A rare early session from the lovely Elsie Bianchi – best known for her classic 60s sides on Saba/MPS, heard here in a very similar format! The set features Elsie working with her combo from the Swiss Atlantis nightclub in the early 60s – and was originally issued as a limited-number 10" LP, used only as a promotional item by the club! As on her classic Sweetest Sound album, Elsie sings on a number of tunes – always in English, and in a laidback and mellow way that sounds wonderfully sweet next to her work on piano. The rest of the group includes a bit of clarinet next to the bass and drums – and on a few tracks, Elsie's even overdubbed with a bit of accordion as well! Titles include the originals "Atlantis Blues" and "Baron Lazar" – plus versions of "I Got It Bad", "You're Driving Me Crazy", "Stormy Weather", "After You've Gone", and "No Moon At All". CD

Binker and Moses sound nicely different here – as the drums of Moses Boyd and saxes of Binker Golding are joined by the work of Max Luthert – who adds in all these live tape loops and electronic effects! The result is maybe the most adventurous album to date from the British duo – more improvised and open than before, with some especially great tones from Golding's tenor and soprano saxes, which seem to be encouraged by the electronic efforts of Luthert! Tracks are nice and long, with a great sense of textural variety – and titles include "Feed Infinite", "After The Machine Settles", "Active Multiple Fetish Overlord", "Asynchronous Intervals", and "Accelerometer Overdose". CD

Fantastic work from the team of Binker Golding and Moses Boyd – a pair who just seem to get more and more fantastic with each new album – as they do here, with some heavy-hitting help from Evan Parker on tenor and soprano sax, and Byron Wallen on trumpet! Yet the most compelling addition might be drummer Yussef Days – who works alongside the drums of Moses, to create this really dynamic two-drum sound to the group – one that's really explosive right from the start, especially when the tenor of Golding gets wrapped around the horns of Parker and Wallen! Tori Handsley also plays harp on the record, and can really change up the sound when her approach is strong – on titles that include "Children Of The Ultra Blacks", "How Land Learnt To Be Still", "The Death Of Light", "The Discovery Of Human Flesh", and "How Air Learnt To Move". CD

One of the boldest statements on record from trombonist Jeb Bishop – and a really great reminder of his key contributions to the Chicago avant scene at the start of the century! Jeb's a master of subtle shape and sound on his instrument, but he can also play with a fiercer frenzy – which is definitely the case here, and he moves between a trio and quartet lineup – alongside Kent Kessler on bass, Tim Mulvenna on drums, and Jeff Parker on guitar! The match of Parker and Bishop happens on four of the album's seven tracks, and has an especially strong resonance – tuneful at times, fuzzier at others – although the trio tracks are pretty darn incredible, and have us really remembering the greatness of Kessler and Mulvenna too. Titles include "Mirror Image", "The Umbrella", "Piggly Wiggly", "Pond", and "Flex Time". CD

A trio of spacey classics from Tim Blake – all brought together in a single set! First up Crystal Machine – fantastic sounds from Tim Blake, an artist who previously worked with Gong, and sometimes worked with Hawkwind – but who really came into his own on this legendary album of electronics! Tim works here on a self-constructed "crystal machine" – a bank of electronics that was often played in performance to front some trippy film installations (as shown on the cover) – which perfectly suited the stretched-out spacey style of his music! The vibe is maybe a bit like early Tangerine Dream, but with some of the warmer modes of the French electronic scene of the time – and titles include "Midnight", "Last Ride Of The Boogie Child", "Synthese Intemporel", and "Crystal Presence". On the cover of Blake's New Jerusalem, Tim looks like he's sitting at the helm of a spaceship on the cover – and in a way, that's what his music was at the time – a way of taking off to the skies on waves of electronics, in the kinds of sounds that Blake first created in his Crystal Machine project, but which have an even sharper focus here! The album's got more vocals than Tim's previous effort, and in a way that's what really sets it apart from the rest – as Blake's got this warmly positive approach that would be at home in progressive folk, but which here comes across with a very unique style – given the mostly electronic setting of the album! All the banks of knobs, slides, and keys pictured on the cover are used to strongly skillful effect – on titles that include "Generator", "Passage Sur La Cite", "New Jerusalem", "Song For A New Age", and "Lighthouse". Magick is a really great later set from electronic genius Tim Blake – an album recorded 15 years after his early classics, and done in his windmill home in France – but all played live, in a way that makes the electronics and keyboards here maybe more amazing! Blake has certainly picked up some of the elements from the 80s generation who were influenced by his earlier work – but also keeps the more open sense of song structure from his classics at points – with a sound that still knows when to revel in the best analog moments, next to the digital ones. Titles include "Tonight", "Strange Secret Of Ohm Gliding", "A Dream", "More Magick", and "Waiting For Nati". Also features the bonus b-side "The Woodland Voice". CD

Pivotal work from piano genius Paul Bley – an important recording done in Rome in the mid 60s, and one of those sessions that really helped Bley reinvent the sound of jazz piano at the time! The record's got this beautiful mix of free improvisation and group structure – a vibe that's very different than territory that Cecil Taylor was starting to explore, even though Bley can be relatively bold on the keys – with this sense of melody that lingers throughout, even on the more percussive passages – which feature superb work from a young Barry Altschul on drums, alongside bass from Mark Levinson, who is a subtle but powerful force in the proceedings! Titles include key tracks penned by Annette Peacock and Carla Bley – "Both", "Albert's Love Theme", "Ida Lupino", and "Touching" – plus a great take on Ornette Coleman's "Ramblin". CD

A trio that really lives up to its name – given that the lineup features three of the most dynamic figures in free jazz over the past few decades! The set was recorded in Chicago, and has a sound that really lives up to that city's embrace of a power trio like this – with completely frenetic work on reeds by Mars Williams, next to tumultuous drums from Paal Nilssen-Love, and some boldly propulsive bass from Kent Kessler – all spun out here over the course of three very long, freely-improvised tracks! Williams plays a few toy instruments, and Nilssen-Love handles some percussion too – both of which make for some slightly more introspective passages, which are soon balanced by more dynamic energy. Titles include "Miakoda", "Lovin The Buzz", and "Echo Clang". CD

An amazing second chapter for The Music Machine – working here with the last name of leader Sean Bonniwell in their name – in a groove that's even weirder and wilder than before! The group take on an odd new sound here – still the heady brew of fuzz and Hammond on their original garagey recordings from LA – but with a mode that also really lets Bonniwell's offbeat character come to the forefront – both in the odd lyrics, and his stark presentation in the lead – a Sunset Strip sense of personality that's almost up there with Kim Fowley at times! The record's definitely one of the weirder, more edgey sides cut for Warner Brothers in the mid 60s – and titles include "Astrologically Incompatible", "Double Yellow Line", "The Trap", "Soul Love", "Bottom Of The Soul", "Me Myself & I", and "The Eagle Never Hunts The Fly". CD features an insane 49 tracks in all – the full 14 track album, other Warner singles, and demos and rare material that includes solo tracks by Sean Bonniwell too! CD

A treasure trove of rare mid 60s garage rock from the state of Michigan – the complete anthology of local legends The Bossmen! MI was soon to become a breeding ground for some of the most revolutionary rock of the 60s – and while The Bossmen aren't best remembered rockers of the region all these decades later – they really helped lay the groundwork! There's a raw edge, but a melodic style here that's quintessential 60s rock, if you ask us. Guitarist Dick Wagner would go on to play with fellow Michigan rock trailblazer Alice Cooper and other legends, but this earlier work with The Bossmen is really solid, and sounds great all these years later. Comes with thick booklet of notes and photos, too! 18 tracks in all: "Take A Look", "It's A Shame", "Thanks To You'", "Help Me Baby", "Bad Girl", "Wait And See", "On The Road", "Rainy Day", "Sunshine", "Little Girl", "Easy Way Out", "I Cannot Stop You", "Listen My Girl" and more. CD

That's the middle finger of David Boykin on the front cover – bidding a bold farewell to the year of 2016 – with a record that offers up some of the most soul-nourishing sounds we've ever heard from the reedman! The album's got a sharper, almost funkier sound than some of Boykin's other work – a double-length performance that features David on tenor, in a group that also has James Baker on a piano that sounds electric, and which is often played in these blocky chords that fit well with the bass of Alex Wing and drums of Isaiah Spencer – all working as a cohesive trio unity, while Boykin takes off with these searing, searching solos! The mix of spiritual reeds and chunkier rhythms is almost a bit like some of the early "funk" work of Joe McPhee – but Boykin's clearly got his own agenda in the music, and comes off with a mindblowing positive sound. All tracks are long, and titles include "Coronal Mass Ejection", "Wherever You At", "Make It Count", "You Know Who You Are", and "Jaglavak". CD

A set recorded many years back by Chicago spiritualist David Boykin – but one that's finally getting its debut on record, as part of the ever-evolving rich tapestry of sounds that Boykin's been giving us since the 90s! The set here captures David at a key moment – when he was maybe turning towards even more spiritual currents from more outside performances – working with an excellent lineup that features Nicole Mitchell on flute, Josh Abrams on bass, James Baker on piano, Mike Reed on drums, Renee Baker on violin, Chinatsu Nakano on alto, and Shirazette Tinnin on congas. Both Abrams and Reed are also at key points of their development, and together with Boykin and Mitchell, they beautifully point the way forward for a new generation of Chicago expression. The piece is one long live performance, over 45 minutes in length – with segments that include "Midnight", "Sunrise", "Herukhuti", and "Enocturnal Sun". CD

A masterful statement from the Peter Brotzmann Tentet – a large group, but one that's capable of a rich array of sounds and sentiments – maybe given best exposure here in this key recording from the prime years of the ensemble! Ten players can be a huge number, especially when improvising so much – but these guys all have ears that are beautifully tuned to each other, and which really seems to not only bring out the best in each member, but also push the whole group together with a style that none of them could have hit on their own. Reeds are handled by the heavyweight quartet of Brotzmann, Ken Vandermark, Mats Gustafsson, and Mars Williams – and other group members include Joe McPhee on trumpet, Jeb Bishop on trombone, Fred Lonberg-Holm on cello, Kent Kessler on bass, and both Michael Zerang and Hamid Drake on drums. Titles include "Bird Notes", "Six Gun Territory", and "Signs" – the last of which is live. CD

Fantastic live material from a very unique group – the instantly-legendary meeting of reedman Peter Brotzmann with the leading lights of the Chicago avant jazz scene in the 90s – brought together into a tremendous tentet that's maybe even better than the sum of its parts! The group features Brotzmann on tenor and clarinet, Ken Vandermark on tenor and bass clarinet, Jeb Bishop on trombone, Fred Lomberg-Holm on cello and violin, Michael Zerang and Hamid Drake on drums, Kent Kessler on bass – and "honorary Chicagoan" Mats Gustafsson on tenor and flutophone, plus Toshinori Kondo on trumpet and electronics, and William Parker on bass. Phew, that's one heck of a lineup – the kind that rivals some of the European or British improvising ensembles of decades past – but one that has its own very specific flavor, and a sound that's brimming over with youth – so much so that the non-Chicago guests really seem to gain inspiration from the core. This Okka disc set captures the band live at the 16th Victoriaville Festival in 1999. CD

James Brown screams at the beginning of the record – "I'm Back! I'm Back!" – which is his proclamation that he was ready to take on a whole new generation of funk music – grooving with a new sound that was guaranteed to hit as big as it did in earlier years! The approach is a bit more uptempo than previous albums, but still never at all in a disco/club mode – and James really does strike a strong new chord with the groove here – stretching things out and cooking things up nicely. Rhythms are still quite sharp, although possibly not as dynamic as before – and titles include the great title medley of "Get Up Offa That Thing/Release The Pressure", plus "This Feeling", "Home Again", "I Refuse To Lose", and "Can't Take It With You". CD

A pare of rare European sessions from saxophonist Marion Brown – back to back on a single set! First up is Gesprachsfetzen – a really wonderful collaboration between alto saxophonist Marion Brown and vibist/reedman Gunter Hampel – a set that's maybe one of the sharpest to come out of their work together! The music has maybe even sharper edges than some of Brown's previous records – a dose of some of the European modernism in which Hampel was steeping himself, but also with some more organic, spiritual qualities on the solos – not just Brown's, but the work of trumpeter Ambrose Jackson – who's pretty great here too. AACM legend Steve McCall is also in the group on drums and percussion, along with bassist Buschi Niebergall – and the set was recorded live, with titles that include "Gesprachsfetzen", "Exhibit A", "Babudah", "Tomorrow Is The Beginning Of The End Of Yesterday", and "Aba". In Sommerhausen is one of the key records that alto saxophonist Marion Brown made while working on the German scene at the end of the 60s – an incredibly fruitful period that seemed to unlock all this new energy in Brown's music in a mode that was similar to what happened when Don Cherry started making time on the European scene! Brown's key partner here is Gunter Hampel – who plays vibes, bass clarinet, and percussion – the latter of which is handled by the other members of the group too – a lineup that includes Ambrose Jackson on trumpet, Daniel Laloux on bass, and Steve McCall on drums – playing here before his better-known work with the AACM. Jeanne Lee brings some lovely vocalizations to the set – and titles include "Dance No 1", "Exhibit B", "Il Ne Chant Pas", "The Sound Of A Song", and "Malipieros Midnight Theater". CD

A fantastic solo set from altoist Rob Brown – maybe the first we've ever heard from him, and a set that definitely elevates him to the pantheon of classic players in this format! Brown always has a tone that's all his own, and that comes through strongly in this setting – as does his way of wrenching out all these incredible sounds from the alto, yet at a level that's always quite musical and never as much in the more sonic experimentalist area of other reed improvisers. The performances are very loose with open structures, yet have an inherent sense of tune at times too – one that's even more satisfying, given Brown's tone. Titles include "Adrift", "Marine Life Encounter", "Gathering Breeze", "Tacking & Jibing", and "Oversea Undersea". CD

A rare television soundtrack from Italian jazzman Sandro Brugnolini – easily some of his most hard-hitting work, and a mighty cool record to boot! Brugnolini mixes small combo jazz and some darker orchestrations in a shifting palette of sounds from track to track – which means that some numbers are hard groovers, others have this brooding quality, and still others have this incredible tinkling piano that seems to float in the air – maybe the most gentle passages of the record, but also some of the most eerie too – especially in the way that Sandro mixes darkness and light with effortless ease! Most numbers are short, and work together beautifully – a very vivid record, even away from the images on the screen. Titles include "Aggressione", "Tallonato", "La Notte Muore", "Colluttazione", "Quasi Un Sogno", "Incidente Provocato", and "Tempus Fugit". 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

A Donald Byrd treasure – and an album that was almost left in the vaults by Blue Note, until they briefly released it at the end of the 70s! The cover and title are a bit unfamiliar, but the music is right up there with Byrd's classic sessions with baritonist Pepper Adams – a great player here, with a deftness on his horn that's incredible – matching all the sharp changes and soulful undercurrents of Byrd's sparkling trumpet! There's a nice hard sound to the whole thing – almost the raw power of the pair's albums for the Warwick label – and as with those, Herbie Hancock is on piano – giving the whole thing an excellent soul jazz groove that really kicks the main soloists into action! Titles include "Great God", "I'm An Old Cowhand", "That's All", "You're Next", and "Chant". CD

The first four albums from this crucial group – along with four more CDs of rare live material too! First up is the self-titled Cactus – the first album from this legendary group – an important American hard rock powerhouse, driven by the famous rhythm duo of Tim Bogert on bass and Carmine Appice on drums – both of whom roll out of the gate here with amazingly frenetic energy! They're maybe only topped by the guitar work of Jim McCarty, whose searing lines are clearly learned from blues inspirations, then turned up in both speed and power – to match the vocals and harmonica of Rusty Day! There's nothing going on here that sounds like blues rock at all – even though the set begins with a cover of "Parchman Farm" – next to other titles that include "My Lady From South Of Detroit", "No Need To Worry", "You Can't Judge A Book By The Cover", and "Let Me Swim". On One Way Or Another, Cactus are totally at the top of their game – and the guitar of Jim McCarthy really sets the record on fire, right from the very first note – at a level that should have made Jim one of the real guitar hero legends of his generation! Yet there's also power from the whole group going on too – tight rhythms from the team of Carmine Appice and Jim Bogert, the latter of whom starts to bring in his own vocals a fair bit more, offering backup to the raspy lead of Rusty Day. And while there's a few currents that show their older influence from blues, the sound here is massively hard rock all the way through – making the record a great illustration of the way that slavish blues rock gave birth to a fresh new jamming sound in a matter of just a few short years. Titles include "Rockout Whatever You Feel Like", "Song For Aries", "Feel So Bad", "Rock N Roll Children", and "Hometown Bust". Restrictions is next, and despite the title, there's no restrictions at all – as Cactus seem to be even more confident, more able to stretch their wings and fly than ever before – even adding in some extra piano and keyboards at points to the core guitar-heavy sound of the quartet! All the group's best elements are very firmly in place – searing guitar, righteously confident vocals, and a strutting sensibility that makes this early 70s album way ahead of the game in terms of territory that so many bigger groups would later copy for their own classic records. Titles include "Guiltless Glider", "Evil Alaska", "Sweet Sixteen", "Bag Drag", "Restrictions", and "Mean Night In Cleveland". Ot N Sweaty is a record that's got a bit of a shift in the classic Cactus lineup – as the group's still driven strongly by the work of Carmine Appice on drums and Tim Bogert on bass, but get guitar power from Werner Fritzschings, who's a pretty amazing player – next to some added keyboards from Duane Hitchings, and vocals from Peter French – a singer who's ballsy power might be even more in line with the group than their previous lead singer! The album's got an unusual approach in that side one was recorded live, side two in the studio – each with a nicely different flavor as a result – on titles that include "Swim", "Our Lil Rock N Roll Thing", "Bedroom Mazurka", "Telling You", "Bad Stuff", and "Bringing Me Down". 8CD set is overflowing with great material – bonus tracks added to three of the four albums in the collection, than a further 4CDs worth of live material – titled Fully Unleashed – The Live Gigs Vols 1 & 2. The live material is great – and really shows the tightness of the group at their best! CD

There's a wonderful layering of sounds going on here – tremendous work from a team of improvisers who really know how to fill in the spaces alongside each other, and build up a performance that only increases in intensity as things move on! William Parker's bass, as always, is a key factor in the sound here – and on the album, he also plays gralla and shakuhachi as well – next to the drums of Francisco Mela and piano of Leo Genovese, topped and driven forward by incredible work from Daniel Carter on saxes! The music here is based on a poem by carter about non-stop motion in New York – and there's definitely that sense of action here – on titles that include "Intertext Salute", "Shine Hear", and "Glisten Up". CD

America's never sounded better than in the hands of Italian sound library talent Daniela Casa – who does a great job here of serving up all these cool tracks that would have been right at home in a film set during the 70s! The music is a mix of themes that evoke different slices of the American experience – almost all of them with keyboards, and most with a nice current of funk as well – plenty of action elements that resonate nicely with the best Italian soundtracks of the crime/cop variety from the same stretch in time! Titles include "Icarus", "Big Sur", "Spiralys", "Beta Lady", "NYC 42nd", "Fix", "Third World Tango", "Puertorico Slum", "Soft Bird", and "Kentucky Fried Chicken". CD

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

The Challengers cook it strongly here – adding in a bit more sax than before to their sweet guitar instrumental groove – almost using the instrument as a second sort of engine to give themselves even more power than before! There's a slightly deeper tone than on the group's previous records – all the sharp guitar lines that made The Challengers one of the best of the bunch, but with a range that stretches out nicely overall – and keeps even the familiar tunes from sounding like the usual bag! Titles include "Mr Rebel", "K-39", "Out Of Limits", "One Mint Julep", "Bedlam", "Chiflado", "Just Drums", and "Mark Of Zorro". CD

A fresh new chapter of the long legacy of drummer Joe Chambers – a key instrumental force in the hipper reaches of the Blue Note label in the late 60s, but an artist who seems to finally be catching up with his own work as a leader after all these years! Joe is every bit as wonderful here as on his famous recordings, and his more recent dates for Blue Note – a wonderfully inventive percussionist, and an inherently rhythmic player who's got this ability to spin sounds out in all these different directions, yet always make things feel wonderfully unified too. His group on the set has excellent vibes from Michael Davidson, almost recalling Joe's work with Bobby Hutcherson – and other players include Caoilainn Power on alto, Andres Vial on piano, Eli Miller Maboungou on ngoma drums, and Ira Coleman on bass. Titles include "Dance Kobina", "Intermezzo", "Gazelle Suite", "City Of Saints", "Moon Dance", "Power To The People", and "Caravanserai". CD

A killer album of 70s New Orleans funk! Chocolate Milk were an amazing funk group in their best moments – and this album is certainly one of those moments – a blistering batch of tracks that set a whole new style for the Crescent City scene, and which showed that producers Allen Toussaint and Marshall Sehorn could easily hit the hipper notes of the 70s! There's a tight rhythmic sound at the core of most numbers, but expanded instrumentation over the top – bits of spacey electrics or jazzier electronics that never would have shown up in Sansu records of years back, but which show that with the right group, New Orleans funk could easily take on the hippest styles going down on both coasts! The title cut, "Action Speaks Louder Than Words", is a slow funk classic – and the record also includes the incredible electronic-tinged "Time Machine", a perpetual favorite these days. Other nice tracks include "Pretty Pimpin' Willie" and "Ain't Nothin' But a Thing". Arguably the band's best album ever! CD

Hey, don't hold Wayne Cochran's hair against him – because he's one massively soulful dude, despite a high white pompadour – and really knew how to rock the clubs back in the 60s! Cochran's a really unique figure – working with a look that was whiter-than-white, but coming across with a groove that was right up there in the best funky soul mode of the time! Wayne played for the same sort of crowds that went to see Baby Huey & The Babysitters – blending together soul and R&B influences with a really party-oriented groove laid down by his legendary CC Riders backup group – and crossing countless borders along the way, all in pursuit of a socking soul sound! This wonderful set is the best we've ever seen on his music – and features tracks pulled from his sessions for King, Chess, and Mercury – plus a full never-issued live album for King, titled The Wayne Cochran Show. There's more than a few covers here of other 60s soul tunes, but Wayne somehow manages to make most of them sound even better than the originals – bringing in funky arrangements that weren't even used on the hits, and making us wish we'd had a chance to catch his cooking show back in the day. 38 tracks in all – with titles that include "Dance To The Music", "Hold On I'm Coming", "Fa Fa Fa Fa Fa (Sad Song)", "I Can't Turn You Loose", "Hard To Handle", "Chopper 70", "Everybody", "Let Me Come With You", "My Machine", "Get Ready", "Which One Should I Choose", "I'm In Trouble", "The Peak Of Love", "Somebody Please", "I'm Leaving It Up To You", and "Big City Woman". CD

There's nothing instant about this album from the great Dennis Coffey – as the set marks a continuing evolution of the fantastic guitar sound he forged on the Detroit scene from the late 60s onward – that wicked blend of funk, soul, jazz, and a bit of rock – served up wonderfully here on a set of sweet instrumentals! This album's nicely different than some of Coffey's previous for the Sussex label, as it's got a few cuts that are quite long jams – both in the seven minute range, and with a groove that trips out at times, maybe a bit like Shuggie Otis was doing during the same generation – but with all these really wonderful charts that have odd elements, and almost come across with an unusual soundtrack/sound library vibe! The long cuts are the excellent "Moon Star" and "Outrageous (The Mind Excursion)" – and the set also includes a great remake of the theme to "Enter the Dragon", plus the sweet originals "Chicano" and "Kathy". CD

There's nothing instant about this album from the great Dennis Coffey – as the set marks a continuing evolution of the fantastic guitar sound he forged on the Detroit scene from the late 60s onward – that wicked blend of funk, soul, jazz, and a bit of rock – served up wonderfully here on a set of sweet instrumentals! This album's nicely different than some of Coffey's previous for the Sussex label, as it's got a few cuts that are quite long jams – both in the seven minute range, and with a groove that trips out at times, maybe a bit like Shuggie Otis was doing during the same generation – but with all these really wonderful charts that have odd elements, and almost come across with an unusual soundtrack/sound library vibe! The long cuts are the excellent "Moon Star" and "Outrageous (The Mind Excursion)" – and the set also includes a great remake of the theme to "Enter the Dragon", plus the sweet originals "Chicano" and "Kathy". CD

Key 60s material from the great John Coltrane – even if the set wasn't ever released until the late 70s! The album's kind of a "prequel" to the later Meditations record, and it stands as a key bridge between Coltrane's modal years and his more spiritual sounds – delivered here by a core quartet, without the larger accompaniment that graced the later version! The classic quartet is at their best – McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums – and the sound is slightly more inside than later, but no less filled with searching and yearning! CD version contains a 12 minute extended alternate take of "Joy", the centerpiece of the composition. CD

One of the deepest digs into the legacy of UK wonderproducer Joe Meek – a set that opens up a whole host of unissued tapes from the vaults, to present a hugely expanded set of work from a group who hardly issued any records back in the 60s! The Cryin Shames are not to be confused with the American Cryan Shames – as the Liverpool group had a great sound, but only released two singles – before spinning off into other groups with a short run too – including Friendly Persuasion, and Paul & Ritchie & The Crying Shames – all of whom recorded with Meek, and are presented here, in a massive 51 track package that features loads of unreleased takes, live material, and other rare tunes too! Core elements include the singles "September In The Rain", "Come On Back", "Nobody Waved Goodbye", "Please Stay", "What's News Pussycat", "The End Of The World", and "Come On" – and there's also 18 very early tracks from the group's audition, when they were initially billed as The Bumblies. Along with the notes, the whole thing is a great example of the way the wheels were really turning and the studio doors were opening during these key years of British rock – another new window into the production genius of the great Joe Meek! CD

A set that's even more searing and sonically intense than the debut of this genre-hopping group – served up in this bracing blend of electric and acoustic instrumentation that almost takes us back to the 90s experiments on Axiom Records from the Bill Laswell generation! there's plenty of guitar and bass here – the former from Javi Perez, the latter from Jamie Benzies – driven strongly by the fierce drum work of Tim Toyle, and topped with trumpet from Axel Kaner Lidstrom, tenor from James Mollison, keyboards and electronics from Tile Gichigi Lipere, and a mix of tenor, bass, clarinet, and flute from Rob Milne – all coming together with a very dark, textured, almost layered sort of sound – even though the performance here seems to be mostly live. Titles include "3301", "Fallacy", "The Cracks In The Bricks", "Ashen Faun", "Last Throes Of The Temporal Monolith", and "Crystalline Peaks". 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 beautifully sensitive soundtrack for this early film from the team of Bud Spencer and Terence Hill – very different than most of the other western music of the time – which is a fitting accompaniment to the unique actions of the pair onscreen! There's a fair bit of acoustic guitar in the instrumentation, used in ways that are sometimes warmer and more sentimental than you'd expect – played with a subtle sort of character that really comes through in this well-done reissue of the music – and which gets even better when groovier elements on piano or horns come into the mix. Things build nicely as the set moves on, with a very vivid feel throughout – and titles include "Remember", "Il Carro Al Fiume", "Assalto Alla Diligenza", "Ranch Di Parker", "Trinity E Bambino A San Jose", and "Trinity Stand Tall". CD

One of the first great Italian cop movies of the 70s – and a superbly-scored film with a really wonderful soundtrack! The DeAngelis brothers are clearly drawing heavily from an American tradition initiated by Lalo Schfrin – using heavy guitar, funky undercurrents, and even some soulfully righteous touches to really set this one apart from other Italian films of the time. Yet the approach here is also a bit more different, touches with some of the darker modes and more redemptive themes of Italian westerns – a sense of suspension and drama that's incredibly powerful, and heard to best effect on the solo instrumental passages – which include guitar by Maurizio and flute by Guido. CD features notes in both English and Italian, great images from the film, and even a number of previously unreleased tunes! 20 tracks in all – with titles that include "Festa A Genova", "Gangster Story", "Chicca", "The Life Of A Policeman", "Il Libanese", "Casa Di Moda", "Rock Al Porto", and "La Storia Comincia". CD

An obscure solo set from Andy Desmond – once a member of Gothic Horizon, but clearly an artist ready to break out on his own – given the sound and scope of the record! The set mixes acoustic elements with some larger arrangements handled by John Gosling, who also co-produced the set with Dave Davies – who also plays some guitar on the record too – bringing in some of the more subtle charms of his own solo work. Desmond's got a very particular style – one that almost feels as if it's reaching for some bigger crossover world, but which in this setting is much more down to earth, so that his charms are never too overwhelmed. Maybe the vibe is a bit like early Gerry Rafferty solo work, before the AOR hits – but you can be the judge, on titles that include "She Can Move Mountains", "In your Life", "Why Not Write Me A Letter", "Annie", "So It Goes", and "Beware". CD

Really compelling work from the enigmatic Dino – a set recorded with slow, slinky backings from the Montevideo Blues combo! The album's a lot less blues than you might guess from the group's name – and in a way, the approach is almost more folksy, or singer/songwriter overall – with a key focus on Dino's political lyrics, and backings that often follow along with snakey guitar and slinky rhythms. There's a raspy brilliance to the whole set – and Dino almost sounds like Uruguay's equivalent of Geraldo Vandre – a powerful, positive singer, but one who never reached a bigger audience outside his homeland. Titles include "Sentimiento", "Si Te Vas", "Montevideo Blues", "Milonga De Pelo Largo", "Para Hacer Musica Para Hacer", and "Chamarrita El Chiquero". CD reissue is as amazing as the original – with a huge booklet with notes, history, and lyrics – plus 7 more bonus tracks too! CD

A pair of spiritual soul classics – the rare early Warner Brothers albums from Earth Wind & Fire – back to back on a single CD! Earth, Wind & Fire's first album was recorded at a time when the group recently had ties to the Chicago soul and jazz scenes, and a range of experience that ran the gamut from work with Sun Ra, the Artistic Heritage Ensemble, The Pharoahs, Ramsey Lewis, and countless other influential groups. Headed up by Maurice White on drums and percussion, the group forged an amazing blend of all these influences, creating a future soul sound that pushed black music to the next level – taking a wealth of previously underground modes of expression, and fusing them into a soaring sound that would soon put them at the top of the charts. This album's a lot looser and freer than their Columbia albums – with plenty of raw funk and some nice off-beat jazz soling. Includes the classic break track "C'Mon Children", plus "Fan The Fire", "Bad Tune", and "Moment Of Truth". Need Of Love is one of the two early Earth Wind & Fire LPs recorded for Warner – and the one that shows their amazing roots in the avant-garde jazz scene in Chicago! At the forefront, the record's a righteous soul album with an ensemble funk sound – but deeper in, there's a lot of jazz-based playing, and a number of moments that almost get "out" in the solos! Surely this one couldn't have been made without the spiritual advancements in jazz made by the AACM – and EWF couldn't have helped rubbing shoulders with those players, considering that they all often gigged together in the Chicago studio scene, and that they'd also shared some time together in groups like The Pharoahs and Phil Cohran's Artistic Heritage Ensemble. Titles include "Energy", "Beauty", and a nice remake of Donny Hathaway's "Everything is Everything". CD

Excellent pre-Columbia work from trumpeter Don Ellis – a live date recorded with Tom Scott on saxes and Dave Mackay on piano – presented here in its entirety for the first time ever! The groove here is every bit as hard as on Ellis' funky classics for Columbia – but more acoustic overall, and bottomed with some great Latin percussion from Alan Estes on timbales and Chino Valdes on congas. Many tracks have a slightly exotic feel – a mode that uses conventional jazz instrumentation with slightly Eastern phrasing, in a way that sounds really great alongside the modal rhythms of the tunes. Titles include Scott's "With Respect To Coltrane" and "Blues For Hari" – plus "Slippin N Slidin", "Bali Dancer", "Sadness Shouldn't Go To Sleep", "It's A Snap", "The Squeeze", and "Turk's Works". CD

Amazing box set – five full albums of material, plus lots of bonus tracks too! First up is Flowers – a soaring classic from The Emotions – thanks to some supreme help from the Earth Wind & Fire side of the soul spectrum! This set has the trio really sounding great – with Kalimba Productions by Maurice White and Charles Stepney – and a good deal of EWF help on the instrumentation as well! The girls break out of the rootsier style used on their earlier Stax recordings, and manage to fit perfectly with the jazzy tinges of the new grooves – and, along with Ramsey Lewis and EWF, the Emotions were part of a hugely successful trinity during the late 70s – one that took the indie soul roots of the Chicago scene and turned it into landmark big business for Columbia Records. The album's got a new approach to female group soul that would go onto shape R&B for years to come – and titles include "Flowers", "I Don't Wanna Lose Your Love", "We Go Through Changes", "Special Part", and "You've Got The Right To Know". Next is Rejoice – a huge hit for both The Emotions and Maurice White – whose Kalimba Productions handled this album in the same hit mode they'd been using for Earth Wind & Fire! There's a polished, soaring bounce her that definitely shows the Earth Wind & Fire touch – and which takes the girls miles from their rougher, rootsier soul of the Stax/Volt years – yet like all the best EWF records of the time, the sound is also plenty soulful, with lots of righteous undercurrents. The album includes the group's wonderful track "Don't Ask My Neighbors", a heavenly tune that builds on a long tradition of sweet female soul from Chicago; the super-huge "Best Of My Love", a hit on dancefloors and radios for years to come – and many other nice numbers like "Blessed", "How'd I Know That Love Would Slip Away", and "Key To My Heart". Sunbeam is great little album from The Emotions – largely because it sounds a lot like prime mid 70s Earth Wind & Fire, with female vocals added over the top – ultimately, pulling away with a soulful charm all its own! Maurice White produced the whole set, and it's got a soaring spacey sound that provides a perfect spiritual edge to the girls vocals – taking them way past the hits, into much more sophisticated soul territory. There's a beautifully righteous vibe going on throughout – a sound that's almost like Minnie Riperton at her 70s Capitol best – and titles include "Love Vibes", "Walking The Line", "Time Is Passing By", "I Wouldn't Lie", "Smile", and "Spirit Of Summer". Come Into Our World has the sweet Emotions at the top of their game – one of the brilliant albums that has the soulful trio working hand in hand with Earth Wind & Fire! The girls were plenty great in their early years, but working with Maurice White and company, they really took off – hitting a whole new level that really unlocked some deeply spiritual power in their vocals! And sure, the approach also yielded the group plenty of hits – but for good reason, too – given the classic quality and all-great nature of a set like this. Maurice White produced, and the lineup is filled with plenty of Earth Wind & Fire players too – working with some great arrangements from Tom Tom 84, Wade Marcus, and others. Tunes are balanced between clubby numbers and some nice midtempo moments – and titles include "Where Is Your Love", "Cause I Love You", "Come Into My World", "On & On", "I Should Be Dancing", "Layed Back", and "Yes I Am". New Affair has The Emotions breaking free a bit from the Earth Wind & Fire influence, and grooving nicely with a sweet 80s feel! The girls' voices are still quite wonderful – some of the deepest harmonies in the female soul world at the time – and the tunes kick it up nicely in a blend of snapping bassy club tracks and mellower cuts that sweetly sway with their great vocals! Loads of wonderful tracks – and an album not to miss! Titles include "Turn It Out", "There'll Never Be Another Moment", "Now That I Know", "Love Lies", "When You Gonna Wake Up", and "Here You Come Again". 3CD set features 8 bonus tracks – including "Boogie Wonderland (12" mix", "Don't Ask My Neighbors (single version)", "I Should Be Dancin (single version)", "My Baby Dance", "Changes", "Where Is Your Love (single version)", and "Flowers (single version)". CD

One of the last great soul albums on the Westbound label – the Detroit funk powerhouse known for famous records by Funkadelic, The Counts, and the Detroit Emeralds! Eramus Hall have a vague P-Funk connection – and according to legend, the band were given their name by George Clinton, who had seen a building in Chicago named Eramus Hall – but the sound is a lot smoother than any of the P-Funk projects of the time, and the group's strongest point is their smooth soul groove, augmented by a tight jazz funk style on the best cuts. In a way, they're sort of like a morphed version of late Parliament – with a funk sound that's nicely compressed, but still a lot more true than any of the countless other bands on the market who were aping P-Funk at the time. Highlights include the groovers "Your Love Is My Desire" and "She Shined A Light", both with nice sample moments – and other tracks include "Stuck In The Mudd", "Funk Permit", and "Think Positively". CD

Incredible work by The Exciters – material we totally love to death, most of which is a lot harder-hitting than the group's earlier hits in the 60s! The package pulls together their post-UA recordings for the Bang, Shout, and RCA labels – the first to of which are represented by singles, the last by a full LP and some great extra material from 45s – all of which is really incredible stuff that moves way past any pop soul expectations you may have! Production is by Bert Berns on the non-RCA material, and Larry Banks on the RCA sides – and both producers bring an incredibly hip sound to the recordings, mixing the unique deep soul lead of Brenda Reid with some very groovy backings – arranged by Artie Butler, George Patterson, and Teacho Wiltshire, all of whom bring something unique to the mix. The force of these sides is amazing – almost a revolution in female soul, captured in the history of one group – and the booklet features very full notes on the girls, culled from interviews, and telling the story of their legendary years in the 60s. CD contains all of the legendary Caviar & Chitlins LP, plus lots of singles – 21 tracks that include "Take One Step I'll Take Two", "Soul Motion", "Number One", "A Little Bit Of Soap", "Number One", "You Don't Know What You're Missing", "Blowing Up My Mind", "Movin Too Slow", "Turn Me On", "A Year Ago", "You Got Me", "Always", "Fight That Feelin", "Give It All", and "Weddings Make Me Cry". CD

A killer album of southern soul harmony from The Facts Of Life – a trio with one female singer, two guys, and a great sound overall! The album's actually produced by Millie Jackson – and has that great blend of modern and southern modes that she was hitting in her best mid 70s years. The sense of interplay and harmony between the singers is a bit like Soul Children at their height – and the album's also got some warm Muscle Shoals backing that really makes the whole thing come off right! Titles include "Did He Make Love To You", "We Can't Hide It Anymore", "I'm Way Ahead Of You", "This Ain't No Time To Sleep Apart", and "It's Only A Matter Of Time". CD

Fantastic sounds from the Far Out Monster Disco Orchestra – a group with family ties to Azymuth and Incognito, and who work here in the best blend of Brazilian and soulful elements that might imply! The ensemble is a crowning achievement for the Far Out label – a summation of all the great work they've done from the London scene, including their reintroduction of key Brazilian musicians of the 70s – all soaring to the skies here, with a richly collaborative energy! The group features lots of keyboards from Jose Roberto Bertrami, guitars from Alex Malheiros, and keyboards and rhythms from Daniel Maunick – plus great contributions from many others, including some help from the legendary Arthur Verocai. Most tunes groove in a mighty nice way – not vintage disco, but a soaring, righteous 21st Century version of club – on tunes that include "Step Into My Life", "Flying High", "Black Sun", "The Two Of Us", "Walking Bass", "Give It To Me", and "Where Do We Go From Here". CD also features bonus instrumentals of most songs on the album! CD

Sublime work from trumpeter Art Farmer – and a key document of the way that he continued to develop his sound in the 70s! Farmer's at the height of his powers here – working in a soulful quartet with Cedar Walton, Sam Jones, and Billy Higgins – just setting up these beautiful little solos that seem to float out effortlessly from his golden horn. The gentle emotion and light swing of the album give it the surprisingly emotional pull of a sad San Francisco afternoon – as the sun shines brightly, but a strange chill interrupts any easy dreaming that might take place. Includes sublime versions of "What Are You Doing The Rest Of Your Life", "How Insensitive", "Firm Roots", and Benny Golson's "Yesterday's Thoughts". CD

A definite killer from the great Gianni Ferrio – one of his grooviest soundtracks ever, and a set that's filled with lots of mod 60s touches! There's a bit of electric sitar, cool bubbling Hammond, and even some jazzy horn parts that make for nice flourishes over the top – all changing up in cool and different ways from track to track – creating the kind of instrumental variety that we love in soundtracks like these! The album features vocals on two tracks – and titles include "Strana Gente", "Mr Ice Cream Again", "Week-End On Ice", "Billy's Ice Cream", "Pedigree", "Semifreddo", "Nuovi Ricchi", and "Fino All'Ultimo Gelato". CD also features 16 more bonus tracks – practically a whole extra album of music! CD

An action score from Jerry Fielding, but one that's done in a great mix of modes – definitely with some of the driving numbers you might expect, but also with these mellower, moodier tracks that are perfect for a film starring Alain Delon – and which really do a great job of linking it to some of his famous French cinematic efforts! Fielding's got his roots in American jazz, and always does a great job with action – but we're even more impressed here as he gets into some more deeply introspective passages, mixed with moments of subtle tension – served up with orchestrations that are completely sublime – and which rival those of 70s soundtrack contemporary Jerry Goldsmith. Jazz artists Lennie Niehaus and Greg McRitchie conducted the orchestrations, which might explain some of their strength – and titles include "The Imperial Vaults", "On The Plane From Paris", "The Russian Wags His Tail", "All Fall Down", "Hide & Seek Underground", and "The Parisian Connection". CD version features 24 tracks in all! CD

A never-heard soundtrack for a never-seen film – and a record that's every bit as funky as better-known sets from the blacksploitation era! Final Solution were a small time group from Chicago's west side in the 70s, but on this wicked little soundtrack they sparkle just as brightly as Isaac Hayes, Willie Hutch, Curtis Mayfield, or any of our favorite soundtrack soul artists from the time – working in a really righteous approach to soul with lots of heavy rhythms on the bottom and rumbling bass in the mix – so that even when the tunes are mellow, there's still a bold, brash sort of power to the set! The vocals are mostly delivered in harmony style, again with a nice edge – a bit like The Impressions work on Three The Hard Way, but with more of an indie soul feel overall, given the production circumstances. Once again, our hats are off to Numero for unearthing this gem – and as usual, the full tale of the group, the movie, and the music is told at length in the accompanying 16 page booklet! Titles include "Brotherman", "Never Coming Back Again", "I Don't Care", "Girl In My Life", "Gotta Get Through To You", "One Day", "I'm Ready For Love", "Theme From Brotherman", "No Place To Run", and "We Can Work It Out". CD

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

An overlooked group from the Chicago scene of the early century – a group made up of very familiar names from the world of free improvisation in the city, but coming together here with a slightly different vibe! The real difference is the use of electric elements at times – both electronics from Fred Lonberg-Holm and Nate McBride, plus acoustic bass from McBride, who switches between that instrument and acoustic! The electronics are sometimes used in an abstract way to fill in space, and not dominate the sound – which then lets the tenor and clarinet work of Ken Vandermark snake out in some really cool ways, while Tim Daisy is also sometimes a bit more rhythmic than usual on drums. Titles include "Multi Chrome", "MES", "Straw", "Theater Piece", and "Lens". CD

Gorgeous sounds from Xenia Franca – a Brazilian soul singer with a sound and style that should make her huge, if the world has any justice – but who's also more than great enough as the kind of special discovery that keeps us searching for unusual music from around the globe! Xenia's got a voice that's incredible – every bit as rich and powerful as any American female soul singer in recent years, but set to arrangements and instrumentation that are more inventive than anything in the mainstream – and which seem to get a special sort of crispy crackle from the Portuguese in the lyrics. We loved her first album, but this one is even more amazing – with titles that include "Magica", "From The Heights", "Ancestral Infinito", "Futurivel", "Interstelar", and "Animus X Anima", which features a guest appearance from Arthur Verocai! CD

Some of the earliest work we've ever heard from German tenorist Joki Freund – a player who'd trip out a bit more in later years, but who blows here with a sound that's sharp, modern, and very swinging throughout! The group features trombone from Albert Mangelsdorff, who's also on the straighter side of the spectrum here – plus alto from Emil Mangelsdorff, sounding a lot more modern than on other recordings – really matching the energy of both hornmen, as they all step out in a piano-less group that only features the bass of Harry Schell and drums of Rudi Sehring on rhythm! The music has echoes of better-known 50s modernists – like Lee Konitz or Jimmy Giuffre on our side of the Atlantic, or Hans Koller in Freund's German scene – and the package features live material from a 1957 album, plus additional studio tracks from the rare Joki's Sparkle EP. Titles include "Nico", "Freund Point", "Vie La France", "Swinging Pigeons", "Domicile", "Rudy's Theme", and "From Lighthouse To Frankfurt". CD

A rare soundtrack for a very offbeat 70s documentary – one that more than lived up to its title by showing footage of sexual acts of a wide variety of different creatures – including frogs, kangaroos, rhinos, monkeys, and others – each of whom was given some very special scoring attention by composer Gerald Fried! Each track has a slightly different feel – as Fried is clearly watching the documentary footage, then composing the music – with all sorts of instrumental flourishes and odd effects that must have been a wonder next to the animal porn onscreen! The CD features 25 tracks in all – and titles include "Aphids", "Snails", "Buffalo Birth", "Rattlesnake", "Chimp Lullaby", "Trout Eggs", "Cheetah Chase", and "Primal Ooze". CD

Gerardo Frisina always seems to give us joyful sounds – but this time around, that might be the case more than ever – as the album's overflowing with all sorts of lively rhythms that are peppered with jazz-based instrumentation! Things are less hard-driving than some of Frisina's earlier work – which allows more space for things to seep into the grooves in a really nice way – warm Fender Rhodes, Hammond organ, and sweet solos on saxes, flute, and trumpet! As always, Frisina's the maestro at the helm – working rhythms both acoustic and electric – but there's also a fair bit of guest players who provide the live instrumentation – on tracks that include plenty of Gerardo's own songs, plus takes on tracks by Joao Donato, Waltel Branco, and Yusef Lateef. Titles include "Misterioso", "Hombre", "Naquela Base (new blend)", "On Again (album version)", "Hechizo Magico", "Dansi Na/Mahaba", "Parkview Theme", "Duende", and "Africa (Brazil)". CD

It's hard to stop the Blastfighter when he's got music like this to back him up – an assortment of sounds served up by Fabio Frizzi – in a style that uses some of the instrumentation of his better-known horror work, but in a very different way! The buzzword here is "action" – and the best cuts have a throbbing rhythm driven by drum machines, and washes of 80s keyboards over the top – then guitars, basslines, and whatever touches are needed to move things forward – with an occasional rest on a cut that's a bit more mellow, but never sleepy at all! If you dig 80s action scores, you'll find plenty to love here – and there's a lean, compact vibe that gives the whole record a very unified feel. CD

A really cool group from the late 60s UK scene – one that we might be temped to put in the hipper camp of the jazz rock world of the time, but who've maybe got a bit more of the latter style than the former – which makes their use of tenor and trumpet come across in a really unique way! There's a nicely psychedelic approach at the core of the record – with a sound that might be more familiar in terms of the guitar work, lyrical style, and vocals – but when topped with trumpet from Dave Caswell, and a mix of tenor, alto, and soprano work from John Smith, the record really takes on some unique qualities that really set it apart from the pack. Titles include "Children Of The Sun", "Pastorale", "A Modern Day Fairy Tale", "Blood", "Frog Galliard", "I Wanna Be Back Home", and "Hear The Colours". CD

Jazzy samba from the Far Out label – the soundtrack the film Garrincha!! – Estrela Solitaria (The Lonely Star) – featuring a groovy mix of samba sounds, sultry & steamy jazz funk, percussion madness, more darkly cinematic grooves! The film is about the legendary Brazilian footballer of the 50s & 60s, and the sounds are truly evocative of the times and well beyond. Musical director and composer Leo Gandelman is on saxes, flutes and more, backed feverish percussion & drums, trumpet, flugelhorn, bass, guitar, piano and cello. Titles include "Abertura", "Chile", "Samba Authentico", "Na Florsta", "Iraci", "Samba Latino", "DribleDe Cadeira", "Bota Jazz" and more. CD

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

A fantastic bit of late 60's funk, and a surprisingly slammin' record from Dizzy! The album's got tight, hard, choppy funk arrangements from Ed Bland – who went onto to do some great work at the Perception label – and the group features James Moody blowing hard lean funky solos right next to Diz, in the way that he'd do on some of his own funk work from the same time. The record is wonderful all the way through – killer heavy drums, heavy electric bass, searing sax solos from Diz and Moody – all produced with a mad mad full-on funk sound that will make your jaw drop! Titles include "Blue Chuchifrito", "Chicken Giblets", "Rutabega Pie", "The Fly Fox", "Pot Licka" "Stomped & Wasted" and "Casbah Melon". CD

Fantastic work from one of our favorite Dizzy Gillespie groups ever – an early 60s lineup that not only features a young Lalo Schifrin on piano, but also the great Leo Wright on alto sax and flute! Dizzy's maybe best known for his bebop material – and he recorded famously in that mode earlier on the Parisian scene – but here at the start of the 60s, he's opening up an entirely new chapter in his book – blowing on much longer tracks that are really set free in new rhythmic modes – in large part by Schifrin's input in the group, which comes not just from his piano work and arrangements, but also from some of the great material he penned for the set! There's plenty of influences from Latin and Brazilian music – but at a level that's nicely submerged, and very different than Dizzy's earlier cubop – more matured, and taken in all these new righteous directions, which unlocks all these incredible elements in Gillespie's trumpet too. This isn't the scat-singing, bebop jokester from the past – and instead a proud, powerful talent who sounds incredible throughout. The 1960 material also features Art Davis on bass and Chuck Lampkin on drums, plus guest congas from Candido – on the long "Gillespiana Suite", plus "Caravan" and "Cripple Crapple Crutch". The 1961 material features Bob Cunningham on bass and Mel Lewis on drums – on titles that include "Kush", "Lorraine", "Desafinado", "Long Long Summer", "Pau De Arara", and "Cripple Crapple Crutch". CD

A legendary bit of jazzy soul – recorded by an obscure female singer from Milwaukee! Penny's got a warm style that's pretty darn nice on its own – but it's made even better by the great arranger Richard Evans, who helped out a lot on the session. The feel is very much in the Chicago sophisti-soul mode – and at times, the record sounds a lot like Marlena Shaw's best work in the 70s, particularly her sides for Blue Note in the early part of the decade. Includes the great original "Too Soon You're Old" – a jazz dance classic for many years – plus a stellar cover of Gil Scott Heron's "Lady Day & John Coltrane", and the tracks "What's Goin On", "Slow Hot Wind", "He's Come Back", and "Rain Sometimes". CD

Two very playful soundtracks – both composed by Lallo Gori, who we mostly know for more serious action work! Scusi Ma Le Paga Le Tasse is from the start of the 70s, and begins with a vocal number from Franco Fanchi, but soon moves into much groovier territory with a blend of funky jazz and dreamier moments of the sort that you might be likely to hear from some of the bigger Italian composers of the period. There's occasional light piano, ala Stelvio Cipriani – and even an appearance from the Nora Orlandi singers over the course of the 17 tracks from the film. Come Rubammo La Bomba Atomica is from 1967, and the music has some slight currents of spy spoof scores of the period – that nice comedic/dramatic mix of jazz and dynamic pacing, blended with a few exotic elements too. The set features two vocal numbers sung by Elsa, and the rest of the 12 tracks from the film are instrumental. CD

British soundtrack great Ron Grainer makes a great American appearance here – turning in music for the early 70s film The Omega Man – the first film version of I Am Legend! The styles here are much more fitting for the time of the movie's release than the world of America in the future – as there are plenty of great blacksploitation and cop/crime elements that really fit the 70s urban setting of the story – really great elements that make the whole thing very different than the usual horror soundtrack of the period, and which also widen the palette of Grainer's style too! There's also a few familiar themes that are used almost tongue in cheek – instrumental hits that offset the darker mood of the action – and together, the blend of sounds is wonderful – presented here in an overstuffed collection that's well worth the 2.0 billing in the title. Given that the original score never showed up on record in the 70s, this release is long overdue – with titles that include "The Omega Man/Where Have All The People Gone", "Surprise Party/After The Ball", "Zachary Makes His Move", "Richie On The Roof", "The Trap/Nemesis For Neville/Matthias The Victor", "Dutch Takes Over", "Swinging At Nevilles", "Jumped By The Family/The Trial", and "Dutch Takes Over". CD

Groundbreaking early work from drummer Milford Graves and pianist Don Pullen – a set of long, free improvisations that were originally issued on Graves' Self-Reliance Productions label – combined here for the first time ever! The music is even more striking than sounds from the time on the ESP label – and also really predates some of the freer work of this type from the European scene – as Graves is a monster on the drum kit and a range of percussion, reaching out with this scope of sound and deft command of his hands that's simply breathtaking – matched by energy from Pullen that really surpasses some of his later work too – almost Cecil Taylor-like vibes at points, mixed with other elements that are in a more familiar mode for the pianist. The set features five long improvisations, each a numbered variant with the title "PG". Great gatefold package – with images of some of the hand-painted covers that Graves used for his releases! CD

One of a number of late 70s milestones from the Great Jazz Trio – that sublime grouping of Hank Jones on piano, Ron Carter on bass, and Tony Williams on drums! Like the rest of their gems from the time, the album's got this simple, subtle brilliance – a way of approaching piano trio material that was quite fresh for the time – different than Jones might have sounded the decade before, and clearly influenced by the huge growth of the format in Japan – the market for which the album was originally produced. Carter really shines on the record – reminding us of his incredible ability to act as both a soloist and a rhythmatist – and Tony Williams is a great here as he is on the Herbie Hancock trio dates of the time. Titles include "Wave", "Milestones", "Mr Biko", and "Eighty One". CD

One of the earliest albums as a leader from guitar genius Grant Green – and a set that shows off a different side of his talents than some of his other records of the time! The date has Grant working in a trio – with Ben Tucker on bass and Dave Bailey on drums – a super rhythm duo who are both soulful and modern, and who really have a great sense of matching the right modes of Green's guitar – which includes a number of those strong, long runs that always leave us breathless in these early years. The album has no Hammond or tenor – more frequent pairings with Green's instrument – and the open space really gives you the chance to hear what a completely inventive player Grant was, right from the start. The whole thing's great – and the album's got some great original titles that include "No 1 Green Street", "Grant's Dimensions", and "Green With Envy" – all of which sound a lot better than their gimmicky titles! CD

A blues album, but one with a difference – thanks to some tremendous help from the legendary Johnny Otis and his young son Shuggie! Despite the fact that the leader is billed as Guitar Slim Green, Shuggie actually plays some lead guitar on the record too – adding in some cool, complicated solos that point towards his genius to come as a solo act – and which also get some nicely romping rhythms from Johnny on drums! The Otis family was definitely bringing a lot of funk into their sound at the time, which they share plenty with Slim here – helping to make the record way more than just another late 60s rootsy blues session, and instead a great west coast criss-crossing of modes. Titles include "Shake Em Up", "My Little Angel Child", "5th Street Alley Boogie", "Old Folks Blues", "This War Ain't Right", and "Big Fine Thing". Also features two bonus tracks, both unissued – "My Marie" and "Rock The Nation". CD

The first three Grin albums – all served up in a single package! First up is the self-titled debut – the first album from Nils Lofgren and his mighty early trio Grin – and a record that really shows all sorts of great criss-crossing styles of the time! There's some gentler echoes of late folk in the mix, put right up alongside fuller, harder rock impulses – but also given this sweeter Cali spin that reflects the album's recording at Wally Heider studios – all with a very down to earth vibe that preserves some of the Chicago innocence of Nils's roots. Titles include "Like Rain", "18 Faced Lover", "Outlaw", "Direction", "Open Wide", "I Had Too Much", "Sing For Happiness", and "Everybody's Missin The Sun". Next is 1 + 1 – the second album from the early group of Nils Lofgren – a really well-conceived combo that's expanded with just the right amount of larger arrangements on a few tracks here! It's clear that Nils is getting more confidence as both a singer and a leader – expressing himself through vocals that have a bit more bite, while still retaining some of the sweeter currents of before – and really pulling out some of the guitar and keyboard work that would make him a superstar in years to come. Bassist Bob Gordon and drummer Bob Berberich contribute some vocals too – and titles include "Slippery Fingers", "End Unkind", "Moon Tears", "Soft Fun", "Hi Hello Home", and "Just A Poem". All Out is a record with a wide smile on the famous cover image – maybe in part because Nils Lofgren and Grin really seem to be finding the sound that makes them happy! There's a blend of blues rock, rootsier modes, and a clear charisma that comes from Nils lead vocals throughout – and the group's expanded with second guitar from Tom Lofgren, which seems to let Nils do a bit more piano and keyboard work too – all of which really underscores some of the charms of the tunes. Kathy MacDonald joins the set on some guest vocals too – and titles include "Heavy Chevy", "Sad Letter", "She Ain't Right", "Heart On Fire", "Rusty Gun", "All Out", and "Don't Be Long". CD

A really amazing project from Mats Gustafsson – and one that's a great reminder of his ability to create music in so many different and incredible ways! This time around, Mats acts as the conductor – at the head of NyMusik Trondheim and Avant Art Ensemble – both larger groups who mix together acoustic instrumentation with electronics, but all in these very spare, often subtle ways that hardly make you aware of their size at all. There are moments of full-on sonic activity, but much of the proceedings focus on smaller sounds and more focused expressions – served up with solo work from Anders Nyqvist on trumpets, Colin Stetson on amplified bass sax, Hedvig Mollestad on tuba, Jerome Noetinger on revox tape machines, and Dieb 13 on turntables – next to other work on cello, violin, prepared piano, accordion, and guitar. Titles include "Mirrors 1", "Echoes 1", "Shadows 2", "Outro", "Intro", and "Reflection". CD

A solo performance from groundbreaking saxophonist Mats Gustafsson, but one that's got sort of a "phantom" partner in Peter Brotzmann – as Mats works here from the boxed set of musical scores that Brotzmann originally created for his Chicago Tentet! Gustafsson plays selections from "Box 1" and "Box 2" – all set up by cards that cue the action for his improvisation – not a real set of musical notations, but ideas conveyed by images – which Mats then delivers on sopranino, soprano, alto, baritone, and bass saxophones – plus a few saxophone mouthpieces as well! There's few folks who can create such a range of sounds in such a setting – and the whole thing is not only a testament to Gustafsson's ongoing solo skills, but also his ability to relate to a key contemporary like Brotzmann. CD

One of the first albums ever made by Bruce Haack – the mad musician who's best known for his electronic work, but who also left behind a huge legacy of self-produced work for children! This album was done in collaboration with Miss Nelson – Esther Nelson, a dance instructor who worked heavily with kids – and it's got a naive, post-beat sort of feel that predates Haack's later hippie work, but which is equally charming. There's some very primitive electronic work on the record, next to odd instrumentation, and some very weird vocals from both Nelson and Haack – aimed at the kids who were the supposed audience for this one, but which make the whole thing sound more like an Ernie Kovacs episode gone mad! Definitely songs in the key of z – with tracks that include "Clap Your Hands", "Sunflowers", "Sailing", "A Stuffy Story", "Pussycats", "Trains", and "My Bones". CD

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