edwards as their lead vocalist! Edwards is best known for his work in the Temptations – but these tracks predate that time, when Dennis was brought in to give fresh focus to the ailing Contours – and lent his strong lead vocals to their massively grooving sound. The package features a whopping 26 tracks – 14 issued here for the first time ever, and a lot more pulled from only collections of rare Motown releases – and titles include "Determination", "I'll Turn To Stone", "I Like Everything About You", "Can't Do Without Your Love", "Come See About Me", "I Grow Deeper In Love Every Day", "Our Last Rendezvous", "Which Way To My Baby", "Need Your Lovin", "What's So Good About Goodbye", "Sunny", and "I'm Here Now That You Need Me". CD

All the great early albums from Creation Rebel – plus their excellent comeback too! The set begins with Dub From Creation – not just the debut album from Creation Rebel, but also a set that marks the first studio work from the young Adrian Sherwood – part of the long On-U Sound legacy to come, and a wealth of other wonderful music! There's a spareness here that's great – maybe a bit less dark than later Sherwood projects, but no less stark – with melodica and keyboards weaving nicely amidst the dubby rhythms! Titles include "Basic Principals", "Dub Fusion", "Liberation", "Rising Star", "Vision Of Creation", and "Creation In A Iration". Next is Close Encounters Of The Third World – an early part of the On-U Sound legacy, even if the set wasn't issued on the label – a key effort by Creation Rebel that features recording work done both in London and Kingston, layered together in a beautifully dubby way! The sound here is definitely underground – full of message-oriented lyrics from Crucial Tony, who sings in a style that definitely earns him his name – with great melodica and organ flowing through the mix next to Lizard's bass – topped with added horn work from The Arabs in all the right spots! The production is superb – flat on the drums, wide on the sides, which makes for a really wonderful groove – on titles that include "Know Yourself", "Conspiring", "Creation Fever", "Natty Conscience Free", and "Joyful Noise". Rebel Vibrations features early production genius from Adrian Sherwood – and a record that sets the tone for all the On-U Sound genius to come! The set's a huge step forward from even the previous excellent Creation Rebel album – as the way the sounds are layered together is incredible – almost modes learned from post-punk production, but used to deliver a pure, righteous dub album – one that drops out all the vocals, and allows you to concentrate even more on the totally wicked instrumentation! The set features stunning drums from Style Scott, heady bass from Lizard, and all sorts of very cool keyboard work from Clifton Morrison – used in these ways that float about like a swarm of sounds, especially when mixed with the melodica of Doctor Pablo. The whole thing's amazing – and titles include "Diverse Doctor", "Hunger & Strife", "Jungle Affair", "Rebel Vibration", "Black Lion Dub", and "Mountain Melody". Starship Africa is a brilliant Creation Rebel effort for On-U Sound from the dawn of the 80s – landing in the futuristic dub spacecraft that is their Starship Africa – percussion heavy and spaced out ingenuity from Adrian Sherwood & co! Tripped, echoey atmospherics that's cast as a soundtrack to movie that doesn't exist, the music is forward thinking, boundary busting dubby grooves exists out of time and sounds great to this day. Includes "Starship Africa" (Sections 1-5) and "Space Movement" (Sections 1-4). On Psychotic Jonkanoo, Crucial Tony is back in the mix for this righteous early 80s album from Creation Rebel – a set that has Adrian Sherwood only furthering his production genius as he layers together stunning instrumental work from the group! The presence of the vocals has the instrumentation slightly back in the mix – but there's still a great run of rhythms throughout, all driven by the mighty heady basslines of Lizard Logan! There's less keyboards than before, but still some nice electronic bits all over the place – and titles include "The Dope", "African Space", "Threat To Creation", "Highest Degree", "Mother Don't Cry", and "Drum Talk". From 2023, Hostile Environment is the first album in many years from this legendary studio project from On-U Sound and Adrian Sherwood – and one that makes us feel as if the passage of decades hasn't happened at all! Sherwood's production is still wonderful – and, if anything, maybe less showy, or more soulful, or less moody – just something that seems to let the work of the group come through with energy that's wonderfully warm and organic, while still resonating with plenty of touches that will make longtime label fans proud! Vocals are shared between Charlie Eskimo Fox and Mr Magoo, and the set also features guest appearances from Prince Far I and Daddy Freddy – on titles that include "That's More Like It" "Jubilee Clock", "Swiftly", "Stonebridge Warrior", "Crown Hill Road", "The People's Sound", and "Whatever It Takes". CD

An overlooked gem on Stax Records – one of the only records ever cut by Bettye Crutcher – also a songwriter with the label, but a hell of a singer on her own! Bettye's got a style here that's very unique – still in a Stax mode, but a bit more sophisticated too – with a subtle groove that almost feels like some of the best female soul singers coming out of the Chicago scene at the time! Sir Mack Rice co-wrote most of the tunes with Bettye – and they've got a vibe that's really great – and which has made the record a real standout from Stax over the years – really unified, and really deep – in a way that goes past any easy hit modes or cliches. Titles include the sublime track "Sunday Morning's Gonna Find Us In Love" – plus "Long As You Love Me", "A Little Bit More Won't Hurt", "Passion", "Call Me When All Else Fails", and "Up For A Let Down". CD features lots of bonus tracks too – all previously unissued – including "So Glad To Have You", "Don't You Think It's About Time", "We've Got Love On Our Side", "Make A Joyful Noise", and demo versions of "Walk On To Your New Love" and "I Forgive You". CD

A surprisingly great set of new recordings from Bill Curtis, founding member of Fatback – done here in a style that nicely links together a few different strands of the Fatback sound! Some cuts have the funky groove of the early years, especially the Event Records era – while others have that tighter soul approach of the time when Fatback were really riding the crest of their popularity – a great mix that mostly comes off with sort of an early 80s soul quality overall – production that's still more than rough around the edges to let the soulful side of Fatback come through! The "friends" listed include Willie Bridges, Gerry Thomas, Isabella Gordon, Quenetta Simpson, and others – and titles include "Truckin", "All About U Baby", "Gooshy Sushi", "He's A Player", "Open House", "Dem Words", and "Do It To Me Now". CD

Betty Davis was one of the nastiest ladies in 70s soul – and this is one of her greatest albums – a killer batch of funky tracks all the way through! Betty has a sound like nobody else – and she takes heavy drums, throbbing bass, and ripping guitars – all as a hard and funky backing for raunchy, raspy vocals that are belted out with a slinky, sexy sort of sound! Davis' vocals are unlike anyone else we can think of – easily some of the most badass work you'll ever find on record – and the tracks are a mix of hip themes about sex, gal power, and struttin your stuff – all delivered by a righteous woman who can definitely do just that! The album features the classic break tracks "If I'm In Luck I Might Get Picked Up" and "Steppin in Her I Miller Shoes", but every cut is a funky monster – including "Ooh Yea", "In The Meantime", "Your Man My Man", and "Anti Love Song". A great one if you dig hard female soul, heavy funky guitars, or both at the same time! This beautiful reissue features top-shelf sound, extensive notes and photos, and previously unissued bonus tracks that include "Come Take Me", "I Will Take That Ride", and "You Won't See Me In The Morning". CD

An excellent compilation of concert recordings from Miles Davis – the first 3 numbers from the 1969 Newport Jazz Festival and capturing Miles, Chick Corea, Dave Holland and Jack DeJohnette in the months before the studio version of Bitches Brew – plus 6 tracks from Isle Of Wight in the months after the revolutionary Bitches Brew came out! The earlier tracks from Newport were previously unissued, and include "Miles Runs The Voodoo Down" (the earliest known professional, non-bootleg live recording of this track and it's a monster), "Sanctuary" and "It's About Time". The rest of the CD features the full live set from the iconic Isle Of Wight festival in 1970 – Miles in full-on funked out mode with Gary Bartz, Keith Jarrett and Airto Moreira in addition to the above mentioned players. The Isle Of Wight stuff was previously included with the mammoth Complete Columbia Recordings box set, but never issued completely anywhere else. Those tracks include "Directions", "Bitches Brew", "It's About That Time", a totally different, shorter and spacier take on "Sanctuary", "Spanish Key" and "The Theme". Rare and overlooked live Miles, recorded on a pair of dates during one of the most incredible 13 month periods that any artist ever lived! CD

Four sides of noisy, funky, stretched-out playing from Miles Davis – recorded at the Fillmore West, but with an intensity that matches some of Miles' crazy electric recordings from Japan during the early 70s! The music is a powerful blast of music that stretches out over the double-length set of the package – with a style that moves from heavy-duty avant playing, then back to more mellow grooving, then kicks it out nice and hard again – a heavy dose of rock mixed in with the fusion, but still plenty jazzy throughout. In all, the record is probably one of the most heavy-duty that the Miles electric group recorded in the 70s – and the lineup on the set features Steve Grossman on saxes, Chick Corea on electric piano, Jack DeJohnette on drums, and Airto on percussion. Tracks include "Spanish Key", "Directions", "Masqualero", "It's About That Time", "I Fall In Love Too Easily", "Bitches Brew", "Willie Nelson", and "Sanctuary". CD

A long-awaited addition to the Miles Davis electric catalog – and a package that features over 4 hours of newly-discovered music! The 6CD set documents 4 nights of performance by Miles at the Cellar Door in Washington DC – recorded in December of 1970, and featuring a mindblowing group that includes Gary Bartz on soprano and alto sax, Keith Jarrett on Fender Rhodes and organ, Airto on percussion, Michael Henderson on bass, Jack DeJohnette on drums, and a bit of guitar from John McLaughlin on the last 2 CDs. There's a really hard and heavy feel here that's steeped in rock and soul influences – and the package is even more amazing, considering how little work has been offered from this unique point in Davis' career. Presentation of the material is in the same high standards as other Miles Davis boxes on Sony – with a 96 page book with notes and reflections by each band member, and a whopping 6 CDs of music, featuring mostly really long takes on the tunes! Titles include "Directions", "What'd I Say", "Honky Tonk", "Sanctuary", "Improvisation #3", "Inamorata", "It's About That Time", and "Yesternow". CD

There's nothing "silent" here – as the album's a bold entry in the electric years of Miles Davis – one that still features contributions from Herbie Hancock, Wayne Shorter, and Tony Williams – but which also expands the lineup considerably – really reaching out towards the sound of Bitches Brew! Herbie's on electric keys here, working alongside Chick Corea and Joe Zawinul, who really help increase the flow of the tunes and enforce the "directions in music" stated on the cover of the set! Shorter's on soprano sax, playing in an even more angular way – and Dave Holland is on bass, replacing the sound of Ron Carter, getting some rhythmic assistance at times from John McLaughlin, whose sound really helps to shape the record! Titles include 2 side-long tracks – "Shhh/Peaceful" and "In A Silent Way/It's About Time" – both long, and both beautiful! CD

A wonderful live set from the Seven Steps-era Miles group – with rhythm by Herbie Hancock, Ron Carter, and Tony Williams – and tunes that are all in that transformative mode that really showed Miles hitting a new voice at the time! Tenorist George Coleman's playing with the group on the set – proving again that he's got a depth that few people ever seem to give him credit for – and that it wasn't just Wayne Shorter who made the 60s Davis quintet so great. Titles include "Autumn Leaves", "All Of You", "Walkin", and "Joshua". CD features the bonus track "I Thought About You" – and new liner notes by Harvey Pekar! CD

The long-awaited release of some brilliant live sessions from the key Miles Davis group at the end of the 60s – the really freewheeling quintet that featured Chick Corea on electric piano, Wayne Shorter on tenor and soprano sax, Dave Holland on bass, and Jack DeJohnette on drums! Rhythms here are completely unbound – wilder even than the sounds on Bitches Brew, and played with a similar intensity on the keyboard, trumpet, and reed solos – an unbridled power that really takes off over the space of the very long cuts on the collection! The whole thing's an essential addition to these very important years for Miles – and the 3CDs features live performances from the Antibes Jazz Festival on July 25 and 26, 1969 – plus a November 1969 performance from Stockholm. Titles include "Miles Runs The Voodoo Down", "Sanctuary", "It's About That Time", "Footprints", "Paraphernalia", "Nefertiti", "Masqualero", "Spanish Key", "Directions", "No Blues", and "Bitches Brew". DVD also features a November 7, 1969 performance from the Berliner Jazztage – of titles that include "Directions", "Bitches Brew", "I Fall In Love Too Easily", "It's About That Time", and "The Theme". CD

The title's a great one – as Tyrone Davis has always had it, and has never lost it – but he sounds especially wonderful here during his legendary run for the Dakar/Brunswick label, where he was really able to forge a unique groove! Davis' vocals are wonderful – proud and powerful, but with this little rasp that brings in a great sense of humanity – and the backings are soaring in a Chicago soul style, but have a few bluesy undercurrents that really show off the west side roots of Davis. Arrangements are by Gene Barge, Tom Tom Washington, and Jerry Long – and titles include "I Had It All The Time", "Your Love Keeps Haunting Me", "After All This Time", and "Was I Just a Fool" – all great songs about love lost and love's worries! CD

A really fantastic album from the young Blossom Dearie – and in a way, a record that kind of sets the tone for all the greatness to come in future recordings! Here, Blossom is already breaking from standard jazz vocal modes – using some of the hipness she'd picked up in France to really further the amazing sense of phrasing that makes her so different from just about anyone else – in a way that's subtle, but which really sounds a heck of a lot different than Verve recordings by artists like Billie Holiday, Ella Fitzgerald, or any other of their vocalists of the 50s. The group's a small one, but has a fresh sense of arrangement – as Dearie's piano is at the lead of a combo that features Mundell Lowe on guitar, Ray Brown on bass, and Ed Thigpen on drums – all hip enough players to really get her sense of rhythm and timing. Titles include a sublime early version of "Once Upon A Summertime" – plus "Moonlight Saving Time", "Doop Doo De Doop (A Doodlin Song)", "It Amazes Me", "We're Together", "Love Is Here To Stay", "Teach Me Tonight", and "Down With Love". CD

There's never been a better bit of throwback dancefloor fodder ever! Sure, these guys were blaring out of every cheap radio at the time, and it was just about impossible to walk into a shopping mall without hearing "Groove Is In The Heart" for about 5 years after the album came out – but to us, that was a great thing, and the record represents one of the high points in pop music of the past few decades. Thanks to some skillful sampling by Towa Tei, the group were grounded in a rich history of funk, house, disco, soul, and Brazilian influences – all of which they managed to blend with a postmodern perfection that other groups could only ever dream of! The big hits are certainly very familiar, but the whole album's a delight – and tracks include "Who Was That?", "Smile On", "Try Me On . . . I'm Very You", "World Clique", "ESP", and "Good Beat". This great expanded 2CD edition includes a full CD of remixes, too – 26 tracks in 2CDs! Given that the weird mixes and extrapolations of tunes by the group were such a big part of their larger sound, the extra material really helps get a full picture of the album's greatness! CD

The third album in an amazing early run from The Delfonics – the kind of work that set a whole new standard for group soul in the 70s! A number of the tracks here had already risen to fame before the album's release as singles – and these are mixed with some additional tracks that are woven together in a near-perfect symphony of sound! The mighty Thom Bell arranged most of the numbers here – save for 2 by Anthony Dorsey – and the group's heavenly harmonies are in amazing form on both mellow ballads and a few more righteous numbers. Titles include "Didn't I Blow Your Mind This Time", "Funny Feeling", "Over & Over", "Baby I Love You", "When You Get Right Down To It", "Delfonics Theme", "Trying To Make A Fool Of Me", "I Gave To You", "Down Is Up Up Is Down", and "Think About Me". CD

Sublime soul through and through – 2 classics from The Delfonics, back to back on a single CD! First up is self-titled record The Delfonics – the third album in an amazing early run from The Delfonics – the kind of work that set a whole new standard for group soul in the 70s! A number of the tracks here had already risen to fame before the album's release as singles – and these are mixed with some additional tracks that are woven together in a near-perfect symphony of sound! The mighty Thom Bell arranged most of the numbers here – save for 2 by Anthony Dorsey – and the group's heavenly harmonies are in amazing form on both mellow ballads and a few more righteous numbers. Titles include "Didn't I Blow Your Mind This Time", "Funny Feeling", "Over & Over", "Baby I Love You", "When You Get Right Down To It", "Delfonics Theme", "Trying To Make A Fool Of Me", "I Gave To You", "Down Is Up Up Is Down", and "Think About Me". Tell Me This Is A Dream has The Delfonics just getting better and better! The longer the group recorded, the more they picked up this strange spacey quality that pushed them past some of their contemporaries of the early 70s. And on an album like this, they prove that they're way more than just Thom Bell puppets by showing that they have a rich talent for a wide variety of complicated arrangements that really push the vocal group sound of the 70s. They take many stylistic risks, coming up with really sinister new harmonies, and always managing to stay clear of the cliches that buried some of their mates on the charts. Bell still arranges some of the material, but the record also features work by Norman Harris and Caldwell MacMillan, who did the real genius work on the record. This masterpiece includes the sublime "Hey, Love", plus "Walk Right Up to the Sun", "I'm A Man", "Too Late", "Love You Till I Die", "Looking for a Girl", and "Round & Round". CD

This is really some different sh*t. Divine Styler takes abstract to the next level, about as out as you can get and still be hip hop, if this is hip hop – playing a ton of instruments himself, and backed by a live band for the most part, singing and delivering spoken word as often as he's rhyming. We seem to recall something in an interview well after the fact about a lot of mind altering substances being dabbled in around this time. Includes "Am I An Epigram For Life?", "In A World Of U", "Love, Lies And Lifetime's Cries", "Livery", "Grey Matter", "Mystic Sheep Drink Electric Tea", "Width In My Depth", "The Next", "Euphoric Rangers", "Walk Of Exodus", "Aura", and more. CD

Maybe one of the greatest albums ever from trumpeter Kenny Dorham – a set that has him really stretching out as a musician – not just showing off that impeccable sense of tone that marked his important records of the 50s, but also coming up with new ways of phrasing, and a sometimes-unique approach to rhythm as well! The set's about as all-star as you can get for a Blue Note date of the time – and that's really saying a lot – with the mighty Hank Mobley on tenor, whose work here is as important as Dorham's – and the rock-solid rhythm trio of Kenny Drew on piano, Paul Chambers on bass, and Philly Joe Jones on drums – who perfectly echo Kenny's new sense of changes in his music. Titles include the great "Sunrise In Mexico" – a very unique tune – plus "Buffalo", "Sunset", "Windmill", "Philly Twist", and "Dorham's Epitaph". CD

Maybe one of the greatest albums ever from trumpeter Kenny Dorham – a set that has him really stretching out as a musician – not just showing off that impeccable sense of tone that marked his important records of the 50s, but also coming up with new ways of phrasing, and a sometimes-unique approach to rhythm as well! The set's about as all-star as you can get for a Blue Note date of the time – and that's really saying a lot – with the mighty Hank Mobley on tenor, whose work here is as important as Dorham's – and the rock-solid rhythm trio of Kenny Drew on piano, Paul Chambers on bass, and Philly Joe Jones on drums – who perfectly echo Kenny's new sense of changes in his music. Titles include the great "Sunrise In Mexico" – a very unique tune – plus "Buffalo", "Sunset", "Windmill", "Philly Twist", and "Dorham's Epitaph". CD

Proof that the US Army had plenty going on during the 70s – as you'll hear from this killer set of military-produced grooves from East Of Underground! The set goes way past the previous East Of Underground reissue – to feature work by the groups Soap, Black Seeds, and Sound Trek – all wrapped up in a beautiful package that's as visually pleasing as the music is funky! The cuts here were all recorded by US Army servicemen during the height of the Vietnam war – as Army-issued albums designed to encourage recruitment (as if a few funky grooves could help offset the bad press the war was getting on TV!) But despite that odd origin, the music here is all pretty great – mostly covers of familiar tunes from the time, but recorded with a nicely gritty quality that's mighty nice – and which makes the overall feel of the records like digging into some lost small studio tapes – ala Numero! Now Again have done a great job of putting together the whole package, too – contributing a wealth of notes and photos, and really digging deep into the scene in which these unique records were created. Not only that, but the packaging also replicates the style of the original odd releases too! The set features a CD each of music by East Of Underground and Soap – plus another CD that brings together an unusual double LP by the groups Black Seeds and Sound Trek. Titles include "I Just Want To Celebrate", "Kool & The Gang", "Walking In The Rain", "Backstabbers", "I Love Everything About You", "Ain't No Sunshine", "Go Outside In The Rain", "Black Magic Woman", "Hell Below", "Higher", "Popcorn/Santana", "Walk On By", "Java Girl", and "Get Together". CD

The Ebonys sing about life, and a host of other groovy topics too – in this lost soul treasure from the 70s! The set is one of only two albums ever cut by The Ebonys – a consistently great group from the 70s, as is testified by their constant popularity in our racks! The quartet has a 3 man/1 woman harmony sound that's very hip – often applied to righteous themes worked out in a heavy soul mode, and which sounds just as great on the ballads as it does dancefloor numbers. This second album's got an even sharper edge than their debut – thanks to production and arrangements from Tony Camillo – who gives the album some great undercurrents of funk, and a slightly righteous style that reminds us of some of Norman Whitfield's best studio work of the time. Vocals are wonderful – with really great harmonies that balance out beautifully – in ways that are much more unified than other girl/guy soul groups. Titles include "Neighborhood Gossip", "Mr Me, Mrs You", "One Thing On My Mind", "Sing About Life", and "A Love of Your Own". CD

A really beautiful album of harmony soul – and a set that we'd already love for its music, even if the group didn't have an interesting story! Edge Of Daybreak are part of a small sub-culture of 70s soul groups – an ensemble who existed behind prison bars, like Power Of Attorney or The Escorts – and like both of those groups, they've got an amazingly strong sound – one that goes way beyond their incarcerated status, and which should have made them (like the other two) worthy of greater attention in the outside world! The material was recorded in 1979, but it's got a fragile early 70s vibe – maybe because that was the last time these guys heard work in the mainstream – and the voices come together with a style that's proud, but quite heartbreaking at times too – a bit like The Whatnauts on their best ballad material. If you dig harmony soul, you'll find plenty to love here – especially if you like early 70s material from Philly and New Jersey – and don't even worry about the behind bars gimmick, because the record has way more to offer than that! Titles include "Let Us", "Eyes Of Love", "I Wanna Dance With You", "Bring Me Down", "Edge Of Daybreak", and "Your Destiny". CD

Think what you may about this groove-patched hipster – we still think he's one of the best jazz vocalists of our time! Kurt Elling's carrying a torch that few other singers could handle – a direct line back to the genius male jazz vocal work of singers like Mark Murphy and Jon Hendricks, armed with the confident emotionality and freely expressive style of the former, and the jazz-based virtuosity and sense of humor of the latter. This recent Blue Note session is very much in Elling's best mode – a bit too sweet in parts, but filled with some great numbers that show him always pushing the envelope, not content to just be a "modern classic" vocalist, as might be said for some of his female contemporaries in the jazz vocal realm. Titles include "Say It", "While You Are Mine", "I'm Thru With Love", "Orange Blossoms In Summertime", "Detour Ahead", "Lil Darlin", and "Easy Living". And sure, we wish there were more original compositions – as on other albums – but Elling really still does a great job with the standards! CD

An amazing blend of astral jazz and atmospheric orchestral soundscapes – composed and directed by coronetist Rob Mazurek! Exploding Star Orchestra is an apt name, but it's more of a bright and glorious explosion than a calamitous one – a sweeping couple of soundtracky suites that's the culmination of a couple years of work by Mazurek and a major contribution from Nicole Mitchell on flute – plus Jeb Bishop on trombone, Corey Wilkes on flugelhorn, Jeff Parker on guitar, John McEntire on marimba and tubular bells, John Herndon on drums, Jim Baker on piano & ARP, Jazon Adasiewicz on vibes, Matthew Lux on bass, Mike Reed on drums, percussion & saw, and others. It's part informed improvisation, part boundary free composition, and pretty wonderful all the way through! We expected something special, but this one goes above and beyond. Following the Frequency project by about 6 months, this is the second near classic avant garde jazz album on Thrill Jockey in a relative short stretch! 2 multi-part titles: The 70s style soul jazz groover "Sting Ray And The Beginning Of Time" (Part 1, Part 2, Part 3 – Psycho-Tropic Electric Eel Drum and Part 4), "Cosmic Tomes For Sleep Walking Lovers" (Part 1, Part 2, Part 3, Part 4 – Fifteen Wais Towards A Finite Universe, and Part 5) – and the mellow, piano led centerpiece "Black Sun". CD

A really fantastic chapter in the career of the legendary Bill Fay – material that might have formed a lost third album, had any record company chosen to respond at the time – and which, presented here, really serves to illuminate a lost chapter in Bill's musical lineage! The set has Fay working with a small group of younger musicians who were originally fans who were disappointed that Decca never released another album after Bill's first two – so they got in touch, and set about helping Fay find a new vision in his music with their help! The sound is often stark and lean, with more of an edge than Fay's first two records – still graced with those enigmatic vocals and really haunting songwriting, but with moodier elements that really give the music some bite. The original batch of recordings has been expanded out here by a number of other rare recordings from the same time – really unique bits of varying length – and if you love Fay's music, you'll find plenty to love within! CD

An early 80s classic from Richard Dimples Fields – one of the most unique talents in soul music of his generation – with an appeal that's both down home, and smoothly sophisticated at the time! In a way, Fields' music represents many changes his audience was going through at the time – classing things up a bit, and heading into the mainstream – yet still very much concerned about the same issues and challenges of years past. The approach is almost southern soul by way of southern California – rough edges polished out, but still earthy enough to hang out with the crowd from back home. Almost all titles are originals, and Richard handled most of the production too – on tracks that include "If It Ain't One Thing It's Another", "After I Put My Lovin On You", "Baby Work Out", "Mr Look So Good", "Taking Applications", and "A Freak On The Side". CD

Ella Fitzgerald in Budapest – but swinging just as hard as on any of her other records from the time! The set's a later issue of an unreleased live date recorded in 1970 – a set that captures Fitzgerald right at the height of her international fame, at a time when she could captivate just about any audience with her inherent charm and amazing vocals! Backings are by a trio that features Tommy Flanagan on piano, Frank De La Rosa on bass, and Ed Thigpen on bass – and titles are a hip mix of tunes that include a funky take on "Spinning Wheel", plus "Hello Young Lovers", "The Girl From Ipanema", "You Better Love Me", "As Time Goes By", "Crazy Rhythm", "People", "Mack The Knife", "Raindrops Keep Falling On My Head", and "Dancing In The Dark". CD

A groovy little group from the northeast scene in the 70s – one who mix jazz and funk touches with some more roots-oriented material at times – all handled with instrumentation that's impeccable throughout! If these guys were out in Cali, they'd no doubt be working in the big studios of the time – or maybe would have even scored some sort of major label contract – yet the really wonderful thing about the record is that it's much more homegrown, and completely charming in the process – especially since their sound is very tight, but without too much overdone production. Titles include the great groover "Crazy Days" – plus "Blue Eyed Lady", "Fly Away", "Finding My Way Back Home", "I Can't Live Without You", "Nice Guys & Fools", and "Go On Away". Great reissue adds a number of bonus tracks to the original album! CD

Brilliant soul from the Columbia Records years of Aretha Franklin – exactly the kind of collection you need to hear if you only think she sounded great on Atlantic! The styles here are somewhat more varied than in the late 60s, but that's only proof that Aretha could handle just about anything that came her way – and with a hell of a lot more soul than just about any of her contemporaries! The package does a wonderful job of sorting through the Columbia sides to come up with key singles, album tracks, and even two previously unissued titles – all well-chosen by Franklin friend and fan David Nathan, who also co-wrote the notes. The booklet's got lots of history from these overlooked years, plus cover images and label scans too – and titles include "Hands Off", "One Step Ahead", "When They Ask About You", "One Room Paradise", "It's So Heartbreakin", "Rough Lover", "Here's Where I Came In", "Tighten Up Your Tie Button Up Your Jacket", "Remember Me","Deeper", "I Told You So", "When They Ask About You", "The Shoop Shoop Song", "Follow Your Heart", and "I Can't Wait Until I See My Baby's Face". CD

Lyrical magic from pianist Ryo Fukui – a lost gem from the Japanese scene of the 70s, and a beautifully flowing album throughout! Fukui's got a wide-open touch to the piano that we totally love – and is easily one of the best of his contemporaries on the Japanese trio scene of the time – working in the open-ended mode that was allowed by labels in Tokyo during the 70s, a style that was never too far outside, but which really allowed the pianist to soar with a driving, rhythmic intensity. There's a bit of a modal groove to some of the tracks on the album, but more than that, there's just a beautiful sense of freedom – a love of sound and texture that's never reduced to mere experimentation, and which has Ryo taking full command of the keys to soar to the skies on waves of acoustic soul. The group on the set features Yoshinori Fukui on drums and Satoshi Denpo on bass – and tracks include "I Want To Talk About You", "Scenery", "Autumn Leaves", "Early Summer", and "It Could Happen To You". CD

One of the few sides ever cut as a leader by guitarist Dick Garcia – and a record that's maybe as noteworthy for the work of its leader as it is for the presence of some very hip sidemen! The album's one of those late 50s outings that features Bill Evans on piano, from a time when he wasn't just leading his own groups – and other musicians include the great Gene Quill on alto sax, whose breathy talents always completely win us over – as well as pianist Terry Pollard, a female musician from Detroit who's most famously worked with Dorothy Ashby. Garcia gets plenty of space upfront to do his thing, and also contributed some nice originals to the record – which also features shifting instrumentation on just about every track. Titles include "The Deacon", "Potatoes", "Like Someone In Love", "If I'm Lucky", and "Kimona My House". CD

A really cool British group, and one who work here with equal influences from blues and jazz – all at a level that has the complex riffing of a group like Colosseum mixed with some of the earthier woodwinds of Jethro Tull! Female lead singer Linda Rothwell has a really unique style, and one that doesn't try too hard to ape bigger American names of the time – while Joseph Rosbotham provides loads of cool work on flute and tenor, which further underscores the album's special kind of sound. Malcolm Grundy turns in some excellent work on guitar – and titles include "Port & Lemon Lady", "Hunters Song", "Men", "I Heard A Song About A Friend", "Emerge Breath Sunshine Dandelion", and "Prism". CD

A lost treasure from the mid 80s Chicago rock scene – the self-titled, self-released first record from Green – with ultra catchy power pop melodies and an excitability that's as infectious as anything that came out of the Chi and other midwestern cities at the time! Green has both a sweetness and rawness that's in line with indie groups that made bigger waves nationally – and might be altogether better. Please don't take us for shameless home team flag wavers here, Green was the real thing, we can't think of a reason beyond bad luck that this record isn't mentioned in the same breath as other great records by groups such as The Replacements. And unlike some of our favorite albums from Chicago underground rock bands of the time, the lean, clear, but no frills production sounds just right to our ears. A total gem ripe for discovery! Titles include "Gotta Getta Record Out", "She's Not A Little Girl Anymore", "Technology", "Baby Why?", "If You Love Me", "For You", "Hurt You", "She, Probably", "Big In Japan" and more. This CD version includes 7 bonus tracks originally from the The Name Of The Band Is Green EP, which was never on CD before now, with EP versions of some album tunes plus "Something About You", "Autograph" and "Away From The Pulsebeat". CD

A really special album in the career of the great Merle Haggard – a moment when he really started looking back to give credit to those who inspired him – and when he was also really able to express himself in a longer format too! Part of the credit might go to Capitol Records, who trusted Merle so much they not only let him record a concept album, but a 2LP set as well – plenty of space for Haggard to deliver some great spoken passages about the great Jimmie Rodgers, his life, and music – then move into some of Jimmie's classics, but updated nicely with a vibe that's very much Merle's own! Given the way that Hag was stretching out his vocal skills tremendously at the end of the 60s, there's a sense of inflection that's perfect for the bluesy currents of the songs – on titles that include "Blue Yodel No 4", "Waitin For A Train", "Mother The Queen Of My Heart", "My Old Pal", "No Hard Times", "Travelin Blues", "Down The Old Road To Home", "Jimmie's Texas Blues", "Train Whistle Blues", and "Mule Skinner Blues" – plus the classic train song "Hobo Bill's Last Ride". CD

A really special album in the career of the great Merle Haggard – a moment when he really started looking back to give credit to those who inspired him – and when he was also really able to express himself in a longer format too! Part of the credit might go to Capitol Records, who trusted Merle so much they not only let him record a concept album, but a 2LP set as well – plenty of space for Haggard to deliver some great spoken passages about the great Jimmie Rodgers, his life, and music – then move into some of Jimmie's classics, but updated nicely with a vibe that's very much Merle's own! Given the way that Hag was stretching out his vocal skills tremendously at the end of the 60s, there's a sense of inflection that's perfect for the bluesy currents of the songs – on titles that include "Blue Yodel No 4", "Waitin For A Train", "Mother The Queen Of My Heart", "My Old Pal", "No Hard Times", "Travelin Blues", "Down The Old Road To Home", "Jimmie's Texas Blues", "Train Whistle Blues", and "Mule Skinner Blues" – plus the classic train song "Hobo Bill's Last Ride". CD

One more amazing chapter in the mighty development of drummer Chico Hamilton – a killer 70s session for Blue Note – and a record that goes way beyond his earlier experiments of the 50s, modal grooves of the 60s, and funk work for the Flying Dutchman label! The style here is fusion, but way fresher than the usual type – neither jamming rock-styled, nor mellow and smooth – and instead always tickled by Hamilton's sense of a unique rhythm, and his continued great ear for inventive use of reeds – in this case handled by Arthur Blythe on alto and Arnie Lawrence on soprano and tenor sax. The set's also got Steve Turre on bass and trombone, and both Barry Finnerty and Joe Beck on electric guitars – but the real genius is Chico himself, who handled arrangements and wrote most of the album's great tracks. Titles include the exotic number "Abdullah & Abraham" – plus "Andy's Walk", "Peregrinations", "It's About That Time", "Sweet Dreams", "On & Off", "Little Lisa", and "Space For Stacy". CD

Brilliant work by one of the most unusual jazz talents of the 60s! Rufus Harley's best known for his use of bagpipes in jazz music – a re-cooption of the instrument from Scottish styles, taking it back to its roots in northern Africa. A number of Harley's other albums from the time are a bit gimmicky – but this later set is a soul jazz masterpiece, infused with rich Coltrane-like modes of expression, as Harley plays both soprano sax and bagpipes over some long modal original compositions! The group is a great one – with Oliver Collins playing some fantastic spiraling lines on piano, and great bass and drum work by James Glenn & Billy Abner. Titles include "Ali", "X", "About Trane", "Tribute To Courage", and a great version of "Sunny"! CD

A pair of legendary albums from the mighty Joe Harriott – a player who emigrated to England in the 50s, then set the scene on fire in the following decade! First up is Free Form – the landmark album that forever put saxophonist Joe Harriott on the map, and it's a brilliant batch of tracks that prove that Harriott was advancing the jazz avant garde in England as much as players like Ornette Coleman and Cecil Taylor were advancing it in America. Despite the "free form" of the title, the tracks are more "new thing" – somewhat structured, with a rhythmic approach that's still a little straight, but solos that go nice and outside. Joe's overall conception is a beautiful mix of angular thinking with freely expressed soulful emotion – and the record's one that ranks up there with the 10 most groundbreaking of the 60s! The group's about as fantastic as you could ever expect from England at the time – with Shake Keane on trumpet, Pat Smythe on piano, Coleridge Goode on bass, and Phil Seamen on drums – and titles include "Formation", "Coda", "Abstract", "Straight Lines", and "Impression". Next is Abstract – one of the legendary sets of avant garde jazz by the British alto genius Joe Harriott – an artist who was sometimes billed as the British Ornette Coleman – a reputation he definitely earns with the groundbreaking quality of this album! The conception is bold right from the start – strongly rhythmic, but at a level that's different from Coleman's music – with some deeply emotional undertones to the solos (which also include work from Shake Keane on trumpet!) – and occasional modal elements that also bring in some spiritual elements to work perfect with the breakout solos. The group also features crack rhythm work from Pat Smythe on piano, Coleridge Goode on bass, and Phil Seaman on drums – and the track list includes "Subject", "Shadows", "Tonal", "Oleo", "Pictures", "Idiom", "Compound" and "Modal". 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