Forget the "blues" in the title – because the set's as much a soul jazz cooker as any of Groove's classic records for Prestige! The format's a bit different than usual – in that Groove solos on Hammond over large arrangements by Onzy Matthews – in a sweet organ/big band mode that's got plenty of bounce! The tunes are mostly from R&B sources, but done here with a groovy 60s approach – and titles include "Organ Grinder", "Mean Old Frisco Blues", "Your Red Wagon", "In The Dark", and "I'm Gonna Move To The Outskirts Of Town". CD

Classic country soul from Millie Jackson – plus a brand new song as well – all served up in a set that shows yet another side of this legendary singer! Millie's known both for her weepy sad songs of the early years, and her bitchy blues of later ones – but during the 70s, she also cut a fair bit of country-tinged tunes as well – done in a similar space as other southern soul singers like Joe Tex, Solomon Burke, or Joe Simon! The styles vary nicely, though – not just the straight blend of country roots and soulful inflections you'd hear in the 60s – as some of the tracks are from later years, and bring in some modern soul to the mix – nicely expanding the sound. A few titles are duets with Isaac Hayes – and titles include "Angel In Your Arms", "Rose Colored Glasses", "Sweet Music Man", "Cheatin Is", "You Needed Me", "Pick Me Up On Your Way Down", and "Standing In Your Line" – plus the brand new track "Black Bitch Crazy". CD

Plenty plenty soul here – as Milt Jackson's moving away from the Modern Jazz Quartet, and working with a great group of players that really expand his sound! The session's a bit like some of Milt's soul jazz work for Riverside and other labels – in that it's got rhythms, timings, and solos that all are much more gutbuckety than you'd expect from the other side of his career – a real nod towards the nascent soul jazz sound in the late 50s, served up with lots of undercurrents from R&B and gospel in the mix. Side one features players that include Ronnie Peters on alto sax, Frank Foster on tenor, and Sahib Shihab on baritone – plus Horace Silver on piano – and Silver makes a return appearance on side two, alongside a group that includes Lucky Thompson on tenor and Joe Newman on trumpet. Titles include "Plenty, Plenty Soul", "Boogity Boogity", "Heartstrings", "Sermonette", "The Spirit Feel", "Ignunt Oil", and "Blues At Twilight". LP, Vinyl record album

Not a vocal session from Ray Charles, but instead a set that showcases his great abilities in jazz – a side of Charles' talents that Atlantic was focusing on a bit more at the end of the 50s! The record's a collaboration with vibist Milt Jackson, who's nicely more loose and gritty here than in the company of the Modern Jazz Quartet – and in addition to piano, Ray also plays a bit of alto sax too – which comes as a nice surprise! Other players include the great Billy Mitchell on tenor sax, Skeeter Best on guitar, Oscar Pettiford on bass, and Connie Kay on drums – and titles include "Blue Funk", "Cosmic Ray", "Soul Brothers", and "How Long Blues". LP, Vinyl record album

A classic bit of indie blues from the Chicago scene – featuring some great players from the second generation after Chess Records stopped picking up the younger local talents! Magic Sam leads the group on vocals and guitar, and he's working here with Mighty Joe Young on guitar, Odie Payne on drums, and Mack Thompson on bass – all to craft a set of rough and ready blues tunes that would have played well on both sides of the tracks at the time. Titles include "That's All I Need", "All Of Your Love", "I Don't Want No Woman", "Mama Mama Talk To Your Daughter", and "Lookin Good", a nice instrumental! CD

A classic bit of indie blues from the Chicago scene – featuring some great players from the second generation after Chess Records stopped picking up the younger local talents! Magic Sam leads the group on vocals and guitar, and he's working here with Mighty Joe Young on guitar, Odie Payne on drums, and Mack Thompson on bass – all to craft a set of rough and ready blues tunes that would have played well on both sides of the tracks at the time. Titles include "That's All I Need", "All Of Your Love", "I Don't Want No Woman", "Mama Mama Talk To Your Daughter", and "Lookin Good", a nice instrumental! CD features a bonus alternate of "I Don't Want No Woman". CD

Trio side with Bob Cranshaw and Mickey Roker. Soul jazz piano stuff, with a few nice originals like "Cracklin" and "Down the Line". CD

A great set of early-to-mid 60s soul sides from Bobby Marchan – recorded at Stax, Fame and American Studios – singles released on Dial, Cameo and Volt back in the day and put together beautifully by Kent UK! Marchan is beloved for a slew of more rockin' rhythm & blues he cut from the mid-to-late 50s, but his 60s work is underappreciated – and we can't think of any good reason for that to be the case! His voice is just incredible throughout, on numbers that are natural next soulful step from the rhythm & blues years to others that are clear precursor to more famous southern soul to come later in the decade. Includes "Funny Style", "Just Be Yourself", "You Won't Do Right", "Hooked", "What Can I Do" (Pts 1 & 2), "You Better Hold On", "Sad Sack", "Help Yourself", "Don't Worry About It", "Get Down With It" and more. CD

A sweet live set from guitarist Pat Martino – recorded with a nice gritty feel, and just the right blend of organ and tenor that Pat would get on his Prestige Records dates of the 60s! The tracks are all nice and long, with the kind of open, freewheeling energy that we love back in the 60s soul jazz days when Martino got his start – and as on some other excellent recent dates, the move back to basics works perfectly for Pat's deep talents on the guitar – augmented nicely here by organ lines form Tony Monaco, and some especially tight tenor from Eric Alexander. The group's completed by drummer Jeff Tain Watts – and titles include "Lean Years", "Inside Out", "Side Effect", "Goin To A Meeting", and "Double Play". CD

An unusual double-length album for Jimmy McGriff – released during his funkier years at the Groove Merchant label, but with a gritty sort of sound that takes us back to his first few records on Sue in the 60s! The "blues" in the title is definitely well-chosen – as the tracks here are long, lean, and drawn out – blues-drenched soul jazz played by a small combo that includes Larry Frazier on guitar, Rudy Johnson on tenor, and Saint Jenkins on drums – plus Gerry Jemmott on electric bass, adding a bit more vamp to the background than usual. There's a very earthy feel to most numbers – almost improvised jams at times, at least on the tracks that are credited to McGriff as the writer. Titles include "Blue Groove (parts 1 & 2)", "Blues For A Broken Down Funky Old Bus", "Bahama", "Mack The Knife", "Harp-er", "Mocha", "Hey Mrs Jones", "Amen", and "Penthouse Serenade". CD

One of Mingus' classic sessions from the middle period – a legendary blending of jazz with bluesy gospel touches, in a mode that seemed to move away from the politics of some of the late 50s years, and open up his work to a whole new audience! The band is an all-star ensemble all the way through – tentet that features Jackie McLean, Booker Ervin, John Handy, Pepper Adams, Jimmy Knepper, Willie Dennis, and Horace Parlan – cutting a line perfectly with Mingus on the album's 6 original tunes. Includes the oft-copied "Wednesday Night Prayer Meeting", plus "My Jelly Roll Soul", "E's Flat Ah's Flat Too", "Moanin", and "Tensions". LP, Vinyl record album

A set of incredible records from Charles Mingus – all presented together in one mighty nice package! First up is Mingus Moves – a fantastic fresh new chapter in the career of Charles Mingus – a set that features the addition of two key players who would really shape his sound in the 70s – Don Pullen on piano and George Adams on tenor, both completely wonderful here! The group also features excellent trumpet from Roland Hampton, a player we don't know from many other settings – and the set also features some really nice vocal work from Honi Gordon and Doug Hammond. Titles include "Canon", "Moves", "Wee", "Flowers For A Lady", "Opus 3", and "Newcomer". CD also features bonus tracks – "Big Alice" and "The Call". Changes is key 70s work from Charles Mingus – an album that was recorded over the course of three days of creative activity at the end of 1974, but somehow split into two different albums under the Changes name! The lineup here is prime 70s Mingus – George Adams on tenor, Jack Walrath on trumpet, and Don Pullen on piano – young players who really give a fresh voice to Mingus' musical ideas, and help him find this beautiful late life sense of color, tone, and timing that's completely sublime! Titles on this second volume include "Sue's Changes", "Devil Blues", "Remember Rockefeller At Attica", "Free Cell Block F Tis Nazi USA", "Black Bats & Poles", "For Harry Carney", and "Duke Ellington's Sound Of Love" – which features a guest appearance by Marcus Belgrave on trumpet and Jackie Paris on vocals. On 3 Or 4 Shades Of Blues, Charles Mingus is returning to the soulful gospel-influenced mode he swung big in the early 60s! The record's something of a later predecessor of the classics Blues & Roots for Atlantic and Mingus (x5) for Impulse – and the style is slightly less dramatic, but still quite steeped in soulful explorations that feature plenty of notes from the bluer side of the spectrum! Players include George Coleman and Ricky Ford on tenor, Jack Walrath on trumpet, and Larry Coryell on guitar – and titles include new takes on "Better Git Hit In Your Soul" and "Goodbye Porkpie Hat" – plus"Nobody Knows", "Noddin Ya Head Blues", and "Three Or Four Shades Of Blues". Next is Cumbia & Jazz Fusion – one of the most enigmatic albums that Charles Mingus ever recorded – especially in his later years! The set features two very long tracks done by Mingus for use in a film about cocaine traffic between New York and Columbia – but considering the nature of the music, and the freely exploratory style, both numbers here stand very well on their own! Although touched with some of the Latin influences you might expect from the title, the sounds are often darker and more brooding than, say, the Mingus style on the classic Tijuana Moods set. And instead, there's a very serious soundtrack-like vibe going on through most of the set – larger jazz orchestrations used to beautifully underscore subtle themes, and breakout solo moments from players who include Mauricio Smith on flute, Paul Jeffrey on tenor sax, Jack Walrath on trumpet, and Jimmy Knepper on trombone. The album also features a fair bit of added percussion – and features two long tracks, "Cumbia & Jazz Fusion" and "Music For Todo Modo". Me Myself An Eye is complicated later work from Charles Mingus – a great illustration of the way his power to command a large ensemble never wavered as the years went on! The album features two different large groups of players – filled with modernists young and old – including Ricky Ford, George Coleman, and Michael Brecker on tenors; Ronni Cuber and Pepper Adams on baritone; Randy Brecker and Jack Walrath on trumpets; Lee Konitz on alto, Larry Coryell on guitar, Slide Hampton on trombone, and Eddie Gomez on bass. Side one features the 30 minute track "Three Worlds Of Drums", and side two contains a remake of "Wednesday Night Prayer Meeting", plus "Devil Woman" and "Carolyn Keki Mingus". Something Like A Bird is one of the last albums Charles Mingus ever gave us – before departing this planet way way too soon! The set shows the increasing sophistication of Mingus' music in these later years – a mode that almost echoes the path that Duke Ellington would take in his final decade – a move towards some larger-form material that still holds onto all the raw energy of the early days, but finds a way to not only bridge larger musical ideas – but musical generations as well! As part of this, the set's got a wonderful lineup – with Lee Konitz on alto, Pepper Adams on baritone sax, George Coleman on tenor, Eddie Gomez on bass, and Joe Chambers on drums – and titles include the long title track, "Something Like A Bird", split up over 2 sides of the LP, plus "Farewell Farwell". CD

Essential New Orleans piano from Professor Longhair – an artist who was neither a professor, nor a man with much hair! The chrome-domed pianist had a huge influence on the sound of New Orleans R&B and soul to come – as he played in a triplet-heavy way that was rooted in blues, but provided a key link to the rhythms that would dominate Crescent City music in following decades. This album features original Atlantic sides cut in New Orleans in 1949 and 1953 – about as classic as you can get for Longhair, with tunes that include "Tipitina", "Hey Now Baby", "In The Night", "Ball The Wall", "Who's Been Fooling You", "She Walks Right In", and "Willie Mae". CD

Bernard Purdie takes a trip down 40 years of soul jazz history – starting with late 50s jazz experiments by Art Blakey, Cannonball Adderley, and others – and working his way up through 60s soul and 70s funk! The set's got a slightly polished feel, but still plenty of nice moments – with soloists that include Michael and Randy Brecker, Eddie Harris, and Nils Landgren, plus larger arrangements by the WDR Big Band, conducted by Gil Goldstein. Titles include "Moanin", "Superstition", "Iko Iko", "Senor Blues", "Sidewinder", "Freedom Jazz Dance", "Work Song", "Land Of 1000 Dances", and "Brother Where Are You". CD

There's nothing blues-like about this great little cut from 1979 – one that has Warren Raye singing deep soul vocals over a slow-stepping groove with some warm modern soul production – very much in that warmer shift in southern soul that was taking place on labels like Malaco in the latter half of the 70s – a quality that's carried through on the flipside – an excellent cut that wasn't even issued back in the day! 7-inch, Vinyl record

On the one hand, our jazz snob side wonders why Diana Ross would be picked to star as Billie Holiday, but on the other, it makes perfect sense, as this soundtrack to the film was made during the early 70s, when she was at the top of her career, and one of the highest profile female soul singers. And she acquits herself quite well, with a solid performance that's more than respectable, helped along the way by sympathetic orchestral arrangements from Benny Golson and Oliver Nelson. While we may not turn to this recording over any of Billie's originals, it's a pretty remarkable turning point for Diana, establishing her "diva" status and helping to launch her solo career to new heights. 34 numbers in all, though many of them are dialogue or musical bits lifted from the film. Includes "All Of Me", "the Man I Love", "Ain't Nobody's Business If I Do", "Fine & Mellow", "You've Changed", "My Man", "Strange Fruit" and "God Bless The Child". LP, Vinyl record album

An overlooked gem from Diana Ross' 80s years – a record that's quite different than her Motown music of the 60s and 70s, but in a way that really shows the singer stepping out and trying something new! The album's maybe more soulful than some of Diana's previous albums – thanks to work from producer Tom Dowd – and the material is a surprising mix of songs, from sources as varied as Leonard Cohen, Luther Vandross, and Mick Hucknall! Ross does nice a nice job in reworking older soul classics – like Jackie Ross' "Selfish One" and The Drifters' "There Goes My Baby" – nestled in nicely next to more contemporary tracks that include "Dirty Looks", "Shockwaves", "Tell Me Again", "Shine", "Summertime", and "It's Hard For Me To Say". LP, Vinyl record album

A wonderfully down to earth book from the great Bobby Rush – southern bluesman by birth, and a key figure on the Chicago scene in the 60s and 70s – with a mighty long story that's told here in words that are very much his own! Co-author Herb Powell helps polish things up a bit, but never too much – and Bobby spends a heck of a lot of time laying out his youth, influences, and early years of struggle – which is great, as the history and setting are very illuminating – not just to Rush's own career, but to an understanding of the way that so many blues and soul artists of his generation had to find their own path forward. Hardcover edition is 306 pages, with a section of photographs in the middle. Book

A classic of spiritual, soulful jazz – and one of Archie Shepp's greatest albums! The set was recorded in New York after a few free and festive years in Paris, and it's an amazing about-face that has Archie stepping into a world of righteous, full-on, political, and funky themes – the likes of which are far more outspoken than any of his previous recordings. The group on the set is quite a large one – hip New York underground players, a small string ensemble, and even a few singers – like soul diva Joshie Armstead and vocalist Joe Lee Wilson. Overall, the sound's somewhere in the same place as the Art Ensemble of Chicago's amazing Les Stances A Sophie – in that the record comes from a free jazz tradition, but moves into a more rhythmic focus in order to communicate its message. The added vocals and recitations are wonderful – very moving, and much less hippy-dippy than on other Shepp records of the time – and the whole thing holds together with a unique sound and substance that's made it a treasure that holds up again and again. A true gem, and one we'll never part with! Tracks include "Quiet Dawn", "Goodbye Sweet Pops", "Steam (parts 1 & 2)", "Attica Blues", "Blues For Brother George Jackson", and "Ballad For A Child". CD

A killer session from Horace Silver – a record that has the legendary Blue Note pianist working with his famous quintet that includes Blue Mitchell on trumpet, Junior Cook on tenor, Gene Taylor on bass, and Louis Hayes on drums! The album's one of the group's first, and really showcases their sublime blend of rootsy soul jazz rhythms and more exotic, sophisticated approaches to arranging – playing in a style that mixes harder grooves with more meditative compositions with incredible lyrical beauty! The album includes tracks that mix both of these styles – and titles include the classic "Sister Sadie", plus "Baghdad Blues", "Melancholy Mood", "Break City", "St Vitus Dance", and the lovely "Peace". CD

A killer session from Horace Silver – a record that has the legendary Blue Note pianist working with his famous quintet that includes Blue Mitchell on trumpet, Junior Cook on tenor, Gene Taylor on bass, and Louis Hayes on drums! The album's one of the group's first, and really showcases their sublime blend of rootsy soul jazz rhythms and more exotic, sophisticated approaches to arranging – playing in a style that mixes harder grooves with more meditative compositions with incredible lyrical beauty! The album includes tracks that mix both of these styles – and titles include the classic "Sister Sadie", plus "Baghdad Blues", "Melancholy Mood", "Break City", "St Vitus Dance", and the lovely "Peace". CD

Don't let the "broadway" or the "blues" or the "ballads" in the title put you off – because this album's way more than any of those – one of those key 60s records that have Nina Simone taking familiar material and investing it with a new sort of righteous power of her own – almost transforming the songs in the process, and really opening them up past any sort of easy expectations! Arrangements include a bit of work from Nina, plus more by Horace Ott and Hal Mooney – and throughout, the singer shifts modes and moods with effortless ease, turning songs from ordinary tunes into fierce expressions of righteous soul. Titles include "The Laziest Gal In Town", "Nobody", "I Am Blessed", "Of This I'm Sure", "See Line Woman", "Last Rose Of Summer", and "How Can I". LP, Vinyl record album

A raw soul classic from Otis Spann – one of those great late 60s dates from the time when Bob Thiele was producing the Bluesway label for ABC, and really found a way to bring out the best in artists like Otis! Spann had always been great, but there's a bolder, edgier quality here – both in his vocals, which really push things to the max with their inflections – and his piano playing, which is loose and fluid – in the company of Muddy Waters and Luther Johnson on guitar, George Buford on harmonica, and Lucille Spann on some additional guest vocals! Buford is great, too – a wonderful second "voice" on the record – and titles include "Diving Duck", "Shimmy Baby", "Looks Like Twins", "Doctor Blues", "Nobody Knows", "Down To Earth", "My Man", and "Heart Loaded With Trouble". CD

A killer collection of work from the great Howard Tate – a stunning soul singer who recorded mostly during an initial decade in the studio, then briefly returned to fame in the few short years before his death – always with a depth and vibrancy that set him apart right from the start! Tate was born in the south, but raised in Philly – and as such, has this unusual blend of deep soul vocals and more sophisticated modes – heard most famously in his early work with producer Jerry Ragovoy, but carried on strongly in his 70s records too – all of which are sampled here, in a collection that includes material from Howard's sessions for Verve, Atlantic, Epic, HT, and Turntable Records! CD features a massive 29 tracks in all – and titles include "My Soul's Got A Hole In It", "Shoot Em All Down", "Stop", "Strugglin", "Keep Cool", "She's A Burglar", "It's Too Late", "Can You Top This", "Brand New Me", "Get It While You Can", "The Bigger End", "Ain't Got Nobody To Give It To", "Half A Man", "You're Looking Good", "Question", "Have You Ever Had The Blues", and "Baby I Love You". CD

Hard heavy stuff – and some of Jr's earliest work for Motown, only the second album to be issued on the small Soul subsidiary! The groove is nice and hard, with lots of original tracks done in the tenor-heavy instrumental style that was Jr's calling card during the time. Titles include "Mark Anthony Speaks", "Hewbie Steps Out", "Everybody Get Together", "Satan's Blues", "Brainwasher", and "Eight Hour Drag". With titles like that, you can guess how it sounds! LP, Vinyl record album

A sweet funky set from the mighty T-Bone Walker – a record that still includes loads of his wickedly sharp guitar lines, but which also gives him a tight groove with electric bass and great drums from the legendary Paul Humphrey! The bottom end here kicks as much as Walker's work on the top – which gives the record a cool crossover mix of blues, soul, and funk – not that different from some of the funky blues experiments going on over at Chess Records at the time, but with more of an LA twist. A young Tom Scott plays some great tenor lines on the record – and titles include "Vietnam", "T Bone Blues Special", "Sail On", "For BB King", "Cold Cold Feeling", and "Shake It Baby". CD features two bonus tracks – live versions of "Sail On" and "Stormy Monday Blues". CD

An excellent 2LP set that brings together 28 early 50s recordings by T-Bone Walker – crucial sides that link together jazz and blues traditions, with incredible work on guitar that would go onto influence both genres tremendously. The fact that Walker became a huge influence on soul jazz guitarists like Billy Butler, George Freeman, and Wild Bill Jennings is probably not lost on Blue Note – who included the set here as the only non-jazz set in their 2LP 70s reissue series. Titles include "Blue Mood", "Alimony Blues", "The Sun Went Down", "Cold Cold Feeling", "Strollin With Bones", "Street Walkin Woman", "You Don't Love Me", "Party Girl", "Life is Too Short", and "News For You Baby". LP, Vinyl record album

A great trip to the south side of Chicago at the end of the 50s – courtesy of pianist John Wright, one of the city's most deeply soulful players on the keys at the time! Wright's working here in a bluesy trio format – paired with bassist Wendell Roberts and drummer Walter McCants in a set that's one of his most personal on record. All titles are original numbers, penned by Wright in varying themes that evoke different locales on the Chicago scene – strung together like a musical map of the city, with highly evocative titles that include "47th & Calumet", "35th Street Blues", "Sin Corner", and "La Salle Street After Hours" – all of which take us back through the magic of Chicago in the 50s! LP, Vinyl record album

A record of incredible beauty from the great Leo Wright – and one that we'd never part with at all! Wright's one of those excellent players from the 60s who never really gets his due – largely because he was always hiding behind larger groups, and because he left the US in the decade for an extended stint in Europe. Still he cut some fantastic early work with both Dizzy Gillespie and Lalo Schifrin – and this album captures him right during the peak of that early period! The record features light lively backing from a quartet that includes Kenny Burrell on guitar, Ron Carter on bass, and Rudy Collins on drums – and some tracks have a beautifully groovy sound that's slightly bossa, slightly soul jazz. One of the best of these is Wright's great cover of "A Felicidade", but the record contains many other great moments, like "The Wiggler", "Tali", "Sassy Lady", and "Dionysis". CD

A massive tribute to the genius of soul in the Windy City – a wonderful compilation that really gets at the special sound Chicago brought into play during the early years of soul! The set is filled with key cuts from the Chi-town scene of the time – some of them lesser-known that the famous hits always associated with our hometown – and beautifully selected to really capture a moment when soul music was first starting to come together as a style! You can definitely hear roots from Chicago blues, gospel, and R&B in the cuts – but they're definitely all soul, all the way through – a killer batch of nuggets that manages to offer up fresh bits from some big names, and uncover some great cuts by some less familiar folks. The package features full track-by-track notes on the tunes by Bill Dahl – and titles include "Tragic" by The Sheppards, "At The Party "by Wade Flemons, "Hi Diddley Dee Dum Dum" By The Dells, "Tell Him" by The Drew-Vels, "I've Got A Girl" by Major Lance, "Senorita I Love You" by The Impressions, "Good Morning Little Schoolgirl" by Don & Bob, "My Heart Cries" by Etta & Harvey, "Isle Of Sirens" by Jerry Butler, "Enchanted Garden" by The Accents, "You've Got A Great Love" by The Chanteurs, "Father Knows Best" by The Radiants, "Let Em Try" by Rosco Gordon, "Behind The Curtains" by Jan Bradley, and "Puppy Love" by Barbara Lewis. CD

This series keeps on getting better and better – and this fourth installment may well be the best illustration to date of the birth of soul music! As hinted by the title, the collection features tracks from the late 50s and early 60s that marked a key transition from earlier R&B and blues into soul music – work that pulled a bit more strongly from the church than some of its predecessors, and which also put over a groove that was a bit more sophisticated, sometimes a bit more polished – all to set the stage for the huge soul music explosion to come later in the 60s! A number of the artists here are familiar from R&B years, but they're represented by tracks that show a real change in their styles – and others are known from later successes, but stand out here with early work that's a lot more formative – making them a perfect choice for the collection. CD features 24 tracks in all – including "Come On & Stomp" by Marv Johnson, "Lil Valley" by The MMs & The Peanuts, "Bossa Nova Baby" by Tippie & The Clovers, "Irresistible You" by Bobby Peterson, "Take Your Heart" by Betty Willis, "Puff" by Kenny Lynch, "Jack Be Nimble" by The Intruders, "A Clock That's Got No Hands" by Della Reese, "I Came Running" by Wade Flemons, "You'd Be Crying Too" by The Matadors, "The Gypsy Said" by The Fiestas, "Please Don't Cry Anymore" by Ketty Lester, "Pretty Little Girl Next Door" by Bobby Day, and "Trouble I've Had" by Clarence Ashe. CD

Spiritual sounds from the source – a host of incredible tracks from a time when jazz was really opening up into new dimensions – as players stepped forward in a wave of strong post-Coltrane energy to really push the music into the skies! The music here can be seen as a blueprint for generations to come – styles that are now getting new fame in the hands of Kamasi Washington and some of his contemporaries, but which flowered first in recordings like these – pulled from the early 70s vaults of Prestige, Milestone, and Muse Records – and brought together here in a really wonderful collection! Tracks are all nice and long, and the set showcases an older generation of jazz musicians really flowering at the time – balanced perfectly between a sense of freedom and a spiritual soul – on titles that include "Celestial Blues" by Gary Bartz NTU Troop, "Let Us Go To Higher Heights" by Carlos Garnett, "The Almoravid" by Joe Chambers, "Brown Eyes" by Charles Earland, "Warriors Of Peace" by Azar Lawrence, "Aftermath" by Oliver Nelson, "Josie Black" by Hampton Hawes, "Let It Take Your Mind" by Bayete Umbra Zindiko, "Fire" by Joe Henderson and Alice Coltrane, and "The Free Slave" by Roy Brooks. LP, Vinyl record album

Blues 45s – but material that's also pretty close to the funky 45 spirit of the 60s too – given that most of these cuts have a pretty raw groove! The blues element usually comes from a guitar or harmonica element, or a way of vocal phrasing – but much of the background instrumentation hits a gritty soul groove that's pretty darn funky overall – a great fusion of modes that must have sounded pretty darn great coming from a jukebox in the back room of some south side nightclub! This second volume is every bit as great as the first – and titles include "Love Is A Serious Thing" by Otis Reed, "Stretchin Out" by Little Sonny, "Lonesome" by Memphis Slim, "Don't Change Your Mind" by TB Fisher, "You Won't Treat Me Right" by TV Slim & His Bluesmen, "Fatten Pin" by Clyde Hopkins, "Dark River" by Freddy Young, "I'm Leaving You" by Bob Reed & His Band, "I Tried" by Larry Davis, "Pickin Heavy" by Joe Scott, "Roll On Train" by Elton Anderson, and "I'm So Tired" by Eddie Bo. CD

A funky little collection, and one that's got way more going on than just the blues 45s mentioned in the title – as the cuts here include some great instrumentals and soulful work as well! We loved the previous volumes in this series, and this one is every bit as smoking – a mix of cuts we never would have put together ourselves, and which sound stunningly great together – pulled from a time when the worlds of blues, funk, and soul weren't as separate as they became in later years – when fans of a funky 45 would just reach out for anything that was good, greasy, and gritty. Titles include "Harmonica Boogie" by The Confiners, "Hotel Blues" by Eddie Boyd, "For Liz" by Andrew Brown, "All Nite (part 2)" by Big Eddie C Campbell, "You Better Cut That Out" by Eddie Burns, "Sting Ray" by Mack Johnson, "Sunny Side Of Love" by Raful Neal, "Down In The Chile" by The Wild Child, "Rock" by Chuck Higgins, "67 Blues" by Little Willie Pollard, and "You Don't Believe A Word I Say" by Big Daddy Simpson. CD

The Numero Group takes a great step backwards – returning to the capital city of Ohio, Columbus – to mine the same soul and funk treasure trove of their Capsoul collection! The music here comes from the same scene – and often from Capsoul or related labels – and the set offers up a stunning array of rare gems, many of which were never even pressed on record – all showing Columbus to be one of the funkiest, grooviest cities in the US during the early 70s! Lots of the work here has that same heavy groove that we love from the Capsoul collection – and since that initial Numero foray into the compilation business, the label has only become more skilled at unearthing and presenting great sounds like this. The package features notes on both the music and the project of researching it – plus a long appendix on the local labels featured, along with photos and label scans too! Titles include "Woe Is Me" by Kool Blues, "I Need Your Love" by Chandlers, "Funky Disposition" by Dean Francis & Soul Rockers, "Lose The One You Love" by Soul Partners, "Look In The Mirror" by Vondors, "Hysteria" by Four Mints, "This Is The Way That I Am" by La Fez, "When He's Gone" by Associated Press, "Excuse Me Miss" by Jupiter's Release, and "I've Been Trying" by Love Maximum. CD

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

A double-length collection of work from two obscure Atlanta soul labels – the Tragar and Note imprints, both run by local producer Jesse Jones! Back in the day, Atlanta wasn't nearly as big of an outlet for soul records as it's become in recent years – so Jones' labels were key in showcasing under-exposed local talent in the city, a range of soul groups, solo singers, and funk combos – all produced here with a really fresh sound! Nearly every track here is super-obscure – and there's few southern soul cliches to get in the way of the music – no overdone blues, no Hotlanta disco, no Muscle Shoals copies – just honest-to-goodness indie soul at its best – full of life, vitality, and personality – all presented with the usual deep-digging Numero look at the artists in the notes. The package is one of the biggest Numero collections so far – and really tells the tale of this crucially overlooked scene – a key link between more familiar southern styles and rising Northern modes, all with a personality of its own. Titles include "All Because of You" and "Down In The Country" by Tee Fletcher, "The Hump" and "Tipping Strings" by The Knights, "Somebody Got A Help Me" and "Love is So Mean" by Richard Cook, "Ain't That Sharp" by Young Divines, "Watch The Dog That Bring The Bone" by Sandy Gaye, "Messing Around" by Bobby Owens & The Diplomats, "Shake Daddy Shake" and "Try" by Eula Cooper, "Tumbling Down" by Langston & French, "You Got A Spell On Me" by Bill Wright, "Now That I'm Wise" by Nathan Wilkes, and "Nitecap" by L Daniels. LP, Vinyl record album

A double-length collection of work from two obscure Atlanta soul labels – the Tragar and Note imprints, both run by local producer Jesse Jones! Back in the day, Atlanta wasn't nearly as big of an outlet for soul records as it's become in recent years – so Jones' labels were key in showcasing under-exposed local talent in the city, a range of soul groups, solo singers, and funk combos – all produced here with a really fresh sound! Nearly every track here is super-obscure – and there's few southern soul cliches to get in the way of the music – no overdone blues, no Hotlanta disco, no Muscle Shoals copies – just honest-to-goodness indie soul at its best – full of life, vitality, and personality – all presented with the usual deep-digging Numero look at the artists in the notes. The package is one of the biggest Numero collections so far – and really tells the tale of this crucially overlooked scene – a key link between more familiar southern styles and rising Northern modes, all with a personality of its own. Titles include "All Because of You" and "Down In The Country" by Tee Fletcher, "The Hump" and "Tipping Strings" by The Knights, "Somebody Got A Help Me" and "Love is So Mean" by Richard Cook, "Ain't That Sharp" by Young Divines, "Watch The Dog That Bring The Bone" by Sandy Gaye, "Messing Around" by Bobby Owens & The Diplomats, "Shake Daddy Shake" and "Try" by Eula Cooper, "Tumbling Down" by Langston & French, "You Got A Spell On Me" by Bill Wright, "Now That I'm Wise" by Nathan Wilkes, and "Nitecap" by L Daniels. LP, Vinyl record album

Foxy R&B, and a fair bit of soul as well – wonderful work from the previously-untapped Paso and Foxy record labels – headed up by legendary Chicago DJ Richard Stamz! Stamz was a key early force in African-American broadcasting in the Windy City – an important DJ not just in blues and soul, but also a TV figure as well – one who really helped get a heck of a lot of great music started in the early days of soul! This package features some real killers by artists who do a great job of skirting the rough line between blues and soul in Chicago in the 60s – some of whom would record more famously on other labels, like One-Der-Ful, but who really sound great here. The package was put together by the folks who've researched and recounted Stamz colorful life in print – and has a great array of rare music, plus stories of the DJ as well. Titles include "Say You Love Me" by Harold Burrage, "The Buzzard" by Freddie Robinson, "What's The Matter With You Sam" by The Ideals, "Just One More Time" by Loretta Branch, "You Gonna Cry" by Flora D, "I'm Trying" by Lee Shot Williams, "Gittin Along" by Willie Williams with the Howlin Wolf Band, "Goin Home" by Mary Johnson, "Please Love Me" by Harold Burrage, "Romeo Joe (part 1)" by Robert & The Rockin Ravens, and "Garlen's Mambo" by Ze Majestics. CD

A totally wonderful collection of work from Malaco Records – an imprint that's best known for its southern soul, blues, and gospel recordings – but one that's also got a fair bit of modern soul in its catalog as well! In fact, Malaco was really instrumental in helping move forward the torch of southern soul at a time when other bigger labels like Stax, TK, and Atlantic were really losing steam – and the cuts here are the cream of the crop from a time when Malaco was turning out some amazing sounds that rival the best modern soul from scenes in Chicago, New York, or Philly! If you only know the deep soul side of Malaco, you'll really be stunned here – and the set does a great job of pulling out some lesser-known recordings from the label, in the best Free Soul tradition. Over 80 minutes of music – with tracks that include "I Can't Do Enough For You Baby" by Tommy Tate, "Groovin" by Power, "I Need Your Love" by Patterson Twins, "Girl Overboard" by Dorothy Moore, "Get Up & Dance" by Freedom, "You Used To Be Mine" by Mosley & Johnson, "Make It With You" by Ruby Wilson, "I'm For Real" by King Floyd, "Give Me Your Love" by GC Cameron, "When Can We Do This Again" by ZZ Hill, "Let Your Love Rain Down On Me" by Jewel Bass, and "Pillow Talk" by Fern Kinney. CD

A mighty nice little package – one that's overflowing with the special sort of Latin and soul music hybrids that rose up from the Spanish Harlem scene in the late 60s – the kind of cuts that helped establish Fania Records as one of the most important Latin labels around – and one of the grooviest too! These aren't the 70s salsa tracks that Fania spread across the globe – but the more New York-styled numbers that often had English language lyrics in the lead, sung by a soulful vocalist – and set to small combo rhythms that were overflowing with energy, and plenty of touches of jazz, soul, and funk! These are all the mixes from the rare 45rpm singles issued by Fania back in the day – and although the songs are wonderful, the collection together is even cooler as a whole – dozens of tracks, including some really rare ones – all bound up in a 7" book-styled cover, with 60 pages of notes, and a bonus funky 45! Titles include "Silent Heart" by 125th Street Candy Store, "Micro Mini" and "Make Out" by Harvey Averne, "Too Much Lovin" and "So Fine" by Joe Bataan, "Willie Baby" by Willie Colon, "Soul Drummers" and "Mercy Mercy Baby" by Ray Barretto, "Geronimo" and "Funky Big Feet" by Bobby Valentin, "Mercie" by Ralph Robles, "Camel Walk" by The Latinaires, "Batola Boogaloo" by Bobby Quesada, "Grazin In The Grass" by Orchestra Harlow, "Spinning Wheel" by El Apollo Sound, "Hey Sister" by Monguito Santamaria, "Who Is The Girl For Me" and "Look At Her" by Ralfi Pagan, "New York Soul" by Ray Barretto, "Some Lonely Heart" by ronnie Marks, "Let's Get It Together This Christmas" by Harvey Averne, "Shaft" and "If I Were A King" by Joe Bataan, "Johnny's No Good" and "Blonde Latin Blues" by WRLC, and "Today" and "Try Just a Little Harder" by Butter Scotch. Lots more too – and the bonus 7" single features two promo tracks recorded for DJ Symphony Sid – one by Joe Bataan, the other by Bobby Valentin! CD

A really wonderful entry in this excellent series – one that initially helped identify a really special strand in postwar music – then continue to provide rare and unique examples with new volumes like this! The music isn't really mambo or Latin at all – but the rhythms here are more sophisticated and modern than more blues-oriented work of the time – and pulled from a fantastic moment when things were really mixing up in the new indie recording scene of the postwar years! Bits of jazz, early soul, and other touches make these tunes really shine – all lively numbers that include both group material and solo singers too – in a killer set list that includes "Wanda" by The Heartbreakers, "You're So Good Looking" by Otis Smith, "Heartaches & Troubles" by Mr Bo, "Song Of Sadar" by Lawrence Peel & The Filatones, "Buddha's Boogie" by Dukes Of Rhythm, "Calvalry" by Marie Knight & Sister Rosetta Tharpe, "Evil One" by The Dundees, "Love For Sale" by Helene Polite, "Oscalypso" by Oscar Pettiford, "Mambo Blues" by Effie Smith, "Big Mary's" by Titus Turner, "Caldonia" by Monchito, "Ali Baba's Boogie" by Preston Love, "Canveral Rock" by The Blasts, "I Want You To Be My Baby Mambo" by The Royals, "Girl Of My Dream" by Frank Butler, and "My Beat Is 125th Street" by Eunice Davis. LP, Vinyl record album

Fantastic west coast blues from the 60s, none of issued at the time – collected together here in a set that really shows the continuing evolution of the sound of LA! During the 60s, the city's blues took on some of the transformations that were happing in Chicago – with similar roots in a southern scene that moved into a hipper, more urban environment – where blues phrasing was more electrified, and mixed with influences from soul and jazz – often with some funky hybrids along the way! All the cuts here were recorded by Kent Records – the clear black music powerhouse of the west coast at the time – and half were issued on rare Japanese CDs in the 90s, the other 12 appear here for the first time ever – and as usual with Ace, the presentation, notes, and sound quality are wonderful. Titles include "Mama Said" and "Hey Baby" by Willie Headen, "Address In My Hand" and "Soul Blues" by Willie Garland, "Christine" and "Baby Don't Tear My Clothes" by Model T Slim, "Blues Pain" by Lowell Fulson, "You Told Me A Lie" by Smokey Wilson, "Before Day" by Big Mama Thornton, and "Rocks In My Pillow" and "Let Me Play With Your Poodle" by Long Gone Miles. CD

A contemporary collection, but one that really hearkens back to the brown-eyed soul of the Texas scene in the late 60s and early 70s – a moment when local groups were picking up on some of the vibes of East LA – reveling in the rich history of Texas soul and blues, but mixing it with funkier currents as well! After the recent interest in Sunny & The Sunliners, there has been a great wave of contemporary acts echoing the Texas sound of years back – and here, producer Adrian Quesada serves up core instrumentation that's a great blend of mellow-yet-funky soul – while different vocalists come in to the mix and really send things over the top! The set features contributions from a nice variety of artists – and titles include "Ain't No Big Thing" with Johnny Hernandez, "I've Got Soul" with David Marez, "Just Me & You" with Amalia Mondragon, "Boogaloo En Monterey" with Ruben Ramos, "One Woman Man" with David Hidalgo, "Love Reverberation" with Johnny Benavidez, "Funky Chick" with Brownout and Tomar Williams, and "Look At My Soul" with Black Pumas and Kam Franklin. LP, Vinyl record album

A great little set of rare soul music – served up by the Cairo imprint of Mississippi Records – and done with a very similar approach to their other reissues of folk, blues, and world music! The set focuses in on rootsier sounds, especially from the 60s – with lots of deep soul gems from both big names and some more obscure artists – all packaged with a detailed booklet of notes, in the best Mississippi style! The style is almost as if Folkway Records put together their own soul collection, but with work from other labels – and titles include "In My Heart" by Barbara & The Browns, "Tired Of Being Your Fool" by Nelson Sanders, "It's Not That Easy" by Reuben Bell & The Casanovas, "Since You've Been Gone" by The Falcons, "Can't Stay Away (parts 1 & 2)" by Slim & Ann, "Don't Ever Leave Me" by Bob & Earl, "Go Now" by Bessie Banks, "I Keep Forgetting You Don't Love Me No More" by The Thornton Sisters, "Don't Mistreat Me" by The Queenettes, "Let Me Down Easy" by Betta LaVette, "Life Is Too Short" by Benny Spellman, "Lament" by Mamie Perry, "I'm Missing You" by Loretta Williams, and "Everybody Knows" by OV Wright. LP, Vinyl record album

A heavenly set of southern soul – a package that pulls together a wealth of rare and unreleased singles from the Malaco label – that important Jackson, Mississippi imprint that took on the deeper sounds of the 70s – after the Memphis and Muscle Shoals scenes were losing steam! Some of the artists here are ones who would have ended up on Stax or Volt, had the labels still been going at the time – and instead found a great home on Malaco, a company who also had a great legacy of work in southern blues, and really knew how to bring out the best in a strong-voiced singer! Yet despite that side of the label, the music here is all-soul all the way through – not some of the soul/blues hybrids that Malaco could do well, and instead amazing deep soul, handled with a new sort of sophistication for the 70s! The sound is wonderful throughout – and the set features loads of cuts we'd never heard before – 18 titles that include "Overflowing" by Jewel Bass, "Ain't No Love For Sale" by Tommy Tate, "Sour Love Bitter Sweet" by Joe Wilson, "Lovin On Borrowed Time" by Anita Mitchell, "Got To Find The Nerve" by Hank Sample, "Two Of A Kind" by Dorothy Moore, "Once Upon A Love Affair" by Chuck Brooks, "That's How Much I Love You" by Eddie Houston, and "Talkin About Love" by George Soule. CD

Not really blues, but not really soul either – a wonderful mix of modes that's come to be known as the popcorn sound of the early 60s! The style's hardly "pop" at all – and instead, these tunes are plenty gritty throughout – more like numbers you'd hear blasting out of a backroom jukebox, or on the decks of some deep soul DJ dedicated to serving up a rough-edged groove! Lots of these numbers might be called post-R&B – as they still have some of the styles of the 50s, mixed with the tighter punch of the newborn soul sound – and the set's a wonderful illustration of this magical moment in music, finally getting some credit after all these years. CD features loads of tracks we'd never heard before – and titles include "Don't Knock It" by Sinner Strong, "You Lied" by Marva Josie, "Mr Lonely" by Freddie North, "When You See Me Hurt" by Carl Lester & The Show Stoppers, "Well I Done Got Over It" by Bobby Mitchell, "I'm Comin Home" by Bobby John, "I Ain't Talkin" by Pat Hunt, "This Little Lester" by James Wayne, "Why Oh Why" by Austin Taylor, "Rockin Bed" by Valerie Carr, and "I'm Hurted" by Mamie Perry. CD

Bluesy sounds, with plenty of soul – a really special mix of modes that follows strongly in the spirit of Kent Records' other "new breed" compilations! The music here isn't really R&B, but it isn't 60s soul either – and instead has a cool mix of soulful rhythms with ruffer touches on the vocals, sax lines, and guitar – the kind of sounds we've always dug from King Records in their heyday, but which are pulled here from a variety of different labels! Most numbers are obscure indie singles from the first half of the 60s – and as usual with Kent, they're compiled with top-notch sound, and stellar notes that really illuminate the material – in a manner that's way better than those public domain sets on the market these days. Titles include "The Twitch" by Danny White, "Cruel World" by Roosevelt Powers, "Lucky Girl" by Joan Duvalle, "Breaking Hearts" by Varetta & The Thomases, "Let Me Know" by Robbie Lee, "Playboy" by Billy Ray, "Real Real Love" by Ray Agee, "What Did I Do Wrong" by The Ovations, "I Can't Even Enjoy My Home" by Big Charley & The Domans, "Something Funny Is Going On" by Bertha Tillman, and "Bossman" by Deane Hawley. CD

A deep look at a blues scene that doesn't always get its due – music not from Chicago, Memphis, or various points south – but some nicely gritty tracks that were cut in New York during the postwar years! Despite New York's fame as a hub of jazz, soul, and other styles – the city also had a surprisingly strong blues scene in the 50s and 60s, which is when most of these tracks were recorded – music that's both in the electric modes that were showing up in other urban centers at the time, and also in some more traditional modes that were sometimes left behind in other cities – but which got a nice revival in New York, thanks to an interest in folk blues from the underground! Material here was originally recorded by a range of different labels – Old Town, Atlantic, Mercury, Prestige, Fire, Apollo, King, and Chess – and as you'd expect from Ace, there's also some unreleased material on the set, all presented with a great assortment of notes and details on every single track. 26 titles in all – with cuts that include "Bad Blood" by Champion Jack Dupree, "Step It Up & Go" by Blind Boy Fuller, "The Guy With A 45" by Allen Bunn & His Trio, "Stormy Monday Blues" by Bob Gaddy, "Kansas City March" by Wild Jimmy Spruill, "Four Women Blues" by Larry Johnson & Hank Adkins, "Idle Hours" by Lonnie Johnson with Victory Spivey, "Hard Times" by Noble Thin Man Watts, "Believe Me Darling" by June Bateman, "Security" by Tarheel Slim & Little Ann, "Jack That Cat Was Clean" by Dr Horse, and "Goodbye Kansas City" by Wilbert Harrison. CD

A mysterious batch of funk and soul from tapes that were originally played at London clubs and parties in the late 80s and early 90s – the key years of the rare groove scene, which is represented here by a fantastic assortment of obscure grooves from the 70s! The presentation is different than a standard funk collection – as the set continues the Death Is Not The End label's love of found materials and obscure tapes – so that you're hearing the cuts through the filter of a live presentation or a DJ introduction – sometimes nice and clear, sometimes a bit more obscure – so that the whole thing is almost more of a sound piece defining a moment of funk and soul, rather than a straight funk collection overall. Titles include "Darkness Bout Ya", "Fire", "Birth Night", "Flashlight", "Set Speed Operator", "Shockout Business", "Work To Do", and "Pure Wicked Tune". LP, Vinyl record album

Raw, raunchy sounds – all pulled together from a time before soul and rock even existed! Most of the work here is from the classic catalog of King Records – a killer imprint in the postwar R&B market, and a company who wasn't afraid to do what it took to make a knockout record! In the case of these tracks, the singers often hit some fairly suggestive material – often hidden in early 50s innuendo, but barely so – with a vibe that's often nastier than even the most hardcore rockabilly sounds to come! The music here has its roots in blues, but is inflected with plenty of jazz, and the presence of the singers often point the way towards soul music – especially the James Brown crowd that would later rise at the same label. Titles on this volume include "Keep On Churnin Till The Butter Comes" by Wynonie Harris, "Drill Daddy Drill" by Dorothy Ellis, "The Coffee Grind" by Hank Ballard, "Silent George" by Lucky Millinder with Myra Johnson, "Rocket 69" by Todd Rhodes with Connie Allen, and "Chocolate Pork Chop Man" by Pete Guitar Lewis. CD

A loss leader type showcase compilation for Riverside, collecting a number of nice sides. 10 numbers in all: "I'm Getting Sentimental Over You" by Thelonious Monk off the Thelonious Monk At The Blackhawk LP, "Mister Walker" by Wes Montgomery off The Incredible Jazz Guitar Of Wes Montgomery LP, "Wade In The Water" by Johnny Griffin's Big Soul Band off The Big Soul Band LP, "Pretty Memory" by Nat Adderley off the Work Song LP, "Stella B" by Bobby Timmons off the Soul Time LP, 'Del Sasser" by the Cannonball Adderley Quintet off the Them Dirty Blues LP, "Peri's Scope" by the bill Evans Trio off the Portrait In Jazz LP, "Blue SOul" by Blue Mitchell off the Blue Soul Lp, "Newkeep" by Jimmy Heath off The Thumper LP and "Something Different" by the Mangione Brothers Sextet off The Jazz Brothers LP. LP, Vinyl record album

A great little set, even if it's not what you might expect – not the kind of cuts that heralded the early years of country soul – and instead an even cooler batch of tracks from those years when R&B and hillbilly records often crossed paths on the postwar scene! Many of the small indie labels of the 50s recorded both country and blues, sometimes even having different artists take on the same songs, but in different ways – which meant that there was often a lot of cross-pollination going on in the farther reaches of the music business! The cuts here definitely show that approach – as a good many of them were originally country hits for other singers, but sound great and very different in the hands of R&B artists – and are mixed with a few others that follow similar themes, and really fit into the set in a great way. As always with Bear Family, the whole thing is presented with great notes and details on the music – in a set list of 29 tracks that include "Steel Guitar Rag" by Earl Hooker, "Sixteen Tons" by BB King, "Lovesick Blues" by Sonny Knight, "Big Mamou" by Smiley Lewis, "Ghost Riders In The Sky" by Scatman Crothers, "It'd Surprise You" by The Griffin Brothers with Margie Day, "Indian Love Call" by Hal Singer, "No Help Wanted" by Bob Gaddy & His Alley cats, "Cherokee Boogie" by Moose Jackson, "It Makes No Difference Now" by Piano Red, and "You Can't Stay Here" by Pearl Reaves & The Concords. CD

A fantastic collection of male soul tracks from the 60s – and one that really charts a whole new shift in the music – the rise of strong singers who aren't afraid to show their emotions, but with a sophistication that's very different than the earlier years of blues and R&B! There's an adult, mature approach to the songs here – vocalists who are accepting the terms of their heartbreak, or taking stock of their situation – putting forth their feelings strongly and directly, set to top-shelf arrangements that make it clear that they're not really the losers in the game! The set is in the best Ace/Kent tradition – really pulling together a fantastic body of work, mixing familiar and unfamiliar singers, and knocking it out of the park with the overall presentation. Titles include "Like A Big Bad Rain" by Kenny Carter, "They Say I'm Afraid" by Freddy Butler, "Anytime You Want Me" by Garnet Mimms, "A Day Or Two" by Garrett Saunders, "Can't Stand Your Fooling Around" by Gene Burks, "You Are A Lucky So & So"b y Sammy Sevens, "Through A Long & Sleepless Night" by Jimmy Radcliff, "Now You Are Gone" by Brooks O'Dell, "Forget The Girl" by Walter Jackson, and "Lonely People Can't Afford To Cry" by Clyde McPhatter. CD

An obscure session for Big Maybelle, but a great one too – a record that has her moving past the melancholy blues of her earlier work, into a lively gospel-based mode that's surprisingly great for her voice! The sound is quite upbeat and joyous – in a style that really has Maybelle's voice soaring to the skies – supported by arrangements from Alan Lorber and John Jacobs that are a bit like some of the backings Jackie Wilson received at Brunswick, including some additional chorus support. Tunes are a mix of gospel standards and a few secular tracks as well – and titles include "Nobody Knows The Trouble I've Seen", "Do Lord", "Dry Bones", "Down By The Riverside", and "Swing Low Sweet Chariot". LP, Vinyl record album

Chicago blues, but plenty darn funky – recorded with a sharpness and tightness that shows a strong soul-based influence in the second-generation electric work of James Cotton's generation! The core group here features James on harmonica and vocals – backed by piano, guitar, bass, and drums – plus a great horn section that has a distinct Chess Records feel – no surprise, given that it features Gene Barge, Paul Serrano, and Louis Satterfield! The production is by Barry Goldberg and Mike Bloomfield – and they're clearly helping Cotton tighten up his groove – and almost hit some Atlantic soul-styled modes at times. Titles include "Knock On Wood", "Sweet Sixteen", "Feelin Good", "Off The Wall", "Good Time Charlie", "Turn On Your Lovelight", "Something On Your Mind", and "Don't Start Me Talkin". LP, Vinyl record album

Four incredible albums from the young Georgie Fame – plus a bonus CD of rare material, bonus tracks on all CDs, and 18 previously unreleased tracks – all in a box set with a 48 page book, 5 postcards, and a poster too! First up is Rhythm & Blues At The Flamingo – blistering early work from a young Georgie Fame – a set that definitely lives up to the Rhythm & Blues in the title! The set was recorded live at London's hip Flamingo club – and Georgie and The Blue Flames are very much in command of the crowd – burning with the intensity of a American small organ combo, especially the early 60s variety that often played equal parts soul jazz and R&B! Georgie's on the Hammond, and also sings with a rough-edged style that's plenty soulful, and incredibly appealing – a mode that oozes charisma, but never sounds fake or forced. Titles include "Do The Dog", "Eso Beso", "Work Song", "Baby Please Don't Go", "Shop Around", "Humpty Dumpty", and "You Can't Sit Down". Fame At Last is a brilliant mix of jazz, soul, and R&B – all filtered through a mod sort of London freshness, as early proof that the city could always take some great things from our own musical roots, and feed it back to us with a whole new flavor! Georgie's no copycat here, though – and the sound is instantly Fame-like – a style that's really not the sort that any Americans were doing at the time, and certainly never this well. Hard-burning Hammond colors most of the tunes here – played with a tightly vamping quality – but it's Georgie's charmingly crackling vocals that really win us over! Titles include "Gimme That Wine", "Pink Champagne", "Monkeying Around", "Green Onions", "Let The Sunshine In", "Get On The Right Track Baby", "I'm In The Mood For Love", and "I Love The Life I Live". Sweet Things is a definite sweet thing from Georgie Fame – a record that has him filling in his sound even more than before, with tremendously soulful results! The backings here are bigger than before – a bit tooled in an American soul mode, but still with that beautifully raspy Georgie Fame touch – lots of jazzy inflections on the vocals, and a way of handling a tune, even a familiar one, and really working it on his own level. Hammond still fills in most of the tunes, but other instrumentation includes some nice African percussion from Speedy Acquaye, saxes from Pete Coe, and some nice bold drums from John Mitchell. These come out to the forefront on the classic funky tune "Music Talk" – and still sound great on other numbers that include "The World Is Round", "Last Night", "Dr Kitch", "My Girl", "Ride Your Pony", and "Sweet Thing". Sound Venture is one of the jazziest early albums from Georgie Fame – a set that has him singing with the big band of Harry South, at a level that's a lot more complicated than some of his other work with The Blue Flames! The style here still has that mod 60s London feel, but it also has some deeper inflections as well – modes borrowed a bit from Jon Hendricks or Mose Allison, yet served up with even greater complexity – at a level that really points towards the tremendous growth Fame would unleash over the next few years. Members of the group include Tubby Hayes, Ronnie Scott, Tony Coe, Dick Morrisey, Kenny Wheeler, and many other key Brit jazz figures of the time – and titles include "Three Blind Mice", "Dawn Yawn", "Feed Me", "Lovey Dovey", "Lil Darlin", "Lil Pony", "I Am Missing You", and "Many Happy Returns". CD5 is Bend A Little – a package with 20 unusual titles – demos, rare tracks, and outtakes – including unreleased tracks, IBC recordings, and even two German tracks too! Plus, each individual CD comes with bonus tracks – 40 bonus tracks, in addition to the 20 more titles on the Bend A Little set – a huge amount of material! CD

'69 was certainly Aretha's year – as the success of her initial round of Atlantic recordings had pushed her fully into the limelight, making her one of the most exposed, most reported-on artists in soul music! This album was cut during the height of that time, with Arif Mardin handling all of the arrangements, and Aretha singing a mix of soul, blues, and pop tunes, all nicely reworked in her own famous style. Titles include "Tracks Of My Tears", "So Long", "I'll Never Be Free", "Gentle On My Mind", "Bring It On Home To Me", and "Crazy He Calls Me". CD

A fantastic late 60s set from John Lee Hooker – one that has the legend working in a mode that echoes some of the funkier soul styles of the time, but with a vibe that's still very much in the best spirit of his classic work! The groove is slightly amped up by the electric bass of Eddie Taylor and tight drums of Al Duncan, but the session just features a quartet – with the mighty Phil Upchurch on second guitar next to John's lead – and Hooker delivering some fantastic vocals throughout! Titles include "Hot Spring Water (parts 1 & 2)", "Backbiters & Syndicaters", "Mr Lucky", "Cry Before I Go", "I'm Standing In Line", "The Motor City Is Burning", "Want Ad Blues", and "I Can't Stand To Leave You". LP, Vinyl record album

One of Mingus' classic sessions from the middle period – a legendary blending of jazz with bluesy gospel touches, in a mode that seemed to move away from the politics of some of the late 50s years, and open up his work to a whole new audience! The band is an all-star ensemble all the way through – tentet that features Jackie McLean, Booker Ervin, John Handy, Pepper Adams, Jimmy Knepper, Willie Dennis, and Horace Parlan – cutting a line perfectly with Mingus on the album's 6 original tunes. Includes the oft-copied "Wednesday Night Prayer Meeting", plus "My Jelly Roll Soul", "E's Flat Ah's Flat Too", "Moanin", and "Tensions". CD

An excellent live set from James Moody – one that really captures all the creative soulfulness that was part of his genius during the 60s! The set was recorded at the Jazz Workshop in LA, and features a hip group that includes Bernard McKinney on trombone, Musa Kaleem on baritone, Howard McGhee on trumpet, and Moody on flute, alto, and tenor. The groove is a mix of soul jazz and bop – but always with that slightly exotic style that Moody was picking up at the time, kind of a mix of the harder edge of Yusef Lateef, and the more playful Latin grooving of Dizzy Gillespie. The CD features all the tracks from the album Cooking the Blues, plus 3 unissued numbers, and one that had only ever shown up on a compilation. Very nicely done overall, as part of an excellent and short-lived reissue series on Chess. Titles include "Moody's Mood For Love", "Bunny Boo", "One For Nat", "The Jazz Twist", "Little Buck", "Sister Sadie", and "Home Fries". CD

Latin pianist Noro Morales leads his quintet in this nice moody album of instrumentals, played in a mellow jazzy vein, with a spare sound, and lots of percussion/piano interplay. The set's got a number of nice originals – like "Casemonos Ya", "Saona", and "Campanitas De Cristal" – plus Latinized versions of "Body & Soul", "Obsession", and "Piano Player's Lament". LP, Vinyl record album

A fitting title to this one – as it virtually describes the standard that the blues business was operating on during the early 70s – as artists came out of the shadows and found big audiences on college campuses, rock clubs, and other crossover scenes! The concept is carried to the Nth degree on the cover – which has a front image of a young Asian boy eating a big watermelon, Sambo-style – and the back cover features notes that say things like "Chinese kids like watermelon, Irish like bagels, black people like Jewish rye, and today everybody loves the Blues." Fortunately, this comic packaging doesn't affect the album too much – as Junior's still in the fine form he was at the end of the 60s, cruising between blues and soul, with a slight touch of jazz, in a unique way that sounds better to our ears than the work of most of his contemporaries. Titles include "Five Long Years", "That's Alright", "Way Back Home", "Man Or Mouse", and "I Like Your Style". CD

The second US album by the team of Phillip & Lloyd – much more in the Miami soul mode than their first record, cut for the Konduko subsidiary of TK with a feel that's almost Caribbean disco! The style's still got some traces of the duo's reggae roots, but the production's also more traditionally TK – with tight Miami funk in the backings, and strings arranged by Mike Lewis. Lots of choppy groovers – and titles include "Do What You Want To Do To I", "Juke Box Lil", "Keep On Moving", "Soon You'll Be Gone", "I Gave You Love", and "I Don't Know". CD

A 70s album, issued at a time when Esther Phillips was really riding high with her records on the Kudo label – but a set that brings together unissued sides recorded for Atlantic in the 60s! The style is a great mix of rootsy soul and hipper jazz – arranged by Onzy Matthews on side one, with a care and quality that almost rivals Capitol jazz vocal sessions of the time – and performed live at Freddie Jett's Piper Club on side two – in the same mode as her classic Burnin album from the time locale! Philips is wonderful in both settings – with that distinct approach that's unlike any other singer we know – quite versatile, and at a critical point between her R&B work of the 50s, and her smoother Kudu jazz of the 70s. Titles include include "Cherry Red", "In The Evenin", "I Wonder", "Romance In The Dark", "I Love Paris", and "I'm Gettin' Long Alright". LP, Vinyl record album

A killer session from Horace Silver – a record that has the legendary Blue Note pianist working with his famous quintet that includes Blue Mitchell on trumpet, Junior Cook on tenor, Gene Taylor on bass, and Louis Hayes on drums! The album's one of the group's first, and really showcases their sublime blend of rootsy soul jazz rhythms and more exotic, sophisticated approaches to arranging – playing in a style that mixes harder grooves with more meditative compositions with incredible lyrical beauty! The album includes tracks that mix both of these styles – and titles include the classic "Sister Sadie", plus "Baghdad Blues", "Melancholy Mood", "Break City", "St Vitus Dance", and the lovely "Peace". Plus, this CD also includes an extra bonus cut – "How Did It Happen?" CD

Rare work from the early years of soul music – and a special set that focuses on sounds created in and around Los Angeles – a city that's not nearly as well known for 60s soul as Chicago, Detroit, or New Orleans! Yet during the postwar years, LA had just as much going on as those eastern cities – a huge new population influx, who'd move over from the south during the wartime years – and new labels that had cropped up to capture their sounds and serve their audience! 50s LA was already humming with R&B material, which gave the rising styles of soul plenty of places to get recorded – so much so, that there's even some work on this set that was never issued at the time! The vibe is great – similar to other Birth Of Soul sets from Ace/Kent – in that the music carries a bit of R&B and blues bite from earlier years, mixed with more romping and tighter soul styles – in a smoking set list of 24 tracks that include "But What About My Broken Heart" by Don Wyatt, "Everybody's Got A Lover But Me" by Richard Berry, "Have You Heard" by The Vows, "With These Hands" by The Wonders, "You Better Watch Out Girl" by The Imperialites, "Lose My Cool" by Ike & Tina Turner, "Let Him Walk Away" by Darlene Love, "My Pillow" by The Numbers, "Help Me With My Broken Heart" by Sylvester Stewart, "That Other Guy" by The Mandarins, "Don't Drop It" by The Question Marks, and "Young Lover" by Wilks & Wilkerson. CD